AMES JJ OYCE LITERARY SUPPLEMENT BERNARD BENSTOCK , FOUNDING EDITOR

PUBLISHED BY THE UNIVERSITY OF MIAMI VOLUME 34, NUMBER 1, SPRING 2020, ISSN: 0899-3114 Contents

ŸŸŸTeaching James Joyce in the Secondary Classroom for the Twenty-First Century: As One Generation Tells Another By D YLAN EMERICK -B ROWN ...... (2-3) # Michael Groden . The Necessary Fiction: Life with James Joyce’s Ulysses. Reviewed by H ANS WALTER GABLER ...... (3-4) # Chris Forster. Filthy Material: Modernism & The Media of Obscenity. Reviewed by V ICTOR LUFTIG ...... (4-5)

# Patrick O’Neill . Trilingual Joyce: The Anna Livia Variations . Reviewed by E. PAIGE MILLER ...... (5-7) ŸArt of the Wake, by CAROL WADE ...... (8) # Caroline Pollentier and Sarah Wilson, Editors. Modernist Communities across Cultures and Media. Reviewed by MARGOT BACKUS and G RETE NORQUIST ...... (9-10) # Tim Wenzell . Woven Shades of Green: An Anthology of Irish Nature Literature. Reviewed by C HRISTIN M. MULLIGAN . (10-11) # Jessica Martell, Adam Fajardo, and Philip Keel Geheber, Editors. Modernism and Food Studies: Politics, Aesthetics, and the Avant-Garde. Reviewed by J UDITH PALTIN ...... (11-12) # Catherine Flynn. James Joyce and the Matter of Paris. Reviewed by Marian Eide ...... (12-13) Ÿ DAVID NORRIS Reads from Finnegans Wake Reviewed by P ATRICK REILLY ...... (13-14) # Brian Fox . James Joyce’s America . Reviewed by J ONATHAN MC CREEDY .. (14-16) James Joyce's America

The illustrations featured in this issue (see page 8) were done by Carol Wade as part of her “Art of the Wake” series. As her website for the project explains, “Joyce has created a wonderful tapestry of historical, social, and cultural references in Finnegans Wake. The Art of the Wake seeks to weave some of these references into illustrations with the same playful witticism that Joyce was renowned for.” More information about Wade’s project can be found at artofthewake.com . PAGE 2 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 Teaching James Joyce in the Secondary Classroom for the Twenty-First Century As One Generation Tells Another By Dylan Emerick-Brown

HENEVER HIGH SCHOOL English teachers poetry, find this to be a difficult transition. However, whiny Holden Caulfield with an Irish accent.” Ste- mention that they teach a Shakespearean play “The Dead” offers the best of both worlds. “I enjoyed phen’s journey through puberty, family poverty, trouble Wto fourteen-year-olds, everyone shrugs their the analysis of the references in Joyce’s writing like the in school, anxiety over social awkwardness, sense of shoulders knowingly, recallin-g their own experiences Irish nationalism and the Charles Stewart Parnell con- fear and guilt as a motivator of behavior bestowed by for better or worse reading Romeo and Juliet . However, authority figures, slow development of confidence when I tell people that I teach James Joyce to fifteen- through age and experience, inadequacies in romance, year-olds, people look aghast as though I’m a whip- and a yearning to break free from parental bonds—both cracking lunatic who derives a sick pleasure from nationalistic as well as familial—-were all incredibly torturing my students. As a Western society we have What about relatable for fifteen-year-olds. “I think Joyce is worth wholeheartedly accepted the works of William Shakes- being taught in high school because his work is peare as unquestioningly and critically valuable to an Finnegans Wake ? therapeutic and can help students understand the individual’s education, so much so that the typical importance of writing and storytelling,” writes Sarah American student is taught four of his plays over the Barrett, a student in my class. “I usually like to keep my course of their time in high school (and often a handful troversy,” writes Charles Simms, a tenth grader who issues to myself, so to see someone as successful as of his sonnets). James Joyce, on the other hand, has the went through “The Dead” unit. Because the fiction is so Joyce sharing a version of himself and his life with reputation for being esoteric and elitist, reserved solely realistic and based so heavily in the actual world, teach- others makes me feel more open to the idea of writing for the masochists in English literature graduate pro- ers can pull in nonfiction readings and resources that as a form of therapy.” By analyzing Stephen, the grams. Joyce is seen as inaccessible while Shakespeare accompany and enhance the literature. This allows them students found that they were also analyzing them- is seen as necessary. The great irony is that the Bard to seamlessly tackle literary and nonfiction state stan- selves. And the realism Joyce uses to bring these wrote his plays on royal commission and Joyce wrote dards in a single text, making their lives easier than characters and situations to life resonated and allowed his stories and novels for the average person. And I having to put together separate and unrelated texts for them to believe in the struggles of Stephen as though he have found that the benefit of teaching Joyce’s works to students to study. were one of them, a fellow student. students is both academically and developmentally The extra credit or remediation assignment for this It only made sense, given the success of the reading advantageous with students mastering the same stan- unit became one of two assessments of political car- group format of A Portrait of the Artist as a Young Man dards taught regarding Shakespeare, but with more toons illustrated by Sir John Tenniel and published by and the students’ interest in Stephen Dedalus, that I engagement and student success. Punch magazine in the nineteenth century. The first, propose to them a Ulysses Reading Group. “I joined the I teach English II Honors and AICE /Cambridge “The Irish Frankenstein,” which portrays the Irish Ulysses Reading Group because I wanted to find out General Paper, both English courses for tenth graders people as a brute monster who threatens an English how Joyce portrays Stephen Dedalus now that he is averaging in age between fifteen and sixteen years old. gentleman, is interpreted by the student in terms of what older and back from Paris,” writes Jennifer Fuentes, a Deltona High School, where I teach, is a secondary, Tenniel’s message was to the British people. This is tenth grader in my class. Of course, there is no time to grade nine through twelve, school situated in central followed by an analysis of a little-known editorial of the teach the entirety of Ulysses in class with the remaining Florida within Volusia County. On paper Deltona High same title that accompanied the cartoon in the publica- three quarters of the school year, roughly eight months. is not necessarily the type of magnet or private school tion. In it, the unknown author plagiarized Mary Also, it would be unfair to put all of the students in which one might expect an entire James Joyce unit to Shelley’s Frankenstein while editing various phrases through such a lengthy and challenging novel given be taught. We have a majority minority population of and words to make the politically and ethnically they had just spent about ten weeks with Joyce. The around 1,800 students and the faculty and administra- charged editorial appear as though it was coming reading group takes the form of a voluntary weekly tive body are always striving to improve our students’ straight from a popular contemporary novel. The stu- after-school meeting that lasts for an hour, though academic achievements. And in a school where the dents break this down, noting the differences between students can pop in during lunch any day. The episodes reading and writing proficiency level has been below Shelley’s original text and the editorial’s edits to deci- are divided throughout the remaining eight months of the state average, the idea of teaching Joyce was daunt- pher the true intent of this publication. The other car- the school year week by week with most being covered ing to me. It was certainly in my wheelhouse. I have toon is Tenniel’s “The Irish ‘Tempest,’” an illustration in a single week while some of the longer episodes are presented at multiple international conferences and have portraying the Irish as a Shakespearean Caliban harass- split over two. The entire AICE /Cambridge General been published in various scholarly journals regarding ing an innocent Hibernian woman who is being protect- Paper class is given a presentation on Ulysses with the Joyce studies. But it is a different scenario altogether ed by British Prime Minister Gladstone. Students have Judge Woolsey court decision, a planning calendar for teaching teenagers Joyce. to look closely and interpret from the drawing and text- the reading group, a layout of the meeting format, and, I began with “The Dead.” My rationale was that it ual elements within it what Punch ’s purpose was in most importantly, a legal guardian permission form. It is was shorter than a novel, so it could be read in a few publishing this image. This takes the form of an analyti- important that the student and the legal guardian know days, and it was more accessible than, say, Finnegans cal essay. Many students with passing or even good what they are getting into. They are given two weeks to Wake . The unit begins with a PowerPoint presentation grades voluntarily do this assignment because they think this over, ask me any clarifying questions, and on the story’s context, handouts on the Catholic/Protes- think it’s fun. return the permission forms signed. Students are tant divide in Ireland, and even a Google Map of the After the success of the unit on “The Dead,” I expected to purchase their own copies of the novel— route Gabriel and Gretta take between the Morkan realized that I could use the flexibility of curriculum in preferably the Hans Walter Gabler edition—but I have a residence and the Gresham Hotel. The unit continues the AICE /Cambridge General Paper course to expand few extra loaner copies and there is always the free with a reading interspersed with discussion prompts. further and deeper into Joyce studies with the students. Project Gutenberg version online. The controversial The print-out of the text includes various vocabulary This led to the development of our unit on A Portrait of reputation of the novel over its obscenity which origi- words and phrases defined for students to help with the the Artist as a Young Man . Due to time constraints, this nally forced its banning in the United States—and was unfamiliar context. During the readings, I was intrigued unit focused on two main assessments for the novel. subsequently proven to be an inaccurate label—has the by how engaged the students were in the discussions. The primary assessment was a summative paper written same effect on my twenty-first century teenage readers They were curious and interested in the symbolism, on the novel from a specific literary-critical perspective. as it did on potential readers in the early twentieth characters, and backstories fueling the drama. This unit As a class, we reviewed various literary perspectives century. The taboo aura surrounding Ulysses makes it quickly evolves to include historical resources about such as moral, psychoanalytic, Marxist, and gender almost irresistible to the students. Charles Stewart Parnell and the Irish/English colonial theory, to name a few. This gives the students a There are also academic benefits to being in the conflicts; discussion questions, which turn into 76 particular purpose from which to read the novel. As we reading group. It would only be fair to reward such analysis questions, that are answered in groups and went through the novel in class, there were many class academic exploration. Students in the group are shared with the class as a whole; worksheets comparing discussions accompanying the reading. These included encouraged to write a paper on Joyce studies due by the characters and events in the story to Joyce’s actual life; allusions to John Milton’s Paradise Lost , allusions to end of the school year. These papers are designed to be an assignment thematically comparing excerpts from the Icarus and Daedalus myth, as well as historical academic in nature without a word count or page limit. Joyce’s play, Exiles , to “The Dead”; another assignment context over the political and religious turmoil of Ire- They can be extensions of their original papers from A thematically comparing excerpts from Joyce’s letters to land during this time period. In addition to graded Portrait of the Artist as a Young Man or entirely new. Nora to Gabriel and Gretta in the story; and even an participation in these discussions, routine paper checks They can focus on literary criticism or be more assessment in which students pair off, one playing a were assessed to ensure that as we read through the structuralist in style. The one requirement is that the marriage counselor, the other first Gabriel and then novel, students were taking adequate notes for their topic be something the student finds fascinating. This Gretta, and analyze the issues plaguing the marriage. papers and doing outside research through JSTOR , thesis-style paper would be planned, researched, The students then assess what their conclusions reveal Google Scholar, or other valid means. The lack of written, and revised over the remaining course of the about early twentieth century Dublin and what their traditional quizzes and tests made the reading more school year. Students can swap parts of their work on proposed solutions reveal about twenty-first century comfortable, almost like a reading group environment. these papers for specific class assignments as either American students. Over the three years of teaching this And with that sense of comfort came more openness in remediation or substitution. Some of the topics this unit on “The Dead,” the lessons became more engaging, the class discussions and willingness to explore deeper year’s students have chosen are: 1) Whereas Stephen more differentiated, and more rigorous, and tackled into their chosen topics. Dedalus in A Portrait of the Artist as a Young Man different learning strengths for students. After experimenting with teaching “The Dead,” it reflects James Joyce socially, Stephen Dedalus in There is a growing trend in education that nonfiction made sense that A Portrait of the Artist as a Young Man Ulysses reflects James Joyce economically, 2) How did has an increasingly stronger role in literature than in the would really connect with my students. The protagonist, James Joyce use literature to explore his feelings and past. Some English teachers, who got into the profess- Stephen Dedalus, is around their age for most of the fears regarding Nora? 3) How is Leopold Bloom’s lack ion because of their passion for fiction, drama, or novel. The students even referred to him as “a less of intimacy with Molly psychosomatic in relation to JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 3

Rudy’s death as opposed to emotional or physical said, any teacher should be flexible and routinely spot of the lessons, assessments, handouts, links, resources, issues? 4) Could the Bloom marriage in 1904 be check the students to ensure that they are getting what pictures, and Ulysses episode slides I use to teach Joyce. considered more appropriate—if not less shocking—in they want out of the group. It can be a lot of fun, but I Also included are the Florida State Standards and a twenty-first century environment? By the end of the learned that I needed to relax and let the students inform estimated time frames for each lesson and assessment. school year, all of the papers which have been reviewed me what they wanted out of the experience. There’s a link to how I used my teaching of Joyce in my by me will get published on a website I created. Also, To further pull the students into Ulysses , I also own professional development, which was used for my one of these papers will be published in a forthcoming employ a more culinary tactic. When we are reviewing annual evaluation. And there is also a link to a Face- issue of Qorpus , a scholarly journal put out by the Uni- the “Calypso” episode introducing Leopold Bloom, I book group called Teaching Joyce Discussion Group in versity of Santa Maria in Brazil. Enrico Terrinoni, want to show the students how “other” he is as a Dub- order to engage Joyce scholars, enthusiasts, and teach- professor and president of the James Joyce Italian liner. Everyone around him perceives him as either ers from around the world. On the site are not only Foundation, will write students a letter of support and Jewish or immigrant, both of which he is not. And testimonials from students to encourage other teachers congratulation, as will other Joycean academics. The while Bloom makes many conscious efforts to portray to give Joyce a try, but also testimonials from professors intent of these accolades is to set these students apart in himself as the quintessential Dubliner, even converting and education advocates. My own school district linked their college applications. to Catholicism, one of the facets of his life which the website on their intranet hub for Volusia County The weekly meetings are designed to help with the reveals him as “other” is his diet. While a gorgonzola educators as a resource for AICE /Cambridge General students’ understanding of the individual episodes of sandwich with mustard and a glass of burgundy is Paper teachers. TeachingJoyce.com allows me to Ulysses and also provide them time to work on their certainly not your typical Irish pub fare, it is his constantly update lessons and assessments, stay in papers with me acting as a faculty advisor. I provide a breakfast that makes readers cringe. And so, I fry up in contact with teachers, and help make it easier and more few snacks and we review the episode through Power- butter and pepper—just the way Bloom does—some enriching of an experience to teach Joyce’s works in Point slides I created that had been printed out from the pork kidneys obtained from a specialty butcher who high school. And it’s worth it! My General Paper last meeting and students’ own notes and questions. looks at me quizzically when ordering them. After students from the previous year had a passing rate of 93 Then we watch on YouTube the Dublin James Joyce establishing that free Tic-Tacs are on the table, I open percent and performed very well on the Florida State Centre’s short clip on the next episode. The second half the lid to the plastic box, provide paper plates and forks, Assessment for English Language Arts. of the meeting is reserved for their thesis papers; during and let the students dig in—though “dig in” wouldn’t be Using Joyce in the classroom allows me to focus on this time, they can write, research, edit, or consult with the most accurate description. They sniff cautiously, depth over breadth when teaching the state standards. me. I have a mobile book cart in the classroom I affec- wince, bring their forks up to their lips, hesitate, glance Instead of roaming from one short story to another or tionately named “The Fearful Jesuit” which contains a around at each other, then using only their teeth take a one speech here by this person and a nonfiction sample small portion of my personal Joyce library from home. I small bite to chew, swallow, and claim that it wasn’t as of writing from that person, I can keep a sense of consider what the students are writing and what books bad as it smelled. My wife disagrees; it takes fans, continuity in the curriculum, allowing students to build and journal issues could be helpful for them to read and scented candles, eucalyptus essence in water sprayed up momentum as they explore. This teaches them that quote from. The cart also includes some Ulysses ephem- throughout the house, and a good 24 hours for the odor nonfiction is not isolated from fiction, speeches are not era the students can inspect, such as a genuine ceramic of fried kidneys to dissipate from our home. However, written and spoken without context, satire is always a cup of Plumtree’s Potted Meats, a hundred-year-old my annual burnt offering to the literature gods pays off response to something emotional in all of us, and that Jacob’s biscuit tin, a bar of lemon soap from Sweny’s because my students never forget the experience and it the world is far more interwoven than we might see at Pharmacy, and my prized possession: the exact postcard truly makes tangible the otherness of Bloom’s character first glance. In “The Dead” alone, the students see how described in perfect detail from the novel that Murphy, in the very first chapter we read of him. the English colonization of Ireland impacted economics, the sailor, passes around in the “Eumaeus” episode. It One may be wondering at this point, “What about fashion, racism, religion, language, and politics as contains a group of indigenous women caring for Finnegans Wake ?” Well, I certainly don’t tackle Joyce’s revealed in letters, editorials, political cartoons, and infants—some asleep and others breastfeeding—in front never-ending history of the world written in Wakese speeches. This becomes reflected in the characters of of osier huts with the words “Choza de Indios. Beni, with teenagers. But I do offer them opportunities to dip Joyce’s story, such as the Morkan sisters and Gretta Bolivia” written at the bottom. It is an authentic their toes into the deep end of literature. The title of this commenting about Gabriel’s insistence on his wife century-old postcard just as Joyce describes in the novel essay comes from Book III, Chapter 4 of Finnegans wearing galoshes, an English fashion statement made and the students love inspecting it and passing it around Wake and it is one of my favorite quotes as it reminds from rubber obtained from the far reaches of the British like the characters in the cabman’s shelter. me that teaching is always a matter of what one genera- empire in India. This reflects Gabriel’s lack of interest It is worth mentioning that it took me a couple of tion tells another. In the Ulysses Reading Group, from in Home Rule, the English’s influence on the Irish, and years to figure out the strange and unique dynamic of time to time, we explore an excerpt and have fun de- the complexity of national pride under colonial rule. the Ulysses Reading Group. Students seemed unrespon- ciphering the references and puns. Roland McHugh’s This can lead to a discussion about how today’s fashion sive, yet engaged; I couldn’t tell if they had done the Annotations to Finnegans Wake is helpful, as is the can be used to not only identify an individual within reading or understood what was happening because they website, FinWake.com. After reading Macbeth in class, their preferred social strata, but also be weaponized were so quiet and yet they kept showing up each week. I offer my reading group students the chance to decrypt against others as a form of oppression. Joyce is truly a I realized that there were a couple of factors I hadn’t a couple of references to the play in Finnegans Wake . one-stop shop for everything an English teacher needs considered that were influencing the group. The first My favorite, from Book III, Chapter 2 goes: “Lead on, to teach. was that most of the students in the group were intro- Macadam, and danked be he who first sights Halt And so, with that I encourage all teachers out there verts, which makes sense, given that it is a group for Linduff!” It’s essentially boasting that whoever first to try their hand at introducing not only their students, students who are passionate readers, but also makes for sights Dublin as they go down the road will be the first but themselves, to Joyce and see where it takes them. an odd group dynamic. The other factor was that where- to get inebriated. We look closely at the first page of the His works hold up well in the twenty-first century, his as a classroom environment is familiar and has a disci- Anna Livia Plurabelle chapter and interpret everything, characters are relatable, his command and manipulation plined structure, a reading group is unfamiliar and more from the delta shape of the first lines to the river of English is worth studying, the complexity of his casual, creating a learning curve for everyone. “What I references and many alliterative “ll” sounds. I even allusions and uses of symbolism provide an endless enjoy about the Ulysses Reading Group is that we aren’t typed up the first paragraph of the ALP chapter in script depth of investigation, and lest we forget, James Joyce forced to talk about the book and if we have questions, format so that a couple of female students could read is a very funny writer. His sense of humor and wit can we can ask separately,” says Jennifer Fuentes. “We are from either side of a flowing river projected onto the be seen and enjoyed in every story and novel. While the allowed to do our own thing when it comes to the screen in my classroom, reenacting the dialogue of the education system increasingly places more focus on group.” This freedom, while unnerving for a traditional two washerwomen. Plus, there are fun word and syntax standardized testing, new pedagogical methods and teacher, is what gives the group its room to grow. Sarah games I created from the novel that the students like to technologies, and the bottom line of graduation rates, I Barrett, another student, writes, “I find joy in knowing play with to test their analytical skills and creativity. have found that Joyce allows me to bridge the divide that everyone who comes to the reading group comes In order to not only align my teaching of Joyce to between those ever-expanding initiatives and the reason for a reason. Whether they just want to read and have the Florida State Standards I must teach my students, I got into teaching English in the first place: a love of the experience or if they want to get credentials under but also to help any other teachers who want to engage literature. It doesn’t have to be a zero-sum game with their belt to make them more appealing to colleges, Joyce in their own classrooms, I created the website Joyce. We can have our kidneys and eat them too! # everyone comes out of their own free will.” With that TeachingJoyce.com. On this single website, I have all —Deltona High School A Life's Necessity: Ulysses Michael Groden comprehensive professional command, goan in,” let alone “our boots goan out” sively feed ever into shaping afresh every The Necessary Fiction: Life with where yet the professional narrative (if go out we ever do)? reading experience? Michael’s con- James Joyce’s Ulysses. gained its deepest authority from being On the horizon of present-day literary fessional (as it might in truth be labelled) Brighton: Edward Everett Root, compellingly generated out of privacy and criticism and scholarship may be dis- opens up, for our (perhaps) better under- Publishers, 2019. unabashed autobiographical intimacy—as cerned a movement away from pur- standing, the necessary hermeneutic £65.00 it is in Michael Groden’s The Necessary portedly “objective” text analysis and circle of life, self-awareness, and Fiction ? Insistently, the book confronts interpretation and towards a concern with profession. Reviewed by us—every one individually—with issues writing and reading as experience: what Michael and I have been transatlantic and questions of necessary reality , that do texts do with us in the reading, even friends for pretty close to half a century. HANS WALTER GABLER yet are commonly evaded, if not unac- what did texting in progress do with An autobiographic admixture to this knowledged, or unrecognized altogether: authors, and how did the process of their review may thus, I trust, be allowed. We HERE , IN THE WIDE and varie- Wgated ranges of our in-group’s who are we—who do we become—when authoring feed into their shaping what in met under the professional umbrella of his analyzing, interpreting, writing about we engage with the challenges that James writing creatively emerged from their Princeton doctoral mentor Walton Litz. James Joyce have we ever encountered a Joyce's writing poses? What does it do minds and emotions? And how does Michael was at the time immersed in the contribution from a seasoned Joycean in with us? Who do we become as writing and reading experience so analytic exploration of the manuscripts Joyceans—even if we “mind our hats acknowledged at the same time recur- and pre-publication materials for James PAGE 4 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020

Joyce’s Ulysses . His endeavor issued doubled. What is established and what we project that followed upon his PhD thesis by the James Joyce Estate. The personal, soon in his doctoral thesis and book become conscious of is that author and and book was to serve as general editor as said, is distinctly reined in in the Ulysses in Progress . The account that The character are fundamentally distinct: they for the 63-volume James Joyce Archive account, and so it is merely as almost an Necessary Fiction gives of “Groden in are mutually each other’s “other.” To and as volume editor of its Ulysses aside that from one (ultimately abortive) Progress” during this phase signals richly appreciate this is an essential step, in its materials. The Archive was at its origin negotiation with a publisher cited we the deepening of intellectual potential and turn, towards recognizing, and for our- the brainchild of Gavin Borden, learn that Stephen Joyce, representing the self-awareness that the scholarly task selves to experience, the categorical, publisher-owner of Garland Publishing in James Joyce Estate, specified that brought with it. The telling is memory- indeed ontological, distinction between New York. Michael and I continued our permission would not be out of the guided and so directly personal. Yet it is author and work. More specifically still, transatlantic friendship and collaboration question, provided that “the likes of Hans simultaneously a focused rendering of the our encounter through his book with through exchanges over the realization of Walter Gabler and Michael Groden, etc. discovery and exploration of the new- Groden’s intensely autobiographic render- the Archive and my being enlisted to not be contacted.” What makes this found land of Joycean manuscript study. ing of his comprehensive James Joyce oversee its group of early-work volumes. subject area in The Necessary Fiction From observing James Joyce’s manu- experience lays open that the conditions As it happens, the two volumes dedicated such instructive reading for Joyceans is script writing and ever-active re- through which it was gained, and to the fair copy of A Portrait of the Artist the insistence with which it highlights the composition in proofs, Michael gained throughout an adult lifetime renewed and as a Young Man (housed in the National decades of stymying Joyce scholarship progressive insight into the creativity intensified, lie importantly in the immer- Library of Ireland in Dublin) were the and criticism through the James Joyce guiding the emergence of Joyce’s art-in- sion in the writing processes and resulting first Archive volumes to be published. Estate. progress. The skill lavished on the per- text stages through which the experience Gavin and I ceremoniously presented In contrast to this depressing account sonal telling, retrospective as it is, at the of the work is constituted. Such close them at the International James Joyce of the adversities that Joyce research same time renders the account fully read- engagement on the part of the researcher Symposium held in Dublin in 1977. faced, especially through two decades able as personal discovery. It invites us to and analyst reveals concomitantly the Michael recounts the working processes around the onset of the twenty-first a sharing with our personal experience author’s always critical and so potentially at Garland for the James Joyce Archive century, the chapter “One Day in the and so to reaping gains in understanding always revisional engagement with what and conveys a sense of how he and Gavin National Library,” in which the book James Joyce. under his pen emerges as written—which became friends over it. Such friendship culminates, opens up pastures new for Exemplary here is Michael’s anato- insight consequently can only reinforce became my good fortune, too, as I moved Joyce studies through the library’s acqui- mizing of the relationship he personally for us the sense of the “otherness” of towards establishing the Critical and sition of a rich cache of original docu- built up from early on with Joyce’s main text/work and author to one another. Synoptic Edition of Ulysses which Gar- ments that had lain hidden unrecognized characters, Stephen Dedalus, Leopold With respect to Molly, moreover, land published in 1984. I have a vivid in a Paris basement for half a century. For Bloom, and Molly Bloom. It commenced Michael’s personal relationship to the memory still of Gavin’s deep concern close to twenty years now, intense study as intensely subjective, progressed Ulysses characters is raised to second over the melanoma that Michael had of these materials has proceeded, through phases of self-encounter, evolved power. In his self-narrative, Ulysses is the threateningly developed. In The unfettered by Estate restrictions. Michael from early immersions in Ulysses in “Book with two Mollys.” With Molly Necessary Fiction , Michael shares with us is rightly proud that he was approached college, and eventually merged with foremost, Michael experiences the the scare of its initial manifestation, the by the National Library of Ireland to Michael’s professionally guided, ever- “necessary fiction” through reading it relief at its first healing, and the periodic advise them on their purchase and asked growing awareness of how the characters deeply, too, from life reality. Molly— recurrences that he has had to learn to live from his thorough knowledge to give the were conceived, differentiated and Molly Peacock, whose husband Michael with. Michael recounts that Gavin died at address at the presentation of the focused through ever-recursive obser- today is—and Michael grew increasingly an early age. As today his long-time sur- collection to the public, with an Honorary vation of the processes of Joyce’s writing aware of each other when still school vivors, we are joined in sorrow for him. Doctorate for himself to follow. them. Through all this Michael’s sense youths. Their paths and lives parted for It is, as will have become sufficiently Yet at the same time: taking the key became increasingly conditioned towards some twenty years. These were years clear, a main feature of The Necessary role that Michael has played in Joyce the double-natured necessity inborn in through which Michael gained his Fiction to be personally cast. Its intimate studies of recent times down to the Ulysses : that of the characters and narra- professional stature as an in-depth privacy extends unflinchingly back to personal level, we appreciate what is tive springing from fictional consistency, Joycean, such as he progressively recog- childhood, youth, family relations. Yet it always closest, since simply natural to as equally that of experiencing life and nizes and re-recognizes himself through is also true that—owing no doubt to the him: “Learn a lot teaching others. The the self through reading. As for Stephen his book and the writing of it over the extended and variegated periods of personal note,” as Michael quotes Dedalus and Leopold Bloom: we move years; and such as we, too, know him. writing the book—the successive chap- Leopold Bloom. And adds: “Bloom got with Michael through his shifts of The story of Molly and Michael, the story ters’ immersion in the privately personal that completely right.” This is how we all, identification, somewhat uneasy always of a deep partnership re-found and re- is gradually reduced. Later book sections in all our encounters with Michael— in relation to Stephen, but increasingly gained, has all the air of “fiction” in a tend to stand out distinctly more strongly intensely, for instance, in our lunch-time emphatic towards Leopold. What is more: mode to which the precious Italian adage through the immediacy of their respective close-reading broodings over the Ulysses Michael works out for us how necessary, may be bent: “Were it not true, it were subject areas. They will likely in this text under his direction at James Joyce indeed essential it is to recognize “Leo- well invented.” The narrative strand of mode prove of particular interest to fellow meetings and symposia, and now again in pold Bloom” constituted in, and as, the “two Mollys” in Michael’s The Joyceans. This is true of the account and The Necessary Fiction —so richly enjoy fiction, and so categorically not as a Necessary Fiction is perhaps the strongest discussion, in two book chapters, of the his knowledge, experience and his—well, mirror blueprint of the author. He makes justification of the book’s title, as of the way in which Michael’s impressively and yes: Bloomian—humanity. • the distinction of author and author- autobiographical mode through which it thoroughly conceived “Ulysses Hyper- —Honorable Trustee created character a lived insight for conveys scholarship and the critical media” project—wholly avant-garde International James Joyce Foundation himself, and thereby insightful, too, for us stance of a professional Joycean. when envisaged—became impossibilized as sharers in the experience so re- In the late 1970s, Michael’s grand Joyce and Others in Ecologies of Smut Chris Forster tent’” as intertwined and another in which passionate condemnations and defenses, self-censorship by interrupting the imme- Filthy Material: Modernism & the two are “decouple[d]” (166). This he’s not a moralist. He calls Filthy diacy of obscenity” (164). The experience The Media of Obscenity. kind of observation is how Starr and Material “a study of modernist obscenity of obscenity as necessarily im- mediate New York: Oxford University Press, Dettmar say we should deploy our as an expression of twentieth-century Forster associates with Supreme Court 2019. “disciplinary procedures and habits of media history” (181). In its most mem- Justice Potter Stewart’s famous claim $99.00 hardcover/$35.00 paperback mind”: orable passages, Forster highlights inter- about pornography: “‘I know it when I sections between modernist literary books see it’ means ‘I know it by seeing it,’” Reviewed by We can’t enforce them, ensure that as books and other media but also Forster says. “I know it, in short, they’re followed (Enjoy Shakespeare! between modernist creators (in respective immediately” (153)—thus, seeing it both VICTOR LUFTIG And James Baldwin! And Zora Neale chapters on works by Wyndham Lewis instantaneously and without any con- Hurston! And James Joyce! NOW ). and Walter Sickert, D.H. Lawrence, scious engagement with the medium of FINISHED READING Chris Forster’s 1 Iexcellent book on the same day that We can show you new pleasures and Norah James and Radclyffe Hall, T. S. the work. In contrast, asterisks and Ross Douthat published in The New York new ways of valuing things—we can Eliot, and James Joyce) and their similar devices “thoroughly mediate” Times his “The Academic Apocalypse,” a embody them—but we can’t make antagonists, to whom he often ascribes, (154). Though lacking asterisks other than tiresome attack on English professors you feel them. We model a style of within stages of “media ecology” (6), to separate the sections of “Wandering much like many others. Having just seen engagement, of critical thought: we quite unexpected roles. Rocks,” Ulysses “forcefully insist[s] on Douthat single out, and misrepresent, an don’t transmit value. That’s especially true of the Joyce of its own materiality,” repeatedly “making essay by G. Gabrielle Starr and Kevin Ulysses , the subject of Forster’s final its mediating presence, its medial identity, Dettmar, I was struck by Forster’s honor- Such modeling seems to me what Filthy chapter, in relation to censors. After recognizable”; the effect throughout the ing Dettmar for doing in relation to Joyce Material is best at, both in the way it discussing how early twentieth century twentieth century, Forster argues, was to just what Starr and Dettmar say humanists positions modernist books as vehicles and works by Djuna Barnes, Richard Alding- “mitigate [ Ulysses’ ] obscenity” (172). He ought to be doing: analyzing and in the way it works as a book itself. ton and others deploy the asterisk, to says, “If Ulysses was legally publishable contextualizing “disciplinary procedures Forster, who teaches at Syracuse Univer- mark censored passages and in this way a quarter century before Lady Chatter- and habits of mind.” Dettmar, as Forster sity, doesn’t offer a lot of readings of to protest or to mock censorship itself (in ley’s Lover , it is, in part, because the says, “helpfully identifies” two critical particular texts, though the readings he the way of Tristram Shandy), Forster former foregrounded its materiality and so traditions of response to the style of offers are very good, and while he argues that Ulysses , in its “insistence on undermined its obscenity” (173). He Ulysses , one that treats “‘form’ and ‘con- engages works that have tended to elicit its own materiality … offers a kind of elaborates on this point by ending the JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 5 chapter (and, aside from a brief coda, the the conclusion of Forster’s pivotal fourth materiality of the books he studies in as to give terrific scholars in Forster’s book) by showing how differently Ulys- chapter, my favorite, which cleverly relation to changing media environments generation—of whom there are many ses was censored when it appeared in discusses Norah James’s Sleeveless might make inevitable our thinking about more than there are good academic jobs another material form, that of Joseph Errand and Radclyffe Hall’s The Well of the materiality of his book: Oxford and the possibility of hard copy university Strick’s 1967 film adaptation. Another Loneliness in reverse chronological order University Press has further invited such press publications for—the fullest oppor- extended consideration of Joyce appears to show the impact of the reception of the consideration by providing for Filthy tunities to model for as diverse reader- in Forster’s opening chapter, “The Media latter on the reception of the former—a Material a literally striking cover (on ships as possible their splendid “habits of History of Obscenity,” where he interest- bit of critical sleight of hand I would have which the author’s name, half the book’s mind.” (Such encouragement would be ingly positions the “foetus” sequence in bet against working but that instead title, and a number of the books and especially welcome from commentators Portrait in relation to “a print culture makes the chapter a tour de force. Its authors discussed by Forster are crossed like Douthat, whose employer on the one where the uses of medical texts [were] conclusion contrasts the place of Hall’s out) and a lot of illustrations. But the hand has responded to market pressures pornographic” (36). Stephen Gordon with that of Stephen illustrations are not very striking in by finding new means for publishing Filthy Material frequently pairs Dedalus in their respective books: where- appearance—it’s not just that none are in diverse voices and reaching new reader- Ulysses and Lady Chatterley as occasions as Dedalus is typical of Kunstleroman color (which undermines, for instance, ships but on the other hand has continued for famous obscenity cases, but it is “protagonists [who] reach a position to Forster’s discussion in his coda of the to publish cynical dismissals like his of equally interested in the further pairings write the novel we are reading, and so importantly identifying green cover of the the work of young humanists.) Filthy fostered by such occasions: when Forster close the gap between narrative and Olympia Press edition of Lolita); they’re Material should be read for its critical says that the concluding dot in “Ithaca” is narration” (122), the “social acceptance” not really even in vivid black and white, merits but should also be recognized as a “like the censor’s asterisk” (172), that Hall desires cannot be achieved by since the important images of print material marker of what is being most likeness may remind his reader of the one Gordon and so “requires ratification from passages appear against an obscuring gray brutally censored in contemporary criti- Forster has earlier asserted between the readers to whom [Well ] is addressed” background. Forster hasn’t been well- cism, i.e., the capacities of a generation of “Lawrence the controversial writer and (123). Forster attributes a similar reader- served editorially, either: he is capable of talented scholars who are having to fit [William] Joynson-Hicks … the prudish dependent dynamic to Bob Brown’s producing wonderfully wrought senten- themselves to material conditions as home secretary” (71). Forster in fact comically self-censoring Gems: A Cen- ces, so the fact that so many repeat nearby oppressive as those encountered by Joyce. credits his namesake, E. M. Forster, as sored Anthology, which “return[s] ob- material—with the end of a sentence noticing that reading essays by Lawrence scenity…completely to the reader” (164). repeated as the beginning of the next, or —University of Virginia and Joynson-Hicks “together highlights It is perhaps inevitable that a focus on the the same quotation often appearing twice the deeper similarities between [those] intertwining fates of media would verbatim and once paraphrased in a single WORKS CITED apparent antagonists” (72). Filthy Mater- implicitly affirm, as they seem to me but paragraph—seems an infelicity he could Douthat, Ross. “The Academic ial brings such pairs together not for the might not seem to Forster to do, models have been helped to avoid. Apocalypse.” The New York Times, 11 sake of compromise or synthesis but to of collectivity; in any case it is often I mention these not to fault OUP , Jan, 2020. give a sense of the media ecology of collectives of readers and sometimes writ- which has clearly invested in the book’s www.nytimes.com/2020/01 /11/opinio which they were a part. The discussion of ers whose authority seems most ratified appearance, or Forster, but to make note, n/Sunday/academics-humanities- Lawrence (in brief connection with Joyce) by the approach of this book, in ways that in the spirit of Forster’s analysis, of an literature-canon.html here has mainly to do with piracy and in turn highlight the material significance element of the media ecology that now Starr, G. Gabrielle and Kevin Dett- copyright. This context, as presented by of books that prompted those fleeting surrounds published literary criticism. mar. “Who Decides What’s Good and Chris (rather than E. M.) Forster, shows collectives. Filthy Material is conceptually a product What’s Bad in the Humanities?” The that “Lawrence is able to express his Forster’s study is exemplary in its of the digital age, repeatedly invoking Chronicle Review, 17 Sept., 2019. critique of … pirate editions [of his critical generosity, respectful and atten- contemporary notions of text and dis- www.chronicle.com/interactives/2019 writings] in a language that is consistent tive to the scholars who have proceeded tinctly 21 st -century media, and approach- 0917-who-decides-in-the-humanities with the rest of his work” (71), whereas him—Joyceans like Dettmar and Karen ing modernist writing through a lens Joyce’s comparable critique illustrates the Lawrence and previous materialist ana- inflected by hypertext and digital images. NOTES “antimony” described by Paul Saint- lysts of modernism and others. He has, I But everything from its expensive hard- 1. Starr and Dettmar also mention “I Amour “between a collectivist model of think, not a single nasty word to say about cover price to the shortcomings of its know it when I see it,” by the way, as a intertextuality and a possessive individ- any, which seems in keeping with the way images highlights the pressure on early near analogue for Arnoldian invocations ualist, natural-rights model of authorial he treats apparent antagonists from the career faculty in our field to continue to of “taste.” Asking someone to respond property” (65). past as constituent parts of interesting publish in print forms in spite of the interestingly to the phrase “I know it Forster is necessarily more interested environments. Filthy Material works by enormous advantages—especially in rela- when I see it” would make a pretty reli- in the latter aspect of this “antimony,” but inclusion rather than antagonism, marking tion to access to communities of ratifying able test of critical ability at almost any I found suggestions of collectivity in a new shared space but not seeking to readers of the kind Forster describes in level; Forster’s thinking about the phrase number of places in Filthy Material . T.S. displace others. Moreover, Forster has relation to Hall, but also in terms of the in terms of media might be one of the best Eliot is the one poet who gets sustained written a splendid work of criticism that, relative inexpensiveness and efficacy in yet and epitomizes what’s insightful attention here, the focus being on the way in the model of his materialist prede- transmitting images—of digital publi- about his book. music hall obscenity as processed by Eliot cessors, negotiates adeptly the mass of cation. 2. Full disclosure: I have. Forster used “reflects and creates a space of shared interpretations of the great modernists’ It would be stirring to see Forster to be a graduate student where I work, communal meaning between artist and central texts: subordinating readings of work in another medium. 2 We should all and a class of his I saw him teach once, audience” (142) of a kind that, Forster texts to material analysis of books is a of us be trying to do what we can to on Faulkner’s “The Bear,” was the very insists, is nevertheless “alien” to Eliot’s great way of staying clear of that mass. contribute or at least to respond to current best I’ve ever observed. # own writings. More hopeful in a way is That Forster asks us to think about the academic media ecology in such a way so Anna Livia Plura-lingual Patrick O’Neill macrotext.” I think Dieter Fuchs in his review of also raises a number of questions regarding some of the Trilingual Joyce: Impossible Joyce described O’Neill’s methodology best: theoretical issues in the field of translation studies such The Anna Livia Variations . “[O’Neill] fuses some of the best insights of old-school as untranslatability, self-translation, the role of University of Toronto Press, 2018. and cutting-edge criticism” (393). In Trilingual Joyce , he collaboration in these projects, and translation as an act $57.00 draws upon such expertise to provide engaging close of rewriting or re-creation—or, as he describes it, textual analysis for readers of various familiarities with “whether these renderings even qualify in the first place Reviewed by not only ALP but also translation theory. to be considered translations properly so called” (182). E. PAIGE MILLER Translations of Finnegans Wake have been the Despite such critical engagement, this is not a work of subject of much recent scholarly inquiry, but O’Neill’s is translation criticism; instead, in Trilingual Joyce , O’Neill QUESTION OFTEN RAISED regarding Joyce’s the first comparative examination of the three trans- focuses on close textual analysis of the nuances between AFinnegans Wake is whether or not it can be lations of ALP with which Joyce was immediately translations, or, “the very frequently subtle and some- translated. Yet, as more and more translators have taken involved. Although he focuses on only these three times drastic new shades of meaning and implication on this challenge, the translation of Joyce’s Wakese translations, O’Neill notes that as of 2017 there were 31 introduced by the linguistic and cultural transposition of language has proven not only a possibility but a fruitful complete or substantially completed translations of ALP in individual words and phrases” (182). site for literary criticism. In Trilingual Joyce: The Anna sixteen languages (205). What is unique about O’Neill’s Although his focus in Trilingual Joyce is not on Livia Variations , Patrick O’Neill makes translators of us approach is his emphasis on trilingualism , which larger questions of translation theory, O’Neill fore- all with his comparative study of the interrelated positions the three translations as one “macrotext” in grounds two key issues pertaining to the field particularly translation processes across three versions of Anna Livia which the texts interact with and influence each other. As relevant to the ALP translations. First, he profiles the Plurabelle (hereafter referred to as ALP ). Dedicated to O’Neill states, his central concern in Trilingual Joyce is individuals behind these translations, such as Samuel one of Joyce’s most celebrated characters, ALP would to demonstrate “the range and relationship of Joyce’s Beckett, Alfred Perón, Nino Frank, and Ettore Settanni. become the infamous Book I, Chapter 8 of Finnegans translatorial responses—and their contribution to an This background information is helpful for readers who Wake , and Joyce was involved with the translation of ALP Annalivian macrotext” (39). Such an approach parallels might not be as familiar with Joyce’s inner circles, but it into French, Italian, and Basic English—the three current research in translation studies and is a welcome also emphasizes the creative work done by translators translations that comprise O’Neill’s examination. contribution to Joyce criticism. that, unfortunately, often goes overlooked. O’Neill also Author of works such as Polyglot Joyce (2005) and Situating expert and novice readers of Joyce’s work highlights the enormous effort and commitment that Impossible Joyce (2013), O’Neill offers a fascinating alike within the publication history of ALP , O’Neill translation projects like those of ALP require: microanalysis of what he calls the “Annalivian provides an informative introduction that lays a sturdy foundation for the detailed close readings that follow. He In addition to the 1,600 hours he spent on the original PAGE 6 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020

English text of ALP , it reportedly took Joyce over Eugène Jolas, Paul L. Léon, Adrienne Monnier et  symbol for ALP . Indeed, as O’Neill rightly argues in seventeen three-hour meetings to translate the less Phillippe Soupault, en collaboration avec l’auteur” (qtd. this first chapter, these lines are more or less in “plain than seven pages of the French ALP ; it reportedly took in O’Neill 20). Though several possibilities have been English” and, though memorable and quite poetic, the Joyce and Nino Frank another fifty or so hours over a suggested, it remains unclear what left Joyce unsatisfied passage lacks some of the translatorial complexity that further twenty-four meetings to render the same lines with Beckett’s translation, and the extent to which that arises later in ALP . Even so, O’Neill identifies some into Italian (5). translation influenced Joyce’s remains a source of important nuances found in the French and Italian contention. versions. Take, for example, Beckett’s 2 and Joyce’s In doing so, O’Neill follows current directions in French renderings of the first three lines: translation studies that seek to shed more light on “however basically English” ALP ( FW 116.26) translators’ work. As translation theorist Steven G. Yao Beckett: Ô dis-moi tout d’Anna Livia! Je veux tout claims, “translation as a mode of cultural, and especially Though it maintains an English lexical structure, the savoir d’Anna Livia! literary, production has been incorrectly considered a language of the Wake , as anyone who has even once Joyce: O, dis-moi tout d’Anna Livie! Je veux tout second-order or ancillary activity, and hence unfairly opened the book can attest, is very much written in its savoir d’Anna Livie! overlooked as subordinate and even inferior to ‘original’ own Wakese. This begs the question of whether or not composition in both creative and cultural significance” the Wake could be translated into English. One attempt at Only minor differences exist between the two (209). By underscoring the translators’ roles in the an “English” translation is C.K. Ogden’s Basic English translations as O’Neill observes—most notably, the creation of these works and by demonstrating that there rendering of ALP . Ogden’s Basic English was meant to be added circumflex in Beckett’s translation and Joyce’s is no “perfect” translation, even when the author is a simplified, auxiliary language, consisting of around 850 rendering of “Livie,” with its added play on the French involved, O’Neill effectively shifts the hierarchy of how words and a scarce eighteen verbs. Immediately follow- “vie.” Both Beckett and Joyce translate the final “hear” we understand the source text in relation to its ing the publication of the French ALP in 1931, Joyce as “savoir” (to know), which O’Neill interprets as their translations. began his collaboration with Ogden on translating the “willingness as translators to abandon literal fidelity in a Within his primary focus on Joyce’s “translatorial closing pages of the book into the pared-down language. good cause” (51); in this case, the “good cause” acts in responses,” O’Neill accords special importance to those Ogden’s sparse Basic English and Joyce’s abundant and favor of the prosodic rules of the language. translation choices related to meter and rhythm in complex Wakese represent two extremes of experi- More interesting is the comparison of Joyce’s own particular. In his characteristically detailed closed mentation with the English language. Although the Basic renderings in French and Italian. Even in these early readings of the text, he argues that syllabic measurements English translation, unsurprisingly, left much to be lines, the author/self-translator demonstrates a certain and the prosodic rules of each language motivate certain desired, Joyce did not seem entirely unsatisfied with it. flamboyant “translational freedom” in Italian, as translation choices. As is often noted, the musical O’Neill’s brief readings of the Basic English translations evidenced by the final line of this sequence, “You’ll die language of Finnegans Wake is one of Joyce’s greatest seem to suggest more common ground between Joyce when you hear,” which he renders as “Roba di chiodi.” achievements, and he paid considerable attention to and Ogden than has been previously recognized. This “vigorous and idiomatic” exclamation, as O’Neill perfecting the “soundsense” of the text ( FW 121.15). It describes it, translates roughly to “incredible!” or would only make sense that Joyce would also prioritize Italian ALP “unbelievable!” and not only slightly alters the tone of the sound of the translations over any other sort of the original but also draws directly on Joyce’s years in linguistic fidelity to the source text. In Trilingual Joyce , The Italian ALP is widely considered to be the best of Trieste, as “roba di chiodi” is a characteristically by “attempting to examine every word and resonance, the three translations with which Joyce was involved, and Triestine idiomatic expression (48). In fact, Settanni later and, at least in principle, every letter in a limited range of for that reason it has attracted the most critical attention. emended the translation to read “Roba d’altro mondo!”, exemplary passages in all three languages,” O’Neill Scholars such as Rosa Maria Bollettieri Bosinelli, likely in an effort to make the lines more accessible to a makes a strong case for translational choices motivated Umberto Eco, Jacqueline Risset and Serenella Zanotti general Italian readership while still maintaining its by sound and rhythm rather than meaning. have suggested that Joyce’s Italian ALP is less a idiomaticity. Such choices demonstrate Joyce’s early O’Neill relates the long history of ALP ’s development translation than a parallel text, an authorial rewriting of expressions of the flamboyance of his Italian renderings spanning seventeen years, from the first words Joyce the original. Like the earlier French translation, the that his earlier French translation lacks. penned as early as 1923, just one year after the Italian translation is also mired in translatorial lore. Joyce As the translations progress, so too does Joyce’s publication of Ulysses , to its publication in book form in collaborated on the translation with Nino Frank; yet, translatorial freedom as author/self-translator, O’Neill 1928 to its final incorporation as the eighth chapter of when the first part was published in 1940, it made no argues. The Italian ALP continues to blossom in ways Finnegans Wake in 1939. Joyce described the premise of mention of Frank’s involvement, and instead read independent from the source text. O’Neill highlights this the chapter as “a chattering dialogue across the river by “traduzione italiana di James Joyce e Ettore Settanni” departure particularly in Chapter 3, “Steeping and two washerwomen who as night falls become a tree and a (30-31), a reversal that seems to have arisen due to the Stuping,” a sequence that is also notable for its stone. The river is named Anna Liffey” (qtd. in O’Neill necessity for censorship in Mussolini’s Italy. O’Neill “idiomatic Irish flavor of Joyce’s English” (76). In these 5). The fluvial theme is the “most widely-known describes Settanni’s role in the translation as “decidedly lines, the washerwomen have now turned their attention eccentricity” of ALP and Joyce incorporated hundreds of shadowy” (31), only offering scattered emendations to away from ALP and instead towards her husband, HCE , river names from places all over the world into the text. the completed translation rather than any significant whom they describe as “an awful old reppe,” and filthy As he once expressed it, Joyce “liked to think how some creative input. both inside and out. Ever the faithful translator, Beckett day, way off in Tibet or Somaliland, some boy or girl in These three translations—French, Basic English, and continues to provide a solid foundation for Joyce to reading that little book would be pleased to come upon Italian—are closely analyzed in the ten meticulously- emend. O’Neill elucidates this point expertly in three the name of his or her river” (qtd. in O’Neill 10). As with structured chapters of Trilingual Joyce . O’Neill examines lines in particular: most of the references throughout the Wake , the river roughly fifty excerpts from ALP and their corresponding names follow certain patterns for entering the text, and translations. The excerpts, ranging between five and ALP : I know by heart the places he likes to saale, O’Neill categorizes them in three main ways: fifteen lines of text, are quoted at the beginning of the duddurty devil! “undisguised mention,” in which the river is more or less chapter from the 1930 Faber edition of ALP (1997 Beckett’s French: Je sais par coeur les endroits qu’il easily identifiable, “overt linguistic distortion,” and the reprint). The sequence is then broken down into smaller aime à saalir, le misérable. crowd-favorite “linguistic serendipity” (9). The extent to units consisting of two or three lines in order to compare Joyce’s French: Je sais paroker les endroits qu’il aime which any reader reacts to the river references depends the translations side-by-side. This structure, though fairly à seillir, le mymyserable. on the interpretative priorities of the individual, and the segmented, successfully guides readers through the same goes for translators of ALP . As O’Neill identifies, Wakese, French, Italian, and Basic English and allows (O’Neill 70; ALP 3; FW 196.13–15) the river names, apart from their role in supporting the O’Neill to highlight the nuances between translations. chapter’s fluvial theme, can also serve as a method of Each chapter ends with a “Comments and Contexts” While Beckett translates cautiously (with his exact tracking the choices of different translators. In the French section, in which O’Neill draws conclusions based on the renderings of “Je sais par coeur” and “le misérable”), and Italian translations, for example, Joyce apparently significant translation features of the selected excerpts. Joyce makes a humorous move (“paroker”), injects HCE ’s seized every opportunity to add another river name Instead of providing a summary of every chapter, the characteristic stutter (“mymyserable”), and, as always, whenever possible. remainder of this review focuses on just four of those packs in a few more river names. This same line in chapters, ones that simultaneously illuminate O’Neill’s Joyce’s Italian translation exposes even more cultural French ALP methodology as well as some of his more noteworthy specificity. arguments related to translation theory. Of the three translations examined in Trilingual In Chapter One, “All about Anna,” O’Neill Joyce’s Italian: So ben io cosa quell macchiavuol. Joyce , the French ALP is by far the version surrounded by concentrates on the famous opening lines of ALP in which Lordo balordo! the most controversy. O’Neill describes how Joyce had Joyce sets the scene of the two washerwomen beginning begun thinking about the possibility of translating ALP to gossip about Anna Livia Plurabelle: With a significant additional reference to shortly after its appearance in book form in 1928 and, Machiavelli, Joyce departs from his original in a way that soon after, the author invited Beckett to undertake “an O demonstrates his aims, “not at translatorial reproduction experimental French translation” of the opening pages tell me all about but at authorial re-production, still continuing (13). Beckett, who had only recently arrived in Paris, Anna Livia! I want to hear all obsessively to extend unrestrainedly, creatively, if via recruited Alfred Perón to collaborate on the project, and about Anna Livia. Well, you know Anna Livia? Italian rather than English, his still continuing ‘work in the two set off on their task in 1930. After months of Yes, of course, we all know Anna Livia. Tell me progress’” (77). In other words, this sequence represents assiduous labor, Beckett and Perón presented the all. Tell me now. You’ll die when you hear. a characteristic Joycean departure from the original that manuscript to Joyce, which he ultimately rejected. Joyce extends the Italian rendering in unexpected and creative worked on his own translation with a new team that (O’Neill 40; ALP 3; FW 196.1-6) 1 ways and embodies the sense that Finnegans Wake , by included neither Beckett nor Perón; however, when the nature, is a cyclical text that invites re-creation. final version of the French translation was eventually The most immediately striking aspect of the opening Until this point, the nuances between translations published, the list of translators read “traduit de l’anglais sequence is not its linguistic innovation but rather the have been the focus of this review; but, as O’Neill par Samuel Beckett, Alfred Perron [ sic ], Ivan Goll, text’s triangular form, which Joyce designed to mirror his expertly identifies throughout Trilingual Joyce , the JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 7 network of influence and interaction is the most notable translation studies. the Basic English sequences do not add to a reading of an feature of these three translations when read In Chapters 9 and 10, O’Neill shifts the focus away “Annalivian macrotext” as much as the other two comparatively. One moment in which O’Neill makes from the French translations, as Beckett and Perón only translations do; nevertheless, O’Neill invites readers to evident the mutually beneficial nature of this trans- translated the first 193 lines of ALP , which equals think through possible connections between the lational network occurs in Chapter 6, “Phenician Rover.” approximately 22 per cent of the text. Instead, we have seemingly diametrically opposed languages of Wakese The extent of Beckett’s influence on Joyce’s translation the addition of Ogden’s Basic English, which comprises and Basic English. What’s more, his analysis of the has been debated, and O’Neill consistently characterizes the final pages and 130 lines, as well as the continued Basic English translation provides space in a way that Beckett as the more hesitant translator who provides analysis of the Italian translation. Organized similarly to leaves readers to consider how the two linguistic projects reliable translations from which Joyce later digresses; Chapters 1-8, both Chapters 9 and 10 lead with the are more related than they would at first appear. however, this hierarchy is not always the case. For excerpted lines from the 1930 ALP , followed by Ogden’s Somehow the dissonance between the richly musical instance, the Italian rendering “il gran fenicio lope de Basic English, Joyce’s French, and Joyce’s Italian. In language of the final sequence in ALP and the stripped- mara” seems to arise more from Beckett’s French “le these two chapters, O’Neill has less to comment upon down “simple sense” of its Basic English rendering grand loup de mer Phénician” than either the source text Ogden’s Basic English than he had about Beckett’s reflects the two washerwomen—two extremes of “Eng- or Joyce’s French, in which he does not adopt Beckett’s French translation, and understandably so considering the lish”— who become further separated and can only shout rendering (109-112). Through this example, O’Neill intentional flattening effect of Ogden’s linguistic at each other from opposite banks of a widening river. identifies how the translations function as a macro- experimentation. O’Neill still manages to identify and In conclusion, O’Neill carefully guides readers across textual network. Joyce sometimes clearly referenced explicate a few of the more missed absences in the Basic the banks of these three translations through his deft Beckett’s French when translating into Italian, rather English translation. In particular, he describes the final close textual analysis. His trilingual study of ALP is a than relying on the ALP source text, as if to say in hind- lines of the ALP as “marked by a strongly dactylic delightfully serendipitous reading of Joyce’s  symbol, sight that Beckett had improved the language through his underlying rhythm, introduced already in its opening with the French, Italian, and Basic English translations as translation. words, by striking effects of rhyme and assonance, and intersecting waterways whose delta simultaneously opens The issue of influence across these texts receives by a sense of growing darkness, blurred outlines, to invite further interpretations and translations. As significant attention not only in Chapter 6 but also inability to hear or see or communication properly, and O’Neill expertly claims, “there are as many Finnegans throughout Trilingual Joyce . O’Neill recognizes that the general confusion and disintegration” (170). For ex- Wake and ALP s as there are readings of Finnegans Wake order in which the translations were produced might have ample, take the final powerful lines of ALP : and ALP —most obviously so in the case of those readers influenced Joyce as both an author and translator. While who are also translators” (200). Any translation is a Joyce was working with his team on the French Tell me, tell me, tell me, elm! Night night! Tell me fountain of intertextual richness that extends the source translation, he was also in the midst of composing Work tale of stem or stone. Beside the rivering waters of, text and alters how readers might understand it; likewise, in Progress , which would later become Finnegans Wake ; hitherandthithering waters of. Night! Trilingual Joyce revises our approach to ALP . O’Neill’s furthermore, he was becoming increasingly interested in study is an exemplary model of Joyce criticism that is as foreign languages as well as translation practice as (O’Neill 178; ALP 35; cf. FW 216.03-5 “Telmetale”) pleasurable to read as it is challenging and thought- O’Neill reminds us, citing Daniel Ferrer and Jacques provoking. # Aubert (17). By the time he began the Italian translation The “striking effects of rhyme and assonance” —University of Miami project with Nino Frank, however, Joyce had already evaporate entirely in Basic English, which Ogden renders completed Finnegans Wake , which might have given him as: NOTES the distance necessary for more authorial freedom than 1. For ease of reference, in-text parenthetical citations he had had in the French translation. Also, the extent of Say it, say it, say it, tree! Night night! The story say following ALP passages include the page numbers for Beckett’s influence on Joyce’s translation is a point of of stem or stone. By the side of the river waters of, O’Neill as well as the corresponding pages in ALP (cited contention. O’Neill takes a moderate standpoint on the this way and that way waters of. Night! from the 1997 reprint of the 1930 Faber edition of Anna issue, arguing neither that Joyce entirely disregarded Livia Plurabelle ) and Finnegans Wake . Beckett’s translation nor that Beckett was a prime Much of the richness of these final lines is lost in 2. O’Neill refers to Beckett and Perón’s translation influence. Instead, through this microanalysis, O’Neill Ogden’s translation. First, one of the more interesting simply as “Beckett’s French.” I have maintained his identifies significant moments in the text where Joyce translational choices is Ogden’s rendering of “tell me” to choice here for consistency. retained Beckett’s translation choices and others where “say it,” which follows the restrictive list of the only he extended them. Unlike his French rendering, Joyce’s eighteen permitted verbs in Basic English. “Elm” is also WORKS CITED Italian translation in collaboration with Nino Frank was replaced by the more general “tree.” These two choices Fuchs, Dieter. “Impossible Joyce: Finnegans Wakes the first of its kind. It was only later that Settanni pro- combined lose the original alliteration “tell me, elm.” by Patrick O'Neill (Review).” Partial Answers , vol. 15, vided the emendations, most of which tone down and Furthermore, the “rivering” and “hitherandthithering” no. 2, 2017, pp. 391-393. censor Joyce’s often-extravagant translations. In an rhyme of the final line, which O’Neill points out is “one Joyce, James. Anna Livia Plurabelle . 1930. Faber and argument reductio ad absurdum , if Joyce hadn’t had of the most musical in the original,” is also lost when Faber, 1997. Beckett’s translation, maybe his French translation would substituted by the rather lackluster “this way and that ——. Finnegans Wake . Viking Press: Penguin have turned out differently, or perhaps if the order had way” (178). And, of course, not only in this particular Books, 1976. been reversed, with the Italian translation before the passage but also throughout the Basic English trans- O'Neill, Patrick. Impossible Joyce: Finnegans Wakes . French, his French would be more flamboyant. It is lation, Ogden sacrifices most if not all of the river University of Toronto Press, 2013. impossible to tell, and an argument that O’Neill does not references. Yao, Steven G.. “Translation Studies and purport to make, but one that this reviewer finds The Basic English translation does not receive as Modernism.” A Handbook of Modernism Studies , John welcome to discussions about Finnegans Wake not only much attention in O’Neill’s analysis, and if one piece of Wiley and Sons, 2013, pp. 209-223. amongst Joyceans but also in the wider field of criticism had to be lodged at this work, it would be that

SUBSCRIPTIONS: JAMES JOYCE LITERARY SUPPLEMENT Yearly: $16.00 individuals (U.S. only), $18.00 individuals outside U.S. and all libraries. Mail to VOLUME 34, NUMBER 1, SPRING 2020 James Joyce Literary Supplement, Department of English, PO Box 248145, Coral Gables FL Editors 33124. Subscriptions may also be purchased or renewed online at PATRICK A. MCCARTHY 1999-present http://www.as.miami.edu/english/jjls/order ZACK BOWEN 1994-2010 BERNARD BENSTOCK 1986-1994 NAME Managing Editor RUTH TREGO ADDRESS Assistant Editor ALEXANDRIA MORGAN CITY/STATE/ZIP Cooperating Editors MORRIS BEJA # CLAIRE CULLETON # MICHAEL PATRICK GILLESPIE # F RITZ SENN The James Joyce Literary Supplement is an international scholarly journal dedicated to reviewing all books about or related to James Joyce and Joyce-related subjects, such as Irish literature and Modernism. JJLS began publication in May 1987, under the late Bernard Benstock. Published twice a year, in May and December, JJLS is currently edited by Patrick A. McCarthy; managing editor, Ruth Trego; assistant editor, Alexandria Morgan; with aid from Cooperating Editors Morris Beja, Claire Culleton, Michael Patrick Gillespie, and Fritz Senn. Mountains of credit also go to our production designer, Robert Lowery, of the Irish Literary Supplement, who planted the JJLS seed in Berni's head long, long ago. You may contact the JJLS offices at: The James Joyce Literary Supplement PO Box 248145 Coral Gables, FL 33124 305-284-3140 [email protected]

Advertising rate card available. Yearly subscriptions are: $16.00 individual(U.S.), $18.00 institutional inside the U.S.; $18 individual and $20 institutional outside the U.S. E-mail address: [email protected] ISSN: 0899-3114 http://www.as.miami.edu/english/jjls/jjls.htm Indexed in the American Humanities Index (AHI) PAGE 8 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020

TITLE : The Porters are very nice people, are they not? TITLE : Pool the begg and pass the kish for Oil on canvas crawsake “Tell me something. The Porters, so Oil on canvas to speak, after their shadowstealers in the newsbaggers, are very nice “Tilling a teel of a tum, telling a toll people, are theynot? Very, all of a teary turty Taubling. Grace fourlike tellt. And on this wise, Mr before Glutton. For what we are, Porter (Bartholomew, heavy man, gifs a gross if we are, about to astern, mackerel shirt, hayamatt believe. So pool the begg and pass peruke) is an excellent forefather the kish for crawsake. Omen.” and Mrs Porter (leading lady, a poopahead, gaffneysaffron (FW 7: 5-8) nightdress, iszoppy chepelure) is a Dear dirty Dublin, Joyce physically left her, but took most kindhearted messmother. A so her with him in his heart. He had this love-hate united family pateramater is not relationship with her. The Dublin of his time was suffocating, like an austere parent who frowned on his more existing on papel or off of it.” creativity. Poolbeg and Kish, two lighthouses that Joyce would have passed leaving Dublin, are now dwarfed (FW 560: 22-28) by the Poolbeg chimneys. In 2014, when the ESB proposed demolishing the The Porters are HCE, Anna Livia, and their family. obsolete chimneys, there was public outcry. The much-loved landmarks had to stay. Here, they are modelled on the Romanesque sculptures of Gislebertus from the Cathedral of Saint Lazarus (continuing the Wakean theme of resurrection) of Autun. Gislebertus’ sculptures for the Cathedral link Old and New Testament in much the same way that Joyce links various moments in history and mythology throughout the wake. Anna Livia is redolent of Eve as temptress; Joyce frequently associates ALP with apples in the text. HCE, who bears a remarkable visual similarity in this painting to Joyce himself, may be sneaking a letter into Shaun’s bag, or he may be removing it.

Title: O Tell me All

Oil on canvas “O tell me all about Anna Livia! I want to hear all about Anna Livia. Well, you know Anna Livia? Yes, of course, we all know Anna Livia. Tell me all. Tell me now. You’ll die when you hear.”

(FW 196: 1-6)

Chapter eight of Finnegans Wake begins with two washerwomen gossiping about Anna Livia and her husband HCE. They tantalizingly refer to his crime, but still leave us unsure of its nature. The text of the chapter is made up of many river names from all over the world woven into the dialogue of the two women and of Anna Livia herself. The chapter opens with “O tell me all about Anna Livia!”, with the type set in the form of a delta. Reading it aloud, one can hear echoes of the young babbling river at its source, slowing down as the chapter progresses until it flows out to the sea as an old woman. The painting is inspired by the Anna Livia keystone head on the façade of the Tropical Fruit Company warehouse on Sir These illustrations were done by Carol Wade as part of her John Rogerson’s Quay in Dublin. She is witness to the history of “Art of the Wake” series. As her website for the project explains, “Joyce has created a wonderful tapestry of Dublin City from its inception, and with a look of defiance she historical, social, and cultural references in Finnegans Wake . knows that she will be reborn following the end of her journey The Art of the Wake seeks to weave some of these references at the Alexander Basin. The large O is the opening word of into illustrations with the same playful witticism that Joyce the chapter and a symbol of the circular life of the Liffey. If was renowned for.” More information about Carol’s project appears in the form of a tree ring to represent how can be found at artofthewake.com . dendrochronology marks time. Within the circle, text from the opening of the chapter spirals into a vortex. JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 9 Modernist Reinventions of Community Caroline Pollentier and the ‘rightless’ in the first half of the cacodylate, in light of network theory. as exposure to “the music of difference Sarah Wilson, Editors. twentieth century: people sundered from Dadaist conceptions of “avant-garde and potentially creative misunder- their homes [who], … ‘thrown out of one praxis as a ludic and radical community standings” and “common talk she could Modernist Communities of these tightly organized closed commu- formation,” Gamel concludes, extend the use and appropriate” in translations or across Cultures and Media. nities,’ find themselves ‘thrown out of the impact of Dadaist practice. Dadaist play, transliterations (112–13). In this way, Gainesville: University Press of Florida, family of nations altogether’” (5–6). as Gamel elucidates it, bespeaks “a desire Stein “could also interiorize the whole 2019. Modernism’s provisional, experiential, to compel community to action: to laugh, structure of exchange, thus becoming $90.00 and transitory modes of community respond, engage, and reunite” (66). herself a society of discourse somehow,” appear, in these essays, as “plural forms Owing to their playful praxis, Gamel with her writerly “voice” functioning as Reviewed by MARGOT BACKUS of participation—that is, as performative argues, “Dada group pictures … have the “both absolute signature and complete and G RETE NORQUIST positions and ecosystems of multiplicity,” power to connect and create radical ‘sameness’” in works like The Auto- allowing for diverse collective sites of communities across boundaries of gender, biography of Alice B. Toklas and Every- WING TO THE WAYS in which belonging (15). In them, the reader is race, and nation” (66). body’s Autobiography (113; 119). Ocommunity, as a category, touches afforded opportunities to see the “perfor- The final essay in this section is While Savinel explores Stein’s on a vast range of variables, each of mativity of games, discourse, music, Hélène Aji’s “The Common Pedagogy of deliberate crafting of voice through her which, depending on their placement with dance, and new media” as productive and the Uncommon: Building Aesthetic experiences of community, Benoît Tadié respect to a given community, may be resourceful responses to the absolute and Community from the Ezuniversity to contends in “President Wilson, the War, subject to rupture or instead remain expansionist conceptions of community Black Mountain College and Beyond,” and the Formation of Modernist Dissent” secured in their cohesion, Caroline that precipitated the First World War (15). which traces the lineage of modernist that modernist contemporaries as varied Pollentier and Sarah Wilson have chosen Divided into four post-Introduction pedagogy that extended from Ezra Pound as John Maynard Keynes, William an unusually fertile subject in their edited sections, the volume opens with three through his disciple Charles Olson and Bayard Hale, Sigmund Freud, and collection of essays on modernist commu- essays under the rubric “Collective others affiliated with Black Mountain Dashiell Hammett created a surprisingly nities. The editors and their contributors Experiments.” The first of these, Jeremy College. Aji argues that these members of unified discourse community as they have made outstanding use of commu- Braddock’s “The Scandal of a Black the avant-garde increasingly linked teach- responded to President Woodrow Wil- nity’s multivalence as it intersects with Ulysses: Wallace Thurmon, Richard ing with the forging of community in son’s political rhetoric, consistently criti- modernism, particularly as a close inspec- Bruce Nugent, and the Harlem Reception order to foster innovation, “energizing cizing his paternalism, his rhetorical tion of this intersection allows for a series of Joyce,” explores fascinating new vistas individual audacity with collective enter- resemblances to his Presbyterian-minister of detailed and theoretically provocative in an area that saw its first surge in prise,” a strategy that Aji calls “common father, and his habitual division of “words discussions of the purported and manifest critical popularity in the early nineties, experiments of the uncommon” (69). This and facts” (126). Tadié argues that “the ruptures from which definitions of when comparative studies of the Irish continuity of practice, however, is under- hostility that President Wilson’s politics, modernism have sprung. Revival and the Harlem Renaissance pro- laid by widely diverging political moti- personality, and language elicited” thus Starting with Virginia Woolf and liferated in an expanding modernist vations: Pound’s pedagogy reflected his “shaped the ethos of modernism, bringing Jean-Luc Nancy’s invocation of “the studies. Braddock’s essay brings to this fascist valuing of “the absolute genius of editors, artists, and authors into what we idiosyncratic space of the train carriage as comparative optic the benefit of decades a unique leader,” in which the teacher can today see as a common front” a . . . metonymy for the modernist of comparative and global modernist serves as the textbook (72; 74), while the (122–23). period,” defined in contrast to the nine- studies, and a more granular understand- educators at Black Mountain College, by The collection’s third section, teenth-century’s chosen, utopian ing of the Harlem Renaissance itself than contrast, favored a “participatory, pro- “Cosmopolitan Communities,” includes “communitarianisms,” Pollentier and Wil- was available in the first heyday of cessual, and provisional” model of learn- three essays considering modernist son set out, in their capacious, densely Revival/Renaissance research projects. ing, freely crossing the boundaries be- cosmopolitan community formation from woven introduction, to complicate in Braddock’s essay superbly explicates, by tween the arts (85). distinctly different angles. In “The ‘Per- myriad ways the purported “total rupture” way of allusions to and incorporation of The collection’s second section, petual Immunity’ of the Word: Joyce and between modernism and prior Victorian Ulysses in two romans a clef of the “Communal Identities,” turns from World Peace,” Vassiliki Kolocotroni perspectives (1–2). In so doing, they Harlem Renaissance, the nuanced dis- collective experimentation to individuals’ “vividly displays Joyce wrestling with the produce new ruptures while disputing the tinctions that existed between two genera- understandings of and/or impacts on kind of cosmopolitan communities” that significance of others, beginning with the tions of Harlem Renaissance writers and modernist “formations of community” nonhegemonic languages make possible argument that modernism, “if conceived artists, who “express allegiances for (16). In “Virginia Woolf and Cohabiting (17). The essay examines two idiosyn- of as a historical period, . . . entails” different phases of the [Irish Revival]” Communities,” Melba Cuddy-Keane cratic moments in Joyce’s career, un- something more like a shift than a (42). As Braddock argues, the younger adroitly challenges current scholarly con- packing the complexities of linguist C.K. rupture, occurring at “the end of the generation associated with Wallace Thur- sensus on Woolf’s thinking about Ogden’s 1932 “‘translation’ of ... four ... nineteenth century” (2). mon and Richard Bruce Nugent “prized communal relationship and also extends pages of ‘Anna Livia’” into “Basic Implicit in the twentieth-century dis- Joyce’s successful autonomization,” her own earlier analyses of Woolf’s English,” an intended lingua franca “built cussions and debates about community while the more established authors narrative constructions. She demonstrates on a vocabulary of 850 words,” and that Pollentier and Wilson deem to have anthologized in the New Negro , including that even Woolf’s early writing, not just Joyce’s 1919 championing of a pamphlet the greatest bearing on conceptions of the anthology’s influential editor, Alain her work of the 1930s, displays a pro- by Antoine Chalas calling on “the great modernist community is the distinction Locke, “identified with the productive pensity for “we-thinking” (89). In re- powers” to “guarantee the perpetual they posit between “modernist employ- dissensions organized around the example sponse to the “conflicting pressures on immunity of Greece” in recognition of ments of community,” which are fre- of Synge” (42). Braddock’s essay sheds community [that] plagued the early twen- Greece’s historical, cultural, and, as quently “diffuse and evanescent,” and the light on the complex interrelations among tieth-century world,” which both “con- Chalas believed, gravitational centrality “sometimes totalizing, repressive . . . defining writers and editors of the Harlem spired to split communities apart” and to the world as a whole (150). The essay forms of community (national, ethnic, Renaissance. It should also be of interest “sought to impose unquestioning unifi- offers tantalizing examples of the kind of religious, military) that were so robust in to Joyceans, as Braddock’s readings of cation,” Woolf formulates a model of work that remains to be done by scholars Victorian, and later, fascistic renderings” Thurmon’s and Nugent’s writing demon- “collective cohabiting,” which Cuddy- prepared to meet the “challenge posed by (2). Thus in the introduction the editors strate that these authors understood Keane compares to current theories of the multilingualism of [Joyce] and [his] are exploring modes of community that, Joyce’s novel in ways that differ from and distributed cognition and delineates as work” (154). In “Pueblo Cosmopoli- through their very contingency, afforded also excel the understanding evinced by “process-oriented, and thus changing tanism: Modernism and Tribal Ceremon- modes of “protection” against, or insu- Ulysses ’ greatest modernist champions, rather than stable; de-centered, and thus ial Dance,” Geneva M. Gano considers lation from, the nineteenth century’s Ezra Pound and T.S. Eliot. polyphonic; questioning and contra- another complex encounter between highly structured, boundaried national, The other two essays in this section dictory, and thus fragile; inclusive, even “Western European-defined modernism” racial and sectarian communities, and the share an interest in modes of performance to the point of admitting the inevitability and a nonhegemonic culture (159). Gano expansionist imperial nation-states to that allow for simultaneous collective of violence and aggression, and thus not examines the place of Pueblo dance in the which they gave rise (2). In this approach transgression and bonding. Irene Gamel’s utopian, not easy” (92; 94). arts colonies of Santa Fe and Taos, New to modernism, in terms of community, it “Avant-Garde Play: Building Radical Where Cuddy-Keane is concerned Mexico, between the wars, identifying “a might be said that the rupture that defines Community through Games,” starts with a primarily with how Woolf’s ideas about modernist idiom that could be described global modernism both preceded and Man Ray photograph of the Dada group community operate within her writing, as translocal” or as drawing “simul- precipitated modernism, which here re- in front of Le Jockey recording a 1923 Christine Savinel looks in “Gertrude taneously from cosmopolitan ideas about sponds to Victorian absolutism repara- visit to Paris by The Little Review ’s Stein’s Autobiographical Communities” art and community and from particular, tively, to employ Eve Sedgwick’s term, editors, Margaret Anderson and Jane at how Stein strategically positioned well-established, community-based cus- through a variety of momentary or trans- 1 Heap. Gamel examines numerous details herself at two key intersections of artistic toms and relationships” (160). Gano actional webs and networks (xx). This of individuals’ facial expressions, ges- and linguistic community that could serve describes internal debates over the signifi- positioning of modernist communities as tures, and direction of gaze whereby the her writing. To start with, Stein mined the cance of Pueblo dance, noting that such employing ephemeral patterns of cultural photograph “performatively and playfully multi-media avant-garde circles that figures as Harriet Monroe and D. H. exchange to hold open spaces outside of stages the dynamics of the group as a gathered around her for “their differential Lawrence actively argued against taking modernity’s destructive, totalizing narra- communal assertion of the avant-garde potentialities in language, discourse, and Pueblo dance and other native arts as tives is particularly explicit in Pollentier periodical’s international Dada phase” form” (119). Additionally, by living in mere “primitivist ‘inspiration’” or and Wilson’s discussion of Hannah (46). Gamel examines a series of similar France, Stein gleaned several benefits for regarding them as cultural objects in need Arendt’s writing on “imperialism in . . . instances of Dadaist play, including a her creative play with language’s of preservation, instead advocating for The Origins of Totalitarianism, [in which] series of Dada group portraits, and materiality: “an enhanced consciousness them as “living, participatory, complex Arendt tracks the plight of what she calls Picabia’s collectively produced L’Oeil of being alone with her language,” as well art form[s]” (160; 162). Gano concludes PAGE 10 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 that by “attending to localized articu- “contact zone” that made possible cross- barrassingly simplistic, and thus seem- media has so “often focuse[d] on the lations of modernism” we can “substan- class and cross-cultural friendship , in the ingly unworthy of critical analysis. In this production side of radio programming, tially shif[t] our understanding of aesthe- sense that Leela Gandhi describes, as the elegant investigation of a socially and especially in its metropolitan nexus,” tic, social, and political impulses that “lost trope of anti-colonial thought, the politically critical moment in British Berman is able to do an incredible undergird modernist activity more broad- means of transforming the personal into cultural history, however, Cohen theo- amount of theoretical heavy lifting in this ly” (174–75). Here, Gano showcases both the political” (191). rizes “the catch word as shibboleth single essay by obeying her own first the significance and the necessity of this The collection’s final section, rendered performative and continuous,” precept: “focus on the listener” (257). shift: “Native American artists and dan- “Communities across the New Media,” as the means by which a certain radio Merely to fully take in that AIR ’s cers . . . once seen almost exclusively as brings together four essays that demon- broadcast (Tommy Handley’s It’s That operations “involve[d] multiple sites of passive objects of the primitivist imagi- strate how film and radio, rather than Man Again, or ITMA ) crucially extended transmission, where metropolitan nary . . . may be resituated as active and merely eroding earlier forms of commu- radio’s distinctive capacity for sociability broadcasts re-transmitted in the provinces engaged participants within an actually nity, created new forms of “communal (236). By attentively revisiting the BBC ’s mingled with other local waves of radio existing cosmopolitan modernist net- experience” (18). Laura Marcus’s “Film- early struggles to meet the challenges sound, as well as multiple modes of work” (174). Going and Film-Spectatorship: Asso- posed by the rise of fascism and the listening; where the audience might hear An especially elegant and tightly ciation and Solitude” opens the section outbreak of war, Cohen delineates a series moments of an English language argued essay, Supriya Chaudhuri’s “Mod- with a survey of cinematic studies carried of stumbles that occurred as the proudly broadcast in the midst of several hours of ernist Literary Communities in 1930s out by sociologists and ethnographers in stodgy Corporation strove to unbend in Hindi or Bengali programming” is, as Calcutta,” could serve as a model for the early twentieth century. Highlighting ways that would “acknowledge British Berman points out, to “be compelled to managing the daunting number of vari- the work of figures such as Hanns Sachs, multiplicity” (236). Through the distinc- move beyond the model of colonial radio ables that come under the purview of Emilie Altenloh, Dorothy Richardson, tive comic talents of Tommy Handley, as a one-way transmission from the modernist scholars theorizing community and J. P. Mayer, Marcus traces the ITMA succeeded in “unbending” where metropole” (257). Having established the at simultaneously local and transnational shuttling of their theories back and forth previous efforts had failed, by producing multifarious intentions and voices that levels, while attending to an array of im- between the collective film audience’s a “nonspace, an elastic heterotopia that shaped BBC broadcasts destined for portant individuals, collectives, dynamics, shared, uniquely modern desires and the somehow remained intact throughout the colonial audiences and having described and the significance of (inevitably individual film viewer’s dreamlike, highly comedian’s successive transformations,” the context of their programming and shifting) class, national, and political interior experiences (197; 212). in which “intensely topical references” reception, Berman goes on to examine alliances, and still supplying a schema The remaining essays turn to the could be “reframed, punned on, decon- one case in point: George Orwell’s Voice sufficient to make sense of it all. social and political effects of radio textualized, denatured” and where, thus, literary magazine broadcast, “in which the Chaudhuri begins by conceding that, as programming, beginning with Claire “the immediate was . . . rendered tem- program moved from Eliot’s voicings in Miranda Joseph argues, “‘capitalism and, Davison’s “Performing Communities: porarily benign” (240; 246). This essay ‘Prufrock’ to Una Marson’s Jamaican more generally, modernity depend on and Sound Alliances, Modernist Aerialities, treads a graceful line between critiquing tones in ‘Banjo Boy,’ read by herself” generate the discourse of community to and the BBC Home Service, 1940–1945.” the nation-state’s use of modernist (265). Berman concludes her essay, and legitimate hierarchies’” (177). Chaudhuri Davison compellingly identifies and devices to build a new “liberal con- the collection, with a series of reflections never loses sight of the hierarchizing evokes the “federating, connective pow- sensus,” and evincing legitimate appre- on this broadcast. She asks how we forces Joseph describes, yet she carefully ers of broadcast music,” particularly as ciation of the role played by modernist “might begin to understand the poetic traces out a countervailing truth: in the used in art-documentaries and “music- decontextualization in the engendering of relations created by this broadcast as face of global modernity’s very character, and-voice epics” (216). These genres an “organic voluntary culture that something other than the arrow of as the “working out of capital’s social constitute an integral part of aerial yield[ed] a cross-class war-time con- imperial culture directed at the colony,” relations,” in colonial societies “writing modernism , which Davison defines as “a sensus” in the United Kingdom (256; and invites us to “imagine (listening to) communities served as sites of resistance transnational art of sound that brought 239). Marson’s voice reading her own poem and enabled friendships across the ‘fantastic transmigrations,’ ‘aural mosa- Jessica Berman’s “Re-routing among the multiplicity of other voices, colonial divide” (177). Several of this ics,’ and climactically layered rhythms Community: Colonial Broadcasting and the various vernaculars, the assortment of essay’s sub-topics include the error of into the home place” (215). Within this the Aesthetics of Relation” picks up, in a rhythms and sounds on the AIR airwaves” treating “modernist literary communities medium, BBC programming countered sense, where “Catchphrase Community” (267). By listening well to “these radio in Calcutta, Alexandria, or Buenos Aires nationalistic sentiments and fostered high- lets off, exploring the further expansion of broadcasts from the thirties and forties,” as peripheral to the core modernist er regard for Britain’s wartime allies, the BBC through its AIR (All India Radio) Berman hazards, we might find that they projects developed in Europe and especially Russia—through, for example, broadcasts, which, for Berman, are “present the faint but growing sound of America”; the importance of regular a series on the Ballets Russes and “important sites where we can see what the ‘cultural re-routing’ that was to come group meetings and “an energetic pro- adaptations of War and Peace and the Edward Glissant calls the ‘multiple and is still emerging, altering the gram of translation” for “the beginnings Eisenstein-Prokofiev film Alexander poetics of the world’ come into relation” trajectory of center-periphery power in an of Bengali literary modernism”; and the Nevsky. (253). As Berman argues, much can be explosion of new relations” (267). # complex inside/outside position of Tagore In “Catchphrase Community: ITMA learned through a more rigorous focus on —University of Houston relative to Bengali modernism (179; 184). and Radiogenic Morale,” Debra Rae “the BBC equivalent in India, called All NOTES Chaudhuri also offers fascinating insights Cohen zeroes in on the catchphrase, a India Radio (AIR ),” “an extraordinarily 1. Eve Kosofsky Sedgwick, “Paranoid concerning modernist cultural production speech act peculiar to the performing arts successful, wide-ranging, culturally and Reading and Reparative Reading,” in in relation to mountaineers, policing, (with particular significance to radio) that linguistically diverse operation that Novel Gazing: Queer Readings in Fiction, spies, and satire (both written and is usually critically snubbed. Like the pun deserves much more scholarly attention” ed. Eve Kosofsky Sedgwick, Durham: spontaneously performed) (186-89). Ulti- as rhetorical device, the catchphrase, as (257). Because media studies focusing on Duke University Press, 1997, pp. 25-28. mately, Chaudhuri’s essay stands as an speech act, is deceptively, even em- early and mid-twentieth century British homage to the Partichay circle as a

A Significant English-Language Survey of Irish Environmental Literature Going Greener Still misspelled therein), Michael Longley, and inist poet, Paula Meehan, who so nimbly strate that he recognizes the political and Tim Wenzell Michael Viney. Significant works are balances the admixture of the urban and cultural necessity of eco- and geo-criti- Woven Shades of Green: An Anthology of “Deer’s Cry or St. Patrick’s Breastplate,” the natural, particularly in her work from cism as necessary endeavors in Ireland Irish Nature Literature. an excerpt from Emily Lawless’s Painting Rain. The genres of the anthol- and in Irish Studies today. This volume is Lewisburg: Bucknell University Press, Hurrish: A Study , Katharine Tynan’s ogy encompass poetry, drama, and clearly intended to give scholars in the 2019. “The Wind That Shakes the Barley,” a excerpts from nonfiction and novels, but field a place to begin, to expand their $29.95 selection from John Millington Synge’s alas, short stories are in short supply, nary historical period(s) of focus, and/or to The Aran Islands, Seamus Heaney’s a one to be found. function as a primary anthology for an Reviewed by “Death of a Naturalist” and “St. Kevin Despite this pitiable absence, Woven introductory course on Ireland and literary CHRISTIN M. MULLIGAN and the Blackbird,” Derek Mahon’s “The Shades of Green still showcases a re- environments, for which it is reasonably Mayo Tao,” and an excerpt from Tim markable array of Irish flora and fauna, in priced. OVEN SHADES of Green: An An- Robinson’s essential Connemara: Listen- addition to topographies or landscapes Bearing that in mind, I would Wthology of Irish Nature Literature ing to the Wind . Among the less obvious representing each of the four provinces, recommend Woven Shades of Green for shows the great variety and depth of interesting choices: William Allingham’s while permitting ample room for what any of these purposes; it could even be editor Tim Wenzell’s knowledge and “Among the Heather,” Synge’s nature The Crane Bag (1981) famously called suitable, on account of its breadth, for the insight on the topic across history. He poetry, Yeats’s “The Fairy Pedant” and “the fifth province” of the imagination casual reader with an interest in reading possesses a keen sense for choosing not “The Two Trees,” John Montague’s “The grounded in politics, religion, folklore, and learning about the literature and only the key authors and texts, but also Wild Dog Rose,” plus valuable poems and mythology. In this time of eco- history of the Irish landscape. However, I often underappreciated writers or lesser from the corpora of Moya Cannon and systemic and climate crisis, John Wilson would be greatly remiss not to add the known works by famous ones. Arranged Rosemarie Rowley, both of whom often Foster’s contention in the “Foreword” that considerable caveat that I am immensely in the volume chronologically, notable do not receive enough critical attention we have over-politicized the environment disappointed by the lack of Irish in the authors include St. Columcille of Iona, from scholars of contemporary poetry. at the expense of the beauty or enjoy- volume, other than a cúpla focal [few (early) William Butler Yeats, James Perhaps also missing was the more ableness of nature for nature’s sake is words] of traditional invocation of St. Clarence Mangan, George Moore, Patrick acclaimed—as the former Ireland Chair of patently absurd. In contrast, Wenzell’s Bríd in Cannon’s aptly-titled “Primavera” Kavanagh (whose surname, alas, is Poetry—yet still under-anthologized fem- preface and section introductions demon- that are translated naturally as the poem’s JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 11 conclusion (216-17). Facing-page, inter- able room for the Irish language, which, surprise in an anthology that included environmental organizations in Ireland linear, or even following translations have much like Irish nature writing, has also sections and thoughtful introductions with will ideally serve to heighten activism and long been standard in the best anthologies been overlooked, misconstrued, and mar- informative headnotes for each author on awareness of conservation and pre- from An Duanaire, 1600-1900: Poems of ginalized (and not merely recently). Early Irish Nature Writing, Nature servation issues to sustain what Kavanagh the Dispossessed to Calling Cards: Ten Specifically, Woven Shades of Green Writing and the Changing Landscape, and aptly describes in “October” as “the Younger Irish Poets , and it truly deprives could do perhaps with fewer works by Æ Nature and the Literary Revival, was the prayering that the earth offers” (198), a bilingual reader or instructor not to have and Yeats, and I would rather see final section on The Literature of Irish which is almost fully on display in this them for comparison. Furthermore, the Anonymous Early Irish Nature Poetry Naturalists, non-fiction that, as Wenzell volume. # use of Heaney’s translation of the Buile actually appearing across from its Early observes, would not typically appear —Philadelphia, PA Suibhne (1983), while widely-known, Irish source texts. 1 Relevant here and to alongside more traditional conceptions of functions as Mangan notably evaluates and my earlier concern about the absence “literature”—but these authors have been NOTES his own “translations” in his Collected of short stories, ideally one could have pivotal in the development of contem- 1. By that logic, one could argue that the Poems: as “more or less free.” As I have been by Máirtín Ó Cadhain, who writes porary non-fiction nature writing as a even earlier medieval texts like “Deer’s pointed out elsewhere regarding Heaney’s masterfully about coastal Connemara, vibrant artistic form in and of itself in Cry or St. Patrick’s Breastplate” should translations generally, this also serves in such as the lyrical “An Taoille Tuille ” Ireland. Their work is part of the public have facing, interlinear, or following this instance, unfortunately, to deny the [Floodtide] from An Braon Brogach [The discourse and the national conversation, Latin—why not? What’s good for the reader much of the fidelity to and many of Dirty Drop, i.e. from the still], especially and to fully comprehend the context of goose is good for the gander, and it’s not the nuances of the original. since it was later translated in by Eoghan what is at stake, it needs to be read now as if these Latin texts are the length of As I have already noted, Wenzell’s Ó Tuairisc in the collection of Ó Cad- more than ever. In that same spirit, the Virgil’s Aeneid. selections are indeed mostly compelling, hain’s work, The Road to Brightcity . appendix of Woven Shades of Green on but he could have made vital and equit- Nevertheless, the most welcome

Scandinavian-Sounding Fish, Chocolate Utopias, and Conjured Eggs Modernist Food and Its Performances Jessica Martell, Adam Fajardo, volt,” and “Imagination and Exchange,” presses. The volume speaks to Joyceans suggested across chapters remain only and Philip Keel Geheber, are skillfully edited. For example, the last in three chapters on Dubliners , Ulysses , implied, and tensions may also be essay of one section often seems to and Finnegans Wake , respectively, which suggestive, but one would dearly like to Editors. construct a bridge to the next. The fourth amount to something fewer than fifty hear the authors discuss them in com- Modernism and Food Studies: Politics, section ends with an essay by Brooke pages out of the three hundred plus of the pany. There are occasional conference Aesthetics, and the Avant-Garde. Stanley on food regimes in Tarashankar collection. roundtables, of course, but I wonder if the Gainesville: University Press of Florida, Bandyopadhyay’s The Tale of Hansuli Many of the essays beg to be read discipline will ever have a model where 2019. Turn (as translated by Ben Conisbee together. In David A. Davis’ “Modern- authors contributing to collections read $85.00 Baer) which invites us to read the novel ism, Primitivism, and Food in James each other’s work at some draft stage, and as unsettling the imagined place of Agee’s Cotton Tenants ,” the inefficacy of incorporate discussions of meeting points Reviewed by modernism in global literature even as it Alabama sharecroppers’ food poverty to and tensions into their final work? Giles JUDITH PALTIN reimagines the food-centered exchanges arouse resistance to the industrialization Whiteley says that “from the outset, of Bengal, and so it creates conceptual of modern food production invites com- aestheticism was founded on a culinary LICE B. TOKLAS opens her cook- links to the next section on “Imagination parison with Sergei Eisenstein’s sailors analogy” wherein “[f]ood became a limit Abook with this item of cultural and Exchange.” aboard the Potemkin who point that was constantly being put to the persuasion aimed toward her American Bradford Taylor’s stage a boycott against test” inhabiting somewhere between and British audiences: “The French “Modernist Taste: Ford the soup supplied by the pleasure and “corruption,” with figures approach to food is characteristic; they Madox Ford, Queer Po- governing regime, such as Wilde “treating food in the spirit bring to their consideration of the table tatoes, and Goodly “whose rebellious spirit of art” as his Dorian eats cherries which the same appreciation, respect, intelli- Apples” describes the eventually radiates out- were “plucked at midnight, and the gence and lively interest they have for the pressure put on Kantian ward to the cheering citi- coldness of the moon had entered into other arts, for painting, for literature and reflective judgment un- zens of Odessa” as de- them” (20, 22; Wilde cited from Whiteley 1 for the theatre” (3). She closes it with a der Ford’s efforts “ to scribed in Graig Uhlin’s 24). For Whiteley, reading Wilde and composed scene (“more poignant colour render those queer “Food and Revolt in Huysmans, “food allegorizes the aesthe- than any post-Impressionist picture”) of effects of real life ,” and argues that under Early Modernist Film” (216). Agee’s tic” while “it does not actually satisfy the excessive production from her garden Ford’s commitment to visual Im- sharecroppers’ diet, moreover, was their desires,” and thus “comes to signify (280). According to at least several of the pressionism, “[i]t is the brute, everyday, shaped by the same kinds of capitalist the impossibility… of satisfying desires” contributors to Modernism and Food ‘non-Impressionistic’ reality that both infrastructural and industrial techno- (32). This either results in “ennui” or Studies: Politics, Aesthetics, and the catalyzes the Impressionistic act and logical innovations that, at an earlier stage “returns as dyspepsia or nausea” (34). In Avant-Garde , creating performative ex- marks out the limit of its scope” (79, 85). of capitalism, forced the rise of the very next chapter, Aimee Gasston pression around the production, prep- Thus taste, once conceived as universal “cottierism,” or potato farming, that finds Katherine Mansfield working with aration, and consumption of food while and wholly separated from necessity, has Jessica Martell examines in “Potatoes and the same idea in stories that are “models simultaneously blurring the boundaries now become taste as an agent within a the Political Ecology of James Joyce’s of perfectly balanced ambivalence in between food, aesthetics, and the major system of desire, a Modernist taste that Dubliners .” Mark’s “The Futurist Art of which death and corruption pull against arts is a revolutionary strategy among Taylor says “could be described as the Feeding” describes the performative and development, energy, and authenticity” modernists to resist imperial and capitalist faculty that perceives the truth of what disruptive aspects of Futurism’s theatrical (43). However, the denouement is very governmental systems of food, consumer, vision can register only as queer” (84). meal-events: many hours’ worth of different, for Gasston notes a feminist and text. The collection might have taken Such agency provides a conduit to the courses, made of dishes which have a aesthetic in the trope of the egg, “em- Toklas’ sententia as its epigraph; the next section, titled “Cookbooks,” which composed “architecture” and inspire blems of creativity and freedom,” which appreciation, intelligence, and lively largely studies the agentic “artistic prac- diners to feel they consume “ WORKS OF for Mansfield “conjures” the opposite of interest of the essays reflect her language. tice” (in Sean Mark’s phrase) of recipe- ART ,” “while the left hand caresses a ennui: “The aim of all Mansfield’s stories This seventeen-chapter anthology of designing, narrating, and food-presenting tactile surface made of sandpaper, velvet is to wake numbed readers to ‘fierce life.’ things food and food-proximate is intend- (91). and silk. Meanwhile the orchestra plays a It is no accident that the two ingestive ed to open the field wider, and, unsur- The research behind the chapters is noisy, wild jazz and the waiters spray the activities of eating and reading occur side prisingly, although it was only released in generally considerable for essays of this napes of the diners’ necks with a strong by side; each offers the reward of energy, 2019, another collection has already size. Chrissie Van Mierlo consults the perfume of carnations” (95-96). The pleasure, even revelation” (43, 40, 41). appeared with essays along somewhat Wakean Notebooks at Buffalo as well as a chapter which immediately follows, “The The experience of reading both together is similar lines ( Gastro-Modernism: Food, range of historians to deliver a genetic Futurist Art of Feeding,” analyzes how similar to ingesting something bitter, and Literature, Culture , edited by Derek and historically attentive account of “The Futurist cuisine was “reported on and then something creamy rich, an unex- Gladwin, issued from Clemson University Politics of Provenance in Finnegans even discussed” in U.S. newspapers. Here pected juxtaposition of tastes. Press in association with Liverpool Uni- Wake. ” Philip Keel Geheber not only Céline Mansanti argues that the mix of What unites this volume is its versity Press, 2019). Modernism and consults Paul K. Saint-Amour’s conceptu- mockery and vicarious pleasure these perennial concern around food and power, Food Studies is more capacious; it ranges alization of encyclopedic narrative to articles offered “probably contributed to in all the different ways that might be beyond gastronomy to consider food understand Marcel Rouff’s The Passion- the assimilation of the avant-garde by the manifested within structures of modern- processing, provenance, cultural and ate Epicure , but actually counts, in popular press, not only by allowing ity. Even the aesthetic search for new national pieties around food and hospi- Rouff’s 160-page book, “238 hors writers and readers to express their sensation takes place within bodies that tality, the conditions and artificial control d’oeuvres and entrées, 25 sauces, 48 deepest anxieties but also, more broadly, are sites of contest and subject to bio- of famine and food insecurity, scale, desserts, and 85 drinks individually by connecting the distant reality of the politics and its manipulations. Martell technology and industrialization, food named” (188). Asiya Bulatova covers a avant-garde to the personal, daily demonstrates, in connection with Joyce’s revolt, and other matters related to large range of Viktor Shklovsky’s own experience of food and cooking” (120). Dubliners , that the food economy in modernist literature, film, and foodways works, as well as contextualizing them in One frustrating aspect of far-reaching nineteenth- and twentieth-century Ireland politics. Its five sections, “Aesthetics and history and social theory, with multiling- collections such as this one is that (unlike exemplifies how “modern imperial states the Body,” “Cookbooks,” “Globalization, ual and multidisciplinary sources from in a single-authored monograph, for ex- mobilize scarcity crises to justify de- Nationalism, and the Politics of Prov- Russian, European, and North American ample) so many strong ideas trailing or velopment initiatives that bring those who enance,” “Rationing, Resistance, and Re- PAGE 12 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 are the most estranged from European clude steel ball bearings and dishes Futurist style (“Chicken and Violets? ating in revolt against arboreal demands socioeconomic norms into the fold and delivered by “moving carpets” like con- Yes” from the Chicago Daily Tribune , of all sorts” (250). There is also the quest- under control” (247). The collected chap- veyor belts (105). Mark says, “As a 112), or in the excessive consumption by ion of the peculiar intimacies established ters make a cumulative critical-materialist literary genre, the cookbook is steeped in various epicureans and decadents in the by food. By proffering food, one may argument that food occupies an inter- tradition” (99), thus a natural target for primary texts, or in punning conflations impose a debt; by withholding it, one may sectional grid-point which functions, as modernist irony and defamiliarization. such as Joyce’s mingling of “national install an enduring obsession (283, 237). Uhlin put it in connection with Soviet Carrie Helms Tippen focuses on Faulk- cause” and “national cows” that Van Uhlin argues that for the surrealists, “[t]he montage and surrealist film, “as a repre- ner’s modernist suspicion of Southern Mierlo notices (206). Shannon Finck visceral experience of eating entails what sentational vehicle for their reorgani- claims to an exceptional culture of table counts as “kitchen insurrections” Toklas’ Nicola Perullo refers to as ‘embodied zation of the social” (225). Food, perhaps hospitality. In “Here There Will Be No habit of including “flawed recipes that are knowledge,’ a way of knowing that ex- uniquely, is the matter at stake in Unhappiness: Chocolate and Langston impossible to follow and designed for ceeds rationality because it is rooted in modernity’s “unresolved clash between Hughes’s Utopian Impulse,” Adam Fajar- unpredictable results” (143). In a more the sensuous experience of the body” agrarian and social orders,” in a phrase I do analyzes the “frequent trope” of serious vein, Finck also discusses how (221). Where food is in the balance, as cite from the introduction where the chocolate in Hughes’s writing to uncover Toklas had to come to grips with the Van Mierlo says of Joyce’s “Scandi- editors were thinking of Jameson’s how it “helps Hughes move past primi- “Murder in the Kitchen” she was required navian-sounding fish,” “the rhetoric of description of modernism’s “riven tempo- tivist models of racial identity that domi- to commit in order to serve pigeons (133). self-sufficiency is slyly undercut” (205). # rality” (6). While food has had a politics nated the modernist era and gives him As Toklas puts it, “Before any story of —University of British Columbia immemorially, there are certain features new ground for thinking about the diffi- cooking begins, crime is inevitable” of modern food culture and the food cult pleasures of black identity” (298, (133). There are high arguments, whether NOTES industry which seem predictably likely to 301). about Kantian taste or in Martell’s 1. Alice B. Toklas. The Alice B. Tok- draw modernist critique. First is the The nature of the subject generates suggestion that by thinking about the las Cookbook . New York: Harper Peren- imbrication in modernity of food and some distinctive features of the collection. potato plant we can see that Joyce’s work nial, 2010. technology, playfully reflected back in There is humor, as in the newspaper might meet Deleuze and Guattari’s Futurism’s dishes whose ingredients in- headlines attempting to communicate proposal for rhizomatic knowledge “oper- Paris Phenomenal Catherine Flynn aesthetic theory in the streets and libraries to Paris as a vivid instantiation of modern differently, the transmission of French James Joyce and the Matter of Paris. of Paris, devised a concept of physical consumer capitalism…. [T]he third facet aesthetic culture to the Anglophone Cambridge: Cambridge University Press, sensation that would counter the ex- of his relation to Paris was as a locus of world through the transformative 2019. change economy that particularly in- vivid sensory and sensual experiences…” medium of Joyce’s work. (18) $34.99 flected a transactional relation between (4). From these relations, Joyce engaged men and women. Joyce’s aesthetic theory, an aesthetic potently devoted to an With Flynn’s guidance, I was able to Reviewed by of course, first emerged in the Paris essay embodied sense of the personal encounter imagine the overwhelming experience in which he describes art “as that which in which thought is immediately and Joyce must have had moving from im- MARIAN EIDE banishes desire and repulsion and sensually inflected. This culminates in the poverished Dublin to the opulent streets achieves a static comprehension” (qtd. on “aesthetic sociality” exemplified by the of Paris. I picture his exposure to new T IS MORE THAN a little comforting to Ifind in Catherine Flynn’s pages a 12). But that exposure to the intensity of Finnegans Wake book groups that flavors, to enticing perfumes, forward youthful James Joyce not unlike a material production and consumption proliferate from Dublin to Austin. Flynn’s fashions worn by both men and women, younger version of myself, certain that informed his vision of Dublin throughout argument is elegantly presented: and overwhelming noise from traffic, having just the right shoes would be his writing, even as commerce, music, and conversation. In utterly transformative. In a letter to his exposure to the these circumstances, Flynn convinces me Stanislaus Joyce about the material French writing scene that Joyce wanted to imagine writing that pleasures of living in Paris, James Joyce was to buttress his could engage these “powerful physical wrote: “O, I have reveled in ties, coats, experimentalism. sensations of the modern urban environ- boots, hats since I came here—all imagi- Flynn offers an agile ment” (21) without succumbing to the nary.” At the same time, Joyce was trying analysis of Joyce’s consumerist idea that mere possession to save enough money from his various evolving aesthetic constitutes an aesthetic experience. The gigs to remit the cost of dentures for his theory in the context beauty available for sale had to be under- mother. I flatter myself that like Flynn’s of the philosophers stood in communal and political terms: Joyce, my passion for shoes betrays not (Aristotle, Aquinas, the desire elicited by consumable beauty just acquisitiveness or consumerism, but a Hegel) from whom can produce a transactional relation powerful belief in the aesthetic and its he drew in his studies between people, but Joyce’s experiment material effects on experience. Of course, in Paris libraries. was instead to create community from in his writing Joyce also developed a Flynn describes sensual expression and desire. strong and compelling critique of con- her method as close Distinguishing her approach from the sumer desire. This built to his aesthetic reading and this is New Materialism emerging in literary theory in which desire and loathing are to true of the variety of studies over the last 25 years, Flynn be stilled before the static pleasures of textual artifacts she argues that: any work of art, and to his complex considers alongside explorations of materiality and Joyce’s writing, in- Joyce looks for the new forms of community. cluding Walter Ben- cognition made possible by the Flynn embarks upon her acute account jamin’s Passagen- unavoidable dismantling of the of this development with Joyce’s first werk , Baudelaire’s sovereign individual in urban modern- sojourn in Paris beginning on December poetry, and Alfred ity…. This embodied cognition offers 3, 1902, when he was twenty. She notes Jarry’s Ubu Roi , counterknowledge of a human reality that living in Paris was, at the time, an among many other of subjugation and imprisonment Irish migration tradition as continental creative works from within capitalism and, at the same Europe offered an alternative to British the Paris of Joyce’s time, allows an awareness of genera- colonial culture. In particular, Paris pre- era. She argues that tive, creative encounters that take sented both the allures of a sophisticated, “intellection takes place despite these conditions. If the cultured modern city and “the appealing place in minor city offers freedom and pleasure under republican ideal of a culture of free and textual artifacts” and the constraints of the commodity equal citizens” (3). However, Flynn also that “subtle but mo- form, this sentient thinking registers observes that with the failure of the 1871 mentous events occur at the scale of the various kinds of freedom and pleasure Paris Commune and Haussman’s radical phrase, the word, and even the letter” Joyce’s contention with the matter of that occur alongside, within, and reorganization of the city’s streets, Paris (17). While these observations are not Paris, the aesthetic challenge of a independently of it. (14-15) was a place of “thwarted political hopes,” new in their content, there is something sensorially overwhelming experience not unlike turn-of-the-century Dublin. very inspiring about the way she makes of consumer capitalism that the Flynn’s approach, as these sentences Under its new commodity capitalism a the case for what we have done for ages. primary site of European urban indicate, is closer to the phenome- previous “collective rational deliberation” Equally compelling is the deftness with modernity thrust upon its inhabitants nological turn in literary studies of the was replaced by “the ratio of calculation, which she locates meaning on a minute, and visitors and that had been so last ten years or so, and gives us a sense instrumentalization, and reification, and a carefully observed textual scale. Flynn’s generative for Parisian writers, led of the objects on which Joyce’s con- powerful mobilization of the senses in a compelling and elegantly written book him to process the materials of Dublin sciousness rested as he produced his theater of goods and people” (7). In these opens with the following claim: “Joyce using a disparate set of aesthetic recreations of Dublin life. circumstances, as Charles Baudelaire’s had three overlapping and equally practices associated with the French James Joyce and the Matter of Paris poetry reflects, the contemplative important relations to Paris. The first is to avant-garde. In tracing the develop- hinges on the Paris epiphany and Joyce’s aesthetic is replaced with an aesthetic of the city as a center of literary influence. ment of Joyce’s oeuvre, we will see various revisions of this insight acquisitive desire. Joyce, developing his Moving to the source of this cultural modernism’s itinerary through the throughout his writings. The epiphany capital begins in Joyce a second relation great artistic capital of Europe or, put describes women, who may be Parisian JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 13 prostitutes, in their leisure time and in not to live in the city again for nearly two spectacularly instanced in Paris” as he some profit from their interpretive invest- community with each other. But it is decades, the Paris of his youth made a revised the episode during his second ment in each other, are transformed critical of their place in consumer society. lasting impression on his literary project. residence in the city. To capture this sense through the “fermentational quality” Supplanting his earlier need to control of revolutionary change, he adapts both (209) of the book’s prose to create an They pass in twos and threes amid the and define through his writings, his time the “nineteenth-century Parisian visionary aesthetic sociality among readers in life of the boulevard, walking like in Paris imbued him with an interest in literature” he was reading in his first which meaning is both suspended and people who have leisure in a place lit the material experience of the body and residence and the contemporary experi- created in community. I particularly like up for them. They are in the pastry the potential of materiality for both mentalism that marked his second. “Ulti- the idea of Joyce’s prose as taking some cook’s, chattering, crushing little aesthetic and political fulfillment. Paris mately,” Flynn argues, “‘Circe’ stages … resting time to process or ferment before fabrics of pastry, or seated silently at shaped his understanding of Dublin and an art of material co-being” (168). The it, like Guinness, acquires delicious, table by the café door, or descending colored his depiction of his home for the surrealist quality of this episode may have effervescent, and intoxicating qualities. from carriages with a busy stir of rest of his career by “allowing him to been influenced by Joyce’s viewing of Of particular interest in this chapter is garments soft as the voice of the recognize in his native city the pervasive Guillaume Apollinaire’s Les Mamelles de Alfred Jarry’s scatological impulse and adulterer. They pass in an air of distortion of social relations by commod- Tirésias in Paris, but this episode, in its his “pataphysics” in Ubu Roi and the way perfumes: under the perfumes their ity capitalism” (69). Rather than rejecting turn, is said to have influenced Louis Ara- it magnifies Joyce’s own exploration of bodies have a warm humid smell…. the urban environment in the way many gon’s Le Payson de Pari. digestion and waste through the defeca- No man has loved them and they have of his peers in the Celtic Revival had Walter Benjamin, articulating the role tory story of Buckley and the Russian not loved themselves: they have given done, Joyce embraced the metropole and of the flaneur in the consumer culture of General. “Jarry modeled for Joyce,” nothing for all that has been given to its effects as the premise for his creativity. the modern city, later addressed Joyce’s Flynn notes, “an identification of turd and them. (qtd. on 55) Turning to Ulysses and Joyce’s metropolitan vision in the Passegen- text” (222) particularly condensed around second residence in Paris beginning in Werk . In his own discourse, he “radi- Shem’s writing on his body with his own With this epiphany, Flynn sees Joyce 1920, Flynn notes the transformation to calizes the exploding visions of Joyce’s excrement. struggling with a transactional relation the manuscript motivated by this return ‘Circe,’ replacing the passive sensations The book ends with an effective between men and women and the ways and argues that while this text is less that prompted insight with a totally reminder of why this exploration is of those relations are enmeshed with sensual concerned with the relational dynamics, it determining image space that abolishes particular importance to us now in 2020, perception. The women display understands community relations through individual consciousness in favor of for like the beginning of the twentieth themselves as if for sale, while at the the sensory experiences of Dublin’s collective revolutionary action” (194). century, the beginning of the twenty-first same time taking their pleasure from streets. Those experiences, she observes, Read in conjunction with the Benjamin promotes the transactional in human things that can be bought: their pastries are ingested into thought, or, as Bloom project most influenced by it, the “Circe” relations that are “increasingly supplanted and perfumes, their soft garments. But reflects, “Never know whose thoughts episode can be seen to drop “readers in an by relations of exchange.” For those of just as he compares the perfumes they you’re chewing” (qtd. on 112). Flynn echoing, whispering space in which they us who teach, it is particularly compelling apply with the subtle, “warm humid” expands on this insight in multiple become engaged in repetitive questioning to have Joyce’s assistance as we resist perfumes their bodies emit, Joyce instances, but her beautiful reading of the rather than abstracted insight. This is a “what Benjamin calls the ‘penny-in-the- contrasts the possessions they purchase seedcake scene on Howth particularly transformative space because it is where slot’ called meaning” (236). We find in with what they are capable of possessing struck me. She sees in the exchange preconceived ideas are useless. With this Flynn’s pages that Joyce gives us more without purchase, what they can give and between the lovers “an exemplary tran- comes new possibilities of being for and that we both deserve and need his receive emotionally. While Exiles is not scendence of narrowly construed self- readers, the possibility of a new sense of proliferative influence. of particular interest to Flynn, Richard’s interest” and recognizes that “Bloom’s existence” (201). disquisition on love and possession might awareness of himself as temporary is The sense of the collective moves The subtle acoustics of repeated and be seen as one instance in which Joyce accompanied by his expanded under- from the representational to the aesthetic, shifting sounds, the living body of worked through the impression he first standing of being as constituted by and to the anticipation of communal read- language through which he presents recorded in this epiphany. Bertha’s un- porousness and interpermeation” (121). ing with Finnegans Wake , where Flynn embodied being: here is an excess happy response indicates Joyce grappling With Ulysses , Flynn sees Joyce imagining finds an “aesthetic sociality” in the that, in making demands on us, gives with his initial theory in the epiphany, and relationships within capitalism that de- volume’s “creative fostering” of specific us so much more in return. For revising it to account for the perspective pend neither on consuming nor abstain- conditions of reception: “spontaneity, Joyce’s verbal art does more than of the women he observed. As Flynn ing, assessing nor judging, but on the kind imagination, and communication beyond heighten our attunement to sensory argues, he was to return to the question of porous comingling exemplified by the means-end calculation”; these are the experience. It requires us to grapple that 1902 Paris instilled in him with each exchange of seedcake. “social demands made by collective read- with our own ability to think and to of the works he produced in subsequent Writing about the “Circe” episode, ings of the Wake ” (234). Aesthetic feel and, I propose here, to think and years. Flynn remarks on its portrayal of and sociality “relies on a sensuous awareness feel with one another’s thoughts and Reworking the impression from his resistance to “a commodified social of others’ physical presences—their facial feelings. (236) epiphany in the encounter between world” (130). These passages “explode” expressions, their physical postures, their Stephen and Emma in the library-museum the conventions of capitalist exchange. breathing.” The text patterns these inter- Flynn’s book is both gracious and colonnade scene in Stephen Hero , for Explode is a word she uses in an unusual actions not by modeling best practices, erudite. Its grace is exemplified in the example, Joyce exemplifies an art that way, but also one reminiscent of the but by always providing alternative way she thanks a lengthy list of actual turns from “conscious cognition to feminism of the 1980s and 90s and its interpretations or modes through which to readers and interlocutors in the opening investigate new possibilities of embodi- idealism about the possibilities for interpret. As such, “The aesthetic sociali- pages with the acknowledgements and ment…. The scene in the colonnade literature to undo the presumptions and ty of Finnegans Wake reading groups recognizes her anticipated readers at the rejects theoretical generalization in favor effects of patriarchal control. She follows depends upon their lack of closure . . . end. Her erudition is marked in the broad of an exploration of the particular, con- the less common definition which, from interpretive frameworks come into ques- scale of her references, her complex tingent, and the fleeting,” a practice Flynn the OED , means “to reject or discard tion in an experience of co-being, co- engagement with the thoughts of writers designates “sentient thinking” and (something, esp. an opinion, proposal, or creation, and the various joys we each from Adorno to Zola and myriad modern- “somatic aesthetics” (56). custom)” and “to condemn or decry; to enjoy” (235). In this process, the trans- ist thinkers in between. # Though Joyce only resided in Paris for drive off, banish.” Joyce envisions in actional relations between subjects of —Texas A&M University four months before being called home to Dublin’s red light district some of the consumer capitalism, who might expect his mother’s deathbed, and though he was urban transformations “that were Every Taling Has a Telling by PATRICK REILLY David Norris Reads about the lyrical, now-so-long-ago voices of the original chapter as it had been recorded by two acclaimed stage from Finnegans Wake Abbey Players. The style of their delivery and quality of actresses in the second generation of the Abbey Players, €12.00 their performance impressed a visitor to the Abbey Marie Keane and May Cluskey. Though they are not Theatre enough for him to remark to its co-founder, especially well known outside Ireland, Joyceans may Note: Proceeds from the sale of William Butler Yeats, that so marvelous were the Players remember Marie Keane as Freddie Malin’s mother in David Norris Reads from Finnegans and their voices, Yeats was sure to lose them all. To John Huston’s The Dead , and May Cluskey appeared in Wake go to the James Joyce Centre. which Yeats supposedly retorted, “With those accents Joseph Strick’s movie version of Ulysses . Norris, then, who’d ever employ them?” As it happened, Hollywood may owe something in his reading to the rhythms and Spoken [. . .] by those who beat clothes on the banks of would. Indeed, the stylized Irish brogue, with its renderings of the Abbey Players. the river. cadences rolling to sing-song effect, an accent that was I’d recommend that listeners to Norris’s forty-or-so- | Lament to Amun (circa 1200 BCE) essentially developed by Yeats and Lady Gregory and minute reading first do simply that: listen, without John Millington Synge to distinguish their new, national reference to the printed text, thereby to get a feel for the theatre productions, would come to typify the accent of rhythm and flow of the piece as Norris executes it. AVID NORRIS ’S pleasurable CD recording of motion-pictures Irish as well. Think Barry Fitzgerald or Thereafter, feel free to seize from your bookshelf your excerpts from Finnegans Wake —from Chapter 8 Sarah Allgood, both of them originally Abbey Players. well-worn, dog-eared, marked-up edition of Joyce’s D 1 in Book I, commonly known as the Anna Livia Plura- After I had listened to Norris’s reading, I read the text on masterwork and open it to page 196. Then, listen again belle chapter, and from the ALP monologue closing the sleeve of the CD. It noted that Norris, in his reading, —in delight, in surprise, and in a little perplexity (more Book IV—recalled for me a story, probably apocryphal, had been influenced in part by a reading of the ALP of that later)—to Norris’s rendition of amazing pages PAGE 14 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020

into which Joyce declared that he put all he knew about voices in a text that limitlessly accommodates verbal | Although Norris is a self-acclaimed admirer and language (and prompted some critics to wish he hadn’t). metamorphosis and stylistic pyrotechnics, the shifts defender of Joyce’s work, research turns up no scholar- | Norris brings a warmth of feeling to his reading of coming so frequently and quickly that the reader can ship by him on Joyce’s oeuvre . Consequently, it is the ALP chapter, and he effectively conveys the overall barely apprehend them. difficult to criticize on scholarly grounds a recording that rhythm of Joyce’s demanding prose. Occasionally, he | By his “aisne aestumation,” Norris informs the is the product of a passion. Neither is Norris a falters, as when he breaks the flow to snatch some breath, listener that he recorded the piece into a microphone at professional actor. His page on Wikipedia states that he awkwardly, in the middle of a phrase. Define phrase!, one sitting in one take: “Recorded for the German public is credited with being “almost singlehandedly you might quip. For in FW , words fuse with or bleed into broadcasting Beyerisdchen Rundfunk in a single take in responsible for rehabilitating James Joyce in once one another, thus to create new, often multilingual 2014. . . . I read it into the microphone standing and disapproving Irish eyes” (honest!). He adamantly locutions and puns and portmanteaus that then fragment managing the entire thing without a break.” The record- defended Joyce against the critical slings and arrows of and neologistically metamorphose into fluid new ing thus produced might have benefited from more than his fellow Irishman Roddy Doyle, who heretically constructions. These mutations continually compound one take, so as to allow Norris the opportunity to deemed Joyce to be overrated. An academic and scholar and riddle the meaning of the text. As importantly, consider, and further vary, the rhythm, inflection, (but not a Joyce scholar) before he launched his political especially in a recording of Norris’s sort, they also make nuance, and tone of his performance. A break would career and became an Irish independent senator, he likely music of the text: the music of a mythic River Liffey’s | certainly have allowed him a chance to catch his breath. honed the rhetorical skills he evidences in his reading, unending run. In his laudable attempt to vocally | Norris does not comment on the cuts he made to the and rare the politician who does not draw upon the approximate the changing rhythms in the currents of the text of the ALP chapter, and the listener will likely not actor’s craft. Reservations aside, then, Norris’s reading is “riverrun,” Norris might have brought more nuance and notice them. The reader following the recording with the worthy of serious critical consideration. more mellifluousness to his inflections. I’d like to hear text will, however. The cuts made on pages 201 through | Some quibbles: On page 196, the ALP chapter opens the tunes in the music of this prodigiously tuneful piece 206 are mostly minor, unlike the absent six pages from with an ejaculatory “O” that stands conspicuously alone played more variously. the bottom of page 207 to the top of page 213, where, it and unpunctuated as the chapter’s first line: | There could be more distinction, too, in Norris’s might be worth noting, Joyce picks up the narrative in his rendition of the voices in the piece, as it is not always charming, unadorned recording of FW from nearly a hun- O clear who is speaking, particularly when the voice is dred years ago. The inquiring, curious listener to Norris’s tell me all about narrational. As for the dialogue between the two recording might like to know the reasoning behind the Anna Livia! I want to hear all washerwomen, Mrs. Quickenough and Miss Doubt- cuts that he chose to make. More information regarding pebble, on the river’s opposite banks, Norris plays them the development of the text for the recording might have Despite the “O”’s pride of placement, Norris virtually broadly, and too often indistinguishably, in an been included on the sleeve of the CD. ignores it; indeed, he comes close to swallowing it. Two exaggerated manner rather like that of a comic male lead | On his recording, when he reaches the bottom of page pages on, instead of iterating “I want to hear all about,” playing the dame in a traditional Irish Christmas panto- 207, Norris does signal a break in the progress of his as it appears in the text, Norris’s version alters the infini- mime; Arthur Lucan and Norman Evans, among others reading with a significant pause before proceeding to tive “to hear” to “to know.” And the line, on page 215, from my childhood, come to mind. This choice may page 213, which affords readers time to gain their “Hadn’t he seven dams to wive him?” he reads (or account for the lisps Norris sometimes mockingly—and bearings. An even more noticeable pause follows the end perhaps simply misreads) as “seven wives to wive him.” arbitrarily, it seems to me—affects in his delivery of of Chapter 8—“Beside the rivering waters of, hitherand- Norris’s rendering of the ALP seduction scene is espe- lines like “There’s Zambosy waiting for me” (207). thithering waters of. Night!”—before Norris moves on to cially effective and affecting—a standout performance (Whereas Norris enacts, Joyce, in his recording of FW, the end of ALP ’s journey on page 627. In the pause that —yet he cuts nearly half of it (206-207). Then there are simply and unaffectedly reads; and as Eddie Epstein, the marks Norris’s six-page leap to page 213 are lost those random lisps. great and greatly missed Joyce scholar, notes, he renders passages of text that are among the most accessible in the More than a quibble, though, is the failing throughout the exchanges between the washerwomen in a lower- novel. Why Norris chose to omit them, the reader can Norris’s reading to convey vocally, in tone and tenor, the class County Cork accent.) only wonder. I missed the images of ALP awash in the abundant wit and humor in Joyce’s text. The amusement | Norris’s characterizations of Mrs. Quickenough and flotsam and jetsam of humanity as the rising tide, that lies in the music and language to produce, for Miss Doubtpebble tend to be one-note, and for most of widening the Liffey, is pouring into the city (208). I instance, an image of Anna “before she had a hint of a the ALP chapter, the note is loud. Equally garrulous, the missed the cataloguing of Anna’s Christmas presents for hair at her fanny to hide or a bossom to tempt a birch two washerwomen seem only to be crabbed with each her three children that grows into a list of gift recipients canoedler not mention a bulgic porterhouse barge” (204) other in their mutual impatience, both of them being, as so inclusive—“a thousand and one of them”—and a should be reflected amusedly in the voice of the reader. one of them says, “a bit on the sharp side” (210). At litany so elaborate that it approaches farce (210-213). Norris, though, is inclined throughout to declaim in a times, in the text, they certainly are, but, as Norris plays manner more befitting to Shakespearean high drama than them, hardly ever are the times that they aren’t. Until he to Joyce’s humorous verbal play. Generally, the tone of proceeds to the three pages that close the chapter Norris’s delivery would benefit from a lighter touch, (213–216), wherein the mood shifts, as Norris reads it, from the timbre of Jolympian amusement. and he reads it in dark, whispery tones, to one of | I admire Norris for tackling the knotty Joycean text of melancholy. It’s twilight, and the incoming tide is the ALP chapter, and for meeting its challenge. I widening the distance between the river’s banks so that encourage him to “gihon! I lovat a gabber” (213). He Mrs. Quickenough and Miss Doubtpebble are finding it affords the listener a delightful experience, confounding increasingly more difficult to hear one another or, in the though the flood of language may at first be for the fading light, to see one another. They compete with uninitiated. To his quite colorful CV on Wikipedia, Dr. nature at nightfall in their efforts still to be heard; yet, Norris, formerly Senator Norris, can add with pride somewhat perplexingly, Norris keeps diminishing their “David Norris Reads from Finnegans Wake. ” voices until he slides into the long pause with which he | So, put in your ear pods or don your headphones, and marks the end of the ALP chapter. take a stroll along the Anna Liffey or any of the myriad | That Norris then brings his recording of FW to a other plurabelleous rivers—350 of them—aflow in the close with ALP ’s soulful sea of last words at the end of ALP episode and enjoy anew Joyce’s prose rhapsody. the novel is a deft and potent touch. However, I’d like for Listen to it “ufer and ufer.” Surrender to its sounds, its him to have found for her a more distinctive voice not song. The music is pure. # only here—in mood and tone it sounds like a melan- —Baruch College, CUNY cholic continuation of the washerwomen passage preceding it—but also for her letter on page 201 in NOTES Chapter 8. Still, one must acknowledge the difficulty of 1. All FW references are from the 1976 Penguin making distinctions between that chapter’s shifting Books edition. Waking the New World Brian Fox oddity that no full-length study of the analytical, encyclopedic study on every direction of Fox’s analytical approach. James Joyce’s America . meaning of America to Joyce has been conceivable topic connected to America First, concepts of American history, Oxford: Oxford University Press, 2019. written until now. (The topic of his and Joyce that comfortably fills an entire, culture and politics are rigorously $75.00 dealings with the country have, of course, self-contained monograph. The talk of historicized throughout (9); we will see been covered in many respects, but new worlds and promise in James Joyce’s this to be a consistent, omnipresent Reviewed by America’s significance to him has not). America is completely applicable to how feature. Second, the book pleasingly dips He identifies Ellmann’s statement that it fits in and can be characterized within into genetic criticism when required for JONATHAN MC CREEDY Joyce could not “bear” the U.S. as both a contemporary Joyce criticism. There is extra interpretive clout. This is, however, misconception and a hurdle that he (Fox) much discovery within Fox’s work, and a only when necessary, and this keeps the RIAN FOX ’S James Joyce’s America Bis, intrinsically, a text that is long had to overcome in regards to crafting his sense of epic possibility that befits its book well balanced and accessible to overdue in terms of its arrival to Joyce own study. Ellmann’s statement unfor- American subject matter and its broad readers who are, quite reasonably, not studies. However, this book makes up for tunately promulgated an idea that the landscapes. The picture on the dust cover, versed in the content of the more obscure lost time and immediately assumes its country held little value to Joyce, which a map of transatlantic shipping lines Finnegans Wake notebooks and the position as the definitive text for scholars led, logically it seems, to him not making between the U.S. and Ireland, illustrates accompanying analytical procedures re- to turn to if their studies even tangentially it an important component within his art. the scope of the book, which is laid out in quired to read them. relate to Joyce and America. Fox, in his Fox’s book is a fierce rebuttal to this clear four equal sections that each logically Chapter I, “American Wake: Joyce introduction, demonstrates that it is an fallacy and it fights back against undue builds upon the last’s dense research. and Irish America,” discusses historical dismissal and ignorance in what is an Certain framing techniques structure the background about Irish emigration, JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 PAGE 15 political exile, and the cultural tradition of This includes many important but that there exists an uneasy, unresolved analysis of Finnegans Wake and niche, what Joyce called “extremism and neglected additions taken from Joyce relationship between Joyce and American focused notebook study. Here, Fox shows bloody” nationalism (18). Indeed, it is biography, Dubliners , A Portrait of the literature. It is one defined by its how Joyce took notes from Irving’s non- Joyce’s own voice which consistently Artist as a Young Man , Ulysses , the fiction, which was in fact gaining critical rises above those of academic commen- Critical Writings , and texts normally interest at this time (139). This clearly tators since Fox’s approach is to focus exclusive to genetic criticism, namely the shows that Irving’s work held signifi- upon close textual interpretation. In its Ulysses drafts and Finnegans Wake Joyce’s American references are cance to Joyce as a nonfiction writer. first main section, “In the Ranks of the notebooks. Fox is particularly eagle-eyed further defined as being Twain’s Huckleberry Finn is, unfor- American Rebels,” Fox presents us with and comprehensive in this chapter and representative of low culture, tunately, revealed in this chapter, by no useful analyses of Joyce’s “Ireland, Island succeeds in making all his references to whether it be in songs, the fault of Fox’s own, to be a book that of Saints and Sages,” and “Fenianism: America seem as if they are linked to one country’s public figures, or its Joyce used primarily to mine for “colour- The Last Fenian,” in the context of another. In the section “An Intimate and language, which is best shown in ful Americanisms” in Finnegans Wake , detailing America’s revolutionary history Far More Cruel Tyranny,” Joyce’s the stylistically frightful (in rather than anything more significant. both on its own land and in relation to the “American” references are further defined Joyce’s words) conclusion to the This is coupled with the fact that Joyce United Irishmen and the Young Ire- as being representative of “low” culture “Oxen of the Sun,” which is, of did not in fact read the novel, due to time landers. Fox notes that America’s revolu- (66), whether it be in songs, the country’s course, full of American idioms. restraints and eye troubles, which tionary legacy was influential during the public figures, or its language, which is required David Fleishman to perform the build-up to the Irish War of Indepen- best shown in the stylistically “frightful” role of his note taker (114). Normally, dence, which leads to complex, concise (in Joyce’s words) conclusion to the instability, and this serves as a base for this unfortunate truth would scupper any material being developed in the “Oxen of the Sun,” which is, of course, him to build his analyses. However, the possible academic argumentation that interesting subsequent section which is full of American idioms. This entire fact that Joyce is dismissive of America’s Joyce valued Twain’s work on a deep titled “American Extremists.” Here, ideas section develops, logically, into an in- literature in the majority of extant sources personal level, but Fox pushes through concerning the definition of Joyce’s own depth study of John Alexander Dowie presents unenviable challenges to Fox to this problem and develops intellectually nationalism, with all its challenging para- who, to quote Fox, is the exemplum of all rationalize; for instance, the quote: “I engaged and relevant observations in doxes, are worked out with continued that is “garish, demotic [and] commer- doubt that [America] is going to produce spite of this that will prove useful to analyses of the two previously mentioned cialised” in connection to American much literature of importance as yet, for Joyce scholars analyzing Huckleberry texts. These deepen with interpretive culture in Ulysses (66). Fox writes his to produce literature a country must first Finn in any capacity. levels of meaning owing to Fox’s study of strongest analyses on Ulysses in the be vintaged, have an odour in other Chapter IV, “Who Killed James them in connection to the political section titled “The Circe Cakewalk,” words” (116). Often, Fox’s research is Joyce? Joyce’s American Reception,” is landscape of Irish-American republican- which relates the popularity of minstrels rather inconclusive. For instance, his the section where we can expect to find ism. He succinctly concludes by stating in Dublin to which he gives deep work about American short stories and analyses of Joyce’s legal wrangling in the that Joyce’s attitude towards Irish Ameri- historical analysis in connection to the their artistic inspiration to Europeans is U.S. and the U.S.’s academic reception to cans was “deeply indebted to Parnell” manifestation of the Bohee Brothers who extensive, but since he eventually determ- his work and contribution to the so-called (31) because in regards to virulent, states- appear to Bloom (76–77). This is, not ines that Joyce largely resisted the pull of “Joyce Industry.” Its title, “Who Killed side Irish republicanism, he “walked on unexpectedly, a part of the book devoted their influence within Dubliners , it does James Joyce?”, is, of course, coined from the verge between sympathy and heavily to the grim topic of colonialism beg questions about why he gives the Kavanagh’s misanthropic poem, charac- condemnation, creating an independent and slavery in America, which is a theme topic so much attention. terized by its tortuous rhymes and jokes position in between” (32). that Fox deals with delicately and pre- Similarly, Joyce sits uneasily within which, at best, trigger wry smiles. It is, We then transition into the next sec- cisely. In particular, this part skilfully the large section which convincingly links pleasingly, stylistically consistent with tion, titled “Shaun McCormack,” which integrates Bloom’s own identity as an Irish revivalist ideas to those of the the rest of the book, rather than being an concerns the famous Irish tenor John “other” into Ulysses in a fluid, richly writings of Whitman, Thoreau, Harte and annex that juts out noticeably and McCormack using an approach which analytical style. Cable. The so-called age of Roosevelt awkwardly from the remainder of the blends both biography (specifically his The next section, “Lapps for Finns (1901–09) and its “deepening of ties content. There is a sustained focused on connections with Joyce) and overall this Funnycoon’s Week,” studies a between Irish writers and America” (119) the presence of “American” content in musical study. Fox demonstrates that Irish collection of genetic entries connected to emphasizes the desire, at the time, for the Finnegans Wake , which in this chapter Americans had, to Joyce at least, a Finnegans Wake in the fields of music, formation of an “un-English” literary relates to the topics of legal troubles and bourgeois, poor taste in Irish music which the Ku Klux Klan, and a range of other canon on both sides of the Atlantic (119). courtrooms used within literary settings. was inauthentic and beneath the talents of scattered American references. Fox This is a rich topic pertinent to the study Fox’s analysis of the “Boston Letter” is, McCormack. This section is where the successfully pulls these together into a of the Irish revivalists, but this is not however, ill-placed here, receiving a most book confidently displays its colors as an singular focused narrative by showing wholly applicable to Joyce, who instead lengthy study as a close textual review in-depth analytical study of Finnegans how they are individually applied to the receives relatively surface level attention with accompanying genetic (“Scribble- Wake , which is more than welcome to the theme of Shaun abusing Shem, who is here in connection to Dubliners and its dehobble”) investigation. This imme- reader since Fox proves this to be the often “black or blacked-up” (82) and “American” references (123–25). Fox’s diately distracts from the interesting interpretive area where he feels most inflicted with racist slurs, in particular the section on Walt Whitman, under the material about the American academic confident and skilled. In this section, term “coon.” This selection of materials section titled “The Priest Departs, the response to Ulysses in the 1930s (153). It primarily Book III of the Wake is given a brings to horrible light the most unplea- Divine Literatus Comes,” is undoubtedly is, additionally, the least successful sec- thorough reading in connection to Mc- sant aspects of American culture and interesting and creative, focusing on the tion of genetic criticism in the book, Cormack being Shaun’s most developed encourages the Wake reader to return to historical standpoint that “[by] 1904, owing to its uncharacteristic quoting of avatar. Fox’s writing flair captures well the book with a heightened sense of pity attachment [in Ireland] to Whitman had large portions of notebook entries with Shaun and McCormack’s indistinguish- for Shaun’s miserable sibling. The closing become a sort of orthodox position for insufficient analysis. It is regrettable that, able relationship, and, importantly, he section of Chapter II, “Heinz Cans Irish writers and cultural nationalists” perhaps, the most obvious portion of provides new textual observations build- Everywhere,” is a useful review of topics (129). This is, in part, elucidated through Finnegans Wake with American and ing upon already rich research on the involving American film and television, Fox’s useful references to the Critical transatlantic textual connections receives subject. Fox bolsters the interpretative although how Joyce integrated jazz into Writings, which bring to light links a relatively late and disappointing level of level of his work even further in the the musical soundscape of the Wake lacks between James Clarence Mangan and critical attention in terms of stylistic following section, “What Ish my analysis and deserved focused attention Whitman. He positions Joyce in contrast execution, and lacks new, insightful Nation?”, detailing, using copious Wake here. (It is well documented in Joyce’s to the cultural nationalists, demonstrating material. Also, the much-touted topic of quotations, McCormack’s Catholicism, Grand Operoar by Matthew Hodgart and that he viewed Whitman, rather, as an American academia surprisingly plays a gross wealth, and allusions to his fame in Ruth Bauerle). unorthodox figure. In a strong section, minor role in the final evaluation of this the U.S. In the concluding section of In Chapter III, “Real American Fox interprets Stephen’s Shakespearean section. Chapter 1, “Letters from America,” how- Writers: Joyce and American Writers,” theory in “Scylla and Charbydis” as being In the next part, “The Differences are ever, Fox makes the unexpected decision the book becomes, perhaps unavoidably, imbued with the “ spirit of Whitman” Epocal,” the text has a structure and to leave aside the Wake in the place of a less convincing, and in hindsight it seems (134) owing to Stephen’s irreverent dis- theme more in keeping with Chapter IV’s biographical study of Giorgio Joyce’s brave that the topic was taken on with mantling of the Englishman’s work. expected layout. There is historical failed singing career in America in a such a grand scope in mind. The asso- In the section on Washington Irving, backdrop of what constitutes an “Amer- regrettable harsh reversal of fortune to ciation between Joyce and American “Then I Did Rip Van Winkle,” Fox ican reception” from a European point of that of the millionaire McCormack. Fox’s authors is an area that has received com- adopts an interpretation based upon view and it contains much background on treatment of Giorgio (and Joyce’s fatherly paratively little attention within literary transatlantic connections and the links literary battles between academics of the concern), and the overall unhappy context criticism. Despite this research obstacle, between the old and new worlds of New Humanist and New Critical Schools, of his journey is convincingly sympa- Fox attacks the topic and ably poses Ireland and America (139). Even though and the anti-academics of the New thetic and it is a very human part of the legitimate questions and, in conclusion, Irving’s currency within many literary Journalists (164). Fox demonstrates full book. It is illustrated through a network of he certainly opens up broad discussion on circles was diminishing by the 1920s, Fox understanding of the curricula of Amer- letters written by many individuals on a multitude of useful topics. In the uncovers Joyce’s own personal bucking ican universities and opinions of promi- both sides of the Atlantic and is well- introductory section, “Something We of this trend through a broad coverage of nent critics, setting forth a developed researched and presented. Have That They Don’t,” Fox creates a his references to stage versions of “Rip interpretation on how the abuse levelled Chapter II, “The New World Presses: historical framework around which to Van Winkle” in “Circe” and allusions to upon Joyce’s avatar Shem are a response Joyce and American Popular Culture,” build his study, which is America’s A History of New York in Finnegans to the ad hominem attacks that the author serves as an encyclopedic compendium entrance into the tradition of high artistic Wake . The section from pages 146–48 is a received by certain Americans. That for perhaps the most obviously “Ameri- world literature in the early twentieth notably satisfying genetic study that Joyce integrated notes from Dr. Joseph can” sections throughout Joyce’s oeuvre . century. Convincingly, he builds a case bridges the gap between close interpretive Collins’ review of Ulysses fits in well PAGE 16 JAMES JOYCE LITERARY SUPPLEMENT ### S PRING 2020 with the surrounding research and puts it while relevant to the topic of banning, Joyce viewed a decolonialized America succeeds in its prime goal, which is to into suitable context. Discussions on strains to warrant multiple pages of as a point of reverence through which to elucidate the nature of what America academese and academia then logically analysis within the overall framework. In “interrogate the emancipatory forces at meant to Joyce. This question is answered lead Fox to I.6 and the “Professor Jones” the same section, Samuel Roth’s piracy of work in [the revolutionary era] Ireland by the entirety of Fox’s rich and nuanced passage (168–69), and he documents step Ulysses is introduced. Similar to the Ulys- Joyce was writing about” (196) is an study, which covers, as demonstrated, by step notebook additions and changes ses censorship trial, this was to be ex- especially useful concept. Material con- four major areas of analysis and a com- as part of his interpretation, which pected as a topic within Fox’s book as a cerning the domination of the U.S. within plete review of Joyce’s works, biography provides the meat of much of the best biographical requirement but arrives very the Joyce industry (198) would also have and genetic materials. It is difficult to see findings dotted throughout. This keeps late. Fox highlights openly that the served discussion within Chapter IV, how the main topics researched could be Chapter IV from lapsing into a bio- incident has already been very well docu- especially in light of Geert Lernout’s oft- interpreted in a more thorough critical graphical form of writing which, despite mented (189), so he takes an identical quoted statement that every country in the manner. Fox’s book is most successful being useful, would inescapably cast his approach to that of his documentation of world views Joyce in a radically different when involved with Finnegans Wake book into Ellmann’s shadow. If Fox had the Ulysses censorship trial, which is to way (200). Fox’s inclusion of this analysis, and his usage of genetic departed from his original critical style, trace the significance of the unfortunate suggests that valuable marked differences criticism is skilful and stylistically fluent. his book would have become unbalanced, incident throughout Finnegans Wake . exist between American Joyce research His positioning of this difficult, often so his decision to keep everything con- Plagiarism and literary theft naturally lend and Joyce research elsewhere, but, niche critical material is seamless along- sistent was a wise choice. themselves to analysis here, which Fox unfortunately, this interesting material is side non-genetic, more conventional One flaw inherent within Fox’s book, skillfully applies to Finnegans Wake in a not integrated into the book. Later, Fox, research. Therefore, this book offers read- however, is that by the nature of its title it grand but cleverly concise scope where in fact, draws further attention to gaps or ers who are not normally exposed to this is duty bound to research everything (and we also return to the topic of race (193). omissions in his research (200–01). field of study an opportunity to enter into anything) that involves America in In the book’s conclusion, Fox returns Unfortunately, many of these listed topics its analytical milieu in a refreshing, Joyce’s works, which can lead to un- to the topic of American academia in seem useful and, in retrospect, lack justi- accessible manner. Fox is also careful to focused discussions that are not very Joyce studies, which feels like a slight fication for their omission. Fox mentions keep his book new in terms of its research connected with America at all. Dis- mismanagement of information, and says the Irish American author F. P. Dunne and he cleverly presents well-documented cussions of Joyce’s relationship with Ezra Pound, say, fall into this trap (173–81). According to the confines of the book’s title, and because Pound is an “American” writer, Fox must ergo study him at length, but, as it quickly becomes clear, the relevance of Pound’s “American identity” to Joyce’s work is negligible at best. Pound’s information about the “inter- nationalization” of Joyce’s writings (177) and comments about his own antipathy towards America draw the topic of “America” into the book only briefly . The significance of Pound’s “American-ness” to Joyce is, of course, overshadowed by Pound’s disapproval of Finnegans Wake , as well as his editorial skills. That unavoidable blemish aside, the section is a very instructive collection of quote analyses and discussion about letters be- tween Joyce and Pound which serve as an introduction to more detailed studies else- where, and Fox usefully discusses the integration of Pound material into Finne- gans Wake . The next section, the “Unique Estates of Amessican,” covers much legal con- tent. The U.S. ban on Ulysses is, ob- viously, a key topic that requires full and unique analytical treatment here. The Ulysses censorship trial is weaved into the book on occasion, but, to this reviewer’s surprise, a larger, separate portion is not devoted to its historical overview or sig- nificance. On the whole, Fox resists belatedly, “If Americans did indeed ‘in- here, but it is not clear why he didn’t get topics in ways that have unique perspec- commenting further on the subject, nor vent’ Joyce, as Flann O’Brien claimed, analytical treatment in Chapter II because tives. The book does have a lack of does he add his own biographical material then they seemed remarkably indifferent he has obvious relevance to the question analytical focus on occasion, as noted, to the already plentiful research available. to what Joyce had to say about their of Joyce’s appreciation of American and certain topics are attributed an His solution to the problem of potentially fellow countrymen” (195). This is an writing. Not only are his characters Mr. unmerited lack of importance, but these rehashing old research is to delve into the interesting and vital question but, sadly, it Dooley and Hinnessy in the “Musey- are, within the totality of the text, minor effect that the Ulysses ban had on Joyce is presented too late for developed room” section of Finnegans Wake, but flaws. On a grand scheme, the book’s and the ad hominem attacks he suffered, commentary and it is a puzzle why it was also Joyce wrote a charming piece titled biggest achievement is that its memorable and this all concludes with a discussion of not integrated into Chapter IV’s section, “Dooleysprudence” in 1916 about and compelling research, and overall the Festy King trial in Finnegans Wake perhaps in association with Patrick Dunne’s Chicago barman hero. Addi- “American” feel, heighten the reader’s (183–84). This approach works well and Kavanagh’s poem “Who Killed James tional questions posed to us by Fox in the senses to the evident fact that the U.S. is keeps the book fresh, but to the slight Joyce?” Nevertheless, in regards to the final two pages concern America’s cars, an intrinsic entity within Joyce’s works, detriment of diluting its distinctly “Amer- grand thematic core of his work, Fox’s financial services and markets, econom- and this will spur on further investigation ican” content—after all, Ulysses was statement here that “Joyce pairs Irish and ics, linguistic history, female writers, and in the very broad areas of American banned in the U.K. as well. Fox struggles American histories” (196) is thoroughly comic strips. They seem like obvious culture, history and politics. # slightly with this unfortunate lack of convincing and rings true once we return missed opportunities since they would —St. Kliment Ohridski physical backing in the notebooks here, to Finnegans Wake and reread the have undoubtedly strengthened Chapters University of Sofia and this, perhaps by necessity, leads to “American” sections with his erudite II and III had they been included. occasionally unfocused sections involving commentary sticking in our minds firmly. In a final evaluation, Fox’s book is a U.S. alcohol prohibition (186). This, In particular, the macrocosmic idea that cohesive and highly erudite work that

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