Picture of author.

Djuna Barnes (1892–1982)

Autor(a) de Nightwood

59+ Works 4,636 Membros 72 Reviews 26 Favorited

About the Author

Although Djuna Barnes was a New Yorker who spent much of her long life in Greenwich Village, where she died a virtual recluse in 1982, she resided for extended periods of time in France and England. Her writings are representative modernist works in that they seem to transcend all national mostrar mais boundaries to take place in a land peculiarly her own. Deeply influenced by the French symbolists of the late nineteenth century and by the surrealists of the 1930s, she also wrote as a liberated woman, whose unconventional way of life is reflected in the uncompromising individuality of her literary style. Barnes's dreamlike and haunted writings have never found a wide popular audience, but they have strongly influenced such writers as Rebecca West, Nelson Algren, Dahlberg, Lowry, Miller, and especially Nin, in whose works a semifictional character named Djuna sometimes appears. In 1915 Barnes anonymously published The Book of Repulsive Women. Not long after she moved to Paris and became associated with the colony of writers and artists who made that city the international center of culture during the 1920s and early 1930s. Her Ladies Almanack was privately printed in Paris in 1928, the same year that Liveright in the United States published Ryder, her first novel. The book on which Barnes's fame largely rests is Nightwood (1936), a surrealistic story set in Paris and the United States, dealing with the complex relationships among a group of strangely obsessed characters, most of them homosexuals and lesbians. Barnes wrote little after Nightwood. In 1952, she professed to Malcolm Lowry that the experience of writing that searing work so frightened her that she was unable to write anything after it. Fortunately, her literary talents revived with The Antiphon, a verse-drama originally published in 1958, which is now available in Selected Works (1962). (Bowker Author Biography) mostrar menos
Image credit: Djuna Barnes, ca. 1921 [author is unknown; grabbed from Wikipedia]

Obras de Djuna Barnes

Nightwood (1936) 3,140 cópias
Ladies Almanack (1972) 243 cópias
Ryder (1928) 231 cópias
Interviews (1837) 64 cópias
New York (1988) 62 cópias
Spillway and other Stories (1929) 48 cópias
The Antiphon (1705) 36 cópias
Creatures in an Alphabet (1982) 33 cópias
La passione (1979) 31 cópias
Nightwood / Ladies Almanack (2000) 23 cópias
Lydia Steptoe Stories (2019) 14 cópias
En farlig flickas dagbok (1997) 12 cópias
Portraits (1985) 10 cópias
Paris, Joyce, Paris (1988) 8 cópias
Vagaries Malicieux (1922) 7 cópias
Saturnalia (1987) 6 cópias
A book (2021) 5 cópias
Black Walking (2002) 3 cópias
Geceyi Anlat Bana (2010) 2 cópias
Hinter dem Herzen (1994) 2 cópias
Poesia Reunida, 1911-1982 (2004) 2 cópias
Kurzy of the Sea 1 exemplar(es)
Rare Djuna Barnes / Nightwood 1979 (1979) 1 exemplar(es)
Fumo 1 exemplar(es)
Rök och andra berättelser (1989) 1 exemplar(es)
To The Dogs (1982) 1 exemplar(es)
Pièces en dix minutes (1997) 1 exemplar(es)
Alles Theater! (1998) 1 exemplar(es)
Barnes, Djuna Archive 1 exemplar(es)
James Joyce 1 exemplar(es)
Greenwich Village as it is (1978) 1 exemplar(es)

Associated Works

Great Short Stories by American Women (1996) — Contribuinte — 415 cópias
The Penguin Book of Lesbian Short Stories (1993) — Contribuinte — 298 cópias
Writing New York: A Literary Anthology (1998) — Contribuinte — 281 cópias
The Penguin Book of Women's Humour (1996) — Contribuinte — 119 cópias
The Heath Anthology of American Literature, Concise Edition (2003) — Contribuinte — 68 cópias
The Gender of Modernism: A Critical Anthology (1990) — Contribuinte — 64 cópias
Infinite Riches (1993) — Contribuinte — 54 cópias
Pathetic Literature (2022) — Contribuinte — 25 cópias
Modernist Women Poets: An Anthology (2014) — Contribuinte — 19 cópias
Americana Esoterica (1927) — Contribuinte — 16 cópias
Gender in Modernism: New Geographies, Complex Intersections (2007) — Contribuinte — 12 cópias
Briefe (German Edition) (1999) — Contribuinte — 3 cópias
Modern Choice 2 — Contribuinte — 1 exemplar(es)
Contact collection of contemporary writers — Contribuinte — 1 exemplar(es)


1001 (25) 20th century (147) American (92) American fiction (28) American literature (190) anthology (322) classics (33) Djuna Barnes (63) essays (39) feminism (53) fiction (827) gay (24) history (28) humor (34) lesbian (211) lesbian fiction (29) lgbt (77) LGBTQ (31) Library of America (82) literature (230) modernism (143) modernist (32) New York (55) New York City (24) non-fiction (45) novel (132) Paris (72) poetry (224) queer (56) read (50) sexuality (26) short fiction (24) short stories (334) stories (28) to-read (337) unread (48) USA (48) Virago (24) women (124) women's studies (28)

Conhecimento Comum

Data de nascimento
Data de falecimento
Local de enterro
New York, New York, USA
Local de nascimento
Storm King Mountain, New York, USA
Local de falecimento
New York, New York, USA
Locais de residência
Storm King Mountain, New York, USA (birth)
New York, New York, USA
Greenwich Village, New York, USA
Paris, France
Pratt Institute
Art Students League of New York
short-story writer
poet (mostrar todas 7)
magazine writer
Joyce, James (friend)
Stein, Gertrude (friend)
Pound, Ezra (friend)
Hanfstaengl, Ernst (fiancé)
Barney, Natalie Clifford (friend)
American Academy of Arts and Letters(Literature ∙ 1959)
Hayford Hall Circle
National Institute of Arts and Letters
Pequena biografia
Djuna Barnes was born near Cornwall-on-Hudson, New York. Her parents' household was eccentric; it included her father's mistress and children, though Djuna's negligent father did not adequately support them all. As the second oldest of eight children, Djuna spent much of her childhood helping to care for siblings and half-siblings. She received her early education at home, mostly from her father and grandmother. At 16 she was raped, possibly by a neighbor or by her father. She referred to the event in several of her works. She left home for New York City, where she studied art at the Pratt Institute and the Art Student's League. She got work as a magazine journalist and illustrator with The Brooklyn Eagle and McCall's Magazine before embarking on a literary career, producing short stories and plays, and articles for a variety of publications. In 1921, she made her first trip to Paris, the center of modernism in art and literature of the day, on assignment for McCall's. There she befriended many expatriate writers and artists and became a key figure in Bohemian circles of the Left Bank; her black cloak and acerbic wit are recalled in many memoirs of the time. Even before her first novel, the bestselling Ryder, was published in 1928, her literary reputation was already high, based on her short story "A Night Among the Horses," first published in The Little Review and reprinted in her 1923 collection A Book. She became part of the coterie surrounding the influential writer and salonnière Natalie Clifford Barney. Djuna set up housekeeping with artist Thelma Wood in a flat purchased with the proceeds of her successful novel. In 1928, she published Ladies Almanack, a controversial comic novel about a predominantly lesbian social circle, a thinly-disguised version of Natalie Barney's group. During the 1930s, Djuna was chronically ill and drank heavily; in February 1939 she attempted suicide. Peggy Guggenheim, her patron, sent her back to New York, where her family entered her into a sanatorium. She then moved to an apartment in New York City's Greenwich Village, where she would spend the last 42 years of her life. Her best-known later work was the play The Antiphon (1958). Djuana Barnes also achieved acclaim as an artist, and her paintings and drawings were exhibited at Peggy Guggenheim's gallery in Manhattan. She is considered one of the most important avant-garde writers and artists of the 20th century as well as a precursor of the "New Journalism" of the 1960s.



It says in the foreward that the interviews tell as much about Barnes as they do about those being interviewed. I would say that the interviews tell more about Barnes than they do about those being interviewed, and for that reason I didn't like the book as much as I might have. But ego aside, Barnes interviewed some very interesting people, most of whom I had never heard of, and it was the introduction to each interview that explained who the person was that I found the most interesting.
Still, having read a lot about the American writers living in France between the wars, and Barnes being one of them -- one whose photograph I've seen several times and whose name keeps creeping up -- it was good to experience a little of her writing style and personality.
… (mais)
dvoratreis | May 22, 2024 |
It's poetry, sure. TS Eliot kinda almost ruined it for me by saying that, lol. It is a great piece of writing, and I enjoyed the ride. Though all the characters speak in "pronouncements," in the same oratorical voice--it's the author speaking throughout--which can make the story difficult to follow sometimes.
mlevel | outras 57 resenhas | Jan 22, 2024 |
betty_s | Oct 7, 2023 |
pagemother | outras 57 resenhas | Apr 5, 2023 |



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