Ulysses (novel)

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Ulysses
First edition of Ulysses by James Joyce, published by Paris-Shakespeare, 1922. The colour of the cover was meant to match the blue of the Greek flag.[1][2]
AuthorJames Joyce
LanguageEnglish
GenreModernist novel
Set inDublin, 16–17 June 1904
PublisherShakespeare and Company
Publication date
2 February 1922
Media typePrint: hardback
Pages732
823.912
LC ClassPR6019.O8 U4 1922
Preceded byExiles 
TextUlysses (novel) at Wikisource

Ulysses is a modernist novel by Irish writer James Joyce. Parts of it were first serialized in the American journal The Little Review from March 1918 to December 1920, and the entire work was published in Paris by Sylvia Beach on 2 February 1922, Joyce's fortieth birthday. It is considered one of the most important works of modernist literature[3] and has been called "a demonstration and summation of the entire movement."[4] According to Declan Kiberd, "Before Joyce, no writer of fiction had so foregrounded the process of thinking."[5]

Ulysses chronicles the experiences of three Dubliners over the course of a single day, 16 June 1904. Ulysses is the Latinised name of Odysseus, the hero of Homer's epic poem the Odyssey, and the novel establishes a series of parallels between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus. There are also correspondences with other literary and mythological figures, and such themes as antisemitism, human sexuality, British rule in Ireland, Catholicism, and Irish nationalism are treated in the context of early-20th-century Dublin. The novel is highly allusive and written in a variety of radically changing styles.

Since its publication, the book has attracted controversy and scrutiny, ranging from an obscenity trial in the United States in 1921 to protracted textual "Joyce Wars". The novel's stream of consciousness technique, careful structuring, and experimental prose—replete with puns, parodies, epiphanies, and allusions—as well as its rich characterisation and broad humour have led it to be regarded as one of the greatest literary works in history; Joyce fans worldwide now celebrate 16 June as Bloomsday.

Background[edit]

Joyce first encountered the figure of Odysseus/Ulysses in Charles Lamb's Adventures of Ulysses, an adaptation of the Odyssey for children, which seems to have established the Latin name in Joyce's mind. At school he wrote an essay on the character, titled "My Favourite Hero."[6][7] Joyce told Frank Budgen that he considered Ulysses the only all-round character in literature.[8] He considered writing another short story for Dubliners, to be titled “Ulysses” and based on a Dublin Jew named Alfred H. Hunter, a putative cuckold.[9] The idea grew from a story in 1906, to a "short book" in 1907,[10] to the vast novel he began in 1914.

Locations[edit]

Ulysses Dublin map[11]
  1. Leopold Bloom's home at 7 Eccles Street[12]Episode 4, Calypso; Episode 17, Ithaca; and Episode 18, Penelope
  2. Post office, Westland RowEpisode 5, Lotus Eaters
  3. Sweny's pharmacy, Lombard Street, Lincoln Place[13] (where Bloom bought soap) – Episode 5, Lotus Eaters
  4. the Freeman's Journal, Prince's Street,[14] off of O'Connell StreetEpisode 7, Aeolus
  5. And – not far away – Graham Lemon's candy shop, 49 Lower O'Connell Street; it starts Episode 8, Lestrygonians
  6. Davy Byrne's pubEpisode 8, Lestrygonians
  7. National Library of IrelandEpisode 9, Scylla and Charybdis
  8. Ormond Hotel[15] on the banks of the Liffey – Episode 11, Sirens
  9. Barney Kiernan's pub – Episode 12, Cyclops
  10. Maternity hospital – Episode 14, Oxen of the Sun
  11. Bella Cohen's brothel – Episode 15, Circe
  12. Cabman's shelter, Butt BridgeEpisode 16, Eumaeus

The action of the novel moves from one side of Dublin Bay to the other, opening in Sandycove to the South of the city and closing on Howth Head to the North.

Structure[edit]

Ulysses, Egoist Press, 1922

Ulysses is divided into the three books (marked I, II, and III) and 18 episodes. The episodes do not have chapter headings or titles, and are numbered only in Gabler's edition. In the various editions the breaks between episodes are indicated in different ways; in the Modern Library edition, for example, each episode begins at the top of a new page.

Joyce seems to have relished his book's obscurity, saying he had "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality."[16] The judge who decided that Ulysses was not obscene admitted that it "is not an easy book to read or to understand", and advised reading "a number of other books which have now become its satellites".[17] One such book available at the time was Herbert Gorman's first book on Joyce, which included his own brief list of correspondences between Ulysses and The Odyssey.[18] Another was Stuart Gilbert's study of Ulysses, which included a schema of the novel Joyce created.[19] (Gilbert was later quoted in the legal brief prepared for the obscenity trial.[20]) Joyce had already sent Carlo Linati a different schema.[21] The Gilbert and Linati schemata made the links to The Odyssey clearer and also explained the work's structure.

Joyce and Homer[edit]

The 18 episodes of Ulysses "roughly correspond to the episodes in Homer's Odyssey."[22] In Homer's epic, Odysseus, "a Greek hero of the Trojan War ... took ten years to find his way from Troy to his home on the island of Ithaca."[23] Homer's poem includes violent storms and a shipwreck, giants, monsters, gods, and goddesses, while Joyce's novel takes place during an ordinary day in early 20th-century Dublin. Leopold Bloom, "a Jewish advertisement canvasser", corresponds to Odysseus in Homer's epic; Stephen Dedalus, the protagonist of Joyce's earlier, largely autobiographical A Portrait of the Artist as a Young Man, corresponds to Odysseus's son Telemachus; and Bloom's wife Molly corresponds to Penelope, Odysseus's wife, who waited 20 years for him to return.[24]

The Odyssey is divided into 24 books, which are divided into 3 parts of 4, 8, and 12 books. Although Ulysses has fewer episodes, their division into 3 parts of 3, 12, and 3 episodes is determined by the tripartite division of The Odyssey.[25] Joyce referred to the episodes by their Homeric titles in his letters. The novel's text does not include the episode titles used below, which originate from the Linati and Gilbert schemata. Joyce scholars have drawn upon both to identify and explain the parallels between Ulysses and The Odyssey.[26][27][28][29]

Scholars have argued that Victor Berard's Les Phéniciens et l'Odyssée, which Joyce discovered in Zurich while writing Ulysses, influenced his creation of the Homeric parallels in the novel.[30][31] Berard's theory that The Odyssey had Semitic roots accorded with Joyce's reincarnation of Odysseus as the Jewish Leopold Bloom.[32]

Ezra Pound regarded the Homeric correspondences as "a scaffold, a means of construction, justified by the result, and justifiable by it only. The result is a triumph in form, in balance, a main schema with continuous weaving and arabesque."[33] For T. S. Eliot, the Homeric correspondences had "the importance of a scientific discovery". He wrote, "In manipulating a continuous parallel between contemporaneity and antiquity . . . Mr. Joyce is pursing a method which others must pursue after him." This method "is simply a way of controlling, of ordering, of giving a shape and significance to the immense panorama of futility and anarchy which is contemporary history."[34]

Besides the Homeric parallels, the Gilbert and the Linati schemata identify other aspects of the episodes. The latter lists Hamlet and Shakespeare. Stephen Dedalus sets forth a theory of Hamlet based on twelve lectures, now lost, Joyce gave in Trieste in 1912.[35] (Scholars have explained the Hamlet parallels in considerable detail.[36][26][37][38][39]) There are also correspondences with other figures, including Christ, Elijah, Moses, Dante, and Don Giovanni.[40] Like Shakespeare, Dante was a major influence on Joyce.[41] It has been argued that the interrelationship of Joyce, Stephen Dedalus, and Leopold Bloom is defined in the Incarnation doctrines the novel cites.[42]

Plot summary[edit]

Part I: Telemachia[edit]

Episode 1, Telemachus[edit]

James Joyce's room in the James Joyce Tower and Museum

At 8 a.m., Malachi "Buck" Mulligan, a boisterous medical student, calls aspiring writer Stephen Dedalus up to the roof of the Sandycove Martello tower, where they both live. There is tension between Dedalus and Mulligan stemming from a cruel remark Dedalus overheard Mulligan make about his recently deceased mother and from the fact that Mulligan has invited an English student, Haines, to stay with them. The three men eat breakfast and walk to the shore, where Mulligan demands from Stephen the key to the tower and a loan. The three make plans to meet at a pub, The Ship, at 12:30pm. Departing, Stephen decides that he will not return to the tower that night, as Mulligan, the "usurper," has taken it over.

Episode 2, Nestor[edit]

Stephen is teaching a history class on the victories of Pyrrhus of Epirus. After class, one student, Cyril Sargent, stays behind so that Stephen can show him how to do a set of algebraic exercises. Stephen looks at Sargent's ugly face and tries to imagine Sargent's mother's love for him. He then visits unionist school headmaster Garrett Deasy, from whom he collects his pay. Deasy asks Stephen to take his long-winded letter about foot-and-mouth disease to a newspaper office for printing. The two discuss Irish history and Deasy lectures on what he believes is the role of Jews in the economy. As Stephen leaves, Deasy jokes that Ireland has "never persecuted the Jews" because the country "never let them in". This episode is the source of some of the novel's best-known lines, such as Dedalus's claim that "history is a nightmare from which I am trying to awake" and that God is "a shout in the street".

Episode 3, Proteus[edit]

Sandymount Strand looking across Dublin Bay to Howth Head

Stephen walks along Sandymount Strand for some time, mulling various philosophical concepts, his family, his life as a student in Paris, and his mother's death. As he reminisces he lies down among some rocks, watches a couple whose dog urinates behind a rock, scribbles some ideas for poetry and picks his nose. This chapter is characterised by a stream of consciousness narrative style that changes focus wildly. Stephen's education is reflected in the many obscure references and foreign phrases employed in this episode, which have earned it a reputation for being one of the book's most difficult chapters.

Part II: Odyssey[edit]

Episode 4, Calypso[edit]

The narrative shifts abruptly. The time is again 8 a.m., but the action has moved across the city and to the second protagonist of the book, Leopold Bloom, a part-Jewish advertising canvasser. The episode opens with the line "Mr. Leopold Bloom ate with relish the inner organs of beasts and fowls." After starting to prepare breakfast, Bloom decides to walk to a butcher to buy a pork kidney. Returning home, he prepares breakfast and brings it with the mail to his wife Molly as she lounges in bed. One of the letters is from her concert manager Blazes Boylan, with whom she is having an affair. Bloom reads a letter from their daughter Milly Bloom, who tells him about her progress in the photography business in Mullingar. The episode closes with Bloom reading a magazine story titled Matcham's Masterstroke, by Mr. Philip Beaufoy, while defecating in the outhouse.

Episode 5, Lotus Eaters[edit]

Several Dublin businesses note that they were mentioned in Ulysses, like this undertakers.

While making his way to Westland Row post office Bloom is tormented by the knowledge that Molly will welcome Boylan into her bed later that day. At the post office he surreptitiously collects a love letter from one 'Martha Clifford' addressed to his pseudonym, 'Henry Flower.' He meets an acquaintance, and while they chat, Bloom attempts to ogle a woman wearing stockings, but is prevented by a passing tram. Next, he reads the letter from Martha Clifford and tears up the envelope in an alley. He wanders into a Catholic church during a service and muses on theology. The priest has the letters I.N.R.I. or I.H.S. on his back; Molly had told Bloom that they meant I have sinned or I have suffered, and Iron nails ran in. He buys a bar of lemon soap from a chemist. He then meets another acquaintance, Bantam Lyons, who mistakenly takes him to be offering a racing tip for the horse Throwaway. Finally, Bloom heads towards the baths.

Episode 6, Hades[edit]

The episode begins with Bloom entering a funeral carriage with three others, including Stephen's father. They drive to Paddy Dignam's funeral, making small talk on the way. The carriage passes both Stephen and Blazes Boylan. There is discussion of various forms of death and burial. Bloom is preoccupied by thoughts of his dead infant son, Rudy, and the suicide of his own father. They enter the chapel for the service and subsequently leave with the coffin cart. Bloom sees a mysterious man wearing a mackintosh during the burial. Bloom continues to reflect upon death, but at the end of the episode rejects morbid thoughts to embrace "warm fullblooded life".

Episode 7, Aeolus[edit]

At the office of the Freeman's Journal, Bloom attempts to place an ad. Although initially encouraged by the editor, he is unsuccessful. Stephen arrives bringing Deasy's letter about foot and mouth disease, but Stephen and Bloom do not meet. Stephen leads the editor and others to a pub, relating an anecdote on the way about "two Dublin vestals". The episode is broken into short segments by newspaper-style headlines, and is characterised by an abundance of rhetorical figures and devices.

Episode 8, Lestrygonians[edit]

Davy Byrne's Pub, Dublin, where Bloom consumes a gorgonzola cheese sandwich and a glass of burgundy

Bloom's thoughts are peppered with references to food as lunchtime approaches. He meets an old flame, hears news of Mina Purefoy's labour, and helps a blind boy cross the street. He enters the restaurant of the Burton Hotel, where he is revolted by the sight of men eating like animals. He goes instead to Davy Byrne's pub, where he consumes a gorgonzola cheese sandwich and a glass of burgundy, and muses upon the early days of his relationship with Molly and how the marriage has declined: "Me. And me now." Bloom's thoughts touch on what goddesses and gods eat and drink. He ponders whether the statues of Greek goddesses in the National Museum have anuses as do mortals. On leaving the pub Bloom heads toward the museum, but spots Boylan across the street and, panicking, rushes into the gallery across the street from the museum.

Episode 9, Scylla and Charybdis[edit]

National Library of Ireland

At the National Library, Stephen explains to some scholars his biographical theory of the works of Shakespeare, especially Hamlet, which he argues are based largely on the posited adultery of Shakespeare's wife. Buck Mulligan arrives and interrupts to read out the telegram that Stephen had sent him indicating that he would not make their planned rendezvous at The Ship. Bloom enters the National Library to look up an old copy of the ad he has been trying to place. He passes in between Stephen and Mulligan as they exit the library at the end of the episode.

Episode 10, Wandering Rocks[edit]

In this episode, nineteen short vignettes depict the movements of various characters, major and minor, through the streets of Dublin. The episode begins by following Father Conmee, a Jesuit priest, on his trip north, and ends with an account of the cavalcade of the Lord Lieutenant of Ireland, William Ward, Earl of Dudley, through the streets, which is encountered by several characters from the novel.

Episode 11, Sirens[edit]

In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle at the Ormond hotel, while Molly's lover, Blazes Boylan, proceeds to his rendezvous with her. While dining, Bloom listens to the singing of Stephen's father and others, watches the seductive barmaids, and composes a reply to Martha Clifford's letter.

Episode 12, Cyclops[edit]

This episode is narrated by an unnamed denizen of Dublin who works as a debt collector. The narrator goes to Barney Kiernan's pub where he meets a character referred to only as "The Citizen". This character is believed to be a satirisation of Michael Cusack, a founder member of the Gaelic Athletic Association.[43] When Leopold Bloom enters the pub, he is berated by the Citizen, who is a fierce Fenian and anti-Semite. The episode ends with Bloom reminding the Citizen that his Saviour was a Jew. As Bloom leaves the pub, the Citizen throws a biscuit tin at Bloom's head, but misses. The episode is marked by extended tangents made in voices other than that of the unnamed narrator; these include streams of legal jargon, a report of a boxing match, Biblical passages, and elements of Irish mythology.

Episode 13, Nausicaa[edit]

All the action of the episode takes place on the rocks of Sandymount Strand, the shoreline that Stephen visited in Episode 3. A young woman, Gerty MacDowell, is seated on the rocks with her two friends, Cissy Caffrey and Edy Boardman. The girls are taking care of three children, a baby, and four-year-old twins named Tommy and Jacky. Gerty contemplates love, marriage and femininity as night falls. The reader is gradually made aware that Bloom is watching her from a distance. Gerty teases the onlooker by exposing her legs and underwear, and Bloom, in turn, masturbates. Bloom's masturbatory climax is echoed by the fireworks at the nearby bazaar. As Gerty leaves, Bloom realises that she has a lame leg, and believes this is the reason she has been "left on the shelf". After several mental digressions he decides to visit Mina Purefoy at the maternity hospital. It is uncertain how much of the episode is Gerty's thoughts, and how much is Bloom's sexual fantasy. Some believe that the episode is divided into two halves: the first half the highly romanticized viewpoint of Gerty, and the other half that of the older and more realistic Bloom.[44] Joyce himself said, however, that "nothing happened between [Gerty and Bloom]. It all took place in Bloom's imagination".[44] Nausicaa attracted immense notoriety while the book was being published in serial form. It has also attracted great attention from scholars of disability in literature.[45] The style of the first half of the episode borrows from (and parodies) romance magazines and novelettes. Bloom's contemplation of Gerty parodies Dedalus's vision of the wading girl at the seashore in A Portrait.[46][47]

Episode 14, Oxen of the Sun[edit]

Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who has been drinking with his medical student friends and is awaiting the promised arrival of Buck Mulligan. As the only father in the group of men, Bloom is concerned about Mina Purefoy in her labour. He starts thinking about his wife and the births of his two children. He also thinks about the loss of his only 'heir', Rudy. The young men become boisterous, and start discussing such topics as fertility, contraception and abortion. There is also a suggestion that Milly, Bloom's daughter, is in a relationship with one of the young men, Bannon. They continue on to a pub to continue drinking, following the successful birth of a son to Mina Purefoy. This chapter is remarkable for Joyce's wordplay, which, among other things, recapitulates the entire history of the English language. After a short incantation, the episode starts with latinate prose, Anglo-Saxon alliteration, and moves on through parodies of, among others, Malory, the King James Bible, Bunyan, Pepys, Defoe, Sterne, Walpole, Gibbon, Dickens, and Carlyle, before concluding in a Joycean version of contemporary slang. The development of the English language in the episode is believed to be aligned with the nine-month gestation period of the foetus in the womb.[48]

Episode 15, Circe[edit]

Episode 15 is written as a play script, complete with stage directions. The plot is frequently interrupted by "hallucinations" experienced by Stephen and Bloom—fantastic manifestations of the fears and passions of the two characters. Stephen and his friend Lynch walk into Nighttown, Dublin's red-light district. Bloom pursues them and eventually finds them at Bella Cohen's brothel where, in the company of her workers including Zoe Higgins, Florry Talbot and Kitty Ricketts, he has a series of hallucinations regarding his sexual fetishes, fantasies and transgressions. In one of these hallucinations, Bloom is put in the dock to answer charges by a variety of sadistic, accusing women including Mrs Yelverton Barry, Mrs Bellingham and the Hon Mrs Mervyn Talboys. In another of Bloom's hallucinations, he is crowned king of his own city, which is called Bloomusalem—Bloom imagines himself being loved and admired by Bloomusalem's citizens, but then imagines himself being accused of various charges. As a result, he is burnt at the stake and several citizens pay their respects to him as he dies.

Then the hallucination ends, Bloom finds himself next to Zoe, and the two talk. After they talk, Bloom continues to encounter other miscellaneous hallucinations, including one in which he converses with his grandfather Lipoti Virag, who lectures him about sex, among other things. At the end of the hallucination, Bloom is speaking with some prostitutes when he hears a sound coming from downstairs. He hears heels clacking on the staircase, and he observes what appears to be a male form passing down the staircase. He speaks with Zoe and Kitty for a moment, and then sees Bella Cohen come into the brothel. He observes her appearance and talks with her for a little while. But this conversation subsequently begins another hallucination, in which Bloom imagines Bella to be a man named Mr. Bello and Bloom imagines himself to be a woman. In this fantasy, Bloom imagines himself (or "herself", in the hallucination) being dominated by Bello, who both sexually and verbally humiliates Bloom. Bloom also interacts with other imaginary characters in this scene before the hallucination ends.

After the hallucination ends, Bloom sees Stephen overpay at the brothel, and decides to hold onto the rest of Stephen's money for safekeeping. Stephen hallucinates that his mother's rotting cadaver has risen up from the floor to confront him. He cries Non serviam!, uses his walking stick to smash a chandelier, and flees the room. Bloom quickly pays Bella for the damage, then runs after Stephen. He finds Stephen engaged in an argument with an English soldier, Private Carr, who, after a perceived insult to the King, punches Stephen. The police arrive and the crowd disperses. As Bloom tends to Stephen, he has a hallucination of his deceased son, Rudy, as an 11-year-old.

Part III: Nostos[edit]

Episode 16, Eumaeus[edit]

Bloom takes Stephen to a cabman's shelter near Butt Bridge to restore him to his senses. There, they encounter a drunken sailor, D. B. Murphy (W. B. Murphy in the 1922 text). The episode is dominated by the motif of confusion and mistaken identity, with Bloom, Stephen and Murphy's identities being repeatedly called into question. The narrative's rambling and laboured style in this episode reflects the protagonists' nervous exhaustion and confusion.

Episode 17, Ithaca[edit]

Bloom returns home with Stephen, makes him a cup of cocoa, discusses cultural and linguistic differences between them, considers the possibility of publishing Stephen's parable stories, and offers him a place to stay for the night. Stephen refuses Bloom's offer and is ambiguous in response to Bloom's proposal of future meetings. The two men urinate in the backyard, Stephen departs and wanders off into the night,[49] and Bloom goes to bed, where Molly is sleeping. She awakens and questions him about his day. The episode is written in the form of a rigidly organised and "mathematical" catechism of 309 questions and answers, and was reportedly Joyce's favourite episode in the novel. The deep descriptions range from questions of astronomy to the trajectory of urination and include a list of 25 men that purports to be the "preceding series" of Molly's suitors and Bloom's reflections on them. While describing events apparently chosen randomly in ostensibly precise mathematical or scientific terms, the episode is rife with errors made by the undefined narrator, many or most of which are intentional by Joyce.[50]

Episode 18, Penelope[edit]

The final episode consists of Molly Bloom's thoughts as she lies in bed next to her husband. The episode uses a stream-of-consciousness technique in eight paragraphs and lacks punctuation. Molly thinks about Boylan and Bloom, her past admirers, including Lieutenant Stanley G. Gardner, the events of the day, her childhood in Gibraltar, and her curtailed singing career. She also hints at a lesbian relationship in her youth, with a childhood friend, Hester Stanhope. These thoughts are occasionally interrupted by distractions, such as a train whistle or the need to urinate. Molly is surprised by the early arrival of her menstrual period, which she ascribes to her vigorous sex with Boylan. The episode concludes with Molly's remembrance of Bloom's marriage proposal, and of her acceptance: "he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes."

Publication history[edit]

Memorial plaque, at 12 Rue de l'Odéon, Paris (the original location of Shakespeare and Company): "In 1922, in this house, Sylvia Beach published Ulysses by James Joyce. J.J.S.S.F." (James Joyce Society of Sweden and Finland)[51]
Ulysses by James Joyce, Paris : Shakespeare, 1922

The publication history of Ulysses is complex. There have been at least 18 editions, and variations in different impressions of each edition.

According to Joyce scholar Jack Dalton, the first edition of Ulysses contained over 2,000 errors.[52] As subsequent editions attempted to correct these mistakes, they would often add more, due in part to the difficulty of separating non-authorial errors from Joyce's deliberate "errors" devised to challenge the reader.[50]

Notable editions include:[a]

  • Paris: Shakespeare and Company, 1922: The private,[53] first edition published in Paris on 2 February 1922 (Joyce's 40th birthday) by Sylvia Beach's Shakespeare and Company. Beach commissioned Darantiere in Dijon to print 1,000 numbered copies consisting of 100 signed copies on Dutch handmade paper (350 francs), 150 numbered copies on vergé d’Arches paper (250 francs), and 750 copies on handmade paper (150 francs),[53][54] plus an extra 20 unnumbered copies on mixed paper for libraries and press.[55][56][57]
  • London: Egoist Press, 1922: The first English edition published by Harriet Shaw Weaver's Egoist Press in October 1922. For legal reasons the book was printed on behalf of Egoist Press by John Rodker using the same printer, Darantiere, and plates as the first edition. This edition consisted of 2,000 numbered copies on handmade paper for sale[58] plus 100 unnumbered copies for press, publicity and legal deposit libraries.[59][60][57][61] A seven-page errata list compiled by Joyce, Weaver and Rodker was loosely inserted and contained 201 corrections.[62][63] The U.S. Post Office reportedly burned up to 500 copies,[64] as noted in later Shakespeare and Company editions.[65]
  • New York: Two Worlds Publishing Company, 1929: The first U.S. edition of the novel was pirated by Samuel Roth without Joyce's authorisation, and first published serially in Roth's Two Worlds Monthly, then later in a single volume in 1929. It was designed to closely mimic the 1927 Shakespeare and Company 9th printing but many errors and corruptions occurred during reproduction.[66][67] Reportedly 2,000–3,000 copies were printed but the majority were seized and destroyed by the New York Society for the Suppression of Vice after a raid on Roth's offices on 4 October 1929[68]
  • Hamburg: Odyssey Press, 1932: In two volumes. The title page of this edition states "The present edition may be regarded as the definitive standard edition, as it has been specially revised, at the author's request, by Stuart Gilbert.". This edition still contained errors but by its fourth revised printing (April 1939) it was considered the most accurate offering of the text and subsequently used as the basis for many later editions of the novel.[69][70][67]
  • New York: Random House, 1934: The first authorised U.S. edition,[71] published after the decision in United States v. One Book Called Ulysses finding that the book was not obscene.[69] Random House's founder Bennett Cerf chose to base this edition on a copy of the pirated Samuel Roth edition of 1929, which led it to reproduce many of that edition's errors.[72][73]
  • London: Bodley Head, 1936: The first edition printed and published in England. Set from the second impression of Odyssey Press's edition and proofed by Joyce.[74][69]
  • Bodley Head, 1960: Newly reset corrected edition based on the 1958 impression of the earlier Bodley Head edition.[75] The source for many later editions by other publishers.
  • Random House, 1961: Reset from the 1960 Bodley Head edition.
  • Ulysses: A Critical and Synoptic Edition. Garland, 1984: Edited by Hans Walter Gabler.
  • Ulysses: A Reader's Edition. Lilliput Press, 1997: Edited by Danis Rose.
  1. ^ Where the title is omitted the edition is titled Ulysses.

"Joyce Wars"[edit]

Hans Walter Gabler's 1984 edition was the most sustained attempt to produce a corrected text, but it has received much criticism, most notably from John Kidd. Kidd's main theoretical criticism is of Gabler's choice of a patchwork of manuscripts as his copy-text (the base edition with which the editor compares each variant), but this fault stems from an assumption of the Anglo-American tradition of scholarly editing rather than the blend of French and German editorial theories that actually lay behind Gabler's reasoning.[76] The choice of a composite copy-text is seen to be problematic in the eyes of some American editors, who generally favour the first edition of any particular work as copy-text.[76]

Less subject to differing national editorial theories, however, is the claim that for hundreds of pages—about half the episodes of Ulysses—the extant manuscript is purported to be a "fair copy" that Joyce made for sale to a potential patron. (As it turned out, John Quinn, the Irish-American lawyer and collector, purchased the manuscript.) Diluting this charge somewhat is the fact that the theory of (now lost) final working drafts is Gabler's own. For the suspect episodes, the existing typescript is the last witness. Gabler attempted to reconstruct what he called "the continuous manuscript text", which had never physically existed, by adding together all of Joyce's accretions from the various sources. This allowed Gabler to produce a "synoptic text" indicating the stage at which each addition was inserted. Kidd and even some of Gabler's own advisers believe this method meant losing Joyce's final changes in about two thousand places.[76] Far from being "continuous", the manuscripts seem to be opposite. Jerome McGann describes in detail the editorial principles of Gabler in his article for the journal Criticism, issue 27, 1985.[77] In the wake of the controversy, still other commentators charged that Gabler's changes were motivated by a desire to secure a fresh copyright and another seventy-five years of royalties beyond a looming expiration date.

In June 1988 John Kidd published "The Scandal of Ulysses" in The New York Review of Books,[76] charging that not only did Gabler's changes overturn Joyce's last revisions, but in another four hundred places Gabler failed to follow any manuscript whatever, making nonsense of his own premises. Kidd accused Gabler of unnecessarily changing Joyce's spelling, punctuation, use of accents, and all the small details he claimed to have been restoring. Instead, Gabler was actually following printed editions such as that of 1932, not the manuscripts. Gabler was found to have made genuine blunders, such as his changing the name of the real-life Dubliner Harry Thrift to 'Shrift' and cricketer Captain Buller to 'Culler' on the basis of handwriting irregularities in the extant manuscript. (These "corrections" were undone by Gabler in 1986.) Kidd stated that many of Gabler's errors resulted from Gabler's use of facsimiles rather than original manuscripts.

In December 1988, Charles Rossman's "The New Ulysses: The Hidden Controversy" for The New York Review revealed that some of Gabler's own advisers felt too many changes were being made, but that the publishers were pushing for as many alterations as possible. Then Kidd produced a 174-page critique that filled an entire issue of the Papers of the Bibliographical Society of America, dated the same month. This "Inquiry into Ulysses: The Corrected Text" was published the next year in book format and on floppy disk by Kidd's James Joyce Research Center at Boston University.

Gabler and others, including Michael Groden, have rejected Kidd's critique. In his 1993 afterword to the Gabler edition, Groden writes that Kidd's lists of supposed errors were constructed "with so little demonstrated understanding of Gabler's theoretical assumptions and procedures ... that they can point to errors or misjudgments only by accident." The scholarly community remains divided.

Gabler edition dropped[edit]

In 1990, Gabler's American publisher Random House, after consulting a committee of scholars,[78] replaced the Gabler edition with its 1961 version, and in the United Kingdom the Bodley Head press revived its 1960 version (upon which Random House's 1961 version is based). In both the UK and US, Everyman's Library also republished the 1960 Ulysses. In 1992, Penguin dropped Gabler and reprinted the 1960 text. The Gabler version remained available from Vintage International. Reprints of the 1922 first edition have also become widely available since 1 January 2012, when this edition entered the public domain under U.S. copyright law.[79]

In 1992, W. W. Norton announced that it would publish Kidd's much-anticipated edition of Ulysses as part of "The Dublin Edition of the Works of James Joyce" series. This book had to be withdrawn when the Joyce estate objected. For a period thereafter the estate refused to authorise any further editions of Joyce's work. This ended when it agreed to allow Wordsworth Editions to bring out a bargain version of the novel (a reprint of the 1932 Odyssey Press edition) in January 2010, ahead of copyright expiration in 2012.[80][81]

Censorship[edit]

Written over a seven-year period from 1914 to 1921, Ulysses was serialised in the American journal The Little Review from 1918 to 1920,[82] when the publication of the Nausicaä episode led to a prosecution for obscenity under the Comstock Act of 1873, which made it illegal to circulate materials deemed obscene in the U.S. mail.[83] In 1919, sections of the novel also appeared in the London literary journal The Egoist, but the novel itself was banned in the United Kingdom until 1936.[84] Joyce had resolved that the book would be published on his 40th birthday, 2 February 1922, and Sylvia Beach, Joyce's publisher in Paris, received the first three copies from the printer that morning.[85][67]

The 1920 prosecution in the US was brought after The Little Review serialised a passage of the book depicting characters masturbating. Three earlier chapters had been banned by the US Post Office, but it was Secretary of the New York Society for the Suppression of Vice John S. Sumner who instigated this legal action.[86] The Post Office did partially suppress the "Nausicaä" edition of The Little Review.[87] Legal historian Edward de Grazia has argued that few readers would have been fully aware of the masturbation in the text, given the metaphoric language.[88] Irene Gammel extends this argument to suggest that the obscenity allegations brought against The Little Review were influenced by the Baroness Elsa von Freytag-Loringhoven's more explicit poetry, which had appeared alongside the serialization of Ulysses.[89] At the trial in 1921 the magazine was declared obscene and, as a result, Ulysses was effectively banned in the United States. Throughout the 1920s, the United States Post Office Department burned copies of the novel.[90]

In 1932, Random House and lawyer Morris Ernst arranged to import the French edition and have a copy seized by Customs. Random House contested the seizure, and in United States v. One Book Called Ulysses, U.S. District Judge John M. Woolsey ruled that the book was not pornographic and therefore could not be obscene,[91] a decision Stuart Gilbert called "epoch-making".[92] The Second Circuit Court of Appeals affirmed the ruling in 1934.[93] The U.S. thus became the first English-speaking country where the book was freely available. Although Ireland's Censorship of Publications Board never banned Ulysses, a customs loophole prevented it from being allowed into Ireland.[94][67][95] It was first openly available in Ireland in the 1960s.[96]

Literary significance and critical reception[edit]

What is so staggering about Ulysses is the fact that behind a thousand veils nothing lies hidden; that it turns neither toward the mind nor toward the world, but, as cold as the moon looking on from cosmic space, allows the drama of growth, being, and decay to pursue its course.

Carl Jung[97]

In a review in The Dial, T. S. Eliot said of Ulysses: "I hold this book to be the most important expression which the present age has found; it is a book to which we are all indebted, and from which none of us can escape." He went on to assert that Joyce was not at fault if people after him did not understand it: "The next generation is responsible for its own soul; a man of genius is responsible to his peers, not to a studio full of uneducated and undisciplined coxcombs."[98]

Ezra Pound wrote, "All men should 'Unite to give praise to Ulysses'; those who will not, may content themselves with a place in the lower intellectual orders." He claimed that in writing Ulysses, "this super-novel", Joyce surpassed Gustave Flaubert, Miguel de Cervantes, Henry James, and Marcel Proust, concluding that, besides Francois Rabelais, he "can think of no other prose writer whose proportional status in pan-literature is not modified by the advent of Ulysses."[99]

The essayist John Eglinton wrote of Joyce's method: "Mr Joyce has wished to devise a species of literary notation which will express the interuptedness of life. We cannot hold our minds to any one purpose or idea for more than a few moments at a time". He interprets Joyce's purpose as "produc[ing] a work of virgin art!"[100]

William Carlos Williams found Joyce's style in Ulysses richer than in his previous works. He called it a "priestly style and Joyce is himself a priest...Joyce discloses the X-Ray eyes of the confessional, we see…the naked soul…[Joyce] has compared up his reader with God."[100]

Ulysses has been called "the most prominent landmark in modernist literature", a work where life's complexities are depicted with "unprecedented, and unequalled, linguistic and stylistic virtuosity".[101] That style has been called the finest example of stream-of-consciousness in modern fiction, with Joyce going deeper and farther than any other novelist in interior monologue and stream of consciousness.[102] This technique has been praised for its faithful representation of the flow of thought, feeling, and mental reflection, as well as shifts of mood.[103]

S. L. Goldberg has argued that interior monologue in Ulysses is rooted in Joyce's epiphany technique. For Goldberg, the epiphany is "the real artistic (and dramatic) unit of Joyce's 'stream-of-consciousness' writing. What he renders dramatically are minds engaged in the apprehension of epiphanies—the elements of meaning apprehended in life."[104] Another critic has identified four distinct epiphany techniques in Joyce's work, noting their use in Ulysses, from the simplest device, such as the revelation of Gerty Macdowell’s limp, to the more complex, such as the bowl symbolism in "Telemachus". Cited as an example of Joyce’s major epiphany technique—quidditas produced directly—is the revelation of Molly Bloom as "female essence".[105]

Literary critic Edmund Wilson noted that Ulysses attempts to render "as precisely and as directly as it is possible in words to do, what our participation in life is like—or rather, what it seems to us like as from moment to moment we live."[106] Stuart Gilbert said that the "personages of Ulysses are not fictitious"[107] but that "these people are as they must be; they act, we see, according to some lex eterna, an ineluctable condition of their very existence".[108] Through these characters Joyce "achieves a coherent and integral interpretation of life".[108]

Joyce uses "metaphors, symbols, ambiguities, and overtones which gradually link themselves together so as to form a network of connections binding the whole" work.[103] This system of connections gives the novel a wide, more universal significance, as "Leopold Bloom becomes a modern Ulysses, an Everyman in a Dublin which becomes a microcosm of the world."[109] Eliot called this system the "mythic method": "a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history".[110] Novelist Vladimir Nabokov called Ulysses a "divine work of art" and the greatest masterpiece of 20th-century prose,[111] and said that "it towers above the rest of Joyce's writing" with "noble originality, unique lucidity of thought and style".[112] Psychology professor Charles Fernyhough called Ulysses "the archetypal stream of consciousness novel".[113]

The book had its critics, largely in response to its then-uncommon inclusion of sexual elements. Shane Leslie called Ulysses "literary Bolshevism ... experimental, anti-conventional, anti-Christian, chaotic, totally unmoral".[114] Karl Radek called it "a heap of dung, crawling with worms, photographed by a cinema camera through a microscope".[115] Sisley Huddleston, writing for the Observer, wrote: "I confess that I cannot see how the work upon which Mr Joyce spent seven strenuous years, years of wrestling and of agony, can ever be given to the public."[116] Virginia Woolf wrote, "Ulysses was a memorable catastrophe—immense in daring, terrific in disaster."[117] James Douglas, in the Sunday Express, said it contained "secret sewers of vice ... canalized in its flood of unimaginable thoughts, images, and pornographic words" and "revolting blasphemies" that "debases and perverts and degrades the noble gift of imagination and wit and lordship of language".[118] Writing in America Magazine in 1934, the Jesuit Francis X. Talbot vehemently decried Judge Woolsey's recent decision that Ulysses was not obscene, adding, "Only a person who had been a Catholic, only one with an incurably diseased mind, could be so diabolically venomous toward God, toward the Blessed Sacrament, toward the Virgin Mary."[119]

In his review in The Outlook, Arnold Bennett expressed his lack of admiration for Joyce detailing one day in 700 pages. He wrote, "Given sufficient time, paper, childish caprice, and obstinacy, one might easily write over seven thousand pages about twenty hours of life." Bennett also opposed Valéry Larbaud's view that Joyce elaborately planned and organized the day he wrote about. Bennett wrote, "[Joyce] apparently thinks there is something truly artistic and high minded in playing the lout to the innocent and defenseless reader. As a fact, there isn't…After all, to comprehend Ulysses is not among the recognized learned professions, and nobody should give his entire existence to the job." Bennett acknowledged that Joyce's "verbal method can be justified" since he is "trying to reproduce the thoughts of personage", but called the details "trivial and perfectly futile in the narrative".[100]

Media adaptations[edit]

Theatre[edit]

Ulysses in Nighttown, based on Episode 15 ("Circe"), premiered off-Broadway in 1958, with Zero Mostel as Bloom; it debuted on Broadway in 1974.

In 2006, playwright Sheila Callaghan's Dead City, a contemporary stage adaptation of the book set in New York City, and featuring the male figures Bloom and Dedalus reimagined as female characters Samantha Blossom and Jewel Jupiter, was produced in Manhattan by New Georges.[120]

In 2012, an adaption was staged in Glasgow, written by Dermot Bolger and directed by Andy Arnold. The production first premiered at the Tron Theatre, and later toured in Dublin, Belfast, Cork, made an appearance at the Edinburgh Festival, and was performed in China.[121][122] In 2017 a revised version of Bolger's adaption, directed and designed by Graham McLaren, premiered at Ireland's National Theatre, The Abbey Theatre in Dublin, as part of the 2017 Dublin Theatre Festival.[123] It was revived in June 2018,[124] and the script was published by Oberon Books.[125]

In 2013, a new stage adaptation of the novel, Gibraltar, was produced in New York by the Irish Repertory Theatre. It was written by and starred Patrick Fitzgerald and directed by Terry Kinney. This two-person play focused on the love story of Bloom and Molly, played by Cara Seymour.[126]

Film[edit]

In 1967, a film version of the book was directed by Joseph Strick. Starring Milo O'Shea as Bloom, it was nominated for an Academy Award for Best Adapted Screenplay.

In 2003, a movie version, Bloom, was released starring Stephen Rea and Angeline Ball.

Television[edit]

In 1988, the episode "James Joyce's Ulysses" of the documentary series The Modern World: Ten Great Writers was shown on Channel 4. Some of the novel's scenes were dramatised. David Suchet played Leopold Bloom.[127]

In September 2022, the episode "James Joyce's Ulysses" of the documentary series Arena, was shown on BBC.[53][128][129][130][131]

Audio[edit]

On Bloomsday 1982, RTÉ, Ireland's national broadcaster, aired a full-cast, unabridged, dramatised radio production of Ulysses,[132] that ran uninterrupted for 29 hours and 45 minutes.

The unabridged text of Ulysses has been performed by Jim Norton with Marcella Riordan. Naxos Records released the recording on 22 audio CDs in 2004. It follows an earlier abridged recording with the same actors. Both recordings were directed by the composer Roger Marsh, who has also produced an unabridged audiobook of Finnegans Wake.[133]

On Bloomsday 2010, author Frank Delaney launched a series of weekly podcasts called Re:Joyce that took listeners page by page through Ulysses, discussing its allusions, historical context and references.[134] The podcast ran until Delaney's death in 2017, at which point it was on the "Wandering Rocks" chapter.

BBC Radio 4 aired a new nine-part adaptation dramatised by Robin Brooks and produced/directed by Jeremy Mortimer, and starring Stephen Rea as the Narrator, Henry Goodman as Bloom, Niamh Cusack as Molly and Andrew Scott as Dedalus, for Bloomsday 2012, beginning on 16 June 2012.[135]

Comedy/satire recording troupe The Firesign Theatre ends its 1969 album "How Can You Be in Two Places at Once When You're Not Anywhere at All?" with a male voice reciting the final lines of Molly Bloom's soliloquy.[136]

Music[edit]

Thema (Omaggio a Joyce) is an electroacoustic composition for voice and tape by Luciano Berio. Composed between 1958 and 1959, it is based on an interpretative reading of the novel's "Sirens" chapter, as sung/voiced by his then wife Cathy Berberian. Umberto Eco, a lifelong admirer of Joyce, also contributed to its realisation.[137] Berio's Epifanie (1961/65) also includes texts from Ulysses.[138]

Anthony Burgess composed the operetta Blooms of Dublin in 1982, as a very free interpretation of Joyce's text. It was televised by the BBC, to mixed reviews.[139]

The Radiators from Space released a song Kitty Ricketts on their album Ghostown (1979), in which the ghost of one of the prostitutes from Bella Cohen's brothel haunts modern Dublin.

Kate Bush's 1989 song "Flower of the Mountain" (originally the title track on The Sensual World) sets to music the end of Molly Bloom's soliloquy.[140]

The James Joyce Society in Dublin released the album Classical Ulysses for the Bloomsday100 celebrations in 2004. It contains recordings of the classical music mentioned in the book.

Prose[edit]

Jacob M. Appel's novel The Biology of Luck (2013) is a retelling of Ulysses set in New York City. It features an inept tour guide, Larry Bloom, whose adventures parallel those of Leopold Bloom through Dublin.[141]

Notes[edit]

  1. ^ Hanaway-Oakley, Cleo (1 February 2022). "Ulysses at 100: why Joyce was so obsessed with the perfect blue cover". The Conversation. Retrieved 12 January 2023.
  2. ^ Ellmann, Richard (1982). James Joyce. New York : Oxford University Press. p. 524. ISBN 978-0-19-503103-4.
  3. ^ Harte, Tim (Summer 2003). "Sarah Danius, The Senses of Modernism: Technology, Perception, and Aesthetics". Bryn Mawr Review of Comparative Literature. 4 (1). Archived from the original on 5 November 2003. Retrieved 10 July 2001. (review of Danius book).
  4. ^ Beebe (1971), p. 176.
  5. ^ Kiberd, Declan (16 June 2009). "Ulysses, modernism's most sociable masterpiece". The Guardian. London. Retrieved 28 June 2011.
  6. ^ Gorman (1939), p. 45.
  7. ^ Jaurretche, Colleen (2005). Beckett, Joyce and the art of the negative. European Joyce studies. Vol. 16. Rodopi. p. 29. ISBN 978-90-420-1617-0. Retrieved 1 February 2011.
  8. ^ Budgen (1972), pp. 15-17
  9. ^ Ellmann, Richard (1982). James Joyce (PDF) (Rev ed.). Oxford University Press. p. 230. ISBN 0195031032. Retrieved 25 February 2024.
  10. ^ Ellmann, Richard (1982). James Joyce (PDF) (Rev ed.). Oxford University Press. p. 265. ISBN 0195031032. Retrieved 25 February 2024.
  11. ^ "ULYSSES Map of County Dublin" (PDF). irlandaonline.com.
  12. ^ "Photograph of 7 Eccles Street". Rosenbach Museum and Library. Archived from the original on 27 September 2016. Retrieved 26 September 2016.
  13. ^ O'Connell, Mark (16 June 2014). "The Tiny Shop That Ulysses Made Famous, and That May Soon Close Its Doors". Slate.
  14. ^ Larkin, Felix M. (4 March 2012). "'The Old Woman of Prince's Street': Ulysses and The Freeman's Journal". Dublin James Joyce Journal. 4 (4): 14–30. doi:10.1353/djj.2011.0007. S2CID 162141798.
  15. ^ "Plan to demolish Ormond hotel for development refused". The Irish Times.
  16. ^ "The bookies' Booker..." The Observer. London. 5 November 2000. Retrieved 16 February 2002.
  17. ^ Gorman, Herbert (1948). James Joyce. Rinehart & Company. p. 318. Retrieved 25 February 2024.
  18. ^ Gorman, Herbert (1926). James Joyce: His First Forty Years. London: Geoffrey Bles. pp. 225–26. Retrieved 25 February 2024.
  19. ^ Gilbert, Stuart (1930). James Joyce's "Ulysses". London: Faber & Faber. p. 41. Retrieved 25 February 2024.
  20. ^ Ellmann, Richard (1982). James Joyce (PDF) (Rev ed.). Oxford University Press. p. 666. ISBN 0195031032. Retrieved 25 February 2024.
  21. ^ Ellmann, Richard (1982). James Joyce (PDF) (Rev ed.). Oxford University Press. p. 521n. ISBN 0195031032. Retrieved 25 February 2024.
  22. ^ "Ulysses", The Oxford Companion to English Literature (1995), edited Margaret Drabble. Oxford UP, 1996, p. 1023
  23. ^ Bernard Knox, "Introduction" to The Odyssey, translated by Robert Fagles. Penguin Books, 1995, p. 3.
  24. ^ The Oxford Companion to English Literature (1995), p. 1023.
  25. ^ Ellmann, Richard (1972). Ulysses on the Liffey. London: Faber and Faber. pp. 1–2. ISBN 0195016637. Retrieved 24 February 2024.
  26. ^ a b Ellmann 1972, passim.
  27. ^ Tindall, William York (1959). A Reader's Guide to James Joyce. London: Thames and Hudson. pp. 123–238. Retrieved 24 February 2024.
  28. ^ Kenner, Hugh (1987). "Ulysses". Baltimore and London: The Johns Hopkins University Press. pp. 19–30. ISBN 0801834899. Retrieved 24 February 2024.
  29. ^ Blamires, Harry (1996). The New Bloomsday Book: A Guide through "Ulysses" (3rd ed.). Routledge. pp. passim. ISBN 0415138582. Retrieved 24 February 2024.
  30. ^ Gilbert 1930, passim.
  31. ^ Seidel, Michael (2014). Epic Geography: James Joyce's "Ulysses". Princeton University Press. pp. passim. ISBN 0691610665. Retrieved 26 February 2024.
  32. ^ Ellmann, Richard (1982). James Joyce (PDF) (Rev ed.). Oxford University Press. p. 408. ISBN 0195031032. Retrieved 25 February 2024.
  33. ^ Pound, Ezra (1935). “‘Ulysses' and Mr James Joyce," Literary Essays of Ezra Pound. London: Faber and Faber. p. 406. Retrieved 29 February 2024.
  34. ^ Eliot, T.S. "Ulysses, Order, and Myth." Selected Prose of T.S. Eliot. London: Harcourt Brace. p. 177. Retrieved 1 March 2024.
  35. ^ Quillian, William H. (Fall 1974). "Shakespeare in Trieste: Joyce's 1912 'Hamlet' Lectures". James Joyce Quarterly. 12 (1/2): 7–63. Retrieved 9 March 2024.
  36. ^ Tindall 1959, pp. 123–238.
  37. ^ Kenner 1987, passim.
  38. ^ Schutte, William M. (1957). Joyce and Shakespeare: A Study in the Meaning of "Ulysses". New Haven: Yale University Press. pp. passim. Retrieved 24 February 2024.
  39. ^ Blamires, Harry (1966). The Bloomsday Book: A Guide through "Ulysses". London: Methuen. pp. 76–93.
  40. ^ Tindall 1959, p. 130.
  41. ^ Reynolds, Mary T. (1981). Joyce and Dante: The Shaping Imagination. Princeton, NJ: Princeton University Press. pp. passim. ISBN 978-0-691-06446-8. Retrieved 24 February 2024.
  42. ^ Lang, Frederick K. (1993). "Ulysses" and the Irish God. Lewisburg, London, Toronto: Bucknell University Press, Associated University Presses. pp. 67–91. ISBN 0838751504. Retrieved 25 February 2024.
  43. ^ Moran, Seán (16 June 2004). "Cusack's creation is a blooming legacy". The Irish Times. Dublin, Ireland. Retrieved 12 September 2022.
  44. ^ a b Rainey, Lawrence (2005). Modernism: An Anthology. Oxford: Blackwell Publishing. pp. 227–257.
  45. ^ Colangelo, Jeremy (28 March 2019). "Punctuations of the Virtual: Spectating Sex and Disability in Joyce's 'Nausicaa'". MFS Modern Fiction Studies. 65 (1): 111–131. doi:10.1353/mfs.2019.0005. ISSN 1080-658X. S2CID 166582990.
  46. ^ Joyce, James (1916). A Portrait of the Artist as a Young Man. New York: B. W. Huebsch. pp. 199–200. Retrieved 12 March 2024.
  47. ^ Ellmann, Richard (1982). James Joyce (PDF) (Rev ed.). Oxford University Press. p. 359n. ISBN 0195031032. Retrieved 25 February 2024.
  48. ^ Wales, Kathleen (1989). "The 'Oxen of the Sun' in 'Ulysses': Joyce and Anglo-Saxon". James Joyce Quarterly. 26. 3: 319–330.
  49. ^ Hefferman, James A. W. (2001) Joyce's Ulysses. Chantilly, Virginia: The Teaching Company LP.
  50. ^ a b McCarthy, Patrick A., "Joyce's Unreliable Catechist: Mathematics and the Narrative of 'Ithaca'", ELH, Vol. 51, No. 3 (Autumn 1984), pp. 605–606, quoting Joyce in Letters From James Joyce. An example is Joyce's apparent rendering of the year 1904 into the impossible Roman numeral MXMIV (p. 669 of the 1961 Modern Library edition)
  51. ^ Goodwin, Will (1992). "Annual James Joyce Checklist: 1991". Joyce Studies Annual. 3: 180–227. JSTOR 26283610. Retrieved 12 September 2022. The unveiling of the plaque at 12 rue de l'Odeon, Paris, took place on 20 Apr. 1990. ... JJSSF" (James Joyce Society of Sweden and Finland), A commemorative brochure...
  52. ^ Dalton, pp. 102, 113
  53. ^ a b c "James Joyce's Ulysses". Arena (British TV series). BBC Four. 7 September 2022. Retrieved 12 September 2022.
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  56. ^ Gilbert, Stuart, ed. (1957). Letters of James Joyce. New York: The Viking Press. p. 162. LCCN 57-5129.
  57. ^ a b Slote, Sam (2004), Crispi, Luca; Fahy, Catherine (eds.), Ulysses in the Plural: The Variable Editions of Joyce's Novel, The National Library of Ireland Joyce Studies 2004, The National Library of Ireland, p. 47
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  60. ^ "On this day…12 October". The James Joyce Centre, Dublin. Retrieved 19 September 2018.
  61. ^ Gilbert, Stuart, ed. (1957). Letters of James Joyce. New York: The Viking Press. p. 194. LCCN 57-5129.
  62. ^ James, Joyce (1922). Ulysses. Egoist Press.
  63. ^ "A Centennial Bloomsday at Buffalo – Exhibition organised and compiled by Sam Slote, et al. in 2004". Buffalo University. Retrieved 20 May 2018.
  64. ^ Brooker, Joseph (2014). "Chapter 2: Reception History". In Latham, Sean (ed.). The Cambridge Companion to Ulysses. Cambridge University Press. p. 20. ISBN 978-1107423909.
  65. ^ Slocum (1953), pp. 26–27.
  66. ^ Slote, Sam (2004), Crispi, Luca; Fahy, Catherine (eds.), Ulysses in the Plural: The Variable Editions of Joyce's Novel, The National Library of Ireland Joyce Studies 2004, The National Library of Ireland, p. 48
  67. ^ a b c d "75 years since first authorized American Ulysses!". The James Joyce Centre. Retrieved 6 May 2019.
  68. ^ Slocum (1953), pp. 28–29.
  69. ^ a b c "The Novel of the Century. James Joyce's Ulysses on the anniversary of Bloomsday. Ulysses – Later Editions". Lilly Library, Indiana University. 6 December 2013. Retrieved 19 May 2018.
  70. ^ McCleery, Alistair (2006). "The Reputation of the 1932 Odyssey Press Edition of "Ulysses"". The Papers of the Bibliographical Society of America. The University of Chicago Press on behalf of the Bibliographical Society of America. 100 (1): 89–103. doi:10.1086/pbsa.100.1.24293831. JSTOR 24293831. S2CID 159872244.
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  84. ^ McCourt (2000); p. 98; British Library
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  86. ^ Claire A. Culleton, Joyce and the G-Men: J. Edgar Hoover's Manipulation of Modernism. Palgrave Macmillan, 2004. p. 78
  87. ^ Paul Vanderham. James Joyce and censorship: the trials of Ulysses, New York U P, 1998, p. 2.
  88. ^ De Grazia, Edward. Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius. New York: Vintage (1992); p. 10.
  89. ^ Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press (2002); pp. 252–253.
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  91. ^ United States v. One Book Called "Ulysses", 5 F.Supp. 182 (S.D.N.Y. 1933).
  92. ^ "Ulysses (first American edition)". James Joyce, Ulysses: The Classic Text: Traditions and Interpretations. University of Wisconsin at Milwaukee. 2002. Archived from the original on 31 August 2000. Retrieved 18 August 2007.
  93. ^ United States v. One Book Entitled Ulysses by James Joyce, 72 F.2d 705 (2nd Cir. 1934)
  94. ^ "Censored" TheJournal.ie, 21 May 2012
  95. ^ "Ireland set for festival of Joyce" BBC, 11 June 2004. Retrieved 9 August 2010.
  96. ^ "Overlong, overrated and unmoving: Roddy Doyle's verdict on James Joyce's Ulysses". The Guardian 10 February 2004 </
  97. ^ Jung, Carl. "Ulysses: A Monologue". In Wirklichkeit der Seele. Republished in Kritisches Erbe: Dokumente zur Rezeption von James Joyce im deutschen Sprachbereich zu Lebzeiten des Autors (Rodopi: 2000), p. 295. Jung wrote:

    Das Erschütternde am »Ulysses« aber ist, daß hinter Abertausenden von Hüllen nichts steckt, daß er sich weder dem Geiste noch der Welt zuwendet, und daß er kalt wie der Mond, aus kosmischer Ferne schauend, die Komödie des Werdens, Seins und Vergehens sich abrollen läßt.

    This translation by W. S. Dell was published in Nimbus, vol. 2, no. 1, June–August 1953.

  98. ^ Eliot, T. S. (1975). "'Ulysses', Order and Myth". In Selected Prose of T. S. Eliot (London: Faber and Faber, 1975), 175.
  99. ^ Pound, Ezra (1935). “‘Ulysses' and Mr James Joyce," Literary Essays of Ezra Pound. London: Faber and Faber. pp. 403–405. Retrieved 29 February 2024.
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References[edit]

  • Beebe, Maurice (Fall 1972). "Ulysses and the Age of Modernism". James Joyce Quarterly. University of Tulsa. 10 (1): 172–88.
  • Blamires, Harry. The New Bloomsday Book. 3rd ed. Routledge, 1996. ISBN 0415138582
  • Blamires, Harry. A Short History of English Literature, Routledge. 2d edition, 2013.
  • Borach, Georges. Conversations with James Joyce, translated by Joseph Prescott, College English, 15 (March 1954)
  • Burgess, Anthony. Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader (1965); also published as Re Joyce.
  • Burgess, Anthony. Joysprick: An Introduction to the Language of James Joyce (1973).
  • Budgen, Frank. James Joyce and the Making of "Ulysses." Bloomington: Indiana University Press, (1960).
  • Budgen, Frank (1972). James Joyce and the making of 'Ulysses', and other writings. Oxford University Press. ISBN 0-19-211713-0.
  • Dalton, Jack. The Text of Ulysses in Fritz Senn, ed. New Light on Joyce from the Dublin Symposium. Indiana University Press (1972).
  • Ellmann, Richard. James Joyce. Oxford University Press, revised edition (1982).
  • Ellmann, Richard, ed. Selected Letters of James Joyce. The Viking Press (1975).
  • Ellmann, Richard. Ulysses on the Liffey. New York: Oxford UP, 1972. ISBN 978-0-19-519665-8.
  • Gilbert, Stuart. James Joyce's Ulysses: A Study, Faber and Faber (1930).
  • Gorman, Herbert. James Joyce: A Definitive Biography (1939).
  • Gorman, Herbert. James Joyce: His First Forty Years. London: Geoffrey Bles, 1926.
  • Hardiman, Adrian (2017). Joyce in Court. London: Head of Zeus Press. ISBN 978-1786691583.
  • Joseph M. Hassett The Ulysses Trials: Beauty and Truth Meet the Law. Dublin: The Lilliput Press (2016). ISBN 978-1-84351-668-2.
  • Kenner, Hugh. "Ulysses." Allen & Unwin, 1982. ISBN 0048000086
  • Lang, Frederick K. "Ulysses" and the Irish God. Bucknell University Press,1993. ISBN 0838751504
  • McCourt, John (2000). James Joyce: A Passionate Exile. London: Orion Books Ltd. ISBN 0-7528-1829-5.
  • Nabokov, Vladimir (1990). Strong Opinions. New York: Random House. ISBN 0-679-72609-8.
  • Pound, Ezra. "Ulysses and Mr James Joyce," Literary Essays of Ezra Pound. London: Faber and Faber, 1935. 403-409
  • Reynolds, Mary T. Joyce and Dante: The Shaping Imagination. Princeton University Press, 1981.ISBN 978-0-691-06446-8
  • Schutte, William M. Joyce and Shakespeare: A Study in the Meaning of "Ulysses." New Haven: Yale University Press, 1957.
  • Seidel, Michael. Epic Geography: James Joyce's "Ulysses." Princeton University Press, 2014. ISBN 0691610665
  • Slocum, John; Cahoon, Herbert (1953). A Bibliography of James Joyce [1882–1941]. New Haven, Conn.: Yale University Press.
  • Tindall, William York, A Reader's Guide to James Joyce. London: Thames and Hudson, 1959. Syracuse University Press, 1995. ISBN 0815603207

Further reading[edit]

List of editions in print[edit]

Facsimile texts of the manuscript[edit]

  • Ulysses, a three-volume facsimile copy of the complete, handwritten manuscript. Introduction by Harry Levin; bibliographical preface by Clive Driver. Philip H. &. A.S.W. Rosenbach Foundation (now known as the Rosenbach Museum & Library). New York: Octagon Books (1975).

Serial text published in the Little Review, 1918–1920

  • The Little Review Ulysses, edited by Mark Gaipa, Sean Latham and Robert Scholes, Yale University Press, 2015. ISBN 978-0-300-18177-7

Facsimile texts of the 1922 first edition[edit]

  • Ulysses, The 1922 Text, with an introduction and notes by Jeri Johnson, Oxford University Press (1993). ISBN 0-19-282866-5
  • Ulysses: A Facsimile of the First Edition Published in Paris in 1922, Orchises Press (1998). ISBN 978-0-914061-70-0
  • Ulysses: With a new Introduction by Enda Duffy – An unabridged republication of the original Shakespeare and Company edition, published in Paris by Sylvia Beach, 1922, Dover Publications (2009). ISBN 978-0-486-47470-0

Based on the 1932 Odyssey Press edition[edit]

Based on the 1939 Odyssey Press edition[edit]

  • Ulysses, Alma Classics (2012), with an introduction and notes by Sam Slote, Trinity College, Dublin. ISBN 978-1-84749-399-6

Based on the 1960 Bodley Head/1961 Random House editions[edit]

Based on the 1984 Gabler edition[edit]

  • Ulysses: The corrected text, Edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior; preface by Richard Ellmann, Vintage International (1986). This follows the disputed Garland Edition. ISBN 978-0-39474-312-7

External links[edit]

General[edit]

Electronic versions[edit]