Djuna Barnes once said that “there is always more surface to a
shattered object than a whole object,” and the statement is
provocative when considering her own writing and art. Arriving as
an accomplished writer and journalist in 1920s Paris, Barnes
produced an eclectic body of work whose objects and surfaces
continue to fascinate readers. In this volume, a series of
internationally renowned scholars reassess both Barnes and
modernism through a close examination of her prose, poetry,
journalism, visual art, and drama. From the modernist classic
Nightwood to the late verse play The Antiphon, Barnes’s
distinctive voice has long resisted any easy assimilation into
specific groupings of authors or texts. Responding to expansions of
canons and critical questions that have shaped modernist studies
since the late twentieth century, the chapters in this volume bring
new thinking to her full oeuvre and collectively demonstrate that
the study of modernism necessarily includes the study of Barnes.
The essays show Barnes’s significant contributions to
twenty-first-century discourses on topics such as the politics of
print culture, the representation of animals and the human, queer
aesthetics, modernist criticism, authorship, style, affect, and
translation between media. Featuring an afterword by Peter Nicholls
and a comprehensive bibliography, Shattered Objects provides a
timely assessment of Barnes and considers the implications of
reading her critically as an important modernist writer and artist.
It will be welcomed by scholars of literature, art history, and the
modernist era. In addition to the editors, contributors to this
volume are Daniela Caselli, Bruce Gardiner, Alex Goody, Melissa
Jane Hardie, Tyrus Miller, Drew Milne, Peter Nicholls, Rachel
Potter, Julie Taylor, and Joanne Winning.
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