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• W240065356 abstract "IN HIS INTRODUCTION to Djuna Barnes's Nightwood, T. S. Eliot praises Barnes for artistry of her prose and argues that Nightwood is so good a novel that only sensibilities trained on poetry can wholly appreciate (xii). Yet, despite Eliot's apparently high regard for book, Nightwood violates his insistence on connection between word and object. In Nightwood, stronger correlation is between art and politics, and inseparability of experimental form and lesbian content in Nightwood has political as well as artistic implications. Aesthetics and politics also coalesce in surrealist elements of Barnes's narrative strategies, which invert bourgeois values through depiction of outsiders to dominant culture, particularly lesbians. Although Nightwood appears to reflect societal attitudes toward lesbians, surrealism allows Barnes to critique homophobia of her era without censorship. Barnes's narrative strategies, in conjunction with surrealism, give Nightwood its political import, and novel's political aesthetic departs radically from artistic and ideological bases of Eliot's modernism. Nightwood focuses more on relationships than on actions. The novel's eight sections correspond roughly to chronological order of events but also deviate significantly from conventional plot structure. The narrative revolves around Robin Vote, la somnambule, and her relationships with her husband, Felix Volkbein, and her two women lovers, Nora Flood and Jenny Petherbridge. Although Robin is novel's central character, she is portrayed mainly through perspective of others. The first major character introduced is Felix, who claims to be a baron and hides his Jewish ancestry. We learn subsequently that Robin was married for a short time to Felix but left him after birth of their son, Guido, a child she did not want and finally refused to care for. Described as mentally deficient and emotionally (107), Guido reflects his inauspicious beginnings; at ten years of age he is only as tall as a child of six. After her separation from Felix, Robin's lovers are women. First, she has an intense relationship with Nora Flood, and two women live together in Paris for several years. Eventually, however, Robin betrays Nora and goes to America with Jenny Petherbridge. These events mirror Barnes's experience; her lover of eight years, Thelma Wood, lived in America with Henriette Metcalf after separating from Barnes. Probably because of story's basis in Barnes's life, Nora is a sympathetic character while portrayal of Jenny is highly unflattering. Nora remains a prominent character in later sections because of her obsession with Robin and her association with Matthew O'Connor, a self-proclaimed doctor who practices medicine without a license. In longest section of novel, Nora goes to O'Connor's lodgings and finds him dressed in women's clothing. Their dialogue, which is in many ways a non-conversation, dramatizes failure of communication and perhaps impossibility of true human connection. Like Robin Vote, O'Connor unites characters because of his relationship with each of them, and he is last seen drunkenly raging about cost of his association with them. The novel ends with an image of Robin howling and chasing a dog until they fall down together in utter exhaustion. Most contemporary reviewers of Nightwood judged it according to their opinion of T. S. Eliot and his introduction (Marcus, Mousemeat, 195). Ezra Pound challenged Eliot's positive assessment of Nightwood in a limerick, which complained, in an admittedly hyperbolic fashion, that Barnes's Blubbery prose had no fingers or toes (Paige, 286). Pound's criticism of Barnes's writing as excessive and amorphous implied that Eliot had violated his own artistic standards by praising Nightwood. Indeed, Eliot could have said, as he does of another woman writer's work, that in Nightwood the word separates from thing (Observations, 70). …" @default.
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• W240065356 date "2004-09-22" @default.
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• W240065356 title "The Word Separated from the Thing: Nightwood's Political Aesthetic" @default.
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