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< Living Two Lives: Married to a Man and In Love with a Woman > < Lesbian Epiphanies: Women Coming Out in Later Life > < And Then I Met This Woman: Previously Married Women's Journeys into Lesbian Relationships > < From Wedded Wife to Lesbian Life: Stories of Transformation > < Married Women Who Love Women, Second Edition > < The Whole Lesbian Sex Book: A Passionate Guide for All of Us > Joanne Fleisher

price： 510
Alyson Books
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customer 's review
(AMAZING!)

(Understanding the Situation)

(Married to a Man And in Love With a Woman)

(A realistic and beneficial guide to women)

(***** Love is a Four-Letter Word That We Can't Live Without *****)

After wading through a few books on Amazon on the subject, I settled on this one because it was the only one I found to be helpful for my situation. Boy was it! I recently came out to my husband of 8 years and this book really helped to validate so many of my feelings. The women's narratives helped me to realize that I wasn't alone and that everything I've been feeling is common to my situation. The author doesn't advocate any particular approach, but rather helps you to explore the avenues and decisions YOU want to pursue and does it WITHOUT JUDGMENT.

If you are thinking of coming out to your husband (or recently have, like myself), this book is HIGHLY recommended. My husband is reading it next :)
Women who feel like they're alone in this situation will find guidance and assurance that they are not alone.

Great book. Very insightful.

The author approaches the subject matter in a sensitive and proactive manner. The book provides a lot of supportive information for women that may feel they are all alone or the only one that has or is going through this process. The author really addresses the stages and situations that are part of the process providing mulitple scenarios, suggestions, and rationale without judgment. An excellent book for all parties going through this life transition.
As a psychotherapist, I can say that the topic of this book is timely and a most welcome addition to the literature on it. For despite the untold depth of despair that our sexual-orientation causes in ourselves, partners, family, friends, and society-at-large, we have not seen anything yet, as we say, nor do we see the upside to this revolution. In fact, the primary task for each of us is to STOP the blame-game; this is a no-fault biological upgrade downloading into our genetic programming. That is, it is as organic, natural as mom, apple pie, and Chevrolet. For my own research, and visions, into the future reveals an increase in gay and lesbian relationships that will far exceed those of the heterosexual community. So, first and foremost, let's drop the guilt-trip and the judgments of each other's role in the self-healing cycle of Mother Earth. In short, as a "straight" male, married to a straight female for the past 37-years, parents to 3 adult children, 8 grandchildren, we are a dying breed, and I for one am glad of it! For our confusion is linked to the origins of mankind in the Garden of Eden, the role the twisted-pair DNA "serpent" had in bringing us the knowledge of co-creation initially. Yet our blind-spot still does lie in the role we play as members of the oppostie sex. Sex has to do with "power," raw energy that we use to attract and repel people around us. Up until now, it has been mismanaged badly with tragic consequences. However, because we are at the critical phase of our spiritual evolution where we are to "make the two one again," as it states in the Gospel of Thomas, there is hope, finally. Specifically, as I've learned from my myriad interviews with men and women having a near-death experience over the past 15-years, the future human being will be androgynous. Indeed, what we are witnessing today is the maturation of our species into self-empowered shamans by using the sexual life-force energy wisely to rebalance civilization in the process. In blunt terms, we are restoring the natural order to the planet where the "magnetic" feminine rules the roost, so to speak, from the boardroom to the bedroom. So the more we can help everybody seek and find their "soul mate" the closer we come to peace on Earth. Thank God that finally we can perhaps begin to heal our toxic planet from its near fatal overdose of testosterone poisoning!

Dr. John Jay Harper is author of Tranceformers: Shamans of the 21st Century

From 1967 to 1979 Joanne Fleisher led a happy life in the suburbs, a mother of two and the wife of a successful lawyer. Then she fell in love with a female friend and everything changed. Her experiences, as well as those of the women who write to her advice column Ask Joanne (www.lavendervisions.com), inspired her to writeLiving Two Lives, a guide for women grappling with the difficult process of coming out while being married to a man. Now a licensed clinical social worker, Fleisher has conducted married women's support groups, weekend conferences, individual therapy sessions, and national and international phone consultations for women in this situation. She now brings her wealth of insight to this guide to help married women navigate the stages of coming out: initial feelings of same-sex attraction, telling husbands and children, managing a roller coaster of emotions (grief at the end of a marriage, confusion and anger at the loss of heterosexual privilege, guilt, anxiety, depression), developing a support system, executing the awkward phases of dating, and, finally, moving into a new chapter of life. In addition,Living Two Livesprovides resources on organizations for married women, suggested reading, and helpful websites. Married women are a huge but invisible part of the lesbian population, often falling between the cracks of available resources. This book is a welcome tool to guide them out of isolation and into rich, rewarding lives.

Joanne Fleisheris a lifelong resident of Philadelphia. She is a graduate of Simmons College and of the Bryn Mawr Graduate School of Social Work and Social Research. She and her partner of 25 years co-parented her daughters with her ex-husband, and she recently became a grandmother.

Rerations
< Living Two Lives: Married to a Man and In Love with a Woman > < Lesbian Epiphanies: Women Coming Out in Later Life > < And Then I Met This Woman: Previously Married Women's Journeys into Lesbian Relationships > < From Wedded Wife to Lesbian Life: Stories of Transformation > < Married Women Who Love Women, Second Edition > freaks

< From The Notebooks Of Melanin Sun > < Journey > < Childtimes: A Three-Generation Memoir > < Baseball in April and Other Stories > < The House on Mango Street > < My Name Is Maria Isabel (An Aladdin Chapter Book) > Jacqueline Woodson

price： 599
Scholastic Paperbacks
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customer 's review
(Not one of the author's best novels!)

(Fast Service Great Quality)

(Wonderful development of characters)

(FROM THE NOTEBOOKS OF MELANIN SUN)

(Fantastic)

I just didn't like this novel. I felt it talked down to the reader or it's audience. I wouldn't want my students reading this book because I felt it failed develop the main characters. The lesbian couple in the book never materialize into a couple that you want to root for. Melanin Sun never comes across alive to me. I wouldn't recommend this book for reading anyway.
I received the book within five days and it was in great condition for it to have been a used book. Kudos to the seller.
I thought this book was wonderful. The development of the character made me really feel for Melanin during his struggles and the story line broke my heart. The ending of the book was a little vague and I am unsure of it was done intentionally by the author or not, but I like I need to know what happened next!

The author, Jacqueline Woodson stated that if she had a single message to share with readers, it's that "no matter who you are in the world, it's okay to be who you are." What an excellent quote that articulates everything this book stands for.

Although this book didn't primarily focus on aspects of race, but rather aspects of homosexuality I think that it showcased some wonderful topics for readers to consider. However, I am concerned about the use of language within the book, which made me question what age range this was written for. For me, personally I would not want my child learning the words portrayed in the book, especially the ones used with a negative sense.
From the Notebooks of Melanin Sun
By:Jacquuelin Woodson

This book is about a boy. Melanin Sun and his mama have always been a whole family with a special kind of love and care. Soon Melanin is finding out that his mom is shutting doors that were always open.And now?,they have been having problems. Mel has been finding out that his mama is keeping secrets since he was a child. I think that this is a good book because it makes you laugh and cry. This book is interesting because it's in racial times.
I read this book in 1997. Unfourtantely, I lost my copy years ago, so I can't make specific references to what I loved about this book. But I did love this book very much. I have put it up there with some of the greatest books I've ever read, such as A Wrinkle In Time and Watership Down. I think Jackie did something really fantastic with this book, and I thank her for the experience.

Melanin Sun's mother has some big news: she's in love with a woman. Now he has many decisions to make: Should he stand by his mother even though it could mean losing his friends? Should he abandon the only family he's ever known? Either way, Melanin Sun is about to learn the true meaning of sacrifice, prejudice, and love.

Rerations
< From The Notebooks Of Melanin Sun > < Journey > < Childtimes: A Three-Generation Memoir > < Baseball in April and Other Stories > < The House on Mango Street > freaks

< The Painted House > < No Going Home > < Caught Running > < Capital Games > < Diplomacy > < My Fair Captain > Drew Zachary

price： 279
Torquere Press
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customer 's review
(Avoid)

(Not much of a story)

(Opposites attract, in a charming romance novel.)

(The Painted House by Drew Zachary)

A waste of time, $ and energy...No storyline whatsoever, little bit of narrative dotted along what basically is one graphic sex depiction after another.
Although this book is enjoyable enough, there isn't much of a story to it. I kept waiting for more development in between the sex scenes, but nothing much ever happened. It's an ok read, but not one I would read again.
It's love (or, in the very least, lust) at first sight, when Gabriel Nash meets Marc Landry, at Marc's weatherbeaten but charming home on the Nova Scotia coast. What was a business trip for Gabriel (He's a location scout from Hollywood, there to find a house to use in an upcoming film) turns into a somewhat frustrating courtship, as the naive and wary Marc - a brilliant but tempermental and eccentric artist, who also feels a strong attraction to Gabriel, but has never dated and has no experience to draw on - gradually lets himself be charmed by the outgoing Gabriel. Gabriel must deal with Marc's self-appointed guardian angel, his professional agent, Jennifer, who reinforces Marc's suspicion that Gabriel may be using Marc, and will simply disappear forever after he tires of the young man. Gabriel is smitten, and wants to spend the rest of his life with Marc, but a visit to Gabriel's home in Los Angeles makes it clear that Marc could never function in that crowded, unfriendly metropolis.

A well-written, expertly-paced, engaging story about a love between people who literally live in two different worlds, looking for middle ground in which they could co-exist together. It's a highly erotic novel, and personally I think that aspect is s bit overdone, to the point where it takes away from the worth of the book. A simple story, but it is told beautifully. Definitely worth a read, four stars out of five.
Gabriel is a location scout from Los Angeles who is travelling all around Nova Scotia to find a location for an upcoming movie. He thinks to have find the perfect place when he sees Marc's house, a 150 years old house perched on a cliff with a private beach. But Marc is like an hermit, growing alone with an old grandmother and now totally alone with only the company of Bogart, a golden retriever. And he has no intention to allow to a crew to invade his home. He is also a very good artist, whose paintings are in museums and sold very well, but all the practical things are managed by his agent, and he lives only to paint and walk in the sand. He has a disorganized life, sleep and eat when he wants. And he doesn't have a lover.

When Gabriel and Marc meet it's all of sudden passion. Marc seems to have not enough of Gabriel, but still he can't think to leave his reclusive life. If Gabriel wants to tag alone, fine, but he will not change his lifestyle for him. It's not a conscious choice, it's more a question of life or death. Really Marc is a very interesting character, but I think he has also some issues when he arrives to relationship. He is maybe like the classical artist, with the mind lost in his thoughts and reality that only here and there breaks the cloud.

Gabriel quarrels with Marc's agent, pretending she treats Marc as an adult, but in the end also him allows Marc to be as he likes. It's good for Marc that Gabriel is a good man, cause he is too naivee to face bad realities. Marc is not mad, but he is not "normal": if someone tried to open his eyes he could kill the man who is.

The book is very erotic, even if Gabriel doesn't try to change Marc, he opens him to the almost unknown sex world. And there are plenty of thing to discover...
Location scout Gabriel Nash finds himself looking for a beach house in Nova Scotia, hoping to find something perfect for the new movie he's working on. When he sees Marc's house, he knows it's just right, but painter and loner Marc doesn't want to deal with all the people a movie shoot would bring into his home. Marc wouldn't mind having Gabriel around, though. In fact, he finds Gabriel inspiring, making him the subject of his paintings while Gabriel works to find another house. The two of them get to know each other well, much to Marc's agent's dismay. She thinks Gabriel is just using Mark, but changes her tune when Gabriel offers to take Marc to L.A. with him. The problem is that Marc hates L.A. and everything it stands for. He hates the crowds of people and the spotlight of gallery showings. He can't be a part of Gabriel's world, and he needs to go back to his house, where he can see the sea and find peace. Can Gabriel give up on his dream to move Marc to California and find a way for them to be together in Marc's perfect house on the beach?
Rerations
< The Painted House > < No Going Home > < Caught Running > < Capital Games > < Diplomacy > freaks

< Nightwood > < Cane > < The Sun Also Rises > < The Well of Loneliness: A 1920s Classic of Lesbian Fiction > < To the Lighthouse > < Mrs. Dalloway > Djuna Barnes

price： 259
New Directions
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customer 's review
(Homosexuality is not really the focus -- but it's there)

(Angels on all-fours and other night creatures...)

(Bizarre and over-rated.)

(The Night Is A Hunter)

(An elegant classic)

Barnes' Magnum opus, "Nightwood" (1936), was her second novel and one of those books that probably 'must' be read, the same as "Winesburg, Ohio" (Sherwood Anderson), or "The Great Gatsby", (F. Scott Fitzgerald). Poet Donald J. Greiner once wrote, "[It]...stands out among post-World War I American novels as one of the first notable experiments with a type of comedy that makes the reader want to lean forward and laugh with terror."

What is the book "about"? To grossly oversimplify this complex tale, it's about one woman's mental, emotional, and sexual domination and manipulation, over time, of another young woman. There is also a significant sub-plot about a physician who has his own unique problems, especially concerning alcohol abuse and homosexuality.

This is truly a dark and atmospheric story, partially about homosexuality, which probably accounts for its limited readership in a Puritanistic America when it was first published, and possibly even since. Barnes was an American, home-schooled and raised among incredibly artistic people such as Jack London and Franz Liszt, both of whom visited her father's farm. She lived from 1892 to 1982 and spent 20 years of her life in Paris, passing time in the company of other avant garde personalities such as Mina Loy, Janet Flanner, Dolly Wilde, and Gertrude Stein.

This book was an incredibly tough read for me but people who understand poetry, (and I don't very well), will probably get it just fine. Barnes doesn't use words wastefully and her prose-style of writing takes on a sort of incongruous, syncopated rhythm. A review of the Cliff's Notes prior to reading the book would probably help out a lot.

But I will say outright that this is one of the most compelling novels I've ever read. Having now read Barnes' greatest work, I'm eager to note that she was probably at least a borderline genius.

Don't expect your typical novel here -- you won't come away from this one with a warm, fuzzy feeling. In fact, as you relate to each of the principals, especially "the doctor", you'll likely experience some emotional discomfort. Perhaps that is the genius of the work.

*Nightwood* is a novel composed in poetic prose, as T.S. Eliot asserts in his preface, the kind of writing that "demands something of the reader that the ordinary novel-reader is not prepared to give." Most novels are not composed at such white-hot intensity, at a level of personal emergency such as Djuna Barnes has conveyed in *Nightwood.* This is a book that doesn't let you rest for a moment, the rare sort of novel that is all conflict and climax. It's a work that you don't doubt was torn living from the author's very being, less a "novel" per se, than an organic and all-but-impossible to dissect whole that loses more the more you attempt to analyze it.

What Barnes records in *Nightwood* is the experiential agony, as opposed to merely the "story," of a love-lost. Robin Vote is a Sapphic femme fatal, an androgynous, alcoholic, nymphomaniac enigma who is beloved, successively, by three different characters, who she subsequently leaves an emotional wreck. Nora Flood, who stands in for the author, is the narrative center of *Nightwood* and the woman around whom the others orbit, with Robin, like a doomsday asteroid, orbiting them all. It is Nora who struggles and suffers and indeed understands Robin better than anyone, even if that only means understanding better the tragedy inherent in knowing her at all. Her utter despair at losing Robin is stunningly captured by Barnes who, it is said, based *Nightwood* closely on a real-life love catastrophe from which she never recovered. One can believe it reading *Nightwood.* A good deal of the novel's intensity comes from its unquestionable authenticity. In Robin Vote, Barnes has created the personification of the unsolvable mystery of every beloved who, as if by destiny, eludes, indeed must elude, our grasp.

Much is made--and rightly so--of *Nightwood's* most famous character, Dr. Matthew O'Connor, an impoverished, drunken, charlatan with dubious medical credentials and a penchant for cross-dressing. A good deal of the novel is devoted to O'Connor's rambling monologues which vibrate between madness, comedy, and transcendent wisdom...sometimes all three together. But the transgendered O'Connor is only the most flamboyantly unconventional of *Nightwood's* inhabitants. All of Barnes's characters are misfits and outsiders, sexually and/or socially; interestingly it is the very displacement they feel within their own time and place that most enables the contemporary reader to sympathize with them. The sense of being out-of-step is, perhaps, timeless. But it's more than mere sexual and social deviance that connect the contemporary reader to these characters--it's a sense of the secret life of us all, the inherent "deviance" of our private lives from the "normal" daylight existence of moderated emotions, rational desires, and objective viewpoints we all pretend to share. "Nightwood" is the country we inhabit when the sun goes down, "society" dissolves, and the inexplicable, uncontrollable, and irrational in us emerges.

I found the first chapter of *Nightwood* dull and dated and almost considered putting the book down. Don't do it. Hang in there until the second chapter...if Barnes doesn't catch your attention at that point, chances are she won't. This is a challenging text, elusively and elliptically written, ejaculatory, jumping from peak to peak, a shout from the soul of despair, a cry from the dark night. The characters don't so much interact with each other, but, as in real life, they are merely declaiming to themselves, using the declamations of others as cues to their own speeches. They affect, deflect, and "aggravate" each other in a sort of vacuum, forcing them to even greater degrees of solitude and despair. And yet, through all these characters, we hear one voice, one lament...the author's, ours, every lover's. As uniquely particular and personal *Nightwood* may be, as idiosyncratically composed, and as inimitable, it is nonetheless an emotional document as common and identifiably human as any kidney or pancreas.

A rare thing, a "novel" that is also a work of art -*Nightwood* is a gnomic utterance of the apocalypse of love.

This book's three main characters ("the doctor", Nora and Robin) did not hold my interest. This is the most bizarre thing I've read despite its vivid imagery and the doctor's often insightful observations. The story is one big whine about being captive to one's sexual/emotional nature and needs. Here are 2 lesbians and a transvestite fortunate enough to live in Paris, the capital of free thinking in the 1920's and a genial place that accepted people with these sensibilities. Yet, Nora and the doctor never feel comfortable with themselves. The character who did touch me is a secondary one, Felix (Baron Volkbein) who, despite fabricating an aristocratic lineage to raise others' regard for him, is capable of responding with compassion to someone who needs him just for who he is.

This novel has been used in academic studies of gender matters. But it could also serve as an aid in tracking the practice of perceiving oneself as a victim when one's personal choice creates a problem. In "Nightwood", the characters are very aware that their choices are their own and they accept responsibility for them. That is decades before people began blaming the consequences of their decisions on others, before the politicization and institutionalized endorsement of victimhood as a method of transferring responsibility for one's actions onto others.

My dissatisfaction with this book stems from its slack attention to time and place. At each page, I had to remind myself that the story is set in the 1920's and not the latter half of the 1800's as I instinctively felt. Archaic phrases rich with signs of an earlier period combined with an absence of any 20th century flavour has produced characters who float in from the past and seem therefore devoid of physical mass. Similarly, Paris, the story's primary location, is reduced to an icon of itself like a backdrop assembled in haste for a play. Mentions of "rue du Cherche-Midi" and "Hotel Recamier" sound promising but lead only to the next bout of the doctor's enrapturing but ultimately meaningless rants. The best I can think about this neglect is that the author may have been demonstrating how self-obsession robs its holder of the capacity to interact with his environment beyond the narrow confines of its demands. No one seems affected by where they are. In the end, this is about people who experience love as torture and a direct route to hell.

Djuna Barnes' short modernist novel Nightwood (1936) is one of the genuine odd ducks of 20th century literature. Written in an uneven, semi - comic, and baroque style, the book is more likely to impress young readers rather than older and more experienced individuals who have lost their appetite for decadent romantic entanglements. Nightwood is certainly an original work, and Barnes' vision of the factors shaping human destiny - especially time, heritage, and evolution - are uniquely expressed. But despite its fluidity of language, many of Barnes' seemingly brilliant observations concerning life, consciousness, and human suffering are more specious than acute, which is important, since Barnes' emotionally marooned cast is badly in need of answers, wisdom, and salvation.

Hiding under the text's antique lathering is a sparse, skeletal plot, one top heavy with philosophical speculations but reflecting little grasp of basic psychological truths about human nature. Nora Flood meets and falls destructively in love with passive - aggressive Robin Vote, a strange, corpse - eyed, and inexplicably charismatic woman who, despite marriage and motherhood, is spiritually, psychologically, and emotionally adrift in the world. When their affair evolves into a love triangle, Nora turns increasingly for advice to charlatan doctor and Greek chorus Matthew O'Connor, a poverty - stricken alcoholic who is pleasurably inclined towards homosexuality, transvestitism, and self - demoralization ("I'm a lady in no need of insults," "I was born as ugly as God dare premeditate"). Significantly, all of the book's characters are in some way stunted, crippled, or pathologically predisposed.

Barnes excels at dramatizing the failure of romantic love, especially the kind that displays active neurotic factors, elements of codependence, and spontaneous psychological transference. Those pages which detail Nora's isolation and sad obsession with her abandoning lover are deeply felt, haunting, and moving indeed.

In "The Squatter," Barnes spends an entire chapter fulfilling a personal vendetta by brilliantly depicting widow Jenny Petherbridge's status as a rapacious black hole and non - entity. Jenny is ugly ("she had a beaked head and the body, small, feeble, and ferocious, that somehow made one associate her with Judy," "only severed could any part of her been called "right"), stupid ("when anyone was witty about a contemporary event, she would look perplexed and a little dismayed"), incapable of establishing her own values ("Someone else's wedding ring was on her finger...the books in her library were other people's selections...her walls, her cupboards, her bureaux, were teeming with second - hand dealings with life...the words that fell from her mouth seemed to have been lent to her"), spiritually empty but power hungry ("she wanted to be the reason for everything and so was the cause of nothing"), and lacks poise, maturity, and dignity ("being one of those panicky little women, who, no matter what they put on, look like a child under penance," or, as O'Connor calls her, "a decaying comedy jester, the face on a fool's - stick, and with the smell about her of mouse - nests"). Barnes makes an excellent case for the argument that it is not the powerful that are to be feared, but the weak, frustrated, and incapable.

Robin the "somnambulist" is also lengthily described, largely via the use of symbols and metaphors: throughout the text, the boyish, bird - named Robin is described in animal, vegetable, and mineral terms. When first encountered, Robin, who is later recognized as a kindred spirit by a wild circus animal and a ferocious dog, is found lying unconscious in a small apartment crowded with a superabundance of plant life. Barnes describes Robin's abode as "a jungle trapped in a drawing room" and Robin as the "ration of the carnivorous flowers."

The flamboyant, limp - wristed ("his hands...he always carried like a dog who is walking on his hind legs"), dirty - kneed, rhetoric - spewing Dr. Matthew O'Connor, the book's most famous character, is a figure of high camp whom today's readers are more likely to find mildly distasteful rather than shocking. O'Connor is given an entire long chapter in which to pontificate ("Watchman, What Of The Night?"), though the chapter reflects badly on the wounded Nora, whose continuous exclamations of "But what am I to do?" and "What will become of her?" and "How will I stand it?" reduce her from the genuinely tormented human being of earlier chapters to a one - dimensional cartoon damsel in distress.

Intelligent, perceptive readers are likely to find one passage in every five that sounds profound and poetically illuminating like the others, but means absolutely nothing on careful examination (for example: "Your body is coming to it, your are forty and the body has a politic too, and a life of its own that you like to think is yours. I heard a spirit new once, but I knew it was a mystery eternally moving outward and on, and not my own.") Despite Barnes' often incredible use of language, the ultimate effect of Nightwood is one of shallowness, slickness, and almost hysterical distance from its own primary sources. When compared to other literary books written by women also primarily focused on women, such as the five novels of Jean Rhys or Muriel Spark's The Driver's Seat, Nightwood seems sketchy, brittle, and, as one critic said about Isak Dinesen's Seven Gothic Tales, seemingly more concerned with mystification than with genuine mystery. Though bold and intrepid as a beautiful young big city journalist, and later as an expatriate modernist writer living among the Parisian glitterati, Barnes closed the door on the rest of the world in very early middle age, and became a notorious New York City recluse known primarily for bitterness and explosive outbursts of anger. Readers of Nightwood, with its essential focus on theoretical, airy philosophy rather than psychological home truths, may find clues as to how Barnes's life went sorrowfully wrong.
There are few books that can be safely called classics--and out of those, fewer are as deserving of the term as Djuna Barnes' 'Nightwood'. Elegant and mesmerizing, difficult and beautiful, it is a measured and balanced work of art.

Another reviewer said this wasn't a 'celebration of lesbian love'--this much is true. What makes this book truly remarkable is that it *doesn't* set any boundaries--hearts are fickle, hearts are cruel, and every character in the novel is inflicted with his/her own brand of emotional anxiety. Barnes makes no distinction between 'lesbian' love and any other--it is as normal, and as abnormal, as any other human affection. That alone makes this book a classic (but of course, the writing too is intoxicating). In fact, what is truly surprising (to me, at least!) is that despite her exquisite elegance, Djuna Barnes manages to take such a no-nonsense approach to human emotions. She never seeks to simplify anything--and makes her work difficult for the reader in the most rewarding of ways. (I mean that she doesn't let us get away with pre-conceptions or romantic illusions. She manages to make the imperfect reality as arresting as the myth of perfection.) Most of us, in our lives, don't *really* know what we're doing, or what we feel. Barnes makes her characters real by putting them through the same confusing maelstrom of experiences--where one emotion often morphs into another--love into indifference, respect into insecurity, and so on. There are no answers--there is only endurance--endurance of others, endurance of ourselves.

I don't want to be more specific and give out details of the plot. This book has to be experienced to be believed...
Nightwoodis not only a classic of lesbian literature, but was also acknowledged by no less than T. S. Eliot as one of the great novels of the 20th century. Eliot admired Djuna Barnes' rich, evocative language. Lesbian readers will admire the exquisite craftsmanship and Barnes' penetrating insights into obsessive passion. Barnes told a friend thatNightwoodwas written with her own blood "while it was still running." That flowing wound was the breakup of an eight-year relationship with the lesbian love of her life.
The fiery and enigmatic masterpiece—one of the greatest novels of the Modernist era.

Nightwood, Djuna Barnes' strange and sinuous tour de force, "belongs to that small class of books that somehow reflect a time or an epoch" (TLS). That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous.

The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature.

Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson,Nightwoodstill crackles with the same electric charge it had on its first publication in 1936.
Rerations
< Nightwood > < Cane > < The Sun Also Rises > < The Well of Loneliness: A 1920s Classic of Lesbian Fiction > < To the Lighthouse > freaks

< Confessions of the Other Mother: Non-Biological Lesbian Moms Tell All > < The Ultimate Guide to Pregnancy for Lesbians: How to Stay Sane and Care for Yourself from Pre-conception through Birth, 2nd Edition > < The New Essential Guide to Lesbian Conception, Pregnancy, and Birth > < The Lesbian Parenting Book: A Guide to Creating Families and Raising Children > < Emma and Meesha My Boy: A Two Mom Story > < For Lesbian Parents: Your Guide to Helping Your Family Grow Up Happy, Healthy, and Proud >

price： 512
Beacon Press
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customer 's review
(Great for "other mothers" out there...)

(The other mother needs to read these!)

(Not Just For The Other Mother!)

(All is told... and it makes the world a better place!)

(Much Need Voice)

Very easy to read. Nice glimpses of a variety of moms (and babas) and how they fit in their roles and how families come together to make it work. As a future "other mom," I found this really helpful and validating.
We have read them together and it was helpful to start discussions about some of our fears for our family!
As the biological lesbian mom, reading this book; as our little boy still squirms around in my belly, has helped prepare me/us for some of the other issues or concerns we may face as a lesbian couple preparing to raise a child. It has been a wonderful tool for my partner and me to discuss topics and concerns that we hadn't yet thought of. It has also given me a new perspective and sensitivity to the issues she may be faced with as the other mother.

I especially enjoyed the variety in authors. Each chapter takes on a whole new personality, making it very diverse and quite entertaining. Each story is so well written and articulate, not to mention funny, heartbreaking, and touching.

A great read for anyone who is looking to be entertained and enlightened.
The book is funny and touching, honest and real. It is a reflection of a part of our society, that is often ignored from within.

This is not just a "lesbian mom" book. It is a "everyone" book. There is something for everyone and will touch you at some point in the book on many levels.

I could not put it down!

This book provides a much needed voice to the world of parenting essays and writing. The essays range from serious to hysterical, covering a wide range of experiences. I highly recommend the book for all parents, gay, straight, biological or non-biological. It's about being parents.
After author Harlyn Aizley gave birth to her daughter, she watched in unanticipated horror as her partner scooped up the baby and said, "I'm your new mommy!" While they both had worked to find the perfect sperm donor, Aizley had spent nine months carrying the baby and hours in labor, so how could her partner claim to be their child's mommy?

Many diapers later, Aizley began to appreciate the complexity of her partner's new role as the other mother. Together, they searched for stories about families like their own, in which a woman has chosen to forgo her own birth experience so that she might support her partner in hers. They found very few. Now, in Confessions of the Other Mother, Aizley has put together an exciting collection of personal stories by women like her partner who are creating new parenting roles, redefining motherhood, and reshaping our view of two-parent families. Contributors include Hillary Goodridge, who was one of the lead plaintiffs in the case for same-sex marriage in Massachusetts, stand-up comedian Judy Gold, and psychologist and author Suzanne M. Johnson

This candid peek into a previously unexamined side of lesbian parenting is full of stories that are sometimes humorous, sometimes moving, but at all times celebratory. Each parenting tale sheds light on the many facets of motherhood, offering gay and straight readers alike a deeper understanding of what it means to love and parent in the twenty-first century.

Harlyn Aizley is the author of Buying Dad: One Woman's Search for the Perfect Sperm Donor. Her work has appeared in national journals, magazines, and anthologies and has aired on public radio stations nationwide. Aizley resides in the Boston area with her family, where she works as a writer and teacher.
Rerations
< Confessions of the Other Mother: Non-Biological Lesbian Moms Tell All > < The Ultimate Guide to Pregnancy for Lesbians: How to Stay Sane and Care for Yourself from Pre-conception through Birth, 2nd Edition > < The New Essential Guide to Lesbian Conception, Pregnancy, and Birth > < The Lesbian Parenting Book: A Guide to Creating Families and Raising Children > < Emma and Meesha My Boy: A Two Mom Story > freaks

< Bonds of the Maleri > < My Fair Captain > < No Going Home > < Male of the Species > < The Draegan Lords > < Bite > Kate Steele

price： 1395
Changeling Press LLC
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customer 's review
(The plot was horrible)

(Bonds of the Maleri- A Joyfully Recommended Title)

(Not so bad after all.)

(Great to have these sexy men in one collection.)

(Love or Death)