Archive for the ‘joyce’ Category

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Ulysses reading group?

August 9, 2007

I want to bring this up at Tilting with Windmills, but I think it will be less alarming to throw it out on my own blog first:

  • would anyone be interested in a forming a reading group to work our way through James Joyce’s Ulysses?

I say this, obviously, because I would not only be very interested in joining one, but in spearheading the operation. Ulysses is, far and away, my favorite book of all time, but one that I have only read completely through once, despite returning to it and reading chunks several times a year.

Many book-bloggers have expressed trepidation about Ulysses, and I’ve often attempted to calm their fears and say something slightly more eloquent than what I mean: “Just read it!” There is no possible way that it will let you down, even if you can’t shake the sense that you’re only “skimming the surface,” because the surface of Ulysses is magnificent!

I also believe that Ulysses is an ideal choice for this type of blog-collective, for several reasons:

  • it is a vast, multi-voiced, text, therefore making it excellent for a multi-voiced reading experience
  • it can be discouraging at times, so a cloud of peers will be very helpful
  • the amount of secondary material that can be brought in, for assistance, for exploration, and for depth, is astronomical, and much of it is readily accessible on the web
  • it is ideally read with some sort of schedule or structure, as it can be so very easy to put down, but can be difficult to return afterwards

So what say you? Would anyone be at least a little bit interested? If so, leave a comment and let me know.

(pictured: Marilyn Monroe reading Ulysses)

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In Anticipation

June 11, 2007

It’s only Monday, but I’m already super-fired-up about this Saturday: June 16 — Bloomsday!

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Wilson reviews Ulysses

May 29, 2007

Here’s an internet gem: Edmund Wilson’s 1922 New Republic review of Ulysses.

[…] these voices are used to record all the eddies and stagnancies of thought; though exercising a severe selection which makes the book a technical triumph, Mr. Joyce manages to give the effect of unedited human minds, drifting aimlessly along from one triviality to another, confused and diverted by memory, by sensation and by inhibition, is, in short, perhaps the most faithful X-ray ever taken of the ordinary human consciousness.

And as a result of this enormous scale and this microscopic fidelity the chief characters in Ulysses take on heroic proportions. Each one is a room, a house, a city in which the reader can move around. The inside of each one of them is a novel in itself. You stand within a world infinitely populated with the swarming life of experience.

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Top Ten Short Stories

April 28, 2007

On Monday The Literate Kitten posted a ten favorite short stories list, and challenged others to do the same. Here’s what I’ve come up with.

I must confess that I am not a reader of short stories, generally, and therefore my list has a very Nortonesque flavor to it:

  1. “The Dead,” Joyce
  2. “Investigations of a Dog,” Kafka
  3. “Gimpel the Fool,” Singer
  4. “White Nights,” Dostoevsky
  5. “Revelation,” O’Connor
  6. “The Minister’s Black Veil,” Hawthorne
  7. “Cathedral,” Carver
  8. “Barn Burning,” Faulkner
  9. “The Diamond as Big as the Ritz,” Fitzgerald
  10. “A Perfect Day for Bananafish,” Salinger

Many of the items on my list also appear on tLK’s, which either means that we have similar taste, or that we both read the Norton Anthology…

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Fun with Lists: My Top Ten Works of Fiction

February 9, 2007

It’s a list, it’s a meme — it’s hard, but it’s worth it.

For additional difficulty, I forced myself to put them in order. Sacrilege, I know — but it’s all a matter of degree, and it’s good to force yourself into some tough decisions every once in a while.

  1. Ulysses, James Joyce
  2. Middlemarch, George Eliot
  3. To the Lighthouse, Virginia Woolf
  4. Lolita, Vladimir Nabokov
  5. The Great Gatsby, F. Scott Fitzgerald
  6. The Plague, Albert Camus
  7. Howard’s End, E.M. Forster
  8. A Portrait of the Artist As Young Man, James Joyce
  9. The Scarlet Letter, Nathaniel Hawthorne
  10. Herzog, Saul Bellow

Followed with a brief commentary:

Ulysses. I will insist to the end that there is no book as good as Ulysses. The fact that I fully understand less than half of it only contributes to this fact: it stands ever before me, full of life, joy, laughter, sadness, and two or three moments of tears-on-the-page connectedness.

Middlemarch. Can a novel have a perfect moral compass? I think Middlemarch does. This novel has a decidedly visceral effect on me: over 800 pages the story flows steadily and with a soft momentum — I never want to be glancing ahead or referring back, for what I’m reading at the moment couldn’t be any better. And when the narrative voice breaks in, as it always does at just the right moment… whew.

To the Lighthouse. The “Time Passes” section alone would probably make it onto this list as a work of fiction. Virginia Woolf’s prose is the best prose. The whole strains towards unity, and the passage in which Mr. Ramsay ponders over how to “get to Q” blows the top of my head. The only reason Mrs. Dalloway isn’t on the list is that I’ve only read it once, and never feel like I’m ready to try again.

Lolita. I simply adore Nabokov’s rascally prose, and the sparks that fly as passages and events come together as I read. The longer the sentence, the better. Humbert is one of literature’s great characters.

The Great Gatsby. I haven’t returned to Fitzgerald’s masterpiece in several years, but between the ages of 17 and 21 I must have read it six or seven times. Other works have since surpassed it in my estimation, but I still consider it a truly perfect novel, and I wouldn’t be the reader I am today if I hadn’t embraced it so thoroughly in high-school.

The Plague. Camus is one of my personal idols, and his philosophy fully inhabits this novel. There are no heroes, only good men fighting for life in the face of death.

Howard’s End. Forster has a talent for short, incisive chapters that begin and conclude with perfect paragraphs. His restrained, refined style is sensational. Howard’s End also contains one of my favorite passages ever.

A Portrait of the Artist As A Young Man. Yes, that’s two Joyce on one list. I worship at the shrine. Silence, cunning, and exile — Joyce certainly did well following his own guidelines. The novel is full of brilliant scenes and passages — “peppered with epiphanies.”

The Scarlet Letter. Another novel with a perfect moral compass. America is a Puritan nation, a spiritual, legalistic, and psychological nation — and The Scarlet Letter encompasses all of these things. Plus, it’s structure is unparalleled.

Herzog. Bellow’s erudition and spirit reached it’s high point in this novel. Poor Moses Herzog — all he wants is meaning!

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No–Maybe–Yes

January 10, 2007

If what’s anthologized in the Norton is any indication, I’ve just read the central chapters of Carlyle’s Sartor Resartus. The Second Book consists of the autobiography of the hero, professor Teufelsdrock; chapters 7-9, “The Everlasting No,” “The Centre of Indifference,” and “The Everlasting Yea,” form the climax of the professor’s tale, as he experiences an epiphany (as a young man) that greatly changes his outlook on life. I think Carlyle’s really onto something in the final section. It will take some explanation (and lots of quotations from Carlyle — which will be delightful) to get there, but I think it’s worth it.

“The Everlasting No” consists of the professor’s journey into unbelief and his attempts to escape from it. He recognizes that the old systems of religion (Christianity in particular) are no longer viable to him intellectually or personally. Faced with the dominance of the scientific outlook and its inability to provide answers to his yearnings (“Soul is not synonymous with Stomach”), the professor sees nothing but meaninglessness:

Thus has the bewildered Wanderer to stand, as so many have done, shouting question after question into the Sibyl-cave of Destiny, and receive no Answer but an Echo. It is all a grim Desert, this once-fair world of his; wherein is heard only the howling of wild beasts, or the shrieks of despairing, hate-filled men; and no Pillar of Cloud by day, and no Pillar of Fire by night, any longer guides the Pilgrim. To such length has the spirit of Inquiry carried him. “But what boots it (was thut’s)?” cries he: “it is but the common lot in this era. […] The whole world is, like thee, sold to Unbelief; their old Temples of the Godhead, which for long have not been rain-proof, crumble down; and men ask now: Where is the Godhead; our eyes never saw him?”

Thus:

To me the Universe was all void of Life, of Purpose, of Volition, even of Hostility: it was one huge, dead, immeasurable Steam-engine, rolling on, in its dead indifference, to grind me limb from limb.

A difficult place, indeed — and one with which I’m sure we’re all more or less familiar. Eventually, after “smoldering in sulphurous slow-consuming fire” (you can see how well Carlyle can turn an unwieldy phrase) the professor has his first of two epiphanies. The language in the paragraph describing it is deeply symbollic; the professor comes to a realization “over pavements hot as Nebuchadnezzar’s furnace,” asking himself what exactly it is that he’s afraid of. He decides that Death is the fearmonger, and to simply deny that he’s afraid — the “EVERLASTING NO”

Death? Well, Death; and say the pangs of Tophet too, and all that the Devil and Man may, will or can do against thee! Hast thou not a heart; canst thou not suffer whatsoever it be; and, as a Child of Freedom, though outcast, trample Tophet itself under thy feet, while it consumes thee? Let it come, then; I will meet it and defy it!’ And as I so thought, there rushed like a stream of fire over my whole soul; and I shook base Fear away from me forever. I was strong, of unknown strength; a spirit, almost a god. Ever from that time, the temper of my misery was changed: not Fear or whining Sorrow was it, but Indignation and grim fire-eyed Defiance.

The language in the passage, and the general fire of his rebellion, make it clear that the the similarity is to Satan’s “non serviam,” famously depicted in Milton (and Joyce). Carlyle is clearly placing his character in this frame, but only as a stepping stone to get to the “Yes” which will come later.

The chapter between “No” and “Yea,” “The Center of Indifference,” is suitably dull. The professor explains that the world, now that he is not afraid of it, is hardly worth his concern. His mood is one of world-weary detachment, watching events pass with great indifference — hence the chapter’s title. I don’t think it’s terribly important to the book’s overall meaning, or to the final epiphany, besides the mere fact that it sits squarely between the “No” and “Yea” chapters. It’s more a formal narrative necessity than anything else.

So onto “Yea.” The epiphany comes, suitably, on a mountaintop. Carlyle begins the chapter by having the professor move back into one of the book’s main concerns, the conflict between the banal desires of the body and mind, which can be explained by science, and the higher yearnings of the human soul. This, I would say, is the prime concern of the book. Carlyle is writing from a decidedly post-Christian perspective, yet he is still convinced that each person has divinity (or the Infinite, or God) in them, and that this part yearns for greater purpose than can be explained materialistically. For example:

Our Life is compassed round with Necessity; yet is the meaning of Life itself no other than Freedom, than Voluntary Force: thus have we a warfare; in the beginning, especially, a hard-fought battle. For the God-given mandate, Work thou in Well-doing, lies mysteriously written, in Promethean Prophetic Characters, in our hearts; and leaves us no rest, night or day, till it be deciphered and obeyed; till it burn forth, in our conduct, a visible, acted Gospel of Freedom. And as the clay-given mandate, Eat thou and be filled, at the same time persuasively proclaims itself through every nerve,–must not there be a confusion, a contest, before the better Influence can become the upper?

This is from the first paragraph of “The Everlasting Yea,” setting the stage for what’s to come. A little further on, we have the scene of the epiphany: the professor sits on a mountaintop and gazes upon the towns beneath him. He senses the beauty of his surroundings, and is awestruck by the beauty of Nature: “Or what is Nature? Ha! why do I not name thee God?” This is lovely, but fortunately he doesn’t stop there — it’s only the first pang of beauty that awakes him from his indifference. The yearning for beauty awakens in him an understanding of the “vain interminable controversy” in every soul, which he describes in glowing terms (this passage is gorgeous):

Man’s Unhappiness, as I construe, comes of his Greatness; it is because there is an Infinite in him, which with all his cunning he cannot quite bury under the Finite. Will the whole Finance Ministers and Upholsterers and Confectioners of modern Europe undertake, in joint-stock company, to make one Shoeblack HAPPY? They cannot accomplish it, above an hour or two: for the Shoeblack also has a Soul quite other than his Stomach; and would require, if you consider it, for his permanent satisfaction and saturation, simply this allotment, no more, and no less: God’s infinite Universe altogether to himself, therein to enjoy infinitely, and fill every wish as fast as it rose.

Here we have the first kernel of the construct: man is unhappy because he is Great, and longs for nothing less that perfect happiness. The infinite nature of the longing means that it cannot be satiated.

This leads man to believe that the Universe, and therefore his Life, owes him something: he wants perfect happiness, and thinks that it can be attained. “By certain valuations, and averages, of our own striking, we come upon some sort of average terrestrial lot; this we fancy belongs to us by nature, and of indefeasible rights.” We want more things, in the hopes that acquiring more with lead to greater happiness. This goes beyond mere materialism and the accumulation of goods; we also want more of the less tangible qualities — love, contentment, happiness. This leads to envy, as man is lead to believe that there is a certain amount of happiness in the world, and that when others get some that means there is less for him. The professor’s answer to this is simple, but I think it’s quite striking the context Carlyle has created:

“So true is it, what I then said, that the Fraction of Life can be increased in value not so much by increasing your Numerator as by lessening your Denominator. Nay, unless my Algebra deceive me, Unity itself divided by Zero will give Infinity. Make thy claim of wages a zero, then; thou hast the world under thy feet. Well did the Wisest of our time write: ‘It is only with Renunciation (Entsagen) that Life, properly speaking, can be said to begin.’

“I asked myself: What is this that, ever since earliest years, thou hast been fretting and fuming, and lamenting and self-tormenting, on account of? Say it in a word: is it not because thou art not HAPPY? Because the THOU (sweet gentleman) is not sufficiently honored, nourished, soft-bedded, and lovingly cared for? Foolish soul! What Act of Legislature was there that thou shouldst be Happy? A little while ago thou hadst no right to be at all.

First of all, I love how this is formed as an equation — what an indirect way of saying: “stop thinking about being happy!” The professor then moves on to explain how the key is to focus on what you’re doing, mind the actuality, etc:

Yes here, in this poor, miserable, hampered, despicable Actual, wherein thou even now standest, here or nowhere is thy Ideal: work it out therefrom; and working, believe, live, be free. Fool! the Ideal is in thyself, the impediment too is in thyself: thy Condition is but the stuff thou art to shape that same Ideal out of: what matters whether such stuff be of this sort or that, so the Form thou give it be heroic, be poetic? O thou that pinest in the imprisonment of the Actual, and criest bitterly to the gods for a kingdom wherein to rule and create, know this of a truth: the thing thou seekest is already with thee, ‘here or nowhere,’ couldst thou only see!

These words are very similar to a passage — also an epiphany — from J. S. Mill’s Autobiograpy, which I posted a while back on my other blog.

What Carlyle is advocating here, more or less, is that being Blessed (namely, being alive at all) is more important that being Happy. This sentiment is awfully close to platitudes we hear often in our lives: make the best of what you have, you only have one life to live, be present in the moment, etc. One of my favorite aspects of “existential” literature of the sort Carlyle is writing in Sartor Resartus is that it turns thoughts that would otherwise feel banal into epiphanies — by telling it well, by telling it new, by making it deeper, wider, and more beautiful. The professor’s path through defiance, indifference, and affirmation is one which seems hardwired into human life. Some of us may go through it once, some us may go through it every day. Many of us read books like Sartor Resartus just to remember.

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“Love, yes”

January 10, 2007

One of my more delightful RSS feeds is James Joyce’s Ulysses: One Page Every Day. The idea is simple: you receive a page from the Project Gutenberg version of Ulysses in your reader every day. The chunks are very small, and only take a minute or two to read.

It’s not a good way to read Ulysses for the first time, but since I’ve read it through intensely once, and have been dipping in and out ever since, it works great. Often a conversation is cut off in the middle, but never a paragraph. Sometimes you’ll get an absolute gem, a masterpiece of stream-of-consciousness.

Today’s selection (page 217) was one of the best yet: the slice of conversation can stand alone sufficiently, and it contains one of the book’s best lines. It comes from the “Scylla and Charybdis” episode, which takes place in the Royal Library. Stephen is conversing with other literary types about Shakespeare, Ireland, and any number of other matters. Specifically in this snippet, the topic is Pericles. The themes speak to the main thread of Ulysses: that of father (Bloom) and son (Stephen) seeking one another. Here it is:

HOW MANY MILES TO DUBLIN? THREE SCORE AND TEN, SIR. WILL WE BE THERE BY CANDLELIGHT?

–Mr Brandes accepts it, Stephen said, as the first play of the closing period.

–Does he? What does Mr Sidney Lee, or Mr Simon Lazarus as some aver his name is, say of it?

–Marina, Stephen said, a child of storm, Miranda, a wonder, Perdita, that which was lost. What was lost is given back to him: his daughter’s child. MY DEAREST WIFE, Pericles says, WAS LIKE THIS MAID. Will any man love the daughter if he has not loved the mother?

–The art of being a grandfather, Mr Best gan murmur. L’ART D’ETRE GRAND …

–Will he not see reborn in her, with the memory of his own youth added, another image?

Do you know what you are talking about? Love, yes. Word known to all men. Amor vero aliquid alicui bonum vult unde et ea quae concupiscimus …

–His own image to a man with that queer thing genius is the standard of all experience, material and moral. Such an appeal will touch him. The images of other males of his blood will repel him. He will see in them grotesque attempts of nature to foretell or to repeat himself.

The benign forehead of the quaker librarian enkindled rosily with hope.

–I hope Mr Dedalus will work out his theory for the enlightenment of the public. And we ought to mention another Irish commentator, Mr George Bernard Shaw. Nor should we forget Mr Frank Harris. His articles on Shakespeare in the SATURDAY REVIEW were surely brilliant. Oddly enough he too draws for us an unhappy relation with the dark lady of the sonnets. The favoured rival is William Herbert, earl of Pembroke. I own that if the poet must be rejected such a rejection would seem more in harmony with–what shall I say?–our notions of what ought not to have been.