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Дублинцы. Улисс.
Джеймс Джойс, великий ирландский писатель, классик и одновременно разрушитель классики с ее канонами, человек, которому более чем кому-либо обязаны своим рождением новые литературные школы и направления ХХ века.
В настоящее издание вошел сборник психологически тонких новелл «Дублинцы», по мастерству не уступающих рассказам Чехова, а также роман «Улисс» (1922) — главное произведение писателя, «божественное творение искусства», по словам Набокова определившее пути развития искусства прозы и не раз признанное лучшим, значительнейшим романом за всю историю этого жанра.
В настоящее издание вошел сборник психологически тонких новелл «Дублинцы», по мастерству не уступающих рассказам Чехова, а также роман «Улисс» (1922) — главное произведение писателя, «божественное творение искусства», по словам Набокова определившее пути развития искусства прозы и не раз признанное лучшим, значительнейшим романом за всю историю этого жанра.
1440 pages, Library Binding
First published December 17, 2011
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About the author
James Joyce
1,694 books9,439 followersJames Joyce was an Irish novelist, poet, and a pivotal figure in 20th-century modernist literature, renowned for his highly experimental approach to language and narrative structure, particularly his pioneering mastery and popularization of the stream-of-consciousness technique. Born into a middle-class Catholic family in the Rathgar suburb of Dublin in 1882, Joyce spent the majority of his adult life in self-imposed exile across continental Europe—living in Trieste, Zurich, and Paris—yet his entire, meticulous body of work remained obsessively and comprehensively focused on the minutiae of his native city, making Dublin both the meticulously detailed setting and a central, inescapable character in his literary universe. His work is consistently characterized by its technical complexity, rich literary allusion, intricate symbolism, and an unflinching examination of the spectrum of human consciousness. Joyce began his published career with Dubliners (1914), a collection of fifteen short stories offering a naturalistic, often stark, depiction of middle-class Irish life and the moral and spiritual paralysis he observed in its inhabitants, concluding each story with a moment of crucial, sudden self-understanding he termed an "epiphany." This collection was followed by the highly autobiographical novel A Portrait of the Artist as a Young Man (1916), a Bildungsroman that meticulously chronicled the intellectual and artistic awakening of its protagonist, Stephen Dedalus, who would become Joyce's recurring alter ego and intellectual stand-in throughout his major works.
His magnum opus, Ulysses (1922), is universally regarded as a landmark work of fiction that fundamentally revolutionized the novel form. It compressed the events of a single, ordinary day—June 16, 1904, a date now globally celebrated by literary enthusiasts as "Bloomsday"—into a sprawling, epic narrative that structurally and symbolically paralleled Homer's Odyssey, using a dazzling array of distinct styles and linguistic invention across its eighteen episodes to explore the lives of Leopold Bloom, his wife Molly Bloom, and Stephen Dedalus in hyper-minute detail. The novel's explicit content and innovative, challenging structure led to its initial banning for obscenity in the United States and the United Kingdom, turning Joyce into a cause célèbre for artistic freedom and the boundaries of literary expression. His final, most challenging work, Finnegans Wake (1939), pushed the boundaries of language and conventional narrative even further, employing a dense, dream-like prose filled with multilingual puns, invented portmanteau words, and layered allusions that continues to divide and challenge readers and scholars to this day. A dedicated polyglot who reportedly learned several languages, including Norwegian simply to read Ibsen in the original, Joyce approached the English language not as a fixed entity with rigid rules, but as a malleable medium capable of infinite reinvention and expression. His personal life was marked by an unwavering dedication to his literary craft, a complex, devoted relationship with his wife Nora Barnacle, and chronic, debilitating eye problems that necessitated numerous painful surgeries throughout his life, sometimes forcing him to write with crayons on large white paper. Despite these severe physical ailments and financial struggles, his singular literary vision remained sharp, focused, and profoundly revolutionary. Joyce passed away in Zurich, Switzerland, in 1941, shortly after undergoing one of his many eye operations. Today, he is widely regarded as perhaps the most significant and challenging writer of the 20th century. His immense, complex legacy is robustly maintained by global academic study and institutions such as the James Joyce Centre in Dublin, which ensures his complex, demanding, and utterly brilliant work endures, inviting new generations of readers to explore the very essence of what it means to be hum
His magnum opus, Ulysses (1922), is universally regarded as a landmark work of fiction that fundamentally revolutionized the novel form. It compressed the events of a single, ordinary day—June 16, 1904, a date now globally celebrated by literary enthusiasts as "Bloomsday"—into a sprawling, epic narrative that structurally and symbolically paralleled Homer's Odyssey, using a dazzling array of distinct styles and linguistic invention across its eighteen episodes to explore the lives of Leopold Bloom, his wife Molly Bloom, and Stephen Dedalus in hyper-minute detail. The novel's explicit content and innovative, challenging structure led to its initial banning for obscenity in the United States and the United Kingdom, turning Joyce into a cause célèbre for artistic freedom and the boundaries of literary expression. His final, most challenging work, Finnegans Wake (1939), pushed the boundaries of language and conventional narrative even further, employing a dense, dream-like prose filled with multilingual puns, invented portmanteau words, and layered allusions that continues to divide and challenge readers and scholars to this day. A dedicated polyglot who reportedly learned several languages, including Norwegian simply to read Ibsen in the original, Joyce approached the English language not as a fixed entity with rigid rules, but as a malleable medium capable of infinite reinvention and expression. His personal life was marked by an unwavering dedication to his literary craft, a complex, devoted relationship with his wife Nora Barnacle, and chronic, debilitating eye problems that necessitated numerous painful surgeries throughout his life, sometimes forcing him to write with crayons on large white paper. Despite these severe physical ailments and financial struggles, his singular literary vision remained sharp, focused, and profoundly revolutionary. Joyce passed away in Zurich, Switzerland, in 1941, shortly after undergoing one of his many eye operations. Today, he is widely regarded as perhaps the most significant and challenging writer of the 20th century. His immense, complex legacy is robustly maintained by global academic study and institutions such as the James Joyce Centre in Dublin, which ensures his complex, demanding, and utterly brilliant work endures, inviting new generations of readers to explore the very essence of what it means to be hum
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Displaying 1 - 9 of 9 reviews
August 16, 2016
Joyce was 40 yrs old when Ulysses was published, it is a day in the life of a husband and father of Joyce's age (at publication). Joyce loved Dublin and Ireland and though the book was written on the European continent - he wanted to memorialize his birth home (Ireland). The framework of Ulysses is Homer's Odyssey - The Roman Ulysses: 1 Telemachus, 2 Nestor, 3 Proteus, 4 Calypso, 5 Lotus Eaters, 6 Hades, 7 Aeolus, 8 Lestrygonians, 9 Scylla And Charybdis, 10 Wandering Rocks, 11 Sirens, 12 Cyclops, 13 Nausicca, 14 Oxen Of The Sun, 15 Circe, 16 Eumaeus, 17 Ithaca, and 18 Penelope.
Ulysses is the tale of a Modern-day Odysseus, Leopold Bloom in his personal existential/sexual quest. The conclusion of this quest is the quintessential affirmation of humanity, the fundamental family unit - the father, mother, son, and daughter. Like Odysseus, absent from Penelope, traveling the world, for many long years, Leopold Bloom is also absent from his Penelope (in Dublin). Like a traveler (Odysseus), Bloom is sexually absent (abstinent) from Molly “10 years, 5 months and 18 days” (736). Unlike Odysseus, the obstacles Bloom faces are psychological (modern) - internal travails instead of Odysseus' external travails. Bloom's only son’s death has become a psychological barrier; as Molly reflects: “we were never the same since” (778). Yet Bloom is optimistic throughout the work - in regard to the possibility of another child, again Molly: ”Ill give him one more chance” (780). Affirmatively (as we grow to know Molly) we find she has given and is willing to continue to give Bloom “one more chance”. Through the course of the (Dublin) day, Bloom experiences “deep frustration, humiliation, fear, punishment and catharsis” (Herring, p.74). Bloom needs to lead himself back, out of self-deception, fantasy, and frustration to Molly’s (and his marriage) bed.
Bloom’s travails come in the Circe chapter and it is imperative (for Joyce) that as readers, we recognize Joyce’s change from Homer's Odyssey - this is Joyce's major rework, deviating from his Greek predecessor. For Odysseus: insight, understanding, enlightenment, and all importantly direction come to Odysseus in his journey to the (ancient Greek) Underworld. For Bloom, the Hades chapter or “the other world” represents an “emptiness of mind”; Joyce was a man grounded (and devoted) to the present world of man's consciousness and unconsciousness. In Ulysses enlightenment comes in the Circe chapter: described though the Joycean technique of hallucination or the discoveries of the "unconscious mind”. Joyce's Circe chapter (a surrealistic one-act Ibsen-like play) is where Bloom finds self-possession - (Joyce makes) Bloom encounter his own psycho-sexual existential questions, rather than finding life's answers in the dead ghosts of his life (the ancient Greek Hades chapter of the dead past).
In the Circe chapter, Bloom confronts and overcomes every major obstacle in his existential/sexual quest: the Molly he serves in Calypso reappears as Bello the whoremistress, Molly’s letter from Boylan and his from Martha are reworked into a series of seductive letters ending in a trial, his sexual infidelities beginning with Lotty Clarke and ending with Gerty McDowell are relived (importantly balanced by Molly’s infidelities) and reconciled, and lastly, Bloom triumphs over whore, Virgin-Goddess, and most importantly himself. Joyce equanimously gives both Molly and Bloom extramarital sexual infidelities - infidelities known by each of the other (as early as the Calypso chapter) Bloom was conscious of what was to come. Of course there will be resolution in marriage, for Molly only needs to feel that Bloom is willing. As we read, Bloom has undergone the travails of his own mind and has emerged Victorious. He has succeeded in his psycho-sexual existential quest. He has arrived at Molly’s bed. Self-possessed. Victorious. Eager.
Molly "I saw he understood or felt what a woman is and I knew I could always get round him...then 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 in 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. (END)".
After publishing Ulysses, Joyce began FINNEGANS WAKE (FW) - Joyce largely stepped out of one work into his next (and last work). The change Joyce made in FW was instead of using Homer's Ulysses as a framework - FW's framework is Giambattista Vico's "La Scienza Nuova's" 4 cyclic stages of history.
Joyce realized that he ended Ulysses wrongly (not in accordance with the Universe) in Molly's bed - Joyce corrects his mistake in FINNEGANS WAKE by incorporating Vico's revelation of restart / recirculation. "HCE day" similar to Bloomsday (roughly 24 hrs): Chronologically FW starts with memories in "book I:3" of HCE arrested in front of his tavern/home, like Bloom unable to enter his front door (but HCE does not enter his home through the back door) - instead HCE is arrested for disturbances in hours before dawn. Then memories "book I:4" HCE's conscious/musings or unconscious/dream psychological travails of past guilts (underworld coffin, Ulysses ch Hades) while incarcerated in early hours of morning. Followed by memories "book I:2" HCE walks home through Phoenix Park accosted for the time of day (12 noon) which threatens (real/unreal memories, Ulysses ch Nausicaa) his innocent well-being. These 3 chapters in FW are Joyce's major rework to incorporate Vico's revelation of restart / recirculation into FW - Joyce rewrites 3 chapters of Ulysses: When He is denied Her front door, He is in Hell (on earth), when released (from Hell) His odyssey to Her begins again (with His ever-present accompanying internal travails) for She always knows when He is worthy of Her acceptance (their Paradise).
Then "book I:1" Finnegan's afternoon wake at HCE's tavern and retelling memories (books I:2-4). Inside HCE's tavern (his ship) his patrons talk about his family (Norwegian Captain and the Tailor's Daughter), truthful letters (ALP) and fabricated stories (books I:5-8 & II:3); while the children (Shaun, Shem and Iseult) are in and out of the family tavern/home all day taking their lessons (book II:2) and playing about with their friends (Shem's closing dream, book II:1); HCE, as proprietor, defends himself with a self-deprecating apologia before his intoxicated collapse late night (book II:3). HCE dreams on his tavern floor (book II:4); then dreams in his bed (books III:1-3); before intercourse with his wife ALP (book III:4). HCE & ALP's lovemaking dissolution dream (book IV) to awaken to a new day, Joycean Nirvana is attained by ALP's (& HCE's) unification with the Unmanifest (Creation, Incarnate conception) and Reincarnation (the baton has been passed on again), awaiting Joyce's God "thunderclap" at the beginning of FW's "book I".
FW is aural (oral) history like Homer's Odessey and Celtic folktales - when one pronounces (phonology) FW's words (aloud) there are more languages than just English; also, when one reads (morphology) FW's words almost all the words are "portmanteaus / neologisms" which gives each of FW's "poly-syncretic" words many meanings (universal impermanence, Heisenberg uncertainty/obscurity), each FW syncretic sentence dozens of possible messages, each FW syncretic paragraph hundreds of possible readings, Joyce's rendering of a more expansive English language and multiplicating universal book with coalescing syncretic themes/stories (that responds/opens to each reader's inquiries). Joyce schooled in Christian Jesuit metaphysics (pushed down into the mindfulness of human consciousness) breathes in the spirit of expansive Celtic (Irish) democratic community tavern life where man's stories of life are told. Tavern life teaches the evolution of Joyce's ten God "thunderclaps" (one hundred lettered words) pushing man's evolution forward from cave man's tales to modern tv media tales. Inside the tavern man learns of the purely human (animal) fall, taken down by another human(s) - like animal taken down on the African savanna. A granular reading of FW can render FW as an updated John Milton's Paradise Lost (regurgitated knowledge from the tree, to affirm man's damnation); however, Charles Darwin's The Origin of Species was published in 1859 and Joyce in FW book II clearly walks Shaun, Shem and Iseult through their earthly evolutionary lifetime travails, our mortality is a consequence of Life's evolution. Every page of FW speaks to man's evolution (unconscious biological, conscious social, aspirational personal) and to Life recirculating (West meets Dzogchen East a "meeting of metaphysical minds") that binds humanity together into the future. Dzogchen (beyond all dualistic polarities) the heart of human consciousness - Joyce's underlying (subcutaneous) arguments refute the "Western curse of metaphysical/mythological damnation", the curse does not exist in the Eastern mind. Like "counting the number of angels on the head of a pin" (Aquinas 1270) Joyce provides a granular/expansive reading of FW as a "defense against all Western adversity" for our conscious and unconscious Western travails. HCE's angst is caused by his community that imposes a Western curse (damnation) upon him that man is not guilty of...to experience Joycean Nirvana, a defense against this man-made guilt is required - for as Zoroaster revealed cosmogonic dualism, evil is mixed with good in man's universal everyday travails (even the Dalai Lama must defend Nirvana rigorously from the most populous authoritarian state in human history).
Joyce's FW celebrates the Joys of Christian/Buddhist diversity of humanity (expansive human consciousness: Gnostic Norwegian Captain, Shem, Archdruid), Brahma (Finnegan, HCE, Shaun), Divine Women (ALP, Iseult, Nuvoletta), his family - and the Sufferings of the inescapable "evil" of Shiva (Buckley), the debilitating harmful sterile intrusive authoritarian institutionalizing damnation (MaMaLuJo, St. Patrick) by Augustine, the manufactured clerical corruption identified by Luther (since 367 AD) and the burdens of "survival of the fittest" anxiety (modern commerce) met with a Dzogchen Buddhist stance. The (innocent infant) Norwegian Captain (Krishna, HCE), occasionally defensive (Shiva, HCE), though concretized (Brahma, HCE) by community family life (MaMaLuJo) - through spirits (drink) HCE can access his spirituality (dreams) and through spiritual (cutting through) love-making with ALP (direct approach) can access (their Krishnas) unification with the Unmanifest. Joyce was a Prophet who consumed Man's conscious and spiritual "thoughts and dreams, history and gossip, efforts and failings" - to reveal the joys (Nirvana) and sufferings (Saṃsāra) of Mankind.
Joyce's FW message: Christian/Buddhist omniscient compassion (Christ/Krishna) is eternally joyful and recirculating. Affirmative family (HCE/Brahma, ALP/Divine woman & children) existentiality: life's biological evolution (sex), modern survival (money), constraining community (Dharma, social evolution) are constantly assaulted by inescapable "aggressive insidious vile" corrupt soul(less/sucking) ossified demonic antipathetic attacks. Joycean Nirvana is attained via the Christian/Buddhist affirmative middle way, "beyond polar opposites" the path of Christ/Buddha.
JCB
Ulysses is the tale of a Modern-day Odysseus, Leopold Bloom in his personal existential/sexual quest. The conclusion of this quest is the quintessential affirmation of humanity, the fundamental family unit - the father, mother, son, and daughter. Like Odysseus, absent from Penelope, traveling the world, for many long years, Leopold Bloom is also absent from his Penelope (in Dublin). Like a traveler (Odysseus), Bloom is sexually absent (abstinent) from Molly “10 years, 5 months and 18 days” (736). Unlike Odysseus, the obstacles Bloom faces are psychological (modern) - internal travails instead of Odysseus' external travails. Bloom's only son’s death has become a psychological barrier; as Molly reflects: “we were never the same since” (778). Yet Bloom is optimistic throughout the work - in regard to the possibility of another child, again Molly: ”Ill give him one more chance” (780). Affirmatively (as we grow to know Molly) we find she has given and is willing to continue to give Bloom “one more chance”. Through the course of the (Dublin) day, Bloom experiences “deep frustration, humiliation, fear, punishment and catharsis” (Herring, p.74). Bloom needs to lead himself back, out of self-deception, fantasy, and frustration to Molly’s (and his marriage) bed.
Bloom’s travails come in the Circe chapter and it is imperative (for Joyce) that as readers, we recognize Joyce’s change from Homer's Odyssey - this is Joyce's major rework, deviating from his Greek predecessor. For Odysseus: insight, understanding, enlightenment, and all importantly direction come to Odysseus in his journey to the (ancient Greek) Underworld. For Bloom, the Hades chapter or “the other world” represents an “emptiness of mind”; Joyce was a man grounded (and devoted) to the present world of man's consciousness and unconsciousness. In Ulysses enlightenment comes in the Circe chapter: described though the Joycean technique of hallucination or the discoveries of the "unconscious mind”. Joyce's Circe chapter (a surrealistic one-act Ibsen-like play) is where Bloom finds self-possession - (Joyce makes) Bloom encounter his own psycho-sexual existential questions, rather than finding life's answers in the dead ghosts of his life (the ancient Greek Hades chapter of the dead past).
In the Circe chapter, Bloom confronts and overcomes every major obstacle in his existential/sexual quest: the Molly he serves in Calypso reappears as Bello the whoremistress, Molly’s letter from Boylan and his from Martha are reworked into a series of seductive letters ending in a trial, his sexual infidelities beginning with Lotty Clarke and ending with Gerty McDowell are relived (importantly balanced by Molly’s infidelities) and reconciled, and lastly, Bloom triumphs over whore, Virgin-Goddess, and most importantly himself. Joyce equanimously gives both Molly and Bloom extramarital sexual infidelities - infidelities known by each of the other (as early as the Calypso chapter) Bloom was conscious of what was to come. Of course there will be resolution in marriage, for Molly only needs to feel that Bloom is willing. As we read, Bloom has undergone the travails of his own mind and has emerged Victorious. He has succeeded in his psycho-sexual existential quest. He has arrived at Molly’s bed. Self-possessed. Victorious. Eager.
Molly "I saw he understood or felt what a woman is and I knew I could always get round him...then 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 in 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. (END)".
After publishing Ulysses, Joyce began FINNEGANS WAKE (FW) - Joyce largely stepped out of one work into his next (and last work). The change Joyce made in FW was instead of using Homer's Ulysses as a framework - FW's framework is Giambattista Vico's "La Scienza Nuova's" 4 cyclic stages of history.
Joyce realized that he ended Ulysses wrongly (not in accordance with the Universe) in Molly's bed - Joyce corrects his mistake in FINNEGANS WAKE by incorporating Vico's revelation of restart / recirculation. "HCE day" similar to Bloomsday (roughly 24 hrs): Chronologically FW starts with memories in "book I:3" of HCE arrested in front of his tavern/home, like Bloom unable to enter his front door (but HCE does not enter his home through the back door) - instead HCE is arrested for disturbances in hours before dawn. Then memories "book I:4" HCE's conscious/musings or unconscious/dream psychological travails of past guilts (underworld coffin, Ulysses ch Hades) while incarcerated in early hours of morning. Followed by memories "book I:2" HCE walks home through Phoenix Park accosted for the time of day (12 noon) which threatens (real/unreal memories, Ulysses ch Nausicaa) his innocent well-being. These 3 chapters in FW are Joyce's major rework to incorporate Vico's revelation of restart / recirculation into FW - Joyce rewrites 3 chapters of Ulysses: When He is denied Her front door, He is in Hell (on earth), when released (from Hell) His odyssey to Her begins again (with His ever-present accompanying internal travails) for She always knows when He is worthy of Her acceptance (their Paradise).
Then "book I:1" Finnegan's afternoon wake at HCE's tavern and retelling memories (books I:2-4). Inside HCE's tavern (his ship) his patrons talk about his family (Norwegian Captain and the Tailor's Daughter), truthful letters (ALP) and fabricated stories (books I:5-8 & II:3); while the children (Shaun, Shem and Iseult) are in and out of the family tavern/home all day taking their lessons (book II:2) and playing about with their friends (Shem's closing dream, book II:1); HCE, as proprietor, defends himself with a self-deprecating apologia before his intoxicated collapse late night (book II:3). HCE dreams on his tavern floor (book II:4); then dreams in his bed (books III:1-3); before intercourse with his wife ALP (book III:4). HCE & ALP's lovemaking dissolution dream (book IV) to awaken to a new day, Joycean Nirvana is attained by ALP's (& HCE's) unification with the Unmanifest (Creation, Incarnate conception) and Reincarnation (the baton has been passed on again), awaiting Joyce's God "thunderclap" at the beginning of FW's "book I".
FW is aural (oral) history like Homer's Odessey and Celtic folktales - when one pronounces (phonology) FW's words (aloud) there are more languages than just English; also, when one reads (morphology) FW's words almost all the words are "portmanteaus / neologisms" which gives each of FW's "poly-syncretic" words many meanings (universal impermanence, Heisenberg uncertainty/obscurity), each FW syncretic sentence dozens of possible messages, each FW syncretic paragraph hundreds of possible readings, Joyce's rendering of a more expansive English language and multiplicating universal book with coalescing syncretic themes/stories (that responds/opens to each reader's inquiries). Joyce schooled in Christian Jesuit metaphysics (pushed down into the mindfulness of human consciousness) breathes in the spirit of expansive Celtic (Irish) democratic community tavern life where man's stories of life are told. Tavern life teaches the evolution of Joyce's ten God "thunderclaps" (one hundred lettered words) pushing man's evolution forward from cave man's tales to modern tv media tales. Inside the tavern man learns of the purely human (animal) fall, taken down by another human(s) - like animal taken down on the African savanna. A granular reading of FW can render FW as an updated John Milton's Paradise Lost (regurgitated knowledge from the tree, to affirm man's damnation); however, Charles Darwin's The Origin of Species was published in 1859 and Joyce in FW book II clearly walks Shaun, Shem and Iseult through their earthly evolutionary lifetime travails, our mortality is a consequence of Life's evolution. Every page of FW speaks to man's evolution (unconscious biological, conscious social, aspirational personal) and to Life recirculating (West meets Dzogchen East a "meeting of metaphysical minds") that binds humanity together into the future. Dzogchen (beyond all dualistic polarities) the heart of human consciousness - Joyce's underlying (subcutaneous) arguments refute the "Western curse of metaphysical/mythological damnation", the curse does not exist in the Eastern mind. Like "counting the number of angels on the head of a pin" (Aquinas 1270) Joyce provides a granular/expansive reading of FW as a "defense against all Western adversity" for our conscious and unconscious Western travails. HCE's angst is caused by his community that imposes a Western curse (damnation) upon him that man is not guilty of...to experience Joycean Nirvana, a defense against this man-made guilt is required - for as Zoroaster revealed cosmogonic dualism, evil is mixed with good in man's universal everyday travails (even the Dalai Lama must defend Nirvana rigorously from the most populous authoritarian state in human history).
Joyce's FW celebrates the Joys of Christian/Buddhist diversity of humanity (expansive human consciousness: Gnostic Norwegian Captain, Shem, Archdruid), Brahma (Finnegan, HCE, Shaun), Divine Women (ALP, Iseult, Nuvoletta), his family - and the Sufferings of the inescapable "evil" of Shiva (Buckley), the debilitating harmful sterile intrusive authoritarian institutionalizing damnation (MaMaLuJo, St. Patrick) by Augustine, the manufactured clerical corruption identified by Luther (since 367 AD) and the burdens of "survival of the fittest" anxiety (modern commerce) met with a Dzogchen Buddhist stance. The (innocent infant) Norwegian Captain (Krishna, HCE), occasionally defensive (Shiva, HCE), though concretized (Brahma, HCE) by community family life (MaMaLuJo) - through spirits (drink) HCE can access his spirituality (dreams) and through spiritual (cutting through) love-making with ALP (direct approach) can access (their Krishnas) unification with the Unmanifest. Joyce was a Prophet who consumed Man's conscious and spiritual "thoughts and dreams, history and gossip, efforts and failings" - to reveal the joys (Nirvana) and sufferings (Saṃsāra) of Mankind.
Joyce's FW message: Christian/Buddhist omniscient compassion (Christ/Krishna) is eternally joyful and recirculating. Affirmative family (HCE/Brahma, ALP/Divine woman & children) existentiality: life's biological evolution (sex), modern survival (money), constraining community (Dharma, social evolution) are constantly assaulted by inescapable "aggressive insidious vile" corrupt soul(less/sucking) ossified demonic antipathetic attacks. Joycean Nirvana is attained via the Christian/Buddhist affirmative middle way, "beyond polar opposites" the path of Christ/Buddha.
JCB
August 13, 2020
From: “Stately, plump Buck Mulligan” to “Yes.” Done!
Ulysses, the final frontier – the Mt. Everest of English lit: mounted, scaled, climbed episode-by-episode, flag firmly planted now at the pinnacle with the words of Molly’s soliloquy, her final long last breathless orgasmic cry, “yes I said yes I will Yes.”
Overstating the obvious here? Impossible to overstate the breadth, depth and sheer mastery of this epic novel, its hold on devoted readers, followers of the odyssey of Leopold Bloom and Stephen Dedalus through Dublin on June 16, 1904: celebrated to this day as Bloomsday throughout the world.
Ulysses. For years, literally decades, I’ve had an on-and-off again relationship with this novel, fetishizing, purchasing and collecting rare volumes of the work and its commentary as “aspirational reading,” stockpiling it as a hold-out on my book-shelved bucket list to consume “one day, someday in the future.” In truth, I had all but given up on numerous attempts to follow through on the quest, utterly lost in Joyce’s wild sea of words, never reaching the shoreline, stuck somewhere between the rock and hard places of Episode 9, Scylla & Charybdis.
But this year, of all unprecedented times to make good on the promise “to read Ulysses once and for all before I die.” what better time than in a worldwide pandemic, during our Covid-summer hibernation of 2020? And so, sheltering in place, Boccaccio Decameron-style, reading with my husband, listing to audio performances of the text, sharing a very do-able six-week course of study, I set the goal and finally, finally, word-by-word-by-infinite-jest, I can say with pride that I followed thru, to find entertainment, challenge and flashes of profound insight within the 728 pages (Dover edition) of Ulysses.
Done.
Themes? Too many to note beyond the most obvious: Ireland and exile, political folly and religion (with general distain for both), science and technology, marriage and infidelity, fathers and sons, the Holy Trinity, poetry and music, the Talmud and Torah, Homer and Shakespeare, carnal appetite, breasts, buttocks and bodily functions, small acts of kindness and the power of positive thinking, human nature and its failings, man, woman, life, death and infinity. Y’know, all the usual.
Favorite Episodes: “Calypso,” for the intro to Bloom; “Lestrygonians” for the food, “Scylla & Charybdis” for the Shakespeare festival and the Quaker librarian, Wandering Rocks for the walk-about in Dublin, “Nausicaa” for its fireworks, “Ithaca” for the beauty of its passages and cosmic heights, and “Penelope” for its affirmative conclusion, Yes.
Ulysses, the final frontier – the Mt. Everest of English lit: mounted, scaled, climbed episode-by-episode, flag firmly planted now at the pinnacle with the words of Molly’s soliloquy, her final long last breathless orgasmic cry, “yes I said yes I will Yes.”
Overstating the obvious here? Impossible to overstate the breadth, depth and sheer mastery of this epic novel, its hold on devoted readers, followers of the odyssey of Leopold Bloom and Stephen Dedalus through Dublin on June 16, 1904: celebrated to this day as Bloomsday throughout the world.
Ulysses. For years, literally decades, I’ve had an on-and-off again relationship with this novel, fetishizing, purchasing and collecting rare volumes of the work and its commentary as “aspirational reading,” stockpiling it as a hold-out on my book-shelved bucket list to consume “one day, someday in the future.” In truth, I had all but given up on numerous attempts to follow through on the quest, utterly lost in Joyce’s wild sea of words, never reaching the shoreline, stuck somewhere between the rock and hard places of Episode 9, Scylla & Charybdis.
But this year, of all unprecedented times to make good on the promise “to read Ulysses once and for all before I die.” what better time than in a worldwide pandemic, during our Covid-summer hibernation of 2020? And so, sheltering in place, Boccaccio Decameron-style, reading with my husband, listing to audio performances of the text, sharing a very do-able six-week course of study, I set the goal and finally, finally, word-by-word-by-infinite-jest, I can say with pride that I followed thru, to find entertainment, challenge and flashes of profound insight within the 728 pages (Dover edition) of Ulysses.
Done.
Themes? Too many to note beyond the most obvious: Ireland and exile, political folly and religion (with general distain for both), science and technology, marriage and infidelity, fathers and sons, the Holy Trinity, poetry and music, the Talmud and Torah, Homer and Shakespeare, carnal appetite, breasts, buttocks and bodily functions, small acts of kindness and the power of positive thinking, human nature and its failings, man, woman, life, death and infinity. Y’know, all the usual.
Favorite Episodes: “Calypso,” for the intro to Bloom; “Lestrygonians” for the food, “Scylla & Charybdis” for the Shakespeare festival and the Quaker librarian, Wandering Rocks for the walk-about in Dublin, “Nausicaa” for its fireworks, “Ithaca” for the beauty of its passages and cosmic heights, and “Penelope” for its affirmative conclusion, Yes.
September 21, 2018
Well this was a real challenge!
This is commonly hailed as a landmark novel, and one of the great modern novels. However if you’re looking for something to sit back and enjoy I suggest you’re in for a shock. This is deliberately complicated and convoluted, to the point where I often had no idea what was going on.
The author writes each chapter in a different style. In one chapter he keeps missing out the last word or two from each sentence. In another he takes on the styles of various bits of literature over the years, including the King James Bible and Shakespeare. The final chapter is basically two very long sentences, a stream of consciousness from the point of view of one of the female characters.
Most of the book follows a couple of men as they go about their day in Dublin, attend a funeral, hang about in some dodgy places and eventually get back home at night.
It’s certainly full of meaning. However I don’t get any of the references to political characters of the day, so missed a lot. And it’s not easy to read, as I said.
A bit of a struggle.
This is commonly hailed as a landmark novel, and one of the great modern novels. However if you’re looking for something to sit back and enjoy I suggest you’re in for a shock. This is deliberately complicated and convoluted, to the point where I often had no idea what was going on.
The author writes each chapter in a different style. In one chapter he keeps missing out the last word or two from each sentence. In another he takes on the styles of various bits of literature over the years, including the King James Bible and Shakespeare. The final chapter is basically two very long sentences, a stream of consciousness from the point of view of one of the female characters.
Most of the book follows a couple of men as they go about their day in Dublin, attend a funeral, hang about in some dodgy places and eventually get back home at night.
It’s certainly full of meaning. However I don’t get any of the references to political characters of the day, so missed a lot. And it’s not easy to read, as I said.
A bit of a struggle.
Currently reading
January 10, 2020Jeg tvivler på at jeg nogensinde får læst denne bog færdig
April 8, 2021
Ulysses 2/5, Dubliners 3.5/5 = 3***
May 10, 2023
fought for my life reading this omg 💔
August 12, 2020
Read in the original, Dover edition, not the kindle . . . on my "currently reading shelf since 2016, (mostly in hiatus) finally finished 2020, Aug 11.
Reviewed Aug 11, 2020
And here again:
From: “Stately, plump Buck Mulligan” to “Yes.” Done!
Ulysses, the final frontier – the Mt. Everest of English lit: mounted, scaled, climbed episode-by-episode, flag firmly planted now at the pinnacle with the words of Molly’s soliloquy, her final long last breathless orgasmic cry, “yes I said yes I will Yes.”
Overstating the obvious here? Impossible to overstate the breadth, depth and sheer mastery of the book, its hold on devoted readers, followers of the odyssey of Leopold Bloom and Stephen Dedalus through Dublin on June 16, 1904: celebrated to this day as Bloomsday throughout the world.
Ulysses. For years, literally decades, I’ve had an on-and-off again relationship with this novel, fetishizing, purchasing and collecting rare volumes of the work and its commentary as “aspirational reading,” stockpiling it as a hold-out on my book-shelved bucket list to consume “one day, someday in the future.” In truth, I had all but given up on numerous attempts to follow through on the quest, utterly lost in Joyce’s wild sea of words, never reaching the shoreline, stuck somewhere between the rock and hard places of Episode 9, Scylla & Charybdis.
But this year, of all unprecedented times, what better time that now to make good on the promise “to read Ulysses once and for all before I die” than in a worldwide pandemic, during our Covid-summer hibernation of 2020? And so, sheltering in place, Boccaccio Decameron-style, reading with my husband, listing to audio performances of the text, sharing a very do-able six-week course of study, I set the goal and finally, finally, word-by-word-by-infinite-jest, I can say with pride that I followed thru, to find entertainment, challenge and flashes of profound insight within the 732 pages (Dover edition) of Ulysses.
Done.
Themes? Too many to note beyond the most obvious: Ireland and exile, political folly and religion (with general distain for both), science and technology, marriage and infidelity, fathers and sons, the Holy Trinity, poetry and music, the Talmud and Torah, Homer and Shakespeare, carnal appetite, breasts, buttocks and bodily functions, small acts of kindness and the power of positive thinking, human nature and its failings, man, woman, life, death and infinity. Y’know, all the usual.
Favorite Episodes: “Calypso,” for the intro to Bloom; “Lestrygonians” for the food, “Scylla & Charybdis” for the Shakespeare festival and the Quaker librarian, Wandering Rocks for the walk-about in Dublin, “Nausicaa” for its fireworks, “Ithaca” for the beauty of its passages and cosmic heights, and “Penelope” for its affirmative conclusion, Yes.
Reviewed Aug 11, 2020
And here again:
From: “Stately, plump Buck Mulligan” to “Yes.” Done!
Ulysses, the final frontier – the Mt. Everest of English lit: mounted, scaled, climbed episode-by-episode, flag firmly planted now at the pinnacle with the words of Molly’s soliloquy, her final long last breathless orgasmic cry, “yes I said yes I will Yes.”
Overstating the obvious here? Impossible to overstate the breadth, depth and sheer mastery of the book, its hold on devoted readers, followers of the odyssey of Leopold Bloom and Stephen Dedalus through Dublin on June 16, 1904: celebrated to this day as Bloomsday throughout the world.
Ulysses. For years, literally decades, I’ve had an on-and-off again relationship with this novel, fetishizing, purchasing and collecting rare volumes of the work and its commentary as “aspirational reading,” stockpiling it as a hold-out on my book-shelved bucket list to consume “one day, someday in the future.” In truth, I had all but given up on numerous attempts to follow through on the quest, utterly lost in Joyce’s wild sea of words, never reaching the shoreline, stuck somewhere between the rock and hard places of Episode 9, Scylla & Charybdis.
But this year, of all unprecedented times, what better time that now to make good on the promise “to read Ulysses once and for all before I die” than in a worldwide pandemic, during our Covid-summer hibernation of 2020? And so, sheltering in place, Boccaccio Decameron-style, reading with my husband, listing to audio performances of the text, sharing a very do-able six-week course of study, I set the goal and finally, finally, word-by-word-by-infinite-jest, I can say with pride that I followed thru, to find entertainment, challenge and flashes of profound insight within the 732 pages (Dover edition) of Ulysses.
Done.
Themes? Too many to note beyond the most obvious: Ireland and exile, political folly and religion (with general distain for both), science and technology, marriage and infidelity, fathers and sons, the Holy Trinity, poetry and music, the Talmud and Torah, Homer and Shakespeare, carnal appetite, breasts, buttocks and bodily functions, small acts of kindness and the power of positive thinking, human nature and its failings, man, woman, life, death and infinity. Y’know, all the usual.
Favorite Episodes: “Calypso,” for the intro to Bloom; “Lestrygonians” for the food, “Scylla & Charybdis” for the Shakespeare festival and the Quaker librarian, Wandering Rocks for the walk-about in Dublin, “Nausicaa” for its fireworks, “Ithaca” for the beauty of its passages and cosmic heights, and “Penelope” for its affirmative conclusion, Yes.
did-not-finish
January 8, 2017Maybe will revisit the book in the future.
November 7, 2015
Dear whoever decided this book was a classic,
WHYYYYYY????????
WHYYYYYY????????
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