

Paperback: 208 pages
Publisher: New Directions; unknown edition (September 26, 2006)
Language: English
ISBN-10: 0811216713
ISBN-13: 978-0811216715
Product Dimensions: 5.3 x 0.6 x 8 inches
Shipping Weight: 7.8 ounces (View shipping rates and policies)
Average Customer Review: 3.6 out of 5 stars See all reviews (53 customer reviews)
Best Sellers Rank: #38,491 in Books (See Top 100 in Books) #170 in Books > Gay & Lesbian > Literature & Fiction > Fiction > Lesbian #1272 in Books > Literature & Fiction > Classics #3834 in Books > Literature & Fiction > Literary

First, I should tell you what Nightwood isn't. It's not acelebration of love between women, or of the glamour of Paris, or ofmodernism's traditionally spare aesthetic. It is, however, a wonderful book, which will probably try your patience but will repay your efforts with the pleasure of reading some of the most wonderful writing to have been produced this century. Djuna Barnes, born in the US, spent some twenty years in Europe, during which she wrote innovative journalism, a novel (Ryder), short stories, poetry and plays, and, slowly, the autobiographical fictional narrative that was finally published as Nightwood in 1936. The novel was hard to place, and finally published by no less of a modernist luminary than T.S. Eliot, then working at Faber and Faber.Barnes' novel chronicles a love affair between two women: Nora Flood, the sometime "puritan," and Robin Vote, a cipher-like "somnambule" -- sleepwalker -- who roams the streets of Paris looking for -- well, it's not quite clear, but it's a fruitless quest she's on. Nora finds herself roaming the streets too, looking for Robin, but, like most of the characters of the novel, she bumps up against Dr Matthew O'Connor instead. O'Connor, an unlicensed doctor from the Barbary Coast, dominates much of the novel with his astounding barrage of anecdote, offering a stream of stories that all point, ultimately, to the sublime misery of romantic obsession. The love story (if it can even be called that) is framed by the history of Felix Volkbein, a self-styled Baron who marries Robin early on, and whose family tree provides the structure on which the rest of this dawdling narrative hangs.
*Nightwood* is a novel composed in poetic prose, as T.S. Eliot asserts in his preface, the kind of writing that "demands something of the reader that the ordinary novel-reader is not prepared to give." Most novels are not composed at such white-hot intensity, at a level of personal emergency such as Djuna Barnes has conveyed in *Nightwood.* This is a book that doesn't let you rest for a moment, the rare sort of novel that is all conflict and climax. It's a work that you don't doubt was torn living from the author's very being, less a "novel" per se, than an organic and all-but-impossible to dissect whole that loses more the more you attempt to analyze it.What Barnes records in *Nightwood* is the experiential agony, as opposed to merely the "story," of a love-lost. Robin Vote is a Sapphic femme fatal, an androgynous, alcoholic, nymphomaniac enigma who is beloved, successively, by three different characters, who she subsequently leaves an emotional wreck. Nora Flood, who stands in for the author, is the narrative center of *Nightwood* and the woman around whom the others orbit, with Robin, like a doomsday asteroid, orbiting them all. It is Nora who struggles and suffers and indeed understands Robin better than anyone, even if that only means understanding better the tragedy inherent in knowing her at all. Her utter despair at losing Robin is stunningly captured by Barnes who, it is said, based *Nightwood* closely on a real-life love catastrophe from which she never recovered. One can believe it reading *Nightwood.* A good deal of the novel's intensity comes from its unquestionable authenticity. In Robin Vote, Barnes has created the personification of the unsolvable mystery of every beloved who, as if by destiny, eludes, indeed must elude, our grasp.
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