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Dewey Decimal Number: 813.52 EAN: 9780679640240 ISBN: 067964024X Label: Modern Library Manufacturer: Modern Library Number Of Items: 1 Number Of Pages: 208 Publication Date: June 20, 2000 Publisher: Modern Library Release Date: June 20, 2000 Studio: Modern Library Editorial Review: Product Description: Admired by T. S. Eliot, Ezra Pound, Graham Greene, and Dylan Thomas, Djuna Barnes was the most influential and prolific female writer in Paris during the 1920s and 1930s. The Modern Library is proud to include--for the first time--her most critically acclaimed novel, Nightwood, which was praised by The Washington Post Book World as 'a masterpiece of modernism.' Dorothy Allison, author of the National Book Award-nominated novel Bastard Out of Carolina, has written an Introduction especially for this edition, in which she defends Nightwood as a lesbian classic. First published in the United States in 1937, Nightwood is a novel of bold imagining and passionate, lyrical prose. Described by the author as the soliloquy of 'a soul talking to itself in the heart of the night,' the novel creates a dreamlike world in which time ceases to exist and in which human beings transform into animals. At Nightwood's center are the love affairs of Robin Vote--a character based on Barnes's lover, Thelma Wood. Robin marries Felix Volkbein, an eccentric aristocrat, whom she meets in Paris, and whom she abandons years later for the American Nora Flood. But Nora cannot contain Robin, either, and Robin in turn deserts her for the larcenous Jenny Petherbridge. Rich in irony and symbolism, Nightwood brilliantly depicts the all-consuming power of erotic obsession in language that twists and turns, drawing the reader into a labyrinth of meaning and revelation. This edition also includes T. S. Eliot's Introduction to the 1937 American edition. Elizabeth Hardwick wrote, 'Djuna Barnes is a writer of wild and original gifts. . . .To her name there is always to be attached the splendor of Nightwood, a lasting achievement of her great gifts and eccentricities---her passionate prose and, in this case, a genuineness of human passions.' Amazon.com Review: Nightwood is not only a classic of lesbian literature, but was also acknowledged by no less than T. S. Eliot as one of the great novels of the 20th century. Eliot admired Djuna Barnes' rich, evocative language. Lesbian readers will admire the exquisite craftsmanship and Barnes' penetrating insights into obsessive passion. Barnes told a friend that Nightwood was written with her own blood 'while it was still running.' That flowing wound was the breakup of an eight-year relationship with the lesbian love of her life. Related Items:      see moreAverage Rating:
 Rating:  - A book that stands out among 20th century modernism in English, but not for everyoneThe early 20th century Modernists produced a number of remarkable books, but Djuna Barnes' NIGHTWOOD (1936) is one of the very strangest. The plot at its heart is simple, a lesbian love triangle where the passionate Nora Flood loves a young and enigmatic woman named Robin Vote, only to lose her to the conniving widow Jenny Petherbridge. This all unfolds among American and European expatriates in Paris in the 1920s, as royalty is dying out, the scars of World War I have still not healed, and belief in traditional religion is waning. What makes NIGHTWOOD so odd is Barnes manner of describing this drama. Her writing is baroque, full of original metaphors and florid turns of phrase that may seem either revelatory or pretentious. Its most important character turns out not to be Nora Flood, though her tragic fall is the book's theme, but rather the dandy doctor Matthew O'Connor who consoles her. A good half of the book consists of Matthew's long ramblings, full of free associations and bizarre insights. At first, Matthew is less a flesh and blood character and more a personalization of a cosmic principle, like the Judge in Cormac McCarthy's BLOOD MERIDIAN. Only later does he seem to come down to earth and we get some idea of the very personal struggles he has faced. NIGHTWOOD is currently being marketed to general readers because its plot of a doomed love affair and its fallout seems universal. However, Barnes' way of telling the story is not for everyone. I found many parts enjoyable, but the book in the main was tedious, and I'm a reader who usually enjoys the Modernists. That it is available in inexpensive paperback editions means that the reader can at least try to see if he likes it. Rating:  - Homosexuality is not really the focus -- but it's thereBarnes' Magnum opus, "Nightwood" (1936), was her second novel and one of those books that probably 'must' be read, the same as "Winesburg, Ohio" (Sherwood Anderson), or "The Great Gatsby", (F. Scott Fitzgerald). Poet Donald J. Greiner once wrote, "[It]...stands out among post-World War I American novels as one of the first notable experiments with a type of comedy that makes the reader want to lean forward and laugh with terror." What is the book "about"? To grossly oversimplify this complex tale, it's about one woman's mental, emotional, and sexual domination and manipulation, over time, of another young woman. There is also a significant sub-plot about a physician who has his own unique problems, especially concerning alcohol abuse and homosexuality. This is truly a dark and atmospheric story, partially about homosexuality, which probably accounts for its limited readership in a Puritanistic America when it was first published, and possibly even since. Barnes was an American, home-schooled and raised among incredibly artistic people such as Jack London and Franz Liszt, both of whom visited her father's farm. She lived from 1892 to 1982 and spent 20 years of her life in Paris, passing time in the company of other avant garde personalities such as Mina Loy, Janet Flanner, Dolly Wilde, and Gertrude Stein. This book was an incredibly tough read for me but people who understand poetry, (and I don't very well), will probably get it just fine. Barnes doesn't use words wastefully and her prose-style of writing takes on a sort of incongruous, syncopated rhythm. A review of the Cliff's Notes prior to reading the book would probably help out a lot. But I will say outright that this is one of the most compelling novels I've ever read. Having now read Barnes' greatest work, I'm eager to note that she was probably at least a borderline genius. Don't expect your typical novel here -- you won't come away from this one with a warm, fuzzy feeling. In fact, as you relate to each of the principals, especially "the doctor", you'll likely experience some emotional discomfort. Perhaps that is the genius of the work. Rating: - Angels on all-fours and other night creatures...*Nightwood* is a novel composed in poetic prose, as T.S. Eliot asserts in his preface, the kind of writing that "demands something of the reader that the ordinary novel-reader is not prepared to give." Most novels are not composed at such white-hot intensity, at a level of personal emergency such as Djuna Barnes has conveyed in *Nightwood.* This is a book that doesn't let you rest for a moment, the rare sort of novel that is all conflict and climax. It's a work that you don't doubt was torn living from the author's very being, less a "novel" per se, than an organic and all-but-impossible to dissect whole that loses more the more you attempt to analyze it. What Barnes records in *Nightwood* is the experiential agony, as opposed to merely the "story," of a love-lost. Robin Vote is a Sapphic femme fatal, an androgynous, alcoholic, nymphomaniac enigma who is beloved, successively, by three different characters, who she subsequently leaves an emotional wreck. Nora Flood, who stands in for the author, is the narrative center of *Nightwood* and the woman around whom the others orbit, with Robin, like a doomsday asteroid, orbiting them all. It is Nora who struggles and suffers and indeed understands Robin better than anyone, even if that only means understanding better the tragedy inherent in knowing her at all. Her utter despair at losing Robin is stunningly captured by Barnes who, it is said, based *Nightwood* closely on a real-life love catastrophe from which she never recovered. One can believe it reading *Nightwood.* A good deal of the novel's intensity comes from its unquestionable authenticity. In Robin Vote, Barnes has created the personification of the unsolvable mystery of every beloved who, as if by destiny, eludes, indeed must elude, our grasp. Much is made--and rightly so--of *Nightwood's* most famous character, Dr. Matthew O'Connor, an impoverished, drunken, charlatan with dubious medical credentials and a penchant for cross-dressing. A good deal of the novel is devoted to O'Connor's rambling monologues which vibrate between madness, comedy, and transcendent wisdom...sometimes all three together. But the transgendered O'Connor is only the most flamboyantly unconventional of *Nightwood's* inhabitants. All of Barnes's characters are misfits and outsiders, sexually and/or socially; interestingly it is the very displacement they feel within their own time and place that most enables the contemporary reader to sympathize with them. The sense of being out-of-step is, perhaps, timeless. But it's more than mere sexual and social deviance that connect the contemporary reader to these characters--it's a sense of the secret life of us all, the inherent "deviance" of our private lives from the "normal" daylight existence of moderated emotions, rational desires, and objective viewpoints we all pretend to share. "Nightwood" is the country we inhabit when the sun goes down, "society" dissolves, and the inexplicable, uncontrollable, and irrational in us emerges. I found the first chapter of *Nightwood* dull and dated and almost considered putting the book down. Don't do it. Hang in there until the second chapter...if Barnes doesn't catch your attention at that point, chances are she won't. This is a challenging text, elusively and elliptically written, ejaculatory, jumping from peak to peak, a shout from the soul of despair, a cry from the dark night. The characters don't so much interact with each other, but, as in real life, they are merely declaiming to themselves, using the declamations of others as cues to their own speeches. They affect, deflect, and "aggravate" each other in a sort of vacuum, forcing them to even greater degrees of solitude and despair. And yet, through all these characters, we hear one voice, one lament...the author's, ours, every lover's. As uniquely particular and personal *Nightwood* may be, as idiosyncratically composed, and as inimitable, it is nonetheless an emotional document as common and identifiably human as any kidney or pancreas. A rare thing, a "novel" that is also a work of art -*Nightwood* is a gnomic utterance of the apocalypse of love. Rating:  - Bizarre and over-rated. This book's three main characters ("the doctor", Nora and Robin) did not hold my interest. This is the most bizarre thing I've read despite its vivid imagery and the doctor's often insightful observations. The story is one big whine about being captive to one's sexual/emotional nature and needs. Here are 2 lesbians and a transvestite fortunate enough to live in Paris, the capital of free thinking in the 1920's and a genial place that accepted people with these sensibilities. Yet, Nora and the doctor never feel comfortable with themselves. The character who did touch me is a secondary one, Felix (Baron Volkbein) who, despite fabricating an aristocratic lineage to raise others' regard for him, is capable of responding with compassion to someone who needs him just for who he is. This novel has been used in academic studies of gender matters. But it could also serve as an aid in tracking the practice of perceiving oneself as a victim when one's personal choice creates a problem. In "Nightwood", the characters are very aware that their choices are their own and they accept responsibility for them. That is decades before people began blaming the consequences of their decisions on others, before the politicization and institutionalized endorsement of victimhood as a method of transferring responsibility for one's actions onto others. My dissatisfaction with this book stems from its slack attention to time and place. At each page, I had to remind myself that the story is set in the 1920's and not the latter half of the 1800's as I instinctively felt. Archaic phrases rich with signs of an earlier period combined with an absence of any 20th century flavour has produced characters who float in from the past and seem therefore devoid of physical mass. Similarly, Paris, the story's primary location, is reduced to an icon of itself like a backdrop assembled in haste for a play. Mentions of "rue du Cherche-Midi" and "Hotel Recamier" sound promising but lead only to the next bout of the doctor's enrapturing but ultimately meaningless rants. The best I can think about this neglect is that the author may have been demonstrating how self-obsession robs its holder of the capacity to interact with his environment beyond the narrow confines of its demands. No one seems affected by where they are. In the end, this is about people who experience love as torture and a direct route to hell. Rating: - The Night Is A Hunter Djuna Barnes' short modernist novel Nightwood (1936) is one of the genuine odd ducks of 20th century literature. Written in an uneven, semi - comic, and baroque style, the book is more likely to impress young readers rather than older and more experienced individuals who have lost their appetite for decadent romantic entanglements. Nightwood is certainly an original work, and Barnes' vision of the factors shaping human destiny - especially time, heritage, and evolution - are uniquely expressed. But despite its fluidity of language, many of Barnes' seemingly brilliant observations concerning life, consciousness, and human suffering are more specious than acute, which is important, since Barnes' emotionally marooned cast is badly in need of answers, wisdom, and salvation. Hiding under the text's antique lathering is a sparse, skeletal plot, one top heavy with philosophical speculations but reflecting little grasp of basic psychological truths about human nature. Nora Flood meets and falls destructively in love with passive - aggressive Robin Vote, a strange, corpse - eyed, and inexplicably charismatic woman who, despite marriage and motherhood, is spiritually, psychologically, and emotionally adrift in the world. When their affair evolves into a love triangle, Nora turns increasingly for advice to charlatan doctor and Greek chorus Matthew O'Connor, a poverty - stricken alcoholic who is pleasurably inclined towards homosexuality, transvestitism, and self - demoralization ("I'm a lady in no need of insults," "I was born as ugly as God dare premeditate"). Significantly, all of the book's characters are in some way stunted, crippled, or pathologically predisposed. Barnes excels at dramatizing the failure of romantic love, especially the kind that displays active neurotic factors, elements of codependence, and spontaneous psychological transference. Those pages which detail Nora's isolation and sad obsession with her abandoning lover are deeply felt, haunting, and moving indeed. In "The Squatter," Barnes spends an entire chapter fulfilling a personal vendetta by brilliantly depicting widow Jenny Petherbridge's status as a rapacious black hole and non - entity. Jenny is ugly ("she had a beaked head and the body, small, feeble, and ferocious, that somehow made one associate her with Judy," "only severed could any part of her been called "right"), stupid ("when anyone was witty about a contemporary event, she would look perplexed and a little dismayed"), incapable of establishing her own values ("Someone else's wedding ring was on her finger...the books in her library were other people's selections...her walls, her cupboards, her bureaux, were teeming with second - hand dealings with life...the words that fell from her mouth seemed to have been lent to her"), spiritually empty but power hungry ("she wanted to be the reason for everything and so was the cause of nothing"), and lacks poise, maturity, and dignity ("being one of those panicky little women, who, no matter what they put on, look like a child under penance," or, as O'Connor calls her, "a decaying comedy jester, the face on a fool's - stick, and with the smell about her of mouse - nests"). Barnes makes an excellent case for the argument that it is not the powerful that are to be feared, but the weak, frustrated, and incapable. Robin the "somnambulist" is also lengthily described, largely via the use of symbols and metaphors: throughout the text, the boyish, bird - named Robin is described in animal, vegetable, and mineral terms. When first encountered, Robin, who is later recognized as a kindred spirit by a wild circus animal and a ferocious dog, is found lying unconscious in a small apartment crowded with a superabundance of plant life. Barnes describes Robin's abode as "a jungle trapped in a drawing room" and Robin as the "ration of the carnivorous flowers." The flamboyant, limp - wristed ("his hands...he always carried like a dog who is walking on his hind legs"), dirty - kneed, rhetoric - spewing Dr. Matthew O'Connor, the book's most famous character, is a figure of high camp whom today's readers are more likely to find mildly distasteful rather than shocking. O'Connor is given an entire long chapter in which to pontificate ("Watchman, What Of The Night?"), though the chapter reflects badly on the wounded Nora, whose continuous exclamations of "But what am I to do?" and "What will become of her?" and "How will I stand it?" reduce her from the genuinely tormented human being of earlier chapters to a one - dimensional cartoon damsel in distress. Intelligent, perceptive readers are likely to find one passage in every five that sounds profound and poetically illuminating like the others, but means absolutely nothing on careful examination (for example: "Your body is coming to it, your are forty and the body has a politic too, and a life of its own that you like to think is yours. I heard a spirit new once, but I knew it was a mystery eternally moving outward and on, and not my own.") Despite Barnes' often incredible use of language, the ultimate effect of Nightwood is one of shallowness, slickness, and almost hysterical distance from its own primary sources. When compared to other literary books written by women also primarily focused on women, such as the five novels of Jean Rhys or Muriel Spark's The Driver's Seat, Nightwood seems sketchy, brittle, and, as one critic said about Isak Dinesen's Seven Gothic Tales, seemingly more concerned with mystification than with genuine mystery. Though bold and intrepid as a beautiful young big city journalist, and later as an expatriate modernist writer living among the Parisian glitterati, Barnes closed the door on the rest of the world in very early middle age, and became a notorious New York City recluse known primarily for bitterness and explosive outbursts of anger. Readers of Nightwood, with its essential focus on theoretical, airy philosophy rather than psychological home truths, may find clues as to how Barnes's life went sorrowfully wrong. |
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