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Djuna Barnes

Barnes has been cited as an influence by writers as diverse as Truman Capote, William Goyen, Isak Dinesen, John Hawkes, Bertha Harris and Anaïs Nin. Writer Bertha Harris described her work as "practically the only available expression of lesbian culture we have in the modern western world" since Sappho.

Barnes played an important part in the development of 20th century English language modernist writing and was one of the key figures in 1920s and 30s bohemian Paris after filling a similar role in the Greenwich Village of the teens. Her novel Nightwood became a cult work of modern fiction, helped by an introduction by T. S. Eliot. It stands out today for its portrayal of lesbian themes and its distinctive writing style. Since Barnes's death, interest in her work has grown and many of her books are back in print.


“I also know this,’ he went on: ‘One cup poured into another makes different water; tears shed by one eye would blind if wept into another’s eye. The breast we strike in joy is not the breast we strike in pain; any man’s smile would be consternation on another’s mouth. Rear up eternal river, here comes grief! Man has no foothold that is not also a bargain. So be it! Laughing I came into Pacific Street, and laughing I’m going out of it; laughter is the pauper’s money.”
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“There goes the dismantled—Love has fallen off her wall. A religious woman,” he thought to himself, “without the joy and safety of the Catholic faith, which at a pinch covers up the spots on the wall when the family portraits take a slide; take that safety from a woman,” he said to himself, quickening his step to follow her, “and love gets loose and into the rafters. She sees her everywhere,” he added, glancing at Nora as she passed into the dark. “Out looking for what she’s afraid to find—Robin. There goes mother of mischief, running about, trying to get the world home.”
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“Robin told only a little of her life, but she kept repeating in one way or another her wish for a home, as if she were afraid she would be lost again, as if she were aware, without conscious knowledge, that she belonged to Nora, and that if Nora did not make it permanent by her own strength, she would forget.”
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“We are but skin about a wind, with muscles clenched against mortality.”
Djuna Barnes
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“Das Leben ist ewig; darin liegt seine Schönheit.”
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“No matter where and when you meet him you feel that he has come from some place-no matter from what place he has come-some country that he has devoured rather than resided in, some secret land that he has been nourished on but cannot inherit, for the Jew seems to be everythere from nowhere.”
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“No man need curing of his individual sickness; his universal malady is what he should look to.”
Djuna Barnes
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“Those who turn the day into night, the young, the drug addict, the profligate, the drunken and that most miserable, the lover who watches all night long in fear and anguish. These can never again live the life of the day. When one meets them at high noon they give off, as if it were a protective emanation, something dark and muted. The light does not become them any longer. They begin to have an unrecorded look. It is as if they were being tried by the continual blows of an unseen adversary.”
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“We wake from our doings in a deep sweat for that they happened in a house without an address, in a street in no town, citizened with people with no names with which to deny them. Their very lack of identity makes them ourselves. For by a street number, by a house, by a name, we cease to accuse ourselves. Sleep demands of us a guilty immunity. There is not one of us who, given an eternal incognito, a thumbprint nowhere set against our souls, would not commit rape, murder and all abominations.”
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“Why is it that whenever I hear music I think I’m a bride?”
Djuna Barnes
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“The doctor lifted the bottle. “Thank you,” said Felix. “I never drink spirits.”“You will,” said the doctor.”
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“I tell you, Madame, if one gave birth to a heart on a plate, it would say “Love” and twitch like the lopped leg of a frog.”
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“Our bones ache only while the flesh is on them.”
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“The perfume that her body exhaled was of the quality of that earth-flesh, fungi, which smells of captured dampness and yet is so dry, overcast with the odour of oil of amber, which is an inner malady of the sea, making her seem as if she had invaded a sleep incautious and entire. Her flesh was the texture of plant life, and beneath it one sensed a frame, broad, porous and sleep-worn, as if sleep were a decay fishing her beneath the visible surface. About her head there was an effulgence as of phosphorous glowing about the circumference of a body of water - as if her life lay through her in ungainly luminous deteriorations - the troubling structure of the born somnambule.”
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“Even the contemplative life is only an effort, Nora my dear, to hide the body so the feet won’t stick out.”
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“Oh," he cried. "A broken heart have you! I have falling arches, flying dandruff, a floating kidney, shattered nerves and a broken heart!”
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“From the half-open doors of this chiffonier hung laces, ribands, stockings, ladies' underclothing and an abdominal brace, which gave the impression that the feminine finery had suffered venery.”
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“A man's sorrow runs uphill; true it is difficult for him to bear, but it is also difficult for him to keep.”
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“And once Father Lucas said to me, 'Be simple, Matthew, life is a simple book, and an open book, read and be simple as the beasts in the field; just being miserable isn't enough -- you've got to know how.' So I got to thinking and I said to myself, 'This is a terrible thing that Father Lucas has put on me -- be simple like the beasts and yet think and harm nobody.”
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“To think is to be sick...”
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“I have been loved,' she said, 'by something strange, and it has forgotten me.”
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“Matthew,' she said, 'have you ever loved someone and it became yourself?'For a moment he did not answer.  Taking up the decanter he held it to the light.'Robin can go anywhere, do anything,' Nora continued, 'because she forgets, and I nowhere because I remember.'  She came toward him.  'Matthew,' she said, 'you think I have always been like this.  Once I was remorseless, but this is another love — it goes everywhere; there is no place for it to stop — it rots me away.”
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“We are adhering to life now with our last muscle - the heart.”
Djuna Barnes
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“She was nervous about the future; it made her indelicate. She was one of the most unimportantly wicked women of her time --because she could not let her time alone, and yet could never be a part of it. She wanted to be the reason for everything and so was the cause of nothing. She had the fluency of tongue and action meted out by divine providence to those who cannot think for themselves. She was the master of the over-sweet phrase, the over-tight embrace.”
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“There's something evil in me that loves evil and degradation--purity's black backside! That loves honesty with a horrid love; or why have I always gone seeking it at the liar's door?”
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“Her heavy peasant face was fringed by a bang of red hair like a woolen table-spread, a color at once strange and attractive, an obstinate color, a color that seemed to make Lena feel something alien and bad-tempered had settled over her forehead...”
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“Let us put it the other way, the Lutheran or Protestant church versus the Catholic. The Catholic is the girl that you love so much that she can lie to you, and the Protestant is the girl that loves you so much that you can lie to her, and pretend a lot that you do not feel.”
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“The unendurable is the beginning of the curve of joy.”
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“I like my human experience served up with a little silence and restraint. Silence makes experience go further and, when it does die, gives it that dignity common to a thing one had touched and not ravished.”
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“A man is whole only when he takes into account his shadow.”
Djuna Barnes
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“For most people, life is nasty, brutish, and short; for me, it has simply been nasty and brutish.”
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“God, children know something they can't tell; they like Red Riding Hood and the wolf in bed!”
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“I talk too much because I have been made so miserable by what you are keeping hushed.”
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“You beat the liver out of a goose to get a pâté; you pound the muscles of a man's cardia to get a philosopher.”
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“God,' she cried, 'what is love? Man seeking his own head? The human head, so rented by misery that even the teeth weigh! She couldn't tell me the truth because she had never planned it; her life was a continual accident, and how can you prepare for that? Everything we can't bear in the world, some day we find in one person, and love it all at once.... There's something evil in me that loves evil and degradation--purty's black backside! That loves honesty with a horrid love; or why have I always gone seeking it at the liar's door?”
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“The very condition of Woman is so subject to Hazard, so complex, and so grievous, that to place her at one moment is but to displace her at the next.”
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