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Blending fiction, myth, and revisionary parody and accompanied by the author's delightful illustrations, "Ladies Almanac" is also a brilliant modernist composition and arguably the most audacious lesbian text of its time. While the book pokes fun at the wealthy expatriates who were Barnes' literary contemporaries and remains controversial today, it seems to have delighted its cast of characters, which was also the first audience. Barney herself subsidized its private publication in 1928. Fifty of the 1050 copies of the first edition were hand colored by the author, who was identified only as a lady of Fashion: on the title page.

The fiery and enigmatic masterpiece—one of the greatest novels of the Modernist era.

NightwoodTimes Literary Supplement

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 persona 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, still crackles with the same electric charge it had on its first publication in 1936.