‘From the rue St. Romaine to Patchin Place, the caped and cloched Djuna Barnes cut a striking figure in Paris and Greenwich Village of the 1920s and 1930s. Contemporary writers and artists praised her style, feared her tongue; she was a beauty, but a talented, acerbic and powerfully intelligent one.’ Djuna Barnes is the attractive, mysterious, sexually daring American expatriate who led the glamorously bohemian life of Parisian cafes in the thirties; her figure, impressively clad in a black cape, keeps gliding down Parisian rues and New York alleys alike. An eccentric character, who produced a sui generis and almost forgotten masterpiece – Nightwood – and survived her previous mythical self as a hermit in a studio flat in Greenwich Village until the early eighties. At the end of her life she wrote a ‘slight’ work, a ‘bestiary’ called Creatures in an Alphabet, a sad ending of a great, if unorthodox, literary career.
Unreadable Simplicity in Barnes's Creatures in an Alphabet
Jhumpa Lahiri’s In Other Words
Mohammad Shafiqul Islam
being mutated into pillars of salt’. 27 Among writers in exile and expatriate or immigrant writers, there is always a fear of losing their culture, their language, and they deal with these aspects in their work. They also depict immigrant characters in
Responses to Travel Literatures and the Problem of Authenticity
population trends have tended in the past to focus on large scale, one-way, permanent emigration flows in the British diaspora, or in postcolonial terms on the impact of colonies on the center of empire and the expatriation of colonial prodigies back to the
Aḥmad al-Izkī’s Fusion of Shakespeare and Classical Arab Epic
and expatriates, men and women, bedouins and ḥaḍar [townspeople], Sunnis and Shias, and upper and middle/lower classes’. 51 In its fusion of Shakespeare and pre-Islamic epic, The Dark Night offers an example of fruitful East-West collaboration
Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia
University Press . Alomes , Stephen . 1999 . When London Calls: The Expatriation of Australian Creative Artists to London . Cambridge : Cambridge University Press . Arrowsmith , Robyn . 2010 . “ Australian WWII War Brides in America: Their Memories and
living in a farmhouse in the hills above Malaga in Andalusia alongside servants, local workers, and other expatriates nearby. Unlike other travelers to Spain who wrote about the conflict, Woolsey was in a privileged position to understand what was
Aleppo, an Enlightenment City
ladies and gentlemen assemble for the evening, by invitation or otherwise; when a well supplied table, and social conviviality, detain the guests till nearly midnight, when each returns home. (539) For Griffiths, English expatriates were not only working
Myth and Reality in Shangri-La
Paul Genoni and Tanya Dalziell
Gomba, Johnston and Burke acquire a guide, Feng Liu-lu. Feng is an expatriate Chinese and an important part of the journey because he is able to speak Tibetan. Many conversations reported in Journey Through Tomorrow use a convention whereby Johnston is
Malagasy Marriage, Shifting Post-Colonial Hierarchies, and Policing New Boundaries
In 1999 and 2004, a debate exploded within the Malagasy expatriate community in France after Et Plus Si Affinités, a realist style documentary about arranged marriage between Malagasy women and French men, aired on local television. The series chronicled the adventures of three French bachelors who went to Madagascar to find brides. In this article, I use the reactions to Et Plus Si Affinités as a lens through which to examine changes in Malagasy sexual relations as they are inflected by relations between different ethnic groups in Madagascar, particularly how different groups have historically approached sexual and marital relationships between Malagasy women and French men. Drawing on this case study, I argue that studies of transnational arranged marriage need to attend more closely first to historical representations and the way they figure into transnational marriage, and second to how circulating representations mediate women's agency and their ability to achieve their goals.
Freya Stark's Baghdad Sketches
This article examines Freya Stark's life-writing over a forty-year period in order to shed light on her experience of Baghdad from 1929 to 1933. The article focuses on Stark's resistance to expected feminine norms of the British community, and contextualizes her experience alongside that of Gertrude Bell and Stefana Drower. Stark's experiences, and those of Drower, reveal the ways in which British women resisted the mundane expatriate lifestyle, and gained a great deal of cultural understanding though their interaction with Iraqis. Furthermore, the article discusses Stark's work at the Baghdad Times, a literary apprenticeship that also led to the publication of Baghdad Sketches. The article not only highlights the plurality of autobiographical presentation characteristic of Stark's oeuvre, but also reveals how Stark refashioned her experiences throughout her life, taking into account her changing status and the different political and cultural climates in which the works were published.