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Opening the morning paper or browsing the web, routine actions for us all, rarely if ever shake our fundamental beliefs about the world. If we assume a naïve, reflective state of mind, however, reading newspapers and surfing the web offer us quite a different experience: they provide us with a glimpse into the kaleidoscopic nature of the modern era that can be quite irritating.

The post The quest for order in modern society appeared first on OUPblog.

By Finn Fordham

Joyce was obsessed with birthdays.  Today, February 2^nd, is his. An emerging secular saint’s day, it will be remembered and alluded to round the world – especially in Dublin — in the corners of newspapers and pubs, in blogs (like this one), tweets and the odd talk. Born in 1882, Joyce’s cake — if he could have one, let alone eat it — would have a hundred and thirty one candles; a hundred years ago, therefore, he would have been celebrating his 31^st birthday. The image of candles is suitable, since Joyce’s birthday fell on ‘Candlemas’, a holy day which commemorates Christ’s first appearance in a synagogue with his mother, forty days after his birth, in part by the lighting of candles. Mary was following the Mosaic law which says that, after giving birth, a mother is not clean for forty days, at which point she is to be purified through sacrifice. 

‘Celebrating’, however, might be too strong a word: in 1913, Joyce was, artistically, in something of a lull, and life might well have been frustrating. He was teaching English in Trieste, with two small children, aged 5 and 7. He was struggling to get Dubliners past timid publishers and printers; A Portrait…, begun some nine years before, was unfinished; Ulysses was not yet begun. He was writing the odd bit of journalism, but the high artistic ambitions he had cherished as a young man had taken a battering. He’d spent his twenty-first in Paris, receiving a letter written by his father John Joyce, which he would carefully keep wherever he went:

My dear Jim, May I be permitted to offer you my best wishes for your future which I, at one time, fancied may have been more rosey on your attaining your majority [i.e becoming 21]… I hope you will beleive [sic] me that I am only now, under I may tell you, very trying times, endeavouring to do my little best, but Jim you are my eldest Son I have always looked up to your being a fitting representative of our family one that my father would be proud of. I now only hope that you may carry out his ideas through your life and if you do, you may be sure you will not do anything unbecoming a gentleman.

John Joyce, here and in general, was, like Simon Dedalus in Ulysses, strong and open in his expression of emotion. He is not the stereotypical cold and detached Victorian father. On the other hand, the complexity of his warmth borders on ambiguity, and its intensity must have brought some pressure to the young and, by all accounts, lonely Joyce: the father feels responsible for failing his son, but implies that his son was failing, or in danger of doing so; he seeks forgiveness while sending his son on a guilt trip; he says he looks up to him, while also establishing a role model in his own father, thus reaffirming the patriarchal hierarchy of genealogy. Self-pityingly unable to help materially, he adopts the role of civic mentor — urging him to behave like a gentleman, as Polonius did to Laertes when the latter was about to go to Paris (and its fleshpots).  Larkin’s term for such ambivalence was ‘sloppy-stern’.

Birthdays may be a universal convention, but they are not universally liked.  One pressure that birthdays bring is the inevitability, almost the duty, of self-reflection — a pressure which the Joyces, father and son, must have been aware of in 1903. The attention of others — fathers, mothers, friends, colleagues, wishing us well, presenting a gift, raising a glass — may exacerbate processes of self-examination and even pernicious comparison. Relative to where we were, or where we hoped to be, relative to our peers, or where our role models once were — where have we got to, or to what have we sunk?  Birthdays are ciphers that multiply whatever condition we’re in. The potential trauma of birthdays repeats, perhaps compulsively, the trauma of the day of birth. The twitching nervous checking during labour of the condition of mother and child – how are they doing, what are their heart rates? — becomes a twitching nervous checking on birthdays of whether one has yet become oneself.

For an ambitious person, for someone intent on establishing a mythology of themselves, for someone superstitious, birthdays, especially their own, and other anniversaries are crucial. And so they were for Joyce, for these very reasons. He habitually made awkward deadlines for himself and his publishers, by wanting his books to appear on his birthday or, failing that, his father’s. The day on which Ulysses is set (itself the day of the troubled birth, though fictional, of Mortimer Edward Purefoy), is supposed to be the day of Joyce’s first date with Nora Barnacle, though their encounter is not in fact recorded in the fiction.

Through the cyclical repetition of dates, days become haunted, charged with the meaning of the events of the past, implicit in their dates: Armistice Day, Guy Fawkes, the Battle of the Boyne. The different calendars of the global village, now shared in multi-cultural societies, show the space of the year as an environment that is densely built up with official anniversaries which are the signs and the foundations of institutions, of nations, states, religions, organisations, movements.

Anniversaries seem inevitable because of the cycle of the year, but they are not guaranteed: different anniversaries can coincide on the same day, so that one feast day ousts another; secular festivals push out saints’ days. Joyce cheekily engineered such a coincidence in the birthday of Molly Bloom, which was September the 8^th, the same day as the Virgin Mary’s birthday. Joyce’s love of birthdays is in part a wish to appropriate this map, a symptom of an eternal struggle he identified between the individual and society: ‘the state is concentric; man is concentric. Thence arise an eternal struggle.’

We have a Bloomsday, on which the institution of Joyce studies (and Joycolatry) are built. But there is no Wake-day: Finnegans Wake does not seem to happen on a single day, though for one critic it is a dream dreamt on 28 March 1938. For others the events of the Wake happen everyday and anyday. Unlike Ulysses, it has not been so easily institutionalised. Either way, it is certainly worth celebrating and lighting candles for: and Joyce’s birthday is as good as any to do so.

Dr Finn Fordham is Reader in 20th Century Literature at Royal Holloway, University of London. Along with Robbert-Jan Henkes and Erik Bindervoet, he has edited the Oxford World’s Classics edition of Finnegans Wake by James Joyce. Finnegans Wake is a book that reinvents the novel and plays fantastic games with the language to tell the story of one man’s fall and resurrection; in the intimate drama of Humphrey Chimpden Earwicker and his wife Anna Livia, the character of Ireland itself takes form. Joyce called time and the river and the mountains the real heroes of his book, and its organic structure and extraordinary musicality embody his vision. It is both an outrageous epic and a wildly inventive comedy that rewards its readers with never-ending layers of meaning.

For over 100 years Oxford World’s Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford’s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more. You can follow Oxford World’s Classics onTwitter and Facebook.

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Image credit: By Paweł Cieśla Staszek_Szybki_Jest (Own work) [CC-BY-SA-3.0-2.5-2.0-1.0], via Wikimedia Commons

The post James Joyce and birthdays appeared first on OUPblog.

On this day in 1922, James Joyce’s Ulysses was first published in its entirety, although the publication history of the book is nearly as complex as the novel itself. Initially serialised in The Little Review from 1918, publication of Nausicaä episode led to a prosecution for obscenity and no English-speaking country dared to publish more, and risk further prosecution. However, shortly after arriving in Paris in July 1920, Joyce met Sylvia Beach, proprietor of the Shakespeare and Company bookshop and friend to modern writers. On hearing of the collapse of Joyce’s hopes of US or English publication, Sylvia Beach offered to publish the book under the auspices of Shakespeare and Company, to have it printed in Dijon by Maurice Darantiere, and to finance it by advance subscription. Joyce agreed at once. Here, we’ve picked one of our favourite extracts from the Oxford World’s Classics edition (pp.226-227).

Mr Bloom turned over idly pages of The Awful Disclosures of Maria Monk, then of Aristotle’s Masterpiece. Crooked botched print. Plates : infants cuddled in a ball in bloodred wombs like livers of slaughtered cows. Lots of them like that at this moment all over the world. All butting with their skulls to get out of it. Child born every minute somewhere.  Mrs Purefoy.

He laid both books aside and glanced at the third : Tales of the Ghetto by Leopold von Sacher Masoch.

–  That I had, he said, pushing it by.

The shopman let two volumes fall on the counter.

–  Them are two good ones, he said.

Onions of his breath came across the counter out of his ruined mouth. He bent to make a bundle of other books, hugged them against his unbuttoned waistcoat and bore them off behind the dingy curtain.

On O’Connell bridge many persons observed the grave deportment and gay apparel of Mr Denis J. Maginni, professor of dancing &c.

Mr Bloom, alone, looked at the titles. Fair Tyrants by James Lovebirch. Know the kind that is. Had it? Yes.

He opened it. Thought so.

A woman’s voice behind the dingy curtain. Listen : The man.

No: she wouldn’t like that much. Got her it once.

He read the other title : Sweets of Sin. More in her line. Let us see.

He read where his finger opened.

— All the dollarbills her husband gave her were spent in the stores on wondrous gowns and costliest fillies. For him ! For Raoul !

–  Her mouth glued on his in a voluptuous kiss while his hands felt for the opulent curves inside her deshabillé.

—  You are late, he spoke hoarsely, eying her with a suspicious glare.

Warmth showered gently over him, cowing his flesh. Flesh yielded amid rumpled clothes. Whites of eyes swooning up. His nostrils arched themselves for prey. Melting breast ointments (for him ! For Raoul !) Armpits’ oniony sweat. Fishgluey slime (her heaving embonpoint !). Feel ! Press ! Crished ! Sulphur dung of lions !

Young ! Young !

An elderly female, no more young, left the building of the courts of chancery, king’s bench, exchequer and common pleas having heard in the lord chancellor’s court the case in lunacy of Potterton, in the admiralty division the summons, exparte motion, of the owners of the Lady Cairns versus the owners of the barque Mona, in the court of appeal reservation of judgment in the case of Harvey versus the Ocean Accident a

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It’s a holiday for James Joyce fans, a holiday known as Bloomsday. Joyce’s seminal 1922 novel Ulysses spans a single summer day in Dublin (1904), and now we know every 16th of June as Bloomsday, so named after the novel’s protagonist Leopold Bloom. Typical Bloomsday activities include Ulysses-themed pub crawls, dramatizations, and readings. Some committed fans even hold marathon readings of the entire book.

I heard that Steve Cole is taking this tradition to Twitter, and inspired by that, we’re going to celebrate Bloomsday on Twitter as well. Oxford University Press has published* a facsimile of the original 1922 text and you have the chance to win a copy. Just tweet

I’m celebrating Bloomsday with @OUPAcademic and @OWC_Oxford http://oxford.ly/kjHsVX

and you’ll be automatically entered to win.

In the meantime, I encourage you to read this short excerpt from Jeri Johnson’s introduction to the Oxford World’s Classics edition of Ulysses, in which she talks about the novel’s formidable reputation and the intimidation new readers sometimes feel.

*This Oxford World’s Classics edition is currently available in the UK and will be published in the US this summer.

A previous post explained how Ulysses "Seen," a graphic novel based on Ulysses, the James Joyce novel was modified to meet Apple's policy concerning cartoon nudity. In the case of this graphic novel, Apple has revised their policy, in order to include the original art work, according to a Yahoo News story from June 16, 2010.

The Banned Book Challenge continues until the end of June.

A MacWorld article reprinted from Macworld UK has information about a newly released comic book adaptation of Ulysses, the epic by James Joyce, entitled Ulysses "Seen". It is available from the U.S. iTunes Store and has been rated 17+ by Apple. The original, uncensored version is available for download from the Ulysses "Seen" website.

It is described by Apple this way:

Robert Berry's comic adaptation of the 1922 edition of James Joyce's epic novel, ULYSSES accompanied by a page-by-page reader's guide, dramatis personae, and pop-up translations of non-english passages. The reader's guide is enhanced with discussion groups and links to online information sources, photos, videos, and other assorted bric a brac allowing you to dive as deep as you like into the world of Ulysses. If you've always wanted to read ULYSSES, but have been intimidated by its size and density, this is a great way in and is a great new way in its own right to experience literature.

In 1974, I was trying to gain weight, not lose it. Oh, those heady days of having a chocolate milk shake and a bag of barbecue chips every day for lunch! But if you want to see what Weight Watchers was doing in 1974...

This makes me laugh until I cry and I need that today.