JAMES JOYCE

<p>"James Joyce's A Portrait of the Artist as a Young Man (1916) is one of the twentieth century's great coming-of-age novels. This Norton Critical Edition is based on Hans Walter Gabler's acclaimed text and is accompanied by his introduction and textual notes. John Paul Riquelme provides explanatory notes to deepen the reader's appreciation for Joyce's masterpiece.</p> <p>" ""Backgrounds and Contexts" is topically organized: "Political Nationalism: Irish History, 1798-1916," "The Irish Literary and Cultural Revival," "Religion," and "Aesthetic Backgrounds.</p> <p>" Fourteen illustrations accompany the documents.</p> <p>" ""Criticism" begins with John Paul Riquelme's overview of A Portrait of the Artist as a Young Man's structure. Twelve diverse interpretations of his work follow, by Kenneth Burke, Umberto Eco, Hugh Kenner, Helene Cixous, John Paul Riquelme, Karen Lawrence, Maud Ellmann, Bonnie Kime Scott, Joseph Valente, Marian Eide, Pericles Lewis, adn Jonathan Mulrooney. A Selected Bibliography is also included.</p> <p>"--BOOK JACKET.</p> <p>James Joyce's <em>Portrait of an Artist</em> is one of the most significant literary works of the twentieth century, and one of the most innovative. Its originality shocked contemporary readers on its publication in 1916 who found its treating of the minutiae of daily life as indecorous, and its central character unappealing. Was it art or was it filth?<br /> The novel charts the intellectual, moral, and sexual development of Stephen Dedalus, from his childhood listening to his father's stories through his schooldays and adolescence to the brink of adulthood and independence, and his awakening as an artist. Growing up in a Catholic family in Dublin in the final years of the nineteenth century, Stephen's consciousness is forged by Irish history and politics, by Catholicism and culture, language and art. Stephen's story mirrors that of Joyce himself, and the novel is both startlingly realistic and brilliantly crafted, not to mention that it is one of the founding texts of Modernism and the precursor of the acclaimed <em>Ulysses.</em><br /> For this edition Jeri Johnson, an eminent Joyce scholar, has written an introduction and notes which together provide a comprehensive and illuminating appreciation of Joyce's artistry. </p> <p><strong>About the Series:</strong> For over 100 years <strong>Oxford World's Classics</strong> has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.</p> <p>**</p><h3>Review</h3> <p>handsome new editions . . . . eminently readable with good, clear typefaces and text unencumbered by note numbers </p> <h3>From the Publisher</h3> <p>7 1.5-hour cassettes </p> <div><p>Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ' </p><p>So begins one of the most significant literary works of the twentieth century, and one of the most innovative. Its originality shocked contemporary readers on its publication in 1916 who found its treating of the minutiae of daily life indecorous, and its central character unappealing. Was it art or was it filth? </p><p>The novel charts the intellectual, moral, and sexual development of Stephen Dedalus, from his childhood listening to his father's stories through his schooldays and adolescence to the brink of adulthood and independence, and his awakening as an artist. Growing up in a Catholic family in Dublin in the final years of the nineteenth century, Stephen's consciousness is forged by Irish history and politics, by Catholicism and culture, language and art. Stephen's story mirrors that of Joyce <br>himself, and the novel is both startlingly realistic and brilliantly crafted. </p><p>For this edition Jeri Johnson, editor of the acclaimed Ulysses 1922 text, has written an introduction and notes which together provide a comprehensive and illuminating appreciation of Joyce's artistry. </p><p>ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.</p><h3><br></h3></div>

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo... His father told him that story: his father looked at him through a glass: he had a hairy face. He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt. O, the wild rose blossoms On the little green place. He sang that song. That was his song. O, the green wothe botheth. When you wet the bed first it is warm then it gets cold. His mother put on the oilsheet. That had the queer smell. His mother had a nicer smell than his father. She played on the piano the sailor's hornpipe for him to dance. He danced: Tralala lala, Tralala tralaladdy, Tralala lala, Tralala lala. Uncle Charles and Dante clapped. They were older than his father and mother but uncle Charles was older than Dante. Dante had two brushes in her press. The brush with the maroon velvet back was for Michael Davitt and the brush with the green velvet back was for Parnell. Dante gave him a cachou every time he brought her a piece of tissue paper. The Vances lived in number seven. They had a different father and mother. They were Eileen's father and mother. When they were grown up he was going to marry Eileen. He hid under the table. His mother said: -O, Stephen will apologize. Dante said: -O, if not, the eagles will come and pull out his eyes.- Pull out his eyes, Apologize, Apologize, Pull out his eyes. Apologize, Pull out his eyes, Pull out his eyes, Apologize.

'Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ' So begins one of the most significant literary works of the twentieth century, and one of the most innovative. Its originality shocked contemporary readers on its publication in 1916 who found its treating of the minutiae of daily life indecorous, and its central character unappealing. Was it art or was it filth? The novel charts the intellectual, moral, and sexual development of Stephen Dedalus, from his childhood listening to his father's stories through his schooldays and adolescence to the brink of adulthood and independence, and his awakening as an artist. Growing up in a Catholic family in Dublin in the final years of the nineteenth century, Stephen's consciousness is forged by Irish history and politics, by Catholicism and culture, language and art. Stephen's story mirrors that of Joyce himself, and the novel is both startlingly realistic and brilliantly crafted. For this edition Jeri Johnson, editor of the acclaimed Ulysses 1922 text, has written an introduction and notes which together provide a comprehensive and illuminating appreciation of Joyce's artistry. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

EDITORIAL REVIEW: James Augustine Aloysius Joyce (1882-1941) was an Irish expatriate writer, widely considered to be one of the most influential writers of the 20th century. He is best known for his landmark novel Ulysses (1922) and its highly controversial successor Finnegans Wake (1939), as well as the short story collection Dubliners (1914) and the semi-autobiographical novel A Portrait of the Artist as a Young Man (1916). Although he spent most of his adult life outside Ireland, Joyce's fictional universe is firmly rooted in Dublin, providing the settings and much of the subject matter for all his fiction. In particular, his tempestuous early relationship with the Irish Roman Catholic Church is reflected through a similar inner conflict in his recurrent alter ego Stephen Dedalus. As the result of his minute attentiveness to a personal locale and his self-imposed exile and influence throughout Europe, Joyce became simultaneously one of the most cosmopolitan and one of the most local of all the great English language writers.

It is only James Joyce's towering genius as a novelist that has led to the comparative neglect of his poetry and sole surviving play. And yet, argues Mays in his stimulating and informative introduction, several of these works not only occupy a pivotal position in Joyce's career; they are also magnificently assured achievements in their own right. Chamber Music is 'an extraordinary début', fusing the styles of the nineties and the Irish Revival with irony and characteristic verbal exuberance. Pomes Penyeach and Exiles (highly acclaimed in Harold Pinter's 1970 staging) were written when Joyce had published Dubliners and was completing A Portrait of the Artist as a Young Man. Both confront painfully personal issues of adultery, jealousy and betrayal and so pave the way for the more detached and fully realized treatment in Ulysses. Joyce's occasional verse includes 'Ecce Puer' for his new-born grandson, juvenilia, satires, translations, limericks and a parody of Samuel Taylor Coleridge. All are brought together in this scholarly, fully annotated yet accessible new edition.

I am concurrently reading two enormously stimulating and intellectually challenging books - both of which I can recommend strenuously - My Bright Abyss and Holy Desperation. Each of these, distinctly different and imperiously individualistic, is by a writer who takes James Joyce's commandment to become the conscience of our race at face value. Each does that differently - the former by a disinterested poetic conscience - and the latter by a socially committed religious conscience. But each is - or has been for most of their life - a pariah. A castoff from suburbia. If you eschew the usual head games and (slightly more outré) games of concupiscence suburbia tends to excel at, you are likely one of us. I say us, for with this book, like they with theirs, I first became a Stephen Dedalus. The three of us may fake some kind of obedience to the norm, but our hearts will always be in those mystical epiphanic moments which make life worthwhile: those rare moments which are intimations of immortality, as Wordsworth puts it. When life is a religious experience it is worthwhile. And it has to be a life of timeless moments. A day without the maximum effort it takes to generate an epiphanic moment (or much better, a SHARED epiphanic moment) is a day not lived. Joyce knew that. And he knew he could no longer make Ireland his home. For Ireland back at the turn of the century was ruled by a malicious devil - which Plato calls doksa, or opinion - the symptom of a stagnant society in ferment. When a land is dangerously deadlocked - as we have witnessed in our own time - that same violent devil, doksa, rears its head: and we get viciously vapid tweets masquerading as moral substance. But Suburbia rarely confronts, but festers. Hence its release valve, in games. However, to outcasts from conformity like James Joyce, Christian Wiman (My Bright Abyss) and Heather King (Holy Desperation) we must CHANGE. We must become Self-Aware. And more importantly than that, as Dietrich Bonhoeffer said, we must have faith. Have faith that change is possible; Have faith that WE can promote Change through Awakeness; Have faith that the Kingdom is at Hand: AND have faith that all our literary epiphanies PROVE it.

It was originally rejected on grounds of indecency--so the story goes-- by twenty publishers, whereupon Joyce threw the manuscript in the fire, but Mrs. Joyce rescued several unburnt portions. Although Joyce later entirely rewrote his novel of a young Irishman's rebellion against church, country and family, this early version is beautifully composed, the mood being more discursive and personal than in A Portrait. Many episodes later cut for the sake of good novelistic form, especially autobiographical episodes of sensual and family life, are fully presented, with some of the most vivacious dialogue Joyce ever wrote. Between them, the two versions give us a clear example of Joyce's literary development as well as many details of his life. This edition of Stephen Hero for the first time printed the five missing pages of the novel found among the papers in the Joyce Collection of the Cornell University Library. These pages fill gaps in the text as edited in 1956 by John J. Slocum and Herbert Cahoon and also extend the narrative. The main text of Stephen Hero is a connected, nearly self-contained passage of 383 manuscript pages which turned up soon after Joyce's death. It was first edited by Theodore Spencer and published by New Directions in 1944. In this edition, introductions by the successive editors discuss the literary and bibliographical aspects of this important early work by one of the great modern masters.