James Joyce: Life (1)

James Joyce

Life

Chronology
1882	1893	1896	1898	1900	1901	1902	1903	1904	1905	1906	1907	1908	1909	1910
1911	1912	1913	1914	1915	1916	1917	1918	1919	1920	1921	1922	1923	1924	1925
1926	1927	1928	1929	1930	1931	1932	1933	1934	1935	1936	1937	1938	1939	1940
1941

1882: James Augustine Joyce [JAJ], b. 6.00 a.m., 2 Feb. (Candlemas), 41 Brighton Square West, Rathgar, and bapt. by Rev. John O’Mulloy, 5 Feb. St Joseph’s Chapel of Ease (later Church of St. Joseph’s), Roundtown, Terenure; godf. Philip McCann (orig. of Dundalk; owner of ship’s chandler on Burgh Quay); eldest son of John Stanislaus Joyce ([JSJ; 1849-1931; b. Cork], and Mary Jane [May], née Murray; the Joyces putatively descended from Thomas de Jorce who arrived in Ireland in 13th c.; JAJ’s paternal grandfather married Ellen, a 2nd cousin of Daniel O’Connell; JSJ, an only son; JSJ appt. Collector of Rates, Inns Quay and Rotunda Wards, 1880 in return for role in election of Liberal candidates; m. Mary Jane Murray (859-1903), 15 May 1880, she being ten years younger; Mrs. Joyce endured fifteen pregnancies, 1881-1894, bearing 4 boys and 6 girls with three misbirths; William O’Connell of Cork (aka Uncle Bill; ‘Uncle Charles’ in A Portrait) joins family for 6-yr stay, some time after death of wife in 1881; also in residence, Mrs. ‘Dante’ Conway (née Hearn; d. 1896), previously a nun in Pennsylvania, leaving the order on inheriting £48,000 at death of her brs. in the colonies; later victim of a large-scale theft of funds by her absconding husband (Conway; m. 1875); Joyce family moves to 23 Castlewood Ave., 1884; moves again to 1 Martello Tce., Bray, May, 1887; neighbours. incl. James Noy Vance (chemist) and family, 4 Martello Tce. (facing); primary ed. at with Eileen [Eleanor] Vance, at Miss Raynor’s kindergarten, Bray; guests there incl. Alf Bergan, Tom Devin, and John Kelly, a convicted Land Leaguer [Fenian], imprisoned under Crimes Act, during Dec., 1887-Jan. 1888, and friend of Tim Harrington (Lord Mayor); JAJ sings in Bray Boat Club Concert at Edward Breslin’s Hotel (Quinnsborough Rd.) with parents, 26 June 1888, his first public performance; JAJ enters Clongowes Wood School, 1 Sept. 1888 (£25 p.a.) under rectorship of Fr. John S. Conmee; the youngest in the school; experiences homesickness and placed in infirmary under Nanny Galvin; studies Ratio Studiorum of Jesuits liberally adapted to state examinations; faces down Fr. James Daly (Dolan in A Portrait) over broken glasses; makes First Communion, 21 April 1889; takes piano lessons from Edward Haughton, 1889-91; later confirmed as Aloysius, [March] 1891; falls ill and moved to Infirmary, Spring 1891; plays imp in Aladdin in school play; Fr. Devitt appt. Rector; JAJ regarded as the most gifted pupil, though takes showing signs of irreligion; JSJ travels to Cork to canvas tenants’ votes for Parnellites in General Election; incurs reproof from Rates Office, July 1891; JAJ writes “Et Tu Healy”, following death of Parnell (7 Oct. 1891), being printed by his father (at Alley & O’Reilly off Bolton St.), a sent copy to the Vatican (‘Why shouldn’t I remember it? Didn’t I pay for the printing of it, and didn’t I send a copy to the Pope?’); JAJ comes home from Clongowes, [prob.] to convalesce after illness, Oct.-Nov. 1891 [Ellmann: removed from Clongowes, June 1891]; JAJ and Stanislaus taken to see Danby’s painting “The Opening of the Seventh Seal”, at National Gallery of Ireland; family moves to 23 Carysfort Ave., Blackrock ("Leoville”), after 26 Nov. 1891 (b. of Eva) or beginning of 1892; Christmas Day dinner-table fracas involving JSJ, John Kelly and Dante, at Carysfort Ave., 1891 [Ellmann: Martello Tce]; Mrs. Conway leaves household four days after; Uncle Bill returns to Cork, 26 Aug., 1892; JAJ studies at home, independently and with mother’s help; attempts a novel associates with neighbouring boy Aubrey Raynold; JSJ appears in Stubbs Gazette and is suspended from work, Nov. 1892;
[ top ]
1893: JSJ loses Collector of Rates post during when Dublin Corporation rationalises, effective 1 Jan. 1893; receives pension of £132.2.4 [poss. secured by personal appeal of Mrs. Joyce]; family moves to 14 Fitzgibbon St. after period in lodgings at 29 Hardwicke St., winter 1892-93 [not before Oct. 1892]; JAJ briefly attends Christian Brothers [CBS], N. Richmond St., 1892-93; JSJ disposes of last Cork properties, Feb. 1893, for purposes of repaying Reuben J. Dodd, bringing JAJ with him to that city; JSJ & JAJ also visiting Youghal, encountering Philip McCann on train home; JAJ enters Belvedere College (built by George Rochfort, 2nd Earl; 1775), 6 April 1893, through personal kindness of Fr. Conmee, S.J., then Director of Studies under the rectorship of Fr. Wheeler; gave his energy to weekly essays for Mr. George Dempsey; reads Charles Lamb’s The Adventures of Ulysses as part of Intermediate Syllabus (Preparatory level); also sel. from Ovid and Caesar, English romantic poetry and poems of Samuel Ferguson; sale of Cork property, Dec. 1893; mat. g.f., 3 March 1894 (of stroke-paralysis); JAJ attends Araby Bazaar at RDS, Ballsbridge, and witnessed returning distressed by W. G. Fallon, 19 May 1894; family moves to Millbourne Avenue, Drumcondra, summer 1894; JAJ wins £20 prize in Intermediate Examinations, June 1894; lends sums to siblings and treats parents to meal at Jammet’s and travels to Glasgow with JSJ, summer 1894; death of John Murray, birth and death of Freddie (18-30 July 1894); JAJ impedes JSJ’s violent attack on his mother by jumping on the former’s back; Fr. Henry appt. as rector of Belvedere, Sept. 1894; Intermediate Prize of £20 for three years, 1895; offered and refuses a school place with Dominicans nr. Dublin; defends Byron against Albrecht Connolly (‘Heron’ in AP) and others, in controversy sparked by laureate Alfred Austin’s diatribe against the ‘feminine’ poetry of Morris & Tennyson; admitted by election to Sodality of Blessed Virgin under directorship of Fr. Henry, 7 Dec. 1895; death of John Kelly, of TB, 13 April & bur. 16 April 1896;
[ top ]
1896: Joyce family moves to 13 N. Richmond St. [var. 17], off N. Circular Rd., summer 1896 (new neighbours incl. Boardmans and Long John Clancy); appt. Sodality Prefect (Praeces), 25 Sept. 1896; engages in ‘spanking match’ with maid servant at home [poss. model for Mary O’Driscoll], resulting in the discharge of the servant after the rector (Fr. Henry) elicits the information from Stanislaus; death of Mrs. Conway, 16 Nov.; family moves to 29 Windsor Ave., Fairview, autumn 1896-summer 1899; attends A Royal Divorce with his father, autumn 1896; hears ‘hellfire’ sermon at Belvedere retreat given by Fr. James A. Cullen, 30 Nov. 1896; JAJ undergoes pious reformation, 1897; pens early version of “Matcham’s Masterstroke” for Titbits (later bestowed on Leopold Bloom); writes Silhouettes, prose sketches in first person, and composes poems for collection to be called Moods (c.1898) - both spoken of by Stanislaus, both lost; scores 13 out of 49 placed students in Intermediate, 1897, with prize of £30 for 2 yrs.; £3 for best English composition in that grade in Ireland; Sunday evening visits to home of David Sheehy and family, 2 Belvedere Place; poss. attraction to Mary, the youngest (m. Tom Kettle); sings humorous songs and English ballads chez Sheehys; reads George Meredith and Thomas Hardy in copies from Capel St. Library, often borrowed for him by Stanislaus; reads Ibsen, whose spirit he encounters in a moment of ‘radiant simultaneity’ (Stephen Hero) and in whom he finds ‘a spirit of wayward boyish beauty’; also Shaw and other critics of moral conventionalism; sports ivy leaf on anniversary of death of Parnell (6 Oct. 1897); purchases copy of Imitation of Christ (Thomas à Kempis) with Intermediate prize money, 26 Oct. 1897;
[ top ]
1898: death of Philip McCann, 12 Jan. 1898; offered Jesuit novitiacy by Fr. Henry, director of studies at Belvedere, and refuses; plays Dr. Grimstone, headmaster of Crichton, in Anstey’s Vice Versa, affecting Fr. Henry’s manner; refuses to attend bishops’ cathetical examination [err. Catholic studies] as less important and denied permission to sit the Intermediate until his French teacher MacErlaine intercedes; fails to win new exhibition but takes English composition prize of £4, judged by Prof. William Magennis (UCD); encounters prostitute on return from the play Sweet Briar (1898) [Ellmann err. 1896], and prob. frequents prostitutes thereafter; confesses with Carmelite Franciscans, Church Street [ante-dated to school-days for A Portrait]; Intermediate results announced 3 Sept.; JAJ wins £30 for a second year, with £4 for best essay and books to the value of £1; buys Ruskin’s Mornings in Florence with prize money, 9 Sept. 1898; JAJ enters the University College, Dublin (Royal University), Oct. 1898 after matriculation course work in Sept. 1898; completes essay on “Force”, 27 Sept. 1898; joins course in Modern Languages; studies English under Thomas Arnold and later Fr. George O’Neill, French under Edouard Cadic (bur. Glasnevin), and Italian under Fr. Charles Ghezzi; rates Dante above Milton; meets Vincent Cosgrave, shrewd but feckless, and later suicide victim in the Thames; also John Francis (Jeff) Byrne (resp. Lynch & Cranly in Portrait, the latter only appearing in Ulysses); George Clancy, with whom he engages in mock-duels in M. Cadic’s classroom (Davin in Portrait; living at Grantham St.; shot by Black & Tans, 1921); Francis Skeffington (nickname “Knickerbockers”; McCann in A Portrait, d.1916); Constantine Curran, and Thomas Kettle; first spoke at UCD Literary & Historical Society (L. & H.), Jan. 1899; elected to Exec. Comm., 18 Feb. 1899; lost narrowly to Louis J. Walsh in election for post of Treasurer, 21 March 1899; attends Sudermann’s Magda, brought to Dublin by Mrs. Campbell, March 1899 and with parents and foretells ‘genius breaking out’ in his own home; compelled by Yeats’s The Countess Cathleen (Antient Concert Rooms, 8 May 1899 [première]), which he watches from the ‘gods’, hearing Florence Farr sing the lyric “Who Goes with Fergus?”, and claps vigorously though surrounded by Irish-Ireland protesters incl. Skeffington, who protests against the ‘type of our people [as] a loathesome brood of apostates’ in the Freeman’s Journal (10 May 1899); JAJ refuses to sign the petition-letter; family temporarily lodging for summer at Convent Ave., Fairview, 1899 [viz., 225 Richmond Rd.], May 1899; JAJ commences reading in National Library; JAJ writes review-article “Ecce Homo” on Munkacsy’s painting shown at RHA (presum. for Fr. Finlay’s New Ireland Review; makes contact with W. L. Courtney, ed. of Fortnightly Review, early Oct. 1899 (effected by George Dempsey, acc. Eugene Sheehy); family moves to 13 Richmond Ave., Fairview, sharing the big house with Richard Hughes and family, Oct. 1899; JAJ attends trial of Samuel Childs for murder of his br. at Bengal Tce. (Glasnevin), defended by Seymour Bushe, Oct. 1899;
[ top ]
1900: JAJ complete �Drama and Life�, 10 Jan. (MS Cornell UL), and delivers same after inspection by Fr. Delany, Pres. of UCD, at L. & H., 20 Jan. 1900 (‘That was magnificent, but you’re raving mad!’); informed by Courtney that he could not take his article on When We Dead Awaken, 19 Jan. 1899; attends Martyn’s The Bending of the Bough (Feb. 1900); receives notice of change of plan, 4 Feb. 1899, and his review-article consequently appears as “Ibsen’s New Drama” in Fortnightly Review (1 April 1900), with 12 guinea payment a week later; visits London with his father and contacts Courtney and lunches with William Archer, the translator of Ibsen; weekend of 15 April (JSJ offering unwelcome pro-Boer comments); plays part of villain in student prod. of Cupid’s Confidant (reviewed by J. B. Hall in Freeman’s Journal); learns of Ibsen’s appreciative appraisal of same (‘velvellig’; letter to Archer, 18 April), 25 April 1900; embarks on learning Norwegian with a view to writing to the master (as he does in March 1901); family moves with the Hughes to 8 Royal Tce., Fairview, May 1900; JAJ re-elected to L. & H. Committee but loses Auditorship election to Hugh Kennedy (later Chief Justice of Ireland), May 1900; his attendance at public meeting on Irish language in education (‘School and the Nation’) recorded in An Claidheamh Soluis, May 1900; visits London alone, attends music halls (‘music hall, not poetry, is the criticism of life’) and sees Eleanora Duse in La Gioconda (Lyceum) and La Città Morta, sending her a eulogistic poem; reintroduces himself to Archer (who has to be reminded who he is in a second note) and lunches with him at his club, May 1900; travels to Mullingar with JSJ and Stanislaus to straighten out elector lists at behest of Dublin solicitor, summer 1900; lodge with photographer Shaw, who has a model [like Milly in Ulysses]; reads D’Annunzio’s The Child of Pleaure, and soon after his La Gloria and Sogno da Tramonto Autumno; writes A Brilliant Career, set in Mullingar and dealing with young doctor facing epidemic (‘To My Own Soul I dedicate the first true work of my life’; Letters, Vol. II. pp.7-8); sends play to William Archer, 30 Aug 1900; reading Gerhart Hauptmann; letter of rejection from Archer, 15 Sept.; family moves to 32 Glengarriff Parade (NCR), autumn 1900; takes English, French, Italian and Logic for BA Hons., with texts incl. Sweet’s Anglo-Saxon Primer, Byron and Arnold, Dante’s Purgatorio and Tasso’s Gerusalemme Liberata; reading Huysman’s La Bas and Horton’s Book of Images;
[ top ]
1901: JAJ writes letter to Henrik Ibsen in Norwegian (March 1901); reading Col. Olcott’s Theosophical Studies and Tolstoy’s The Fruits of Enlightenment, May 1901; attends Soldality Literary Conference meeting on Canon Sheenhan, 1 June 1901; revisits Mullingar with JSJ, summer 1901; works on trans. of Hauptmann’s Vor Sonnenaufgang as Before Sunrise; JAJ sends Shine and Dark [named after a line by Whitman] to Archer and is discouraged from publication, Sept. 1901; writes the first of his epiphanies (Stanislaus accidentally preserving them by writing his commonplace book on the verso); writes “The Day of the Rabblement”, 14 Oct. 1901, protesting against the provincialism of the Irish Literary Theatre on learning that Casadh an tSugáin (Hyde) and Diarmuid and Grania (Moore/Yeats) were to be staged; refused by St. Stephen’s censor Fr. Henry Browne (patron of Sodality Literary Conference), and published with a feminist tract by Francis Sheehy Skeffington, Nov. 1901 (85 copies); reading W. M. Adams’s The House of the Hidden Places (on Egyptian religion), works of Mangan, Yeats’s John Sherman, Verlaine’s Les Poètes Maudits, and Fogazzaro’s Piccolo Mondo Antico; JAJ attends John F. Taylor’s rhetorical defence of Irish language, Law Students’s Debating Soc., 24 Oct., 1901;
[ top ]
1902: JAJ writes a second play, Dream Stuff, in verse; translates Hauptmann’s Michael Kramer; gives paper on J. C. Mangan at L. & H., 1 Feb. 1902 (printed in St Stephen’s, Vol. 1, No. 6, May 1902, pp.116-18), and answered by Hugh Kennedy; death of George, 3 May, bur. 5 May 1902 [Ellmann var. d. 9 March], after protracted illness [falling ill on 13 March]; JAJ omits Easter duties, May 1902; walks to home of George Russell (AE) in Garville Ave., Rathgar, 18 August 1902; registers for St Cecilia’s Medical school, Dublin, 2 Oct.; met W. B. Yeats in Nassau St. and later by Russell, in Oct. 1902; introduced to Lady Gregory, Nassau Hotel, 4 Nov.; inspired by Yeats, he read Joachim Abbas [da] Floris in the ‘stagnant bay’ of Marsh’s Library, 22-23 Oct., 1902 (Vaticinia, siue Prophetiae Abbastis Joachimi [... &c.]; Venice 1589); sits BA Hons. exams, 6 Oct.; JAJ grad. BA Arts, Pass, Royal Univ., 30 Oct. 1902 [var. 31]; JAJ appears to have burnt his juvenile works at about this time (summer 1902); JSJ commutes half his pension to buy house at 7 St Peter’s Tce. [now 5 St Peter’s Rd., Cabra], 24 Oct. 1902; JAJ makes application to Faculté de médecine, Univ. of Paris, 18 Nov. 1902; writes to Lady Gregory (‘I have found no man yet with a faith like mine’) and receives £5; visits E. V. Longworth (ed. Daily Express), to whom she writes on his behalf; borrows from others before leaving for Paris, 2 Dec. 1902; arrives Gare St Lazaire, Paris, 3 Dec., settles at Grand Hôtel Corneille, 5 rue Corneille (Rive Gauche); dines with Dr. Jacques Rivière on intro. of Dr. . Maclagan; writes book review for Daily Express (‘dully expressed’, FW500.15-16), from 4 Dec. 1902; though technically ineligible, attends first medical class, Paris Univ., [7] Dec. 1902; offered full-time position at Scuola Berlitz; review of works of George Meredith and William Rooney (Daily Express, 11 Dec.); visits Joseph Casey (Kevin Egan in Ulysses), a Clerkenwell malefactor and ex-prisoner, now typesetter with New York Herald (Paris Edn.), with his son Patrice, at rue Goutte-d’Or in Montmartre; explores Berlitz teaching (£7.10.0 p.m.) and undertakes to teach Joseph Douce privately (£1 p.m.); mortgage raised on house in Cabra to secure his ticket home, arriving 23 Dec. 1902; meets Oliver St. John Gogarty at the counter of the National Library.
[ top ]
1903: JAJ departs for Paris again, Jan 17, 1903; stops over in London, 18-22 Dec.; visit C. Lewis Hind (ed., Academy), supplies sample copy of reviews, and is refused; offered post as Paris correspondent on Men and Women (ed. George R. Sims); stays at Kennington and frequents one Eve Leslie; attends race-course; visits Lady Gregory and O’Connell cousin (s. of William); reaches Paris, 23 Jan. 1903; secures 6-month admission card [reader’s ticket] to Bibliotheque Nationale, 24 Jan. 1903, reading there in the afternoons; review of Stephen Gwynn, Ireland Today and Tomorrow (Daily Express, 29 Jan.); visits St Cloud suburb on 21st birthday; attends Sarah Bernhardt première, 8 Feb.; reading Ben Jonson; studies Aristotle in St. Hilaire’s trans. in Bibliothèque Ste. Génèvieve, and commences entries in his “Paris Notebook” [Gorman, 1939, pp.96-99], 13 Feb. 1903; encounters J. M. Synge, a co-resident at Hôtel Corneille, 8 March 1903; JAJ criticises Riders to the Sea as insufficiently Aristotelian on receiving typescript from Synge (later borrowing a copy from Sylvia Beach’s shop at his first visit there in 1920); trips to Clamart and Charenton; travels to Nogent, and to Tours, with Chown (Siamese); acquires Les Laurier sont Coupés by Dujardin, at railway kiosk (later identified as the source of parole intèrior); reviews of Ibsen and Lady Gregory’s Poets and Dreamers (Daily Express, 26 March 1903; untypically over author’s initials); receives fateful telegram [‘mother dying come home father’]; borrows 375frs. from Douce (repaid by JSJ as £3); leaves Paris, 11 April 1903; quarrels with Longworth and ends reviewing; attended law classes; returned to St. Cecilia’s but left again; sought support from Dowden for post at National Library; projects newspaper (The Goblin) with Skeffington; May Joyce d. 13 Aug. 1903 [bur. 26 April 1904 in Ulysses]; with Stanislaus, burns her courtship letters from JSJ; bouts of dissipation in Nighttown follow (documented by Stanislaus); writes letter to Irish Times protesting at treatment of French sailors in N. Africa arising from colonial venture of Jacques Lebaudy (unprinted); resumes reviewing for Daily Express but is angrily dismissed by Longworth.
[ top ]
1904 (Jan.-July): JAJ attends classes in law and medicine; crashes literary party given by Lady Gregory and partly-snubs hostess; called ‘a beggar’ by George Moore, who appraises his poetry with the word ‘Symons’; takes singing lessons from Benedetto Palmieri and a room at 60 Shelbourne Rd, home of the McKernans, to practice; sings at concert of St Brigid’s Pamoramic Choir in presence of Lady Fingall, 14 May; attends Feis Ceol at Antient Concert Rooms and sings “No Chastening” (Sullivan) and “The Sally Gardens” (Moffat); walks 14 miles to Celbridge home of Thomas Hughes Kelly, donor of Padraic Colum’s award, to propose investment of £2,000 in the newspaper, 10 Dec. 1903, only to be refused admission by the porter though later receiving an apology by telegram; composes “A Portrait of the Artist as a Young Man”, essay, 7 January 1904, giving an account of the spiritual development of a nameless (but largely autobiographical) hero; rejected by the new magazine Dana; determines to extend the essay into an autobiographical novel, Stephen Hero; collects a number of poems into a volume, calling it Chamber Music; begins what would become the Dubliners stories, at instance of AE (‘simple, rural, live-making, pathos’); receives cuts and bruises in assault on St. Stephen’s Green, Cosgrave standing by; shows Stephen Hero to Russell and is invited to write stories (or epicleti) for Irish Homestead; “The Sisters”, accepted by the journal’s editor H. F. Norman, 23 July, 1904 (publ. 13 Aug.); also “Eveline” (publ. Sept. 10, 1904) and “After the Race” (publ. Dec. 17 1904), then discontinued; undertakes book reviewing as “Stephen Daedalus”, and later as “Dedalus” ; writes and circulates among friends “The Holy Office”, a verse-squib [‘Katharsis-Purgative [...] Thus I relieve their timid arses/Perform my office of Katharsis’], later published privately; wins 2nd place bronze medal in singing competition with John McCormack and J. C. Doyle, Ancient Concert Rooms, 27 Aug. 1904; works as teacher in Dalkey; meets auburn-haired Nora Barnacle (b. Galway 1884 [Barnacle anglic. from Ó Cadhain]) in Nassau St., 10 June 1904; Nora fails to turn up for date outside Sir William Wilde’s house (1, Merrion Sq.); Joyce sends relationship with Nora cemented while walking out on 16 June 1904.
[ top ]
1904 (Aug.-Dec.): JAJ suspects Nora of copying from letter-writing book, 16 Aug. 1904; shares platform with McCormack and J. C. Doyle at RDS (Horse Show Week), singing �The Sally Gardens�, �The Croppy Boy� and �My Love was Born in the North Countree�, 27 Aug., with Nora in the audience; letter to Nora professing his religious apostasy and confessing his ‘anguish and doubt’ regarding her response to him, 29 Aug, 1904; JAJ requested to leave by McKernans on closing up their house for holidays; stays with James & Margaret Cousins for 2 nights at the Bungalow, Dromard Terrace, Sandymount [nr Strand Rd.; off Sandymount Green], and then with Maurice O’Callaghan (medical student), for one night, and with the Murrays at 103 North Strand for some nights more, before removing to Martello Tower, 9-15 Sept. 1904, leased by Oliver St. John Gogarty from War Dept. (£8), and with Samuel Chenevix Trench (aka ‘Diarmuid Trench’, who played the tramp in Casadh), also in residence; quits Martello, after Gogarty fires .22 rifle in main chamber to quieten Trench who is dreaming of panthers, 15 Sept.; joins drinking companions at Maternity Hosp., and proceeds to kips with Cosgrave and others; involved in fracas in Nighttown and assisted by Alfred Hunter, commercial traveller from Belfast, then of 28 Ballybough Rd. [d. 12 Sept. 1926, 23 Gt. Charles St., aetat. 60; Presbyterian], c.16 Sept.; asks James Starkey to effect removal of his possessions from Martello Tower in trunk; advised by Byrne to ask Nora to travel abroad with him; enquires about Berlitz jobs from a Miss Gilford (Lincolnshire); sent Chamber Music to Grant Richards Oct. 8 1904; leaves Ireland with Nora from North Wall, travelling on the same night to London and Paris, 9 Oct. 1904, failing to meet Symons; borrows money from Curran, then visiting Paris; travels on to Zurich, 11 Oct. 1904, staying at Gasthaus Hoffnung (16 Reiterstrasse, adjac. Lagerstrasse); writes part “Christmas Eve” [abandoned story]; finds no Berlitz job awaiting him; sent on to Trieste by Herr Malcrida, arriving 12 October 1904; likewise finds no post there, and redirected by Almidano Artifoni (Berlitz dir. at Trieste), to the new school at Pola (now sp. Pula, Istrian Peninsula, Yugoslavia), ‘a naval Siberia’; arrives 20 Oct. 1904; settles at Via Giulia 2, near the school; befriended by Allessandro and Clotilde [née Bruni] Francini-Bruni (Artifoni’s assistant and acting Berlitz dir.) and his wife (with whom he had eloped); earns £2 p.w. for 16 hrs work, chiefly teaching naval officers; finishes Chap. XII of Stephen Hero by 31 Oct. 1904; Eyers, an English colleague, remarks Nora’s social inferiority to Joyce and is indignantly ejected; JAJ learns Tuscan Italian from Francini and embarks on a translation of Moore’s Celibates with him; writes aesthetic formulae based on Aquinas’s sententiae, in “Pola Notebook”, Nov. 1904; persists with Stephen Hero (Chaps. XII & XIII complete by 12 Dec. 1904;
[ top ]
1905: writing chapter XV at New Year [incl. first extant portion]; JAJ sends 4 chapters dealing with college years to Stanislaus for sight of Cosgrave and Curran, and to be read to Aunt Josephine, 13 Jan. 1905; Joyces move in on an upper floor of Francini’s house at via Medolino 7 (now 1), 13 Jan. 1905 [var. 5 Jan.]; reads Strauss’s Vie de Jésu; contemplates reverting to the title A Portrait as fearing “Stephen Hero” might seem sardonic (acc. Ellmann), Feb. 1905; Irish Homestead refuses “Clay”;aliens expelled by Austrians on discovery of Italian spy-ring; Joyce invited by Artifoni to return to Trieste, March 1905, there to remain till 1915; finds room at Piazza Ponterosso 3, but evicted by landlady after a month in discovering Nora’s pregnancy; moves to 31 via San Nicolò, next door to Scuola Berlitz; completes Chapter XVIII of Stephen Hero, March 1905; reaches Chapter XX by April, Chapter XXI by May, and Chapter XXIV by 7 June 1905; offers Chamber Music to John Lane, 1905; JAJ has 50 copies of “The Holy Office” printed in Trieste, 5 June 1905, for distribution in Dublin; rewrites “A Painful Case” (8 May); writes “The Boarding House” (by 13 July); writes “Counterparts” (by 16 July); a son Giorgio b. 27 July 1905 [later George, occas. Georgie; here Giorgio, passim], being delivered by a pupil Dr. Sinigaglia; JAJ sends telegram to Dublin, ‘SON BORN JIM’; Nora takes in washing (and inscribes laundry list on verso of “A Painful Case”; writes “Ivy Day in the Committee Room” (by 1 Sept.); writes “Araby” and “Grace”, during October; Stanislaus leaves Dublin for Trieste, 15 Oct. 1905; JAJ plans to gain for Nora her share of her grandmother’s legacy; makes concerted effort to win puzzle contest in Ideas (London); takes singing lessons from Giuseppe Sinico, terminated as unpaid; completes 9 more Dubliners stories, and sends 12 to Grant Richards by 3 Dec. 1905;
[ top ]
1906: Grant Richards agrees to publish Dubliners, 17 Feb. 1906, with assent of his reader Filson Young; moves to via Giovanni Boccaccio, sharing an apartment with the Francini Brunis, 24 Feb. 1906; composes “Two Gallants” and sends it to to Richards, 22 Feb.; writes “A Little Cloud”, and revises “A Painful Case”, and “After the Race”; Richards’ printer blue-pencils word ‘bloody’ in “Two Gallants” and soon finds other objectionable passages in the stories; Joyce notified by Richards, 23 April 1906; Richards offers to publish autobiographical writing (A Portrait) first and then the stories; lays off Stephen Hero at Chap. XXV; further letters exchanged with Richards, May-June 1906, incl. JAJ’s reference to ‘the spiritual liberation of my country’, 20 May 1906); registers birth of Giorgio (‘legittimi’); receives news of Gogarty’s marriage (6 Aug. 1906); Joyce reads Wilde’s Portrait of Dorian Gray, circa 16 August 1906; Richards finally rejected the collection, Sept. 1906, reaffirming his rejection on 19 Oct. 1906; in the interim JAJ engages St. Lô Malet (internat. lawyer), who contacts Society of Authors, with blank results; JAJ informs Arthur Symons of Richards’s breach of contract; Symons recommends Chamber Music (“A Book of Thirty Songs for Lovers”) to Elkin Mathews for his Vigo Cabinet, 9 Oct. 1906; JAJ offers Chamber Music to Mathews and mentions his novel of which only two chapters remain to be written (Stephen Hero); Bertelli embezzles funds from Scuola Berlitz and Artifoni indicates that he cannot pay his English teachers in the summer; JAJ applies for a post as clerk-translator at the Roman banking firm of Nast-Kolb and Schumacher; arrives in Rome with family via Ancona, 1 Aug. 1906, settling at via Frattina; wears out trousers and importunes Stanislaus for replacement funds in shape of advance from Artifoni; touches English consul in Rome for 50 lira; takes on private pupil (Terzini) and then finds part-time work at École des Langues, 20 Nov. 1906; compares Rome to a man who makes his living ‘by exhibiting his grandmother’s corpse’); plans a story about the Odyssey [viz., Ulysses], and asks Stanislaus to write with details of Hunter, a Dublin Jew believed to be a cuckold, 3 Dec.; contemplates five more stories (“The Last Supper”, “The Street”, “Vengeance”, “At Bay” and “Catharsis”); checks details of Infallibility at Vatican Council of 1870 at Biblioteca Vittorio Emanuele; suffers rise in rent with alternative notice to quit, 12 Nov.; evicted 3 Dec.; takes 2 rooms on 5th fl., 51 via Monte Brianzo, 8 Dec. 1906 (the second added by Nora); JAJ takes hours at École des Langues and afterwards quits; unable to meet appeal for £1 from JSJ, Christmas 1906; cabby accidentally catches Giorgio under eye with whip;
[ top ]
1907: Elkin Mathews agrees to publish clear of royalties on the first 300 copies and 15% after, 7 Jan. 1907; abruptly resigns from bank, Feb. 1907, ending work 5 March; writes to JSJ assuring him of his continuing concern to help ‘now that I have gained some kind of position’, 9 Feb. 1907; Dubliners rejected by John Long of London, 21 Feb.; returns to Trieste in disarray having been mugged in Rome, losing 200 crowns, arriving Trieste, 7 March 1907 (‘My mouth is full of decayed teeth and my soul of decayed ambitions’); boards with Francinis (though owing money); re-employed by Artifoni at a pittance in spite of earlier refusal; moves to flat at 1 via Santa Catarina; page-proofs of Chamber Music forwarded from Rome, late March; Joyce dissuaded from calling off publication by Stanislaus; commissioned by Roberto Prezioso, a pupil and ed. of Piccolo della Sera (fnd. Teodora Mayer - his portrait a model for Leopold), to write three articles on Ireland, appearing as “Il Fenianismo: L’Ultimo Feniano [Fenianism: The Last Fenian]” (22 March); “Home Rule Maggiorenne [Home Rule Comes of Age]” (19 May); “L’Irlanda all Sbarra [ Ireland at the Bar]” (16 Sept.); Attilio Tamaro invites him to present three lectures at Universita del Popolo (“Irlanda, Isola dei Santi et die Savi [Ireland, Isle of Saints and Sages” (27 April 1907); “Giacomo Clarenzio Mangan [James Clarence Mangan]” (May 1907); “The Irish Literary Revival” [no longer extant]); receives recriminatory letter from JSJ about ‘your incredible mistake’ (i.e., his elopement with Nora), 24 April; Chamber Music, containing 36 poems, published, May 1907 (only 200 copies actually sold by 1913); asks Corriere della Sera to appoint him as Dublin correspondent; applies unsuccessfully for post in South Africa Colonisation Society, early July; contracts rheumatic fever and is admitted to Ospedale Civico, mid-July, convalescing until September; Nora gives birth to Lucia Anna (b. 26 July 1907) in paupers’ ward of same (‘almost born on the street’, acc. Nora); child has marked strabismus; JAJ receives application from Geoffrey Molyneux Palmer to set Chamber Music to music; JAJ completes “The Dead” in hospital and during convalescing, 6 Sept.; tells Stanislaus of his plan to revise Stephen Hero as five long chapters, omitting the scenes of infancy, 8 Sept. 1907; JAJ borrows funds from Artifoni to bring Stanislaus to Trieste, arriving Oct. 1907; JAJ gives up teaching at the Berlitz school on Artifoni’s leasing it to employees (along with Stanlislaus’s debts); takes his pupils away private as clients, incl. Ettore Schmitz (pseud. Italo Svevo; d. 1928); tells Stanislaus that Ulysses would be a Dublin Peer Gynt, 10 Nov.; receives invitation to travel to Greece and Venice with Gogarty, from Vienna, 1 Dec. 1907; embarks on wholesale revision of Stephen Hero as A Portrait, ending Chap. 1 by 29 Nov. 1907 and Chap. 3 by 7 April 1908; Elkin Mathews refuses an option on Dubliners, Nov. 1907, though passing it to Hone;
[ top ]
1908: George Roberts of Maunsel & Co. show interest in Dubliners, Feb. 1908, but Joyce prefers to seek London publisher; Schmitz reads first three chapters of A Portrait in Jan. 1908; JAJ sees Eleanora Duse on stage, Feb. 1908; also sees Ermete Zacconi in Ibsen’s Ghosts, and later in Turgenev’s Il Pane Altrui (JAJ crying out in the theatre, ‘Di questi artisti nessuno se ne sogna da noi [no one at home knows there are artists like this’]); criticises Hamlet for dramatic blunders in performance by Salvini, 8 Feb. 1908; JAJ’s drinking begins to effect his eyesight; row with Nora over drink; JAJ renounces drink, 12 Feb. 1908; receives [non-viewing] rejection from Hutchinson, and also from Alstons Rivers (Feb. 1908) and Edward Arnold (July 1908); trans. Synge’s Riders to the Sea with Nicolò Vidacovich, 6 March 1908; announces plans to become agent for Irish tweed in Trieste, 28 June 1908; takes lessons from Romeo Bartoli and sings in concert quintet; Nora suffers miscarriage at three months, 4 Aug. 1908; JAJ finds himself the only one to regret the ‘truncated existence’; JAJ quarrel with Stanislaus in requiring him to delay repaying his creditors; Stanislaus moves out and settles at 27 via Nuova, Autumn 1908;
[ top ]
1909: JAJ finally moves to 8 via Vincenzo Scussa, March 1909; Stanislaus appt. Asst. Director at Berlitz School; JAJ finally sends Dubliners to George Roberts at Maunsel & Co., April 1909; writes on Oscar Wilde for Piccolo della Sera, 24 March 1909; receives permission from Robert Ross to translate Soul of Man Under Socialism (Wilde); receives financial cri de coeur from JSJ (‘I feel certain I have seen my last Xmas’); JAJ asks Stanislaus to take Giorgio to Ireland, but ultimately makes the trip himself, arriving 29 July (‘Where’s Stannie?’); avoids Gogarty at the pier in Kingstown; joins family at 44 Fontenoy St.; JSJ plays aria from La Traviata (Act. 3) as token of reconciliation (‘Foolish old man ... Now I see the harm I did’); JAJ has chilly encounter with Gogarty, with varying accounts rendered by participants; JAJ shattered by conversation with Cosgrave, who claims to have shared Nora’s favours in 1904, 6 Aug. 1909; writes intemperately to Nora (‘is it all over between us?’, 6 Aug. 1909); on the morrow visits 7 Eccles St., where Byrne is now living with his aunt [the house having been empty in 1904]; assured by Byrne that Cosgrave’s story is a fabrication originating in conspiracy to break his spirit with Gogarty; arranges for Eileen to receive singing lessons and plans to bring Eva to Trieste; Stanislaus charged for Dublin family expenses and obstructed by Artifoni; JAJ reviews Shaw’s The Shewing-Up of Blanco Posnet for Piccolo della Sera, 25 Aug. (printed 8 Sept. 1909); prints himself cards as Piccolo correspondent and visits Evening Telegraph offices on the strength of them; Thomas Kettle seeks lectureship for JAJ at National University; JAJ refuses offer of Italian evening classes in UCD for £100 p.a.; gives Kettles a copy of Chamber Music as wedding gift (though not attending); takes Giorgio to Galway, 26 Aug. 1909 and meets Mrs. Barnacle at Nora’s home, 4 Bowling Green; purchases for Nora a pendant of five dice and tablet inscribed ‘Love is unhapy when love is away’; received funds from Stanislaus; fails to get permission from literary estate of J. M. Synge to produce Riders to the Sea in Italian; signs contract for Dubliners with Joseph Hone of Maunsel and secures advance of £300 advance on royalties from Roberts; pays for Eva’s tonsilectomy; revisits Byrne, who enters the kitchen door at Eccles St. through the front area as Bloom does in Ulysses; returns to Trieste with Giorgio and sis. Eva (aetat. 18), 13 Sept.; chance remark by Eva on the lack of cinema in Dublin inspires him to gain a commission from Triestino cinema-owners to return and establish the Volta Cinema (Dublin, 20 Dec. 1909); departs for Dublin 18 Oct., arriving Dublin 21 Oct., 1909; finds building in Mary St., 28 Oct.; instals partners Machnich and Rebez in Finn’s Hotel, later settling above premises in Mary St.; visits Belfast with partners, 27 Nov.; travels to Cork, 12 Dec.; Volta opens, 20 Dec. (“The First Paris Orphanage”, “La Pourponniere”, and “The Tragic Story of Beatrice Cenci”); Volta gains permanent licence, 29 Dec.; JAJ explores poss. of tweed-importing for Irish Woollen Co. to Trieste; sends MS copy of Chamber Music to Nora; wires emergency funds to Stanislaus and Nora, then facing eviction in Trieste, 1 Dec. 1909;
[ top ]
1910: JAJ returns to Trieste, bringing sis. Eileen, 2 Jan. 1910; a drinking bout on 10 Jan. results in arthritis in one arm and an atrophied deltoid muscle (as recorded in notes of Dr. Victor Morax in 1922, based on Joyce’s explanation of his chronic iritis); agrees to changes in Dubliners, 23 March 1910; JAJ is shown Nora’s former room by manageress; Volta cinema sold at a 40% loss, July 1910; JAJ writes to Roberts with threat of ‘communicating the whole matter [...] in a circular letter to the Irish press’ and taking legal action, 10 July 1910; JAJ with family moves to 32 via Barriera Vecchia with Stanislaus’s help, Aug. 1910, Stanislaus remaining in room at via Nuova but resuming evening meals with them; Roberts promises to send proofs of Dubliners, setting the date of publication at 20 Jan. following, Dec. 1910; JAJ writes “La Cometa dell’ Home Rule” (Piccolo della Sera, 22 Dec. 1910);
[ top ]
1911: JAJ threatens to leave Stanislaus and his sisters (‘the cattolicissime’) in Trieste, letter of 12 Jan. 1911; Roberts again writes renewing objections to altered passages in “Ivy Day”, 9 Feb. 1911; Eva returns to Dublin, 9 July 1911; purportedly throws part or all of the Stephen Hero MS in the fire in 1911, only for it to be rescued by Nora, acc. Samuel Beckett [The Portrait, rescued by Eileen, acc. Ellmann, JJ, 325]; JAJ writes to George V, 1 Aug., and receives dismissive answer from his secretary, 11 Aug.; JAJ writes open letter to Roberts, defending the contested Edward VII passage in Dubliners, 9 Aug.; the letter printed in Sinn Fein (2 Sept. 1911) & abbrev. in Northern Whig (26 Aug. 1911); JAJ trans. W. B Yeat’s Countess Cathleen with Nicol� Vidacovich; encourages Nora to accept attentions from Preziosa, which she checks; JAJ reduces Preziosi to tears in confrontation (observed by Tullio Silvestri) at Piazza Dante, 1911;
[ top ]
1912: Joyces threatened with eviction by landlord Picciola, mid-Feb. 1912; JAJ gives new series of lectures at Università del Popolo ("Verismo ed idealismo nella letterature inglese: Daniele De Foe & William Blake”), March 1912; travels to Padua to sit exams as English teacher, 24-26 April 1912, with oral exams on 30 April (scoring 421 out of 450); plan blocked since his Irish university degree was not acceptible; JAJ offered appt. at Scuola Superiore di Commercio Revoltella [Trieste Commercial High School]; writes “L’Ombra di Parnell [The Shade of Parnell]” (Il Piccolo della Sera, 16 May, 1912); Nora travels to Dublin, with Lucia, on mission to persuade Roberts, arriving Westland Row, 8 July 1912; stayed at Finn’s Hotel; visits George Roberts with JSJ and Charlie Joyce but is rebuffed; travels onwards to Galway to visit her uncle Michael Healy; Joyce and Giorgio arrive in Dublin, via London, 14-15 July 1912; JAJ visits Yeats and fails to get permission for the new translation of his Countess Cathleen, Yeats insisting on the use of the new version; visits Hone at Maunsel (‘I have crossed Europe to see you’) and sent on to Roberts; Roberts proposes deletion of disputed passages, with explanatory preface, or publication under author’s own name; encounters James Stephens in Dawson St., Dublin; travels to Galway and visits grave of Michael Bodkin at Oughterard, c.14 Aug.; JAJ contribs. two articles on Aran Islands to Piccolo, evincing new interest in Irish life and folklore; returns to Dublin, 17 August, settling at the Murrays while Nora and children remain on in Galway (later joining him); forwards letter from Henry Blackwood Price (Asst. Mgr. of Eastern Telegraph Co. in Trieste [branch]), about in foot & mouth serum plans pioneered in Austria, to Wm. Field (MP and Pres. of Irish Cattle Traders’ Assoc.); later writes sub-editorial on the subject for Freeman’s Journal (in Sept. 1912); fails to get Charlie a post as tenor at Sandymount Church; rejects demand frm Roberts that he deposit a bond of £1,000; JAJ brings Padraic Colum to Roberts’s office; faces demands from Roberts for changes to Dubliners amounting to omission of some stories, 18 August 1912; JAJ enlists solicitor [prob. George Lidwell, a friend of JSJ], to write a legal account of Dubliners and receives supportive comment on “Ivy Day” but adverse comment on “An Encounter” (‘magistrates are directed to hear such cases in private’), subsequently moderated, but not addressed to Roberts and therefore ineffective; Roberts demands securities of £1,000; on reflection in back room, JAJ agrees to omit “An Encounter”; JAJ seeks opinion of Kettle, who gravely disparages the collection (‘I’ll slate that book!’); Charles Weekes, Robert’s solicitor in London, advises him that the inclusion of real premises by name is dangerous from libel standpoint; Roberts consults Chas. Weekes in London and Collins in Dublin; writes to Joyce, asking for two sureties of £500; Stanislaus had cabled ‘Come without delay’, 15 Aug.; JAJ pawns watch and chain to stay on in Dublin; Roberts demands changes in “Grace”, “Ivy Day”, “The Boarding House” and every proper name in Dubliners, 30 Aug. 1912; Stanislaus rents flat for Joyces under immediate threat of eviction, 1 Sept. 1912 [Ellmann err. 1 Oct.]; Roberts offers to sell the printed galley sheets for £30, and JAJ accepts on 10 day bill, planning to publish at his own press (viz., The Liffey Press), 5 Sept.; secures set of sheets from Roberts (‘obtained by a ruse’, acc. Letters, Vol. II, p.320); the printer Falconer refuses to part with galleys, 10 Sept. and destroys 1,000 copies on the morrow [so-called Maunsel Edn. of 1910]; Joyce leaves Dublin with family, evening of 11 Sept. 1912; stopping in London, he unsuccessfully offers Dubliners to English Review and Mills & Boon; composes “Gas from a Burner” in waiting-room at Flushing Station (Holland) en route back to Trieste, polishing it en route to Salzburg, 14 Sept. (and printed on his arrival in Trieste); settling in new flat at 4 Via Donato Bramante, 15 Sept. 1912; appt. teacher at the Scuola Revoltella Superiori de Commercio; takes on private students in the afternoons incl. Paolo Cuzzi, Triestino lawyer and his young sister; embarks on 10 Monday-night talks on “Amleto di G. Shakespeare”, at Universit� Popolare [var. del Popolo], Trieste, 5 Nov. 1912-11 Feb. 1913 [var. 4-10 Feb. 1913]; JAJ has family ports. restored by Daniel Egan, Ormond Quay, 1912; Dubliners turned down by Martin Secker (London), late 1912;
[ top ]
1913: Dubliners rejected by Elkin Mathews for the second second time, 1 April 1913; JAJ writes Giacomo Joyce, arising from notes on his mild affair (‘of eyes rather than of bodies’, acc. Ellmann) with Signorina Amalia Popper, a pupil of JAJ’s and dg. Leopoldo Popper, a Triestino businessman, Jan. 1911-mid 1914 [identity conjecture of Ellmann]; JAJ begins writing his new epiphanies in 1913 or 1914, adding to them the next few years and ultimately published as Giacomo from eight large sheets kept by Stanislaus (1968); receives letter from Grant Richards seeking view of Dubliners again, 25 Nov. 1913; letter from Ezra Pound (notified of Joyce by Yeats), 15 Dec. 1913; Yeats sends “I hear an army charging upon the land” to Pound and this poem printed Des Imagistes (1914), anthology; Exiles commenced Nov. 1913;
[ top ]
1914: Stanislaus is arrested as an outspoken irredentist, 9 Jan. 1914; interned [at Katzenau, nr. Linz] until 1918; JAJ sends Pound his revised first chap. of A Portrait and the Dubliners stories in mid-Jan. 1914 (reply dated 19 Jan. 1914); Tullio Silvestri paints Nora, 1914; “Watching the Needle Boats at San Sabba”, a poem by Joyce publ. in Saturday Review, 20 Sept. 1913; Pound prints “A Curious History” composed by JAJ 30 Nov. 1913 and containing JAJ’s Sinn Fein letter of 1911, in The Egoist (15 Jan. 1914); Richards agrees to publish Dubliners, 29 January (in response to Joyce’s renewed demand for a decision of 14 Jan. 1914); agreement signed March 1914, JAJ to take first 120 copies and committing him to Richards for the publication of his subsequent work [A Portrait]; Richards brings out Dubliners using page-proofs from guillotined Dublin edition [not the last that Maunsel had printed] as copy; proofs reach Joyce, April 1914; publication on 15 June 1914 (1,250 copies); A Portrait serialised in The Egoist, ed. Dora Marsden with Harriet Shaw Weaver (in charge from June 1914, using a different printer), 2 Feb. 1914-1 Aug. 1914, after which a hiatus concluding with asterisks for a passage that offended the printer (viz., ‘... Fresh Nelly is waiting on you’); instalments resumes in Nov. 1914; final episode reaches Pound July/Aug. 1915 and published 1 Sept 1915; JAJ commences work on Ulysses March 1, 1914 (St. David’s Day); Tullio Silvestri paints Joyce, 1914; “A Boarding House” and “A Little Cloud” publ. in H. L. Mencken’s Smart Set (May 1914) on recommendation of B. W. Huebsch, publisher; JAJ contacts Huebsch, who professes no intention of publishing; JAJ appt. English correspondent to Gioachino Venezinani paint factory, Jan. 1914 at 100 crowns p.m.; Austria declares war on Serbia, 28 July 1914; Britain and Austrio-Hungarian Empire [Germany] at war, August 1914; no action taken against Joyces;
[ top ]
1915: JAJ receives letter from J. B. Pinker, agent of J. G. Wells, offering to act for him, 10 Feb. 1915; Eileen m. Frantisek Schaurek, Prokurist [cashier] at Zivnostenska Banka, 12 April 1915, later moving to Prague; Richards decides not to publish A Portrait, 18 May 1915 for want of audience in time of war; Italians declare war, May 1915; Austrians begin partial evacuation of Trieste; Joyce gains visa from America Consulate acting on part of UK, and permitted to leave Austria by train on condition of remaining non-combatant through intercession of Baron Ralli and Count Sordina; Joyces arrive Zurich, 30 June 1915, having largely left behind possessions but with first-written episode of Ulysses (“Calypso”) completed up to ‘kidneys of wheat’ (acc. Gorman); Joyces stay at first in Gasthaus Hoffnung (as in 1904), moving after two weeks to 7 Reinhardstrasse; JAJ receives £15 from Michael Healy, 29 June 1915 (plus £9 more in Nov. 1915); receives £75 in three quarterly instalments from Royal Literary Fund, on the recommendation and insistence of Yeats and Pound, acting through Edmund Gosse, July 1915; A Portrait rejected by Martin Secker, July 1915; A Portrait rejected by Duckworth’s reader Edward Garnett, Jan. 1916; Exiles completed April 1915; Joyces move to 10 Kreuzstrase, 15 Oct. 1915; Miss Weaver [HSW] offers to publish A Portrait if no other publisher can be found, 30 Nov. 1915;
[ top ]
1916: JAJ receives £50 from HSW as payment for serialisation rights to ‘your wonderful book’, 14 Jan. 1916; family moves to 54 Seefeldstrasse, March 1916; JAJ receives �100 from Civil Pension List, August 1916; also receives support of £2 weekly from Society of Authors at Pound’s instigation; attends opera and concerts with Ottocaro Weiss, a friend of Otto Schwarz; employed by Prof. Siegmund Feilbogen on bilingual International Review, late 1915; participates in social life of Club des Étrangers and frequents Restaurant zum Roten Kreuz and Café Terrasse; seven printers turn down A Portrait in wake of Rainbow action against Lawrence’s publisher, to 25 March 1916; JAJ secures accounts of Richards’s sales of Dubliners (499 copies in 1914) through Pinker; Exiles rejected by The Stage Society, 11 July 1916; Joyce reports to HSW that Exiles cannot find a publisher, 1 July 1916, and receives from her news of agreement to publish A Portrait with Huebsch, 19 July 1916; Portrait published by Ben Huebsch in New York, 30 Dec. 1916;
[ top ]
1917: HSW, having failed to find a willing printer, using Huebsch’s sheets and publishes A Portrait in 750 copies, 12 Jan. 1917; otherwise enthusiastic review of A Portrait by H. G. Wells for Nation (24 Feb. 1917) suggests that Joyce shares a cloacal obsession with Swift; JAJ receives £50 quarterly from ‘anon. admirer’ (HSW) through solicitor Slack Munro Saw & Co., purporting to find his address in Who’s Who, 22 Feb. 1917 (actually HSW); JAJ discovers his benefactor to be female by pronoun “she” in answer to his letter to the solicitor; John Quinn purchases MS of Exiles, March 1917, and later buys corrected proofs of A Portrait for £20; Society requests to see Exiles again, 1 April 1917, and withdrawn by Pinker 2 July 1917; moves to 73 Seefeldstrasse, former flat of his friend Paul Ruggiero’s father; suffers attacks of glaucoma and synechia, 18 Aug., 1917; Ernst Siedler performs iridectomy on his right eye, at Augenklinik, 24 Aug. 1917; has nervous collapse in convalescence; travels with family to Locarno on medical advice, staying first at Villa Rosa and chiefly at Pension Daheim, 12 Oct. 1917; Martin arrested for embezzlement and afterwards revealed as Juda de Vries, son of distinguished gynecological, in a letter of thanks from his father; JAJ sends first three chaps. of Ulysses (“Telemachiad”, now completed, to Claud Sykes for typing (1st & 2nd on 20 Nov. & 20 Dec.; 3rd in late Dec. 1917); [ top ] 1918: JAJ returns to Zurich, Jan. 1918; settles at 38 Universitätstrasse; good reviews of A Portrait and Dubliners, together with Pound’s promptings, persuades Margaret Anderson and Jane Heap to bring out serial publication of Ulysses in the Little Review, March 1918-Dec. 1920 (13-plus out of 18 episodes), the “Telemachiad” (Chaps. 1-3 of Ulysses) reaching them in February; JAJ becomes the recipient of 1,000 francs p.m. for 12 months from Mrs. Harold Edith Rockefeller MacCormick, 1 March 1918-Oct. 1919, receiving notice from the Eidgenössische Bank of Zurich, 27 Feb. 1918; JAJ learns her identity from Charlotte Sauermann of Zurich Opera Co., a wealthy patroness of Jung resident in Zurich since 1913; JAJ persuaded by Sykes to form and support The English Players, with a view to presenting Importance of Being Earnest, at Theater zur Kaufleuten, Pelikanstrasse, 29 April 1918, JAJ to pay 30 frs. to professional actors involved; subsequently embroiled in legal conflict with Henry Carr over cost of wardrobe (espec. trousers) for the role of Algernon; official support withdrawn from Players by A. Percy Bennett (British Consul-General); JAJ sues Carr for value of tickets sold and libel (‘cad’ and ‘swindler’); JAJ writes to Lloyd George and next to Sir Horace Rumbold (British Min. in Switzerland) complaining about the behaviour of the consulate staff; prelim. hearing of JAJ’s case against Carr, 8 June 1918 (setting date for 8 July); Horace Taylor introduces Frank Budgen, ex-sailor and English artist; JAJ indulges roistering at Zimmerleuten Restaurant with Budgen, Suter and others; Nora appears as Maurya in Riders to the Sea in triple bill incl. Barrie, The Twelve-Pound Look, and Shaw, The Dark Lady of the Sonnets, 17 June 1918; court hearing deferred due to continuing iritis; Joyce tours Players to Lausanne, Geneva, Montreux and Interlaken; recurring eye-trouble in Oct. and Nov.; JAJ suffers attack of iritis in both eyes, May 1918; editions of Exiles brought out similtaneously B. W. Huebsch and Grant Richards and New York and in London, 25 May 1918; Huebsch brings out Chamber Music in New York; A Portrait appreciative review by Clutton-Brock (TLS, 25 July 1918); HSW approaches the Woolfs at suggestion of Roger Fry about possible publication of Ulysses in Hogarth Press, June 1918; Woolfs indicate that the book would take prohibitively long to print on handpress (privately holding it to be ‘underbred’); favourable review in New Statesman by Desmond McCarthy (21 Sept. 1918); English Players produces Mrs. Warren’s Profession, 30 Sept. 1918; JAJ wages 2 lawsuits against Carr, winning the first (15 Oct. 1918), and losing the second (11 Feb. 1919; with costs of & damages of 120 frs.), having withdrawn from the Players in their own interest in Dec. 1918; JAJ choses not to play the part of Richard Rowan in Exiles in mooted English Players production, to be directed by Sykes, hence deferred; Players produce Stanley Houghton, Hindle Wakes, 3 Dec. 1918, losing money in conditions of martial law prevailing in Zurich at the time. [ top ] 1919: attempts to mount Purcell’s Dido and Aeneas at Municipal Theatre but blocked by lack of support from British Consulate; promotes Martyn’s The Heather Field and Yeats’s Land of Hearts’s for next production of English Players, which actually mounts Hubert Henry Davies, The Mollusc (April 1919); gives up drinking absinthe for Nora; tastes Fendant de Sion (‘The Archduchess’); court proceeds against Joyce by destraint; recruits Padraic Colum to raise financial support for persecuted writer in America, resulting in $700 from Scofield Thayer (ed. Dial) and a further $300 from a friend of his (June 1919); JAJ pays $200 toward upkeep of Players and offers to support them; visits Locarno with Budgen, 8 May 1919 and is invited to Isola da Brissago in Lago Maggiore by Baroness St. Leger, an aged “Circe” who presents Joyce with erotic letters and pictures owned by a former Greek lover; Nora sends JAJ telegram announcing settlement of £5,000 War Loan Bonds (at 5%) on him, 14 May 1919; JAJ departs from Locarno without notifying Budgen, 14 May 1919; Pound objects to “Sirens” (letter, 18 June 1919); HSW admits to making donation, letter of 6 July 1919; HSW brings out selection in issues of The Egoist printing Chaps. II, III, VI & X in during Jan.-Dec. 1919; JAJ’s play Exiles, trans. as Verbannte produced in Munich in a German translation of Hannah von Mettal (poss. at the instigation of Stefan Zweig), 7 August 1919; one performance only and called ‘a flop’ by Joyce himself to forestall criticism; letter from G. Herbert Thring (Soc. of Authors) protesting production of Shaw’s play without consent answered by Joyce, 21 Sept. 1919; Mrs McCormick’s payments terminated (‘Der Kredit ist erschöpft’), prob. due to JAJ’s refusal to be psychoanalysed by Carl Jung [or otherwise on Jung’s advice], 1 Oct. 1919; JAJ blames Ottocaro Weiss for the termination of Mrs McCormick’s patronage; Lucia attends Scuola Evangelica after four years at Volkschule in Zurich; serious breach with Ottocaro Weiss based on JAJ’s suspicion of betrayal in the matter; pawned silver watch; JAJ and family return to Trieste, 19 October 1919; Leon Fleischmann, agent of Boni & Liveright, expresses interest in publishing Ulysses in letter to Ezra Pound, 11 Oct. 1919. [ top ] 1920: Joyces settled with the Schaureks, then living at 2 via Sanità; seeks and receives advance from Huebsch through Pinker; failed to persuade Mrs McCormick by letter to renew patronage; resumes teaching at limited hours at Scuola Superiore di Commercio Revoltella, by now a university; associates with Schmitz [Svevo], Silvio Benco (now ed. of Piccolo della Sierra), Otto Schwarz, Tullio Silvestri and Francini - though Signora Francini remarks, ‘Joyce non è piu quello’; cool relations with Stanislaus; working on “Nausicaa” in Nov. 1919, and corresponds with Budgen about Ulysses (‘namby-pampy jammy marmalady drawsery (alto là) style’), begging him to visit to support the writing and offering him teaching hours; seeks for novelettes and penny hymnbook from Aunt Josephine; “Nausicaa” completed by 2 Feb.; JAJ commences working on “Oxen of the Sun”, based on George Saintsbury’s A History of English Prose Rhythm and ‘the most difficult episode in an odyssey [...] to interpret and to execute’ (acc. JAJ in letter to HSW, 25 Feb. 1920; works 1,000 hrs. on chapter before completing it on 18 May; JAJ meets Pound at the latter’s suggestion at Sirmione on Lago di Garda, setting out abortively on 5 June, and arriving on 8 June instead (‘bringing my son [...] to act as lightning conductor’, acc. to HSW, letter 12 July 1920), June 1920; receives shoes and suit from Pound, and is persuaded by him to move to Paris; reaches Paris with family, 8 July 1920, via Venice & Milan - where he visits Carlo Linati, Italian translator of Ulysses, later supplying him with schema of Ulysses (21 Sept. 1920) - and then Dijon via Switzerland; stays initially in private hotel at 9 rue de l’Université; Lucia attends private school for a six months before entering Lycée Duray for a year; Lucia takes drawing lessons at Académie Julian; Ludmilla Bloch-Savitsky (French translator of A Portrait as Dedalus) lends Joyces a flat nr. Bois de Boulogne, July-Nov. 1920; fails to purchase Burberry for Stanislaus with money supplied by him (finally returning devalued sum in March 1922); JAJ meets Adrienne Monnier (Prop. of La Maison des Amis des Livres, 7 rue de l’Odéon), and Sylvia Beach (Prop. of Shakespeare & Co (12 rue de l’Odéon; fnd. at 8 rue Duputryen, Nov. 1919), 12 July 1920; meets John Rodker, an Egoist contributor, and makes plans to bring out first London edn. of Ulysses (viz., the Egoist Edn.); meets T. S. Eliot and Wyndham Lewis at Hôtel Elysée, Eliot bearing a parcel of shoes from Pound; Joyce picks up the bill for an expensive dinner afterwards (Eliot styling his manner ‘punctilious reserve’); borrows portable bed for Giorgio from Jenny Serruys (whose offer to translate Exiles into French he accepts); meets Paul Valéry at home of Natalie Clifford Barney and snubbed by latter on expressing a dislike for Racine and Corneille; HSW supplies further settlement of £2,000 (the legacy of an aunt), placing the funds at JAJ’s disposal; JAJ moves back to 9 rue de l’Université, Nov. 1920 and later takes flat on 5 Boulevard Raspail with £200 supplied by HSW as advance on English royalties; Oct. 1920; case of books arrives from Trieste; “Circe” completed by 20 Dec. 1920 (‘I think it is the best thing I have every written’: JAJ to Francini), while living at rue de l’Assomption [acc. Hutchins]; JAJ has meeting with Valèry Larbaud, Christmas Eve, 1920; Larbaud raves about Ulysses, Feb. 1920 (‘As great as Rabelais!’); US Post Office confiscates and burns issues for Jan. & May 1919; “Nausicaa” (issue for July-Aug. 1920), subject to formal complaint from John S. Sumner of Soc. for Prevention of Vice (NY), Sept. 1920; [ top ] 1921: Court of Special Sessions (NY) hearings on 14 & 21 Feb. 1921 result in fine of $50 and legal undertakings not to print; Otto Schmitz [Svevo] carries JAJ’s notes for Ulysses to Paris as requested, March 1921; Huebsch signals unwillingness to proceed with publication of Ulysses, 24 March 1921; visited by Dr. Joseph Collins, Richard Wallace and Myron Nutting (a painter, who supplied the phrase, ‘how is your corporosity sagatiating?’ in revision of “Oxen”); JAJ refuses to make changes to MS; Huebsch declines to print, 5 April, and JAJ withdraws offer by telegram; receives $150 p.m. from Robert McAlmon; Sylvia Beach offers to publish Ulysses (‘would you let Shakespeare & Co. have the honour of bringing out your Ulysses?’, aided by Adrienne Monnier in spite of ‘lack of capital, experience, and all the other requisites of a publisher’; agreement signed to produce edn. of 1,000 (100 on Holland, signed by author at 350 frs.; 150 on vergé d’arche at 250 frs.; 750 on linen at 150 frs.), with 66% royalties to author, to be printed by Maurice Darantière of Dijon (proposed by Monnier), and HSW to bring out an Egoist Press edition in London from Darantière’s plates (25% to Joyce at first and 90% of profits after costs had been covered); JAJ meets Arthur Power at Bal Bullier (Montparnasse), where Beach and Monnier bring him, the two men proceding to Closérie de Lilas, and subsequently meeting often; MS section of “Circe” destroyed by fire by when viewed typist’s husband (a Mr. Harrison working in the British Embassy), 8 April; John Quinn reluctantly supplies photostat of fair copy in his possession after first refusing access; JAJ meets Marcel Proust chez Mrs Violet Schiff, and in company with Stravinsky and Diaghilev, May 1921, and has vacuous conversation (variously reported by Margaret Anderson, Frank Budgen and Arthur Power); JAJ receives use of Larbaud’s Paris apartment at 71 rue du Cardinal Lemoine, 3 June-Oct. 1921; begins receiving galleys from Darentiere, from 10 June; Lugné-Poë refuses to risk money on French-trans. production of Exiles, 21 June; JAJ answers charge of drunkenness (cocaine, &c.) in self-exculpatory letter to HSW in response to hers about his rumoured drinking, 24 June, 1921; faints from fright when alerted by McAlmon to rat in Brasserie Lutétia, early July; suffers attack of iritis at Café d’Harcourt, following day and recuperates by August with aid of local applications of cocaine; receives idea of final word for Ulysses listening to Mrs Wallace at their house in Chatillon, July 1921; drinks with Lewis at Gipsy Bar, nr. Pantheon and invites him to view Larbaud’s flat; also meets with Djuna Barnes at Les Deux Magots and elsewhere; JAJ moves back to rue de l’Université on Larbaud’s return and continues working on “Penelope”; McAlmon helps types “Penelope”, introducing errors in order of phrases which JAJ apparently approves; JAJ receives visit from Con Leventhal [q. date]; reports to HSW that he has written the first sentence of “Penelope” (2,500 words), 7 Aug. 1921; faints at Alhambra, with Giorgio, 26 Aug., after seeing another rat on 23 Aug., also in company of McAlmon; commences long walks along Champs-Élysées; reading galleys of “Scylla & Charybdis”, 7 Sept. 1921; sends “Penelope” to Darentière, 7 October; enquires of Aunt Josephine if an ‘ordinary person’ could climb over the railings at 7 Eccles St. and gain ground unhurt, 21 Nov. 1921; completes “Ithaca”, 29 October; Jacques Benoîst-Méchin (b.1901) recruited to translate passages of Ulysses for Larbaud séance; JAJ supplies him with secret scheme of Ulysses, later printed by Stuart Gilbert (former judge, retired from Burmese Colonial Service) in 1931; Larbaud gives conférence (lecture) at Maison des Amis des Livres (rue de l’Odéon), 7 Dec. 1921, borrowing the phrase ‘monologue intèrieur’ from Paul Bourget; subscriptions secured two months before publication; Larbaud’s encomium circulated in prospectus (‘[w]ith Ulysses Ireland makes a sensational return into the best European literature’); drawing of JAJ by Wyndham Lewis; [ top ] 1922: Ulysses published in Shakespeare & Co. Edn., 2 Feb. 1922, in cobalt blue and white covers, Beach collecting 2 copies from the guard of the Dijon-Paris train at 7 a.m. (copies nos. 901 & 902); JAJ dines in celebration with the Nuttings, Wallaces and Helen Fieffer at Ferrari’s, moving on to Café Weber, before being led home by Nora against his will; JAJ signs and presents first copy to Nora, who offers to sell it to Arthur Power; further copies arrive from Dijon (nos. 251 & 252), 5 Feb.; JAJ carouses with McAlmon and Hemingway; Desmond Fitzgerald, Irish Free State Minister, offers to nominate him for Nobel Prize and invites him to return to Ireland (‘Not for the present’), circa 20 March 1922; asks for tie and gets ties and ring from McAlmon, then in Cannes; gift of £1,500 from HSW, March 1922 (total to date: £8,500); JAJ and Nora row about her attitude to Ulysses; Nora decides to takes her children to visit Galway family, against Joyce’s wishes, 1 April, 1922, threatening not to return; remains 10 days in London before arrival in Ireland; met in Dublin by John Joyce and Michael Healy; shows off children at Presentation Convent Galway; lodging house occupied by machine-gun unit of Free State Army; JAJ writes distraught letters; JAJ arranges plane to collect Nora and family; Nora boards train and comes under fire from both Civil War sides at Galway; JAJ suffers acute iritis, May 1922 and consults Dr. Victor Morax; attended in domestic squalor by Dr. Pierre Mérigot de Treigny (acting for Morax) at rue de l’Université, end of May; JAJ attends ballet with Nora at invitation of Gilbert Seldes (The Dial editor), 16 June; Joyces travel to London, August 1922, staying at Euston Hotel; met there by Kathleen & Alice Murray (dgs. of Josephine, who professes that Ulysses was unfit to read, causing Joyce to say, ‘If Ulysses isn’t fit to read, life isn’t fit to live’); JAJ meets HSW to discuss Egoist Edition of Ulysses (1922), and pleases her in spite of spending £200 (much of it on taxis); tells HSW, in answer her question, ‘I think I will write a history of the world’; suffers conjunctivitis and is threatened with immobility of fluid leading to glaucoma and blindness by Drs. Henry and James in London; 2nd edn. of Ulysses pub. 12 Oct. 1922 in run of 2,000 and fully subscribed in 4 days; JAJ travels to Marseilles, 13 Oct. 1922, and onwards to Nice, 17 Oct. 1922, staying at Hôtel Suisse; JAJ writes to Aunt Josephine referring to her ‘wrath’ at Ulysses, 23 Oct. 1922 (‘there is a difference between a present of a pound of chops and a present of a book like Ulysses)’; eye drained with leeches by Dr. Louis Colin; JAJ returns to Paris, 12 Nov. 1922; attends Proust’s funeral, Nov. 1922; JAJ quarrels with Sylvia Beach over potential charges of issuing bogus first edition, and with Budgen over compromising letter recovered by Joyce through a ruse (by getting Budgen drunk and taking his wallet in charge); sends copy of Sir Edward Sullivan’s Studio edn. of The Book of Kells to Miss Weaver at Christmas;
[ top ]
1923: JAJ sorts out notes of Ulysses (12 kilos), Feb. 1923; commences writing Finnegans Wake with “King Roderick O’Conor”, 10 March, 1923 (‘Il lupo perde il pelo ma non il vizio ... the leopard cannot change his spots’: letter to HSW, 11 March 1923); shows early draft of “Tristam and Iseult” to Larbaud, March 1922; decayed teeth removed, 4 April 1923 (initially scheduled for Jan.); convalesces for two weeks in maison de santé; JAJ and family travel to England arriving London mid-June 1923, staying at 6 Montague St. W.1; HSW settles a further £12,000 on JAJ (bequeathed by an aunt); Joyces travel to Bognor Regis, with Nora’s sister Kathleen Barnacle, staying at Alexandra Hse., Clarence Rd (Nora remarking, ‘He’s on another book again’); rewrites “Tristam and Iseult” in Bognor; visited by T. S. Eliot in Bognor; buys brown suitcase at Bognor (later used for writing his ‘ridiculous sentences while flat-hunting’); returns to Paris, Aug. 1923, and moves to better lodgings at Hôtel Victoria Palace, 6 rue Laise Desgoffes while flat-hunting; Giorgio [now George, here Giorgio passim] briefly works at Banque Nationale du Crédit, and then enrolls in Schola Cantorum; JAJ takes Dujardin’s Les Laurier sont coupés to Larbaud, successfully insisting on its part as origin of monologue intèrior (aka parole intèriore in JAJ’s holograph ded. of Ulysses to Dujardin, 1931); attends Ballet Mécanique of George Antheil and another concert by him at Ballet Suédois, 4 Oct. 1923; meets John Quinn, and photographed with Ford Madox Ford and Pound, Oct. 1923; Quinn announces his plan of selling off the Ulysses MS; Ford offers to publish sample of “Work in Progress” in transatlantic review; appearance of T. S. Eliot’s essay, “Ulysses, Order, and Myth”, in Dial (Nov. 1923), announcing that the ‘mythic order’ of Joyce’s Ulysses had ‘the importance of a scientific discovery’; 5 poems from Chamber Music appear in Der Querschnitt (Frankfurt 1923); letter seeking interim aid from HSW, 19 Nov. 1923;
[ top ]
1924: Quinn sells Ulysses MS and A. S. W. Rosenbach acquires it, at Anderson Galleries, 16 Jan. 1924 ($1,975); Rosenbach offers to buy corrected proofs from Joyce but refused; first unlimited edn. of Ulysses issued by Shakespeare & Co. (Paris 1924); JAJ notifies Schmidt that he is using his wife’s name (Livia) for his new work (letter of 20 Feb. 1920); wins Larbaud’s support for Schmitz’s La Coscienza di Zeno [The Confessions of Zeno], March-April 1924; Ludmilla Bloch-Savitsky, trans., A Portrait, publ. às Dedalus (March 1924); Auguste Morel set to translating parts of Ulysses, March 1924; Larbaud weighs in against objections raised by printer over missing [diacriticals] in trans. version of “Penelope” (‘Joyce a raison/Joyce ha ragione’), 5 July 1924; fragments of Ulysses in French translations by Larbaud and Morel appear in Commerce (Summer 1924), “Telemachus” and parts of “Ithaca” and “Penelope”, in spite of objections by Princess Caetani, a funder; botched proofs of new fragment (“Work in Progress”, being Ford Madox Ford’s term) reach JAJ, Feb. 1924; “Work in Progress” extract published as “Literary Supplement” in transatlantic review (April 1924), with work of Tzara and Hemingway; JAJ sends draft of Anna Livia Plurabelle to HSW, 7 March 1924; completes “Shaun the Post” by late May and writes the poem “A Prayer!”, 20 May 1924 (‘Blind me with your dark nearness [...] beloved enemy of my will!’); Patrick Tuohy paints portrait of JAJ, May 1924, having painted JSJ in 1923; JAJ undergoes iridectomy, being the second to the left eye and fifth operation, 10 June 1924; recuperates with dressings in wholly darkened room; plans to visit Nice and reserves apartment, but travels to Saint-Malo (Brittany), 7 July, staying at Hôtel de France et Chateaubriand; interested in relation of Breton and Irish languages but irritated by Breton bag-pipes; visits Renan’s birthplace at Tréguier and looks at Carnac; Stanislaus writes lengthy letter expressing alienation and disappointment at outcome of JAJ’s talent, of 7 Aug. 1924; visits Quimpaire, late August, returning Saint-Malo early Sept. 1924; finds flat at 8 Ave. Charles Floquet; crosses to London, staying at Euston Hotel, late-Sept. to mid-October; HSW sees him drunk in Paris, October 1924; John Quinn, d. Aug. 1924; JAJ writes moving letter to Aunt Josephine on hearing of her imminent death, 2 Nov. 1924;
[ top ]
1925: JSJ writes to JAJ about Tuohy’s portrait of him (‘I hope you have the other family portraits all safe?’, 31 Jan. 1925); JAJ affected by conjunctivitis and stays at opthalmic clinic at rue Cherche Midi, 15-25 Feb. 1925; Exiles performed at Neighbourhood Playhouse, NY, 19 Feb. 1925; tooth-fragment removed, April 1925; a seventh eye-operation performed, April 1925, followed by ten days in clinic; fragment of “Work in Progress” printed in Contact Collection of Contemporary Writers, ed. McAlmon (May 1925) [FW I.ii. pp.30-34]; JAJ moves to 2 Square Robiac [actually a cul-de-sac] off rue de Grenelle between Les Invalide and Ave. de la Bourdonnais, early June 1925 (remaining until 30 April 1931); fragment of “Work in Progress” published in Criterion (July 1925) [1.v of Finnegans Wake, pp.104-125]; JAJ forwarned of further eye operation in September, 21 July; travels to Fécamp, (Normandy), staying at Grand Hôtel des Bains et de Londres, late July 1925; driven by weather to Rouen (Hôtel de la Poste), 28 July, and hence to Archachon (Regina Palace Hôtel) with nights at Niort and Bordeaux en route; JAJ sends climatic parody of “The Waste Land” to HSW, 15 Aug. 1925 ([‘Rouen is the rainest place, getting/Inside all impermeables [...]’); JAJ defers Sept. operation; rescheduled for 23 Nov., and finally performed 8 Dec. 1925; Joyces returns to Paris, 5 Sept. 1924; “Shem” chapter publ. by Ernest Walsh in The Quarter (Autumn-Winter 1925/26) [FW I.vii, pp.169-95]; Criterion printers refuse to set “Anna Livia Plurabelle”, Joyce agreeing with Navire d’Argent for its publication there, 1 Oct. 1925 [FW 1.viii, pp.169-95]; JAJ completes draft of “Fourth Watch of Shaun”, late Nov. 1925 [FW III.iv, pp.55-90]; Giorgio forms relationship with Helen Kastor Fleischmann, sep. wife of Leon Fleischmann,and 10 years older than himself (later to be good friend of Nora);
[ top ]
1926: JAJ, now writing in large letters, revises “Mime” and following sections [FW II,1-iv]; Ulysses reset (Shakespeare & Co. 1926); issue of Le Navire d’Argent ded. to Svevo [Schmitz], arising from Joyce’s support; Feb. 1926; Exiles produced by Stage Society at Regent Theatre, London, 14-15 Feb. 1926, with Rupert Hervey and Gwaldys Black-Roberts playing Richard and Bertha; Ettore Schmitz and HSW in attendance; G. B. Shaw attends second-day performance and speaks well of Joyce as dramatist at subsequent discussion; Stanislaus visits Paris, April 1926 (‘You’ve done the longest day in literature, and now you are conjuring up the deepest night’); sudden death of Frantisek Schaurek [by suicide] while Eileen is passing through Paris finds JAJ unable to break the news to her; other visits from Mrs Sheehy-Skeffington, Michael Healy, and Harry Sinclair; JAJ sends “Four Watches of Shaun” to HSW, 7 June 1926; undergoes eighth operation on left eye, June 1926; writes “The Triangle” for “The Muddest Thick That Was Ever Heard Dump” [FW II.ii, pp.282-304]; travels to Ostend, 11 August 1926, staying at Hôtel de l’Océan; runs lengthy distances on strand (6-7 km); takes 64 Flemish lessons; JAJ travels to Antwerp, Ghent and Brussels, and visits Waterloo securing plan of battlefield, travelling on same bus as Thomas Wolfe, though without meeting; renews acquaintance with Juda de Vries (now a dentist); returns to Paris, Sept. 1926; spends time with Georg Goyert discussing German translation of Ulysses; visited by James Lyons, kinsman of Nora, 26 Aug. 1926; learns of pirating of Ulysses in America by Samuel Roth, ed., of Two Worlds, where five fragmets appeared; Roth pays $200 to Joyce as appeasement, promising more (unpaid); suit against Roth contemplated, to be brought by Pound’s father; “Shaun” chapters accepted and then refused by Dial; JAJ invites HSW to order a piece of “Work in Progress”, 24 Sept., resulting in the opening of Finnegans Wake [‘brings us back to Howth Castle & Environs [... &c.]’ based on the “Giant’s Grave” at Penrith (postcard supplied by Henriette Véavère); fragment of Ulysses in Morel’s translation published in 900: Cahiers d’Italie et d’’Europe (autumne 1926); Pound writes to JAJ disparaging “Work in Progress” (‘circumambient peripherisation’; letter of 15 Nov. 1926); Spanish trans. of A Portrait by Dámaso Alonso [as pseud.] Alfonso Donado, pub. in Madrid as El Artista adolescenta (retrato), 1926; no part of “Work in Progress” printed this year;
[ top ]
1927: JAJ employs Benjamin Cotter who engages in legal action against Roth through NY firm Chadbourne, Stanchfield & Levy; JAJ organises 167 signature in protest against Roth’s piracy, incl. Yeats, AE, James Stephens and O’Casey as well as Eliot, Masefield, Pirandello, Valéry and others, issued formally 2 Feb. 1927; Roth continues to print until injuncted by Justice Richard Mitchell, 27 Dec. 1928; JAJ meets Eugene & Maria Jolas of transition through Beach (Maria Jolas [née MacDonald] being proprietor of École bilingue de Neuilly), 21 Dec. 1926; “Work in Progress” espoused as principal text of Jolas’s ‘revolution of the word’, and published serially in transition April-Nov. 1927 & Nov. 1929); HSW expresses misgivings, 29 Jan. 1927 and after (‘[...] I do not care much for the output from your Wholesale Safety Pun Factory’, 4 Feb. 1927); JAJ expresses his own misgivings to McAlmon; shows recent poems to Pound who dismisses them as vieux jeu, saying: ‘Put it in the family Bible’ (a remark not recalled by Pound himself); JAJ guest of honour at PEN Club, 5 April, staying in London 3-9 April 1927; invites HSW Weaver to guess title of Finnegans Wake, and explains intentions in a spate of letters, April-Sept.; expresses willingness to hand “Work in Progress” over to James Stephens in letter to HSW, 20 May 1927, discovering in 31 May that they share an anniversary [though Stephens did not really know his birthday]; arranges meeting with Stephens; Stuart Gilbert offers through Sylvia beach to correct errors in French trans. of Ulysses, 9 May 1927; JAJ travels to the Hague, 21 May, 1927, attacked by dog on beach at Scheveningen, and moves to hotel in Amsterdam; Pomes Penyeach issued by Shakespeare & Co., with drawings by Lucia, 7 July 1927; fails to sell proof copy of Dubliners, entrusted to MacLeish and intended for Rosenbach; Wyndham Lewis publishes Time and Western Man (1927), attacking JAJ’s supposedly ‘suffocating, neotic expanse of objects, all of them lifeless’, causing him to retaliate in “The Ondt and the Gracehoper” the Wake [‘But Holy Saltmartin, why can’t you beat time?’]; completes “Anna Livia Plurabelle”, 27 Oct. 1927 (1,200 hrs.); visited by Frank O’Connor; visited by Byrne, then on holiday from America, and thus learns of suicide of Cosgrave, Nov. 1927; Ulysses published in Georg Goyert’s German trans. by Rhein-Verlag (1927; ed., Daniel Brody); Lewis publishes a hostile “Analysis of the Mind of James Joyce” in Time and Western Man (Sept. 1927) [previously in Blast]; revises Pt. I of “Work in Progress” [FW I.i-viii], for publication; transition prints first eight sections of “Work in Progress” (April-Nov. 1927) [being first book of Finnegans Wake; FW Bk I.i-viii];
[ top ]
1928: JAJ suffers inflammation of the intestine; sympathetic visit from HSW, who joins in birthday party, where Joyce sings “Oh, the brown and the yellow ale”, 2 Feb. 1928 [event memorialised by Helen Nutting]; HSW return to London, 15 Feb.; transition issues of February, March, Summer and November 1928 print “Night Lessons” (II.ii), and the “Four Watches of Shaun” (III.i, iii & iv); Larbaud offers to hand over trans. to André Maurois; Gilbert and Larbaud agree to collaborate on French trans. of Ulysses at ‘Treaty of Trianons’ [restaurant], March 1928, giving Larbaud role of final arbiter (hence ‘entierement revue’); JAJ travels to Dieppe, March 1928, and completes “The Ondt and the Gracehoper” for transition (March 1928); moves to Rouen, 27 March; returns to Paris, end March; Goyert visits Paris, April 1928; JAJ borrows Ford’s house in Toulon, 26 April; returns to Paris, 24 May 1928; visit from Eileen Schaurek and her two children, en route to Ireland, March; JAJ travels to Salzburg, 8 July 1928, with Stuart & Moune Gilbert; there meets John Drinkwater and wife and visits Stefan Zweig; Stanislaus m. Nellie Lichtensteiger, 13 Aug. 1928, and travels with her to Salzburg to meet with Joyce directly after; JAJ suggests biography to be written by Gilbert, who declines; consults a Dr. A Toldt, (opth.) at Salzburg; moved on to Le Havre via Frankfurt and Munich; returns to Paris, Sept. 1928; JAJ collapses and receives injections of arsenic and phosphorus from Dr. Borsch; death of Schmitz [Svevo] in car-crash, Sept. 1928; Sean O’Faolain reviews Anna Livia Plurabelle for Criterion (Sept. 1928), joining Wyndham Lewis and Rebecca West as one of the chief critics of the book, 1928; Anna Livia Plurabelle appears in de luxe edn. prefaced by Padraic Colum (Crosby & Gaige, 19 Oct. 1928; 850 copies); friendly visit from H. G. Wells who receives “Work in Progress” in transition issues from Beach, followed by fulsome letter refusing to help with ‘propaganda’ for JAJ’s ‘literary experiment’, 23 Nov. 1928; Nora undergoes exploratory operation for cancer at American Hospital, 8 Nov. 1928, followed by radium treatment, and then hysterectomy Feb. 1929, Joyce taking a bed in the hospital on both occasions;
[ top ]
1929: Ulysses published in French, Feb. 1929 (‘Traduit de l’anglais par M. Auguste Morel assisté par M. Stuart Gilbert, Traduction entierement revue par M. Valery Larbaud avex la collaboration de l’auteur’), unmarked by celebration at the time; JAJ organises writing and publication of Our Exagmination round his Factification for Incamination of Work in Progress (May 1929), with contribs. from Beckett, Budgen, Gilbert, McAlmon, MacGreevy, Marcel Brion, Victor Llona, Elliot Paul, John Rodker, Robert Sage and William Carlos Williams, and letters of protest from G. V. L. Slingsby and Vladimir Dixon (‘I did stand behind those twelve Marshals more or less directing them what lines of research to follow’, Letter to HSW, 30 July 1929); HSW visits and remains for two months while Nora recuperates; Giorgio’s debut as singer at Studio Scientifique de la Voix of Prof. George Cunelli, 25 April 1929; Lucia’s debut as ‘wild vine’ at Raymond Duncan’s dancing establishment; last performance at Bal Bullier, 29 April 1929, then abandons career in October claiming that she lacks the physical strength; Tales Told of Shem and Shaun (Black Sun Press, Aug. 1929) [FW 152-59, 282-304, 414-19], published by Harry and Caresse [Polly] Crosby, with a foreword by C. K. Ogden and frontis. port. by Brancusi (a ‘symbole’ of Joyce’s ‘sens de pousser’ of that caused JSJ to say, ‘the boy seems to have changed a good deal’); JAJ participates in Déjeuner Ulysse with Benoîst-Méchin, Auguste Morel, Adrienne Monnier, Valéry Larbaud, Léon-Paul Fargue, and Stuart Gilbert, together with Paul Valéry and Edouard Dujardin, at Hôtel Leopold in Les Caux de Cerney, nr. Versailles, 27 June 1929, travelling by chartered bus - Beckett being one of ‘ingloriously abandoned’ on the way home; JAJ travels to Torquay with the Gilberts, July 1929, and engaged in revising Gilbert’s book; joined by HSW at Imperial Hotel; goes to see Kent’s Cavern; visits London to discuss ALP with Eliot at Faber & Faber and records the ending on gramophone for Ogden at the Orthological Institute; travels to Bristol (to whose citizens Henry II gave the charter of Dublin in 1172), August 1929; meets George Moore in London and offers him the French trans. of Ulysses (‘I hope you don’t mind my reminding you that I can read English’), and also a copy of Exagmination, sent on later; received letters from Moore in early Sept. 1929; Moore returns The Book Kerith (‘scribbled all over in search of an improved diction’, as he said); visits Dr. Euston (optham.), in London at John Drinkwater’s advice; JAJ visited by James Stephen who makes a formal proposal that he should complete the Wake; spends time at Stephens’s house in Kingsbury, London NW; briefly stays at Lord Warden Hotel, where the Irish manager is a reader of Ulysses; spends a week explaining the plan of Finnegans Wake to Stephens; JAJ mounts strenuous campaign for John O’Sullivan, then leading tenor at Paris Opéra [as Jean Sullivan], November 1929-31; “Fourth Watch of Shaun” appears in transition (Nov. 1929), the journal ceasing publication for two years after; death of Dr. Borsch; [ top ]
1930: JAJ experiences a ‘sudden kind of drop’ on losing transition deadlines; JAJ contacted by George Borach, arising from article on him in Neue Züricher Zeitung, and recommends Prof. Alfred Vogt; HSW travels to Zurich to interview Vogt in the Seefeldstrasse, Zurich; tenth operation conducted on 15th May and further operations on 3 June and in Sept. 1930, resulting in improved vision; receives letter of encouragement from Eliot (‘a year or to does not matter for a grand thing like this’); pens Sullivan’s letter to New York Herald protesting the acclaim accorded to Lauri-Volpi in the role of Guillaume Tell; receives another letter from George Moore, 10 May 1930 (‘In England we [...] think, rightly or wrongly, that the monologue intérieure existed from time immemorial’); JAJ attends Sullivan’s performance in Guillaume Tell at the Opera, 30 June 1930; Nancy Cunard persuaded to bring Sir Thomas Beecham to hear Sullivan, Sept. 1930; encourages Antheil to write music for Sullivan, taking Byron’s Cain and Abel as libretto; Henry Babou and Jack Kahane publ. Haveth Childers Everywhere (Paris & NY, June 1930) [FW 532-54]; C. G. Jung commissioned to write foreword to third German edn. of Ulysses, vetoed (but rev. and publ. in 1932); gains friendship of Paul Léon (and wife Lucie [Noël]), a Russian emigré who becomes his principal helper (the ‘absolutely disinterested and devoted friend’ of Gorman’s biography); Herbert Gorman begins work on biography with consultations during Dec. 1930; Helen indicates wish that the Joyces be legally married to legitimised their descendents; on the eve of Giorgio’s marriage, Syvlia Beach signs away world rights to Ulysses JAJ at his request, 9 Dec.; Giorgio m. Helen Kastor Fleischmann, 10 Dec. 1930, witnessed by Thomas McGreevy and Tom Bodington (La Mairie, 6^o Arrondissement); further warnings from Munro, regarding expenditure of capital, late 1930; JAJ complains of noise at Square Robiac;
[ top ]
1931: JSJ writes to JAJ recalling his tale of ‘the moo-cow’ told to told to ‘Baby Tuckoo’ (31 Jan. 1931); Louis Gillet of Revue des Deux Mondes converted to Joyce’s writing, though previously hostile, Jan. 1931; JAJ clears out accumulated papers, sending some MSS to HSW; omits usual birthday celebrations for reasons of economy; taken to Trianons by Giorgio and Helen, returning from honeymoon; visited by the Colums and bearded by Mary Colum for his supposed antipathy to intellectual women when she taxes him with gulling people over the supposed Dujardin connection while denying an affinity with Freud and Jung; Livia Schmitz fails to elicit a preface for the English trans. of Svevo’s Senilità, March 1931 (it being written by Stanislaus instead); French trans. of Anna Livia Plurabelle attempted by Alfred Péron and Samuel Beckett, and then revised by Paul Léon, Jolas and Ivan Goll after Beckett’s return to Dublin; Philippe Soupault joins in Thursday-afternoon meetings between Joyce and Léon in the latter’s flat at rue Casimir-Périer; Anna Livia Plurabelle reading [séance] hosted by Adrienne Monnier, 26 March 1931, and attended by Dujardin (who believes McAlmon is laughing at his wife’s ankles); JAJ attacked by Judge Michael Lennon in Catholic World (CXXXII, March 1931); JAJ affected by noise at Square Robiac and moves with family briefly to Hotel Powers, 52 rue François Premier; Joyces travel to London, staying at Hotel Belgravia, Grosvenor Gdns., SW1, then leasing flat at 28b Campden Grove, Kensington, nr. St. Mary Abbots, April 1931; furniture purchased at department stores, incl. beds; JAJ dislikes the flat (calling it ‘Campden Grave’), thereby establishing legal domicile in England; Faber issues Haveth Childers Everywhere (May 1931) [FW 532-54]; Adrienne Monnier sends JAJ letter of reproach, 19 May 1931; m. Nora, 4 July 1931 [JSJ’s birthday] at Kensington Registry Office, for ‘testimentary reasons’ (as expressed in letter to Gorman, 6 June 1939) and without official notice taken of the alleged ‘prior’ marriage asserted by Joyce (strictly jactitation in law); frontpage photograph of Joyces leaving Registry Office appears in Evening Standard; lunch at Slater’s Restaurant in Kensington High St.; celebrations afterwards at the home of Robert Lynd at 5 Keat’s Grove, where JAJ sings “Phil the Fluther’s Ball” and “Shule Aroon”; visit from by Kathleen Barnacle [Griffin]; JAJ laughs on finding she has pawned the watch given her at Bognor (‘That’s just what I would do’); visit to Stonehenge; notified by Brody, JAJ threatens litigation when Frankfurter Zeitung erroneously attributes story by one Michael Joyce to James Joyce, 19 July 1931; Lucia (unhappy) returns to Paris, August 1931; Joyces visit Llandudno, Wales, returning to Paris, Sept.; let out Campden Grove to French Embassy chef; Harold Nicholson ordered not to mention Joyce on BBC by order [Sir John Reith], reaching compromise not to mention Ulysses, autumn 1931; controversy in The Times to which Alfred Noyes and Micheal Sadlier; JAJ commences work on “Mime of Nick, Nick and Maggies”; Joyces settle at 4 ave. Pierre Premier de Serbie, moving to 2 ave. St Philibert, in Passy, Dec. 1931; Lucia makes lettrines for an “A Chaucer ABC”; JAJ signs contract with Viking Press for US edn. of Finnegans Wake with personal clause in favour of B. W. Huebsch, 1931; JAJ receives letter from T. S. Eliot defending Nicholson’s stand; JSJ d. 29 Dec., 1931, Drumcondra Hospital (‘I’ve got more out of life than any white man’), leaving estate of £665-9-0, JAJ being sole heir and recipient of £32;
[ top ]
1932: JAJ experiences ‘prostration of mind’ at his father’s death (‘not his death that crushed me so much as self-accusation’, letter to HSW, 17 Jan. 1932); Lucia throws chair at her mother and is taken by taxi to maison de santé by her brother, 2 Feb. 1932 [aetat. 25]; Japanese translation of Ulysses publ., purportedly in pirate edn., Feb. 1932; Helen’s br. Robert Kastor brings news of successful bid for America edn. of Ulysses from Bennet Cerf (Random Hse.), Feb. 1932, Joyce signing contract in March; César Abin produces caricature-portrait of Joyce as question-mark along with other commissioned traits; JAJ issues “De Honi-soi a mal-y-chance / From a Banned Writer to a Banned Singer”, New Statesman and Nation (27 Feb. 1932; also in Hound and Horn); Stephen James Joyce, son of Giorgio and Helen, b. Feb. 15 1932; JAJ writes “Ecce Puer”, poem (‘New life is breathed on the glass [...] Oh father forsaken / Forgive your son’); Stephen secretly baptised in opposition to JAJ’s wishes; songs by Joyce set to music by 13 composers in collection edited by Herbert Hughes with JAJ’s encouragement and incl. Arnold Bax, Eugene Goosens, Arthur Bliss, Edgardo Carducii, Gustav Holst, Herbert Howells, John Ireland, Philip Jarnach, Albert Roussel and Darius Milhaud; performed in London on St Patrick’s Eve, [16] March 1932 and issued as The Joyce Book (2 Feb. 1933); JAJ signs contract for Ulysses with Cerf, March 1932; Beckett tells Lucia that he comes to the flat primarily to see her father; Joyce informs Beckett that he is no longer welcome in the flat; Alex Ponisovsky (br.-in-law of Paul Léon) encouraged to take an interest and proposes, March 1932; Lucia accepts Ponisovsky but Giorgio objects on the grounds of her condition; formal engagement party held at Restaurant Drouand, Place Gaillon; Lucia becomes catatonic in Léon’s flat afterwards (JAJ to HSW: ‘Whatever spark of gift I have transmitted to Lucia has kindled a fire in her brain’); leased at rue Philibert expires; family visit to London aborted by Lucia suffers crise de nerfs at Gare du Nord, 17 April 1932; JAJ asks HSW to let the flat at Camden Grove, May 1932; Nora threaten to leave, May 1932; Lucia stays with Léons (9 days) and then the Colums; Ponisovsky calls on Colums and escapes through roof door; Lucia taken to Dr. G. Maillard’s clinic at l’Hay-les-Roses and diagnosed ‘hebephreniac’ (i.e., incipient schizophrenia); Joyces briefly stay in Hôtel Byron on Champs-Elysée, May 1932, before taking a flat at 42 rue Galilée; JAJ translates poem of James Stephens into French, German, Latin, Norwegian and Italian to celebrate joint-jubilee, May 1932; eleventh Shakespeare & Co. printing of Ulysses sold out [1932]; JAJ ‘smuggles’ Lucia out of the clinic, 3 July 1932, and takes her to the Jolases at Feldkirch, nr. Zurich, while he attends Prof. Zogt; operation prevented by risk of traumatic iritis; JAJ seeks to find out in letter to Alf Bergan where autographed books given to his father are, 5 Aug. 1932, [Carlton Elite Hotel, Zurich]; W. B. Yeats writes with invitation to join Academy of Irish Letters & Medals from Yeats, 2 Sept. 1932; examined by Dr. Vogt, 7 Sept., operation being deferred again; Joyce refuses Yeats’s invitation in spite of urgings of the Colums, James Stephens, and others (writing to Yeats, ‘I have no right whatsoever to nominate myself as a member’), 5 Oct. 1932; JAJ rejects Maria Jolas’s advice to take Lucia to Jung, and sends Lucia to Vence with her nurse instead, travelling to Nice with Nora, late Sept.; returns to Paris, bringing Lucia, 20 Oct. 1932; facsimile MS of Pomes Pennyeach issued by Desmond Harmsworth, with designs by Lucia, Oct. 1932; JAJ signs contract for European edn. of Ulysses with J. Holroyd-Reece and M. C. Wegner (Paris agents of Albatross Press, Hamburg), issued as Odyssey Press Edn., Dec. 1932, incorporating Gilbert’s corrections [4th printing most accurate edition of Ulysses]; T. S. Eliot withdraws from negotiations to publish Faber edition of Ulysses after Joyce objects to part-publication to deflect threat of censorship; Jonathan Cape and Werner Laurie decline to publish Ulysses; John Lane agrees to publish, 1934; Lane’s printers’ protests cause publication to be deferred to 1936; JAJ engaged on “Night Lessons” and completes “Mime of Mick, Nick and Maggies”, Nov. 1932 [FW II.i; pp.219-59]; Faber issues Tales Told of Shem and Shaun (Dec. 1932) [FW 152-59, 282-304, 414-19]; JAJ receives overtures from Warner Bros. for film of Ulysses, 1932; JAJ thinks Charles Laughton ‘too Aryan’ for Bloom, preferring George Arliss [as Disraeli]; JAJ talks with Eisenstein about film; employs girl to help Nora with Lucia; buys fur-coat for Lucia at 4,000 frs as supposed therapy; sends 1,000 frs. to publisher of Pomes Penyeach to ‘pay’ Lucia for drawings;
[ top ]
1933: JAJ sends wreathe via HSW at death of George Moore, 23 Jan. 1933 (‘excluding ivy absolutely’); travel to Rouen with the Jolases and René-Ulysse, a nephew of the king of Cambodia, to hear Sullivan in Reyard’s Sigurd, Jan. 1933; JAJ’s psychosomatic illness attracts sympathy of Lucia (‘that subtle and barbare person - my daughter’); returns to Paris; HSW taxes Joyce with overspending and comes to Paris to apologise; JAJ leaves Paris for Zurich with Giedions, 22 May 1933, bringing Lucia; Dr. Vogt finds caratact in right eye completely calcified and the retina atrophied but defers operation for two years; Joyce suffers ‘colitis’ by own account; Léon assures HSW that the doctor discounts alcohol as cause; JAJ asks Léon to find Edgar Quinet’s sentence in notebooks left in Paris (quoted in full in Finnegans Wake); Joyces visit Évian-les-Bains, returning to Zurich, 17 July; Lucia examined by Prof. Hans. W. Maier of Zurich Asylum; Lucia installed in sanatorium at Nyon managed by Dr. Forel, 30 July 1933, and withdrawn by Joyce, 6 Aug. 1933; Joyces return to Paris and rue Galilée, Sept. 1933; JAJ works on galleys of Budgen’s James Joyce and the Making of Ulysses (1934); assists Gilbert in trans. of Les lauriers sont coupés; JAJ withdraws authorisation from Gorman’s biography due to stagnation, 27 Oct.; Max L. Ernst presents case for Ulysses on behalf of Cerf before Judge John M. Woolsey in US District Court, NY, 25 Nov.; Ernst to charge nothing if the case is lost but to reap percentage of royalties if won; Woolsley finds for the publisher (‘undoubtedly ... somewhat emetic [but] nowhere ... aphrodisiac’), 6 Dec.; sends case of Clos S. Patrice 1920 to Con Curran, 20 Dec. 1933; JAJ meets with Colums, James Stephens, and others at the Focquet Restaurant, Champs-Élysées;
[ top ]
1934: American edn. of Ulysses publ. by Random Hse., Jan.-Feb. 1934 (33,000 sold in 2 months); Lucia strikes Nora on 2 Feb., 1934; sent back to Nyon; attempts to run away and found in herd’s shelter nr. border; Harold Nicholson visits Joyce at 42 rue Galilée, Feb. 1934; JAJ agrees to celebration in his honour proposed by Mrs Reginald Fellowes of Les Amis de 1914, 23 Feb., 1934, Dujardin and Léon-Paul Fargue making speeches, with reading of “Work in Progress” by Rachel Behrendt (coached by Joyce); attends performance of Ibsen’s play at Théatre des Champs-Élysées, Feb. 1934; Joyces travel by motor-car to Zurich via Monte Carlo and Neuchâtel in auto of René Bailly (m. Galway woman and friend of Nora), April 1934; death of George Borach (a Zurich student and friend), in car-accident, April 1934; visits Vogt and learns that two more operations are necessary; JAJ attends Othmar Schoeck’s suite of songs by Gottfried Keller (and later translates them); returns to Paris by train, [April] 1934, writing “Epilogue to Ibsen’s Ghosts”; JAJ employs Madame France Raphael to recover unused material from Ulysses notebooks, 1933-34; writes and visits her in hospital when she suffers skull-fracture in car-accident, 24 April 1934; Servire Press issues The Mime of Mick Nick and the Maggies (The Hague, June 1934), with cover, initial letter and tailpiece designed by Lucia, allocating part of the royalties to her for her work out (though prob. of his own share); McAlmon reads from Being Geniuses Together, and makes Joyce feel ‘actionable’ in view of alcoholic emphasis; Giorgio sails to America with Helen, 19 May 1934, remaining a year; signs lease for 5-room flat on 5th floor at 7 rue Edmond Valentin, nr. Tour Eiffel, 12 July 1934, travelling to Hôtel Britannique, at Spa (Belgium) pending occupancy; Albatross Press lose Lucia’s lettrines; Henri Matisse agrees to illustrate Ulysses for Limited Editions Club (US) - ultimately basing them on Homer rather than Joyce (‘je ne l’ai pas lu’); JAJ and Nora proceed to Luxembourg, Metz and Nancy; reach Montreux, 28 Aug. 1934; Lucia shows signs of deterioration incl. leucocytosis (excess white corpuscles); HSW recommends grapes; Lucia starts fire in her room, 15 Sept. 1934; transferred to Zurich Mental Asylum (Burghölzli), 20 Sept.; diagnosed by Dr. Maier as catatonic and transferred again to private sanatorium at Küsnacht, where Jung holds position; Jung elicits communication where Maier others failed; JAJ receives letter in Italian from Lucia, Oct. 1934; John McCormack makes good his promise to help Giorgio in America, resulting in NBC assignment, Dec. 1934; JAJ writes to Alfred Bergin (‘We used to have merry evenings in our house, used we not?’), 2 Dec. 1934;
[ top ]
1935: JAJ expresses belief in Lucia’s clairvoyance; Giorgio gives New Yorker interview, 12 Jan. 1935; JAJ stays at Carlton Élite Hotel in Zurich while telling Lucia that he has left the city; US Circuit Court of Appeals rules against Attorney-General that Ulysses is not lewd or immoral, 8 Aug. 1934; Jung loses ground with Lucia and calls her Joyce’s anima inspiratrix [femme inspiratrice] and characterises Joyce as a latent schizoid; JAJ moves Lucia to Villa Élite annexe of his hotel, 14 Jan. 1935; Eileen Schaurek comes to Zurich to oblige Lucia; HSW invites Lucia to London; Eileen brings Lucia to London, 15 Feb. 1935; Lucia makes madcap journey to Windor by bus; HSW calls Eileen to return, March; Joyce sends Lucia to join Eileen in Bray (where she has recently moved from Dublin to open a bardig-house called “Ulysses”), 16 March 9; (‘You look like Bray Head’), Lucia writes to JAJ; Lucia attempts to travel to Galway alone but meets Kathleen Barnacle [Griffin] accidentally; Michael Healy travels from Galway; Lucia goes missing for 6 days; Con Curran effects her installation in rest-home at Finglas, 13 July 1935; Sylvia Beach about to sell MS of Stephen Hero, 1935; JAJ has nevous trouble and faces ‘dark wall’ (acc. Léon); asks Maria Jolas to travel to Ireland to help with Lucia; Lucia brought to London by the Currans; Lucia receives course of glandular injections from Dr. Macdonald, Harley St. specialist with post at St. Andrew’s, London; Joyces stay with Gormans at Fontainbleu, Aug.-Sept.; Giorgio and Helen return from America at JAJ’s request, carried by Phillipe Soupault and backed by threats of illness; Maria Jolas visits Dublin, Nov. 1935; Lucia taken to London by the Currans; stays with HSW and received glandular injections from Dr. W. G. Macdonald of St. Andrew’s, Northampton; taken to Reigate for convalescence, Dec. 1935; Maria Jolas sent to visit Reigate; Lucia transferred to Northampton for further treatment, mid-Dec.; JAJ refuses to certify her as required if she is to stay (refusing authority to an Englishman or Scot); HSW visits Northampton and communicates to Joyce the word ‘carcinoma’ which she sees written in Lucia’s file, end-Dec. 1935;
[ top ]
1936: Maria Jolas brings Lucia to Neuilly, end-Feb. 1936; JAJ reads proofs Ulysses for Bodley Head Edn.; Lucia removed from home in straight-jacket to le Vésinet, and declared dangerous, March 1936; placed in nursing home of Dr. Achille Delmas, at Ivry-sur-Seine, remaining until 1951; Stanislaus receives expulsion order and is dismissed from post at University of Trieste, soon rescinded through influence of Fulvio Sulvich, April 1936; goes to Rome to plead and finds that the British has expelled an Italian in Malta; JAJ writes to HSW imploring aid with expenses for care Lucia [‘if you have ruined yourself for me ... why will you blame me if I ruin myself for my daughter’], expressing fears that she is falling ‘into the abyss of insanity’, 9 June 1936; receives copy of Bird Alone from Seán O’Faoláin but professes himself unable to help; Obelisk Press issued “An ABC being a Hymn to the holy Virgin” [A Chaucer ABC], with lettrines designed by Lucia and a preface by Louis Gillet, 26 July 1936, HSW sharing the cost with Joyce, 26 July 1936;Joyces travel to Denmark,taking a few days at Viller-sur-Mer, Calvados, with the Baillys, sending “The Cat of Beaugency” [story] in letter to Stephen Joyce, 10 Aug. 1936; reaches Copenhagen, 18 Aug. 1936; settles at Turist Hotel; meets Tom Kristensen at Politiken bookshop, where Ulysses is on sale; calls unbidden on Mrs Kastor Hansen, the translator of Ulysses (‘I have come from Paris to tell you not to alter a single word’); reading proofs for John Lane Edn. (publ. 3 Oct. 1936); taken round the city by Ole Vinding, a journalist posing as an artist; visits Elsinore; JAJ refuses Vinding permission to publish his article on him, incorporating extensive reportage of conversation; visits Hermitage Villa and attends Délibes’ opera Coppélia; stops in Bonn to discuss “Work in Progress” with Professor Ernst Robert Curtius (‘to prove I am not suffering from softening of the brain’); also meets Lucien Lévy-Bruhl, then visiting Copenhagen; returns to Paris, 13 Sept. 1936; supplies copy of Little Eyolf to James Stephens, vainly hoping to win him over to Ibsen, 18 Sept.; meets Stanislaus in Switzerland, Sept. 1936 (‘Don’t talk to me of politics, all I am interested in is style’); finds position for Stanislaus at isolated school on Zugerberg, which Stanislaus refuses, returning to Trieste and reinstatement; Ulysses brought out in Bodley Head Edn. John Lane, 3 Oct. 1936;
[ top ]
1937 revisits his taste for popular theatre (Macagni’s L’Ami Fritz); confers with Nino Frank about Italian trans. of Anna Livia Plurabelle, 1937; makes weekly visits to Lucia throughout 1937; attends P.E.N. Club (Paris) meeting as invited guest, June 1937, addressing a short speech on literary piracy to the members; indignantly returns Nancy Cunard’s questionnaire on the Spanish Civil War with script of his P.E.N. remarks (‘Print that, Miss Cunard!’); visited by Hanna Sheehy-Skeffington; death of Tom Devin (Mr. Power in Ulysses) elicits letter to Alf Bergin; travels to Switzerland, via Rheinfelden, 12 Aug. 1937; returns Paris, September 1937; Giorgio and Helen travel to America due to sickness in her family, Dec. 1937, returning 26 April 1938 (JAJ offering to meet them at Cherbourg);
[ top ]
1938: George Pelorson trans. Pomes Penyeach into French for Mesures; JAJ makes short trip to Zurich and is assured by Dr. Zogt that his sight would remain; assisted by James Johnson Sweeney with MS, early summer 1938; Jolas guesses the name Finnegans Wake from clues given at a dinner when Nora sings about ‘Mr. Flannigan ’ and ‘Mr. Shannigan’, Joyce mouthing ‘F’ and ‘W’, July 1938, and paid the wager of 1,000 frs in sou; German trans. of Anna Livia Plurabelle postponed due to political pressure; helps Herman Broch to reach England after Anschluss, March 1938; receives from Beckett a copy of Murphy and later quotes the death of Murphy to him by heart; spends summer in Lausanne, 19 August 1938, travelling with Léon; meets with Mercanton, the prospective exegetist of Finnegans Wake, inscribing a copy of Ulysses to him (‘Veille de la Fête de Madone Bloom’), 7 Sept. 1939; Joyces travel to Montreux to see Helen, hospitalised by first of several nervous breakdowns; short visit to Zurich; JAJ advised to take X-ray tests for stomach cramps and ignoring medical advice to have x-rays; returns to Paris end-August; short trip to Dieppe, and afterwards La Baule, not finding Lucia evacuated there as Dr. Delmas had unpromised, 30 Sept. (being date of Munich Pact); JAJ completes Finnegans Wake with ‘un rien, l’article the’ (as he told Gillet), 13 Nov. 1938, bringing the MS to dinner with Léon at Foquet’s; expands last two pages to ten; writes to Ruggiero, ‘Ho finito quel maledetto libro’, 18 Nov. 1938; JAJ receives enthusiastic response from Beckett and expands last two pages to ten; proof-reading carried on by Gilbert and Léon; Léon inadvertantly leaves proof section in taxi, happily returned;
[ top ]
1939: JAJ sends wreath to funeral of W. B. Yeats (d. 28 Jan. 1939); unbound copy of Finnegans Wake reaches Joyce from Faber & Faber’s Scottish printers, 30 Jan. 1939; Helen Joyce, who commissions a cake with Tour Eiffel and Nelson’s Pillar, Seine and Liffey and Joyce’s seven books, and reads the last few pages of Finnegans Wake at celebrations on 2 Feb., with Gilbert, the Léons, Daniel O’Brien, Frank Budgen (travelling from London), the Jolases, and others in attendance; Giorgio and JAJ sing duet and JAJ dances; invasion of Czechoslovakia, 15 March, 1939; Nora destroys letters from Joyce in putting her papers in order prior to moving flat (‘Oh, they were nobody’s business’); Joyces move to 34 rue des Vignes, 15 April 1939; Finnegans Wake published in York by Viking, 4 May 1939; briefly considers teaching in South Africa, alerted to post by Beckett; receives letter from O’Casey, 30 may 1939; JAJ requires Gorman to defer publication of his biography in lengthy letter subscribed by Léon, 6 June 1939, receives and examines proofs of Gorman’s James Joyce, touching on question of the Joyces’ marriage and Lucia’s illness, along with intimations of JSJ improvidence and other failings, Summer 1939; leaves for Étretat to see Stephen, 21 July 1939; returns to Paris in Giorgio’s car, for Lucia’s birthday, 26 July 1939; Joyces travels to visit Helen convalescing at Montreux from further breakdown, August 1939, Giorgio remaining in Paris; meets again with Mercanton, at Lausanne; travels on to Bern and Zurich; returns to Paris, and thence to Brittany on hearing from Dr. Delmas that Lucia’s clinic is to be evacuated to maison de santé at Hotel Edelweiss, La Baule, 2 Sept. 1939; JAJ attempts to bring Lucia to alternative sanatorium, deemed unsuitable for her ‘violent type’ by Delmas; JAJ sings “La Marseilles” in restaurant full of French & British soldiers, acc. Dr. Daniel O’Brien of Rockefeller Found., also present in La Baule; Lucia lodged with others at Pornichet, nr. La Baule (there to spend the war); Joyces remain near Lucia and celebrate their ‘wedding’ anniversary in Brittany; news reaches them from Léons that Giorgio’s marriage to Helen Joyce is breaking up; Joyces return to Paris briefly stay at Hôtel Lutétia, 15 Oct. 1939; JAJ quarrels with the Léons when the latter express blame Giorgio’s lack of affection for Helen’s state of mind; JAJ asks Léon to return his contracts through intermediary Ponisovsky; Helen hospitalised at Suresnes and later taken back to America by her br., 2 May 1940, later divorcing Giorgio; Stephen taken by Joyces to Hôtel Lutétia; Maria Jolas moves École bilingue de Neuilly to La Chapelle (in Allier), a chateau at St Gérand-le-Puy nr. Vichy in what was to be Unoccupied France (Eugene being in New York); Mme Jolas takes charge of Stephen Joyce at Joyce’s request by phone; Joyces themselves accept her offer to spend Christmas at St Gérand-le-Puy, lodging at Hôtel de la Paix from 24 Dec. 1939;
[ top ]
1940: JAJ experiences stomach cramps on arrival; JAJ consumes only white wine at Christmas and dividing the season between physical anguish and gaiety; JAJ unhappy with village life, carrying stones to ward off dogs; Joyces invited to move to La Chapelle by Maria Jolas during school vacation, April 1940 [Easter]; visited by Pelorson en route to join regiment, to whom JAJ confides he is thinking of writing final work that would be ‘very simple and very short’, 14 April 1940; Joyces move to Vichy, staying at Hôtel Beaujolais, mid-April 1939; JAJ stubbornly resists Maria Jolas’s suggestion that he move back to St. Gérand-le-Puy; Beckett arrives from Paris, 13 April [var. Feb.]; fall of Paris, 14 June 1940; JAJ gets Larbaud to cash Beckett’s Irish cheque; Hôtel Beaujolais requisitioned by government; JAJ returns to la Chapelle with Lucie [Mme.] Léon and her father and sis.-in-law, arriving from Beaugency, 16 June; Giorgio arrives from Paris; Léon arrives in an ass-cart; JAJ and Léon reconciled; Joyces take room in Hôtel du Commerce, St. Gérand, sometime used by Maria Jolas as a school; death of woman whose room they occupied, 10 June [Mme E-]; JAJ asks Maria Jolas to identify Giorgio as an Italian teacher, if asked (note of ‘18 June, Waterloo 1940’); Germans occupy St. Gérand for six days; Lucie Léon (employed at NY Herald-Tribune) leaves for Paris; JAJ arranges with Dr. Delmas for Lucia to be sent to Corcelles, nr. Chavorny, for duration of the war; German authorities grant permission for Lucia [internée d’office] to leave France, 4 Aug. 1940; Maria Jolas travels to Marseilles to arrange departure for America; brings word that the American consul Robert Murphy will arrange visas for the Joyces for airflight to America; Maria Jolas departs carrying corrections to Finnegans Wake, 28 August 1940 (‘Goodness knows what they will eventually do’); Paul Léon leaves St. Gérand-le-Puy, Sept. 1940; back in Paris, Léon saves Joyce’s papers from Paris flat and acquires others at illegal auction held by Joyce’s landlord, depositing them with Irish Ambassador on understanding that they should be given to National Library of Ireland if he did not collect them; arrested by Gestapo, 1941, and murdered in concentration camp; Joyces apply for Swiss visas through consulate at Lyons, 13 Sept. 1940; JAJ’s funds in Paris seized after British seizure of French funds in London; HSW supplies £30 p.m. through Irish legation at Vichy, Oct. 1940; Swiss Consulate (Lyons) forwards application to Aliens’ Police, Zurich (Eidgenössische Fremdenpolizei) who refuse on the grounds that Joyce is held to be a Jew (‘C’est le bouquet, vraiment’); documents sent back for further consideration, 18 Oct. 1940; Jacques Mercanton deposes that Joyce is not a Jew (‘je ne suis pas pas juif de Judée mais aryen d’Erin’, acc. Joyce); guarantee of 50,000 Swiss frs. (later reduced to 20,000 frs.) application receives support of friends in Zurich incl. Ruggiero, the Giedions, Prof. Vogt, Mayor Emil Klötti, et al., incl. Prof. Heinrich Straussmann who spoke for his writings (‘best ... of English-speaking world’); Edmund Brauchbar makes required deposit in Ruggiero’s bank; visas granted at Vichy consulate, 29 Nov. 1940; permission to leave France secured by Petitjean and Louis Gillet (Acadèmie Française), who comes to St. Gérand to help; Giorgio refuses Irish citizenship though imperilled by his age and status; Vichy official winks at absence of one permis de sortie (viz., Giorgio) and stamps all four passports; Giorgio next carries Joyces’ passports, found to be out of date, to American chargé d’affaires and gains extension; Lucia’s permis de sortie being now expired, the Joyces travel to Switzerland without her in the belief that her rescue could be better managed from Zurich; Joyces depart from San-Germain-des-Fossés [station], 14 Dec. 1940, via Aix-les Bains; Stephen’s bicycle subject to duty and confiscated at the border; Joyces proceed to Geneva, 14 Dec. 1940, staying at Hotel Richmond; continue on to Lausanne, 15 Dec. 1940; staying at Hôtel de la Paix [sic], where they find green ink split over the contents of their suitcase; JAJ meets Mercanton and investigates hôtel de santé for Lucia, Joyces reach Zurich, 17 Dec. 1940; met by Ruggiero and the Giedions at Hauptbahnhof, and dined at station restaurant; take rooms at Hotel Pension Delphin, Muhle Bachstrassse 69, Zürich; writes letters of thanks to supportive citizens; buys books of Greek mythology for Stephen, out walking afternoons; buys artificial Christmas tree; Joyces pass Christmas with the Giedions at 7 Doldertal;
[ top ]
1941: JAJ sends two packages of correspondence connected with departure from France in gratitude to James Johnson Sweeney; learns that Stanislaus is compelled to move to Florence; JAJ sends list of useful people, his last card, 7 Jan.; 1941; dines with Zumtegs at Kronenhalle, 8 Jan.; visits exhibition of French painting, and experiences stomach cramps after Paul Ruggiero’s birthday dinner at Kronenhalle, 10 Jan. 1941; adminstration of morphine by local doctor insufficient; moves to the Schwesterhaus vom Roten Kreuz [Red Cross] (his body ‘writhing like a fish’ acc. Stephen Joyce); x-ray diagnosis of perforated ulcer; persuaded to undergo proffered operation by Giorgio; operated on by Dr. H. Freysz, Sat. 12 Jan., 1941, waking after (‘I thought I wouldn’t get through it’); JAJ expresses wish that Nora lie down beside him; Nora and Giorgio sent home by medical staff, much against their wishes; JAJ awakes at 1.00 a.m. and asks for his wife and son; lapses into coma; d. 2.15 a.m., 13 Jan. 1941, before they can arrive; Nora refuses Catholic rites for the dead (‘I couldn’t do that to him’); bur. Fluntern Cemetery, 15 Jan. 1941, at HSW’s expense; grave-side addresses by Lord Derwent (British Minister), Max Geillinger, poet, and Prof. Heinrich Straumann (Zurich Univ.); Max Meili (tenor) sings ‘Addio terra, addio cielo’; Lucia receives news of his death (‘What is he doing under the ground, the idiot? ... He is watching us all the time’); on hearing of JAJ’s death on BBC, HSW sends Nora £250 (already intended for Joyce); Nora Joyce, d. 10 April 1951, Zurich (uremic poisoning), and bur. with Joyce; Giorgio Joyce divorced, & remarries Dr. Asta Jahnke-Osterwalder (Munich); d. Konstantz, W. Germany, 1976; Lucia long remains in St. Andrew’s, Northampton under legal guardianship of HSW (and after her death in 1961, Miss Jane Lidderdale]; d. 1982; Stephen m. Solange Raytchine, and resident in Ile de France; the First International James Joyce Symposium was held in Dublin in 1967; papers rescued by Paul Léon deposited in the National Library of Ireland to be opened after 50 years (Cat. 1992); the MS of Finnegans Wake presented to the British Library by HSW, Nora Joyce having vetoed its lodgement with the National Library of Ireland since the Irish Government made no effort to repatriate the remains of James Joyce; Joyce’s family portraits and many of his papers held at Lockwood Memorial Library, NY State Univ., Buffalo; a ‘lost’ typescript of the “Circe” episode of Ulysses was purchased by the National Library of Ireland in auction for $1.5m dollars in March 2000 (NLI MS 36,639); Rosenbach MSS of Ulysses visited Dublin in Summer 2001; there is a James Joyce Centre at 35 Nth. Gt. George's St., Dublin. PI NCBE IF DNB DIB DIW DIH DIL KUN OCEL [ODQ] FDA G20 HAM OCIL

[ top ]

Works
Stephen Hero: Part of the First Draft of “A Portrait of the Artist as a Young Man”, ed. Theodore Spencer (NY: New Directions; London: Jonathan Cape 1944), and Do., edited and Introduced by Theodore Spencer; revised edition with additional material and and a Foreword by John J. Slocum & Herbert Cahoon [eds.] (London: Jonathan Cape 1956; 1960, 1969), 253pp., and Do.; [rep. edn.] (NY: Grafton Books; London: Triad/Panther 1977, &c.), 253pp. [pb.; smaller format]; another edn. (NY: New Directoins 1963); Ludmilla Savitsky, trans., Stephen le Héros - Fragment de la Première Partie de Dedalus (paris: Gallimard 1948), 238pp. [shares cover design by Paul Bonet with Gallimard edn. of Ulysse]

Dubliners [1st edn.] (London: Grant Richards 1914); Dubliners (NY: Huebsch 1916); Dubliners (NY: Modern Library 1926); Robert Scholes, ed., Dubliners [1914] (London: Jonathan Cape 1967); Robert Scholes & A. Walton Litz, eds., Dubliners: Text, Criticism and Notes (NY: Viking Press 1967); Dubliners, ed. Robert Scholes & Walton A. Litz [Viking Critical Library Edn.] (NY: Viking Press 1969); and Do. (Harmondsworth: Penguin 1976), vi, 504pp.; Gens de Dublin, traduit de l’Anglais par Eva Fernandez [et al.] (Club Francais du Livre 1952), 228pp.; Dubliners, ill. by Allan Mardon [Coll. Stories of the World’s Greatest Writers] (Franklin Library 1979), 256pp. & pamphl.; Dubliners, with lithographs by Louis le Brocquy ([Mountrath, Laois]: Dolmen Press 1986), 261pp., ill.; Dubliners, intro. by Thomas Flanagan, illustrated by Robert Ballagh (NY: Limited Editions Club 1986), xviii, 289pp., [6]pp pls. [100 copies]; Dubliners [rev.; ed. Robert Scholes], with new intro., chronology and bibliography by John Kelly [Everyman's Library, n.s., No. 49] (London: Random Century 1991), lv, 287pp.; Dubliners, intro. by Joseph McMinn (Stroud: A. Sutton; Dublin: Gill & Macmillan 1992), xiv, 194pp.; Terence Brown, intro. & annot., Dubliners [Penguin 20th-Century Classics] (London: Penguin 1992), xlviii, 316pp.; John Wyse Jackson & Bernard McGinley, James Joyce’s “Dubliners”: An Annotated Edition (London: Sinclair-Stevenson 1993), xvi, 200pp.; Dubliners, ed. Hans Walter Gabler & Walter Hettche ([1st Vintage international edn.] NY: Vintage Books 1993), viii, 285pp.; Dubliners, introduced by Anthony Burgess (London: Secker & Warburg 1994), xiv, 203pp.; Dubliners [Penguin Popular classics] (London: Penguin 1996), 255pp. Audiotapes: Dubliners, read by T. P. McKenna (Tell Tapes), 6 hrs.

A Portrait of the Artist as a Young Man [1st edn.] (NY: Huebsch 1916); Portrait of the Artist as a Young Man (London: Egoist Press 1916; rep. 1917, 1921, &c.); Do. [new edn.] (London: Jonathan Cape 1924; rep. 1926, 1928); A Portrait of the Artist As a Young Man, introduction by Herbert Gorman [Modern Library] (NY: Random House 1928), v-xii, 1-199pp.; Portrait of the Artist as a Young Man [Traveller’s Library; first imp.] (London: Jonathan Cape 1930), 288pp. [lists 1st ed. 1916; 2nd imp. 1917; 3rd imp. 1924; new 3d. 1924; 2nd imp. 1926; 3rd imp. 1928; Do. (Traveller’s Library [3rd Edn.] (1930; rep. 1932, 1934, 1936, 1939, 1941; new edn. [small crown 8vo.] 1942; 2nd imp. 1943 and reps. 1944, 1945, 1947, 1948); Portrait of the Artist as a Young Man [New Travellers’ Library, reiss.] (London: Jonathan Cape 1950, rep. 1951]; Do. [New Edn.] (1952); Portrait of the Artist as a Young Man, intro. & notes by J[ames] S. Atherton [Modern Novel Ser.] (London: Heinemann Books 1964; rep. 1965, 1966), vii-xxii, 235pp., with Biog. Note [vii-viii], Notes [pp.239-57] and bibl. [pp.261-62]; Portrait of the Artist as a Young Man: The Definitive Edition, corrected from the Dublin Holography by Chester Anderson & ed. by Richard Ellmann, with six drawings by Robin Jacques (NY: Viking Compass Edns., 1964) [copyrighted to Joyce Estate]; Do., ed. Chester G. Anderson [Viking Critical Library] (NY: Viking Press 1968) [incls. “1904 Portrait”]; and Do. (London: Jonathan Cape 1968; reps. 1975, 1978, 1985, 1991), 257pp., and Do. (London: Grafton Books 1977; Paladin Books 1966; NY: Guild 1978), 257pp.; Portrait &c. (NY: Penguin Books 1976); Portrait &c., in Portable James Joyce (NY: Viking 1968); Portrait &c., in The Essential James Joyce, ed. and intro. Harry Levin (Jonathan Cape 1948; Penguin 1963, 1965, 1967 &c.). pp.52-252; A Portrait of the Artist as a Young Man [1916], ed. J. S. Atherton (London: Heinemann, 1977); R. B. Kershner, A Portrait of the Artist as a Young Man [Case Studies in Contemporary Criticism] (Basingstoke: Macmillan 1993).

Exiles: A Play in Three Acts [1st edn.] (NY: B. W. Huebsch [May] 1918), 154pp.; Do. [2nd edn.] (London: Egoist Press 1921), 154pp; Exiles, with an essay on the play by Francis Fergusson [New Classics Ser.] (Conn.: New Directions [1945]), xviii, 154pp.; Exiles: A Play in three Acts, The Author’s Own Notes and an Introduction by Padraic Colum (NY: Viking Press 1951) [contains 4,000 words of Joyce’s notes]; and Do. (London: Jonathan Cape 1952), 175pp. Also printed in Harry Levin, The Essential James Joyce (NY: Viking 1948).

Giacomo Joyce, with an Introduction and Notes by Richard Ellmann (NY: Viking Press; London: Faber & Faber 1968), xi-xxvi, 16pp. & 4 facs. lvs. [pp.1, 11, 15, 16 of MS; reduced by c.50%] with Notes, pp.xxxi-xxxvii.

Ulysses CLASSIC EDITIONS: Ulysses by James Joyce (Paris: Shakespeare & Co. 1922) [1st edn.; 2 Feb. 1922; 1,000 ltd. edn.]; Do. (London; Published for the Egoist Press by John Rodker, Paris 1922) [ltd. edn. 2,000, publ. 12 October 1922]; Do. (London: Egoist Press 1923) [500 printed, on an equal sum being confiscated at NY]; Do. (Paris: Shakespeare & Co. 1924) [Jan. 1924; unlim. edn.], and Do. [reset] (Paris: Shakespeare & Co. 1926) [eighth printing 1926]; Do. [Another edn.] 2 vol. (Paris, Hamburg, Bologna: Odyssey Press 1932) [1932 Dec.; unlim. edn.; specially revised by Stuart Gilbert], 791pp., 8o.; Do. (NY: Random House 1934) [Jan. 1934; 1st. US unlim. edn.; based on the 1932 Odyssey Press Edn.], and Do. (NY: Random House 1940) [reset & corr. 1961]; Do., with an introduction by Stuart Gilbert; and illustrations by Henri Matisse (New York: The Limited Editions Club 1935), xv, 363pp., [26] leaves of pls., 31 cm.; [Oct. 1935; 1,500 ltd. edn., signed Henri Matisse, with ‘corrections suggested to Mr Gilbert by James Joyce himself’]; Do. (London: Bodley Head 1936) [Oct.; 1,000 ltd. edn.; 1st 100 signed by Joyce], and Do. (London; Bodley Head 1937) [Sept.; 1st unlim. edn.]; Do. [7th imp.] (London: Bodley Head 1955); DoDo. (London: Bodley Head 1941, 1947, 1949) [rep. edns.]; Do. (London: Bodley Head 1960) [re-set; 2nd. imp. 1962, &c.; 1963 &c.) of 1st unlimited edn., errata and appendices; Ulysses (NY: Franklin Library 1976-1979; 1983), ill. Kenneth Francis Dewey, 750pp.; Ulysses [1st pbk. edn.] (Harmondsworth: Penguin 1968) [reset], and Do. [rep. edn. (Penguin 1969, &c.); Do., intro. by Declan Kiberd (Harmondsworth: Penguin 1992) [Bodley Head 1960 Edn. reset with line nos; Introduction & notes, Ulysses (Harmondsworth: Penguin 1992) [‘Introduction’, pp.ix-lxxix; ‘A Short History of the Text’, pp.lxxxi-lxxxviii; Notes, pp.943-1194.] Also, Facsimile, Ulysses: Facsimile of the Rosenbach manuscript and the 1922 edition 3 vols. (1975). [See For Chronology, &c., Appendices, supra.]

Ulysses, MODERN EDITIONS: Danis Rose, ed., Ulysses [Dublin Edition] (Dublin: Lilliput 1997), Do. (London: Picador 1997), 739pp.; Hans Walter Gabler, with Wolfhard Steppe and Claus Mechior, Ulysses: A Critical and Synoptic Edition (NY: Garland 1984), 3 vols. 1919pp., reiss. as Hans Walter Gabler, ed., Ulysses: The Corrected Text (Bodley Head 1986), 650pp. with new preface by Richard Ellmann; John Kidd, ed., Ulysses (NY: Norton, 1994); John Kidd, ed., Ulysses, with intro. by Denis Donoghue, [The Dublin Edition] (Dublin: Lilliput Press 1995) [0 946640 98 X cloth]; Danis Rose, ed., Ulysses: A Reader’s Edition (Dublin: Lilliput 1997; 1998; 3rd imp. 1999); Ulysses [facs. of 1926 Edn.] (London: Folio Edn.; Dublin: Lilliput Press 1998; 3rd imp. 1999) [infra]; Jeri Johnson, ed., Ulysses [World Classics] (OUP 1997), 980pp.;Ulysses (London: Folio Edn.; Dublin: Lillliput Press 1998; 3rd imp. 1999) [facs. of 1926 edition, the second by Shakespeare & Co., in which Joyce's corrections were incorporated; mistakening called the eighth printing; here �with badly broken characters corrected and blemishes deleted and published by arrangement with the Estate of James Joyce. Intro. Jacques Aubert; etchings by Mimmo Paladino; preface by Stephen James Joyce.]

Ulysses, TRANSLATION EDITIONS: Ulysses, deutsche Ausgabe von George Goyert, 2 vols. (Zurich: Rhein Verlag 1927); Do., (Zurich: Rhein Verlag 1930) [1st unlim. edn. in German]; Ulisses, przetozt Maciej Stomczynski (Warsaw, Panstwowy Instytut Wydawnniczy 1969), 831pp. [1st Polish edn.]; French translation: Ulysse / James Joyce; Traduit de l'anglais par M. Auguste Morel assiste par M. Stuart Gilbert. Traduction entièrement revue par M. Valery Larbaud avec la collaboration de l'auteur (Paris: Maison des amis des livres, A. Monnier, 1929), 870pp., 25 cm. [Slocum D17]; Do. [another edn.] (Paris: Gallimard 1929 & edns.; 1957); Do. [Nouvelle Edn.] ([Paris]: Adrienne Monnier [La maison des Amis des Livres] J.-O. Fourcade [...] Paris VIe; Chartres: L'Imprimerie Durand 1930), [6], 870, [4]pp., 21.2cm.; and Do. ([Paris]: Gallimard [1948]), 704pp., 17 cm.; Do. [var. edns.] (Paris: Gallimard [livres du poche] 1948, 1957, 1968, 1972 &c.), 704pp. Also, La nuit d'Ulysse / transposition scénique d'Ulysse par Marjorie Barkentin; sous la direction de Padraic Colum [texte français par George Auclair] [Le manteau d'arlequin ser.] (Paris: Gallimard 1959), 178pp. [first publ. NY: Random House 1958]. Spanish trans., Ulises, ed. [trans.] Francisco Garcia Tortosa (Madrid 1999). Also Ulysses, audio-tapes, with Jim Norton and Marcella Riordan, et al.(Naxos), [25 hrs., unabridged].

“Work in Progress” [Finnegan Wake], Serial Publication Dates: 'From “Work in Progress”', in Transatlantic Review, I (April 1924), pp.215-23 [FW II.iv]; 'From “Work in Progress”', in Contact Collection of Contemporary Writers (Paris [May] 1925), pp.133-36 [FW 1.i, pp.30-34]; “Fragment of an Unpublished Work”, in Criterion, III (July 1925), pp.498-95 [FW I.v]; “From Work in Progress”, in Navire d'Argent, I (October 1925), pp.59-74 [FW I. viii]; “Extract from Work in Progress”, in This Quarter, I (Autumn-Winter 1925-26), pp.108-23 [FW I.vii]; “Opening Pages of a Work in Progress”, in transition, I (April 1927), pp.9-30 [FW I.i]; “Continuation of a Work in Progress”, in transition, 2 (May 1927), pp.94-107 [FW I.ii]; transition, 3 (June 1927), pp.32-10 [FW I.iii]; transition, 4 (July 1927), pp.46-65 [FW I.iv]; transition, 5 (August 1927), pp.15-31 [FW 1.v]; transition, 6 (September 1927), pp.87-106f. [FW 1. vi]; transition, 7 (October 1927), pp.34-56 [FW I.vii]; transition, 8 (November 1927), pp.17-35 [FW 1.viii]; transition, 11 (February 1928), pp.7-18 [FW 282-304]; transition, 12 (March 1928), pp.7-27 [FW III.i]; transition, 13 (Summer 1928), pp.5-32 [FW III.ii]; Anna Livia Plurabelle (NY: Crosby Gaige [October] 1928) [FW 1.viii]; transition, 15 (February 1929), pp.195-238 [FW III.iii]; Tales Told of Shem and Shaun (Paris: The Black Sun Press [August] 1929) [FW, pp.152-59, 282-304, 414-19]; transition, 18 (November 1929), pp.211-36 [FW III.iv]; Haveth Childers Everywhere (Paris & NY: [Babou & Kahane, June] 1929) [FW 532-54]; Anna Livia Plurabelle (London: Faber & Faber [June] 1929) [FW I.viii]; Haveth Childers Everywhere (London: Faber & Faber [May] 1931) [FW 132-54]; Two Tales of Shem and Shaun (London: Faber & Faber [December] 1932) [FW, pp.152-59 & 414-19]; transition, 22 (February 1933), pp.49-76 [FW 219-59]; The Mime of Mick Nick and the Maggies (The Hague: The Servire Press [June] 1934) [FW 219-59]; transition, 23 (July 1935), pp.109-29 [FW 260-75 & 304-08]; transition, 26 (February 1937), pp. 35-52 [FW 309-31]; Storiella As She Is Syung (London: Corvinus Press [October] 1937) [FW 260-75 & 304-08]; transition, 27 (April-May 1938), pp.59-78 [FW 338-55]; Finnegans Wake (London: Faber & Faber; NY: Viking Press [May 4th] 1939). [See For Chronology ... &c., Appendices, supra.]

Finnegans Wake (London: Faber & Faber 1939; rep. 1946, 1948, 1949; 2nd edn. 1950 [incorporating author’s corrections, previously printed as list at end]; rep. 1957, 1960; 3rd Edn. 1964; rep. 1966, 1968, 1971; 1975 pb.), [3]-628pp. [ISBN 0 571 05922 8 hb; 0 571 10807 5 pb.]; Do. (NY: the Viking Press 1939) [May 1939; Sept. 1943; Oct. 1944; Oct. 1945; March 1947; Dec. 1955; March 1957 [7th printing]; ... &c.) [3]-628 [containing 'Corrections of Misprints in FINNEGANS WAKE / as Prepared by the Author after Publication of the First Edition', pp.629-43.]

Finnegans Wake [Journal Publication]: Sections of “Work in Progress” appeared in transatlantic review (April 1924), Criterion (July 1925), Navire d'argent (October 1925), and transition (April 1927-April/May 1938); episodes and combinations of episodes were published as Anna Livia Plurabelle (New York, October 1928; London, June 1930); Tales Told by Shem and Shaun (Paris, August 1929), and Two Tales of Shem and Shaun (London, December 1932); and Haveth Childers Everywhere (Paris & New York, June 1930; London, June 1931).

Omnibus Editions: Harry Levin, ed., The Portable James Joyce (NY: Viking Press 1947, 1948); [Do. as] The Essential James Joyce (Harmondsworth: Penguin 1963; London: Granada 1981; London: HarperCollins 1991; Triad Paladin), 623pp.; Dubliners; A Portrait of the Artist as a Young Man; Ulysses (London: Chancellor 1993), [xi], 721pp.

Correspondence: Letters of James Joyce, ed. Stuart Gilbert, Vol. I (NY: Viking Press 1957; corr. edn. 1966); Do., ed. Richard Ellmann, Vols. II & III (London: Faber & Faber 1966) [incls. list of Joyce’s addresses in Vol. II]; Selected Letters, ed. Richard Ellmann (NY: Viking Press; London: Faber & Faber 1975), xxxi, 440pp. [incl. some newly published correspondence]; Forrest Reid, Pound/Joyce: The Letters of Ezra Pound to James Joyce, with Pound's Essays on Joyce (London: Faber & Faber 1968; NY: New Directions 1970), 3143pp. [with index]. also Melissa Banta & O. A. Silverman, eds., James Joyce’s Letters to Sylvia Beach 1921-1940 (Indiana UP 1987), 221pp., and Do. [rep. edn.] (rep. Deddington: Plantin [1990]), xvi, 221pp., ill.; Marie Tadié, trans., Lettres de James Joyce. Réunies et présentées par Stuart Gilbert [...] (Paris 1961), 548pp.

Notebooks & Archives: The Workshop of Daedalus, ed. Robert Scholes and Richard Kain (Evanston Ill.: Northwestern UP 1965) [materials for Stephen Hero]; Thomas E. Connolly, ed., & intro. James Joyce's Scribbledehobble: The Ur-Workbook for “Finnegans Wake” (Northwestern UP 1961), 187pp.; Michael Groden et al., ed., The James Joyce Archive, 63 vols. (1977-79) [notebooks, manuscripts, typescripts and corrected galleys, as infra]; Ellmann et al., eds., James Joyce, Poems and Shorter Writings ([OUP] 1990) [incls. Paris and Pola Notebooks]; Louis Berrone, James Joyce in Padua [2 early essays] (NY: Random House 1977), xxviii+146pp.

The Finnegans Wake Notebooks at Buffalo, ed. V. Deane, D. Ferrer & G. Lernout (Turnhout, Belgium: Brepols Publ. 2002- ): VI.A [a large, atypical notebook in Joyce’s hand, later known as Scribbledehobble]; VI.B.1-40, 42-48 [the primary series, consisting of 47 small notebooks in various formats, in Joyce’s hand]; VI.B.48 [compiled after the completion of Finnegans Wake]; VI.B.41 [written by Joyce at the end of VI.C.18, as infra]; VI.C.1-18 [18 notebooks containing transcriptions of unused material from the B series made by Mme Raphael and used by Joyce in the same manner as the B series]; VI.D.1-7 [Virtual notebooks representing parts of VI.C.1-18 whose originals in the B series are no longer extant] (Details of analysis and catalogue enumeration applied by Peter Spielberg in 1962; cited in Publisher’s notice from the Brepols edition of the Notebooks. [Poetry/Rare Books Collection of State University of New York at Buffalo.]

The Critical Writings of James Joyce, eds. Ellsworth Mason & Richard Ellmann (NY Viking Press 1959; rep. 1966; rep. Cornell UP 1989) [infra]; Louis Berrone, ed., trans, and intro., James Joyce in Padua (London: Random House 1977), [incl. 2 essays by Joyce of 1912; infra]; Kevin Barry, ed., James Joyce: Occasional, Critical and Political Writings (Oxford: OUP 2000), 360pp.

Chamber Music (1907), compiled for book-publication 1904, sent Chamber Music to Grant Richards Oct. 8 1904; Chamber Music [1st Edn.] (London: Elkin Mathews 1907); Chamber Music, ed. W. Y. Tindall (NY: Columbia UP 1954); Do. (London: Jonathan Cape 1971), 40pp. [36 poems].

Pomes Penyeach (7 July 1927); Pomes Penyeach new edn.] (London: Faber 1933, 1966); trans. as Poèmes: édition bilingue Poèmes traduits de l’anglas par Jacques Borel (Paris: Gallimard NRF 1967), 149pp. Note, several poems from Chamber Music [XII, XV, XXVI, XXIX, XXXVI] printed in Der Querschnitt (Frankfurt a.M.), III, 3/4 (1923), pp.157-59.

“Gas from a Burner” [broadsheet] (1912); poem, “I hear an army charging upon the land” appears in Des Imagistes, ed. Pound (1914).

Collected Poems, Collected Poems of James Joyce (NY: The Black Sun Press 1936), 4pp., l., vii-lxv, [1]p [front port.] [17 cm]; Do. [another edn.] (NY: Viking Press 1957); trans. edn. as Am Strand von Fontana : Gedichte (Wiesbaden: Limes [1957]), 31pp.; Do. [another edn.] Collected poems (NY: Viking Press [1965]), 63pp., port.; [another edn.] (NY: Penguin Books 1976), 63pp. [20cm]. See also Harry Levin, ed., The Essential James Joyce [with intro. & notes] (London : Jonathan Cape 1948), 534pp. [comprising Dubliners, A Portrait of the Artist as a Young Man, Exiles, Collected Poems, and selections from Ulysses and Finnegans Wake.]

Selected editions: T. S. Eliot, Introducing James Joyce: A Selection of Joyce’s Prose [1st ed.] (Faber 1942) [note that Eliot had written of the ‘Mythic Order’ of Ulysses in The Dial (Nov. 1923)]; THE ESSENTIAL JAMES JOYCE, intro. Harry Levin [Dubliners, A Portrait, Exiles, Poems, and extracts from Ulysses, and Finnegans Wake] (Jonathan Cape 1977).

Translation Editions incl. Chinese versions by Jin Di, Xiao Quian, and Wen Jieruo, the first-named being the most highly regarded, having been written under consultation with Joycean scholar. Jacques Aubert, ed., Œuvress de James Joyce [Pléiades Edn.] (Paris: Gallimard 1982- ).

Posthumous editions, Louis Berrone, ed., trans., & intro., James Joyce in Padua (NY: Random House 1977), xxvi, 146pp., 8 plates [2 essays of 1912]; Danis Rose, ed., James Joyce: The Index MS (Colchester 1978).

Critical Journals: James Joyce Quarterly; Joyce Studies; James Joyce Broadsheet; James Joyce Supplement; also Lettres Nouvelles (June 1957) [contains Joyce’s ‘Notes Pour Les Exiles’, and arts. on Ulysses by William Empson and Jean Paris].

Filmography
Ulysses (1967; B&W, 132 mins.) directed & produced by Joseph Strick, with Milo O’Shea as Leopold Bloom, Maurice Roëves as Stephen Dedalus and Barbara Jefford as Molly Bloom. Other roles were played by Martin Dempsey (Simon Dedalus), Fionnula Flanagan (Gerty MacDowell), Maire Hastings (Mary Driscoll), Graham Lines (Haines), Joe Lynch (Blazes Boylan), Anna Manahan (Bella Cohen), Peter Mayock (Jack Power), T. P. McKenna (Buck Mulligan), Sheila O’Sullivan (May Golding Dedalus), Maureen Potter (Josie Breen), and Maureen Toal (Zoe Higgins). The film was set in Dublin of the 1960s to avoid expensive stage-sets. The screenplay was jointly written by Fred Haines and Strick; the cinematography by Wolfgang Suschitzky, and the music by Stanley Myers. Strick (b.1923), also directed A Portrait Of The Artist As A Young Man (1979), co-scripted with Judith Rascoe, with Bosco Hogan, T.P. McKenna and John Gielgud. Strick previously directed a film-version of Jean Genet’s The Balcony (1963) and afterwards a version of Henry Miller’s Tropic of Cancer (1970) and the film Criminals (1995), using texts by C. K. Williams. Strick was blacklisted in the MacCarthy era. The Irish Censorship Board’s ban on his film remained in place until October 2000.

Ulysses, dir. Sean Walsh. with Angeline Ball [The Commitments] as Molly, Stephen Rea as Bloom and Hugh O’Conor as Stephen Dedalus (première at the Taormina Film Festival, Sicily 2003).

James Joyce: The Trials of Ulysses [documentary], traces the birth and eventual success of the novel (RTE, Network 2, 16th June 2001).

Sound: Ulysses (RTÉ 1991), sound version, with Conor Farrington, Aidan Grennell, and Thomas Studley as narrators, and Ronnie Walsh (Bloom), Pegg Monahan (Molly), Patrick Dawson (Stephen), and RTE players; text consultant, Roland McHugh, exec. producer, Mícheál Ó hAodha, dir. William Styles; Finnegan's Wake: A Reading by Patrick Healy (Lilliput 1995) [1 874675 627; boxed cassettes].

Passages from Finnegans Wake (1965; B&W), directed by Mary Ellen Bute with screenplay by Mary Manning, cCinematography by Ted Nemeth and music by Elliot Kaplan. Cast incl. Ray Flanagan (Young Shem 1), Peter Haskell (Shem 2), Page Johnson (Shaun), Martin J. Kelley (HCE/Tim Finnegan), Jane Reilly (Anna Livia).

James Joyce's Women (1985; colour), directed by Michael Pearce with cinemotography by John Metcalfe and music by Arthur Keating, Vincent Kilduff & Garrett O’Conner. Cast incl. Fionnula Flanagan (var. as Nora Joyce, Gertie MacDowell, Harriet Shaw Weaver, Main Washerwoman, & Molly Bloom), Chris O’Neill (James Joyce), James E. O’Grady (Interviewer), Tony Lyons (Leopold Bloom), Paddy Dawson (Stannie Joyce), Martin Dempsey (John Stanislaus Joyce), Gerald Fitzmahony (Dublin Gossips), Joseph Taylor (Dubliner), Rebecca Wilkinson and Gladys Sheehan (Washerwomen), Gabrielle Keenan (Cissy Caffrey) Michele O’Connor (Edy Boardman).

[ top ]

Bibliographical details
Ellsworth Mason & Richard Ellmann, eds., The Critical Writings of James Joyce (NY Viking Press 1959; rep. 1966), Contents: Introduction, [7]; 1. Trust Not Appearances (1896?) [15]; 2. Force (1898) [17]; 3. The Study of Languages (1898/99?) [25]; ]; 4. Royal Hibernian Academy �Ecce Homo' (1899) [31]; 5. Drama and Life (1900) [38]; 6. Ibsen's New Drama (1900) [47]; 7. The Day of the Rabblement (1901) [68]; 8. James Clarence Mangan (1902) [73]; 9. An Irish Poet (1902) [84]; 10. George Meredith (1902) [88]; 11. Today and Tomorrow in Ireland (1903) [90]; 12. A Suave Philosophy (1903) [93]; 13. An Effort at Precision in Thinking (1903) [96]; 14. Colonial Verses (1903) [97]; 15. Catilina (1903) [98]; 16. The Soul of Ireland (1903) [102]; 17. The Motor Derby (1903) [106]; 18. Aristotle on Education (1903) [109]; 19. A Ne'er-do-well (1903) [111]; 20. Empire-Building (1903) [113]; 21. New Fiction (1903) [116]; 22. The Mettle of the Pasture (1903) [117]; 23. A Peep into History (1903) [119]; 24. A frenh Religious Novel (1903) [121]; 25. Unequal Verse (1903) [124]; 26. Mr. Arnold Graves' New Work (1903) [126]; 27. A Neglected Poet (1903) [128]; 28. Mr. Mason's Novels (1903) [130]; 29. The Bruno Philosophy (1903) [132]; 30. Humanism (1903) [135]; 31. Shakespeare Explained (1903) [137]; 32. Borlase and Son (1903) [139]; 33. Aesthetics (1903/04) [141]; 1: The Paris Notebook]; II: The Pola Notebook; 34. The Holy Office (1904) [149]; 35. Ireland, Island of Saints and Sages (1907) [153]; 36. James Clarence Mangan [2] (1907) [175]; 37. Fenianism (1907) [187]; 38. Home Rule Comes of Age (1907) [193]; 39. Ireland at the Bar (1907) [197]; 40. Oscar Wilde: the Poet of �Salomé' 201]; 41. Bernard Shaw's Battle with the Censor (1909) [206]; 42. The Home Rule Comet (1910) [209]; 43. William Blake (1912) [214]; 44. The Shade of Parnell (1912) [223]; 45. The City of the Tribes (1912) [229]; 46. The Mirage of the Fisherman of Aran (1912) [234]; 47. Politics and Cattle Disease (1912) [238]; 48. Gas from a Burner (1912) [242]; 49. Dooleysprudence (1916) [246]; 50. Programme Notes for the English Players]; (1918/19) [249]: Barrie, the Twelve Pound Look; Synge, Riders to the Sea; Shaw, The Dark Lady of the Sonnets; Martyn, The Heather Field; 51. Letter on Pound (1925) [253]; 52. Letter on Hardy (1928) [255]; 53. Letter on Svevo (1929) [256]; 54. From a Banned Writer to a Banned Singer]; (1932) [258]; 55. Ad-writer (1932) [269]; 56. Epilogue to Ibsen's Ghosts (1934) [271]; 57. Communication de m. James Joyce sur le droit]; Moral des Ecrivains (1937) [274]; Index 277].

Louis Berrone, ed., trans, and intro., James Joyce in Padua (London: Random House 1977), xxvi+146pp., 8 plates; CONTENTS; Introduction [xiii]; Joyce’s Letter to the Rector of the University of Padua [4] "L’influenza Lerrerearia Universale del Rinascimento"/The Universal Literary Influence of the Renaissance [19]; "The Centenary of Charles Dickens" [33]; The University of Padua Official Reports [41]; Afterword 1; "The Universal Literary Influence of the Renaissance" [43]; Afterword 2: "The Centenary of Charles Dickens" [73]; Notes on the Thesis-Reader’s Corrections [103]; Distinctive or Obscure Words and Phrases in Joyce’s Paduan Essays [111]; Selected Bibl. [141-46].

James Joyce Archive (NY: Garland 1977-79) CONTENTS, Vol. 1:] Chamber Music & Poems Penyeach, ed., A. Walton Litz; Vols 2-3: Notes, Criticism, Translations & Miscellaneous, ed., Hans Walter Gabler; Vol. 4: Dubliners, Drafts & MSS, ed., Hans Walter Gabler; Vol. 5: Dubliners, facsimile proofs of 1910 Edn., Michael Groden; Vol. 6: Dubliners, 1914 Edn.; Vol. 7: A Portrait: Epiphanies, Notes, MS & Typescripts, ed., H. W. Gabler; Vol. 8: A Portrait: Facsimile Fragments of Stephen Hero, ed., H. W. Gabler; Vols. 9-10: A Portrait: Final Holograph MS, ed. Hans Walter Gabler; Vol. 11; Exiles: Notes, MS & Galley, ed., A Walton Litz; Vols. 12-27: Ulysses: Notes, MS, Drafts and Typescript, ed., Michael Groden. Vols. 28-43; Finnegans Wake: Buffalo Notebooks, eds. David Hayman & Danis Rose; Vol. 44-66: Finnegans Wake: Drafts, Typescripts & Proofs, ed., David Hayman & Danis Rose.

[ top ]

Works

Biographies & memoirs
Herbert Gorman, James Joyce: His First Forty Years (NY: Huebsch 1924), [iv], 238pp., 23cm.; Do. (London: Geoffrey Bles [1926]), [6pp.] 238pp., Foreword [i.ii], incl. front., 8vo. [printed in US]; Do (Folcroft Library Edns. 1971), [6], 238pp., 1 pl., port. [bibl. 233-38]; Do. [rep. of 1924 Huebsch edn.] (NY: Haskell House 1974), Do. (Philadelphia: R[obert] West 1977), 238pp.; Gorman, James Joyce (NY: Farrar & Rhinehart 1939), v, 358pp., ill. [rep. 1948. viii, 358pp.], Do. (NY: Octagon Books 1974), viii, 358pp., [ill. 31 pls.]; Do. [another edn. as] James Joyce: A Definitive Biography (London: Lane 1941, 1949), 4pp., 1, [3]-354pp., front. port., pls., 8vo.; Léon Edel, James Joyce: The Last Journey (NY: Gotham Book Mart 1947); J. F. Byrne, The Silent Years: An Autobiography with Memoirs of James Joyce and Our Ireland (NY: Farrar, Straus & Young 1953); Frank Budgen, Further Recollections of James Joyce (London: Shenval 1955), 15pp.; Patricia Hutchins, James Joyce’s World (London: Methuen 1957), 247pp. & index, 60 photo ills. [epigraph [infra]; [J]ohn [I]nnes M[ackintosh] Stewart, James Joyce [British Council] (London/NY: Longmans, Green 1957), 43pp.; Stanislaus Joyce, My Brother’s Keeper: James Joyce’s Early Years (NY: Viking 1958); Richard Ellmann, James Joyce (Oxford: OUP 1959; rev. edn. 1982); Chester Grant Anderson, James Joyce & His World (London: Thames & Hudson 1967); Ulick O’Connor, ed., The Joyce We Knew (Cork: Mercier Press 1967; rep. 2004), 127pp. [infra]; C. P. Curran, James Joyce Remembered (London: OUP 1968); George M. Healey, ed., The Complete Dublin Diary (Cornell UP 1971); J. B. Lyons, James Joyce and Medicine (Dublin: Dolmen 1973); Arthur Power, [Clive Hart, ed.], Conversations with James Joyce (Chicago: University of Chicago Press 1974), rep. with foreword by David Norris (Dublin: Lilliput 1999); Stan Gébler `, James Joyce: A Portrait of the Artist (London: Davis-Poynter 1975), 328pp., 14 ills.; Willard Potts, ed., Portraits of the Artist in Exile: Recollections of James Joyce by Europeans (Seattle/London: University of Washington Press 1979), 304pp. [infra]; Frank Delaney, James Joyce’s Odyssey: A Guide to the Dublin of Ulysses (London: Hodder and Stoughton [1981]; rep. London: Paladin 1983), 189pp., [photos. by Jorge Lewsinki]; Gisèle Freund, Trois Jours avec James Joyce (Paris: Denoil 1982), 79pp. [44 photos]; Brenda Maddox, Nora (London: Hamish Hamilton 1988), 589pp.; Morris Beja, James Joyce: A Literary Life (Basingstoke: Macmillan 1992), 150pp.; Peter Costello, James Joyce: The Years of Growth 1882-1915 (London: Kyle Cathie; NY: Roberts Rinehart 1992), 374pp.; Edna O’Brien, James Joyce (London: Weidenfeld & Nicolson 1999; rep. Phoenix 2000), 190pp.; John McCourt, James Joyce and Nora: Passionate Exiles (London: Orion 2000), 112pp.; John McCourt, The Years of Bloom: James Joyce in Trieste, 1904-1920 (Dublin: Lilliput 2000), 306pp.; David Pritchard, James Joyce [Irish Biographies] (Scotland: Geddes & Grosset 2001), 186pp.; Carol Loeb Shloss, Lucia Joyce: To Dance in the Wake (NY: Farrar & Strauss 2004), 561pp.

See also Jane Lidderdale & Mary Nicholson, Dear Miss Weaver: Harriet Shaw Weaver 1876-1961 (London: Faber 1970), 509pp.; John Gatt-Rutter, Italo Svevo: A Double Life (Oxford; OUP 1988), 410pp.

[ top ]

Critical Monographs

1930 - 1970

Stuart Gilbert, James Joyce’s Ulysses [1930] (NY: Vintage Books 1955 & Edns.).
Charles Duff, James Joyce and the Plain Reader (London: Harmondsworth 1932).
Harry Levin, James Joyce (London: Faber 1941); Do. [another edn.] (Conn: New Directions 1941), 240pp.
Jacques Mercanton, Poetes de l’univers (Paris: Albert Skira 1947), 230pp. [on Joyce and Mann in two sections].
Oliver St. John Gogarty, James Augustine Joyce (Dallas: Times Herald 1949), [8]pp. [ltd. edn. 1050 copies; prev. in Times Herald/Book News, 3 April 1949].
L. A. G. Strong, The Sacred River (London: [Theodore Brun]; Methuen 1949).
Italo Svevo, James Joyce (San Francisco: City Lights Books 1950).
William York Tindall, James Joyce: His Way of Interpreting the Modern World (NY/ London: Charles Scribner’s Sons 1950).
Hugh Kenner, Dublin’s Joyce (Bloomington: Indiana UP 1955), 372pp. [rep. edn. Columbia UP 1987].
Louis Gillet, trans. by Georges Markow-Totevy, Claybook for James Joyce (NY/London: Abelard-Schuman 1958), 135pp. [see also Willard Potts]
Marvin Magalaner, Time of Apprenticeship: The Fiction of Young James Joyce (NY/London: Abelard-Schuman 1959), 192pp.
William York Tindall, A Reader’s Guide to James Joyce (NY: Noonday 1959).
A. Walton Litz, The Art of James Joyce: Method and design in Ulysses and Finnegans Wake (London: OUP 1961), xi, 152pp. [with facs.].
Joseph Majault, Joyce [Editions universitaire] (Paris: Editions de Minuit 1963), 109pp.
Anthony Burgess, Re Joyce (NY: W. W. Norton & Co. 1965), 272pp.
S. L. Goldberg, James Joyce (NY: Barnes 1962).
Hugh Kenner, The Stoic Comedians: Flaubert, Joyce, Beckett (California UP 1962).
Arnold Goldman, The Joyce Paradox: Form and Freedom in His Fiction (Northwestern UP 1966).
Gisèle Freund & V. B. Carleton, James Joyce in Paris: His Final Years (London: Cassell 1966) [Freund’s photos].
B. J. Tysdall, Joyce and Ibsen: A Study of Literary Influence (Oslo: Norwegian UP 1968).
Anthony Burgess, Re Joyce (NY: W.W. Norton 1968), 276pp.
Warren Beck, Joyce’s Dubliners: Substance, Vision, and Art (Durham: Duke UP 1969).

[ back ]

[ top ]

1971 - 1980

Joseph Majault, trans. J[ohn] M. S. Stewart, James Joyce (London: Merlin 1971).
John Gross, James Joyce [Modern Masters]; (London: Fontana 1971).
Beja, Maurice, Epiphany and the Modern Novel (London: Peter Owen 1971).
Homer Obed Brown, James Joyce’s Early Fiction: The Biography of a Form (Cleveland: Case Western Reserve UP 1972).
Helene Cixous, trans. by Sally A. J. Purcel, The Exile of James Joyce (NY: D. Lewis 1972).
Hugh Kenner, The Pound Era: The Age of Ezra Pound, T. S. Eliot, James Joyce and Wyndham Lewis (California UP 1971, 1973), xiv, 606pp., ill. [rep. London: Faber & Faber 1975; London : Pimlico, 1991]
Kross, Richard K., Flaubert and Joyce: The Rite of Fiction (Princeton UP 1971).
Malcolm Brown, The Politics of Irish Literature: From Thomas Davis to W. B. Yeats (Seattle: Washington UP; London: Allen & Unwin 1972).
William Robert Rodgers, Irish Literary Portraits: W.B. Yeats, James Joyce, George Moore, George Bernard Shaw, Oliver St John Gogarty, F.R. Higgins, A.E. [broadcast conversations with those who knew them]; (London: BBC 1972).
Nathan Halper, The Early James Joyce (NY/ London: Columbia UP 1973).
Anthony Burgess, Joysprick: An Introduction to the Language of James Joyce (André Deutsch 1973)
Jacques Aubert, Introduction a l’Esthetique de James Joyce (Paris: Didier 1973), 199pp.
Claude Jacquet, Joyce et Rabelais: aspects de la création verbale dans Finnegans Wake (Paris: Didier 1973).
Hugh Kenner, A Colder Eye: The Modern Irish Writers (NY: Alfred Knopf 1983; Penguin 1984; [rep. edn.] Johns Hopkins UP 1989), xiv, 301pp.
Breon Mitchell, James Joyce and the German Novel (Ohio UP 1976), 194pp.
W. B. Stanford, Ireland and the Classical Tradition (IAP 1976; 1984), pp.102-09.
John Garvin, James Joyce’s Disunited Kingdom and the Irish Dimension (Dublin: Gill & Macmillan 1976), 254pp.
C. H. Peake, James Joyce: The Citizen and The Artist (London: Arnold 1977).
Bernard Benstock, James Joyce: The Undiscover’d Country (Dublin: Gill & Macmillan 1977), 201pp.
Matthew C. J. Hodgart, James Joyce: A Student’s Guide (London: Routledge & Kegan Paul 1978).
Hugh Kenner, Joyce’s Voices [T. S. Eliot Memorial Lectures] (London: Faber & Faber 1978), xiii, 120pp.
C. George Sandelescu, Joycean Monologue (Wake Newslitter: Colchester 1979).
George J. Watson, Irish Identity and the Literary Revival: Synge, Yeats, Joyce, and O’ Casey (London: Croom Helm 1979).
Dominic Manganiello, Joyce’s Politics (London: Routledge 1980).
Sheldon Brivic, Joyce between Freud and Jung (London: Nat. Univ. Publications 1980).
Dominic Manganiello, Joyce’s Politics (London: Routledge 1980).
Robert Kiely, Beyond Egotism: The Fiction of James Joyce, Virginia Woolf, and D. H. Lawrence (Harvard UP 1980).
Royk Gottfried, The Art of Joyce’s Syntax in Ulysses (Georgia UP 2980).
Christopher Butler, After the Wake (Oxford: OUP 1980).

[ back ]

[ top ]

1981 - 1984

Colin MacCabe, James Joyce and the Revolution of the Word (London: Macmillan 1979; 1981), and Do. [2nd edn.] (London: Palgrave 2003), 286pp.
Jackson Cope, Joyce’s Cities: Archaeologies of the Soul (Johns Hopkins UP 1981)
John Gordon, James Joyce’s Metapmorphoses (Dublin: Gill & Macmillan 1981), 207pp.
Mairead Byrne & Harry Sharpe, A Clew (Dublin: Northern 1981), ill.
Bruce Bradley, James Joyce’s Schooldays (Dublin: Gill & Macmillan 1982).
Des & K. Hickey, Faithful Departed (Swords: Word River 1982).
David Norris, Joyce’s Dublin (Dublin: Eason 1982).
Bernard Benstock, ed., The Seventh of Joyce [International Symp.; Zurich, 1979] (Bloomington: Indiana UP; Sussex: Harvester Press 1982), xi, 267pp. [contribs. F. L. Walzl, . T. Reynolds, et al.]
Robert Janusko, Source and Structure of James Joyce’s ‘Oxen’ (Epping: Bowker 1983).
Jean-Paul Riquelme, Teller and Tale in Joyce’s Fiction (Baltimore: Johns Hopkins UP 1983).
David A White, The Grand Continuum, Joyce and Metaphysics (Pittsburgh UP/London: Feffer & Simmons 1983).
David G. Wright, Characters of Joyce (Dublin: Gill & Macmillan 1983).
Katie Wales, James Joyce and the Forging of Irish English [British Library Centre for the Book] (BLCB 1993), 24pp.
Bonnie Kime Scott, Joyce and Feminism (Indiana: Harvester Wheatsheaf 1984).
Patrick Parrinder, James Joyce (Cambridge UP 1984).
James Van Dyck Card, An Anatomy of Penelope (London: Assoc. UP 1984).
Marguerite Harkness, The Aesthetics of Dedalus and Bloom (Lewisburg: Bucknell UP; London: AUP 1984).
Seamus Deane, Heroic Styles: The Tradition of an Idea [Field Day Pamph. No. 4]; (Derry: Field Day 1984), rep. in Ireland’s Field Day, ed. Roger McHugh (Derry: Field Day Theatre Co. 1985), pp.45-59.
Fritz Senn, Joyce’s Dislocutions: Essays on Reading as Translation, ed. by John Paul Riquelme (Baltimore/London: Johns Hopkins UP 1984)
Vincent John Cheng, Shakespeare and Joyce: A Study of Finnegans Wake (Gerrards Cross: Colin Smythe 1984), 271pp.

[ back ]

[ top ]

1985 - 1989

Bernard Benstock, James Joyce (NY: Unger 1985).
Richard Brown, James Joyce and Sexuality (Cambridge UP 1985; reps. 1988, 1990), vii, 224pp.
Beryl Schlossman, Joyce’s Catholic Comedy of Language (Winsconsin UP 1995), 243pp.
Richard Ellmann, Wilde, Yeats, Joyce and Beckett: Four Dubliners (Washington DC: Library of Congress 1986).
Sheldon Brivic, Joyce the Creator (Wisconsin UP 1985), 177pp. [incl. appendix: ‘Synchronicities in Ulysses’, pp.145-53].
Cheryl Herr, Joyce’s Anatomy of Culture (Illinois: Urbana 1986), xiii, 314pp.
George Sandelescu, The Language of the Devil (Gerrards Cross: Colin Smythe 1987).
Stanley Sultan, Eliot, Joyce and Co. (Oxford: OUP 1987).
Bonnie Kime Scott, James Joyce [Feminist Readings] (Brighton: Harvester 1987), 158pp.
David Lloyd, Nationalism and Minor Literature: James Clarence Mangan and the Emergence of Irish Cultural Nationalism (Berkeley: Cal. UP 1987).
Robert D. Newman & Weldon Thornton, eds., Joyce’s Ulysses: The Larger Perspective (Delaware UP; London: Assoc. UP 1987), 310pp.
Derek Attridge, Peculiar Language: Literature as Difference from the Renaissance to James Joyce (Ithaca: Cornell UP 1988).
Vicki Mahaffy, Reauthorizing Joyce (Cambridge UP 1988; rep. Florida UP 1995).
J. B. Lyons, Thrust Syphilis Down to Hell (Dun Laoghaire: Glendale 1988).
Farrell Gunning, Bloomsday (Dublin: DBA Publications 1988).
Claude Jacquet, James Joyce: Scribble, Genese du Texte (Paris: Lettres Moderne 1988).
Ira Bruce Nadel, Joyce and the Jews (London: Macmillan 1989; Florida UP 1996).
Michael Patrick Gillespie, Reading the Book of Himself: Narrative Strategies in the Works of James Joyce (Ohio State UP 1989), 300pp.
Frances L. Restuccia, Joyce and the Law of the Father (New Haven/London: Yale UP 1989), 195pp.
Umberto Eco, The Aesthetics of Choasmos: The Middle Ages of James Joyce (Harvard UP 1989) [reprint of trans. from Tulsa UP].
Diana A. Ben-Merre & Maureen Murphy, James Joyce and His Contemporaries (Conn: Greenwood 1989), 208pp.
R. B. Kershner, Joyce, Bakhtin, and Popular Literature: Chronicles of Disorder (N. Carolina UP 1989), xi, 338pp.
Morris Beja, Joyce: The Artist Manqué and Indeterminacy (Gerrards Cross: Smythe 1989) [pamph., Princess Grace Irish Library Lectures].

[ back ]

[ top ]

1990 - 1994

Suzette Henke, James Joyce and the Politics of Desire (London : Routledge 1990).
Geert Lernout, The French Joyce (Ann Arbor: Michigan UP 1990).
Alan Roughley, James Joyce and Critical Theory: An Introduction (Ann Arbor: University of Michigan 1991), 291pp.
Reed Way Dasenbrock, Imitating the Italians: Wyatt, Spenser, Synge, Pound, Joyce (Johns Hopkins UP 1991).
Dunbar-Ortiz, Roxanne, James Joyce and the Tradition of Anti-Colonial Revolution [Working Papers Ser. of Comparative American Cultures Dept] (Washington State Univ. 1999), 20pp.
Jacques Aubert, The Aesthetics of James Joyce [English trans. by Aubert]; (Baltimore: Johns Hopkins UP 1992).
David Pierce, James Joyce’s Ireland (New Haven/London: Yale UP 1992).
Richard Brown, James Joyce: A Post-Culturalist Perspective [Macmillan Modern Novelists] (London: Macmillan 1992), in US as James Joyce (NY: St Martin’s Press 1992), xx, 131pp.
Rosa M. Bollettieri Bosinelli, C. Marengo Vaglio & Chr. van Boheemen, eds., The Languages of Joyce [11th International James Joyce Symposium - Selected Papers] (Amsterdam & Philadephia: John Benjamins 1992), xx, 277pp.
Morris Beja, James Joyce: A Literary Life (Basingstoke: Macmillan 1992), 150pp.
Katie Wales, The Language of James Joyce (Dublin: Macmillan 1992), xiii, 181pp.
Sydney Bolt, A Preface to James Joyce [2nd ed.]; (London: Longman 1992).
David Lloyd, Anomalous States: Studies in the Politics of Irish Literature (Dublin: Lilliput 1992).
David Pierce, James Joyce’s Ireland (Newe Haven: Yale UP 1992), 256pp.
Peter Costello, James Joyce: The Years of Growth 1882-1915 ([London:]; Roberts Rinehart 1992).
A. N. Jeffares, and Brendan Kennelly, eds., Joycechoyce: The Poems in Verse and Prose of James Joyce (London: Kyle Cathie 1992).
David Scott Arnold, Liminal Readings, Forms of Otherness in Melville, Joyce and Murdoch (London: Macmillan 1993).
Ruth H. Bauerle, Picking up Airs: Hearing the Music in Joyce’s Text (Urbana: Illinois UP 1993).
James Fairhall, James Joyce and the Question of History (Cambridge UP 1993), xiv, 290pp.
Robert Welch, Changing States: Transformations in Modern Irish Writing (London: Routledge 1993).
John Warner, Joyce’s Grandfathers: Myth and History in Defoe, Smollett, Sterne and Joyce (Athens: University of Georgia 1993).
Thomas F. Staley & Randolph Lewis, eds., Reflections on James Joyce: Stuart Gilbert’s Paris Journal [Harry Ransom Humanities Research Center] (Austin: Texas UP 1993), xiii, 103pp., ill.
David Lloyd, Anomalous States: Irish Writing and the Post-colonial Moment (Dublin: Lilliput 1993).
Galya Diment, The Autobiographical Novel of Co-consciousness: Goncharov, Woolf, and Joyce (Florida UP 1994), 216pp.

[ back ]

[ top ]

1995 - 1999

Vincent J. Cheng, Joyce, Race, and Empire (Cambridge UP 1995), xxii, 329pp.
Joseph Valente, James Joyce and the Problem of Justice: Negotiating Sexual and Colonial Difference (Cambridge UP 1995), xiii, 282pp.
Robert Spoo, James Joyce and the Language of History: Dedalus’ Nightmare (Oxford: OUP 1995), 195pp.
Robert Newman, Pedagogy, Praxis, Ulysses: Using Joyce’s Text to Transform the Classroom (Michigan UP 1995), ix, 269pp.
Kathleen Ferris, James Joyce and the Burden of Disease (Lexington: Kentucky UP 1995).
Danis Rose, The Textual Diaries of James Joyce (Dublin: Lilliput Press 1995), 198pp.
Mark Osteen, The Economy of Ulysses: Making Both Ends Meet [Irish Studies Ser.] (Syracuse UP 1995), xii, 472pp.
Fritz Senn, Inductive Scrutinies: Focus on Joyce, ed. by Christine O’Neill (Dublin: Lilliput 1995), 252pp.
Roy Gottfried, Joyce’s Iritis and the Irritated Text: the Dis-lexic Ulysses [Florida James Joyce Ser.] (Gainesville: Florida UP [1995]), 193pp.
Emer Nolan, James Joyce and Nationalism (London & NY: Routledge 1995), 219pp.
Patrick Colm Hogan, Joyce, Milton and The Theory of Influence (Florida UP 1996), 256pp.
Grace Eckley, The Steadfast James Joyce: A Social Context for the Early Joyce (San Bernardino: Borgo 1997), 221pp.
Cordell D. K. Yee, The Word According to James Joyce: Reconstructing Representation (Bucknell UP 1997), 176pp.
Colleen Jaurretche, The Sensual Philosophy: Joyce and the Aesthetics of Mysticism (Madison: University of Wisconsin 1997; Eurospan 1998), 156pp.
Rosa M. B. Bosinelli & Harold F. Mosher, Jnr., eds., Rejoycing: New Readings of Dubliners (Kentucky UP 1998), xi, 268pp.
Vicki Mahaffey, States of Desire: Wilde, Yeats, Joyce, and the Irish Experiment (NY: OUP 1998), xix, 276pp., ill.
Trevor L. Williams, Reading Joyce Politically (Gainesville: University Press of Florida 1998), 247pp.
Neil R. Davison, James Joyce: Ulysses, and the Construction of Jewish Identity: Culture, Biography, and ‘the Jew’ in Modernist Europe (Cambridge UP 1998), 316pp.
John Brannigan, Geoff Ward & Julian Wolfreys, eds., Re Joyce: Text, Culture, Politics (Basingstoke: Macmillan 1998), xvii, 282pp.
Garry Leonard, Advertising and Commodity Culture in Joyce (Gainesville: University Press of Florida 1998), 224pp.
Umberto Eco and Liberato Santoro-Brienza, Talking of Joyce (Dublin: UCD Press 1998), 86pp.
Joseph Valente, ed., Quare Joyce (Michigan UP 1998), x, 297pp.
Christine van Boheemen-Saaf, Joyce, Derrida, Lacan and the Trauma of History: Reading, Narrative and Postcolonialism (Cambridge UP 1999), 237pp.
Edna O’Brien, James Joyce (London: Weidenfeld & Nicolson 1999; rep. Phoenix 2000), 190pp.
Marilyn Reizbaum, James Joyce’s Judaic Other (Stanford UP 1999), 208pp.

[ back ]

[ top ]

2000-

Derek Attridge, Joyce Effects: On Language, Theory, and History (Cambridge UP 2000), 226pp.
Roy K. Gottfried, Joyce’s Comic Portrait [Florida James Joyce Ser.] (Gainsville: Florida UP [2000]), 188pp.
Willard Potts, Joyce and the Two Irelands (Austin: University of Texas 2001)
Marjorie Howes & Derek Attridge, eds., Semicolonial Joyce (Cambridge UP 2000), x, 269pp.
M. Keith Brooker, Ulysses, Capitalism and Colonialism (CT: Greenwood Press 2000), 240pp.
Michael Patrick Gillespie, Joyce through the Ages: A Non-linear View (Florida UP 2000), 227pp.
John McCourt, James Joyce and Nora: Passionate Exiles (London: Orion 2000), 112pp.
—, The Years of Bloom: James Joyce in Trieste 1904-1920 (Dublin: Lilliput Press 2000), 320+8pp. photos.
Weldon Thornton, Voices and Values in Joyce’s Ulysses (Florida UP 2000), 238pp.
Christine van Boheem-Saaf, Joyce, Derrida, Lacan and the Trauma of History: Reading, Narrative and Postcolonialism (Cambridge UP [2000]) [q.pp.].
Ursula Zeller, Ruth Frehner & Hannes Vogel, eds., James Joyce: ‘Thought Through My Eyes’ (CH-Basel: Schwabe Verlag 2000), 237pp.
Edward M. Burns & Joshua A. Gaylord, eds., A Tour of the Darking Plain: The Finnegans Wake Letters of Thornton Wilder and Adaline Glasheen (UCD Press 2001), 738pp.
Jean-Michel Rabaté, James Joyce and the Politics of Egoism (Cambridge UP 2001), 248pp.
Stanley Sultan, Joyce’s Metamorphosis [Florida James Joyce Ser.] Florida UP [2001]), xv, 207pp.
David Spurr, Joyce and the Scene of Modernity (Florida UP 2002), 176pp.
Jennifer Margaret Fraser, Rite of Passage in the Narratives of Dante and Joyce (Florida UP 2002), 288pp.
R. Brandon Kershner, ed., Cultural Studies of James Joyce [European Joyce Studies, No. 15] (Amsterdam: Rodopi 2003), 215pp.
Katherine Mullin, James Joyce, Sexuality and Social Purity (Cambridge UP 2003), vii+224pp.
Niall Murphy, A Bloomsday Postcard (Dublin: Lilliput Press 2004), 336pp. [240 postcards].
Jean-Michel Rabaté, ed., James Joyce Studies (London: Palgrave 2004), 312pp. [contribs. incl. Ronald Bush, Garry Leonard, Eric Bulson, Joseph Valante, Sam Slote, Margot Norris, et al.]
Niall Murphy, A Bloomsday Postcard (Dublin: Lilliput Press 2004), 336pp. [240 postcards].
Kieran & Des Hickey, Faithful Departed: The Dublin of James Joyce’s Ulysses (Dublin: Lilliput Press 2004), 104pp. [Lawrence Collection].
Christa-Maria Lerm Hayes, ed., Joyce in Art (Dublin: Lilliput Press 2004), 400pp. [Man Ray, Matisse, Bacon, et al.]
Claire A Culletin, Joyce and the G-Men: J. Edgar Hoover’s Manipulation of Modernism (Palgrave 2004), 232pp., ill. [16pp. of photos].
Luke Thurston, James Joyce and the Problem of Psychoanalysis (Cambridge UP 2004), 244pp.
Carol Loeb Shloss, Lucia Joyce: To Dance in the Wake (NY: Farrar & Strauss 2004), 561pp.

Selected Critical Essays

Padraic Colum, ‘James Joyce’, in Pearson’s Magazine (May 1918, pp.38-41 [infra].
Valéry Larbaud, ‘James Joyce’, in Nouvelle Revue Française, XVIII (April 1922), pp.385-405; rep. as ‘The Ulysses of James Joyce’ [Sect. IV], in Criterion, I, I (Oct.. 1922), pp.94-103 and as preface to Gens de Dublin, Paris 1926.)
T. S. Eliot, ‘Ulysses, Order, and Myth’, in Dial, LXXV, 5 (Nov. 1923), pp.480-83; rep. in Seon Givens, ed., James Joyce: Two Decades of Criticism (NY: Vanguard 1948), p.201 [infra].
Edmund Wilson, ‘James Joyce as Poet’, in New Republic, XLIV (Nov. 1925), pp.279-80.
Edwin Muir, ‘James Joyce: The Meaning of Ulysses’, in Calendar of Modern Letters, I, 5 (July 1925), pp.347-55 [rep. with adds. in transition, 1926, pp.19-36].
Wyndam Lewis, Time and Western Man (London: Chatto & Windus 1927, 1928) [incls. �Analysis of the Mind of James Joyce�.]
Edmund Wilson, ‘James Joyce’, in Axel’s Castle (NY: Charles Scribner’s Sons 1931) [rep. edn., London: Fontana 1984, pp.155-89]
Carl G. Jung, ‘Ulysses: A Monologue’, in Nimbus (1931); orig. in Europäische Revue (Sept. 1932), pp.547-68.
F. R. Leavis, ‘James Joyce and the Revolution of the Word’, in Eric Bentley, ed., The Importance of Scrutiny: Selections from Scrutiny: A Quarterly Review, 1932-1948 (NY: New York UP 1948) [rep. from Scrutiny, 2, 1933].
Maria Jolas, ‘Joyce as Revolutionary’ in New Republic (9 November 1942)
Arnold Kettle, ‘James Joyce: Ulysses’, in Kettle, An Introduction to the English Novel (London: Hutchinson 1953), 2, pp.135-51.
Padraic Colum, ‘Working with Joyce’, in The Irish Times (5 Oct. 1956), p.5.
Robert Scholes, �James Joyce, Irish Poet,' in James Joyce Quarterly, 2 (1965), pp.255-70.
Arthur Power, ‘Conversations with Joyce’, in James Joyce Quarterly, III, 1 (Fall, 1965), pp.41-46 [infra].
Hugh T. Bredin, �Applied Aquinas: James Joyce’s Aesthetics', Éire-Ireland, 3, 1 (Spring 1968), pp.61-78.
John Rees Moore, �Artifices for Eternity: Joyce and Yeats', in Éire-Ireland, 3, 4 (Winter 1968), pp.66-73.
Michael H. Begnal, �The Narrator of Finnegans Wake', in Éire-Ireland, 4, 3 (Autumn 1969), pp.38-49.
William R. Ferris, Jr., �Rebellion Matured: Joyce’s Exiles', in Éire-Ireland, 4, 4 (Winter 1969), pp.73-81.
Eileen Kennedy, �Moore’s Untilled Field and Joyce’s Dubliners', in Éire-Ireland, 5, 3 (Autumn 1970), pp.81-89.
E. San Juan, Jr, �”Eveline”: Joyce’s Affirmation of Ireland', Éire-Ireland, 4, 1 (Spring 1969), pp. 46-52.
Zack Bowen, �Hungarian Politics in “After the Race”', in James Joyce Quarterly, 7 (Winter 1969), pp.138-39;
F. S. L. Lyons, ‘James Joyce’s Dublin’, in Twentieth Century Views, 4 (1970), pp.6-35.
Ben L. Collins, �Joyce’s Use of Yeats and of Irish History: A Reading of “A Mother”', in Éire-Ireland, 5, 1 (Spring 1970), pp.45-66.
Donald T. Torchiana, ‘The Opening of Dubliners: A Reconsideration’, in Irish University Review, 1, 2 (Spring/Summer 1972), 149-60.
J. V. Kelleher, ‘Identifying Printed Sources for Finnegans Wake,’ in Irish University Review, 1, 2 (Spring 1971), pp.161-77.
J. C. C. Mayes, ‘Some Comments on the Dublin of Ulysses’, in Louis Bonnerot, ed., Ulysses: Cinquantes ans après (Paris: Didier 1974), pp.83-98.
John Montague, ‘Jawseyes’, in The Crane Bag Journal of Irish Studies, 2, Nos. 1 & 2 (1977), pp.9-10 [editorial addressing three studies of Joyce by Louis le Brocquy printed in same issue, “Study 61”, p.1; “Study 63”, p.8; “Study 60”, p.192].
Vivian Mercier, ‘James Joyce as Medieval Artist’, in The Crane Bag, 2, Nos. 1 & 2 (1977), pp. 11-17.
Bernard Benstock, ‘A Setdown Secular Phoinish: The Finn of Finnegans Wake’, in The Crane Bag Journal of Irish Studies, 2, 1 & 2 (1977), pp.22-28.
Joseph Stephen O’Leary, ‘Joyce and the Myth of the Fall’, in The Crane Bag Journal of Irish Studies, 2, Nos. 1 & 2 (1977), pp.18-21.
John Jordan, ‘Amor Fati Sive Contemptus Mundi?, in The Crane Bag, 2, Nos. 1 & 2 (1977), pp.39-44.
Bruce Stewart, ‘Adamology’, in The Crane Bag Journal of Irish Studies, Nos. 1 & 2 (1977), pp.45-56.
George J. Watson, ‘James Joyce, From Inside to Outside and Back Again’, in Irish Identity and the Literary Revival (London: Croom Helm 1979), pp.151-244.
Jeanne A. Flood, ‘Joyce, Pearse, and the Theme of Execution’, in P. J. Drury, ed., Irish Studies, I (Cambridge UP 1980), pp.101-24.
Hugh Kenner, ‘The Jokes at the Wake’, in Massachusetts Review, 22 (1981), pp.722-33.
Alan Warner, ‘James Joyce’, in A Guide to Anglo-Irish Literature (Dublin: Gill & Macmillan 1981), pp.109-20.
Anthony Cronin, ‘The Advent of Bloom’, in Heritage Now: Irish Literature in the English Language (Dingle: Brandon 1982), pp.105-42, also ‘Footnote for a Poet’, pp.143-46.
Frederic Jameson, ‘Ulysses in History’, in McCormack & Stead, eds., James Joyce and Modern Literature (London: Routledge & Kegan Paul 1982), pp.126-41.
Denis Donoghue, ‘The Fiction of James Joyce’, in Augustine Martin, ed., The Genius of Irish Prose (Dublin/Cork: Mercier 1985), pp.76-88.
Seamus Deane, ‘Joyce and Stephen: the Provincial Intellectual’, and ‘Joyce and Nationalism’, both in Celtic Revivals: Essays in Modern Irish Literature 1880-1980 (London: Faber 1985), pp.75-91; 92-107, also, ‘Joyce and Beckett’, Do., pp.123-34.
Seamus Deane, ‘“Masked with Matthew Arnold’s Face”: Joyce and Liberalism’, in Morris Beja, et al., eds., James Joyce: The Centennial Symposium (Illinois UP 1986), pp.9-20.
John Kidd, ‘The Scandal of Ulysses’, in The New York Review of Books (30 June 1988), pp.1-8.
John Kidd, ‘An Inquiry into Ulysses: The Corrected Text’ [Papers of the Bibliographical Society of America 82, 4] (BSA 1988), pp.411-584.
Declan Kiberd [ed.,], ‘Introduction’, Ulysses (Harmondsworth: Penguin 1992) pp.ix-lxxix.
W. J. McCormack, ‘James Joyce: Bás nó Beatha’, in From Burke to Beckett (Cork UP 1994), pp.257-301.
Joseph Valente [guest. ed.], ‘Joyce and Homosexuality’ [Special Issue], James Joyce Quarterly, 31, 3, (Tulsa UP 1994).
Vivian Mercier, ‘James Joyce: Creating Ulysses’, in Modern Irish Literature: Sources and Founders, ed. Eilís Dillon (Oxford: Clarendon Press 1994) [Chap. 8], pp.243-311.
Declan Kiberd, ‘James Joyce and Mythic Realism’, Inventing Ireland: The Literature of the Modern Nation (London: Jonathan Cape 1995), pp.327-55.
Kristeva, Julia, ‘Joyce “The Gracehoper” or Orpheus’s Return’, in The New Maladies of the Soul (Columbia UP 1996), pp,172-88.
Brian Caraher, ‘Edgeworth, Wilde and Joyce: Reading Irish Regionalism through the “Cracked Looking-glass” of a Servant's Art', in Glenn Hopper & Leon Litvak, eds., Ireland in the Nineteenth Century: Regional Identity (Dublin: Four Courts [2000]; ), [q.p.]
Tom Paulin, ‘Pick, pack, pock, puck’, in Dublin Review (Summer 2002), pp.54-71 [a study of Joyce’s ‘classicism’]
Declan Kiberd, ‘Ulysses, Newspapers and Modernism’, in Irish Classics (London: Granta 2000), pp.463-81.

[ top ]

Critical Collections
Seon Givens, ed., James Joyce: Two Decades of Criticism (NY: Vanguard 1948), [infra]; Maurice Harmon, ed., The Celtic Master: Essays by Donagh MacDonagh, Niall Montgomery, Norman Silverstein, Margaret C. Solomon, Stanley Sultan [First James Joyce Symposium in Dublin, 1967] (Dublin: Dolmen Press 1969), 57pp.; John Ryan, ed., A Bash in the Tunnel: James Joyce by the Irish (Brighton: Clifton Books 1970), 259pp. [infra]; Robert Deming, ed., James Joyce: The Critical Heritage, 2 vols. [1902-1927; 1928-1941] (London: Routledge & Kegan Paul 1970), 821pp. [infra]; Robert Deming, ed., James Joyce: The Critical Heritage, 2 vols. (London: Routledge & Kegan Paul 1970); Philip F. Herring, ed. Joyce’s Ulysses Notesheets in the British Museum (Virginia UP 1972); William M. Chace, ed., Joyce: A Collection of Critical Essays [Twentieth-Century Views] (NJ: Prentice Hall 1974) [reprint essays]; Louis Bonnerot, ed., Ulysses: Cinquantes ans après (Paris: Didier 1974); K. McCrory and John Unterecker, eds., Yeats, Joyce and Beckett: New Light on Three Modern Irish Writers (Lewisburg: Bucknell UP 1976), 184pp. [infra]; K. McCrory & J. Unterecker, eds., Yeats, Joyce and Beckett: New Light on Three Modern Irish Writers (Lewisburg: Bucknell UP 1976), 184pp. [infra]; Colin MacCabe, ed., James Joyce: New Perspectives (Brighton: Harvester Wheatsheaf 1982), 198pp. [infra]; Suheil Badi Bushrui & Bernard Benstock, eds., James Joyce: An International Perspective: Centenary Essays in Honour of the late Sir Desmond Cochrane [with a message from Samuel Beckett and a foreword by Richard Ellmann]; (Gerrards Cross: Smythe 1982), [infra]; Suzette Henke & Elaine Unkeless, eds., Women in Joyce (Brighton: Harvester; Illinois UP 1982), 216pp. [infra]; W. J. McCormack & Alistair Stead, eds., James Joyce and Modern Literature (London/Boston: Routledge & Kegan Paul 1982), 222pp. [Papers of University of Leeds conference, Apr. 1982; incl. bibl. and index]; Derek Attridge & Daniel Ferrer, eds., Post-structuralist Joyce: Essays from the French (Cambridge UP 1984) [infra]; Zack Bowen & James F. Carens, eds., A Companion to Joyce Studies, 2 vols. (Westport: Greenwood 1984); Heyward Ehrlich, ed., Light Rays: James Joyce and Modernism (NY: New Horizon 1984), 224pp. [infra]; Zack Bowen & James F. Carens, eds., A Companion to Joyce Studies (Westport: Greenwood 1984), 818pp. [infra]; Bernard Benstock, ed., Critical Essays on James Joyce (Boston: G.K. Hall 1985), 236pp. [infra]; Harold Bloom, ed., James Joyce: Modern Critical Views (NY: Chelsea House 1986); Morris Beja, et al., eds., James Joyce: The Centennial Symposium (Illinois UP 1986); Bernard Benstock, ed., The Augmented Ninth: Papers from the Ninth James Joyce Symposium (Syracuse UP 1988); Bonnie Kime Scott, ed., New Alliances in Joyce Studies (Delaware UP 1988); Christine van Beerhamen, ed., Joyce, Modernity and Mediation [European Studies 1]; (Amstersdam & Atlanta: Rodopi 1989), 228pp. [infra]; Augustine Martin, ed., James Joyce: The Artist in the Labyrinth (London: Ryan Publ. 1990), 354pp. [infra]; Janet E. Dunleavy, Melvin J. Friedman, & Michael Patrick Gillespie, eds., Joycean Occasions: Essays from the Milwaukee James Joyce Conference (Delaware UP 1991), 246pp. [infra]; Derek Attridge, ed., The Cambridge Companion to James Joyce (Cambridge: UP 1990; 2nd. edn. 2004), 305pp. [infra]; Mary T. Reynolds, ed., James Joyce: A Collection of Critical Essays (Englewood Cliffs: Prentice Hall 1993), 238pp. [infra]; Susan Stanford Friedman, ed., Joyce: The Return of the Repressed (Ithaca: Cornell UP 1993), 314pp. [infra]; Andrew Gibson, ed., Reading Joyce’s “Circe” (Amsterdam & Atlanta: Rodopi 1994), 280pp. [infa]; David Hayman & Sam Slote, eds., Genetic Studies in Joyce [European Studies 5]; (Amsterdam & Atlanta: Rodopi 1995), 279pp. [infra]; Mark A. Wollaeger, Victor Luftig, & Robert Spoo, eds., Joyce and the Subject of History (Michigan UP 1996), 248pp. [infra]; Bernard McCabe, ed., James Joyce: Reflections of Ireland (NY: Little, Brown 1993), 160pp., ill. Alain Le Garmseur [photos]; Andrew Gibson, ed., Reading Joyce’s ‘Circe’ (Amsterdam & Atlanta: Rodopi 1994), 280pp.; Vincent Cheng, Kimberly J. Devlin & Margot Norris, eds., Joycean Cultures/Culturing Joyces (Newark: University of Delaware 1998), 294pp. [infra]; Ruth Frehner & Ursula Zeller, eds., “A Collideorscape of Joyce”: Festschrift for Fritz Senn (Dublin: Lilliput Press 1998); Michael Patrick Gillespie, ed., Joyce Through the Ages: A Nonlinear View (Gainesville: Florida UP 1999), 215pp. [infra]; Ursula Zeller, Ruth Frehner & Hannes Vogel, eds., James Joyce: “Gedacht durch meine Augen”/Through through my eyes (Basel: Schwabe Verlag 2000), 237pp. [Parallel text in German and English]; [infra]; Derek Attridge & Marjorie Howes, Semicolonial Joyce (Cambridge UP 2000), 269pp. [infra].

[ top ]

Studies of Individual Works
Dubliners: Peter K. Garrett, ed., Twentieth Century Interpretations of ‘Dubliners’ (NJ: Prentice Hall 1968); Clive Hart, ed., James Joyce’s Dubliners: Critical Essays (NY: Viking Press 1969), 183pp. [infra]; Warren Beck, Joyce’s Dubliners: Substance, Vision and Art (Durham: Duke UP 1969); Donald T. Torchiana, ‘The Opening of Dubliners, A Reconsideration,’ Irish University Review, 1, 2 (Spring 1971), pp.149-60; Albert J. Solomon, �The Backgrounds of “Eveline”', Éire-Ireland, 6, 3 (Autumn 1971), pp.23-38; Donald T. Torchiana, �Joyce’s After the Race, the Races of Castlebar, and Dun Laoghaire', Éire-Ireland, 6, 3 (Autumn 1971), pp.119-28; Morris Beja, ed., James Joyce - ‘Dubliners’ and ‘A Portrait of the Artist as a Young Man’: A Casebook (London: Macmillan 1973), 256pp. [infra]; Patrick Mark Hederman, ‘The Dead Revisited’, The Crane Bag, 2, Nos. 1 & 2 (1977), pp.29-38; Clive Hart, James Joyce and the Making of “The Dead” (Gerrards Cross: Colin Smythe 1980); Don Gifford, Joyce Annotated: Notes for Dubliners and A Portrait of the Artist as A Young Man (Berkeley: University of California Press 1982; rev. edn 1988), 312pp.; Patrick Rafroidi, James Joyce: Dubliners [York Notes]; (Harlow: Longman 1984); Donald T. Torchiana, Backgrounds for Joyce’s Dubliners (Boston: Allen & Unwin, 1986), 283pp.; Bernard Benstock, Narrative Con/Texts in Dubliners (London: Macmillan 1993); Garry M. Leonard, Reading ‘Dubliners’ Again: A Lacanian Perspective (Syracuse: Syracuse UP 1993); Rosa M. B. Bosinelli & Harold F. Mosher, Jnr., eds., Rejoycing: New Readings of Dubliners (Kentucky UP 1998), xi, 268pp.; Oona Frawley, ed., A New and Complex Sensation: Essays on Joyce’s Dubliners (Dublin: Lilliput Press 2004), 272pp.

A Portrait of the Artist as a Young Man: Chester G. Anderson and Hans Walter Gabler, ‘The Text of James Joyce’s A Portrait of the Artist as a Young Man’, Neuphilologische Mitteilungen, 65 (Spring 1964), pp.160-200; Morris Beja, ed., James Joyce - ‘Dubliners’ and ‘A Portrait of the Artist as a Young Man’: A Casebook (London: Macmillan 1973), 256pp. [infra]; Hans Walter Gabler, ‘Towards a Critical Text of James Joyce’s A Portrait of the Artist as a Young Man’, in Studies in Bibliography, 27 (1974), pp.1-53; Thomas F. Staley & Bernard Benstock, Approaches to Joyce’s Portrait: 10 Essays (Pittsburgh UP 1976), 241pp. [infra]; John B. Smith, Imagery in the Mind of Stephen Dedalus: A Computer-assisted Study of Joyce’s ‘A Portrait of the Artist as a Young Man’ (Lewisburg: Bucknell UP; London: Associated UP 1980); Don Gifford, Joyce Annotated: Notes for Dubliners and A Portrait of the Artist as A Young Man (California UP 1982; rev. edn 1988), 312pp.; Joseph Buttigieg, A Portrait of the Artist in A Different Perspective (Ohio UP 1987), 165pp.; John Cronin, ‘James Joyce: A Portrait of the Artist as a Young Man’, in The Anglo-Irish Novel: 1900-1940 [Vol II]; (Belfast: Appletree 1990), pp.68-79; David Seed, James Joyce’s Portrait of the Artist as a Young Man (Hemel Hempstead: Harvester Wheatsheaf 1992); Weldon Thorton, The Antimodernism of Joyce’s Portrait of the Artist as a Young Man (Syracuse UP 1994), 352pp.; John Coyle, ed., James Joyce, Ulysses, A Portrait of the Artist as a Young Man: A Reader’s Guide to Essential Criticism (Cambridge: Icon 2000), 186pp.; Mark A. Wollaeger, ed., James Joyce’s A Portrait of the Artist as a Young Man: A Casebook (Oxford 2003), 372pp. [contribs. Hugh Kenner, Fritz Senn, Maud Ellmann, Joseph Valente, Marjorie Howes & Vicki Mahaffey]

Ulysses: Paul Jordan Smith, A Key to the Ulysses of James Joyce (NY: Covici, Friede 1927; 1970), 89pp.; Stuart Gilbert, James Joyce’s Ulysses: A Study (London: Faber & Faber 1930; 2nd edn. 1932), 416pp., and Do. [ new rev. edn.] (Faber 1952), 407pp.; Do. (NY: Vintage Books 1953, 1955; 1967), 405pp.; Do., (Harmondsworth: Penguin Books 1963), 364pp.; Miles L. Hanley, ed., Word-Index to James Joyce’s Ulysses (Wisconsin UP 1937); Frank [Spencer Curtis] Budgen, James Joyce & The Making of Ulysses (London: Grayson & Grayson 1934; 1937); Do. [rep edn.] (Indiana UP [1960]), 339pp., and Do. [rep. as] James Joyce and the Making of “Ulysses” and Other Writings, intro. by Clive Hart (OUP 1972; 1989); Richard M. Kain, Fabulous Voyager: James Joyce’s Ulysses (Chicago: University of Chicago 1947), 299pp.; Samuel Lois Goldberg, The Classical Temper: A Study of James Joyce’s ‘Ulysses’ (NY: Barnes & Noble 1961); A. Walton Litz, The Art of James Joyce: Method and Design in Ulysses and Finnegans Wake (London/NY: OUP [Galaxy] 1964), 152pp. [MS materials copyright Estate of James Joyce, 1961]; Robert Martin Adams, Surface and Symbol: The Consistency of James Joyce’s Ulysses (NY: OUP 1962); Stanley Sultan, The Argument of Ulysses (Ohio State UP 1964), 485pp. [rep. edn. Oxford University Press 1987, xiv, 326pp.]; Clive Hart, James Joyce’s Ulysses (Sydney UP 1968), 106pp.; Weldon Thornton, Allusions in Ulysses: An Annotated List (Chapel Hill: University of North Carolina 1968), also pub. as Allusions in Ulysses: A Line-by-line Reference to Joyce’s Complex Symbolism (NY: Simon and Schuster 1968), 554pp.; Richard Ellmann, With Ulysses: A Short History (Harmondsworth: Penguin 1968), 718pp. [See James Joyce Quarterly, Spring, 1971, bibl.]; David Hayman, Ulysses: The Mechanics of Meaning (Englewood Cliffs: Prentice-Hall 1970), 119pp.; Clive Hart & David Hayman, eds., James Joyce’s Ulysses: Critical Essays (Berkeley: University of California 1974), 433pp. [infra]; Mark Schechner, Joyce in Nighttown: A Psychoanalytical Inquiry into Ulysses (Berkeley: University of California 1974), 271pp.; Zack Bowen, Musical Allusions in the Works of James Joyce: Early Poetry through Ulysses (Albany: State University of NY 1974), 372pp.; Marilyn French, The Book as World: James Joyce’s Ulysses (Cambridge: Harvard UP 1976), 295pp.; Richard Ellmann, The Consciousness of Joyce (London: Faber & Faber 1977), 150pp.; Michael Groden, Ulysses in Progress (Princeton UP 1977), 235pp.; Hugh Kenner, Ulysses (London/Boston: G. Allen & Unwin 1980), 182pp.; Ray K. Gottfried, The Art of Joyce’s Syntax in Ulysses (London: Macmillan 1980); Karen Lawrence, The Odyssey of Style in Ulysses (Princeton UP 1981); Peter Costello, Leopold Bloom: A Biography (Dublin: Gill & Macmillan 1981); John Cronin, Joyce’s Ulysses: A Capital Idea (Belfast: QUB 1981); Karen Lawrence, The Odyssey of Style in Ulysses (Princeton: Princeton UP 1981), 229pp.; Brook Thomas, James Joyce’s Ulysses: A Book of Many Happy Returns (Louisiana State UP 1982), 187pp.; Richard E. Madtes, The “Ithaca” Chapter of Ulysses (Epping: Bowker 1983), 160pp.; Owen Wilson, James Joyce and the Beginnings of Ulysses (Epping: Bowker 1983), 154pp.; David Kiremidjian, A Study of Modern Parody: James Joyce’s Ulysses, Thomas Mann’s Dr. Faustus (NY: Garland Publishing Co. 1985); Wolfhard Steppe & Hans Gabler, A Handlist to James Joyce’s Ulysses: A Complete Alphabetical Index to the Critical Reading Text (NY: Garland Publishing Co. 1986), 300pp.; George C. Sandelescu, ed., Assessing the 1984 Ulysses (Gerrards Cross: Colin Smythe 1986), 300pp. [infra]; Jacques Derrida, Ulysses gramaphone: deux mots pour Joyce [Philosophie en effect] (Paris: Edition Galilee 1987); Daniel R. Schwarz, Reading Joyce’s Ulysses (London: Macmillan 1987); Robert D. Newman & Weldon Thornton, Joyce’s Ulysses: The Larger Perspective (Delaware UP 1987); Don Gifford, Ulysses Annotated: Notes for James Joyce’s Ulysses (California UP 1988), 645pp.; Robert Nicholson, The Ulysses Guide (London: Methuen 1988); Patrick McGee, Paperspace: Style as Ideology in Joyce's Ulysses (Nebraska UP 1988); Ian Gunn, Ulysses Pagefinder (Edinburgh: Split Pea 1988); Danis Rose & John O’Hanlon, The Lost Notebook: New Evidence of the Genesis of Ulysses, foreword by Hans Walter Gabler (Edinburgh: Split Pea 1989); P. Gaskell & Clive Hart, Ulysses: A Review of Three Texts (Gerrards Cross: Colin Smythe 1989); Bernard Benstock, ed., Critical Essays on James Joyce’s Ulysses (Boston: G. K. Hall 1989), 331pp. [infra]; David G. Wright, Ironies of Ulysses (Dublin: Gill & Macmillan 1991), 154pp.; Bruce Arnold, The Scandal of Ulysses (London: Sinclair-Stevenson 1991), and Do. [rep. as] The Scandal of Ulysses: The Life and Afterlife of a 20th-century Masterpiece (Dublin: Liffey Press 2004), 325pp.; Kathleen McCormack & Irwin R Steinberg, eds., Approaches to Teaching Joyce’s Ulysses (NY: MLA 1993); Jeffrey Segall, Joyce in America: Cultural Politics and the Trials of Ulysses (California UP 1993); Enda Duffy, The Subaltern Ulysses (Minneapolis UP 1994), 212pp.; Maria Tymoczko, The Irish Ulysses (California UP [1994]), xvi, 391pp.; Zack Bowen, Bloom’s Old Sweet Song: Essays on Joyce and Music (Florida UP 1995), 151pp.; Mark Osteen, The Economy of Ulysses: Making Both Ends Meet (Syracuse UP 1995), 472pp.; Vincent Sherry, James Joyce’s Ulysses [Landmarks of World Literature Ser.] (Cambridge UP 1994; 1997), 123pp.; Robert H. Bell, Jocoserious Joyce: The Fate of Folly in Ulysses (Florida UP 1996), 248pp.; Roy Gottfried, Joyce’s Iritis and the Irritated Text: The Dis-Lexic Ulysses (Florida UP 1996), 208pp.; Jean Kimball, Odyssey of the Psyche: Jungian Patterns in Joyce’s Ulysses (Southern Illinois UP 1997), 217pp.; Margot Norris, A Companion to James Joyce’s Ulysses (NY: Bedford Books 1998), 255pp.; Neil R. Davison, James Joyce: Ulysses, and the Construction of Jewish Identity: Culture, Biography, and ‘the Jew’ in Modernist Europe (Cambridge UP 1998), 316pp.; Paul Vanderham, James Joyce and Censorship: The Trials of Ulysses (London: Macmillan 1998), 242pp.; Paul Schwaber, The Cast of Characters: A Reading of Ulysses (Yale UP 1999), 236pp.; M. Keith Booker, Ulysses: Capitalism and Colonialism (Conn: Greenwood 2000), 240pp.; Patrick McGee, Joyce Beyond Marx: History and Desire in Ulysses and Finnegans Wake (Florida UP 2001); Ian Gunn & Clive Hart, James Joyce’s Dublin: A Topographical Guide to the Dublin of Ulysses (London: Thames & Hudson 2004), 160pp. [maps & photos].

[ top ]

Finnegans Wake: Samuel Beckett, et al., Our Exagmination round His Factification for an Incamination of Work in Progress (1929) [infra]; Joseph Campbell & Henry Robinson, A Skeleton Key to Finnegans Wake (NY: Harcourt, Brace 1944); Fred. H. Higginson, Anna Livia Plurabelle: The Making of a Chapter (Minnesota UP 1960); James Atherton, The Books at the Wake: A Study of Literary Allusions in James Joyce’s Finnegans Wake (Carbondale: S. Illinois UP; London & Amsterdam: Feffer & Simons 1959; Viking/Arcturus rep. 1974), 308pp.; Thomas Connolly, ed., Scribbledehobble: The Ur-Workbook for Finnegans Wake (Northwestern UP 1961); A. Walton Litz, The Art of James Joyce: Method and Design in Ulysses and Finnegans Wake (London/NY: OUP 1961), 152pp.; Clive Hart, Structure and Motif in Finnegans Wake (London: Faber & Faber 1962), 271pp.; David Hayman, ed., A First Draft Version of Finnegans Wake (Texas UP 1963); Dounia Christiani, Scandinavian Elements in Finnegans Wake (Evanston: Northwestern UP 1965); Bernard Benstock, Joyce-again’s Wake: An Analysis of Finnegans Wake (NJ: Greenwood 1965; 1975), 312pp.; Jack P. Dalton & Clive Hart, eds., Twelve and a Tilly: Essays on the Occasion of the 25th Anniversary of Finnegans Wake (London: Faber & Faber 1966), 142pp. [infra]; Helmut Bonheim, A Lexicon of the German in Finnegans Wake (California UP 1967); Brendan Ó Hehir, A Gaelic Lexicon for Finnegans Wake: And Glossary for Joyce’s Other Works (California UP 1967); William York Tindall, A Reader’s Guide to Finnegans Wake (NY: Farrar, Straus & Giroux 1969; rep. Syracuse UP 1996); Margaret Solomon, Eternal Geomater: The Sexual Universe of Finnegans Wake (Southern Illinois UP 1969); Michael H. Begnal & Fritz Senn, eds., A Conceptual Guide to Finnegans Wake (Pennsylvania State UP 1974); Begnal & Grace Eckley, Narrator and Character in Finnegans Wake (Bucknell UP 1975), 241pp.; Roland McHugh, The Sigla of Finnegans Wake (London: Edward Arnold 1976), 150pp.; Margot Norris, The Decentred Universe of Finnegans Wake: A Structuralist Analysis (Johns Hopkins UP 1976), 151pp.; Brendan Ó Hehir & John M. Dillon, A Classical Lexicon for Finnegans Wake: A Glossary of the Greek and Latin in the Major Works of Joyce, including Finnegans Wake, the Poems, Dubliners, Stephen Hero, A Portrait of the Artist as a Young Man, Exiles, and Ulysses (California UP 1977); Adaline Glasheen, Third Census of ‘Finnegans Wake’: An Index of the Characters and their Roles [rev. edn.]; (California UP 1977), 314pp.; Louis O. Mink, A Finnegans Wake Gazetteer (Indiana UP 1978); Danis Rose, ed., James Joyce’s The Index Manuscript: Finnegans Wake Holograph Workbook VI.B.46 (Colchester: A Wake Newsletter Press 1978); Patrick McCarthy, The Riddle of Finnegans Wake (London: AUP 1980); Roland McHugh, Annotations to Finnegans Wake (London: Routledge & Kegan Paul 1980; Johns Hopkins UP 1980; 1991), 628pp.; Roland McHugh, The Wake Experience (Blackrock: IAP 1981), 123pp.; Danis Rose & John O’Hanlon, Understanding Finnegans Wake (NY: Garland Publishing Co. 1982); William M. Schutte, ed., An Index of Recurrent Elements in James Joyce’s Ulysses (Southern Illinois UP 1982), 429pp.; Nathan Halper, Studies in Joyce (Epping: Bowker 1983); Cyrus Patell, Joyce’s Use of History in Finnegans Wake (Cambridge: Harvard UP 1984); Vincent John Card, Shakespeare and Joyce: A Study in Finnegans Wake (Gerrards Cross: Smythe 1984); John Bishop, Joyce’s Book of the Dark: Finnegans Wake (Wisconsin UP 1986; 1995), 448pp.; Grace Eckley, Children’s Lore in Finnegans Wake (Syracuse UP 1985), pp.250; John Gordon, Finnegans Wake: A Plot Summary (Dublin: Gill & Macmillan 1986); John Colm O’Sullivan, Joyce’s Use of Colors: Finnegans Wake and the Earlier Works (Ann Arbor/London: UMI Research 1987); Michael Begnal, Dreamscheme: Narrative and Voice in Finnegans Wake (Syracuse UP 1988), 127pp.; Peter Myers, The Sounds of Finnegans Wake (London: Macmillan 1992), 195pp.; Thomas C. Hofheinz, Joyce and the Invention of Irish History: Finnegans Wake in Context (Cambridge UP 1995), 200pp.; Sheldon Brivic, Joyce’s Waking Women: An Introduction to Finnegans Wake (Madison: University of Wisconsin 1995); Matthew J. C. Hodgart & Ruth Bauerle, Joyce’s Grand Operoar: Opera in Finnegans Wake (Urbana: Illinois UP 1997), 341pp. [infra]; Eric McLuhan, The Role of Thunder in Finnegans Wake (Toronto UP 1997), 340pp.; Patrick McGee, Joyce Beyond Marx: History and Desire in Ulysses and Finnegans Wake (Florida UP 2001); Edward M. Burns and Joshua A. Gaylord, eds., A Tour of the Darking Plain: The Finnegans Wake Letters of Thornton Wilder and Adaline Glasheen (UCD Press 2001), 738pp.; Yu-Chen Lin, Justice, History, and Language in James Joyce’s Finnegans Wake [Studies in Irish Literature, 9] (NY: Edwin Mellen Press 2002), xiii, 193pp.;

[ top ]

Reference Works
Bibliographies: John J[ermain] Slocum & Herbert Cahoon, A Bibliography of James Joyce (1953; rep. edn. Conn: Greenwood 1971; rev. edn. [1994]); Paul A. Doyle, ed., A Concordance to the collected Poems of James Joyce (NY & London: Scarecrow Press 1966), 218pp.; Brendan Ó Hehir, A Gaelic Lexicon for Finnegans Wake and Glossary for Joyce’s Other Works (Berkeley: University of California Press 1967); Leslie Hancock, Word Index to James Joyce’s Portrait of the Artist (S. Illinois UP; London: Feffer & Simons 1967); R. H. Deming, A Bibliography of James Joyce Studies (Lawrence: Kansas Univ. Libraries 1964; [2nd edn.] Boston: G. K. Hall 1977); Clive Hart, ed., Concordance to Finnegans Wake (NY: Garland Publishing Co. 1974); Brendan Ó Hehir & John M. Dillon, A Classical Lexicon for ‘Finnegans Wake’: A Glossary of the Greek and Latin in the Major Works of Joyce, including Finnegans Wake, the Poems, Dubliners, Stephen Hero, A Portrait of the Artist as a Young Man, Exiles, and Ulysses (California UP 1977); Shari Benstock, Who’s He when He’s at Home: A James Joyce Directory (Illinois UP 1980); Wilhelm Füger, ed., Concordance to James Joyce’s Dubliners (Hildesheim & NY: George Olms 1980); William M. Schutte, ed., An Index of Recurrent Elements in James Joyce’s Ulysses (Southern Illinois UP 1982), 429pp.; Thomas Staley, ed., Annotated Critical Bibliography of James Joyce (NY/London Harvester Wheatsheaf 1989), 182pp.; Thomas Jackson Rice, James Joyce: A Guide to Research (NY: Garland Publishing Co. 1982); Don Gifford, Joyce Annotated: Notes for Dubliners and A Portrait of the Artist as A Young Man (California UP 1982; [2nd. rev. & enl. edn]; 1988 pbk. 1989), 312pp.; Telsumaro Hayashi, James Joyce: Research Opportunities and Dissertation Abstracts (Jefferson N.C.; London, McFarland 1985); Richard Wall, ed., An Anglo-Irish Dialect Glossary for Joyce’s Work (Gerrards Cross: Colin Smythe 1986); A. Nicholas Fargnoli & Michael Patrick Gillespie, James Joyce A to Z: An Enclyclopaedic Guide to his Life and Work (London: Bloomsbury 1995), 320pp. Alan M. Cohn, “Current James Joyce checklist”, in James Joyce Quarterly [JJQ].

Photographic & topographical guides, Clive Hart and Leo Knuth, A Topographical Guide to James Joyce’s Ulysses, 2 vols. (Colchester: A Wake Newslitter Press 1975; rev. edn. 1986); Bruce Bidwell & Linda Heffer, The Joycean Way: A Topographical Guide to Dublins and A Portrait of the Artist as a Young Man (Dublin: Wolfhound Press; Johns Hopkins UP 1982); Niall Murphy, A Bloomsday Postcard (Dublin: Lilliput Press 2004), 336pp. [240 postcards]; Kieran & Des Hickey, Faithful Departed: The Dublin of James Joyce’s Ulysses (Dublin: Lilliput Press 2004), 104pp. [Lawrence Collection].

Catalogues: National Book League, ed., Harriet Weaver & James Joyce: The Catalogue of the Harriet Shaw Weaver Collection of James Joyce housed in the Library of the National Book League (London: National Book League 1957; 1976); Arthur James Mizener, The Cornell Joyce Collection, given to Cornell University by William G. Mennen (Ithaca, NY: Cornell Univ. Library 1958), 13pp.; LibraryAlfred Appel, Jr., James Joyce: An Appreciation [Exhibition Catalogue]; (Stanford Univ. Libraries 1964), 5pp.; Michael Groden, general ed., Hans Walter Gabler, David Hayman, A. Walton Litz & Danis Rose, assoc. eds., The James Joyce Archive 63 vols. (NY: Garland Publishing Co. 1977-1979). [infra]; Danis Rose, ed., James Joyce’s The Index Manuscript: Finnegans Wake Holograph Workbook VI.B.46 (Colchester: A Wake Newslitter Press 1978), 379pp.; Michael Groden, James Joyce’s MSS: An Index (NY: Garland Publishing Co. 1980), 173pp.; Sidney F. Huttner, comp., intro. by Bernard Benstock, The McFarlin Library Paul and Lucie Léon/James Joyce Collection ([Tulsa]: McFarlin Library 1985), 34pp.; Michael Patrick, ed., James Joyce’s Trieste Library: A Catalogue of Materials at University of Texas, Austin (Texas UP 1986), 279pp.; Catherine Fahy, ed., The James Joyce - Paul Leon Papers in the National Library of Ireland: A Catalogue (National Library of Ireland 1992), 254pp.; Edward A. Burns, & Joshua A. Gaylord, A Tour of the Darking Plain: The Finnegans Wake letters of Thornton Wilder and Adaline Glasheen (UCD Press 2001); Vincent Deane, Daniel Ferrer & Geert Lernout, eds., James Joyce, The Finnegans Wake Notebooks at Buffalo: A Reader’s Guide to the Edition (Turnhout: Brepols [2001]), 16pp.

Textual history
Epiphanies (c.1900-03): 1900 till at least 1903; at least 71 written, of which 22 have survived; the extant epiphanies are numbered, possibly in autobiographical sequence, but certainly not their eventual order of use in the works. They merge his two concerns of the time, poetry and drama, into prose, either as prose poems or dramatic scenes. There importance in Stephen Hero is indicated by Joyce’s comment on one of them as the transitional point between two sections of the novel (Letters, II: 79); Stephen Hero offers a long description of the process of epiphanisation, though the definition is dropped in A Portrait of the Artist.

[ top ]

Stephen Hero (1944): Composition of editions [note variant accounts], ed. Theodore Spencer, 1944, Spencer’s Intro., Sylvia Beach sold in 1935 pp.519-902 of an early version of A Portrait [i.e., Stephen Hero], bought by Harvard Coll. Lib., 1938; Joyce wrote to Grant Richards, 13 March 1906, of an autobiographical narrative of about a thousand pages [‘914pp. to be accurate’]; the first 518pp. have disappeared for good, the 383pp. that remain have a kind of unity in themselves; the period covered by the 383pp. occupies the last 80pp. of A Portrait (Cape ed.); Cf. Thomas E. Connolly, ‘Stephen Hero’, in Bowen and Carens, ed., Companion to Joyce Studies (1984), The present text, 1963 Edn., consists of a total of 391 MSS pages, comprised of 361pp. manuscript pages given by Joyce to Sylvia Beach and purchased by Harvard Library in 1938, together with 25pp. sold by Stanislaus Joyce in 1950 and bought by Yale [added out of chronological order to 1959 ed., and 5pp. in the Cornell Collection [added to 1963 ed.] (Connolly, p.245). See also Gabler, Preface, A Portrait [... &c.]: A Facsimile Manuscript of the Manuscript Fragments of ‘Stephen Hero’, Garland Archive, Vol. 8: extant portions of Stephen Hero begin with Chapter IX at MS p.477 and deals with Joyce’s student days at the Royal University; and see 1977 ed., table of contents, Stephen Hero, pp.519ff of MS [Slocum and Cahoon rep., 1977, pp.27-208], followed by additional MS pages, 477ff. [pp.208-220]; and note, the add. material is pp.477-8, 481-9, 491-7, and 499-505, purchased by Slocum from Stanislaus Joyce. On chapter numbers in Stephen Hero (ed. Spencer 1944; rev. ed. John J. Slocum and Herbert Cahoon, 1955 & 1963), Hans Gabler explains that ‘the 11 chapters of the University College episode in the MS are numbered [XV] to XXV. Spencer’s ed. mistakenly counts 12 chps. and numbers them XV to XXVI. The editorial error arises in Chp. XVIII. Halfway through the MS Chp. XVIII, at the bottom of p.610, appears the note ‘End of Second Episode of V’ ... these [i.e., this and others like it such as ‘End of First Episode of V]] as we now know, are markings related to the composition of Portrait ... unfortunately Spencer assumed a revisional new chapter division and, introducing XIX, renumbered all subsequent chapters ... [correctly speaking] chps. XVIII and XIX are one chapter, Chp. XVIII; and chps XX to XXVI should be correctly numbered XIX to XXV.’ Quoted See John Paul Riquelme, ‘Stephen Hero, Dubliners, and A Portrait’, in Attridge et al., eds., Cambridge Companion to James Joyce (1990), p.129.

Chamber Music (1907): The title was apparently inspired by the sound of a prostitute urinating in a brothel during a reading of the poems given by Joyce in her room while he and Gogarty were attending a brothel. In Ulysses, Bloom reflects: ‘O, look we are so! Chamber music. Could make a kind of pun on that. It is a kind of music I often thought when she. Acoustic that is. Tinkling. empty vessels make most noise. [...] the resonance changes according as the weight of the water is equal to the law of falling water.’ Bodley Head Edn., 1967, p.365; quoted in Richard Ellmann, James Joyce, 1965 Edn., p.160 & ftn.) When it came to preparing it for publication in autumn 1906, Joyce repudiated the title as ‘too complacent’ saying, ‘I should prefer a title which to a certain extent repudiated the book, without altogether disparaging it’, but was persuaded back to it by Stanislaus (Ellmann, op. cit., p.241.). Note however that Stanislaus makes a denial of the origin of the poem-collection’s title in this scatalogical context: ‘I have alrady suggesteed that Jim had accepted the title Chamber Music for the colection. Another version of the origina of the title is given in Hebert Gorman’d biography of my prbther, but the story there told, which seems to have tickled the fancy of American critics and been the occasion of at least one book, is false, whatever its source.’ (My Brother’s Keeper, 1958, p.209.)

[ top ]

Dubliners (1914) - Chronology of composition: ‘The Sisters’ (Irish Homestead, 13 August 1904); ‘Eveline’ [events of 1894] (Irish Homestead, Sept 10, 1904; rev. Oct. 1905); ‘After the Race’ [based on an interview by Joyce, Irish Times, 7 par. 1903] (Irish Homestead, 17 Dec. 1904). Following revisions from June 1905 involving a pause in writing Stephen Hero after 25 chaps., Joyce supplied Grant Richards with the following stories in December 1905: ‘Araby’ (begun 18 Oct. 1905); ‘An Encounter’ [events of 1895] (rev. by 18 Sept. 1905); ‘The Boarding House’ (rev. by 13 July 1905; MS dated 1 July 1905); ‘Counterparts’ (rev. by 15 July 1905), ‘Clay’ [begun late Oct. 1904 as ‘Christmas Eve’ [abandoned]; completed Jan 1905, offered to Irish Homestead; rewritten spring 1905]; ‘A Painful Case’ (orig. named ‘A Painful Incident’, rev. by 8 May 1905; MS dated 15 Aug 1905); ‘Ivy Day in the Committee Room’ (fair copy dated 29 Aug 1905); ‘A Mother’ (rev. Oct. 1905); ‘Grace’ (rev. Oct 1905 [?err: early version fin. 27 Nov. 1905, Groden, in Bowen, Companion, 1984]]); added in 1906, ‘The Two Gallants’; ‘A Little Cloud’; added in 1907, ‘The Dead’; Dubliners turned down by Richards, 1906; accepted by Maunsel, 1909; printed 1910; destroyed 1912; published by Richards, London, 15 June 1914, using proof sheets as copytext. (See Micheal Groden, Pref. to James Joyce, Dubliners, A facsimile of Proofs for the 1910 Edition, NY: Garland 1977.) Not also “Christmas Eve” [abandoned story], in James Joyce Miscellany, ed. Malaganer, 1962, pp.3-7.

[ top ]

“A Race” (in Dubliners) is based on the career of Jimmy Fields, son of Wm. Field, butcher and Nationalist MP up to 1918, who established a chain of shops in Dublin and supplied on contract to the police; called ’merchant prince’; sent his son to English public school and Cambridge; divided time between musical circles and motoring. (See Peter Costello, James Joyce: The Years of Growth, 1992 , p.106.)

“The Two Gallants” (in Dubliners) is roughly based on case of Brigid Gannon, a housemaid found in the Dooder at Newbridge Rd., on 23 Aug.; body identified by a policeman called Henry Flower who had actually been with her on the night of her death; tried with his associate Sergeant Hanily, who subsequently cut his own throat in Irishtown barracks; acquitted on ‘No True Bill’; resigned and emigrated; confession made by another servant-girl in the 1940s that she drowned Brigid Gannon. (See Costello, op. cit., pp.168-69.)

“Clay” (in Dubliners) is probably based on character of Maria O’Donohoe, a guest at John Murray’s Hallowe’en part in Drumcondra;; diagnosed with inoperable tumour; living at Flynn’s home, 15 Usher’s Island; d. Hospice, Harold’s Cross, 8 Dec. 1899; associated in Joyce’s mind with the superstitious “clay” tradition of the season. (Costello, op. cit., 1992, p.163.)

“A Painful Case” (in Dubliners) is based in an entryin Stanislaus Joyce’s Dublin diary in which he records sitting beside a concert gven by Clara Butt, who spoke to him in the interval; he recorded her ‘fair skin and large pupils and very pure whites of her brown eyes’; also included in the story are two sentences of Stanislaus’s: ‘Every bond is a bond to sorrow’ and, ‘Love between men and woman is impossible becase there must not be sexual intercourse, and friendship between a man and a woman is impossible because there must be sexual intercourse.’ (Joyce called his brother’s aphorisms ‘bile beans’. (See Stan Gebler Davies, James Joyce A Portrait of the Artist, 1975, p.67.)

[ top ]

A Portrait (1916); Joyce resolved to rewrite in Sept. 1907 while working on ‘The Dead’; conceived an entirely new structure for the material developed in Stephen Hero, ‘he told me he would omit all the first chapters and begin with Stephen, whom he will call Daly, going to school and that he would write the book in five chapters - long chapters’ (Stanislaus’s Diary, JJ 274); first chapter finished by 29 Nov., 1907 [‘which is to say the material from SH had been reformed as an opening’, Ellmann]; 3 chps. complete by April 1908; then discontinued the novel; Joyce encouraged by Svevo Joyce to continue (Letters, II: 227, 8 Feb. 1909); according to Gabler [contra Ellmann], changes were then made in the first chapter [cf. Gabler, ‘Lost Years’], based on study of holograph faircopy in NLI]; Gabler emphasises revision-genesis; ‘an additional stretch of narrative made have been the early part of Chp. IV’; parts of MSS completed Sept. 1907 to April 1908 were first drafts of first half which do not survive as such; Chap. IV complete and work on Chp. V, 1909 to some time in 1911, when the MS was thrown on the fire and rescued; kept wrapped in newspaper for some months; after 1911 work resumed on Chap. V, constructed ‘by intercalation of a contrasting episode into a homogeneous stretch of narrative’; Gabler notes evidence that the opening and concluding pages of the novel were ‘genetically interdependent’; A Portrait finished in 1913, when title page of National Library of Ireland MS was dated; offered first refusal to Elkin Mathews, Easter Day 1913 [though unfinished]; literary agent James B. Pinker fails to place the MS; serialised in The Egoist, established by Harriet Shaw Weaver for the purpose and ed. Dora Marsden, [2 Feb. 1914 to 1 Sept 1915]; Joyce was sending finally revised MS to Pound from Jan. 1914; Ellmann considers that the hiatus in Egoist serialisation after Chp. 3 arose because Joyce had not written the following chapters, but Hans Walter Gabler [holds] that the final shape was essentially resolved by 1912-13 [See James F. Carens, in Zack Bowen and Carens, eds., Companion to Joyce (1984); T. Werner Laurie refused to publish the whole text without major alterations; further rejections by Richards, Martin Secker, and Duckworth; published by The Egoist (1916); Benjamin W. Huebsch published the first American edn. [otherwise, the second edition]), New York (29 Dec. 1916); The Egoist Press edition of A Portrait appeared in London in February 1917, using Huebsch’s sheets. Huebsch later brought out Dubliners, using sheets from England, Dec. 1916, importing sheets from Grant Richards. Note that the MS of A Portrait was given to the National Library by Miss Weaver rather than by Sylvia Beach. (See David Norris, “What Lies in Joyce’s Pandora’s Box” , Irish Times, 12 Jan. 1999.)

[ top ]

Giacomo Joyce [written 1911], partially quoted in Ellmann’s 1959 biography and published in full, ed. Richard Ellmann, in January 1968; the 2nd ed., May 1968, contains revised and reset preface identifying Amalia Popper as the female student who inspired it, already identified as such in the biography. Ellmann considerd the 16 page MS a novel (Giacomo Joyce, Intro., p.xxv), but Hans Walter Gabler suggests that it is in a real sense a second series of Joyce’s Epiphanies (see Garland Archive 2, p.xxx). According to Ellmann, the events and moods collocated in Giacomo Joyce took place between late 1911 and the middle of 1914; Gabler argues that Joyce probably began writing in 1913 or 1914, and added to it in the next few years (Archiv., idem). Once he had decided not to publish it separately, he incorporated phrases and passages into Chap. 5 of A Portrait and in Ulysses. He mentioned it implicitly to Pound when he answered his query about publishable writings with an additional note about ‘some prose sketches, as I told you, but they are locked up in my desk in Trieste' (Letters, I: 101). Note that Joyce recorded Signorita Popper's father's cautionary remark to him, �Mia figlia ha una grandissima ammirizione per il suo maestro inglese', noting its mixture of ‘courtesy, benevolence, curiosity, trust, suspicion, naturalness, helplessness of age, confidence, frankness, urbanity, sincerity, warning, pathos, compassion: a perfect blend.' (Letter to Frank Budgen.)

Notes

Ulysses (1922): Textual history	[ top ]
The serial publication of Chaps. 1-14 was conducted in The Little Review, ed. Margaret Anderson and Jane Heap, during March 1918-Dec. 1920, and terminated by an successful action for obscenity in a New York court in 1921. Harriet Shaw Weaver brought out a a selection of Ulysses in The Egoist, printing Chaps. II, III, VI & X during Jan.-Dec. 1919 until he printer refused to proceed further. An attempt to recruit the Woolfs having failed, Sylvia Beach offered to publish Ulysses in Paris, selling the plates on to Miss Weaver for a London edition as soon as hers was sold out. The job was given to Maurice Darentiere of Dijon on Adrienne Monnier’s recommendation. By this means the first edition of Ulysses (Shakespeare and Co. ed., 1922) appeared in light blue cover and white lettering on 2 Feb 1922. The Egoist Press edition followed in London on 12 Oct. 1922, using the Darentiere plates as agreed. Each of these ran to several editions, with corrections and resettings at different times. In 1932 a new edition was prepared by Stuart Gilbert for the Odyssey Press in Hamburg. By then a pirated edition had been produced by Samuel Roth in 1929, following a serialised version in his Two Worlds Monthly (June 1926 onwards), which was blocked by a court action on Joyce’s behalf on 27 Dec. 1928. (This followed a petition published on 2 Feb. 1927.) In 1934 - and in the wake of Morris Ernst’s successful challenge to the the ban, heard before Judge Woolsey, Dec. 6 1933 - Bernard Cerf produced a Random House edition in New York under agreement with Joyce, using the Odyssey edition as copy-text. The Bodley Head Edn. of 1936, published by John Lane in London, incorporated corrections by Joyce and Stuart Gilbert. (100 copies were signed by author.)
History of Textual Corrections
XXXJoyce’s list of errata in the 1922 edition were incorporated in the Shakespeare & Company 1924 edition, and further corrections made in subsequent printings. Stuart Gilbert, having worked on the French translation (1929) with Auguste Morel and Valéry Larbaud, added further corrections to the Odyssey Press edition (1932). Joyce himself examined the text prior to the publication of the Bodley Head Edition (1936), and freelance corrections - in many instances introducing errors - were made in sundry subsequent editions. A so-called Corrected Text (properly the Garland Press Critical & Synoptic Edition) was produced by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior on the basis of MSS evidence of the fair copies, chiefly examined in photostat, in conjunction with early printed versions - comprising together a “genetic text”. [For “Composition & Publication”, see Appendix.]
XXXFrom 1917 onwards, Joyce made fair copies to provide to John Quinn under the terms of a purchasing agreement with the author for a total sum of $1,200 over 5 years. Fair copies in Joyce’s hand exist for “Telemachus”, “Nestor” and “Proteus” (Chaps. 1-3), together with a penultimate draft of “Proteus” (Chap. 3). Fair copies also exist for each other chapter of the novel excepting “Wandering Rocks”, “Ithaca” and “Penelope” (Chaps. 10, 17 & 18), which survive in their final draft form only. On 16 Jan. 1924, Quinn sold the resultant collection of eighteen manuscript episodes of Ulysses MS by auction at at Anderson Galleries for a sum of $1,975. The buyer was Dr. Abraham Simon Wolf Rosenbach, a Philadelphia book dealer whose collected is now held in the Rosenbach Foundation, and the sole extant complete manuscript set of Ulysses is therefore known as the Rosenbach Manuscript.
XXXIn making his fair copies, Joyce added some corrections as he went and in many, but not all instances, he copied these back to working manuscript which provided the copytext for the typescript, as can be seen from those examples of both which have survived and from the printed versions. Three typed copies were made of each episode - i.e., a top copy and two carbon copies. The first of these was used for The Little Review serialised version; the second for the Egoist edition which was never completed, and the third was sent to Maurice Darentière as a last resort to serve as copy-type for the Shakespeare & Co. (Feb. 1922) and the Egoist Edition (Oct. 1922), printed from the same plates.
XXXThe third copy, which therefore stands in direct line of transmission to the version of Ulysses that was published in book-form, was free from any of the corrections made on the other two. In contrast with the previous printings, however, he added as much as one third in length of the novel on the galleys printed by Darentière. In some instances, but not in all, these additions incorporate changes made to the first and second copies which had passed out of his hands four years earlier. In consequence he was only able to add the changes that he could remember and did not, apparently, check with the printed versions in The Little Review which in any case are marred by the printer’s resort to asterisks for passages he refused to print. The typescripts employed by Darentiere are extant for all chapters of the novel excepting 1-3 (“Telemachiad”), 5 (“Lotus-Eaters”), the second half of 4 (“Calypso”), and the beginning of Chap. 6 (“Hades”).
Rationale of the So-called Corrected Edition
XXXThe “Critical and Synoptic Edition” of 1984 treats the total sum of corrections at all stages of the manuscript history as part of the genetic manuscript of Ulysses - an idea that presupposes he would have wished to retain all the corrections made to drafts and galleys at every stage in the process of writing. The result embraces changes that appeared in fair copies even if out of the direct line of transmission to the Shakepeare & Co. Edition; the serialised episodes resulting from corrections made to the Little Review typescript; and, finally, additions made by Joyce to the proofs provided by Darentiere. In his “Afterword” to the 1984 Edition, Gabler argues that ‘since it was the act of making fair copies that gave the impulse to revise which carried forward [sic] into the last revision of the final working manuscripts, the whole process of revison was in truth continuous. Hence all recoverable changes it occasioned belong to the stage of the text’s development that the documents comprise, and thus ultimately to a validly revised text of Ulysses.’ (Ulysses [Corrected Edn.], Penguin 1984; p.648.)
XXXJohn Kidd and many others disagree with this inference and hold that the text authorised by Joyce in 1936 - 100 of which he signed - should be regarded as the authentic version of the novel. Hence not the Corrected Text but the Bodley Head edition of 1960 brings bring us as near as possible to an authoritative text. All corrections made to the typescripts for The Little Review and abortive Egoist stand outside the direct line of transmission are not, therefore, part of the authentic text - however much interpretative light they shed upon it.
xxxA specific difficulty is raised by the fact that Gabler reinstated lines from a manuscript version of “Scylla and Charybdis” in which Stephen Dedalus speaks of ‘the word known to all men’ as ‘love’ - thus answering the question that he asks of his mother in the “Circe” chapter. While Richard Ellmann supported this in his Preface to the Critical Edition, he latter withdrew his support in his contribution to the Princess Grace Irish Library “Assessing the 1984 Ulysses” Conference held in 1985 and whose transactions appeared in 1988. Further depositions from Philip Gaskell and Clive Hart (Ulysses: A Review of Three Texts, 1989) and Bruce Arnold in The Scandal of Ulysses, 1991 - itself adopting the title of a damning article by Kidd printed in The New York Review of Books (30 June 1988) which itself derives from a celebrated contemporary headline in The Sporting News [otherwise The Pink ’Un]*- has resulted in the general eclipse of Gabler’s Critical & Synoptic Edition. [BS]
Note	[ top ]
The Sporting Times printed a poster for the issue in which Ulysses is reviewed bearing the heading, “The Scandal of Ulysses”. Inside the paper, reviewer wrote: ‘The main contents of the book are enough to make a Hottentot sick [...] not alone sordidly pornographic, but intensely dull.’ The poster was framed in Shakespeare & Co., and features on the wall in a photograph of Joyce in Sylvia Beach’s shop. Joyce found a use for language of the critique itself in Finnegans Wake.

“Oxen of the Sun”: The models for the stylistic parodies of that chapter in Ulysses (1922) are: Primitive chant [‘Deshil holles ...’]; Sallust & Tacitus [‘Universally that person’s ...]; medieval chronicle [‘it is not why therefore ...’]; Anglo-Saxon prose [‘Before babe was born ...’]; Middle-English prose [‘Therefore everyman ...’]; Travels of Sir John Mandeville (14th c.) [‘And whiles they spake ...’]; Sir Thomas Mallory (Morte D’Arthur) [‘This meanwhile this good ...’]; Elizabethan chronicle [‘About that present time ...’]; John Milton, Richard Hooker & Sir Thomas Browne [‘To be short this passage ...’]; John Bunyan [‘But was Boatshard’s ...]; John Evelyn & Sam. Pepys, diarists [‘So Thursday sixteenth ...’; Daniel Defoe [‘With this came up ...’]; Jonathan Swift [An Irish bull in ...’]; Joseph Addison & Richard Steele (18th c.) [‘Our worthy acquaintance ...’]; Laurence Sterne [‘Here the listener who ...’]; Oliver Goldsmith [‘Amid the general vacant ...’]; Edmund Burke [‘To revert to Mr. Bloom ...’]; Richard Sheridan [‘Accordingly he broke his mind’]; Junius (18th c.) [‘But with what fitness ...’]; Edward Gibbon [‘The news was imparted ...’]; Sir Horace Walpole [‘But Malchias’ tale ...’]; Charles Lamb [‘What is the age ...’]; Thomas de Quincey [‘The voices blend and fuse ...’]; Walter Savage Landor [‘Franics was reminding ...’]; T. B. Macaulay [‘However, as a matter of fact ...’]; T. H. Huxley [‘It had better be stated ...’]; Charles Dickens [Meanwhile the skill ... ’]; Cardinal Newman [‘There are sins or ...’]; Walter Pater (’The stranger still regarded ...’]; John Ruskin [‘Mark this father ...’]; Thomas Carlyle: [‘Burke’s, Outflings my lord ...]; US slang and assorted colloqualisms [‘All off for a buster ...’]. NOTE: For Joyce’s account of these styles, see letter to Frank Budgen, 20 March 1920; Selected Letters, ed. Richard Ellmann, 1975: ‘until it ends in a frightful jumble of Pidgin English, nigger English, Cockney, Irish, Bowery slang and broken doggerel. This progression is also linked back to each part subtly with some foregoing episode of the day and, bhesides this, with the natural stages of dvelopment in the embryo and the periods of faunal evolution in general. [...] Bloom is the spermatozoon, the hospital the womb, the nurse the ovum, Stephen the embryo / how’s that for high? ( p.252.)

[ top ]

Finnegans Wake (1939), begun in 1922 by accumulating material, chiefly in the form of isolated phrases, in a large notebook, Buffalo Notebook VI.A, which has been published as Scribbledehobble (1961). On March 10, 1923, he wrote a draft of the episode called ‘King Roderick O’Conor’ (380-82), and followed quickly with ‘Tristan and Isolde’ (384-86), ‘St. Kevin’ (604-06) and ‘The Colloquy of St. Patrick and the Druid’ (611-12). Reshaping the ‘Tristan’ episode, he produced ‘Mamalujo’ (383-99; 2.iv). The eight sections of Book I were written more or less consecutively in 1923, excepting 1.i and 1.vi which were added during 1926-7. From 1924 to 1926, he worked on the ‘four watches of Shaun’ (3.i, ii, iii and iv.) The writing of Book II was long drawn out (1926-1938), due to Joyce’s increasing eye-trouble, the mental ill-health of his daughter Lucia, and his discouragement at the poor reception of ‘Work in Progress’. Book IV, the ‘Ricorso’, was completed fairly rapidly in 1938. The first copy reached Joyce from Faber and Faber on January 20 1939 in time for his birthday. Some parts of the book came into existence easily and were published in preliminary form in magazines, Ford Madox Ford’s Transatlantic Review (April 1924); FINNEGANS WAKE, brief publication chronology, 12 instalments of ‘Work in Progress’ were published between 1928 and 1937, mostly in the literary review transition; other parts appeared as separate publications, viz., Anna Livia Plurabelle (1928, FW 1.viii); Tales Told of Shem and Shaun (1929) which includes ‘The Mookse and the Gripes’ (FW 152-59) and ‘The Ondt and the Gracehoper’ (FW 414-19), as well as the core of III.2, ‘The Muddest Thick That Was Ever Heard Dump’ (FW 282-304); Haveth Childers Everywhere (1930, FW 532-54); The Mime of Mick, Nick and the Maggies (1934, FW 2.i), and Storiella As She Is Syung (1937, FW 260-75 & 304-08). Parts of Finnegans Wake published in Eliot’s Criterion (July 1925), Adrienne Monnier’s Navire d’argent (October 1925); Ernest Walsh’s This Quarter (Autumn-Winter 1925-26), and then in Eugene and Maria Jolas’s transition (April 1927-April/May 1938); his brother denounced the ‘drivelling rigmarole’ as early as 1924 and Ezra Pund wrote on 1 Nov. 1926 that he could make nothing of the new work, [while] Miss Weaver wondered on 4 February 1927 if he were not wasting his genius, and Wyndam Lewis published an attack on all his writings later in that year [see also Oliver St. John Gogarty].

[ top ]

Critical Writings: Stanislaus Joyce published reviews by Joyce with Ellsworth Mason in 1955, and was editing the reviews and lectures with Mason when he died in the year, the task being completed by Mason and Ellmann (1959). Originals held in Stanislaus Joyce Archive at Cornell Univ. contains translations from the Italian said by Stanislaus to have been arranged by him and undertaken by students but believed by Georgio Melchiori and Barry to have been made by Joyce himself. [Review of Kevin Barry, ed., Occasional Writings, 2001].

[ top ]

Paul Léon JJ Archive: Purchased by Irish Govt. from Alexis Léon, consisting of six notebooks and sixteen drafts of James Joyce’s Ulysses, with typescripts and proofs for Finnegans Wake; other collections at Cornell, Yale, Harvard, Princeton and British Library; Rosenbach (Phil.), Buffalo, Texas and Tulsa Univs.; draft of Ulysses Circe came to light 2000; Buffalo holds pencil-numbered copies of Oxen drafts 1,2, 4, 6, 7, and 8; NLI now adds copybooks no. 3, 5, and 9; four stray pages of the Wake fits into the Buffalo notebook from which they were separated; the aesthetic quotations now available in the hand-written MS pages that Joyce allowed Herbert Gorman to copy; earliest draft of Proteus; early draft of Sirens (‘Joyce decided, for the first time, to make his fictional form correspond to the subject matter in a radical way’); second draft of Circe; drafts of Scylla and Charybdis. Ithaca and Penelope, supplementing the Rosenbach fair copy of all three (last words of Penelope, ‘and I said I would yes’, with would crossed out for will.) Notebooks, marked by coloured crayons cross-outs. See Michael Groden, ‘Letter from Dublin’, Times Literary Supplement (14 June 2002), p.15. Also, See also Terence Killeen, ‘Vast manuscript archive arrives in Dublin’, Irish Times (30 May); government jet touched down at Northolt outside London with vast archive and previously unsuspected archive of manuscript material by James Joyce; purchased at E12.6 expense (£8 million); amended proofs of Finnegans Wake; 19 documents relating to Ulysses of which at least eight appear to be early drafts; papers conveyed to Ireland by Síle de Valera, Minister for Culture.

Edgar Quinet (1803-75), author of ‘a beautiful sentence’ of which Joyce spoke (Letters, I, p.295) and which he incorporated in several versions in Finnegans Wake (e.g., 117.11). Richard Ellmann (James Joyce, OUP 1965) remarks that Joyce once astounding John O’Sullivan by quoting it in the original as they walked by the cemetary on the Boulevard Edgar Quinet, while Joyce later asked Paul Léon to find the passinge in notebooks left behind in Paris in 1933 (Ellmann, op. cit., p.676), quoting the original: ‘Aujourd’hui, comme aux temps de Pline et de Columelle la jacinthe se plait dans les Gaules, la pervenche en Illyrie, la marguérite sur les ruines de Numance et pendant qu’autour d’elles les villes ont changé de maitres et de noms, que plusieurs sont entréers dans le néant, que les civilisations se sont choquées et brisées, leurs paisible generations ont traversé les ages et sont arrivés jusqua’a nous, fraiches et riantes commes aux jours des batailles. [Today as in the time of Pliny and Columbella the hyacinth desports in Wales, the periwinkle in Illyria, the daisy on the ruins of Numantia and while around them cities have changes masters and names, while some have ceased to exist, while the civilisations have colleded with each other and smashed, their peaceful generations have passed through the ages and have come up to us, fresh and laughing as on the days of battles.]’ Ellmann also quotes the ’irish’ version in Finnegans Wake: ‘Since the bouts of Hebear and hairman the cornflowers have been staying at Ballymun, the duskrose has choosed out Goatstown hedges, twolips have pressed togatherem by sweet Rush, townland of twinedlights, the whitethorn and the redthorn have fairygeyed the mayvalleys of Knockmaroon, and, though for rings round them, during a chiliad of perihelygangs, the Formoreans have brittled the tooath of the Danes and the Oxman hs been pestered by the Firebugs and the Joynts have thrown up jerrybuilding to the Kevanses and Little on the Green is childsfather to the City (Year! Year! And laughtears!), thes paxsealing buttonholes have quadrilled across the centuries and whiff now whafft to us, fresh and made-of-all-smiles, as, on the eve of Killallwho.’ (FR, pp.14-15; Ellmann, [op. cit.,] idem.) See also detailed exposition in Clive Hart, Structure and Motif in Finnegans Wake (London: Faber 1962); Adaline Glasheen, Third Census of Finnegans Wake, California UP 1977, p.242, and Richard Kain, ‘“Nothing Odd Will Do Long”: Some Thoughts on Finnegans Wake Twenty-five Years Later’, Jack P. Dalton & Clive Hart, eds., Twelve and a Tilly: Essays on the Occasion of the 25th Anniversary of Finnegans Wake, London: Faber & Faber 1966, p.95.)

Clongowes Wood: Herbert Gorman writes of the school's influence and the events of its history on Joyce: �They speak again of th layer on layer of conflicting cultures, always with the dark mythos as foundation, that is the Island of today and the old mother of James Joyce. Even those far-away Brownes were important links in the long chain of Time that was to wind itself so unmistakably about the artist's mind.' Further, �This college was a particularly appositie selection for the imaginative boy. With the broad limits of its green-grassed demesne lingered vestiges of all the varying layers of civilisation, perceptible hints and reminders of the historical progression that had evolved the modern Ireland, this Parnell-dominated land, of young James Joyce.' (Quoted in Peter Costello, James Joyce: The Years of Growth, London: Kylie Cathie 1992, pp.82-83.) [For remarks on the ‘three-sided’ view of life inculcated at Clongowes, see under Norah Hoult, supra]

University College, Dublin, which Joyce attended autumn 1989-autumn 1902, occupied the former buildings of the Catholic University of Ireland, 1854-58, fnd. by Hierarchy under the rectorship of John Henry Newman and re-esetablished in 1879 with Royal University of Ireland as an examining body charged with publishing syllabi and setting papers for which candidates were prepared in Queen’s Colleges and others incl. Magee College in Derry. The College on St. Stephen’s Green was in the charge of members of the Society of Jesus [Jesuits], who filled most of the teaching posts. In 1908 UCD became part of a federal university consisting of the colleges in Cork [UCC], Dublin [UCD], and Galway [UCG], while the Queen’s University of Belfast was established as a separate university. This was the result of agitation largely on the part of the Graduate Association of University College, Dublin. In the 1980s St. Patrick’s College, Maynooth, which had been inaugurated in 1800 as a government-funded Roman Catholic seminary under the authority of the Catholic hierarchy, became a recognized university institution within the National University of Ireland.

[ top ]

Chrismas dinner?: There is a conflict in the biographical record regarding the location of the celebrated Christmas Dinner scene in A Portrait, Richard Ellmann placing it in Bray and Peter Costello in Blackrock (though Costello does not in fact give notice of the conflict). Relatedly, there are differences about the date at which James Joyce last attended and was withdrawn from Clongowes Wood College. Ellmann writes that James Joyce left Clongowes in June 1891, as a result of his father’s increasing financial troubles (James Joyce, 1965 Edn., p.34); Peter Costello writes that JAJ returned from Clongowes, prob. to recover from fever, in late Oct. or early Nov. 1891 (Years of Growth, 1992, p.101-02) and suggests that he briefly returned on recovering. He also remarks that Joyce père left the final account term unpaid. Ellmann places the Christmas dinner row in A Portrait at Martello Terrace, adding in a footnote that it was loud enough to be heard by the Vances across the street - information based on an interview with Eileen Vance Harris conducted by Carlyle King in Dec. 1953 (JJ, p.33 & n.). Costello writes that the Joyces were ‘certainly at their new house [in Blackrock] by the end of 1891’ and that ‘it may be safely said that James returned to Clongowes for only a few weeks, and that by Christmas 1891 the Joyces were living at Blackrock.’ (YG, p.103.) Costello, taking the chronology in A Portrait earnestly, computes that Joyce was in the Infirmary at Clongowes on the 5-6th October - 76 days from the end of term as Stephen records in calendar - thus coinciding with the death of Parnell (YG, p.101). According to Ellmann’s chronology, Stephen is at home at the time of Parnell’s death on 6 October 1891, and at the Joyces are in Bray at the time of the dinner-table fracas recounted in A Portrait. By Costello’s reckoning, Stephen comes home after Parnell’s death and the Joyces remove to Blackrock before the dinner-table row; Dante (Mrs Conway) is also placed in the house until her departure four days after the episode (28 Dec.). In regard to Joyce’s departure from Clongowes, a simple solution might be to suppose that Ellmann has written June 1891 for June 1892; but Joyce did not attend school in the new year of 1892, at which date Ellmann places the removal to Blackrock (viz., �beginning of 1892': p.34.) Ellmann's placing of the Christmas dinner scene in Bray is based on Eileen Vance Harris's interview (above). His reason for recording the removal of Joyce from Clongowes at June 1891 is not stated. Costello calls on the school record made by the new rector Fr Matthew Devitt in autumn 1891 to show that Joyce returned there in autumn 1891, came home to convalesces after illness in early October, briefly returned to school and did not attend at Clongowes in the new year or ever after. His sojourn at home without schooling is therefore extended to one full year. As to place of residence, Costello cites the birth certificate of Eva to show that the Joyces were in Bray in November but argues that their listing at Blackrock in the city directory of 1892 - being based on figures collected in October 1891 - suggests that a lease was taken on either the Michaelmas or Martinmas quarter days (29 Sept. or 11 Nov.) but that the move was postponed during the final days of Mrs Joyce’s pregnancy. This opens the possibility that it was deferred for even longer. However Costello does not think it was postponed into 1892, which would bring it back into line with Ellmann’s chronology. These differing constructions on the available facts and reports can only be reconciled on the grounds that Joyce did continue at Clongowes in autumn 1891 and did not return in the new year; that the Joyce’s did lease a house in Blackrock in autumn 1891 but did not occupy it until the new year. In that way, Joyce is admitted to be at Clongowes at the time of Parnell’s death - and probably in the infirmary also - while the dinner row can be seen as taking place where Eileen Vance Harris asserts it did (although she can only be repeating what her elders told her at the time - if her memories of childhood are exceptionally strong - or sometime after.)

[ top ]

Surge Illuminare: In the opening sentences of the �Epiphany' episode of Stephen Hero set on Eccles Street, Dublin (pp.187-88), where we are repeatedly told that it was �a misty evening' in the �misty Irish spring' (p.187.). Perhaps this is intended to echo the "Surge Illuminare" of the Introit of the liturgical feast on Jan. 6 of each year: �And the Gentiles shall walk in thy light, and kings in the brightness of thy rising.' (Isaias 60.1-6). The full Latin version as given in the Missal is ironically recited in the "Cyclops" episode of Ulysses (Penguin Edn. 1988, p.338). Here it serves to place Leopold Bloom in the role of Elijah, the promised messiah. In Stephen Hero it reveals Stephen in the character of a redeemer to his people, or one capable of reversing the condition in which they find themselves before his advent: �There was a mist upon the people �'. In setting all of this at Eccles St., Joyce may also have been attempting to establish his own secular church of the imagination since �eccles.' is the common abbreviation for �ecclesia'. This, notwithstanding the fact that the street is already named after Sir John Eccles. [BS]

Thomas Aquinas (Tria requiruntur): �Nam ad pulchritudinem tria requiruntur. Prima quidem integritas, sive perfectio; (quae enim diminuta sunt hoc ipso turpia sunt), et debita proportio, sive consonantia; et iterum claritas habent colorem nitidus, pulchra esse dicuntur. (Summa Theologica, Tome 1, q.39, a. 8.) See also commentary in Kenner, Dublin’s Joyce (1957): The �three things required for beauty' in St. Thomas Aquinas's definition of beauty which Stephen Dedalus takes up in Stephen Hero and A Portrait are integritas consonantia claritas [ref. as supra]. Joyce seems to have met with them not in the “gorebellied tomes” of the original, as Stephen alleges, but in Rickaby's General Metaphysics, which was required reading for philosophy classes at the Royal University, as Con Curran.' (Curran, James Joyce Remembered, 1968, p.64; Kenner, Dublin's Joyce, Bloomington: Indiana UP 1955, p.144f.)

Thomistic “being”: Joyce held in Trieste a copy of Michael Maher, S.J., Pyschology [Catholic Manuals of Philosophy Ser.] (NY: Benziger [num. edns. in 1890s], in which the Thomistic author writes: ‘[...] essence points to the reality of which the being is constituted’. Joyce has annotated this remark in the margin with the pencilled phrase, ‘acting totality’. (See Sheldon Brivic, Joyce the Creator, Wisconsin UP 1985, p.6; with ref. to Michael Patrick Gillespie, Catalogue of Joyce’s Trieste Library [UMC; forthcoming at date in 2003].

[ top ]

Witty Aristotle: Joyce translated the French versions of Aristotle’s sentences in De Anima, taking J. Barthelemy Sainte-Hilaire’s Psychologie d’Aristote, Traite de l’Ame as his text. Herbert Gorman copied some of these sentences in his life of Joyce (1944): �The soul is the first entelechy of a naturally organic thing.’ (DA 1.2) �The intellectual soul is the form of forms.’ (DA 3.8.) The sentences are copied form Gorman in Jacques Aubert, l’Esthetique de James Joyce (1973), noting that the notebook has since been lost (p.129). However, the notebook is one of the texts discovered in the Paul Léon cache of Joyce papers acquired by the National Library of Ireland in 2002. The sentences find there way into part of Ulysses, e.g.: �Thought is the thought of thought. Tranquil brightness. The soul is in a manner all that is: the soul is the form of forms. Tranquillity sudden, vast, incandescent: form of forms’ [�Proteus’, Ulysses, Bodley Head Edn., p.31); �Take all, keep all. My soul walks with me, form of forms. So in the moon’s midwatches I pace the path above the rocks, in sable silvered, hearing Elsinore’s tempting flood’ (Do., p.124). See also examples in �Circe’, pp.564 & 623 (viz., music � first formal relations � rhythm � entelechy’),and note that the term entelechy employed by Thomas Mann in Dr. Faustus, Penguin Edn., c.p.90.) Aristotle’s sentences are also translated in W. D. Ross’s edition of The Works of Aristotle: �The soul is an actuality of formulable essence of something that possesses the potentiality of being besouled.’ (De Anima, 1. 2. 414a.) �As the hand is the instrument of instruments, so the mind [nous] is the form of forms, and sensation the form of sensibles.’ (De Anima, 1. 3. 423c.)

[ top ]

Giambattista Vico: �We shall show clearly and distinctly how the founders of gentile humanity by means of their natural theology (or metaphysics) imagined the gods; how by means of their logic they invented languages; by morals, created heroes, by economics, founded families, and by politics, cities; by their physics, established the beginnings of things as all divine; by their particular physics of man, in a certain sense created themselves; by this cosmography fashioned for themselves a universe entirely of gods; by astronomy, carried planets and constellations from earth to heaven; by chronology, gave a beginning to times; and how by geography the Greeks, for example, described the whole world within their own Greece.' (The New Science, Bk. II, Chap. 2, ed. Bergin & Fischer, 1961, pp. 72-3.)

The language of the outlaw?: Thomas Moore (History of Ireland, 1846), of Sir Henry Sydney: ‘on entering the ship appointed to bear him from that land [Ireland], it s said that he repeated, in allusion to Moses, when departing from Egypt, the words of the 114th Psalm, “When Israel went out of Egypt, the house of Jacob from a people of strange language.”’ (p.87.)

Joachim Abbas of Fiore [Flora]: The volume read by Joyce in Marsh's Library was Vaticinia sive Prophetiae Abbatis Joachimi, et Anselmi Episcopi Marsicani (Venice 1589), the pseudo-Joachimist Pope Prophecies. He appears not to have read the Liber Concordie or the Exposition in Apocalypsim (both genuine Joachimist works, also held by Marsh's Library). See Marjorie Reeves & Warwick Gould pp.271-8, Joachim of Fiore and the Myth of the Eternal Evangel in the Nineteenth and Twentieth Centuries, Oxford: Clarendon [1986] rev. edn. 2001). The Pope Prophecies referred to in Ulysses is illustrated on ibid., p.277.

Dante: Matthew Hodgart notes that Dante used an astronomical framework for the whole of the Divine comedy and ends each book with the word stars; thus Inferno ends ‘ Equinidi uscimmo a riveder le stelle [and thence we came out to see the stars again]’ while the Purgatory ends ‘Puro, e dispto a salire alle stelle [purified and prepared to ascend to the stars]’ Hodgart infers that the end of Ithaca is a reference to both of these devices: ‘like Bloom and Stephen coming out of their dark house’ to urinate by the light of the stars, and afterwards like ‘Bloom [who] having purified his room with incense, is ready to climb up the stairs to bed.’ (Student’s guide to James Joyce, 1978, pp.121-22.) as Hodgart points out, in this Dantean schema “Eumeus” is hell and “Ithaca” is purgatory.

[ top ]

Benedetto Croce: Richard Ellmann finds a source for the phraseology and ideas in Stephen’s speech “Circe” [as follows] in Benedetto Croce’s Estetica (chap. on Giambattista Vico): ‘Stephen: (Abruptly.) What went forth to the ends of the world to traverse not itself. God, the sun, Shakespeare, a commercial traveller, having itself traversed in reality itself, becomes that self, .. Self which it itself was ineluctably preconditioned to become. Ecco!’ (Ulysses, Bodley Head Edn., 1967, [p.606].) Croce wrote: ‘man creates the human world, creates it by transforming himself into the facts of society: by thinking it he re-creates his own creations, traverses over gain the paths he has already traversed, recontstructs the wholly ideally, and thus knows it with full and true knowledge’. (See Ellmann, James Joyce, 1965 Edn., p.351 ftn.) Ellmann adds that Joyce borrowed the book from Dario de Tuoni as the latter told him in 1953.

Henrik Ibsen: ‘Everything that I have written is most minutely connected with what I have lived through, if not personally experienced; every new work has had for me the object of serving the process of spiritual liberation and catharsis; for every man shares the responsibility and the guilt of the society to which he belongs.’ (Quoted in Michael Meyer, Ibsen, Penguin 1974, p.291; cited in Lynee Hamill, Henrik Ibsen, UG Diss., UUC 2002.) Note that Stephen Dedalus’s encounter with Ibsen’s plays is described in Stephen Hero as ‘a moment of radiant simultaneity’. Note further, In his first play, Cataline, Ibsen gives these lines to his eponymous hero: ‘I dreamed that, winged like Icarus of old./I flew aloft beneath the vault of heaven.’ (See Critical Writings, ed. Mason & Ellmann, [1959] 1965, p.98.)

[ top ]

T. S. Eliot wrote to Joyce that ‘I wish for my own sake, that I had not read it; letter of 21 May 1921), and asked Virginia Woolf, ‘How could anyone write against after achieving the immense prodigy of the last chapter?’ (Woolf, A Writer’s Diary, p.363; both quoted in Ellmann, James Joyce, 1965 Edn., p.542.) Note also, Eliot interpreted the manner of “Oxen of the Sun” as a revelation of the ‘futility of all styles’ (Quoted in Richard Ellmann, James Joyce, 1965 Edn., p.490 & 542.)

[ top ]

Princess Grace Irish Library (Monaco)