Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Barnes' novel "Ryder" an incomparable masterpiece, 30 May 2007
The great literary eccentric Djuna Barnes, beloved by (amongst other major literary figures)T.S. Eliot, is best known for her neo-Jacobean literary works, the novel "Nightwood" and the play "Antiphon." Although I have immense fondness for the novel "Nightwood," I think that her novel "Ryder" is her absolute masterpiece. A book of Rabelaisian humour and joy, it veritably bursts forth all over the place with Life and Lust. One would think that critical followers of Bakhtin(i.e., Mikhail Bakhtin of "Rabelais and his World" fame who advanced a 'polyphonic' theory of the novel form) would have a field day with this novel. And what of feminist literary critics? This book is a masterpiece of twentieth century literature. The fact that this book is not studied in twentieth century literature classes alongside the works of Eliot, Pound, Lawrence, Yeats and William Carlos Williams is an implicit reproach to the molasses-brained sloths who inhabit academia. But don't just read this novel because it's a masterpiece(and it is, children) - read it because it's fun! Does Djuna Barnes have a command of the English language? Metaphorically speaking, she brandishes a whip! Open these pages and you'll fall in love with this book - and maybe you'll fall in love with Djuna Barnes, too! I do not try to advance this book's reputation at the expense of her other work. By all means, read "Nightwood" and "Antiphon" - they're not just (to use that mean little phrase) 'minor
masterpieces.' "Ryder," "Antiphon," and "Nightwood" all belong on required reading lists in the English-speaking world. Let's storm the literary canon and place a crown on Djuna Barnes's head, where it richly belongs. Buy this book. In a manner of speaking, ride this book - and just maybe it'll ride you, too. As Roland Barthes would say, why deny yourself the pleasure? I remain...Greg Cameron, Lost and Profound in Surrey, B.C., Canada.

A Great Achievement, 05 Jul 1999
This is an amazing work. A mostly autobiographical parody, Barnes uses Ryder as sort of a twisted extended metaphor for the rest of the world. The beautiful and inventive prose, though often obscure, illustrates the life of the Ryder family poignantly and indignantly. Written in various styles, the book is bound to touch each and every reader.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Barnes' novel "Ryder" an incomparable masterpiece, 30 May 2007
The great literary eccentric Djuna Barnes, beloved by (amongst other major literary figures)T.S. Eliot, is best known for her neo-Jacobean literary works, the novel "Nightwood" and the play "Antiphon." Although I have immense fondness for the novel "Nightwood," I think that her novel "Ryder" is her absolute masterpiece. A book of Rabelaisian humour and joy, it veritably bursts forth all over the place with Life and Lust. One would think that critical followers of Bakhtin(i.e., Mikhail Bakhtin of "Rabelais and his World" fame who advanced a 'polyphonic' theory of the novel form) would have a field day with this novel. And what of feminist literary critics? This book is a masterpiece of twentieth century literature. The fact that this book is not studied in twentieth century literature classes alongside the works of Eliot, Pound, Lawrence, Yeats and William Carlos Williams is an implicit reproach to the molasses-brained sloths who inhabit academia. But don't just read this novel because it's a masterpiece(and it is, children) - read it because it's fun! Does Djuna Barnes have a command of the English language? Metaphorically speaking, she brandishes a whip! Open these pages and you'll fall in love with this book - and maybe you'll fall in love with Djuna Barnes, too! I do not try to advance this book's reputation at the expense of her other work. By all means, read "Nightwood" and "Antiphon" - they're not just (to use that mean little phrase) 'minor
masterpieces.' "Ryder," "Antiphon," and "Nightwood" all belong on required reading lists in the English-speaking world. Let's storm the literary canon and place a crown on Djuna Barnes's head, where it richly belongs. Buy this book. In a manner of speaking, ride this book - and just maybe it'll ride you, too. As Roland Barthes would say, why deny yourself the pleasure? I remain...Greg Cameron, Lost and Profound in Surrey, B.C., Canada.

A Great Achievement, 05 Jul 1999
This is an amazing work. A mostly autobiographical parody, Barnes uses Ryder as sort of a twisted extended metaphor for the rest of the world. The beautiful and inventive prose, though often obscure, illustrates the life of the Ryder family poignantly and indignantly. Written in various styles, the book is bound to touch each and every reader.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Barnes' novel "Ryder" an incomparable masterpiece, 30 May 2007
The great literary eccentric Djuna Barnes, beloved by (amongst other major literary figures)T.S. Eliot, is best known for her neo-Jacobean literary works, the novel "Nightwood" and the play "Antiphon." Although I have immense fondness for the novel "Nightwood," I think that her novel "Ryder" is her absolute masterpiece. A book of Rabelaisian humour and joy, it veritably bursts forth all over the place with Life and Lust. One would think that critical followers of Bakhtin(i.e., Mikhail Bakhtin of "Rabelais and his World" fame who advanced a 'polyphonic' theory of the novel form) would have a field day with this novel. And what of feminist literary critics? This book is a masterpiece of twentieth century literature. The fact that this book is not studied in twentieth century literature classes alongside the works of Eliot, Pound, Lawrence, Yeats and William Carlos Williams is an implicit reproach to the molasses-brained sloths who inhabit academia. But don't just read this novel because it's a masterpiece(and it is, children) - read it because it's fun! Does Djuna Barnes have a command of the English language? Metaphorically speaking, she brandishes a whip! Open these pages and you'll fall in love with this book - and maybe you'll fall in love with Djuna Barnes, too! I do not try to advance this book's reputation at the expense of her other work. By all means, read "Nightwood" and "Antiphon" - they're not just (to use that mean little phrase) 'minor
masterpieces.' "Ryder," "Antiphon," and "Nightwood" all belong on required reading lists in the English-speaking world. Let's storm the literary canon and place a crown on Djuna Barnes's head, where it richly belongs. Buy this book. In a manner of speaking, ride this book - and just maybe it'll ride you, too. As Roland Barthes would say, why deny yourself the pleasure? I remain...Greg Cameron, Lost and Profound in Surrey, B.C., Canada.

A Great Achievement, 05 Jul 1999
This is an amazing work. A mostly autobiographical parody, Barnes uses Ryder as sort of a twisted extended metaphor for the rest of the world. The beautiful and inventive prose, though often obscure, illustrates the life of the Ryder family poignantly and indignantly. Written in various styles, the book is bound to touch each and every reader.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Barnes' novel "Ryder" an incomparable masterpiece, 30 May 2007
The great literary eccentric Djuna Barnes, beloved by (amongst other major literary figures)T.S. Eliot, is best known for her neo-Jacobean literary works, the novel "Nightwood" and the play "Antiphon." Although I have immense fondness for the novel "Nightwood," I think that her novel "Ryder" is her absolute masterpiece. A book of Rabelaisian humour and joy, it veritably bursts forth all over the place with Life and Lust. One would think that critical followers of Bakhtin(i.e., Mikhail Bakhtin of "Rabelais and his World" fame who advanced a 'polyphonic' theory of the novel form) would have a field day with this novel. And what of feminist literary critics? This book is a masterpiece of twentieth century literature. The fact that this book is not studied in twentieth century literature classes alongside the works of Eliot, Pound, Lawrence, Yeats and William Carlos Williams is an implicit reproach to the molasses-brained sloths who inhabit academia. But don't just read this novel because it's a masterpiece(and it is, children) - read it because it's fun! Does Djuna Barnes have a command of the English language? Metaphorically speaking, she brandishes a whip! Open these pages and you'll fall in love with this book - and maybe you'll fall in love with Djuna Barnes, too! I do not try to advance this book's reputation at the expense of her other work. By all means, read "Nightwood" and "Antiphon" - they're not just (to use that mean little phrase) 'minor
masterpieces.' "Ryder," "Antiphon," and "Nightwood" all belong on required reading lists in the English-speaking world. Let's storm the literary canon and place a crown on Djuna Barnes's head, where it richly belongs. Buy this book. In a manner of speaking, ride this book - and just maybe it'll ride you, too. As Roland Barthes would say, why deny yourself the pleasure? I remain...Greg Cameron, Lost and Profound in Surrey, B.C., Canada.

A Great Achievement, 05 Jul 1999
This is an amazing work. A mostly autobiographical parody, Barnes uses Ryder as sort of a twisted extended metaphor for the rest of the world. The beautiful and inventive prose, though often obscure, illustrates the life of the Ryder family poignantly and indignantly. Written in various styles, the book is bound to touch each and every reader.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Barnes' novel "Ryder" an incomparable masterpiece, 30 May 2007
The great literary eccentric Djuna Barnes, beloved by (amongst other major literary figures)T.S. Eliot, is best known for her neo-Jacobean literary works, the novel "Nightwood" and the play "Antiphon." Although I have immense fondness for the novel "Nightwood," I think that her novel "Ryder" is her absolute masterpiece. A book of Rabelaisian humour and joy, it veritably bursts forth all over the place with Life and Lust. One would think that critical followers of Bakhtin(i.e., Mikhail Bakhtin of "Rabelais and his World" fame who advanced a 'polyphonic' theory of the novel form) would have a field day with this novel. And what of feminist literary critics? This book is a masterpiece of twentieth century literature. The fact that this book is not studied in twentieth century literature classes alongside the works of Eliot, Pound, Lawrence, Yeats and William Carlos Williams is an implicit reproach to the molasses-brained sloths who inhabit academia. But don't just read this novel because it's a masterpiece(and it is, children) - read it because it's fun! Does Djuna Barnes have a command of the English language? Metaphorically speaking, she brandishes a whip! Open these pages and you'll fall in love with this book - and maybe you'll fall in love with Djuna Barnes, too! I do not try to advance this book's reputation at the expense of her other work. By all means, read "Nightwood" and "Antiphon" - they're not just (to use that mean little phrase) 'minor
masterpieces.' "Ryder," "Antiphon," and "Nightwood" all belong on required reading lists in the English-speaking world. Let's storm the literary canon and place a crown on Djuna Barnes's head, where it richly belongs. Buy this book. In a manner of speaking, ride this book - and just maybe it'll ride you, too. As Roland Barthes would say, why deny yourself the pleasure? I remain...Greg Cameron, Lost and Profound in Surrey, B.C., Canada.

A Great Achievement, 05 Jul 1999
This is an amazing work. A mostly autobiographical parody, Barnes uses Ryder as sort of a twisted extended metaphor for the rest of the world. The beautiful and inventive prose, though often obscure, illustrates the life of the Ryder family poignantly and indignantly. Written in various styles, the book is bound to touch each and every reader.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

Barnes' novel "Ryder" an incomparable masterpiece, 30 May 2007
The great literary eccentric Djuna Barnes, beloved by (amongst other major literary figures)T.S. Eliot, is best known for her neo-Jacobean literary works, the novel "Nightwood" and the play "Antiphon." Although I have immense fondness for the novel "Nightwood," I think that her novel "Ryder" is her absolute masterpiece. A book of Rabelaisian humour and joy, it veritably bursts forth all over the place with Life and Lust. One would think that critical followers of Bakhtin(i.e., Mikhail Bakhtin of "Rabelais and his World" fame who advanced a 'polyphonic' theory of the novel form) would have a field day with this novel. And what of feminist literary critics? This book is a masterpiece of twentieth century literature. The fact that this book is not studied in twentieth century literature classes alongside the works of Eliot, Pound, Lawrence, Yeats and William Carlos Williams is an implicit reproach to the molasses-brained sloths who inhabit academia. But don't just read this novel because it's a masterpiece(and it is, children) - read it because it's fun! Does Djuna Barnes have a command of the English language? Metaphorically speaking, she brandishes a whip! Open these pages and you'll fall in love with this book - and maybe you'll fall in love with Djuna Barnes, too! I do not try to advance this book's reputation at the expense of her other work. By all means, read "Nightwood" and "Antiphon" - they're not just (to use that mean little phrase) 'minor
masterpieces.' "Ryder," "Antiphon," and "Nightwood" all belong on required reading lists in the English-speaking world. Let's storm the literary canon and place a crown on Djuna Barnes's head, where it richly belongs. Buy this book. In a manner of speaking, ride this book - and just maybe it'll ride you, too. As Roland Barthes would say, why deny yourself the pleasure? I remain...Greg Cameron, Lost and Profound in Surrey, B.C., Canada.

A Great Achievement, 05 Jul 1999
This is an amazing work. A mostly autobiographical parody, Barnes uses Ryder as sort of a twisted extended metaphor for the rest of the world. The beautiful and inventive prose, though often obscure, illustrates the life of the Ryder family poignantly and indignantly. Written in various styles, the book is bound to touch each and every reader.

Loved it!, 07 Nov 2008
Having just finished it, I completely loved Nightwood, being the type of reader that goes heavily for imagery and metaphor, and found it one of the most exciting, fascinating books I've ever read, like the warped love-child of Virginia Woolf and Charlotte Brontë. Challenging, yes, but I found it much more accessible than, say, Ulysses, which I never could get on with. I just let it wash over me. Vital, visual, unique; can only say that I found it breathtaking. I have read modernist writers before, so might be accustomed to oddities, but do not be scared off; it's writing that's alive and wild, and good grief, it's brilliant. I liked the way it takes the imagination into new and strange places, with such energy. This is what I read for.

Wrong Information, 20 Aug 2007
There is no foreword by Jeanette Winterson in the edition shown -both the foreword and the introduction are by T.S. Eliot. You need to click on the 'search inside' pages to find the edition which actually corresponds to the product information. (The poor rating refers to amazon's misrepresentation).


A minefield of aphorisms, 20 Dec 2002
Unless you enjoy being beaten over the head with aphorism after aphorism, avoid this novel. I thought the quotes on the cover proclaiming it as a classic were pernicious lies. There was a good story in there, but the prose just emasculated it. There were even many great lines but they didn't tesselate. It largely reminded me of anodyne sessions of appalling poetry and prattle. I encountered a reading-induced fit of nausea at page 72 and chapter seven has possibly the worst ever dialogue between two characters in living memory. This is like Dawson's Creek from the 1930's. It doesn't work as parody, and as earnest literature is completely insufferable.

I doubt highly I've misread it either, as I read it twice just to make sure. If I could say anything good about it: I enjoyed pages 26, 57 and 60.

There's one character who can't utter a single sentence unless it's an aphorism: 'Sorrow fiddles the ribs and no man should put his hand on anything...the foetus of symmetry nourishes itself on cross purposes, this is its wonderful unhappiness...oh Lord, why do women have partridge blood and set out to beat up trouble?' Relentless verse posing as dialogue.

Mind you, there is an inane line later in the novel where a character says: 'there's no last reckoning for those who have loved too long so for me there is no end. I can't live forever,' she said frantically. 'I can't live without my heart!'I suppose if you pick the odd good sentence and enjoy marvelling at the awfulness of the others, this might just be a good way to spend some time. For everyone else: watch some telly instead.

Inaccessible and Overrated, 20 Nov 2001
I'll say right up front that this is not the kind of book I would choose to read, and I never would have if it hadn't been a selection of my book group. And when I read T.S. Elliot's introduction attempting to explain how it's a new form of novel and how one needs several readings to truly appreciate the wonderful language and characters, I knew I was in for a bumpy read. What can I say? I don't like stream of consciousness writing, I don't like novels that don't have a strong story, and I don't like poetry, therefore I hated, hated, hated this book. Certainly there is some evocative language, but I couldn't really enjoy it as it was buried in paragraph-long sentences. As for the notion that it's some masterpiece of depicting obsession or addiction-give me a break. It's far too inaccessible and difficult to serve that function, I can think of half a dozen books that do a better job and aren't a trial to read. Fortunately, I can report that my feelings were generally shared by the rest of my book group, including those who love poetry and stream of consciousness writing. A few people also mentioned an anti-Jewish element in the book, which, when combined with Elliot's well-known prejudices make one wonder.

Cover does not do justice to Djuna Barnes' stunning novel, 07 Oct 2001
Djuna Barnes' "Nightwood" is the most exquisite book written in the English language. Flawed, pretentious, and magnificent. Each sentence breathtaking. The cover of the 2001 Faber & Faber edition, however, is tacky, and does not do the book justice. Books are aesthetic objects.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.

An extraordinary book. Great fun reading and rereading it., 20 Feb 1998
This is a funny book written in a poetry like style.The amusing illustrations are inspired on old wood engravings.But it's not only the story an the illustrations that are interesting. The book itself, the way it was published and distributed is also verry interesting and even romantic.In 1928 'spicy' books weren't allowed, not even in Paris France. So it was privately published in a small edition of which about 50 copies were hand coloured by the author. All books were sold by Djuna Barnes and some frends in secret along the Seine.With the help of Natalie Barneys copie the 1972 edition contains an explanation of the names used in the story and who they were in real life.