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“The (Dis)Possessed”: Djuna Barnes’s Nightwood and the Modern Museum

  • Lindsay Starck (author)
Chapter of: The Imagery of Interior Spaces(pp. 193–217)

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Metadata
Title“The (Dis)Possessed”
SubtitleDjuna Barnes’s Nightwood and the Modern Museum
ContributorLindsay Starck (author)
Landing pagehttps://punctumbooks.com/titles/the-imagery-of-interior-spaces/
Licensehttps://creativecommons.org/licenses/by-nc-sa/4.0/
CopyrightStarck, Lindsay
Publisherpunctum books
Published on2019-03-29
Long abstractIn her introduction to Djuna Barnes’s Nightwood (1937), Jeanette Winterson repeats T.S. Eliot’s assertion that this is a book that must be read more than once. However, in the rush of modern life, she suggests, readers are not willing to set aside the necessary time. Books need to “be squeezed in,” in contrast to the cinema, the theater, the gallery, or a concert, which require limited, fixed moments. Winterson’s invocation of the latter cultural venues are highly relevant to Nightwood, as the book’s vivid and fragmented images recall the kinds of effects witnessed in early cinematography, its dramatic monologues and staging of characters in fixed scenes recall the theater, and the rhythm and musical pattern that T.S. Eliot observes in Barnes’s prose link the novel to the world of music. My focus in this essay is on the fourth space that Winterson brings to our attention: that of the museum gallery, in which “time” — quite literally — has been “set aside.”
Page rangepp. 193–217
Print length25 pages
LanguageEnglish (Original)
Contributors

Lindsay Starck

(author)