JAMES JOYCE - Set of 3 photo post cards - New, vintage B&W photos. Out of print.
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JAMES JOYCE - Set of 3 photo post cards - New, vintage B&W photos. Out of print.:
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JAMESJOYCE
Setof3photo postcards
James Joyce with his wife Nora, son, Giorgio, and daughter,Lucia;1924, shortly after the publication of Ulysses
Berenice Abbott’s photograph of James Joyce on the wall ofVesuvio’s, North Beach, San Francisco, 1976 Photograph by Ira Nowinski©
James Joyce, Irish author(1882-1941), with the French operatic tenorJohn (O’) Sullivan, Paris, c. 1929
Each postcard is 4¼x 6 in.
PrintedbyNorthern California art publisher,Pomegranate Publications.
New, in mintcondition. Rare and out of print.
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James Joyce
From Wikipedia, the free encyclopedia
James Augustine[1] Aloysius Joyce (2 February 1882 – 13 January 1941)was an Irish novelist and poet, considered to be oneof the most influential writers in the modernist avant-garde of the early 20th century.
Joyce is bestknown for Ulysses (1922), a landmark work in which the episodes of Homer\'s Odyssey are paralleled in an array ofcontrasting literary styles, perhaps most prominent among these the stream of consciousness technique he utilized. Otherwell-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings includethree books of poetry, a play, occasional journalism, and his publishedletters.
Joyce was bornin 41 Brighton Square, Rathgar, Dublin—a kilometre from his mother\'sbirthplace in Terenure—into a middle-class family on the waydown. A brilliant student, he excelled at the Jesuit schools Clongowes and Belvedere, despite the chaotic family lifeimposed by his father\'s alcoholism and unpredictable finances. He went on toattend University College Dublin.
In 1904, in hisearly twenties he emigrated permanently to continental Europe with his partner Nora Barnacle. They lived in Trieste, Paris, and Zurich. Though most of his adult life wasspent abroad, Joyce\'s fictional universe centres on Dublin, and is populated largely bycharacters who closely resemble family members, enemies and friends from histime there; Ulysses in particular is set with precision in the streetsand alleyways of the city. Shortly after the publication of Ulysses heelucidated this preoccupation somewhat, saying, \"For myself, I alwayswrite about Dublin, because if I can get to the heart of Dublin I can get tothe heart of all the cities of the world. In the particular is contained Augustine Aloysius Joycewas born on 2 February 1882 to JohnStanislaus Joyce and MaryJane \"May\" Murray, in the Dublin suburb of Rathgar. He was baptized according to the Rites of the Catholic Church in thenearby St Joseph\'s Church in Terenure on 5 February by Rev. John O\'Mulloy. His godparents were Philip and EllenMcCann. He was the eldest of ten surviving children; two of his siblings diedof typhoid. His father\'s family, originally from Fermoy in Cork, had once owned a small salt and limeworks. Joyce\'s father and paternal grandfather both married into wealthyfamilies, though the family\'s purported ancestor, Seán Mór Seoighe (fl. 1680) was a stonemason from Connemara.[3] In 1887, his father was appointed ratecollector (i.e., a collector of local property taxes) by Dublin Corporation; the family subsequently moved to thefashionable adjacent small town of Bray 12 miles (19km) from Dublin. Around this time Joyce was attacked bya dog, which engendered in him a lifelong cynophobia. He also suffered from astraphobia, as a superstitious aunt had describedthunderstorms to him as a sign of God\'s wrath.[4]
In 1891 Joyce wrote a poem on thedeath of CharlesStewart Parnell. Hisfather was angry at the treatment of Parnell by the Catholic church, the IrishHome Rule Party and the English Liberal Party and the resulting collaborativefailure to secure Home Rule for Ireland. The Irish Party had dropped Parnellfrom leadership. But the Vatican\'s role in allying with the EnglishConservative Party to prevent Home Rule left a lasting impression on the youngJoyce. [5] The elder Joyce had the poem printed andeven sent a part to the Vatican Library. In November of that same year, John Joyce wasentered in StubbsGazette (a publisherof bankruptcies) and suspended from work. In 1893, John Joyce was dismissedwith a pension, beginning the family\'s slide into poverty caused mainly byJohn\'s drinking and general financial mismanagement.[6]
Joyce had begun his education at ClongowesWood College, a Jesuit boarding school near Clane, County Kildare, in 1888 but had to leave in 1892 when his father could nolonger pay the fees. Joyce then studied at home and briefly at the ChristianBrothers O\'Connell School on North Richmond Street, Dublin, before he wasoffered a place in the Jesuits\' Dublin school, Belvedere College, in 1893. This came about because of a chancemeeting his father had with a Jesuit priest who knew the family and Joyce wasgiven a reduction in fees to attend Belvedere. [7] In 1895, Joyce, now aged 13, was electedto join the Sodality of Our Lady by his peers at Belvedere.[8] The philosophy of Thomas Aquinas continued to have a strong influence on him formost of his life.[9]
Joyce enrolled at the recentlyestablished UniversityCollege Dublin (UCD) in1898, studying English, French and Italian. He also became active in theatricaland literary circles in the city. In 1900 his laudatory review of Henrik Ibsen\'s When We Dead Awaken was published in FortnightlyReview; it was hisfirst publication and, after learning basic Norwegian to send a fan letter toIbsen, he received a letter of thanks from the dramatist. Joyce wrote a numberof other articles and at least two plays (since lost) during this period. Manyof the friends he made at University College Dublin appeared as characters inJoyce\'s works. His closest colleagues included leading figures of thegeneration, most notably, Thomas Kettle, FrancisSheehy-Skeffington and OliverSt. John Gogarty. Joycewas first introduced to the Irish public by Arthur Griffith in his newspaper, TheUnited Irishman, inNovember 1901. Joyce had written an article on the IrishLiterary Theatre and hiscollege magazine refused to print it. Joyce had it printed and distributedlocally. Griffith himself wrote a piece decrying the censorship of the studentJames Joyce.[10][11] In 1901, the National Census of Irelandlists James Joyce (19) as an English- and Irish-speaking scholar living with his mother and father, sixsisters and three brothers at Royal Terrace (now Inverness Road), Clontarf, Dublin.[12]
After graduating from UCD in1902, Joyce left for Paris to study medicine, but he soon abandoned this aftera time. Richard Ellmann suggests that this may have been because he found thetechnical lectures in French too difficult. Joyce had already failed to passchemistry in English in Dublin. But Joyce claimed ill health as the problem andwrote home that he was unwell and complained about the cold weather .[13] He stayed on for a few months, appealingfor finance his family could ill afford and reading late in the BibliothèqueSainte-Geneviève. Whenhis mother was diagnosed with cancer, his father sent a telegram which read,\"NOTHER [sic] DYING COME HOME FATHER\".[14] Joyce returned to Ireland. Fearing forher son\'s impiety, his mother tried unsuccessfully to get Joyce to make hisconfession and to take communion. She finally passed into a coma and died on 13August, James and Stanislaus having refused to kneel with other members of thefamily praying at her bedside.[15] After her death he continued to drinkheavily, and conditions at home grew quite appalling. He scraped a livingreviewing books, teaching, and singing—he was an accomplished tenor, and won the bronze medal in the 1904 Feis Ceoil.[16][17]
On 7 January 1904 he attempted topublish A Portrait of the Artist, an essay-story dealing with aesthetics, only to have it rejected from the free-thinking magazine Dana. Hedecided, on his twenty-second birthday, to revise the story into a novel hecalled Stephen Hero. It was a fictional rendering of Joyce\'s youth, buthe eventually grew frustrated with its direction and abandoned this work. Itwas never published in this form, but years later, in Trieste, Joyce completelyrewrote it as A Portrait of the Artist as a Young Man. The unfinished StephenHero was published after his death.[18]
The same year he met Nora Barnacle, a young woman from Galway City who was workingas a chambermaid. On 16 June 1904, they first stepped out together, an eventwhich would be commemorated by providing the date for the action of Ulysses.
Joyce remained in Dublin for sometime longer, drinking heavily. After one of these drinking binges, he got intoa fight over a misunderstanding with a man in St Stephen\'s Green;[19] he was picked up and dusted off by aminor acquaintance of his father, Alfred H. Hunter, who brought him into hishome to tend to his injuries.[20] Hunter was rumoured to be a Jew and tohave an unfaithful wife, and would serve as one of the models for Leopold Bloom, the protagonist of Ulysses.[21] He took up with medical student OliverSt John Gogarty, whoformed the basis for the character Buck Mulligan in Ulysses. After staying for six nightsin the MartelloTower that Gogarty was renting in Sandycove, he left in the middle of the night following analtercation which involved another student he lived with, the unstable DermotChenevix Trench (Haines in Ulysses), firing a pistol at some panshanging directly over Joyce\'s bed.[22] He walked the 13 kilometres back toDublin to stay with relatives for the night, and sent a friend to the tower thenext day to pack his trunk. Shortly thereafter he left Ireland with Nora tolive on the Continent.
1904–20:Trieste and ZurichJoyce and Nora went into self-imposed exile, moving first to Zurich inSwitzerland, where he had supposedly acquired a post to teach English at the Berlitz Language School through an agentin England. It turned out that the agent had been swindled; the director of theschool sent Joyce on to Trieste, which was then part of Austria-Hungary(until WorldWar I), and is today part of Italy. Once again, he found there was noposition for him, but with the help of Almidano Artifoni, director of theTrieste Berlitz school, he finally secured a teaching position in Pola, then also partof Austria-Hungary (today part of Croatia). Hestayed there, teaching English mainly to Austro-Hungarian naval officersstationed at the Pola base, from October 1904 until March 1905, when theAustrians—having discovered an espionage ring in the city—expelled all aliens.With Artifoni\'s help, he moved back to Trieste and began teaching Englishthere. He remained in Trieste for most of the next ten years.[23]
Later that year Nora gave birthto their first child, Giorgio. Joyce then managed to talk his brother,
Stanislaus, into joining him in Trieste, and secured him aposition teaching at the school. Joyce\'s ostensible reasons were desire forStanislaus\'s company and the hope of offering him a more interesting life thanthat of his simple clerking job in Dublin. Joyce also hoped to augment hisfamily\'s meagre income with his brother\'s earnings.[24] Stanislaus and Joyce had strainedrelations throughout the time they lived together in Trieste, with mostarguments centring on Joyce\'s drinking habits and frivolity with money.[25]
Joyce became frustrated with lifein Trieste and moved to Rome in late 1906, having secured employment as aletter-writing clerk in a bank. He intensely disliked Rome, and moved back toTrieste in early 1907. His daughter Lucia was born later that year.[26]
Joyce returned to Dublin inmid-1909 with George, to visit his father and work on getting Dublinerspublished. He visited Nora\'s family in Galway and liked Nora\'s mother very much.[27] While preparing to return to Trieste hedecided to take one of his sisters, Eva, back with him to help Nora run thehome. He spent only a month in Trieste before returning to Dublin, this time asa representative of some cinema owners and businessmen from Trieste. With theirbacking he launched Ireland\'s first cinema, the Volta Cinematograph, which was well-received, but fell apartafter Joyce left. He returned to Trieste in January 1910 with another sister,Eileen, in tow.[28] Eva became homesick for Dublin andreturned there a few years later, but Eileen spent the rest of her life on thecontinent, eventually marrying Czech bank cashier Frantisek Schaurek.[29]
Joyce returned to Dublin againbriefly in mid-1912 during his years-long fight with Dublin publisher GeorgeRoberts over the publication of Dubliners. His trip was once againfruitless, and on his return he wrote the poem \"Gas from a Burner\",an invective against Roberts. After this trip, he never again came closer to Dublinthan London, despite many pleas from his father and invitations from fellowIrish writer William Butler Yeats.
One of his students in Triestewas Ettore Schmitz, better known by the pseudonym Italo Svevo. They met in 1907 and became lasting friends andmutual critics. Schmitz was a Catholic of Jewish origin and became a primarymodel for Leopold Bloom; most of the details about the Jewish faith in Ulysses came from Schmitz\'s responsesto queries from Joyce.[30] While living in Trieste, Joyce was firstbeset with eye problems that ultimately required over a dozen surgicaloperations.[31]
Joyce concocted a number ofmoney-making schemes during this period, including an attempt to become acinema magnate in Dublin. He also frequently discussedbut ultimately abandoned a plan to import Irish tweed to Trieste.Correspondence relating to that venture with the Irish Woollen Mills were for along time displayed in the windows of their premises in Dublin. Joyce\'s skill at borrowing money saved him from indigence. What income hehad came partially from his position at the Berlitz school and partially fromteaching private students.
In 1915, after most of hisstudents in Trieste were conscripted to fight in World War I, Joyce moved toZurich. Two influential private students, Baron Ambrogio Ralli and CountFrancesco Sordina, petitioned officials for an exit permit for the Joyces, whoin turn agreed not to take any action against the emperor of Austria-Hungaryduring the war.[32] In Zurich, Joyce met one of his mostenduring and important friends, the English socialist painter Frank Budgen, whose opinion Joyce constantly soughtthrough the writing of Ulysses and Finnegans Wake. It was alsohere that Ezra Pound brought him to the attention of Englishfeminist and publisher Harriet Shaw Weaver, who would become Joyce\'s patron,providing him with thousands of pounds over the next 25 years and relieving himof the burden of teaching to focus on his writing. While in Zurich he wrote Exiles,published A Portrait..., and began serious work on Ulysses.Zurich during the war was home to exiles and artists from across Europe, andits bohemian, multilingual atmosphere suited him. Nevertheless, after fouryears he was restless, and after the war he returned to Trieste as he hadoriginally planned. He found the city had changed, and some of his old friendsnoted his maturing from teacher to artist. His relations with his brotherStanislaus (who had been interned in an Austrian prison camp for most of thewar due to his pro-Italian politics) were more strained than ever. Joyce wentto Paris in 1920 at an invitation from Ezra Pound, supposedly for a week, butthe family ended up living there for the next twenty years.
1920–41:Paris and Zurich[edit]Joyce set himself to finishing Ulyssesin Paris, delighted to find that he was gradually gaining fame as anavant-garde writer. A further grant from Miss Shaw Weaver meant he could devotehimself full-time to writing again, as well as consort with other literaryfigures in the city. During this era, Joyce\'s eyes began to give him more andmore problems. He was treated by Dr Louis Borsch in Paris, undergoing nineoperations before Borsch\'s death in 1929. Throughout the 1930s he travelledfrequently to Switzerland for eye surgeries and for treatments for his daughterLucia, who, according to the Joyces, suffered from schizophrenia. Lucia was analysed by Carl Jung at the time, who after reading Ulysses, is said to have concludedthat her father had schizophrenia.[33] Jung said she and her father were twopeople heading to the bottom of a river, except that Joyce was diving and Luciawas sinking.[34][35][36]
In Paris, Maria and Eugene Jolas nursed Joyce during his long years of writing FinnegansWake. Were it not for their support (along with Harriet Shaw Weaver\'sconstant financial support), there is a good possibility that his books mightnever have been finished or published. In their literary magazine \"transition,\" the Jolases published seriallyvarious sections of Finnegans Wake under the title Work in Progress.Joyce returned to Zurich in late 1940, fleeing the Nazi occupation of France.
On 11 January 1941, he underwentsurgery in Zurich for a perforated ulcer. While he at first improved, herelapsed the following day, and despite several transfusions, fell into a coma.He awoke at 2a.m. on 13 January 1941, and asked for a nurse to call hiswife and son, before losing consciousness again. They were still on their waywhen he died 15minutes later.
Joyce\'s body was interred in the Fluntern Cemetery near Zurich Zoo. Swiss tenor Max Meili sang Addio terra, addio cielo from Monteverdi\'s L\'Orfeo at the burial service. Although two senior Irishdiplomats were in Switzerland at the time, neither attended Joyce\'s funeral,and the Irish government later declined Nora\'s offer to permit the repatriationof Joyce\'s remains. Nora, who had married Joyce in London in 1931, survived himby 10 years. She is buried by his side, as is their son Giorgio, who died in1976.
Joyceand religionThe issue of Joyce\'s relationshipwith religion is somewhat controversial. Early in life, he lapsed fromCatholicism, according to first-hand testimonies coming from himself, hisbrother Stanislaus Joyce, and his wife:
My mind rejects the whole presentsocial order and Christianity—home, the recognised virtues, classes of life,and religious doctrines. [...] Six years ago I left the Catholic church, hatingit most fervently. I found it impossible for me to remain in it on account ofthe impulses of my nature. I made secret war upon it when I was a student anddeclined to accept the positions it offered me. By doing this I made myself abeggar but I retained my pride. Now I make open war upon it by what I write andsay and do.[37]
My brother’s breakaway fromCatholicism was due to other motives. He felt it was imperative that he shouldsave his real spiritual life from being overlaid and crushed by a false onethat he had outgrown. He believed that poets in the measure of their gifts andpersonality were the repositories of the genuine spiritual life of their raceand the priests were usurpers. He detested falsity and believed in individualfreedom more thoroughly than any man I have ever known. [...] The interest thatmy brother always retained in the philosophy of the Catholic Church sprang fromthe fact that he considered Catholic philosophy to be the most coherent attemptto establish such an intellectual and material stability.[38]
When the arrangements for Joyce\'sburial were being made, a Catholic priest offered a religious service, whichJoyce\'s wife Nora declined, saying: \"I couldn\'t do that to him.\"[39]
However, L. A. G. Strong, William T. Noon, Robert Boyle and others haveargued that Joyce, later in life, reconciled with the faith he rejected earlierin life and that his parting with the faith was succeeded by a not so obviousreunion, and that Ulysses and Finnegans Wake are essentiallyCatholic expressions.[40] Likewise, Hugh Kenner and T.S. Eliot saw between the lines of Joyce\'s work the outlookof a serious Christian and that beneath the veneer of the work lies a remnantof Catholic belief and attitude.[41] Kevin Sullivan maintains that, ratherthan reconciling with the faith, Joyce never left it.[42] Critics holding this view insist thatStephen, the protagonist of the semi-autobiographical A Portrait of theArtist as a Young Man as well as Ulysses, is not Joyce.[42] Somewhat cryptically, in an interviewafter completing Ulysses, in response to the question \"When did you leavethe Catholic Church\", Joyce answered, \"That\'s for the Church tosay.\"[43] Eamonn Hughes maintains that Joyce takesa dialectic approach, both affirming and denying, saying thatStephen\'s much noted non-serviam is qualified—\"I will not serve thatwhich I no longer believe...\", and that the non-serviam willalways be balanced by Stephen\'s \"I am a servant...\" and Molly\'s\"yes\".[44] It is also known from first handtestimonies and his own writing that Joyce attended Catholic Mass and OrthodoxSacred Liturgy, especially during Holy Week, purportedly for aesthetic reasons.[45] His sisters also noted his Holy Weekattendance and that he did not seek to dissuade them.[45] One friend witnessed him cry \"secrettears\" upon hearing Jesus\' words on the cross and another accused him ofbeing a \"believer at heart\" because of his frequency in church.[45]
Umberto Eco compares Joyce to the ancient episcopi vagantes (stray bishops) in the Middle Ages. They left a discipline, not a cultural heritageor a way of thinking. Like them, the writer retains the sense of blasphemy held as a liturgical ritual.[46]
Some critics and biographers haveopined along the lines of Andrew Gibson: \"The modern James Joyce may havevigorously resisted the oppressive power of Catholic tradition. But there wasanother Joyce who asserted his allegiance to that tradition, and never left it,or wanted to leave it, behind him.\" Gibson argues that Joyce\"remained a Catholic intellectual if not a believer\" since histhinking remained influenced by his cultural background, even though hedissented from that culture.[47] His relationship with religion wascomplex and not easily understood, even perhaps by himself. He acknowledged thedebt he owed to his early Jesuit training. Joyce told the sculptor AugustSuter, that from his Jesuit education, he had \'learnt to arrange things in sucha way that they become easy to survey and to judge.\'[48]
Joyceand musicMusic is central to Joyce\'sbiography and to the understanding of his writings.[49] In turn, Joyce\'s poetry and prose becamean inspiration for composers and musicians. There are at least five aspects toconsider:
1. Joyce\'s musicality: Joyce had considerable musical talent,which expressed itself in his singing, piano and guitar playing, as well as ina melody that he composed. His own musicality (which once made him considermusic as a profession) is the root of his strong adoption of music as a majordriving force in his fiction, in addition to his own experience of music in Irelandbefore he left in 1904. Joyce had a light tenor voice; he was taught by VincentO\'Brien and BenedettoPalmieri; in 1904 won a bronze medal at the competitive music festival FeisCeoil. His only composition is a melody to his poem offer adieu, to whicha piano accompaniment was added in the 1920s in Paris by the American composerEdmund Pendleton (1899–1987).
2. The music Joyce knew: Music frequently found its way intoJoyce\'s poetry and prose. Often this happens in the form of allusions to (orpartial quotations from) texts of Irish traditional songs, popular ballads,Roman Catholic chant and opera arias. His operatic references include works by Balfe, Wallace and Arthur Sullivan, in addition to Meyerbeer, Mozart, and Wagner (among many others). Joyce also makes frequentuse of the Irish Melodies of Thomas Moore and ballads such as George Barker\'s Dublin Bayand J.L. Molloy\'s Love\'s Old Sweet Song.
3. Opera as a genre: Joyce had a lifelong preoccupation withopera as a generic precedent for his own fiction. Although Joyce scholarshiphas long identified an explicit recourse to musical structures in Ulysses(in particular the \'Sirens\' episode) and Finnegans Wake, more recentcriticism has established a decisive reliance on Wagner\'s Ring in FinnegansWake[50] and an attempt to adapt the structures ofopera and oratorio to the medium of fiction, notably in the \'Cyclops\' episodeof Ulysses.[51] George Antheil\'s unfinished setting of \'Cyclops\' as an operaattests this attempt.
4. Music to Joyce\'s words: Music that uses Joyce\'s texts mostfrequently appear as settings of his poems in songs, and occasionally asexcerpts from prose works. Irish composers were among the first to set Joyce\'spoetry, including GeoffreyMolyneux Palmer(1882–1957), HerbertHughes (1882–1937) and Brian Boydell (1917–2000),[52] but the musical qualities of Joyce\'sverse also attracted European and North American composers, with early settingsby Karol Szymanowski (Songs to Words by James Joyce op.54, 1926) and Samuel Barber (Three Songs op. 10, 1936) inaddition to settings by major exponents of the 1950s and \'60s avant-garde suchas Elliot Carter (String Quartet No. 1, 1951) and Luciano Berio (Chamber Music, 1953; Thema (Ommagio aJoyce), 1958; etc.). In 2015 Waywords and Meansigns: Recreating Finnegans Wake [in its whole wholume] set Finnegans Wake to music,unabridged. [53]
5. Music inspired by Joyce: Often, instrumental music was alsoinspired by Joyce\'s writings, including works by Pierre Boulez, Klaus Huber, Rebecca Saunders, Toru Takemitsu and Gerard Victory. With Berio\'s Thema(Ommagio a Joyce) (1958) there is also a key work in the development ofelectro-acoustic music. In 2014 the English composer StephenCrowe set Joyce\'sexplicit letters to Nora as a song-cycle for tenor and ensemble.
Joyce himself took a keeninterest in musical settings of his work, performed some of them himself, andcorresponded with many of the composers in question. He was particularly fondof the early settings by Palmer.
MajorworksDublinersMain article: Dubliners
Joyce\'s Irish experiencesconstitute an essential element of his writings, and provide all of thesettings for his fiction and much of its subject matter. His early volume ofshort stories, Dubliners, is a penetrating analysis of the stagnationand paralysis of Dublin society. The stories incorporate epiphanies, a word used particularly by Joyce, bywhich he meant a sudden consciousness of the \"soul\" of a thing.
APortrait of the Artist as a Young ManMain article: A Portrait of the Artist as a Young Man
A Portrait of the Artist as aYoung Man is a nearlycomplete rewrite of the abandoned novel Stephen Hero. Joyce attempted to burn the original manuscriptin a fit of rage during an argument with Nora, though to his subsequent reliefit was rescued by his sister. A Künstlerroman, Portrait is a heavily autobiographical[54] coming-of-age novel depicting the childhood and adolescenceof protagonist Stephen Dedalus and his gradual growth into artisticself-consciousness. Some hints of the techniques Joyce frequently employed inlater works, such as stream of consciousness, interior monologue, and references to a character\'s psychicreality rather than to his external surroundings, are evident throughout thisnovel.[55] Joseph Strick directed a film of the book in 1977 starring LukeJohnston, Bosco Hogan, T. P. McKenna and John Gielgud.
Exiles and poetryMain articles:PomesPenyeach and ChamberMusic (book)
Despite early interest in thetheatre, Joyce published only one play, Exiles, begun shortly after the outbreak of World War Iin 1914 and published in 1918. A study of a husband and wife relationship, theplay looks back to The Dead (the final story in Dubliners) andforward to Ulysses, which Joyce began around the time of the play\'scomposition.
Joyce also published a number ofbooks of poetry. His first mature published work was the satirical broadside\"The Holy Office\" (1904), in which he proclaimed himself to be thesuperior of many prominent members of the Celtic revival. His first full-length poetry collection ChamberMusic (1907)(referring, Joyce joked, to the sound of urine hitting the side of a chamberpot) consisted of 36 short lyrics. This publication led to his inclusion in theImagist Anthology, edited by Ezra Pound, who was a champion of Joyce\'s work. Other poetryJoyce published in his lifetime includes \"Gas From A Burner\" (1912), PomesPenyeach (1927) and \"Ecce Puer\" (written in 1932 to mark thebirth of his grandson and the recent death of his father). It was published bythe Black Sun Press in Collected Poems (1936).
UlyssesMain article: Ulysses (novel)
Announcement ofthe initial publication of Ulysses.
As he was completing work on Dublinersin 1906, Joyce considered adding another story featuring a Jewish advertisingcanvasser called Leopold Bloom under the title Ulysses. Althoughhe did not pursue the idea further at the time, he eventually commenced work ona novel using both the title and basic premise in 1914. The writing wascompleted in October 1921. Three more months were devoted to working on theproofs of the book before Joyce halted work shortly before his self-imposeddeadline, his 40th birthday (2 February 1922).
Thanks to Ezra Pound, serialpublication of the novel in the magazine The Little Review began in 1918. This magazine was editedby Margaret Anderson and Jane Heap, with the backing of JohnQuinn, a New Yorkattorney with an interest in contemporary experimental art and literature.Unfortunately, this publication encountered censorship problems in the UnitedStates; serialisation was halted in 1920 when the editors were convicted ofpublishing obscenity.[56] Although the conviction was based on the\"Nausicaä\" episode of Ulysses, The Little Review hadfuelled the fires of controversy with dada poet Elsavon Freytag-Loringhoven\'sdefence of Ulysses in an essay \"The Modest Woman.\"[57] Joyce\'s novel was not published in theUnited States until 1933.[58]
Partly because of thiscontroversy, Joyce found it difficult to get a publisher to accept the book,but it was published in 1922 by Sylvia Beach from her well-known Rive Gauche bookshop, Shakespeare and Company. An English edition published the same year by Joyce\'s patron, Harriet Shaw Weaver, ran into further difficulties with theUnited States authorities, and 500 copies that were shipped to the States wereseized and possibly destroyed. The following year, John Rodker produced a print run of 500 more intended toreplace the missing copies, but these were burned by English customs at Folkestone. A further consequence of the novel\'s ambiguous legal status as a bannedbook was that a number of \"bootleg\" versions appeared, most notably anumber of pirate versions from the publisher Samuel Roth. In 1928, a court injunction against Roth wasobtained and he ceased publication.
With the appearance of both Ulyssesand T. S. Eliot\'s poem, The Waste Land, 1922 was a key year in the history ofEnglish-language literary modernism. In Ulysses, Joyce employs stream ofconsciousness, parody, jokes, and virtually every other established literarytechnique to present his characters.[59] The action of the novel, which takesplace in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, parodically contrasted withtheir lofty models. Both Bloom and Dedalus represent Joyce in difference ages:youth and middle age. And both relate to each other symbolically in the novelas father and son. The key to this father/son relationship is revealed byStephen on the Sandymount strand when he contemplates the Nicene Creed and the\'consubstantial\' relationship of God the Father to Son. [60] The book explores various areas of Dublinlife, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionatelydetailed study of the city, and Joyce claimed that if Dublin were to bedestroyed in some catastrophe it could be rebuilt, brick by brick, using hiswork as a model.[61] To achieve this level of accuracy, Joyceused the 1904 edition of Thom\'s Directory—awork that listed the owners and/or tenants of every residential and commercialproperty in the city. He also bombarded friends still living there withrequests for information and clarification.
The book consists of 18 chapters,each covering roughly one hour of the day, beginning around 8a.m. andending sometime after 2a.m. the following morning. Each chapter employsits own literary style, and parodies a specific episode in Homer\'s Odyssey.Furthermore, each chapter is associated with a specific colour, art or science,and bodily organ. This combination of kaleidoscopic writing with an extremeformal schematic structure renders the book a major contribution to thedevelopment of 20th-century modernist literature.[62] The use of classical mythology as an organising framework, thenear-obsessive focus on external detail, and the occurrence of significantaction within the minds of characters have also contributed to the developmentof literary modernism. Nevertheless, Joyce complained that, \"I may haveoversystematised Ulysses,\" and played down the mythiccorrespondences by eliminating the chapter titles that had been taken fromHomer.[63] Joyce was reluctant to publish thechapter titles because he wanted his work to stand separately from the Greekform. It was only when Stuart Gilbert published his critical work on Ulyssesin 1930 that the schema was supplied by Joyce to Gilbert. But as TerrenceKilleen points out this schema was developed after the novel had been writtenand was not something that Joyce consulted as he wrote the novel. [64] A first edition copy of Ulysses is ondisplay at TheLittle Museum of Dublin [1]
FinnegansWakeMain article: Finnegans Wake
Having completed work on Ulysses,Joyce was so exhausted that he did not write a line of prose for a year.[65] On 10 March 1923 he informed a patron,Harriet Weaver: \"Yesterday I wrote two pages—the first I have since thefinal Yes of Ulysses. Having found a pen, with some difficulty Icopied them out in a large handwriting on a double sheet of foolscap so that Icould read them. Il lupo perde il pelo ma non il vizio, the Italianssay. \'The wolf may lose his skin but not his vice\' or \'the leopard cannotchange his spots.\'\"[66] Thus was born a text that became known,first, as Work in Progress and later Finnegans Wake.
By 1926 Joyce had completed thefirst two parts of the book. In that year, he met Eugene and Maria Jolas whooffered to serialise the book in their magazine transition. For the nextfew years, Joyce worked rapidly on the new book, but in the 1930s, progressslowed considerably. This was due to a number of factors, including the deathof his father in 1931, concern over the mental health of his daughter Lucia and his own health problems, including failingeyesight. Much of the work was done with the assistance of younger admirers,including Samuel Beckett. For some years, Joyce nursed theeccentric plan of turning over the book to his friend JamesStephens to complete, onthe grounds that Stephens was born in the same hospital as Joyce exactly oneweek later, and shared the first name of both Joyce and of Joyce\'s fictionalalter-ego, an example of Joyce\'s superstitions.[67]
Reaction to the work was mixed,including negative comment from early supporters of Joyce\'s work, such as Poundand the author\'s brother, Stanislaus Joyce.[68] To counteract this hostile reception, abook of essays by supporters of the new work, including Beckett, WilliamCarlos Williams andothers was organised and published in 1929 under the title Our Exagmination Round His Factificationfor Incamination of Work in Progress. At his 57th birthday party at the Jolases\' home,Joyce revealed the final title of the work and Finnegans Wake waspublished in book form on 4 May 1939. Later, further negative comments surfacedfrom doctor and author Hervey Cleckley, who questioned the significance othershad placed on the work. In his book, TheMask of Sanity,Cleckley refers to Finnegans Wake as \"a 628-page collection of eruditegibberish indistinguishable to most people from the familiar word saladproduced by hebephrenic patients on the back wards of any state hospital.\"[69]
Joyce\'s method of stream ofconsciousness, literary allusions and free dream associations was pushed to thelimit in Finnegans Wake, which abandoned all conventions of plot andcharacter construction and is written in a peculiar and obscure language, basedmainly on complex multi-level puns. This approach is similar to, but far moreextensive than that used by Lewis Carroll in Jabberwocky. This has led many readers and critics to applyJoyce\'s oft-quoted description in the Wake of Ulysses as his\"usylessly unreadable Blue Book of Eccles\"[70] to the Wake itself. However,readers have been able to reach a consensus about the central cast ofcharacters and general plot.
Much of the wordplay in the bookstems from the use of multilingual puns which draw on a wide range of languages.The role played by Beckett and other assistants included collating words fromthese languages on cards for Joyce to use and, as Joyce\'s eyesight worsened, ofwriting the text from the author\'s dictation.[71]
The view of history propounded inthis text is very strongly influenced by Giambattista Vico, and the metaphysics of Giordano Bruno of Nola are important to the interplay of the \"characters.\" Vicopropounded a cyclical view of history, in which civilisation rose from chaos,passed through theocratic, aristocratic, and democratic phases, and then lapsedback into chaos. The most obvious example of the influence of Vico\'s cyclicaltheory of history is to be found in the opening and closing words of the book. FinnegansWake opens with the words \"riverrun, past Eve and Adam\'s, from swerveof shore to bend of bay, brings us by a commodius vicus of recirculation backto Howth Castle and Environs.\" (\"vicus\" is a pun on Vico) andends \"A way a lone a last a loved a long the.\" In other words, thebook ends with the beginning of a sentence and begins with the end of the samesentence, turning the book into one great cycle.[72] Indeed, Joyce said that the ideal readerof the Wake would suffer from \"ideal insomnia\"[73] and, on completing the book, would turnto page one and start again, and so on in an endless cycle of reading.
LegacyJoyce\'s work has been subject tointense scrutiny by scholars of all types. He has also been an importantinfluence on writers and scholars as diverse as Samuel Beckett,[74] Seán Ó Ríordáin,[75] Jorge Luis Borges,[76] Flann O\'Brien,[77] Salman Rushdie,[78] Robert Anton Wilson,[79] John Updike,[80] David Lodge[81] and Joseph Campbell.[82] Ulysses has been called \"ademonstration and summation of the entire [Modernist] movement\".[83] French literary theorist Julia Kristéva characterised Joyce\'s novel writing as\"polyphonic\" and a hallmark of postmodernity alongside poets Mallarmé and Rimbaud.[84]
Some scholars, most notably Vladimir Nabokov, have mixed feelings on his work, oftenchampioning some of his fiction while condemning other works. In Nabokov\'sopinion, Ulysses was brilliant,[85] Finnegans Wake horrible[86]—an attitude Jorge Luis Borges shared.[87]
Joyce\'s influence is also evidentin fields other than literature. The sentence \"Three quarks for MusterMark!\" in Joyce\'s Finnegans Wake[88] is the source of the word \"quark\", the name of one of the elementary particles, proposed by the physicist, Murray Gell-Mann in 1963.[89] The French philosopher Jacques Derrida has written a book on the use of language in Ulysses,and the American philosopher DonaldDavidson has writtensimilarly on Finnegans Wake in comparison with Lewis Carroll. Psychoanalyst Jacques Lacan used Joyce\'s writings to explain his concept ofthe sinthome. According to Lacan, Joyce\'s writing is thesupplementary cord which kept Joyce from psychosis.[90]
In 1999, Time Magazine named Joyce one of the 100 Most Important People of the 20th century,[91] and stated; \"Joyce ...revolutionised 20th century fiction\".[92] In 1998, the Modern Library, US publisher of Joyce\'s works, ranked Ulysses No.1, A Portrait of the Artist as a Young Man No.3, and Finnegans Wake No.77, on its list of the 100best English-language novels of the 20th century.[93]
The work and life of Joyce iscelebrated annually on 16 June, known as Bloomsday, in Dublin and in an increasing number of cities worldwide, and criticalstudies in scholarly publications, such as the JamesJoyce Quarterly,continue. Both popular and academic uses of Joyce\'s work were hampered byrestrictions placed by Stephen J. Joyce, Joyce\'s grandson and executor of his literaryestate.[94] On 1 January 2012, those restrictionswere lessened by the expiry of copyright protection for much of the publishedwork of James Joyce.[95][96]
In April 2013 the CentralBank of Ireland issued asilver €10 commemorative coin in honour of Joyce that misquoted a famous linefrom his masterwork Ulysses[97] despite being warned on at least twooccasions by the Department of Finance over difficulties with copyright anddesign.[98]
On 9 July 2013 it was announcedthat the second ship of the SamuelBeckett-class offshore patrol vessel (OPV) would be named in Joyce\'s honour.[99] The LÉ James Joyce (P62) is due to be delivered to the Irish Naval Service in May 2015.[100]
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