Caroline Knighton is an Independent Scholar and writer based in London. She formerly taught and convened courses at Birkbeck, University of London, UK.

• Series Editor Preface List of IllustrationsAcknowledgments Abbreviations INTRODUCTION: Textual Mess and Modernism’s Gendered Wastes i. Modernism and Barnesean Waste ii. What is Waste? Cities, Bodies, Texts CHAPTER ONE:Stunning Subjects and Disruptive Body Practices i. Marginality and Modernity: Critical Histories of Exclusion and the Case of Baroness Elsa von Freytag-Loringhovenii. Gods, Mutts and Readymades: ‘America’s Comfort - Sanitation!’iii. Calculated Containment: New Women and New York Dada’s Mecanamorphic Portaitsiv. Not Me, Not That: Baroness Elsa and the Grotesque Protrusions of Modernism’s Marginalia CHAPTER TWO: Art Dazzle: Modelling, Performance and the Baroness’s Self-Representational Practices i. Self-Representational Practices, Collage and the Baroness’s Dada Portraits ii. Making Mischief, or Looking Through a Glass Dynamically iii. Chimera in the Croquis Class: Spectacle, Performance and the Baroness’s Body-Work iv. Übermarionettes and Living StatuesCHAPTER THREE: ‘Not Dead’: Djuna Barnes’s Mature Auto/biographic Poetics i. ‘This Generation’s Vulgarity’: Djuna Barnes and the Biographic Impulseii. Textual Waste and the Structural Patterns of Djuna Barnes’s Re-Made Modernism iii. Circulation in the Theme: Repetition, Refrain and Variation Across the Patchin Place Cycles iv. CHAPTER FOUR:Troubling Structures: Inner Time and the ‘Baroness Elsa’ Manuscript i. The Baroness’s Interruptive Poetics ii. Cutting, Stitching, Weaving: Ida-Marie’s ‘strange handiwork’iii. Alexis Carrel and Nightwood’s Troubling Structures iv. Denying the Called Response: Mothers, Daughters and The Antiphon CONCLUSION:Modernism Recovered BIBLIOGRAPHYINDEX

Caroline Knighton is an Independent Scholar and writer based in London. She formerly taught and convened courses at Birkbeck, University of London, UK.

• Series Editor Preface List of IllustrationsAcknowledgments Abbreviations INTRODUCTION: Textual Mess and Modernism’s Gendered Wastes i. Modernism and Barnesean Waste ii. What is Waste? Cities, Bodies, Texts CHAPTER ONE:Stunning Subjects and Disruptive Body Practices i. Marginality and Modernity: Critical Histories of Exclusion and the Case of Baroness Elsa von Freytag-Loringhovenii. Gods, Mutts and Readymades: ‘America’s Comfort - Sanitation!’iii. Calculated Containment: New Women and New York Dada’s Mecanamorphic Portaitsiv. Not Me, Not That: Baroness Elsa and the Grotesque Protrusions of Modernism’s Marginalia CHAPTER TWO: Art Dazzle: Modelling, Performance and the Baroness’s Self-Representational Practices i. Self-Representational Practices, Collage and the Baroness’s Dada Portraits ii. Making Mischief, or Looking Through a Glass Dynamically iii. Chimera in the Croquis Class: Spectacle, Performance and the Baroness’s Body-Work iv. Übermarionettes and Living StatuesCHAPTER THREE: ‘Not Dead’: Djuna Barnes’s Mature Auto/biographic Poetics i. ‘This Generation’s Vulgarity’: Djuna Barnes and the Biographic Impulseii. Textual Waste and the Structural Patterns of Djuna Barnes’s Re-Made Modernism iii. Circulation in the Theme: Repetition, Refrain and Variation Across the Patchin Place Cycles iv. CHAPTER FOUR:Troubling Structures: Inner Time and the ‘Baroness Elsa’ Manuscript i. The Baroness’s Interruptive Poetics ii. Cutting, Stitching, Weaving: Ida-Marie’s ‘strange handiwork’iii. Alexis Carrel and Nightwood’s Troubling Structures iv. Denying the Called Response: Mothers, Daughters and The Antiphon CONCLUSION:Modernism Recovered BIBLIOGRAPHYINDEX

Caroline Knighton is an Independent Scholar and writer based in London. She formerly taught and convened courses at Birkbeck, University of London, UK.

• Series Editor Preface List of IllustrationsAcknowledgments Abbreviations INTRODUCTION: Textual Mess and Modernism’s Gendered Wastes i. Modernism and Barnesean Waste ii. What is Waste? Cities, Bodies, Texts CHAPTER ONE:Stunning Subjects and Disruptive Body Practices i. Marginality and Modernity: Critical Histories of Exclusion and the Case of Baroness Elsa von Freytag-Loringhovenii. Gods, Mutts and Readymades: ‘America’s Comfort - Sanitation!’iii. Calculated Containment: New Women and New York Dada’s Mecanamorphic Portaitsiv. Not Me, Not That: Baroness Elsa and the Grotesque Protrusions of Modernism’s Marginalia CHAPTER TWO: Art Dazzle: Modelling, Performance and the Baroness’s Self-Representational Practices i. Self-Representational Practices, Collage and the Baroness’s Dada Portraits ii. Making Mischief, or Looking Through a Glass Dynamically iii. Chimera in the Croquis Class: Spectacle, Performance and the Baroness’s Body-Work iv. Übermarionettes and Living StatuesCHAPTER THREE: ‘Not Dead’: Djuna Barnes’s Mature Auto/biographic Poetics i. ‘This Generation’s Vulgarity’: Djuna Barnes and the Biographic Impulseii. Textual Waste and the Structural Patterns of Djuna Barnes’s Re-Made Modernism iii. Circulation in the Theme: Repetition, Refrain and Variation Across the Patchin Place Cycles iv. CHAPTER FOUR:Troubling Structures: Inner Time and the ‘Baroness Elsa’ Manuscript i. The Baroness’s Interruptive Poetics ii. Cutting, Stitching, Weaving: Ida-Marie’s ‘strange handiwork’iii. Alexis Carrel and Nightwood’s Troubling Structures iv. Denying the Called Response: Mothers, Daughters and The Antiphon CONCLUSION:Modernism Recovered BIBLIOGRAPHYINDEX