» » Nightwood ; Ladies almanack (Triangle classics)

Download Nightwood ; Ladies almanack (Triangle classics) fb2

by Djuna Barnes

Download Nightwood ; Ladies almanack (Triangle classics) fb2
Author: Djuna Barnes
ISBN: 0965041778
Language: English
Pages: 296 pages
Publisher: Quality Paperback Book Club (2000)
Rating: 4.8
Formats: mobi doc lit rtf
FB2 size: 1722 kb | EPUB size: 1769 kb | DJVU size: 1564 kb

Nightwood ; Ladies Almanack book. Nightwood ; Ladies almanack (Triangle classics). 0965041778 (ISBN13: 9780965041775).

Nightwood ; Ladies Almanack book. Two books in one by lesbian-interest author Djuna Barnes: Nightwood, first published in 1937; and Ladies Almanack, first published in 1928.

Djuna Barnes (/ˈdʒuːnɑː/, June 12, 1892 – June 18, 1982) was an American artist, illustrator, journalist, and writer best known for her novel Nightwood (1936), a cult classic of lesbian fiction and an important work of modernist literature. In 1913, Barnes began her career as a freelance journalist and illustrator for the Brooklyn Daily Eagle.

Selected Books and Articles About Djuna Barnes and Ladies Almanack. For further sources, consult Messerli’s bibliography, cited above, and Janice Thorn and Kevin Engel’s updated in Broe, Silence and Power, 407-13. Silence and Power is at present the most comprehensive and current source of critical thought on Barnes. LADIES ALMANACK: showing their Signs and their tides; their Moons and their Changes; the Seasons as it is with them; their Eclipses and Equinoxes; as well as a full Record of diurnal and nocturnal Distempers WRITTEN & ILLUSTRATED BY A LADY OF FASHION.

Preceded by. Ladies Almanack. The book circles back to when Robin and Jenny left for America. Fama, Katharine A. (2014). Melancholic Remedies: Djuna Barnes's Nightwood as Narrative Theory". The Publishing Triangle. Retrieved July 27, 2015

Preceded by. Followed by. The Antiphon. Nightwood is a 1936 novel by Djuna Barnes first published in London by Faber and Faber. When they arrived in New York together, Robin seemed distracted, wandering about the country, entering many churches. Journal of Modern Literature. Retrieved July 27, 2015.

I have already committed two such impertinences; this is the third, and if it is not the last no one will be more surprised than myself. I can justify this preface only in the following way.

Nightwood ; Ladies almanack (Triangle classics). Select Format: Paperback. ISBN13:9780965041775. Release Date:January 2000.

Nightwood is not only a classic of modernist literature, but was also acknowledged by T. S. Eliot as. . Eliot as one of the great novels of the 20th century. 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 love of her life. Now recognised as a twentieth-century classic, the influence of Djuna Barnes's novel has been, and continues to be, exceptional.

Barnes's affectionate lampoon of the expatriate lesbian community in Paris was privately printed in 1928.

Brief biography of Djuna Barnes (1892–1982), American writer well-known in the Parisian avant-garde literary .

Brief biography of Djuna Barnes (1892–1982), American writer well-known in the Parisian avant-garde literary scene of the 1920s, best known for Nightwood. Either way, it sparked a conversation. Her first great love affair was with Ernst Hanfstaengl, the grandson of a Yankee general in the Civil War. They were engaged for two years, from 1914 –1916.

Two books in one by lesbian-interest author Djuna Barnes: Nightwood, first published in 1937; and Ladies Almanack, first published in 1928.
Comments (7)
I am a casual reader and certainly no expert on literature, but `Nightwood' was recommended to me by someone who is, and I am very glad of that. So this review may seem a bit awkward, rubbing shoulders with more learned company, but perhaps there may be some worth in the perspective of someone who, in the normal course of events, would never have ventured into these waters.

I will start by saying that `Nightwood' is a work of undoubted genius. Let me also say that I started by reading the reviews here, the Introduction by T. S. Eliot and the Preface by Jeanette Winterson, and -- especially in regard to the latter two -- I rather wish I hadn't. Eliot begins (and ends) by suggesting it might be better to refuse the license offered by being given the opportunity to introduce this work and, while I understand why he went ahead and did so, personally, I wish he'd followed his first inclination. Maybe he could have said, "Just read the book. You'll understand why when you're done," but it is not my place to put words in the great man's mouth.

Winterson began by saying, "Certain texts work in homeopathic dilutions; that is, nano amounts effect significant change over long periods of time. Nightwood is a nano-text." I think Winterson is a very good author, but aside from finding that a dubious description of homeopathic dilutions, I can't figure out what it means in regards to `Nightwood', especially after reading it. Starting out feeling a bit lost, I wandered in the Preface a short while and gave up.

The reviews were interesting and some were quite fun to read, but I'm glad I didn't have to base my decision to buy this book on them. That is not a slam against them, for this book is many things to many people, and on reading it again (as Eliot said) I may have (probably will) new opinions. So this is a review written before the first blush has faded. Due consideration can wait for another day.

`Nightwood' has a reputation as a difficult book. I did not find it so. I fell in during the first two paragraphs and gratefully submerged myself to the end. Perhaps that is because I am shallow. But to me, the essential fact of the book is the language. The language is astounding. So much so that I will term `Nightwood' a tale told inside-out. By that I mean, in story telling as it is most often done, there are people, places, events, thoughts and feelings, and the author chooses her or his words and style to convey these to the reader.

Here we have words; brilliantly arranged and sumptuously presented, in streams and sometimes in torrents, magnificently relentless. It is the words that engender the people, places and events in `Nightwood' because words need a referent to have resonance. Thus, the entities that populate the story are surreal, for they are born of language, not `reality', which must obey a different canon. The doctor is an amazing creation, but you will not meet him on this plane. The description of Jenny Petherbridge is a monumental achievement, and like a monument, it's hard not to get overwhelmed by it. Consider a few brief examples, minute beside the whole, but brilliant in their own right:

`The words that fell from her mouth seemed to have been lent to her; had she been forced to invent a vocabulary for herself, it would have been a vocabulary of two words, "ah" and "oh."'

`She was avid and disorderly in her heart. She defiled the very meaning of personality in her passion to be a person."

And my favorite: `Only severed could any part of her be called "right."'

No being that physics admits outside the imagination of a genius could merit such a description.

It has been said that `Nightwood' is about `meaning' (a loose term) not information, and that is true, as far as it goes, but the degree is questionable. Considering that meaning, or perhaps more concretely, the thoughts that give that `meaning' meaning, some are not a thing of words, while in other cases, words can outrun the thoughts that inspired them. Which is the case in `Nightwood', I have no idea. The language is so dense, so rich, so layered and knotted, it has a life of its own, independent of its creator, as if it is no longer wholly the author's work, but shaped by other forces. Trying to root `meaning' out of it is truly difficult, perhaps impossible, if one's main concern is to ask: "What does `Nightwood' mean"?

That is not to say the book is "meaningless." Taken as data, the reflections in `Nightwood' say some fascinating things about love, about loss, about the human condition. But so do many works. Such data are fairly commonplace (though true eloquence in expressing them is not). In this regard, `Nightwood' is not unique. Nor are these reflections the most profound I've ever read. Perhaps (indeed, most likely), on revisiting the book I will find more meaning. But that is not why I will revisit it.

To me, `Nightwood' is first and foremost a sensual experience. I would not ask a sunrise what it means. A sunrise would never answer. I take `Nightwood' in the same spirit.
A love triangle is common in film and literature, but the Djuna Barnes version is by far more complex and interesting due to the incredible richness of her language and literary style. After reading (one should say “studying” due to the concentration needed for its understanding) Nightwood the memory of each character will have a long decay time, and this will happen regardless of the gender or sexual preferences of those who decide to devote their time to it. It is one of the few novels of the twentieth century that was daring in its subject matter but still interesting and provocative without being excessively polemical.

There is a lot in this story that one can form an intellectual intersection with, and just as much that is novel and will at first appear distant and hard to focus on, like a light source that has been blurred by a dirty lens. Readers may have to remove their prejudicial and conceptual bifocals in order to see just what the author has broadcast. This is the best feature of the story, namely that it requires a fair amount of cognitive perspiration for its appreciation. It cannot be understood with a mere surface reading, and is definitely not for the light-hearted or those who want rapid scene changes and simplistic dialog.

The characters are not mere slogans, but ones who display traits that one can find comradeship with, and themes that also have moral force, with this force being directed on purpose, with high-powered literary artillery. One will encounter for example in (Baron) Felix Volkbein the uncritical adulation of authority, with this an expression of his adaptation as a Jew living in a foreign land, with foreign meaning both in tradition as well as in its prejudices. And Felix’s affection for Robin Vote is expected and natural. Robin is the delicate and vulnerable character in the novel, the one who journeys the most and is followed the most as the novel unfolds. Robin is to be contrasted with Nora Flood, the character who is by far the most different from men, a “deviation” that men may aspire to but is always out of reach. The romance between Robin and Nora is atypical and deep, but at the same time refreshing without being frivolous. And then there is Jenny Petherbridge, the character that is certain to demand attention and perhaps disgust from the reader. Jenny may be subjected to condemnation by many readers, but she adds weight to the third vertex of the triangle, and in a way that makes it non-isomorphic to other triangles that readers might discover in novels of this genre.

By far the most interesting of the characters is Dr. Matthew O’Connor. Unlicensed to practice medicine but definitely deserving accolades for his ability to subject the reader to strong perturbations of verbal patterns, O’Connor nails Nightwood on a wooden plank as one of the best stories of the twentieth century. Whether it was the intent of the author or not, O’Connor is the “central figure”, most definitely so, and this is true despite his frequent cynicism and sometimes macabre attitude about love and life. Readers may find themselves in a kind of Hegelian opposition to him, an antithesis perhaps of all they stand for, but it is easy to delight in his frankness, and in the ease in which he can create strings of words that form patterns not matched before in literature.
There are few stories that I remember so well 25 years later - this is one of them.

That image of a woman who is semi-feral, cavorts with women, finds a hapless man to have a baby with, then leaves the baby with him to raise -- kind of an Odysseus Ulysses story.

To me it was like an American baby hybrid between Virginia Woolf and James Joyce.

It is rare for me to want to reread a story -- there are so so many I have not read once -- but I am going to reread this one.
This compact little novella has quite a punch. Set mostly in Paris during the 1920’s, it’s the story of a torturous love triangle between 3 complex and enigmatic women. What could be a common story of love unfulfilled was written with such intelligence and sharpness that I was blown away. A true Modernist treasure.