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The foreword frames the work as a partial view of creation’s face, showing how war on written language altered imaginative writing. It notes that, though earlier publications were often reconstructions, this edition reveals the actual havoc produced by censorship.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/ryder-foreword-and-contents/339708/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/ryder-foreword-and-contents/339708.png","ImageObject",300,407,{"name":92,"@type":93},"Maeve","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-31","2026-09-21",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"Why does the book use expurgation and asterisks?","Question",{"text":112,"@type":113},"The foreword explains that censorship led to the expurgated text, and asterisks are used where necessary to avoid speculation about omitted passages and their impact on continuity and beauty.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Which text source was used for the edition?",{"text":117,"@type":113},"The note states the text comes from the first edition published by Horace Liveright in 1928, described as an expurgated text, while the original manuscript was destroyed during the Second World War.",{"name":119,"@type":110,"acceptedAnswer":120},"What happened to the illustrations in later editions?",{"text":121,"@type":113},"Some original illustrations were censored, but they survive. The first edition drawings were supplemented for later editions, including additional chapter headings and other originally intended drawings preserved in the Djuna Barnes Collection.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},339708,1790827854,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":34,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},5909877438554,"https://ap-avatar.wpscdn.com/avatar/5600025385ad2bf12a7?_k=1778553567797529272","Ryder Djuna Barnes  \nTo  \nT.W.  \nContents  \nForeword  \nA Note on the Text and Illustrations  \n1: Jesus Mundane  \n2: Those Twain—Sophia’s Parents!  \n3: Sophia and the Five Fine Chamber-pots  \n4: Wendell Is Born  \n5: Rape and Repining!  \n6: Portrait of Amelia’s Beginning  \n7: Sophia Tells Wendell How He Was Conceived  \n8: Pro and Con, or the Sisters Louise  \n9: Tears, Idle Tears!  \n10: The Occupations of Wendell  \n11: However, for the Reader ’s Benefit  \n12: Amelia Hears from Her Sister in re Hisodalgus, That Fine Horse  \n13: Midwives’ Lament, or the Horrid Outcome of Wendell’s First Infidelity  \n14: Sophia’s Last Will and Testament  \n15: Who Was the Girl?  \n16: The Coming of Kate-Careless, a Rude Chapter  \n17: What Kate Was Not  \n18: Yet for Vindication of Wendell  \n19: Amelia and Kate Taken to Bed  \n20: Amelia Dreams of the Ox of a Black Beauty  \n21: Wendell Dresses His Child  \n22: And Amelia Sings a Lullaby  \n23: Wendell Tells the Mystery to Julie and to Timothy  \n24: Julie Becomes What She Had Read  \n25: Amelia Hears from Her Sister in Regard to a  \n26: Kate and Amelia Go A-Dunging  \n27: The Beast Thingumbob  \n28: If Some Strong Woman—  \n29: The Psychology of Nicknames  \n30: The Cat Comes Out of the Well  \n31: No Greater Love Hath Any Man  \n32: The Soliloquy of Dr. Matthew O’Connor (Family Physician to the Ryders) on the Way to and from the Confessional of Father Lucas  \n33: Be She What She May  \n34: They Do Not Much Agree  \n35: Amelia Hears from Her Sister in Regard to Timothy  \n36: Amelia Tells a Bed-time Story  \n37: Sweetly Told  \n38: Dr. Matthew O’Connor and the Children  \n39: Wendell Discusses Himself with His Mother  \n40: Old Wives’ Tale, or the Knit Codpieces  \n41: Wherein Sophia Goes A-Begging  \n42: Amelia Hears from Her Sister on the Misfortunes of Women  \n43: Timothy Strives Greatly with a Whore  \n44: Fine Bitches All, and Molly Dance  \n45: Dr. Matthew O’Connor Talks to Wendell on Holy Inspiration  \n46: Ryder—His Race  \n47: Going To, and Coming From  \n48: Elisha in Love with the Maiden  \n49: Three Great Moments of History  \n50: Whom Should He Disappoint Now?  \nAfterword by Paul West  \nForeword  \nThis book, owing to censorship, which has a vogue in America as indiscriminate as all such enforcements of law must be, has been expurgated. Where such measures have been thought necessary, asterisks have been employed, thus making it matter for no speculation where sense, continuity, and beauty have been damaged.  \nThat the public may, in our time, see at least a part of the face of creation (which it is not allowed to view as a whole) it has been thought the better part of valour, by both author and publisher, to make this departure, showing plainly where the war, so blindly waged on the written word, has left its mark.  \nHithertofore the public has been offered literature only after it was no longer literature. Or so murdered and so discreetly bound in linens that those regarding it have seldom, if ever, been aware, or discovered, that that which they took for an original was indeed a reconstruction.  \nIn the case of Ryder they are permitted to see the havoc of this nicety, and what its effects are on the work of imagination.  \nDJUNA BARNES  \nParis, August 8, 1927  \nA Note on the Text and Illustrations  \nThe text is taken from the first edition, published by Horace Liveright in 1928. It is an expurgated text, but the only one available: the original manuscript was destroyed during the Second World War, and Barnes declined the opportunity to restore the censored passages for St. Martin’s 1979 reprint.  \nSeveral of Barnes’s original illustrations were also censored, but happily these survive. To the nine drawings that illustrated the first edition, St. Martin’s added two more—those heading chapters 12 and 15. This new edition adds all the other drawings originally intended for Ryder (pp. 10, 63, 118, 174), including an unfinished one (p. 38), that are now in the Djuna Barnes Collection at the University of Maryland. All th","cbCaif4PyvYqrGU4","https://ap.wps.com/l/cbCaif4PyvYqrGU4","pdf",32300988,268,"English","# Foreword\n## A Note on the Text and Illustrations\n## Contents","[{\"question\":\"Why does the book use expurgation and asterisks?\",\"answer\":\"The foreword explains that censorship led to the expurgated text, and asterisks are used where necessary to avoid speculation about omitted passages and their impact on continuity and beauty.\"},{\"question\":\"Which text source was used for the edition?\",\"answer\":\"The note states the text comes from the first edition published by Horace Liveright in 1928, described as an expurgated text, while the original manuscript was destroyed during the Second World War.\"},{\"question\":\"What happened to the illustrations in later editions?\",\"answer\":\"Some original illustrations were censored, but they survive. The first edition drawings were supplemented for later editions, including additional chapter headings and other originally intended drawings preserved in the Djuna Barnes Collection.\"}]","Ryder - Foreword and Contents | PDF",1790031751,413]