Picture of author.

Djuna Barnes (1892–1982)

Autor(a) de Nightwood

56+ Works 4,565 Membros 71 Críticas 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 por Djuna Barnes

Nightwood (1936) 3,096 exemplares
Ladies Almanack (1972) 241 exemplares
Ryder (1928) 228 exemplares
Collected Stories of Djuna Barnes (1996) 76 exemplares
Interviews (1837) 62 exemplares
New York (1988) 61 exemplares
Spillway and other Stories (1929) 48 exemplares
The Antiphon (1705) 36 exemplares
Creatures in an Alphabet (1982) 33 exemplares
La passione (1979) 31 exemplares
Nightwood / Ladies Almanack (2000) 23 exemplares
Lydia Steptoe Stories (2019) 14 exemplares
En farlig flickas dagbok (1997) 11 exemplares
Portraits (1985) 8 exemplares
Vagaries Malicieux (1922) 7 exemplares
Paris, Joyce, Paris (1988) 7 exemplares
Saturnalia (1987) 5 exemplares
A book (2021) 5 exemplares
Poesia Reunida, 1911-1982 (2004) 2 exemplares
Geceyi Anlat Bana (2010) 2 exemplares
Biography of Julie van Bartmann (2020) 2 exemplares
Black Walking (2002) 2 exemplares
Pièces en dix minutes (1997) 1 exemplar
Fumo 1 exemplar
To The Dogs (1982) 1 exemplar
Rök och andra berättelser (1989) 1 exemplar
Hinter dem Herzen (1994) 1 exemplar
James Joyce 1 exemplar
Alles Theater! (1998) 1 exemplar
Kurzy of the Sea 1 exemplar
Greenwich Village as it is (1978) 1 exemplar

Associated Works

Wayward Girls & Wicked Women: An Anthology of Subversive Stories (1986) — Contribuidor — 526 exemplares
Great Short Stories by American Women (1996) — Contribuidor — 408 exemplares
The Penguin Book of Lesbian Short Stories (1993) — Contribuidor — 295 exemplares
Writing New York: A Literary Anthology (1998) — Contribuidor — 274 exemplares
The Penguin Book of Women's Humour (1996) — Contribuidor — 117 exemplares
The Heath Anthology of American Literature, Concise Edition (2003) — Contribuidor — 67 exemplares
The Gender of Modernism: A Critical Anthology (1990) — Contribuidor — 64 exemplares
Infinite Riches (1993) — Contribuidor — 54 exemplares
Sexuality and Masquerade: The Dedalus Book of Sexual Ambiguity (1996) — Contribuidor — 30 exemplares
Pathetic Literature (2022) — Contribuidor — 21 exemplares
Masquerade: Queer Poetry in America to the End of World War II (2004) — Contribuidor — 18 exemplares
Modernist Women Poets: An Anthology (2014) — Contribuidor — 17 exemplares
Americana Esoterica (1927) — Contribuidor — 16 exemplares
Gender in Modernism: New Geographies, Complex Intersections (2007) — Contribuidor — 12 exemplares
Briefe (German Edition) (1999) — Contribuidor — 2 exemplares
Modern Choice 2 — Contribuidor — 1 exemplar
Contact collection of contemporary writers — Contribuidor — 1 exemplar

Etiquetado

Conhecimento Comum

Data de nascimento
1892-06-12
Data de falecimento
1982-06-18
Localização do túmulo
New York, New York, USA
Sexo
female
Nacionalidade
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
Educação
Pratt Institute
Art Students League of New York
Ocupações
short-story writer
playwright
journalist
illustrator
artist
poet (mostrar todos 7)
magazine writer
Relações
Joyce, James (friend)
Stein, Gertrude (friend)
Pound, Ezra (friend)
Hanfstaengl, Ernst (fiancé)
Barney, Natalie Clifford (friend)
Organizações
American Academy of Arts and Letters(Literature ∙ 1959)
Hayford Hall Circle
National Institute of Arts and Letters

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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.

Membros

Críticas

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.
 
Assinalado
mlevel | 57 outras críticas | Jan 22, 2024 |
 
Assinalado
betty_s | Oct 7, 2023 |
 
Assinalado
pagemother | 57 outras críticas | Apr 5, 2023 |
Bei vielen Büchern ist die Summe der Erinnerungen weniger als ein Nach-Satz. Bei diesem bleiben so viele ungewöhnlich, großartige, ungelesene Gedanken bei mir wie ganz selten. Ich liebe Breviere, weil sie einen Querschnitt geben zu einem Thema oder zu einer Person. Djuna Barnes kannte ich nicht. Von ihr wird als der "berühmtesten Unbekannten ihrer Zeit" berichtet und im Nachwort zu Ihren 292 wirklich lesenswerten Aussagen wird ein kurzer Querschnitt ihres Lebens skizziert. Problematische Kindheit, polygamer Vater, Erziehung durch die Großmutter, große Liebe zu einem späteren Nazi (Hanfstaengl), der sie verlässt, um "Kinder mit einer Deutschen zu zeugen", Journalistin, unermüdliche Schreiberin, lesbische Verhältnisse, Alkoholexzesse, Einsamkeit und ohne Alkohol seit 1940 bis zum Lebensende 1982. Ihre wohl bekanntesten Werke: "Das Buch der widerwärtigen Frauen" und "Nachtgewächs". Leider enthält dieses Brevier keine Zitate aus "Nachtgewächs" und "Ryder und Antiphon", weil diese in einem anderen Verlag erschienen.

Djuna Barnes denkt frei und luftig, ungewöhnlich und mutig - eine ganz seltene Mischung, die mir immer wieder sehr, sehr viel Vergnügen bereitet. Man merkt in jedem Satz ein ungewöhlich selbstbestimmtes, sich durch nichts und niemand vereinnehmen lassendes Leben. Ihre Großmutter hatte Kontakt zur Familie Oscar Wildes und auch Djuna Barnes kann m.E. durchaus als Aphoristikerin von der Qualität Wildes angesehen werden. Das Leben schwingt in ihren Aussagen leicht hinaus, sie persifliert menschlich klug und lässt individuellen Raum für Los-Lösungen, für mutmachende Umsetzungen.

Lesen Sie selbst:

Mit einem Späßchen brächten wir dem Menschen gern was bei, aber der Mensch will seine Weisheit gewichtig. Für die große Begegnung würden wir ihn gerne mit einem Lächeln auf den Lippen ausstaffieren. Statt dessen bittet er mit einer Keule niedergestreckt zu werden. Wir hätten es gern, dass er mit einem Lied über die Wupper geht. Er dagegen verlacht uns und geht mit Geknurre unter.

Dass einem jemand zuhört, ist eines der wenigen verbliebenen Aphrodisiaka.

Die Psychoanalyse ist mit Sicherheit keine Methode, sich von sich selbst abzulenken. Du musst über deine Sümpfe plaudern, bis du schwarz bist.
(Loriot tut dies ganz öffentlich und wir denken, das sei Humor)

Ach das Herz einer Frau, dieses verfluchte Organ.

Habe 17 Pfund abgenommen, was hübsch ist für die Figur, aber nicht fürs Gesicht.

Man kann nicht ständig großartig sein.

Was besitzt man am Ende? Den Verlust.

Rache in einer Frau, kennt kein Gesetz, keine Logik, kein Fünkchen Angst oder Konsequenz.

Ich persönliche würde alles geben, was ich habe - außer dem, was es mir gegeben hat - , um wieder in Paris sein zu können, wie es war, und an einem Bistrotisch zu sitzen, der die gußeisernen Beine im Sägemehl der Schneckenkörbe stehen hat, mit dieser schlecht gebügelten, billigen Baumwolltischdeck, die breit über mein bestes Cape fällt.

Im Tod liegt Kraft. Selbst im Gedanken an den Tod. Dies ist fürchterlich und sehr schön.

Vergeude nicht Deine Zeit, mein Freund. Jede Minute verkürzt sich um die Minute, in der wir lieben sollten.
… (mais)
 
Assinalado
Clu98 | Mar 28, 2023 |

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Estatísticas

Obras
56
Also by
22
Membros
4,565
Popularidade
#5,508
Avaliação
½ 3.6
Críticas
71
ISBN
187
Línguas
14
Marcado como favorito
26

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