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	Djuna Barnes - Wikipedia, the free encyclopedia
		Barnes was brought up by her mother and grandmother and she received her early education at home.
		Djuna Barnes arrived in Paris with letters of introduction to Ezra Pound and James Joyce and she soon entered the Parisian world of expatriate bohemians who were at the forefront of the modernist movement in literature and art.
		Barnes left Paris in 1931, when her relationship with Thelma Wood ended, and she lived for a time in both London and New York.
	en.wikipedia.org /wiki/Djuna_Barnes (1236 words)

	Djuna Barnes
		Barnes was supremely capable of journalism: her gonzo New York City exploits and her later high-society interviews were successful sources of income.
		Barnes as author is an outsider, and the reader's locked outside with her.
		Barnes uses allegorical techniques and other anachronisms not for their original purpose and not out of nostalgia, but because the alien must express itself outside time to be comprehensible as alien at all.
	www.pseudopodium.org /kokonino/tq/barnes.html (741 words)

	Left Bank Review - Djuna Barnes, Profile
		Barnes was first employed to write as well as draw by the Brooklyn Daily Eagle, but she quickly moved on to writing for such New York papers as the Press, the World, and the Morning Telegraph.
		Barnes’ poetry from this period was generally traditional in meter, rhyme, and stanza.
		Barnes and Loy experienced some tension in their friendship when Joella married, and once both women were gone from Paris, they drifted apart.
	www.leftbankreview.com /profiles/DjunaBarnes.html (1362 words)

	EPC/Douglas Messerli on Djuna Barnes 1
		For, although Barnes is primarily known as the author of one of the great masterworks of twentieth-century fiction, Nightwood, she was as well a painter, caricaturist, journalist, playwright, poet, storyteller, wit, and – much against her will – a gay and feminist spokeswoman.
		Barnes, in short, never argued that it was "all right" to be gay, but that was not because she was uncomfortable with her sexuality.
		Barnes had written, had painted, performed, accomplished whatever she had because of a vision that brought everything together, a vision of a universe that was complete.
	www.writing.upenn.edu /pepc/authors/messerli/essays/messerli_barnes_the_life.html (1122 words)

	Engendering Djuna Barnes
		Armed with an amalgam of biography, feminist theory, and political perspective, scholars recruited Barnes as a member of that critical sisterhood, and her 1937 novel, Nightwood, was interpreted as a lesbian and feminist manifesto.
		First, to support the idea that Barnes, as a lesbian, was marginalized in literary circles, she was dissociated with high modernism, which was typically defined as conservative and masculine.
		This representation of Barnes is crucial to feminist critics who sought to redefine Barnes as a literary and social “other” who consciously used her skill to subvert patriarchal authority.
	home.earthlink.net /~nomo1521/id5.html (1132 words)

	Literary Encyclopedia: Djuna Barnes
		Barnes dismissed her early writings as ephemeral juvenilia, written to pay the rent and to satisfy the interests and demands of her young and middle-class urban readership.
		Barnes' portrayal of her father in the novel is not unsympathetic, celebrating his social nonconformism despite expressing her resentment at his constant adultery.
		Barnes began writing Nightwood, the novel that was to become her magnum opus, in the aftermath of her break with Thelma in the late 1920s, during the turmoil of illness and a brief affair with the writer Charles Henri Ford.
	www.litencyc.com /php/speople.php?rec=true&UID=266 (1732 words)

	SGN Page 8
		Although author Djuna Barnes was associated with one of the most celebrated Lesbian social circles of all times and was among the first to write openly about passionate relationships between women, she resisted being characterized as a Lesbian writer.
		Barnes was born June 12, 1892, on a farm in Cornwall-on-Hudson, N.Y. Her father, an unsuccessful artist, lived together with both his legal wife (Barnes mother) and his mistress.
		Barnes was home-schooled by her paternal grandmother, a free-thinking feminist and journalist who made a lasting impression on the girl.
	www.sgn.org /sgnnews22/page8.cfm (902 words)

	glbtq >> literature >> Barnes, Djuna
		Barnes was born on June 12, 1892, in Cornwall-on-Hudson, New York, the daughter of an Englishwoman, Elizabeth Chappell, and an unsuccessful American writer, Wald Barnes.
		Barnes left home almost immediately after the marriage and around 1912 arrived in Greenwich Village, where she supported herself by writing feature stories and local color sketches for several New York dailies.
		Barnes subtly mocks the aristocratic pretensions of Barney and her entourage in the same way she had mocked the Villagers' leisured preoccupation with the latest cause célèbre in her New York journalism.
	www.glbtq.com /literature/barnes_d.html (1306 words)

	Djuna Barnes Library, UM Libraries
		Djuna Barnes (1892-1982) was an American author of fiction, poetry, and plays, who got her start as a freelance journalist and illustrator in New York in 1913.
		The library was part of the collection purchased from Miss Barnes in 1973 and 1977, along with her personal and family papers, correspondence, writings, printed matter, and serial publications.
		The personal papers of Djuna Barnes are located in the holdings of the Archives & Manuscripts Department at the University of Maryland (LMSS 73-26).
	www.lib.umd.edu /RARE/SpecialCollection/barnes.html (390 words)

	Knitting Circle Djuna Barnes (Site not responding. Last check: 2007-10-07)
		Djuna Barnes moved to New York City and attended the Pratt Institute (1911-1912) and studied with the Art Students League (1915).
		Djuna Barnes was a member of the influential coterie of mostly lesbian women that included Natalie Barney and Janet Flanner.
		Djuna Barnes returned to New York in 1939 where she lived chronically ill and relatively poor.
	myweb.lsbu.ac.uk /~stafflag/djunabarnes.html (603 words)

	Sample text for Library of Congress control number 99056308
		Claiming Barnes and her work as both feminist and lesbian is a deliberate act of impertinence, a challenge to traditional notions of what constitutes a feminist text or a lesbian writer (though it will come as no great surprise to contemporary Barnes scholars who have been hashing over these issues for decades).
		Djuna Barnes was a "new woman"-and a contradictory one.
		It was Djuna Barnes who stalked the Paris streets in that worn dark cape, who lived on the charity of neurotic wealthy women, who hid herself away and cursed her life as if nothing she had done had been worth the trouble.
	www.loc.gov /catdir/samples/random044/99056308.html (2903 words)

	SoftCopy: BookShelf Archive
		Djuna Barnes' apogee was in the legendary literary Paris of the '20s.
		Her grandmother, Zadel Barnes, was a writer, suffragette and advocate of free love; Zadel's son, Djuna's father, was utterly dependent on Zadel, and mother and son engineered the son's marriages and mistresses.
		Barnes moved to Greenwich Village and began her career as a journalist and author to support her mother and siblings.
	park.org /Guests/Sword/!archiv8.html (892 words)

	Untitled Document
		Djuna Barnes (1892-1982) was one of the most influential writers of her generation.
		Charles Henri Ford, 19 years younger than Barnes, typed this novel for her during a period of time when they were romantically involved in an affair that challenged even the conventions set by their highly unconventional world.
		Barnes was just beginning work on Nightwood and she wanted to travel to Germany and Eastern Europe to do research; she asked Ford to accompany her.
	www.sleepinanestofflames.com /Djuna_Barnes.htm (832 words)

	NMWA \| Private Collection \| Djuna Barnes
		Janet Flanner called Djuna Barnes (1892-1982) "the most significant woman writer in Paris in the 1920s." Barnes had had no formal training as a reporter when she began writing sensational articles in which she put her own limits to the test.
		Barnes went to Paris in 1921 to be at the heart of Modernism.
		Barnes met Berenice Abbott around 1918 while living in a communal apartment in New York.
	www.nmwa.org /collection/detail.asp?WorkID=4 (207 words)

	Poetry Bay - Online Poetry Magazine
		A sought after columnist and essayist on the New York journalistic scene, like her grandmother Zadel before her, Barnes' colorful lifestyle in the inner circle of the American avante garde and later expatriate community both revealed her socially radical leanings and obscured the forthright and daring in her literary work.
		Djuna Barnes (1892-1982) has long been seen as a near legendary figure by her admirers, and in recent decades has taken a place among the ranks of the major American authors of her era.
		Through the texts of her life and her writing, Djuna Barnes tantalizingly reveals and hides the woman she was - and how her years living in Half Hollow Hills so indelibly shaped her character and disposition.
	www.poetrybay.com /winter2004/djuna.html (459 words)

	Djuna Barnes (1892-1982)
		Critics/readers are rediscovering and recovering Barnes, seeing afresh how much she did, who she was, what her circles were, how much it mattered that she was a woman writer, how destructive that ghastly childhood was.
		Barnes knew almost everyone, so that she is a way into modern culture, e.g., she interviewed James Joyce.
		Toward the end of her life, Barnes wrote very little, but certain people kept her reputation alive because they loved her, despite her bitter, often destructive, wit, and the difficulty of her work.
	college.hmco.com /english/heath/syllabuild/iguide/barnes.html (738 words)

	Dalkey Archive Press: Djuna Barnes
		Barnes scholar Cheryl J. Plumb has studied all surviving versions of the work to re-create the novel Barnes originally intended.
		The Dalkey Archive edition not only restores to the main text the material Barnes reluctantly allowed to be cut—along with her preferred spelling and punctuation—but also reproduces in facsimile the seventy pages of discarded drafts that survive of earlier versions.
		Barnes satirizes masculinity and domesticity by way of parable, poem, and play, and a prose style that echoes Chaucer, Shakespeare, the Bible, and Robert Burton's "Anatomy of Melancholy." For this edition, several of Barnes's previously suppressed illustrations have been restored, and novelist Paul West has contributed a perceptive afterword.
	www.centerforbookculture.org /dalkey/backlist/barnes.html (873 words)

	Djuna Barnes at opensource encyclopedia (Site not responding. Last check: 2007-10-07)
		Djuna Barnes (June 12, 1892 - June 18, 1982) was one of the key figures in Bohemian Paris.
		In 1919, after a failed marriage, Barnes moved to Paris with letters of introduction to Ezra Pound and James Joyce and soon entered the Parisian world of expatriate bohemians who were at the forefront of the modernist movement.
		Back in New York, Barnes became a recluse, living in a small apartment in Greenwich Village.
	www.wiki.tatet.com /Djuna_Barnes.html (320 words)

	Poetry Previews: Djuna Barnes
		Barnes collection of short stories, published as A Book (1923) and as A Night Among The Horses (1929), received little attention when it reappeared, edited and revised, as The Spillway (London, 1962; New York, 1972).
		Barnes was not a great short story writer, although she was often very good.
		In story after story Barnes confronts us with a dark view of our precarious, metaphysical predicament: that we are neither as unconsciously noble and disinterested as other animals nor as wisely noble and disinterested as angels.
	www.poetrypreviews.com /poets/poet-barnes.html (1168 words)

	"Well of Course, I Used to Be Absolutely Gorgeous Dear": The Female Interviewer as Subject/object in Djuna ... (Site not responding. Last check: 2007-10-07)
		DJUNA BARNES was a woman who was not afraid to look, but she felt profound ambivalence about being looked at.
		Yet, an artist, Barnes did not merely want to be an embodiment of difference, but she wanted to see it from the vantage point of one who will engage in the act of representation.
		In the 1970s, Barnes told an interviewer, "Well of course, I used to be absolutely gorgeous dear." (5) Aware of her considerable charms, Barnes often used her seductive powers as a female spectacle, while simultaneously functioning as a masculine spectator.
	www.questia.com /PM.qst?a=o&d=5000643564 (773 words)

	imagespage
		A portrait of Djuna Barnes taken by American photographer Berenice Abbott (1898-1991), whose best known works are her photographs of urban landscapes.
		Barnes and Baroness Elsa von Freytag-Loringhoven (1874-1927), an artist associated with the Dada movement and often designated as the first New York Dadaist, at the beach circa 1926.
		Barnes had a brief affair with Barney, whose salon in Paris at the Hotel D' Angleterre--a residence of Barnes's in Paris--served as a thinly veiled source for many characters in Barnes's Ladies Alamanack.
	www.cwru.edu /artsci/engl/VSALM/mod/brandelmcdaniel/index/imagespage.htm (325 words)

	Twentieth Century Literature: Looking the Part: Performative Narration in Djuna Barnes's Nightwood and Katherine ... (Site not responding. Last check: 2007-10-07)
		In the early part of the twentieth century Djuna Barnes and Katherine Mansfield each wrote a work whose Parisian setting and sexually ambivalent characters provide the backdrop for an inquiry into the convoluted mechanisms of desire and loss.
		Barnes and Mansfield have created in Matthew and Raoul narrative voices that expose and challenge the social and discursive limits on the construction of the self.
		The role-playing and selfspecularity that characterize their narration can be seen as an instance of what I will call a mimesis of subjection: a dramatization at the textual level of the (ongoing) process by which we submit to cultural strictures on gendered and sexual behavior in order to establish ourselves as legitimate subjects in society.
	www.findarticles.com /p/articles/mi_m0403/is_2_46/ai_67315269 (1403 words)

	The Book of Repulsive Women and Other Poems by Djuna Barnes \| PopMatters Book Review
		Djuna Barnes' reputation as a central figure in American modernist literary circles has risen dramatically in recent years.
		Barnes writes in a curiously anachronistic style, in which content jars against form, as if children's nursery rhymes were refilled with material purged by centuries of prurient censorship, and made vibrant, living things again.
		Barnes is occasionally fond of the fake archaism (a poetic device as old as Edmund Spenser, and one of Coleridge's worse habits), so stallions are "ebon" (not fl), and 'woe' is spelt 'wo'.
	www.popmatters.com /books/reviews/b/book-of-repulsive-women.shtml (1194 words)

	EPC/Douglas Messerli on Djuna Barnes 2
		Accordingly, most of Barnes' early writing for theater, composed at the same time as the fiction she herself described as juvenilia, must be understood as experimentations in which she was working out in dramatic terms the theatrical influences of the day.
		Until the final moment of the play, indeed, there is no action: it is all a dialogue of possession, a war of words between the true inheritors of the father's love and the woman who has stolen and squandered that love (she is now engaged to a Supreme Court judge).
		As Barnes biographer Andrew Field has suggested of Barnes' comedy of 1918, Madame Collects Herself, the play has less to do with influences of the time, particularly those of her fellow playwrights of the Provincetown group – Eugene O'Neill, Susan Glaspell, and Edna St. Vincent Millay – than it does with Eugene Ionesco.
	www.writing.upenn.edu /pepc/authors/messerli/essays/messerli_barnes_roots.html (882 words)

	Behind the Name: Message: "Djuna -- as in Djuna Barnes, the author, 1892-1982"
		The biography Djuna: The Life and Work of Djuna* Barnes* by Phillip Herring, includes an except from a letter written by Djuna Barnes in February of 1967, in which she answers the name origin question of someone who had named her own daughter after the author:
		Re: Djuna -- as in Djuna Barnes, the author, 1892-1982 - Diana Mar 19 2003, 5:11:22 PM
		Re: Djuna -- as in Djuna Barnes, the author, 1892-1982 - Nanaea Mar 19 2003, 5:36:18 PM
	www.behindthename.com /bb_gen/arcview.php?id=24196 (235 words)

	PAL: Djuna Barnes (1892-1982)
		"Djuna Barnes and T. Eliot: The Politics and Poetics of Nightwood." Studies in the Novel 30.3 (Fall 1998): 405-37.
		"Djuna Barnes and T. Eliot: Authority, Resistance, and Acquiescence." Tulsa Studies in Women's Literature 12.2 (Fall 1993): 289-313.
		"The Outsider among the Expatriates: Djuna Barnes's Satire on the Ladies of the Almanack." Lesbian Texts and Contexts: Radical Revisions.
	www.csustan.edu /english/reuben/pal/chap7/barnes.html (683 words)

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