Lose yourself in the tortured love lives of expats in 1920s Paris in this iconic cult classic. 'Nightwood is itself. It is its own created world, exotic and strange, and reading it is like drinking wine with a pearl dissolving in the glass ... From now on, a part of you is pearl-lined.' Jeanette Winterson 'Like a dark lesbian genius rolling in a giant heap of damp, dead leaves. What a great, shaking, grieving party this book is - the best.' Eileen Myles 'I read with the aching intensity of a person possessed ... The story of passion and grief, of exile and loneliness, spoke directly to me, a young woman who [never] felt she quite belonged ... A hymn to the dispossessed, the misbegotten and those who love too much.' Siri Hustvedt Nightwood tells the stories of the love-lives of a group of American expats and Europeans in Paris in the 1920s - an exotic, night-time underworld, eccentric, seedy and beautiful. A modernist masterpiece, and one of the earliest novels to explicitly portray homosexuality, the influence of Djuna Barnes's novel remains exceptional. 'A bold, exceptionally well-written modernist prose poem ... The closest thing to James Joyce.' Andre Aciman 'The great achievement of a style, the beauty of phrasing, the brilliance of wit and characterisation, and a quality of horror and doom very nearly related to that of Elizabethan tragedy.' T.S. Eliot 'One of the greatest books of the twentieth century.' William S. Burroughs 'A writer of wild and original gifts . To her name there is always to be attached the splendor of Nightwood, a lasting achievement of her great gifts and eccentricities - her passionate prose and, in this case, a genuineness of human passions.' Elizabeth Hardwick

Lose yourself in the tortured love lives of expats in 1920s Paris in this iconic cult classic. 'Nightwood is itself. It is its own created world, exotic and strange, and reading it is like drinking wine with a pearl dissolving in the glass ... From now on, a part of you is pearl-lined.' Jeanette Winterson 'Like a dark lesbian genius rolling in a giant heap of damp, dead leaves. What a great, shaking, grieving party this book is - the best.' Eileen Myles 'I read with the aching intensity of a person possessed ... The story of passion and grief, of exile and loneliness, spoke directly to me, a young woman who [never] felt she quite belonged ... A hymn to the dispossessed, the misbegotten and those who love too much.' Siri Hustvedt Nightwood tells the stories of the love-lives of a group of American expats and Europeans in Paris in the 1920s - an exotic, night-time underworld, eccentric, seedy and beautiful. A modernist masterpiece, and one of the earliest novels to explicitly portray homosexuality, the influence of Djuna Barnes's novel remains exceptional. 'A bold, exceptionally well-written modernist prose poem ... The closest thing to James Joyce.' Andre Aciman 'The great achievement of a style, the beauty of phrasing, the brilliance of wit and characterisation, and a quality of horror and doom very nearly related to that of Elizabethan tragedy.' T.S. Eliot 'One of the greatest books of the twentieth century.' William S. Burroughs 'A writer of wild and original gifts . To her name there is always to be attached the splendor of Nightwood, a lasting achievement of her great gifts and eccentricities - her passionate prose and, in this case, a genuineness of human passions.' Elizabeth Hardwick

This book combines content analysis of film and television cases, the examination of policy documents, and first-hand interview material with Danish industry professionals, tracing the pivotal moments in media and welfare state history to unite these two overlapping spheres: welfare state social policy and media imagery. In doing so, it addresses a gap in existing academic and policy documents to demonstrate how motherhood and femininity are presented in contemporary state-supported Danish screen fiction. As an industry premised on state funding and public service values, Danish screen fiction plays a cogent role in shaping and communicating cultural norms and provides a space for the cultivation of belonging and a sense of a shared identity. For this reason, it is vital to identify and examine representational trends and patterns in popular media formats. This book argues that the political narrative of gender equality, democracy and universal social support that permeates Danish state policy is undermined in screen fiction, wherein working mother characters are problematised and the welfare system's integrity is challenged. This book asserts that the framing of femininity, motherhood and citizenship in many contemporary Danish films and television dramas indicates a cultural concern about the welfare state's institutionalisation of caregiving and presents absent mothers as an indirect cause of crime, trauma or social unrest.

'I have quite changed my mind. I am going to run away and become a boy.'

In these three stories, written by Djuna Barnes under the pseudonym Lydia Steptoe, three characters find themselves on the brink of a sexual awakening - accompanied by guns, whips, and worldly innuendo.

A fourteen-year-old girl plans to become 'a virago', until her mother intercepts her first tryst by dressing up as her male lover. A boy of the same age is lured into the forest by his father's mistress. A woman of forty falls in love and longs to kill herself, so unbearable is the return of the youth she thought she wanted. 'Alice', she tells herself, 'be a man.'

Barnes makes gender and desire seem slippery and joyful - and makes the fictional Lydia Steptoe seem like a writer for our time.

From the author of Nightwood, Djuna Barnes has written a book that is all that she was, and must still be vulgar, beautiful, defiant, witty, poetic, and a little mad.Told as through a kaleidoscope, the chronicle of the Ryder family is a bawdy tale of eccentricity and anarchy; through sparkling detours and pastiche, cult author Djuna Barnes spins an audacious, intricate story of sexuality, power, and praxis. Ryder, like its namesake, Wendell Ryder, is many things—lyric, prose, fable, illustration; protagonist, bastard, bohemian, polygamist. Born in the 1800s to infamous nonconformist Sophia Grieve Ryder, Wendell’s search for identity takes him from Connecticut to England to multifarious digressions on morality, tradition, and gender. Censored upon its first release in 1928, Ryder’s portrayal of sexuality remains revolutionary despite the passing of time and the expurgations in the text, preserved by Barnes in protest of the war “blindly raged against the written word.” The weight of Wendell’s story endures despite this censorship, as his drive to assume the masculine roles of patriarch and protector comes at the sacrifice of the women around him. A vanguard modernist, Djuna Barnes has been called the patron literary saint of Bohemia, and her second novel, Ryder, evinces her cutting wit and originality. The nonlinear structure and polyphonic narration pull the reader into Barnes’ harlequin world like a riptide, echoing the melodic cascade of James Joyce’s Ulysses and the avant-garde feminism of Dorothy Richardson. The novel is a rhapsodic saga that could have come only from Barnes’ pen—and politics—as impactful today upon at its first pressing, a document of sexual revolution and censorship.

"Lesbianism, its flories and sorows, is the subject and quest of this marvelously erverse sentimental journey by Nightwood's author... A striking lesbian mainfesto and a deft parody."
--"Library Journal"

Blending fiction, myth, and revisionary parody and accompanied by the author's delightful illustrations, "Ladies Almanac" is also a brilliant modernist composition and arguably the most audacious lesbian text of its time. While the book pokes fun at the wealthy expatriates who were Barnes' literary contemporaries and remains controversial today, it seems to have delighted its cast of characters, which was also the first audience. Barney herself subsidized its private publication in 1928. Fifty of the 1050 copies of the first edition were hand colored by the author, who was identified only as a lady of Fashion: on the title page.

This book combines content analysis of film and television cases, the examination of policy documents, and first-hand interview material with Danish industry professionals, tracing the pivotal moments in media and welfare state history to unite these two overlapping spheres: welfare state social policy and media imagery. In doing so, it addresses a gap in existing academic and policy documents to demonstrate how motherhood and femininity are presented in contemporary state-supported Danish screen fiction. As an industry premised on state funding and public service values, Danish screen fiction plays a cogent role in shaping and communicating cultural norms and provides a space for the cultivation of belonging and a sense of a shared identity. For this reason, it is vital to identify and examine representational trends and patterns in popular media formats. This book argues that the political narrative of gender equality, democracy and universal social support that permeates Danish state policy is undermined in screen fiction, wherein working mother characters are problematised and the welfare system's integrity is challenged. This book asserts that the framing of femininity, motherhood and citizenship in many contemporary Danish films and television dramas indicates a cultural concern about the welfare state's institutionalisation of caregiving and presents absent mothers as an indirect cause of crime, trauma or social unrest.

Nightwood, Djuna Barnes' strange and sinuous tour de force, "belongs to that small class of books that somehow reflect a time or an epoch" (Times Literary Supplement). That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna--a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous.The outsized characters who inhabit this world are some of the most memorable in all of fiction--there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another persona woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature.Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

Oh Zeus! Oh Diane! Oh Hellebore! Oh Absalom! Oh Piscary Right! What shall I do with it! To have been the First, that alone would have gifted me! As it is, shall I not pour ashes upon my Head, gird me in Sackcloth, covering my Nothing and Despair under a Mountain of Cinders, and thus become a Monument to No-Ability for her sake?

Djuna Barnes (1892-1982) once described herself as the most famous unknown writer, and although her novel "Nightwood" is celebrated, her poetry has been a well-kept secret. This selection contains work written between 1914 and the 1970s. Many of the poems in "The Book of Repulsive Women" first appeared in pamphlets and literary journals in New York and Paris. Published together for the first time, they throw new light on Barnes' development as a writer. The book reveals her as a poet of unique power, at once compelling and disorientating. Marianne Moore observed, "reading Djuna Barnes is like reading a foreign language, which you understand". "The Book of Repulsive Women" includes previously unpublished and uncollected poems, and five illustrations by Barnes herself. Rebecca Loncraine provides an introduction to Barnes' poetry.

Do you find it difficult to move forward after experiencing a setback in life? The testimonies included in this book are sure to propel you beyond the residue of negative encounters. The hope, inspiration, and motivation you need to transition from stagnation to progression are wrapped inside. As you open the book, prepare to position yourself in order to receive the abundant blessings that await you.

Oh Zeus! Oh Diane! Oh Hellebore! Oh Absalom! Oh Piscary Right! What shall I do with it! To have been the First, that alone would have gifted me! As it is, shall I not pour ashes upon my Head, gird me in Sackcloth, covering my Nothing and Despair under a Mountain of Cinders, and thus become a Monument to No-Ability for her sake?

Oh Zeus! Oh Diane! Oh Hellebore! Oh Absalom! Oh Piscary Right! What shall I do with it! To have been the First, that alone would have gifted me! As it is, shall I not pour ashes upon my Head, gird me in Sackcloth, covering my Nothing and Despair under a Mountain of Cinders, and thus become a Monument to No-Ability for her sake?

Where do strong women-those women who are forbidden to display their tears and their weaknesses-go to find rest? Whose shoulder, besides God's, do we cry on if our shoulder pads are drenched from the tears of others, and our bodies are limp from carrying the weight and the burdens of another? The Cry of a Woman! is like no other cry on the face of the earth. It's a covenant cry to God when we have reached the end of our rope and have considered suicide when the rainbow was enough. If you're tired of the status quo and tired of livin' in hell waitin' to go to heaven, then learn how to get into the secret place of the Most High and cry out to God. In this life-changing book of poetry and words of wisdom, Dr. Djuna "Stormy" Watkins will lead you to the pathway to find rest and strength for your weary souls. She will help you discover the answers to the hidden issues of the heart, as you unravel the maze to the secret places of your lost miracles, declaring with the force of your faith, "I.want...them...back!" You are not weak, frail, and timid. You are a woman of war! Therefore, get into your battle position of prayer and praise, and pull down every satanic stronghold in your life. The weapons of our warfare are not carnal, but mighty through God to the pulling down of strongholds (2 Corinthians 10: 4). Besides, it ain't over until God says it's over. You're not having a breakdown; you're having a breakthrough! So gird up your loins and come out of the closet of self-pity. God needs you! The world needs you! You are stronger, more capable, and more equipped than you think. You are even "badder" than your enemy thinks. God is getting ready to unveil you before the world as His very ownmasterpiece. So cry out with a voice of triumph knowing that God is faithful and that He will perfect those things that concern you. Know that something happens when a woman cries. "What happens when a woman cries, does the world stop to feel? I tell you, th

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Ghetto Waterfront Christmas is a touching story of a struggling young mother and her children, along with their neighboring friends. It is the story of the challenges of two poor waterfront families during the Christmas holidays. Written as a Christmas gift to the children of the author for a bedtime story, Ghetto Waterfront Christmas is a touching, comical, children's drama which demonstrates what love can do even when financial stability does not exist. It is the story of a young woman, who after the loss of her husband at sea turns her daily struggle into a secret surprise designed to uplift and delight the lives of her children. It is a story which demonstrates the idea that triumph can come out of tribulation, and misery can be destroyed by love and sacrifice. It's lessons of hope and blessing counting is one traditional in Christmas stories. A powerful testament to the power of love, the strength of woman, and the importance of perseverance. Verbally descriptive as well as visually enhanced with artistic graphics and illustrations, Ghetto Waterfront Christmas will leave you laughing and crying.