Works by Djuna Barnes
(Aka Djuna Chappell Barnes)
[June 12, 1892 – June 18, 1982]

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• The Book of Repulsive Women: 8 Rhythms and 5 Drawings (1915)

• A Book (1923) (expanded as A Night Among the Horses in 1929, revised as Spillway)

• Ladies Almanack showing their Sings and their Tides; their Moons and their Changes; the Seasons as it is with them; their Eclipses and Equinoxes; as well as a full Record of diurnal and nocturnal Distempers, written & illustrated by a lady of fashion (1928)

• Ryder (1928)

• Nightwood (1936) -- #12 of the 100 Best Gay and Lesbian Novels.

• Spillway (1962)

• Selected Works (1962)

• Vagaries Malicieux: (Two Stories (1974)

• The Art of Djuna Barnes: Duality and Damnation (1977) by Louis F. Kannenstine

• Creatures in an Alphabet (1982)

• Smoke and Other Early Stories (1982)

• Interviews (1986)

• I Could Never Be Lonely without a Husband: Interviews by Djuna Barnes (1987), A. Barry, ed.

• Djuna Barnes's New York (1989)

• Poe's Mother: Selected Drawings (1996)

• Collected Stories of Djuna Barnes (1996)

Plays

• Three from the Earth (1919)

• Kurzy from the Sea (1920)

• An Irish Triangle (1921)

• She Tells Her Daughter (1923)

• The Antiphon (1958)

• At the Roots of the Stars: The Short Plays (1995)

See also:

• Freaks In Late Modernist American Culture: Nathanael West, Djuna Barnes, Tod Browning, And Carson Mccullers (2005) by Nancy Bombaci
  Freaks in Late Modernist American Culture explores the emergence of what Nancy Bombaci terms "late modernist freakish aesthetics"-a creative fusion of "high" and "low" themes and forms in relation to distorted bodies. Literary and cinematic texts about "freaks" by Carson McCullers, Djuna Barnes, Nathanael West, and Tod Browning and subvert and reinvent modern progress narratives in order to challenge high modernist literary and social ideologies. These works are marked by an acceptance of the disteleology, anarchy, and degeneration that racist discourses of the late nineteenth and early twentieth centuries associated with racial and ethnic outsiders, particularly Jews. In a period of American culture beset with increasing pressures for social and political conformity and with the threat of fascism from Europe, these late modernist narratives about "freaks" defy oppressive norms and values as they search for an anarchic and transformational creativity.