James Joyce

Joyce in Zürich, c. 1918

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish writer and poet, widely considered to be one of the most influential writers of the 20th century. Along with Marcel Proust, Virginia Woolf, and William Faulkner, Joyce is a key figure in the development of the modernist novel. He is best known for his landmark novel Ulysses (1922). Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939).

Although most of his adult life was spent outside the country, Joyce's Irish experiences are essential to his writings and provide all of the settings for his fiction and much of their subject matter. In particular, his rocky early relationship with the Irish Catholic Church is reflected by a similar conflict in his character Stephen Dedalus, who appears in two of his novels. His fictional universe is firmly rooted in Dublin and reflects his family life and the events and friends (and enemies) from his school and college days; Ulysses is set with precision in the real streets and alleyways of the city. As the result of the combination of this attention to one place and his voluntary exile in continental Europe, most notably in Paris, Joyce paradoxically became both one of the most cosmopolitan yet most regionally focused of all the English language writers of his time.^[1]

Life and writing

Dublin, 1882–1904

James Augustine Aloysius Joyce was born on 2 February 1882 to John Stanislaus Joyce and Mary Jane Murray in the Dublin suburb of Rathgar. He was the oldest of ten surviving children; two of his siblings died of typhoid. His father's family, originally from Fermoy in Cork, had once owned a small salt and lime works. Joyce's father and paternal grandfather both married into wealthy families. In 1887, his father was appointed rate (i.e., a local property tax) collector by Dublin Corporation; the family subsequently moved to the fashionable adjacent small town of Bray 12 miles (19 km) from Dublin. Around this time Joyce was attacked by a dog, which engendered in him a lifelong canine phobia. He also suffered from a fear of thunderstorms, that his deeply religious aunt had described to him as a sign of God's wrath.^[2]

In 1891, Joyce wrote a poem, "Et Tu Healy," on the death of Charles Stewart Parnell. His father was angry at the treatment of Parnell by the Catholic church and at the resulting failure to secure Home Rule for Ireland. The elder Joyce had the poem printed and even sent a part to the Vatican Library. In November of that same year, John Joyce was entered in Stubbs Gazette (an official register of bankruptcies) and suspended from work. In 1893, John Joyce was dismissed with a pension, beginning the family's slide into poverty due mainly to John's drinking and general financial mismanagement.^[3]

James Joyce began his education at Clongowes Wood College, a Jesuit boarding school near Clane in County Kildare, which he entered in 1888 but had to leave in 1892 when his father could no longer pay the fees. Joyce then studied at home and briefly at the Christian Brothers school on North Richmond Street, Dublin, before he was offered a place in the Jesuits', Dublin school, Belvedere College, in 1893. The offer reflected, at least in part, the hope that he would prove to have a vocation and join the Order. Joyce, however, rejected Catholicism by the age of 16, although the philosophy of Thomas Aquinas continued to influence him strongly throughout his life.^[4]

He enrolled at the recently established University College Dublin (UCD) in 1898, and studied modern languages, specifically English, French and Italian. He also became active in theatrical and literary circles in the city. His review of Ibsen's New Drama, his first published work, was published in "Fortnightly Review" in 1900 and resulted in a letter of thanks from the Norwegian dramatist himself. Joyce wrote a number of other articles and at least two plays (since lost) during this period. Many of the friends he made at University College Dublin would appear as characters in Joyce's written works.

Bust of James Joyce in St. Stephen's Green, Dublin

After graduating from UCD in 1903, Joyce left for Paris to study medicine, but he soon abandoned this after finding the technical lectures in French too difficult. He stayed on for a few months, appealing for finance his family could ill afford and reading late in the Bibliotheque St Genieneve. He returned to Ireland after a few months, when his mother was diagnosed with cancer.^[5] Fearing for her son's "impiety", his mother tried unsuccessfully to get Joyce to make his confession and to take communion. She finally passed into a coma and died on 13 August, James and Stanislaus having refused to kneel with other members of the family praying at her bedside.^[6] After her death he continued to drink heavily, and conditions at home grew quite appalling. He scraped a living reviewing books, teaching and singing—he was an accomplished tenor, and won the bronze medal in the 1904 Feis Ceoil.^[7]

On 7 January 1904, he attempted to publish A Portrait of the Artist, an essay-story dealing with aesthetics, in a day, only to have it rejected from the free-thinking magazine Dana. He decided, on his twenty-second birthday, to revise the story and began to write a novel he called Stephen Hero; he never published it in this form, later completely rewriting it as A Portrait of the Artist as a Young Man. The same year he met Nora Barnacle, a young woman from Connemara, County Galway who was working as a chambermaid. On 16 June 1904, they first stepped out together, an event which would be commemorated by providing the date for the action of Ulysses.

Joyce remained in Dublin for some time longer, drinking heavily. After one of these drinking binges, he got into a fight over a misunderstanding with a man in Phoenix Park; he was picked up and dusted off by a minor acquaintance of his father's, Alfred H. Hunter, who brought him into his home to tend to his injuries.^[8] Hunter was rumored to be a Jew and to have an unfaithful wife, and would serve as one of the models for Leopold Bloom, the main protagonist of Ulysses.^[9] He took up with medical student Oliver St John Gogarty, who formed the basis for the character Buck Mulligan in Ulysses. After staying in Gogarty's Martello Tower for six nights he left in the middle of the night following an altercation which involved Gogarty shooting a pistol at some pans hanging directly over Joyce's bed.^[10] He walked all the way back to Dublin to stay with relatives for the night, and sent a friend to the tower the next day to pack his trunk. Shortly thereafter he eloped to the continent with Nora.

1904–20: Trieste and Zürich

Joyce's statue in Trieste

Joyce and Nora went into self-imposed exile, moving first to Zürich, where he had supposedly acquired a post to teach English at the Berlitz Language School through an agent in England. It turned out that the English agent had been swindled, but the director of the school sent him on to Trieste, which was part of Austria-Hungary until World War I (today part of Italy). Once again, he found there was no position for him, but with the help of Almidano Artifoni, director of the Trieste Berlitz school, he finally secured a teaching position in Pola, then also part of Austria-Hungary (today part of Croatia). He stayed there, teaching English mainly to Austro-Hungarian naval officers stationed at the Pola base, from October 1904 until March 1905, when the Austrians—having discovered an espionage ring in the city—expelled all aliens. With Artifoni's help, he moved back to Trieste and began teaching English there. He would remain in Trieste for most of the next ten years.^[1]

Later that year Nora gave birth to their first child, George. Joyce then managed to talk his brother, Stanislaus, into joining him in Trieste, and secured him a position teaching at the school. James's ostensible reasons were desire for Stanislaus's company and the hope of offering him a more interesting life than that of his simple clerking job in Dublin. In truth, though, James hoped to augment his family's meagre income with his brother's earnings.^[11] Stanislaus and James had strained relations throughout the time they lived together in Trieste, with most arguments centering on James's drinking habits and frivolity with money.^[12]

With the chronic wanderlust of James's early years, he became frustrated with life in Trieste and moved to Rome in late 1906, having secured employment in a bank. He intensely disliked Rome, and moved back to Trieste in early 1907. His daughter Lucia was born in the summer of the same year.^[13]

Joyce returned to Dublin in the summer of 1909 with George, in order to visit his father and work on getting Dubliners published. He visited Nora's family in Galway, meeting them for the first time (a successful visit, to his relief). While preparing to return to Trieste he decided to take one of his sisters, Eva, back with him to help Nora run the home. He spent only a month in Trieste before returning to Dublin, this time as a representative of some cinema owners hoping to set up a regular cinema in Dublin. The venture was successful (but quickly fell apart in Joyce's absence), and he returned to Trieste in January 1910 with another sister, Eileen, in tow. Eva became very homesick for Dublin and returned there a few years later, but Eileen spent the rest of her life on the continent, eventually marrying Czech bank cashier Frantisek Schaurek.^[14]

Joyce returned to Dublin briefly in the summer of 1912 during his years-long fight with his Dublin publisher, George Roberts, over the publication of Dubliners. His trip was once again fruitless, and on his return he wrote the poem "Gas from a Burner" as an invective against Roberts. After this trip, he never again came closer to Dublin than London, despite many pleas from his father and invitations from fellow Irish writer William Butler Yeats.

James Joyce in Paris, 1924
Portrait by Patrick Tuohy

One of his students in Trieste was Ettore Schmitz, better known by the pseudonym Italo Svevo. They met in 1907 and became lasting friends and mutual critics. Schmitz was a Catholic of Jewish origin and became the primary model for Leopold Bloom; most of the details about the Jewish faith in Ulysses came from Schmitz's responses to queries from Joyce.^[15] While living in Trieste, Joyce was first beset with eye problems that ultimately required over a dozen surgeries.^[16]

Joyce concocted a number of money-making schemes during this period, including an attempt to become a cinema magnate in Dublin. He also frequently discussed but ultimately abandoned a plan to import Irish tweeds to Trieste. His skill at borrowing money saved him from indigence. What income he had came partially from his position at the Berlitz school and partially from teaching private students.

In 1915, after most of his students were conscripted in Trieste for World War I, he moved to Zürich. Two influential private students, Baron Ambriogo Railli and Count Francesco Sordina, petitioned officials for an exit permit for the Joyces, who for their part, agreed not to take any action against the emperor of Austria-Hungary during the war.^[17] There, he met one of his most enduring and important friends, Frank Budgen, whose opinion Joyce constantly sought through the writing of Ulysses and Finnegans Wake. It was also here where Ezra Pound brought him to the attention of English feminist and publisher Harriet Shaw Weaver, who would become Joyce's patron, providing him thousands of pounds over the next 25 years and relieving him of the burden of teaching in order to focus on his writing. While in Zurich he wrote Exiles, published A Portrait..., and began serious work on Ulysses. Zurich during the war was home to exiles and artists from across Europe, and its bohemian, multilingual atmosphere suited him. Nevertheless, after four years he was restless, and after the war he returned to Trieste as he had originally planned. He found the city had changed, and some of his old friends noted his maturing from teacher to full-time artist. His relations with his brother (who had been interned in an Austrian prison camp for most of the war due to his pro-Italian politics) were more strained than ever. Joyce headed to Paris in 1920 at an invitation from Ezra Pound, supposedly for a week, but he ended up living there for the next twenty years.

1920–41: Paris and Zürich

The so-called James-Joyce-Kanzel (plateau) at the confluence of the Sihl an Limmat rivers in Zürich where Joyce loved to relax

Joyce set himself to finally finishing Ulysses in Paris, delighted to find that he was gradually gaining fame as an avant-garde writer. A further grant from Miss Shaw Weaver meant he could devote himself full-time to writing again, as well as consort with other literary figures in the city. During this era, Joyce's eyes began to give more and more problems. He was treated by Dr Louis Borsch in Paris, receiving nine surgeries from him until Borsch's death in 1929. Throughout the 1930s he traveled frequently to Switzerland for eye surgeries and treatments for Lucia, who, according to the Joyces, suffered from schizophrenia. Lucia was analyzed by Carl Jung at the time, who was of the opinion that her father had schizophrenia after reading Ulysses.^[18] Jung noted that she and her father were two people heading to the bottom of a river, except that he was diving and she was falling.^[19][20][21]

Grave of James Joyce in Zürich-Fluntern

In Paris, Maria and Eugene Jolas nursed Joyce during his long years of writing Finnegans Wake. Were it not for their unwavering support (along with Harriet Shaw Weaver's constant financial support), there is a good possibility that his books might never have been finished or published. In their now legendary literary magazine "Transition," the Jolases published serially various sections of Joyce's novel under the title Work in Progress. He returned to Zürich in late 1940, fleeing the Nazi occupation of France. On 11 January 1941, he underwent surgery for a perforated ulcer. While at first improved, he relapsed the following day, and despite several transfusions, fell into a coma. He awoke at 2 a.m. on 13 January 1941, and asked for a nurse to call his wife and son before losing consciousness again. They were still on their way, when he died, 15 minutes later. He is buried in the Fluntern Cemetery within earshot of the lions in the Zürich Zoo. Although two senior Irish diplomats were in Switzerland at the time, neither attended Joyce's funeral, and the Irish government subsequently declined Nora's offer to permit the repatriation of Joyce's remains. Nora, whom Joyce had finally married in London in 1931, survived him by 10 years. She is buried now by his side, as is their son George, who died in 1976. Ellmann reports that when the arrangements for Joyce's burial were being made, a Catholic priest tried to convince Nora that there should be a funeral Mass. She replied, "I couldn't do that to him."^[22] Swiss tenor Max Meili sang Addio terra, addio cielo from Monteverdi's L'Orfeo at the funeral service.

Major works

Dubliners

The title page of the first edition of Dubliners

Joyce's Irish experiences constitute an essential element of his writings, and provide all of the settings for his fiction and much of its subject matter. His early volume of short stories, Dubliners, is a penetrating analysis of the stagnation and paralysis of Dublin society. The stories incorporate epiphanies, a word used particularly by Joyce, by which he meant a sudden consciousness of the "soul" of a thing. The final and most famous story in the collection, "The Dead", was directed by John Huston as his last feature film in 1987.

A Portrait of the Artist as a Young Man

A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen Hero. Joyce partially destroyed the original manuscript in a fit of rage during an argument with Nora, who asserted that it would never be published. A Künstlerroman, or story of the personal development of an artist, Portrait is a heavily biographical coming-of-age novel in which Joyce depicts a gifted young man's gradual attainment of maturity and self-consciousness. The main character, Stephen Dedalus, is in many ways based upon Joyce himself.^[23] Some hints of the techniques Joyce frequently employed in later works—such as the use of interior monologue and references to a character's psychic reality rather than his external surroundings—are evident in this novel.^[24] Joseph Strick directed a film of the book in 1977 starring Luke Johnston, Bosco Hogan, T.P. McKenna and John Gielgud.

Exiles and poetry

Despite early interest in the theatre, Joyce published only one play, Exiles, begun shortly after the outbreak of World War I in 1914 and published in 1918. A study of a husband and wife relationship, the play looks back to The Dead (the final story in Dubliners) and forward to Ulysses, which Joyce began around the time of the play's composition.

Joyce also published a number of books of poetry. His first mature published work was the satirical broadside "The Holy Office" (1904), in which he proclaimed himself to be the superior of many prominent members of the Celtic revival. His first full-length poetry collection Chamber Music (referring, Joyce explained, to the sound of urine hitting the side of a chamber pot) consisted of 36 short lyrics. This publication led to his inclusion in the Imagist Anthology, edited by Ezra Pound, who was a champion of Joyce's work. Other poetry Joyce published in his lifetime includes "Gas From A Burner" (1912), Pomes Penyeach (1927) and "Ecce Puer" (written in 1932 to mark the birth of his grandson and the recent death of his father). It was published in Collected Poems (1936).

Ulysses

Announcement of the initial publication of Ulysses.

As he was completing work on Dubliners in 1906, Joyce considered adding another story featuring a Jewish advertising canvasser called Leopold Bloom under the title Ulysses. Although he did not pursue the idea further at the time, he eventually commenced work on a novel using both the title and basic premise in 1914. The writing was completed in October, 1921. Three more months were devoted to working on the proofs of the book before Joyce halted work shortly before his self-imposed deadline, his 40th birthday (2 February 1922).

Thanks to Ezra Pound, serial publication of the novel in the magazine The Little Review began in 1918. This magazine was edited by Margaret Anderson and Jane Heap, with the backing of John Quinn, a New York attorney with an interest in contemporary experimental art and literature. Unfortunately, this publication encountered censorship problems in the United States; serialization was halted in 1920 when the editors were convicted of publishing obscenity.^[25] The novel was not published in the United States until 1933.^[26]

At least partly because of this controversy, Joyce found it difficult to get a publisher to accept the book, but it was published in 1922 by Sylvia Beach from her well-known Rive Gauche bookshop, Shakespeare and Company. An English edition published the same year by Joyce's patron, Harriet Shaw Weaver, ran into further difficulties with the United States authorities, and 500 copies that were shipped to the States were seized and possibly destroyed. The following year, John Rodker produced a print run of 500 more intended to replace the missing copies, but these were burned by English customs at Folkestone. A further consequence of the novel's ambiguous legal status as a banned book was that a number of "bootleg" versions appeared, most notably a number of pirate versions from the publisher Samuel Roth. In 1928, a court injunction against Roth was obtained and he ceased publication.

With the appearance of both Ulysses and T. S. Eliot's poem, The Waste Land, 1922 was a key year in the history of English-language literary modernism. In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other literary technique to present his characters.^[27] The action of the novel, which takes place in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models. The book explores various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce claimed that if Dublin were to be destroyed in some catastrophe it could be rebuilt, brick by brick, using his work as a model.^[28] In order to achieve this level of accuracy, Joyce used the 1904 edition of Thom's Directory—a work that listed the owners and/or tenants of every residential and commercial property in the city. He also bombarded friends still living there with requests for information and clarification.

The book consists of 18 chapters, each covering roughly one hour of the day, beginning around about 8 a.m. and ending sometime after 2 a.m. the following morning. Each of the 18 chapters of the novel employs its own literary style. Each chapter also refers to a specific episode in Homer's Odyssey and has a specific colour, art or science and bodily organ associated with it. This combination of kaleidoscopic writing with an extreme formal, schematic structure represents one of the book's major contributions to the development of 20th century modernist literature.^[29] The use of classical mythology as a framework for his book and the near-obsessive focus on external detail in a book in which much of the significant action is happening inside the minds of the characters are others. Nevertheless, Joyce complained that, "I may have oversystematised Ulysses," and played down the mythic correspondences by eliminating the chapter titles that had been taken from Homer.^[30]

Finnegans Wake

Joyce as depicted on the Irish £10 banknote, issued 1993–2002

Having completed work on Ulysses, Joyce was so exhausted that he did not write a line of prose for a year.^[31] On 10 March 1923 he informed a patron, Harriet Weaver: "Yesterday I wrote two pages—the first I have since the final Yes of Ulysses. Having found a pen, with some difficulty I copied them out in a large handwriting on a double sheet of foolscap so that I could read them. Il lupo perde il pelo ma non il vizio, the Italians say. The wolf may lose his skin but not his vice or the leopard cannot change his spots".^[32] Thus was born a text that became known, first, as Work in Progress and later Finnegans Wake.

By 1926 Joyce had completed the first two parts of the book. In that year, he met Eugene and Maria Jolas who offered to serialise the book in their magazine transition. For the next few years, Joyce worked rapidly on the new book, but in the 1930s, progress slowed considerably. This was due to a number of factors, including the death of his father in 1931, concern over the mental health of his daughter Lucia and his own health problems, including failing eyesight. Much of the work was done with the assistance of younger admirers, including Samuel Beckett. For some years, Joyce nursed the eccentric plan of turning over the book to his friend James Stephens to complete, on the grounds that Stephens was born in the same hospital as Joyce exactly one week later, and shared the first name of both Joyce and of Joyce's fictional alter-ego (this is one example of Joyce's numerous superstitions).^[33]

Reaction to the work was mixed, including negative comment from early supporters of Joyce's work, such as Pound and the author's brother Stanislaus Joyce.^[34] In order to counteract this hostile reception, a book of essays by supporters of the new work, including Beckett, William Carlos Williams and others was organised and published in 1929 under the title Our Exagmination Round His Factification for Incamination of Work in Progress. At his 47th birthday party at the Jolases' home, Joyce revealed the final title of the work and Finnegans Wake was published in book form on 4 May 1939.

Joyce's method of stream of consciousness, literary allusions and free dream associations was pushed to the limit in Finnegans Wake, which abandoned all conventions of plot and character construction and is written in a peculiar and obscure language, based mainly on complex multi-level puns. This approach is similar to, but far more extensive than that used by Lewis Carroll in Jabberwocky. If Ulysses is a day in the life of a city, the Wake is a night and partakes of the logic of dreams.^{[citation needed]} This has led many readers and critics to apply Joyce's oft-quoted description in the Wake of Ulysses as his "usylessly unreadable Blue Book of Eccles"^[35] to the Wake itself. However, readers have been able to reach a consensus about the central cast of characters and general plot.

Much of the wordplay in the book stems from the use of multilingual puns which draw on a wide range of languages. The role played by Beckett and other assistants included collating words from these languages on cards for Joyce to use and, as Joyce's eyesight worsened, of writing the text from the author's dictation.^[36]

The view of history propounded in this text is very strongly influenced by Giambattista Vico, and the metaphysics of Giordano Bruno of Nola are important to the interplay of the "characters". Vico propounded a cyclical view of history, in which civilisation rose from chaos, passed through theocratic, aristocratic, and democratic phases, and then lapsed back into chaos. The most obvious example of the influence of Vico's cyclical theory of history is to be found in the opening and closing words of the book. Finnegans Wake opens with the words "riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs." ("vicus" is a pun on Vico) and ends "A way a lone a last a loved a long the". In other words, the book ends with the beginning of a sentence and begins with the end of the same sentence, turning the book into one great cycle. Indeed, Joyce said that the ideal reader of the Wake would suffer from "ideal insomnia"^[37] and, on completing the book, would turn to page one and start again, and so on in an endless cycle of reading.

Legacy

Statue of James Joyce on North Earl Street, Dublin

Joyce's work has been subject to intense scrutiny by scholars of all types. He has also been an important influence on writers and scholars as diverse as Samuel Beckett,^[38] Jorge Luis Borges,^[39] Flann O'Brien,^[40] Máirtín Ó Cadhain, Salman Rushdie,^[41] Robert Anton Wilson,^[42] and Joseph Campbell.^[43] Ulysses has been called "a demonstration and summation of the entire [Modernist] movement".^[44]

Some scholars, most notably Vladimir Nabokov, have mixed feelings on his work, often championing some of his fiction while condemning other works. In Nabokov's opinion, Ulysses was brilliant,^[45] Finnegans Wake horrible^[46]—an attitude Jorge Luis Borges shared.^[47] In recent years, literary theory has embraced Joyce's innovation and ambition.^{[citation needed]}

Joyce's influence is also evident in fields other than literature. The phrase "Three Quarks for Muster Mark" in Joyce's Finnegans Wake is often called the source of the physicists' word "quark", the name of one of the main kinds of elementary particles, proposed by the physicist Murray Gell-Mann.^[48] The French philosopher Jacques Derrida has written a book on the use of language in Ulysses, and the American philosopher Donald Davidson has written similarly on Finnegans Wake in comparison with Lewis Carroll. Psychoanalyst Jacques Lacan used Joyce's writings to explain his concept of the sinthome. According to Lacan, Joyce's writing is the supplementary cord which kept Joyce from psychosis.^[49]

The work and life of Joyce is celebrated annually on 16 June, Bloomsday, in Dublin and in an increasing number of cities worldwide.

Works

• Chamber Music (1907, poems)
• Dubliners (1914, short story collection)
• A Portrait of the Artist as a Young Man (1916, novel)
• Exiles (1918, play)
• Ulysses (1922, novel)
• Pomes Penyeach (1927, poems)
• Collected Poems (1936, poems)
• Finnegans Wake (1939, novel)

Posthumous publications

• Stephen Hero (precursor to A Portrait; written 1904–06, published 1944)
• Giacomo Joyce (written 1907, published 1968)
• Letters of James Joyce Vol. 1 (Ed. Stuart Gilbert, 1957)
• The Critical Writings of James Joyce (Eds. Ellsworth Mason and Richard Ellman, 1959)
• Letters of James Joyce Vol. 2 (Ed. Ricard Ellman, 1966)
• Letters of James Joyce Vol. 3 (Ed. Ricard Ellman, 1966)

Notes

References

• Beebe, Maurice (Fall 1972). "Ulysses and the Age of Modernism". James Joyce Quarterly (University of Tulsa) 10 (1): 172–88
• Borges, Jorge Luis, (ed.) Eliot Weinberger, Borges: Selected Non-Fictions, Penguin (31 October 2000). ISBN 0140290117.
• Bulson, Eric. The Cambridge Introduction to James Joyce. Cambridge and New York: Cambridge UP, 2006. ISBN 978-0-5218-4037-8.
• Cavanaugh, Tim, "Ulysses Unbound: Why does a book so bad it "defecates on your bed" still have so many admirers?", reason, July 2004.
• Deming, Robert H. James Joyce: The Critical Heritage. Routledge, 1997.
• Ellmann, Richard, James Joyce. Oxford University Press, 1959, revised edition 1982. ISBN 0195031032.
• Gillers, Stephen (2007). "A Tendency to Deprave and Corrupt: The Transformation of American Obscenity Law from Hicklin to Ulysses". Washington University Law Review 85 (2): 215–96. http://lawreview.wustl.edu/inprint/85/2/Gillers.pdf. Retrieved 2009-10-05. 
• Gluck, Barbara Reich. Beckett and Joyce: Friendship and Fiction. Bucknell University Press, 1979.
• Hopper, Keith, Flann O'Brien: A Portrait of the Artist as a Young Post-Modernist, Cork University Press (May 1995). ISBN 1859180426.
• Joyce, Stanislaus, My Brother's Keeper, New York: Viking Press, 1969.
• MacBride, Margaret. Ulysses and the Metamorphosis of Stephen Dedalus. Bucknell University Press, 2001.
• McCourt, John, The Years of Bloom: James Joyce in Trieste, 1904–1920, The Lilliput Press, May 2001. ISBN 1901866718.
• McCourt, John, ed. James Joyce in Context. Cambridge and New York: Cambridge UP, 2009. ISBN 978-0-5218-8662-8.
• Pepper, Tara. "Portrait of the Daughter: Two works seek to reclaim the legacy of Lucia Joyce." Newsweek International. 8 March 2003.
• Schloss, Carol Loeb. Lucia Joyce: To Dance in the Wake. London: Bloomsbury, 2004. ISBN 0-374-19424-6.
• Williamson, Edwin, Borges: A Life, Viking Adult (5 August 2004). ISBN 0670885797.

Further reading

• Burgess, Anthony, Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader, Faber & Faber (1965); (published in America as Re Joyce) ASIN B000KW9R3Y; Hamlyn Paperbacks; Rev. ed edition (1982). ISBN 0600206734.
• Burgess, Anthony, Joysprick: An Introduction to the Language of James Joyce (1973), Harcourt (March 1975). ISBN 0156465612.
• Clark, Hilary, The Fictional Encyclopaedia: Joyce, Pound, Sollers. Taylor & Francis, 1990.
• Gravgaard, Anna-Katarina Could Leopold Bloom Read Ulysses?, University of Copenhagen, 2006.
• Igoe, Vivien. A Literary Guide to Dublin. ISBN 0-413-69120-9.
• Levin, Harry (ed. with introduction and notes). The Essential James Joyce. Cape, 1948. Revised edition Penguin in association with Jonathan Cape, 1963.
• Levin, Harry, James Joyce. Norfolk, CT: New Directions, 1941 (1960).
• Max, D. J., "The Injustice Collector", The New Yorker, 19 June 2006.
• Quillian, William H. Hamlet and the new poetic: James Joyce and T. S. Eliot. Ann Arbor, MI: UMI Research Press, 1983.
• Read, Forrest. Pound/Joyce: The Letters of Ezra Pound to James Joyce, with Pound's Essays on Joyce. New Directions, 1967.

External links

Wikiquote has a collection of quotations related to: James Joyce

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General

• Works by James Joyce at Project Gutenberg
• An Audio tour of the history of James Joyce's writings
• James Joyce Bibliography (Dubliners, Portrait, Ulysses, Finnegans Wake + introductory texts)
• James Joyce from Dublin to Ithaca Exhibition from the collections of Cornell University
• The James Joyce Scholars' Collection
• How to Read Joyce, a seminar by Cambridge University Press.
• Essays and Criticism about James Joyce; Texts of his Major Works
• Music in the Works of James Joyce
• James Joyce Centre (Dublin)
• The James Joyce Scholars' Collection from the University of Wisconsin Digital Collections Center.
• A recording of James Joyce reading from Finnegans Wake from Ubunet