Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927911
Morris Beja
This essay aims to complicate and question the pervasive image of James Joyce, and his own self-image, as "[u]nfellowed, friendless and alone," by looking at the role of friends and friendship in Joyce's life and in the lives of his major self-portraits, Stephen Dedalus and Leopold Bloom. I examine Joyce's relationship with his most important friends, such as Vincent Cosgrave, J. F. Byrne, Oliver St. John Gogarty, Frank Budgen, Samuel Beckett, Paul Léon, and others—notably a number of women, including Sylvia Beach, Maria Jolas, and Harriet Shaw Weaver. Those relationships were complex, as are the friendships in Joyce's fiction. In A Portrait, Davin, for example, says that Stephen is "[a]lways alone," yet in Lynch and Cranly he has close friends. In Ulysses, the friendships with Mulligan and Lynch are notably strained. But while Stephen is cynical about friends and, by extension, friendship, it is Bloom who is, in fact, apparently without any close friends: he seems to have only acquaintances (like Molly as well, for that matter). Yet Bloom and Stephen form a bond that, although it is hard to define and almost certainly temporary, seems to bring a measure of comfort to both of them.
{"title":"Silence, Friendship, and Cunning","authors":"Morris Beja","doi":"10.1353/jjq.2023.a927911","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927911","url":null,"abstract":"<p><p>This essay aims to complicate and question the pervasive image of James Joyce, and his own self-image, as \"[u]nfellowed, friendless and alone,\" by looking at the role of friends and friendship in Joyce's life and in the lives of his major self-portraits, Stephen Dedalus and Leopold Bloom. I examine Joyce's relationship with his most important friends, such as Vincent Cosgrave, J. F. Byrne, Oliver St. John Gogarty, Frank Budgen, Samuel Beckett, Paul Léon, and others—notably a number of women, including Sylvia Beach, Maria Jolas, and Harriet Shaw Weaver. Those relationships were complex, as are the friendships in Joyce's fiction. In <i>A Portrait</i>, Davin, for example, says that Stephen is \"[a]lways alone,\" yet in Lynch and Cranly he has close friends. In <i>Ulysses</i>, the friendships with Mulligan and Lynch are notably strained. But while Stephen is cynical about friends and, by extension, friendship, it is Bloom who is, in fact, apparently without any close friends: he seems to have only acquaintances (like Molly as well, for that matter). Yet Bloom and Stephen form a bond that, although it is hard to define and almost certainly temporary, seems to bring a measure of comfort to both of them.</p></p>","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927908
Jack Rodgers
Ulysses is so saturated with ruined futurities, false prophets, and parodic messiahs that we might be tempted to conclude that there is no place at all for an ethical or unironic future. However, this essay argues that Joyce is, in fact, invested in a kind of messianic futurity which emerges out of, rather than in opposition to, catastrophe and negativity. Beginning with an examination of the various political and religious broken promises that permeate the novel, I argue that the real temporal commitments in Ulysses are rooted not in what is said but what is unsaid and unsayable—the moments of blindness and absence that emerge in pivotal moments throughout the text. Ultimately, it is through Joyce's use of the figures of both Moses and the prophet Elijah that a radical temporality is best developed, culminating in Molly Bloom's comments on "omission" in "Penelope" and the articulation of an affirmative negation which confronts us with an ethical command to participate in calling forth the future.
{"title":"Calling Forth the Future: Joyce and the Messianism of Absence","authors":"Jack Rodgers","doi":"10.1353/jjq.2023.a927908","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927908","url":null,"abstract":"<p><p><i>Ulysses</i> is so saturated with ruined futurities, false prophets, and parodic messiahs that we might be tempted to conclude that there is no place at all for an ethical or unironic future. However, this essay argues that Joyce is, in fact, invested in a kind of messianic futurity which emerges out of, rather than in opposition to, catastrophe and negativity. Beginning with an examination of the various political and religious broken promises that permeate the novel, I argue that the real temporal commitments in <i>Ulysses</i> are rooted not in what is said but what is unsaid and unsayable—the moments of blindness and absence that emerge in pivotal moments throughout the text. Ultimately, it is through Joyce's use of the figures of both Moses and the prophet Elijah that a radical temporality is best developed, culminating in Molly Bloom's comments on \"omission\" in \"Penelope\" and the articulation of an affirmative negation which confronts us with an ethical command to participate in calling forth the future.</p></p>","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"48 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927917
Paul K. Saint-Amour
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Introducing Robert Berry's "Aeolus" <!-- /html_title --></li> <li> Paul K. Saint-Amour (bio) </li> </ul> <p>A diurnal city epic written in multiple styles and assembled by many hands: the daily newspaper is one of <em>Ulysses</em>'s great sponsors, as important to the form of Joyce's book as the <em>Odyssey</em> is to its narrative architecture. In both its form and its setting, "Aeolus" is where <em>Ulysses</em> most openly acknowledges its debt to the daily news. Yet for all the episode's variety—its headings and set pieces in different idioms, its encyclopedic range of rhetorical devices—"Aeolus" can't compete with the sheer number of forms and microgenres found in your typical early-twentieth-century metropolitan paper. Leopold Bloom half acknowledges this fact when he thinks, under the heading "HOW A GREAT DAILY ORGAN IS TURNED OUT," "It's the ads and side features sell a weekly, not the stale news in the official gazette"; he goes on to supply a mental list of the kinds of side features that are mostly missing from "Aeolus": "Nature notes. Cartoons. Phil Blake's weekly Pat and Bull story" (<em>U</em> 7.84, 89-90, 94).</p> <p>Like a lot of kids, I started reading the newspaper at the comics page and rarely got much farther. Faced with "Aeolus," my child self would have wondered what good a newspaper was without cartoons. As an adult reader of <em>Ulysses</em>, though, I find it hard to imagine the text of Joyce's episode suddenly making way for Phil Blake's art nouveau political cartoons as they appeared in the <em>Weekly Freeman</em> from 1898 to 1905. "Aeolus" is a hat-tip to the newspaper, not a scrapbook of it.</p> <p>But now my friend and fellow Joyce instructor, Rob Berry, the artist behind <em>ULYSSES "seen,"</em> is offering readers of this journal something better than "Aeolus" with comics. It's "Aeolus" <em>as</em> comic, starting with a set of six black-and-white strips (corresponding to Monday thru Saturday) and culminating in a full-color Sunday funnies page. In the sets of "Aeolus" comics that begin with the present issue, you'll find Berry's drawings beautifully echoing the wood-engraved technique used in late-nineteenth-century cartoons. The strip uses familiar comics conventions—speech balloons, thought bubbles, and rectangular narratorial captions—that developed in the early twentieth century. As "Aeolus" progresses, you'll notice Berry stretching and tweaking these conventions to accommodate the ambiguous zones of discourse in the text. You'll notice, too, how his style changes for the Sunday strip, swapping out the wood-engraving look for the raised-metal style that prevailed in comic strips after 1910. Berry's project, like Joyce's, is alive to how subtle anachronisms invite us to re-engage with history, whether it be the history of a medium or of the community whose life it documents. <strong>[End P
{"title":"Introducing Robert Berry's \"Aeolus\"","authors":"Paul K. Saint-Amour","doi":"10.1353/jjq.2023.a927917","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927917","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Introducing Robert Berry's \"Aeolus\" <!-- /html_title --></li> <li> Paul K. Saint-Amour (bio) </li> </ul> <p>A diurnal city epic written in multiple styles and assembled by many hands: the daily newspaper is one of <em>Ulysses</em>'s great sponsors, as important to the form of Joyce's book as the <em>Odyssey</em> is to its narrative architecture. In both its form and its setting, \"Aeolus\" is where <em>Ulysses</em> most openly acknowledges its debt to the daily news. Yet for all the episode's variety—its headings and set pieces in different idioms, its encyclopedic range of rhetorical devices—\"Aeolus\" can't compete with the sheer number of forms and microgenres found in your typical early-twentieth-century metropolitan paper. Leopold Bloom half acknowledges this fact when he thinks, under the heading \"HOW A GREAT DAILY ORGAN IS TURNED OUT,\" \"It's the ads and side features sell a weekly, not the stale news in the official gazette\"; he goes on to supply a mental list of the kinds of side features that are mostly missing from \"Aeolus\": \"Nature notes. Cartoons. Phil Blake's weekly Pat and Bull story\" (<em>U</em> 7.84, 89-90, 94).</p> <p>Like a lot of kids, I started reading the newspaper at the comics page and rarely got much farther. Faced with \"Aeolus,\" my child self would have wondered what good a newspaper was without cartoons. As an adult reader of <em>Ulysses</em>, though, I find it hard to imagine the text of Joyce's episode suddenly making way for Phil Blake's art nouveau political cartoons as they appeared in the <em>Weekly Freeman</em> from 1898 to 1905. \"Aeolus\" is a hat-tip to the newspaper, not a scrapbook of it.</p> <p>But now my friend and fellow Joyce instructor, Rob Berry, the artist behind <em>ULYSSES \"seen,\"</em> is offering readers of this journal something better than \"Aeolus\" with comics. It's \"Aeolus\" <em>as</em> comic, starting with a set of six black-and-white strips (corresponding to Monday thru Saturday) and culminating in a full-color Sunday funnies page. In the sets of \"Aeolus\" comics that begin with the present issue, you'll find Berry's drawings beautifully echoing the wood-engraved technique used in late-nineteenth-century cartoons. The strip uses familiar comics conventions—speech balloons, thought bubbles, and rectangular narratorial captions—that developed in the early twentieth century. As \"Aeolus\" progresses, you'll notice Berry stretching and tweaking these conventions to accommodate the ambiguous zones of discourse in the text. You'll notice, too, how his style changes for the Sunday strip, swapping out the wood-engraving look for the raised-metal style that prevailed in comic strips after 1910. Berry's project, like Joyce's, is alive to how subtle anachronisms invite us to re-engage with history, whether it be the history of a medium or of the community whose life it documents. <strong>[End P","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"65 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927913
Thomas O'Grady
Will the case that argues for Brian O'Nolan's authorship of "Interview with Mr. John Stanislas [sic] Joyce (1849-1931)," published in A James Joyce Yearbook in 1941, ever be fully dismissed? This essay revisits the evidence supporting the claims of O'Nolan's authorship—evidence promulgated and perpetuated by such reputable scholars as John V. Kelleher and Hugh Kenner—as well as the testimony, constituting the counter-argument, from O'Nolan's friend and biographer Anthony Cronin and his friend Niall Sheridan in an attempt to cast reasonable—if not irrefutable—doubt on O'Nolan as the perpetrator of a fraud of significant literary consequence.
1941 年发表在《詹姆斯-乔伊斯年鉴》上的 "约翰-斯坦尼斯拉斯[原文如此]-乔伊斯先生（1849-1931 年）访谈录 "的作者是布莱恩-奥诺兰，这一论点会被完全否定吗？这篇文章重温了支持奥诺兰作者身份的证据--约翰-凯莱赫（John V. Kelleher）和休-肯纳（Hugh Kenner）等著名学者公布和延续的证据--以及奥诺兰的朋友兼传记作者安东尼-克罗宁（Anthony Cronin）和他的朋友尼尔-谢里丹（Niall Sheridan）提供的反驳证词，试图合理地--即使不是无可辩驳地--怀疑奥诺兰是具有重大文学影响的欺诈行为的实施者。
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Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927926
Marjorie Howes
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Stepping Through Origins: Nature, Home, & Landscape in Irish Literature</em> by Jefferson Holdridge <!-- /html_title --></li> <li> Marjorie Howes (bio) </li> </ul> <em>STEPPING THROUGH ORIGINS: NATURE, HOME, & LANDSCAPE IN IRISH LITERATURE</em>, by Jefferson Holdridge. Syracuse: Syracuse University Press, 2022. x + 286 pp. $80.00 cloth, $39.95 paper. <p>The subtitle of this ambitious and original book indicates the particular terms that are most important to its central arguments. "Nature," as Jefferson Holdridge defines it, encompasses a vast array of forces, both internal and external, that humans struggle to <strong>[End Page 158]</strong> control. Nature is above all a principle of disruption; "eruptions of nature," Holdridge says, are "Oedipal, animal, erotic, ecological, or varying combinations of these categories" (2). Nature can also erupt variously in the realms of politics, religion, or violence. "Landscape," for Holdridge, is "a humanized version of nature" (2) that has been shaped and controlled by humans. In Holdridge's argument, nature emerges as something, or a series of somethings, that humans try to tame and manage but that constantly thwarts such efforts at control. This exceptionally capacious and flexible definition of nature allows Holdridge to forge connections across a wide range of texts and time periods. The result is frequently illuminating.</p> <p>The chapter on the eighteenth century locates "nature" in Jonathan Swift in that author's satirical view of human nature as monstrous and contrasts this to Oliver Goldsmith's more pastoral vision, while also arguing that the two share the same "aim to unmask bad government and the destruction of beauty and morality" (35). Moving to the nineteenth century, and to Lady Morgan and William Carleton, Holdridge continues to trace contrasting responses to Ireland's colonial history: "If the rupture reflected in the landscape is a strong encounter with history, then pastoral harmony is a compensatory shift in the psychology of aesthetics. … The eruptions of wilderness and the compensations of the pleasant place are mutually defining opposites" (44). This argument is both broadly synthetic and admirably dialectical. It allows Holdridge to make intriguing connections among authors as apparently disparate as Swift, Morgan, and Carleton. Such connections, rather than extended or original readings of individual texts, are the book's main strengths. Given the book's ambitious chronological and textual range, it is perhaps inevitable that occasionally a connection or a sweeping generalization falls somewhat flat. The claim that "[i]f society is harmonious, so are its aesthetic representations; if it is in upheaval, its art reflects the troubles" (36), for example, is too reductive to be helpful and lacks the sophistication of the boo
{"title":"Stepping Through Origins: Nature, Home, & Landscape in Irish Literature by Jefferson Holdridge (review)","authors":"Marjorie Howes","doi":"10.1353/jjq.2023.a927926","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927926","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Stepping Through Origins: Nature, Home, & Landscape in Irish Literature</em> by Jefferson Holdridge <!-- /html_title --></li> <li> Marjorie Howes (bio) </li> </ul> <em>STEPPING THROUGH ORIGINS: NATURE, HOME, & LANDSCAPE IN IRISH LITERATURE</em>, by Jefferson Holdridge. Syracuse: Syracuse University Press, 2022. x + 286 pp. $80.00 cloth, $39.95 paper. <p>The subtitle of this ambitious and original book indicates the particular terms that are most important to its central arguments. \"Nature,\" as Jefferson Holdridge defines it, encompasses a vast array of forces, both internal and external, that humans struggle to <strong>[End Page 158]</strong> control. Nature is above all a principle of disruption; \"eruptions of nature,\" Holdridge says, are \"Oedipal, animal, erotic, ecological, or varying combinations of these categories\" (2). Nature can also erupt variously in the realms of politics, religion, or violence. \"Landscape,\" for Holdridge, is \"a humanized version of nature\" (2) that has been shaped and controlled by humans. In Holdridge's argument, nature emerges as something, or a series of somethings, that humans try to tame and manage but that constantly thwarts such efforts at control. This exceptionally capacious and flexible definition of nature allows Holdridge to forge connections across a wide range of texts and time periods. The result is frequently illuminating.</p> <p>The chapter on the eighteenth century locates \"nature\" in Jonathan Swift in that author's satirical view of human nature as monstrous and contrasts this to Oliver Goldsmith's more pastoral vision, while also arguing that the two share the same \"aim to unmask bad government and the destruction of beauty and morality\" (35). Moving to the nineteenth century, and to Lady Morgan and William Carleton, Holdridge continues to trace contrasting responses to Ireland's colonial history: \"If the rupture reflected in the landscape is a strong encounter with history, then pastoral harmony is a compensatory shift in the psychology of aesthetics. … The eruptions of wilderness and the compensations of the pleasant place are mutually defining opposites\" (44). This argument is both broadly synthetic and admirably dialectical. It allows Holdridge to make intriguing connections among authors as apparently disparate as Swift, Morgan, and Carleton. Such connections, rather than extended or original readings of individual texts, are the book's main strengths. Given the book's ambitious chronological and textual range, it is perhaps inevitable that occasionally a connection or a sweeping generalization falls somewhat flat. The claim that \"[i]f society is harmonious, so are its aesthetic representations; if it is in upheaval, its art reflects the troubles\" (36), for example, is too reductive to be helpful and lacks the sophistication of the boo","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927916
Jeffrey Drouin
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Plenty of Preprosperousness <!-- /html_title --></li> <li> Jeffrey Drouin </li> </ul> <p>With this issue comes another minor change in the <em>James Joyce Quarterly</em>'s editorship. Readers will remember from the previous issue that Bob Spoo has taken an endowed professorship in Irish literature at Princeton University, which means that I am now the sole editor. It was a tremendous honor to work alongside Bob. He taught me much about seeing potential and bringing out the best in our colleagues' writing. I will miss our marathon working lunches at Roosevelt's and wish him the very best. The continuity of our journal was well prepared, of course, by the founding vision of Tom Staley, by Bob's first editorship, by Sean Latham's transformative twenty-one years at the helm, and then by the co-editorship of Bob and myself that began in 2022. As ever, Carol Kealiher's expertise and constant dedication to quality have made her our indispensable managing editor for more than three decades. And we are all supported by a team of graduate assistants—currently Elizabeth Bailey, Christian Barkman, Dennis Chu, Seona Kim, and Zachary Short—whose eagle eyes keep our Is dotted and Ts crossed, and reviewers' inboxes routinely filled with increasingly irksome deadline reminders. Special thanks are due to the continuing support of The University of Tulsa's President and Provost, Brad Carson and George Justice, as we embark on the sixty-first year of our journal with momentum and direction.</p> <p>Looking forward, we are planning a number of special issues that will push Joyce studies into new and increasingly relevant areas. The next issue will focus on translation, which is enjoying a major resurgence in global literature today. It will soon be followed by a women's issue. Other planned topics include creative responses to and adaptations of Joyce's work, non-human intelligence, sustainability, Joyce and other authors, and reading groups. We very much encourage submissions in these areas and are eager to hear pitches for special issues on other topics. Please follow the submission procedure at the <em>JJQ</em> website to send us your proposals.</p> <p>This number is a special issue on Joyce and personal relationships titled "Joyce When He's At Home." The play on Molly's request to know what metempsychosis means, in "Calypso," riffs on ways in which the following articles refract recurring concepts through personal relationships in Joyce's own life or in his work. In "A Cold Case of Irish Facts: Re(:)visiting John Stanislaus Joyce," Thomas O'Grady meticulously traces the history of the interview with Joyce's father, conducted by an unknown journalist, that Maria Jolas published <strong>[End Page 7]</strong> in 1949. O'Grady produces a capacious and detailed picture of the sources and subsequent uses of the interview, and the Irish cultural fact
{"title":"Plenty of Preprosperousness","authors":"Jeffrey Drouin","doi":"10.1353/jjq.2023.a927916","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927916","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Plenty of Preprosperousness <!-- /html_title --></li> <li> Jeffrey Drouin </li> </ul> <p>With this issue comes another minor change in the <em>James Joyce Quarterly</em>'s editorship. Readers will remember from the previous issue that Bob Spoo has taken an endowed professorship in Irish literature at Princeton University, which means that I am now the sole editor. It was a tremendous honor to work alongside Bob. He taught me much about seeing potential and bringing out the best in our colleagues' writing. I will miss our marathon working lunches at Roosevelt's and wish him the very best. The continuity of our journal was well prepared, of course, by the founding vision of Tom Staley, by Bob's first editorship, by Sean Latham's transformative twenty-one years at the helm, and then by the co-editorship of Bob and myself that began in 2022. As ever, Carol Kealiher's expertise and constant dedication to quality have made her our indispensable managing editor for more than three decades. And we are all supported by a team of graduate assistants—currently Elizabeth Bailey, Christian Barkman, Dennis Chu, Seona Kim, and Zachary Short—whose eagle eyes keep our Is dotted and Ts crossed, and reviewers' inboxes routinely filled with increasingly irksome deadline reminders. Special thanks are due to the continuing support of The University of Tulsa's President and Provost, Brad Carson and George Justice, as we embark on the sixty-first year of our journal with momentum and direction.</p> <p>Looking forward, we are planning a number of special issues that will push Joyce studies into new and increasingly relevant areas. The next issue will focus on translation, which is enjoying a major resurgence in global literature today. It will soon be followed by a women's issue. Other planned topics include creative responses to and adaptations of Joyce's work, non-human intelligence, sustainability, Joyce and other authors, and reading groups. We very much encourage submissions in these areas and are eager to hear pitches for special issues on other topics. Please follow the submission procedure at the <em>JJQ</em> website to send us your proposals.</p> <p>This number is a special issue on Joyce and personal relationships titled \"Joyce When He's At Home.\" The play on Molly's request to know what metempsychosis means, in \"Calypso,\" riffs on ways in which the following articles refract recurring concepts through personal relationships in Joyce's own life or in his work. In \"A Cold Case of Irish Facts: Re(:)visiting John Stanislaus Joyce,\" Thomas O'Grady meticulously traces the history of the interview with Joyce's father, conducted by an unknown journalist, that Maria Jolas published <strong>[End Page 7]</strong> in 1949. O'Grady produces a capacious and detailed picture of the sources and subsequent uses of the interview, and the Irish cultural fact","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"471 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927920
Emily Bell
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> When Joyce Met St. John Greer Ervine <!-- /html_title --></li> <li> Emily Bell (bio) </li> </ul> <p>The meeting between James Joyce and St. John Greer Ervine has gone unnoticed. Ervine wrote of his chance encounter with this author of so-called "[r]ough [s]tuff" in 1947 in a short column for the <em>Belfast Telegraph</em>.<sup>1</sup> The scene of his recollection is a dental surgery waiting room at 62 Harley Street, London, and the probable date is 31 August 1922. A woeful and terror-stricken Joyce seeks comfort among the Marylebone dental patients as he contemplates with dread his approaching blindness. Reckoning with this fate, he had come to London to meet a recommended dentist—a Mr. Henry—who might be able to intercept the suggested link between his rotting teeth and fading sight. In the waiting room was another Irish writer. Before Ervine could offer empty words of consolation—for "what comfort can one offer a man who is threatened with darkness for the rest of his life?"—Joyce was called to the chair (4). Despite his promise to return to the clinic, he went back to Paris—supposedly the following day—to meet with his oculist, Dr. Borsch. Nevertheless, the meeting made an impression on Ervine. Joyce exposed his terror at losing his senses and revealed a candor in speaking about his situation. Ervine describes for us Joyce's natural dandyism, his "air of gentleness," and <strong>[End Page 130]</strong> the stark and unexpected contrast the author presented compared with the "frowsty garrulous drunkards" which, for Ervine, typified the atmosphere of <em>Ulysses</em> (4); this last observation is provided on Ervine's authority as a subscriber to the first edition of <em>Ulysses</em>, though he had read only "about fifty pages" (4). Joyce eventually lost his sight, Ervine tells us, and "took the loss much better than anyone expected"; by Ervine's reasoning, an author who so habitually turned inward for his writing could hardly have been too disconcerted by having to "occupy his thoughts with James Joyce" (4).</p> <p>Ervine was born in Belfast in 1883. Like Joyce, he began to see some literary recognition in the 1910s, writing plays as well as journalistic pieces. His success was facilitated by a move to London at the turn of the twentieth century, where he met and became the mentee of George Bernard Shaw. Despite living in London, his plays were first produced at the Abbey Theatre in Dublin, and for a few years he was a regular name on the playbill after a string of successes in the 1910s. Between 1915 and 1916, he was briefly the director of the Abbey Theatre, significantly during the Easter Rising. Like other Abbey managers of the 1910s, his tenure was short lived: though he restored the theater to comparative financial stability within a few months, his personality was difficult and led to a mutiny of the company. Still,
{"title":"When Joyce Met St. John Greer Ervine","authors":"Emily Bell","doi":"10.1353/jjq.2023.a927920","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927920","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> When Joyce Met St. John Greer Ervine <!-- /html_title --></li> <li> Emily Bell (bio) </li> </ul> <p>The meeting between James Joyce and St. John Greer Ervine has gone unnoticed. Ervine wrote of his chance encounter with this author of so-called \"[r]ough [s]tuff\" in 1947 in a short column for the <em>Belfast Telegraph</em>.<sup>1</sup> The scene of his recollection is a dental surgery waiting room at 62 Harley Street, London, and the probable date is 31 August 1922. A woeful and terror-stricken Joyce seeks comfort among the Marylebone dental patients as he contemplates with dread his approaching blindness. Reckoning with this fate, he had come to London to meet a recommended dentist—a Mr. Henry—who might be able to intercept the suggested link between his rotting teeth and fading sight. In the waiting room was another Irish writer. Before Ervine could offer empty words of consolation—for \"what comfort can one offer a man who is threatened with darkness for the rest of his life?\"—Joyce was called to the chair (4). Despite his promise to return to the clinic, he went back to Paris—supposedly the following day—to meet with his oculist, Dr. Borsch. Nevertheless, the meeting made an impression on Ervine. Joyce exposed his terror at losing his senses and revealed a candor in speaking about his situation. Ervine describes for us Joyce's natural dandyism, his \"air of gentleness,\" and <strong>[End Page 130]</strong> the stark and unexpected contrast the author presented compared with the \"frowsty garrulous drunkards\" which, for Ervine, typified the atmosphere of <em>Ulysses</em> (4); this last observation is provided on Ervine's authority as a subscriber to the first edition of <em>Ulysses</em>, though he had read only \"about fifty pages\" (4). Joyce eventually lost his sight, Ervine tells us, and \"took the loss much better than anyone expected\"; by Ervine's reasoning, an author who so habitually turned inward for his writing could hardly have been too disconcerted by having to \"occupy his thoughts with James Joyce\" (4).</p> <p>Ervine was born in Belfast in 1883. Like Joyce, he began to see some literary recognition in the 1910s, writing plays as well as journalistic pieces. His success was facilitated by a move to London at the turn of the twentieth century, where he met and became the mentee of George Bernard Shaw. Despite living in London, his plays were first produced at the Abbey Theatre in Dublin, and for a few years he was a regular name on the playbill after a string of successes in the 1910s. Between 1915 and 1916, he was briefly the director of the Abbey Theatre, significantly during the Easter Rising. Like other Abbey managers of the 1910s, his tenure was short lived: though he restored the theater to comparative financial stability within a few months, his personality was difficult and led to a mutiny of the company. Still, ","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"72 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927929
William S. Brockman
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>"Ulysses" By Numbers</em> by Eric Bulson <!-- /html_title --></li> <li> William S. Brockman (bio) </li> </ul> <em>"ULYSSES" BY NUMBERS</em>, by Eric Bulson. New York: Columbia University Press, 2020. xx + 273 pp. $110.00 cloth. <p>If you thought you had Joyce's number, you should reconsider. "<em>Ulysses" by Numbers</em> is a quantitative exploration: "Counting <em>Ulysses</em> is a way to read it" (33). Eric Bulson asserts that computation is not the only way, but an opportunity, a perspective, a means of applying quantitative measures to the text, to the paratext, to the physical book, to the sales records, in order to tease out historical and critical insights. What he sometimes refers to as a "computational" approach is distinct from distant reading and its aggregation of texts and characteristics. Computation and close reading are not opposed, he argues; rather, "computation is already close reading" (8); the book sets out to eke out numbers to be found both in and external to the text.</p> <p>Chapters lead off by posing questions with seemingly obvious answers that lead into quantitative examinations. The question of "[w]ho wrote <em>Ulysses</em>?" (39) leads from a brief survey of computer-assisted style analyses that might be applied to the book to devoting further (and more fruitful) attention to the paragraphs of <em>Ulysses</em>. Bulson's simple count of paragraphs per episode fails to establish much, but the quantitative approach makes more sense when applied to the progressive stages of the English language as represented in "Oxen of the Sun." His scrutiny of the widely variable characteristics of Joyce's paragraphs and the question of how to define a <em>Ulysses</em> paragraph is unique and insightful. Bulson notes that Joyce's substantial revisions to the text through the proof stages of the publishing process rarely involved changes to or additions of paragraphs: the paragraph was a critical structural unit throughout the compositional stages of <em>Ulysses</em>. Paragraphs, especially the longer ones, are structural elements of time in <em>Ulysses</em>: "the longer paragraph functions more like a <em>pocket of time</em>, a place in which the seconds and minutes can expand or slow down" (59). Here, as in many other parts of the book, Bulson is at his best when he uses the quantification of <em>Ulysses</em> as a springboard to dive into qualitative aspects of the book.</p> <p>"Why is Joyce's <em>Ulysses</em> as long as it is?" leads to a proliferation of word counts that examines the initial constraints put on the earlier episodes as Joyce was composing contributions to the <em>Little Review</em> (68). This leads to an observation of the way in which the "Hades" episode enables the book to break away from a rough equivalent of word count and lapsed time: an extended section of text
{"title":"\"Ulysses\" By Numbers by Eric Bulson (review)","authors":"William S. Brockman","doi":"10.1353/jjq.2023.a927929","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927929","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>\"Ulysses\" By Numbers</em> by Eric Bulson <!-- /html_title --></li> <li> William S. Brockman (bio) </li> </ul> <em>\"ULYSSES\" BY NUMBERS</em>, by Eric Bulson. New York: Columbia University Press, 2020. xx + 273 pp. $110.00 cloth. <p>If you thought you had Joyce's number, you should reconsider. \"<em>Ulysses\" by Numbers</em> is a quantitative exploration: \"Counting <em>Ulysses</em> is a way to read it\" (33). Eric Bulson asserts that computation is not the only way, but an opportunity, a perspective, a means of applying quantitative measures to the text, to the paratext, to the physical book, to the sales records, in order to tease out historical and critical insights. What he sometimes refers to as a \"computational\" approach is distinct from distant reading and its aggregation of texts and characteristics. Computation and close reading are not opposed, he argues; rather, \"computation is already close reading\" (8); the book sets out to eke out numbers to be found both in and external to the text.</p> <p>Chapters lead off by posing questions with seemingly obvious answers that lead into quantitative examinations. The question of \"[w]ho wrote <em>Ulysses</em>?\" (39) leads from a brief survey of computer-assisted style analyses that might be applied to the book to devoting further (and more fruitful) attention to the paragraphs of <em>Ulysses</em>. Bulson's simple count of paragraphs per episode fails to establish much, but the quantitative approach makes more sense when applied to the progressive stages of the English language as represented in \"Oxen of the Sun.\" His scrutiny of the widely variable characteristics of Joyce's paragraphs and the question of how to define a <em>Ulysses</em> paragraph is unique and insightful. Bulson notes that Joyce's substantial revisions to the text through the proof stages of the publishing process rarely involved changes to or additions of paragraphs: the paragraph was a critical structural unit throughout the compositional stages of <em>Ulysses</em>. Paragraphs, especially the longer ones, are structural elements of time in <em>Ulysses</em>: \"the longer paragraph functions more like a <em>pocket of time</em>, a place in which the seconds and minutes can expand or slow down\" (59). Here, as in many other parts of the book, Bulson is at his best when he uses the quantification of <em>Ulysses</em> as a springboard to dive into qualitative aspects of the book.</p> <p>\"Why is Joyce's <em>Ulysses</em> as long as it is?\" leads to a proliferation of word counts that examines the initial constraints put on the earlier episodes as Joyce was composing contributions to the <em>Little Review</em> (68). This leads to an observation of the way in which the \"Hades\" episode enables the book to break away from a rough equivalent of word count and lapsed time: an extended section of text","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"57 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927921
Norbert F. Lain
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> The Meaning of a Word in <em>A Portrait of the Artist as a Young Man</em> <!-- /html_title --></li> <li> Norbert F. Lain (bio) </li> </ul> <blockquote> <p>The figure of woman as she appears in the liturgy of the church passed silently through the darkness: a whiterobed figure, small and slender as a boy and with a falling girdle. Her voice, frail and high as a boy's, was <strong>[End Page 127]</strong> heard intoning from a distant choir the first words of a woman which pierce the gloom and clamour of the first chanting of the passion:</p> <p>—<em>Et tu cum Jesu Galilæo eras</em>. [You too were with Jesus the Galilean.]</p> <p>And all hearts were touched and turned to her voice, shining like a young star, shining clearer as the voice intoned the proparoxyton and more faintly as the cadence died.<sup>1</sup></p> </blockquote> <p>The word "proparoxyton" has puzzled readers. "Proparoxytone," spelled with a final <em>e</em>, is a technical term that means "having an acute accent on the antepenult in classical Greek."<sup>2</sup> This word is also used more generally to describe a word in any language that is accented on the antepenult, the third syllable from the end in a word. A word accented on the penult, the next to last syllable in a word, is said to be "paroxytone," while a word accented on the ultima, the final syllable, is called "oxytone."</p> <p>Scholars have encountered a problem when they have tried to relate Joyce's word "proparoxyton" to the sentence "<em>[e]t tu cum Jesu Galilæo eras</em>." Students of Latin know that a Latin word of more than two syllables is accented on the penult if that penult is heavy (by virtue of containing a long vowel, a diphthong, or a short vowel followed by two or more consonants), but if the penult is light (by virtue of containing a short vowel followed by fewer than two consonants), the word is accented on the antepenult (compare <em>a-mā′-vī</em> and <em>mi′- se-rum</em>, respectively). <em>Galilæo</em> is the only word in the Latin sentence that contains more than two syllables, and it has therefore been taken to be the only possible referent of "proparoxyton."</p> <p>As indicated above, the term "proparoxytone" is applied to a word that is accented on the antepenult. Is "<em>Galilæo</em>" accented on the antepenult? At least one commentator, Don Gifford, has claimed that it is. He divides "<em>Galilæo</em>" into five syllables and accents it as follows: <em>Ga-li-la′-e-ō</em>.<sup>3</sup> By this analysis, <em>Galilæo</em> is "the proparoxyton" to which Joyce refers.</p> <p>It is useful to know, however, that in the Roman altar missals from which priests read the words of the Latin Mass in Joyce's day, all words of more than two syllables were written with accent marks for the benefit of priests who were unable to master the rules of Latin accentuation. I have looked at a number o
以下是内容的简要摘录，以代替摘要： 诺伯特-F-莱恩（Norbert F. Lain）（简历） 《艺术家青年肖像》中一个词的含义 在教堂的礼仪中，女人的身影悄无声息地穿过黑暗：一个白色床铺的身影，小巧纤细，像个男孩，腰带垂下。她的声音虚弱而高亢，像男孩的声音一样，从遥远的唱诗班中传出[第 127 页完]，这是一个女人的第一句话，穿透了激情颂歌第一段的阴暗和喧嚣："Et tu cum Jesu Galilæo eras.[你也曾与加利利人耶稣在一起。]所有人的心都被她的歌声感动了，她的歌声像一颗年轻的星星闪闪发光，随着 "proparoxyton "的吟唱，歌声更加清晰，随着音调的消失，歌声更加微弱1。"Proparoxytone "是一个专业术语，意思是 "在古典希腊语中，重音在前鼻音上"。重音在倒数第二个音节（单词中倒数第二个音节）上的单词被称为 "paroxytone"，而重音在最后一个音节（单词中最后一个音节）上的单词被称为 "oxytone"。当学者们试图将乔伊斯的单词 "proparoxyton "与句子"[e]t tu cum Jesu Galilæo eras "联系起来时，他们遇到了一个问题。学习拉丁语的学生都知道，如果一个拉丁语单词有两个以上的音节，而该单词的重音在倒数第二音节上（因为包含一个长元音、一个双元音或一个短元音后跟两个或两个以上辅音）、但如果后鼻音较轻（因为含有短元音，后面跟着少于两个辅音），则该词的重音在前鼻音上（分别比较 a-mā′-vī 和 mi′- se-rum）。Galilæo 是拉丁文句子中唯一一个包含两个以上音节的单词，因此被认为是 "proparoxyton "的唯一可能指代词。如上所述，"proparoxytone "一词适用于在前十音节上重音的单词。那么 "Galilæo "的重音是否在前鼻音上呢？至少有一位注释者 Don Gifford 认为是。他将 "Galilæo "分为五个音节，重音如下：根据这一分析，"Galilæo "就是乔伊斯所指的 "the proparoxyton"。不过，我们可以知道，在乔伊斯的时代，在牧师宣读拉丁文弥撒词句的罗马祭坛信经中，所有超过两个音节的词句都写有重音符号，以方便那些无法掌握拉丁文重音规则的牧师。我翻阅了一些这样的弥撒祷文，所有这些祷文都将有关单词的发音标注如下：4 "Galilæo "中的 "æ "是双元音，即一个音节的元音。当 a 和 e 相继出现，但要作为两个元音在不同音节中发音时，在罗马读本中将它们印成 aë；例如，Raphaël，实际上是 Ra′-pha-el。"Galilæo "的重音在倒数第二音节上，而不是在倒数第二音节上，因此是 paroxytone，而不是 [End Page 128] proparoxytone。如果乔伊斯想用 "proparoxyton "来指代 "Galilæo"，那么他用错了这个词。不过，乔伊斯非常熟悉拉丁语和罗马礼仪，没有理由认为他不知道 "Galilæo "的重音，也没有理由认为他会误用 "proparoxyton "一词。据说，该女子的声音 "随着 proparoxyton 的发音越来越清晰，随着腔调的消失越来越微弱"。将句子中的一个词与句子中的其他词区别开来，似乎没有任何意义。事实上，女人的声音是在念"......"。
{"title":"The Meaning of a Word in A Portrait of the Artist as a Young Man","authors":"Norbert F. Lain","doi":"10.1353/jjq.2023.a927921","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927921","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> The Meaning of a Word in <em>A Portrait of the Artist as a Young Man</em> <!-- /html_title --></li> <li> Norbert F. Lain (bio) </li> </ul> <blockquote> <p>The figure of woman as she appears in the liturgy of the church passed silently through the darkness: a whiterobed figure, small and slender as a boy and with a falling girdle. Her voice, frail and high as a boy's, was <strong>[End Page 127]</strong> heard intoning from a distant choir the first words of a woman which pierce the gloom and clamour of the first chanting of the passion:</p> <p>—<em>Et tu cum Jesu Galilæo eras</em>. [You too were with Jesus the Galilean.]</p> <p>And all hearts were touched and turned to her voice, shining like a young star, shining clearer as the voice intoned the proparoxyton and more faintly as the cadence died.<sup>1</sup></p> </blockquote> <p>The word \"proparoxyton\" has puzzled readers. \"Proparoxytone,\" spelled with a final <em>e</em>, is a technical term that means \"having an acute accent on the antepenult in classical Greek.\"<sup>2</sup> This word is also used more generally to describe a word in any language that is accented on the antepenult, the third syllable from the end in a word. A word accented on the penult, the next to last syllable in a word, is said to be \"paroxytone,\" while a word accented on the ultima, the final syllable, is called \"oxytone.\"</p> <p>Scholars have encountered a problem when they have tried to relate Joyce's word \"proparoxyton\" to the sentence \"<em>[e]t tu cum Jesu Galilæo eras</em>.\" Students of Latin know that a Latin word of more than two syllables is accented on the penult if that penult is heavy (by virtue of containing a long vowel, a diphthong, or a short vowel followed by two or more consonants), but if the penult is light (by virtue of containing a short vowel followed by fewer than two consonants), the word is accented on the antepenult (compare <em>a-mā′-vī</em> and <em>mi′- se-rum</em>, respectively). <em>Galilæo</em> is the only word in the Latin sentence that contains more than two syllables, and it has therefore been taken to be the only possible referent of \"proparoxyton.\"</p> <p>As indicated above, the term \"proparoxytone\" is applied to a word that is accented on the antepenult. Is \"<em>Galilæo</em>\" accented on the antepenult? At least one commentator, Don Gifford, has claimed that it is. He divides \"<em>Galilæo</em>\" into five syllables and accents it as follows: <em>Ga-li-la′-e-ō</em>.<sup>3</sup> By this analysis, <em>Galilæo</em> is \"the proparoxyton\" to which Joyce refers.</p> <p>It is useful to know, however, that in the Roman altar missals from which priests read the words of the Latin Mass in Joyce's day, all words of more than two syllables were written with accent marks for the benefit of priests who were unable to master the rules of Latin accentuation. I have looked at a number o","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"61 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1353/jjq.2023.a927928
Stephen Sicari
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Time and Identity in "Ulysses" and the "Odyssey,"</em> by Stephanie Nelson <!-- /html_title --></li> <li> Stephen Sicari (bio) </li> </ul> <em>TIME AND IDENTITY IN "ULYSSES" AND THE "ODYSSEY,"</em> by Stephanie Nelson. Gainesville: University Press of Florida, 2022. xii + 282 pp. $85.00 cloth. <p>When I read in the introduction to Stephanie Nelson's <em>Time and Identity in "Ulysses" and the "Odyssey"</em> that "there has been no full-length study of the two together" (2), I admit I was surprised. Surely Joyce scholars have been pursuing the relation of the two works even before a copy of <em>Ulysses</em> was printed for Joyce's fortieth birthday. Upon reflection, I realized that Nelson's assertion may in fact be true, especially when she explains that she does not seek anything new to say about the Homeric correspondences (in fact, she rightly calls them "Joyce's superficial play with Homer"—2), but pursues different ends: "This book, then, compares two works concerned with similar themes" (3). Putting the two together in a "full-length study" is, for Nelson, not the usual one-way street of using Homer to explain Joyce; rather, they illuminate one another: "Just as the <em>Odyssey</em> helps us think through <em>Ulysses</em>, so <em>Ulysses</em> brings out aspects of the <em>Odyssey</em> that many layers of interpretive varnish have obscured" (3). She wants to bring to light what she calls "the complex of associations that the <em>Odyssey</em> and <em>Ulysses</em> share" (106). It takes until page 151 for her to say this clearly: "[T]he <em>Odyssey</em> does not provide a key that unlocks <em>Ulysses</em>. Rather, it points us to where the issues lie, as does <em>Ulysses</em> for the <em>Odyssey</em>."</p> <p>Nelson indeed identifies many such issues and associations in her study. While her title states that "Time and Identity" are her main emphases, within any one chapter (which she more or less organizes according to correspondences between characters in the two texts), one will find many sub-themes. For instance, in chapter 1, one finds: "Homer's Kinds of Time: Mythic and Ordinary," "Joyce's Kinds of Time: Internal and External," "Fluid and Fixed Identities," and "The Epic Tradition and the Use of Time." Within these sections are subsections, and at times the sheer array of such associations and issues can feel overwhelming. This is a list of some of the other themes: from chapter 2, "Problems with Property," "Problems with Family," and "The Displaced Son"; from chapter 3, "Names and Identities" and "The Role of Storytelling"; and from chapter 4, "The Passive Hero," <strong>[End Page 174]</strong> "Deeds and Imposing Identity," and "The Place of War and the Open-ended." The remaining two chapters also have several such headings with sub-sections. This list is intended to provide a sense of th
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