Although social concerns, political notions, and structural elements have been investigated with a variety of critical approaches in Djuna Barnes’s Nightwood (1936), the ideological content of the book has to be explored further through the prism of a spatiotemporal theory. Employing the chronotope of the temporary autonomous zone, a tripartite theory consisting the concepts of Mikhail Bakhtin, Hakim Bey (Peter Lamborn Wilson), and Matthew Hart, the chapter reads Djuna Barnes’s enactment in her book of Max Stirner’s individualist anarchism, prevalent in the early decades of twentieth-century Paris, as formulated in his book, The Ego and Its Own (1844). The ontological anarchism of Hakim Bey, presented in T.A.Z The Temporary Autonomous Zone (1985), both harkens back to the Nietzschean-Stirnesque individualist anarchism and extends to the special spaces of sovereignty introduced by Matthew Hart in Extraterritorial (2020). While Hakim Bey favors the passing but powerful course of insurrection over the stagnant but stable fate of revolution, Hart positions enhanced authority in spaces undefined and unmarked by national borders. In The Diologic Imagination (1981), Bakhtin defines the artistic chronotope as a vehicle materializing time in space and as a center concretizing representation to render body to the entire literary work. The chronotope of the temporary autonomous zone reveals Barnes’s depiction of Stirner’s individualist anarchism through the unusual floral, faunal, or childlike attributes of her characters in the fleeting spatiotemporal dimension of the book, which reveals the unique individualism of the characters and emphasizes individualist anarchism as a major philosophical perspective that transcends geography and history.