Djuna Barnes

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorizations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early-twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones, considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily reactivates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late-twentieth-century poetry of Denise Riley, who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon, who has collaborated with photographers and artists, as well as ventriloquizing nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

Cet article se propose d’etudier les strategies textuelles et artistiques que trois ecrivaines modernistes, Mina Loy, Djuna Barnes et Elsa von Freytag-Loringhoven, emploient pour representer l’obscene, afin de se demander quelles sont les specificites de l’obscene moderniste feminin. Dans les œuvres de ces trois auteures, proliferent des images sexuelles et corporelles d’une hardiesse inouie, qui se transforment en une veritable poetique de l’obscene ; celle-ci emerge vers 1915, independamment des experiences de leurs contemporains masculins. Si, d’une part, elles cherchent a se liberer de l’emprise de la societe bourgeoise et des convenances qui la regissent, d’autre part Barnes et von Freytag-Loringhoven en particulier visent aussi a rompre avec l’image stereotypee du corps de la femme en tant qu’objet de desir, en utilisant des images grotesques, repugnantes, scatologiques ou androgynes. Nous nous demanderons ensuite comment cette poetique de l’obscene feminin se situe par rappor...

Miller and Barnes’s themes of desire and sexual infatuation are reflective of the struggle between the old world society and the modernist movement as a whole. Sex and desire are these author’s main modes of operation, implemented to bring about a new consciousness where such topics are more widely accepted.

'Even for mental life, our assumption that everything past is preserved holds good only on condition that the organ of the mind remains intact and its structure has not been injured by traumas or inflammation. Destructive influences comparable to these morbid agencies are never lacking in the history of any town, even if it has had a less chequered past than Rome, even if, like London, it has hardly ever been pillaged by an enemy. Demolitions and the erection of new buildings in the place of old occur in cities which have had the most peaceful existence; therefore a town is from the outset unsuited for the comparison I have made of it with a mental organism' (Sigmund Freud). In this essay I will be exploring the relationship between the city, consciousness and literature through Djuna Barnes' Nightwood and Frank O'Hara's Second Avenue. Through this I will simultaneously be challenging Freud's statement and uncovering the assumptions behind it. By unmasking it, the statement will serve as symbolic of dominant discourses of power in patriarchal society and the texts as works of literature that try to dismantle these discourses. Using Michel De Certeu's notion of 'pedestrian rhetorics' as a template for my analysis I will show how both Djuna Barnes and Frank O'Hara manage to do this.

This paper discusses the feminization of male Jewish characters in Modernist Literature. Specifically, it analyzes the roles of Simon Rosedale in "The House of Mirth", Robert Cohn in "The Sun Also Rises", and Felix Volkbein in "Nightwood".

This paper demonstrates my ability to draw from and analyze and variety of academic sources. More importantly, it shows that I am able to utilize these sources and my own observations to make unique conclusions.

The present article questions the common label assigned to Nightwood’s character Dr. Matthew O’Connor, widely analysed as a homosexual transvestite in spite of the various narrative implications that would reconfigure the ambiguities inherent to their gender identity. As a character in a novel considered to be as discriminatory as it is emancipatory, O’Connor is a main character treated as secondary and punished for their exclusion from standards of normativity. I employ the arguments brought forth by Magnus Hirschfeld in 1910 in order to consolidate the understanding of O’Connor as a transgender woman, as well as the views of Esther Newton on drag and camp discourses, in order to retrace the reasons for O’Connor’s critical interpretation as a mere male cross-dresser, a theatrical vision whose femaleness is assigned a performative rather than an identitarian value. Apart from the importance of demarcating transvestism from transsexuality, O’Connor’s wretched treatment and the impossibility of their transitioning is equally relevant. Their transition is envisioned as a matter of embodiment, and their expressed wishes of patriarchal female ideals point to an essentialist transgender narrative that consolidates matters of ‘passing’ that follow mimetic gender ideologies. The path to recognition requires the displacement of hegemonic standards of normativity, in favour of the recreation of the masculine/feminine dichotomy and the fragmentation of expectations for a sexed transitioned product. O’Connor’s pessimistic narrative arc could be seen within the context of an indirect and subverted call for political change coming from the author, whereby transphobia is both reinforced and negotiated.

The following paper concerns itself with the work of novelist, poet and playwright Djuna Barnes in the contexts of literary modernism and academic feminism, and more particularly at the intersections and interstices of these two historical discourses. I begin by briefly sketching the outlines of a debate which has been alternatively perceived as a formative tension and an insurmountable impasse within feminist literary criticism, a debate which centers around the questions of the role of personal and group identity within a liberationist, critical practice having explicitly political aims, and the extent to which the category and notion of an essential "identity" itself belongs to a larger, hegemonic narrative which subtends the very (racist, homophobic, classist) patriarchy these liberationist practices would challenge.  Of particular interest is the way in which this debate takes on the shape of  competing feminist narratives of the history of literary modernism, the possibility and nature of a "feminine poetics," and its relation to both sexual identity and an explicitly experimental aesthetic. In a brief overview of current feminist criticism of Barnes' œuvre, I attempt to give an account of the ways in which many of these new readings continue to reinscribe the self-same polemic, as well as point to the limitations of the operative assumption of an incommensurable bifurcation of "woman-centered" and "deconstructive" readings. My theoretical observations will find a ground in a close examination of the site of production of a specific woman-authored, modernist text: the several re-worked manuscripts of Barnes' late play The Antiphon, revised and cut over a period of two years (beginning in 1954) in collaboration with T. S. Eliot, together with the correspondence between editor and author, artist and artist, patron and protegée, about and surrounding the emerging text of her drama. Finally, I offer a textual reading of this much neglected play, one which suggests that Barnes was engaged in a re-reading of a seemingly "asexual" modernist aesthetic through the highly "gendered" genre (both in terms of its rigid, stock character roles and female or "feminized" authorship and readership) of the gothic, as well as the ways in which this re-reading critically engages in and reflects on a modernist--specifically Eliotic--aesthetic of impersonality. In conclusion, I will suggest that the resulting play not only constitutes a revision of modernism's ascetic, impersonal posturing, it also necessarily forces a re-evaluation of the various assumptions which continue to power a perceived theoretical split in and between feminist rhetorics as they gather around modernist texts.

The idea of nonnormative sexual identities first entered public discourse in the wake of the Wilde trials at the end of the nineteenth century. As nonnormative sexual identities solidified conceptually, they entered language in a way that allowed them new presence, voice, and possibility, including the ability to discuss and explore ideas of queer sexuality through literature. It is no coincidence that English fiction dealing openly with characters and themes we might today deem “queer” first appeared at the height of modernism, perhaps narrative’s most dynamic period. Following Ezra Pound’s oft-cited imperative to “make it new,” modernism gave rise to a general expectation of literary experimentation, creating a unique environment in which the unconventional and the marginal became the new normal. This new literary atmosphere encouraged not only a radical rethinking of traditional narrative forms, but also a distrust of conventional prescriptions for what should constitute the “proper” content of literature. While the inclusion of explicitly queer content in modernist literature is certainly significant in and of itself, formal queerness at the level of narrative accompanying this content has been largely untheorized. Insofar as modernism provides us with the first texts to combine explicit thematization of queerness with rich experimentation at the level of narrative form, I contend that these two ostensibly separate elements may in fact inform and complement one another. In the following chapters, I will analyze three novels—Nightwood, Orlando, and Passing—that represent some of modernism’s richest texts in terms of queer content and are amongst the most impressive in terms of narrative form. These texts, representing a multiplicity of perspectives and approaches, are among the first published in British and American literature to thematize queerness explicitly and to do so in ways that have compelling consequences for the study of narrative form. Throughout, I offer readings of these texts that prove the viability of queer narrativity, asserting that these readings may provide a model for assessing narrative queerness in any number of other texts.

My thesis explores a poetics of excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood as a strategy through which the authors combat modernism’s devaluation of women’s writing for being overly ornamental, detailed, and/or artificial. I examine how the critical writings of Ezra Pound, T.S. Eliot, and Wyndham Lewis attempt to reclaim the notion of detail for a masculine-oriented poetic project, and I look at how Austrian architect Adolf Loos’s work condemns ornament as backward and regressive. In treating Orlando and Nightwood directly, I consider the novels’ excessive and ornamental construction of bodies and how these bodies exceed the limits of existing modernist paradigms for representation. I also discuss narration as ornamentation in Orlando and Nightwood and how these novels excessively inscribe history and time. My conclusion proposes a practice of reading excess that rethinks this concept and its potential for producing meaning in modernist texts.

This article interrogates the function of shame in Djuna Barnes' Nightwood, through Lacanian psychoanalysis and the concept of l'hontologie. I examine the paradoxical way in which the character of Doctor O'Connor relates to and tentatively treats the shame that follows in the trail of the main character, Robin Vote. On the one hand, the Doctor addresses the real cause of shame as being that of imaginary castration, of being exposed as inherently lacking the object of desire. As Robin reveals to her partners, in leaving them, that they do not possess neither her nor her wants, she also reveals their potent egos to be frauds covering over their inherent lacks, thereby causing shame. On the other hand, the Doctor contributes to the covering over of these inherent lacks by his incessant talk. Most notably, he covers over his own lack, inasmuch as he revels in his assumed role as the omniscient doctor, the master able to pinpoint the essence of being and palliate the ailments of humanity, by way of speaking. In the last instance, his talking does not amount to much besides keeping his own shame momentarily at bay. My reading of the function of shame in Nightwood and the character of the Doctor might serve to supplement the more common appreciations of the novel as either a recuperative attempt for the sexual abjects and marginal misfits of history or a celebration of loss and alterity per se. Rather, I read the novel as an experience in the impotence and impossibility implied in being human tout court. If not sub specie aeternitatis, that is to say, under the perspective of eternity, as in the philosophical interrogations of Spinoza, then at least sub specie vanitatis, under the perspective of that which passes, or to put it more colloquially, under the perspective of our times, it can be asserted that Djuna Barnes' Nightwood (1936) has risen to its rightful position as a modernist classic. Its position is warranted not only on account of its bold formal experiments, such as its bewildering poetic qualities and the dreamlike ramblings of Doctor Matthew-mighty-grain-of-salt-Dante-O'Connor, but also on account of its content. We find in Nightwood many of the constituent themes and motifs of modernism, such as the disintegration of values, the crisis of culture implied by industrialisation and urbanisation and its consequent questioning of identity, subjectivity and sexuality, the impending feeling of being everywhere and nowhere at home, of belonging to all and to none, with the possibility

This is a paper I would like to submit for publication.  It references the contested history of melodrama, melodrama, realism and avant-garde performance in the early 20th century and feminist and suffragist performance and places the short plays of Djuna Barnes within all of these types of theatre and performance.

The piece discusses sexuality and experimental aesthetics by focusing on the  wonderfully illegible Charles Henry Ford and Parker Tyler (The Young and Evil), Richard Bruce Nugent ('Smoke, Lilies and Jade'; Geysha Man) and Djuna Barnes (The Book of Repulsive Women; Nightwood).

Modernist texts have been shown to tend toward a complex, tense relationship to the gendered normativities of domestic space (Rosner 2008). However, this is only one facet of a broader problem of interiority as it is played out in the work of Djuna Barnes (1892-1982). The proposed chapter investigates how interiors and interiority, of bodies as well as buildings, are reimagined in Barnes’s writing, and how the material and metaphorical use of interiority affects the modes of reading invited by the texts. 

Barnes’s stories feature intense, affective descriptions of bodies infused with pain or pleasure. Yet these bodies often seem to be without an interior mind, denying the reader a possibility to attribute emotions or psychological motivations. In her fiction, human carnality joins a dehumanising stance: characters are described as bodies occupying space on parallel with nonhuman things, all “vibrant” matter acting as an assemblage, following Jane Bennett (2010). In the short story “Dusie” (1927), a drama of jealousy between women results in a crushed foot, yet its presentation is overrun by a detailed description of material things in the fictional space of a Paris apartment; “Finale” (1918) is a description of a space occupied by a dead body and the surrounding mourners, disturbed by the nonhuman body of a rat and a scarf it steals from the room – the only “event” in the story. On the other hand, in the piece of experimental journalism titled “How It Feels to Be Forcibly Fed” (1914), all the attention is on the interior of the human body: Barnes describes the painful and violent encounter between a rubber tube and the internal passages of her nose and throat, as she undergoes the ordeal of British suffragettes.

Reading these texts with a new materialist take on affectivity and the nonhuman (Bennett 2010) in dialogue with queer and feminist approaches to the phenomenology of the body and lived space (Ahmed 2006, Young 2005), the chapter suggests that they invite readers to look for both meaning and feeling in moments of contact and constellations that do not privilege the human. This theoretical combination allows for the discussion of affective experience related to interiors and materialities, while avoiding the anthropocentrism risked by a simply phenomenological discussion. The readings show that Barnes’s texts achieve a “queering” of interiority on three levels. Firstly, interiors of houses appear as spaces dominated by nonhuman agents, working against both anthropocentrism and the gendered regulation of bodies attached to domesticity. Secondly, affectivity emerges between bodies located within these spaces, not metaphorically within the private individual, while the interior of the human body emerges as pure physicality, another site for affective encounters between materialities. Thirdly, the texts open up for rethinking reading, suggesting possibilities of significance, agency and narrative empathy in the absence of psychological or symbolic “depth, and meaningful livedness in spaces that refuse to align themselves with normative or gendered domesticity.

My book features two major sections: "Theorizing Late Modernism," in which I develop a revisionary model for examining the literary culture of the 1930s, and "Reading Late Modernism," which offers detailed interpretations of works by Wyndham Lewis, Djuna Barnes, and Samuel Beckett.  I trace the emergence during the 1920s and 30s of a critical "late modernist" strain of fiction and reveal how later modernist writers rejected crucial precepts of modernist aesthetics and articulated an alternative mode of writing presaging post-modern forms of textuality.  In the opening section (two chapters), I discuss historiographic problems raised by the 1930s culture of transition and define the nature of late modernist forms.  I then offer a contextual view of the changed situation for modernist writers beginning their careers in the late 1920s.  These writers shared a sense of a progressive "derealization" of reality through spectacle and responded by employing literary forms based on "reduced laughter" (Bakhtin) as an antidote to the vertiginous loss of a stable social ground.  In the interpretive section I discuss in individual chapters the works of Wyndham Lewis, Djuna Barnes, Samuel Beckett, and Mina Loy, developing the theoretical and historical perspectives of the previous section.

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This essay examines the relationship between modernist formal experimentation and rehabilitative futurism, the modern cultural fantasy of a hygienic future in which all illness and disability have been eradicated. Through a reading of Kenneth Burke's early essay collection Counter-Statement (1931) and his first and only novel, Towards a Better Life (1932), it traces the development both of Burke's notion of literature as "medicine" or "equipment for living" and of modernist literature as a particular kind of antinomian remedy that subverts the norms of health. Drawing on these ideas, this essay argues that modernist literature has the transgressive capacity to alter readers' orientation toward the good life and the horizon of what is possible for acting toward the creation of a future society in which disability can flourish.

Aparte de ser un  "espejo de la Historia", la moda, o tal vez la antimoda, permite la creación de un "YO" fuera de la identidad personal que puede definirse como obra de Arte.
Así el Dandy funciona como obra de Arte viva,  en realidad no es el individuo que soporta "la máscara", sino la representación que lo envuelve.
Este trabajo propone una serie de reflexiones sobre la etiología del Arte, entendiendo éste como construcción estilizada de la esencia del ser.

This article argues that being singular—both one of a kind and alone—is at the heart of Djuna Barnes’s Nightwood. In this novel that resists classification, Barnes ostensibly explores the implications of being sui generis in relation to both gender and genre. She rejects the heteronormative pressures of bourgeois society, bringing to the foreground a group of queer, marginal beings. Yet, she does not transform then into an alternative community, making the possibility of amorous and spiritual union between them problematic. A figure of mute, enigmatic singularity and “monstrous” solitude, Robin Vote leaves the other characters in a frustrated longing for erotic and emotional union with her. An unsettling cross between feminine and masculine, human and animal, she emerges as the emblem of the novel’s baroque singularity. With her solitary wandering, she leaves the other characters enmeshed in a collective dream of yearning for her. Through this figure that eludes both the heterosexua...

"Ranging over depression-era politics, the failures of the League of Nations, popular journalism and the Modernist culture exemplified by such writers as James Joyce and T.S. Eliot, this is a comprehensive exploration of the historical contexts of Djuna Barnes's masterpiece, Nightwood.

In Djuna Barnes's Nightwood: 'The World' and the Politics of Peace, Bonnie Roos reads Barnes's novel against the backdrop of Herbert Bayard Swope's popular New York newspaper The World to demonstrate the ways in which the novel wrestles with such contemporaneous issues as the Great Depression and its political fallout, the failures of the League of Nations and the collapse of peace between the two World Wars. Roos argues that Nightwood allegorizes the role of liberal newspapers - epitomised by the sensationalism of The World - in driving a US policy that hastened the arrival of war.

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The present article explores how Djuna Barnes’s novel Nightwood transgresses and undermines binary conceptions of gender and with them the distinction between hetero- and homosexual relationships. I seek to determine whether the failure of the relationships in the novel can be viewed as a criticism of the heteronormative constraints that are shown to permeate both the heterosexual and the homosexual partnerships in the novel. Consequently, it is argued that the failure of these relationships signifies the failure of the underlying heteronormative structures. The novel reveals not only the constructed nature of this system but also the limiting and ultimately destructive effects that it has on the relationships of those who try to live up to its stipulations. To illustrate this, I utilize the concepts of heteronormativity and homonormativity in conjunction with Judith Butler’s conception of gender performance. Using these concepts, I demonstrate not only that all of the relationships in the novel reproduce the same heteronormative structures but also that this has disastrous effects on those relationships, which in turn is shown to reveal the failure of the heteronormative order.