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Introduction, selection and editorial matter © Martha C. Carpentier 2015 Individual chapters © Contributors 2015 Foreword © Derek Attridge 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–50361–9 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Joycean Legacies / edited by Martha C. Carpentier. pages cm Includes index. ISBN 978–1–137–50361–9 (hardback) 1. Joyce, James, 1882–1941—Criticism and interpretation. 2. Joyce, James, 1882–1941—Influence. I. Carpentier, Martha Celeste, editor. PR6019.O9Z669526 2015 823’.912—dc23 2015001000

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Contents

Foreword vii Derek Attridge Notes on Contributors xxi

Introduction 1 Martha C. Carpentier

1 Kate O’Brien, , and the ‘Lonely Genius’ 11 Elizabeth Foley O’Connor 2 Thanks Be To Joyce: Brendan Behan à Paris 33 Thomas O’Grady 3 Houses of Decay: Joyce, History, and J.G. Farrell’s Troubles 54 Steven Morrison 4 Adaptations of Joyce in the Fiction of Patrick McCabe 71 Ellen McWilliams 5 The Nightmare of History in George Orwell’s A Clergyman’s Daughter 92 Ruth Hoberman 6 ‘Bizarre or dream like’: J.R.R. Tolkien on 112 Margaret Hiley 7 The ‘Baroque Weaving Machine’: Contrasting Counterpoint in James Joyce and 127 Jim Clarke 8 Wars Waged With/Against Joyce: James Joyce and Post-1984 British Fiction 150 David Vichnar 9 Frank McCourt’s Angela’s Ashes and the Joycean Bildungsroman 172 Martha C. Carpentier 10 ‘A Stone in Place of a Heart’: The Influence of James Joyce on the Late Style of Raymond Carver 194 Nathan Oates

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11 Imagining the ‘wettest indies’: The Transatlantic Network of James Joyce and Derek Walcott 213 Maria McGarrity 12 An Artistic Metempsychosis: James Joyce’s and Sadeq Hedayat’s Nonlinear and Chaotic Imagination 230 Leila Baradaran Jamili and Bahman Zarrinjooee

Index 258

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Introduction Martha C. Carpentier

James Joyce’s influence on contemporary literature has been pro- found, yet remains surprisingly unexplored. Joycean Legacies is the first essay collection to examine Joyce’s complex influence biographically, textually, stylistically, and generically on a selection of twentieth- century and contemporary writers. Following the enormous impact of postcolonial studies on Joyce criticism in the 1990s through the early 2000s, as exhibited in such influential essay collections as Derek Attridge and Marjorie Howes’ Semicolonial Joyce (Cambridge, 2000) and Christine van Boheemen-Saaf and Colleen Lamos’ Masculinities in Joyce: Postcolonial Constructions (Rodopi, 2001), recent collections on Joyce have followed three main trends,1 representing, firstly, the increasing globalization of Joyce scholarship, for instance, in conference proceed- ings such as Knowles et al, Joyce in Trieste: An Album of Risky Readings (Florida, 2007), R. Brandon Kershner and Tekia Mecsnóber’s Joycean Unions: Post-Millenial Essays from East to West (Rodopi, 2013), Franca Ruggieri’s several essay collections coming out of Italy, and the bur- geoning production of Spanish Joyceans (Simons et al, Silverpowdered Olivetrees: Reading Joyce in Spain [Universidad de Sevilla, 2003]; Suárez et al, New Perspectives on James Joyce [Universidad de Deusto, 2009]; Caneda et al, Vigorous Joyce: Atlantic Readings of James Joyce [Universidad de Vigo, 2010]). A second recent trend in Joyce essay collections emphasizes the con- textualization of Joyce and his work in earlier historical and literary traditions, specifically in the nineteenth century and the Renaissance, as evidenced by Finn Fordham and Rita Sakr’s James Joyce and the Nineteenth-Century French Novel (Rodopi, 2011), John Nash’s James Joyce in the Nineteenth Century (Cambridge, 2013), and Daniel Ferrer, Sam Slote, and André Topia’s Renascent Joyce (Florida, 2013). These

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Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 2 Martha C. Carpentier collections seek to re-evaluate connections between Joyce’s work and the ‘nineteenth-century modes of thought, narration, and cultural formation that bear upon it in order to illuminate both’ (Nash, 12), as well as to re-examine the many ways in which Joyce exhibits the influ- ence of figures such as Shakespeare, Rabelais, and Giordano Bruno in order to ‘suggest new ways of reading Joyce [. . .] through the lens of the Renaissance’ (Ferrer, Slote, and Topia, 1–2). The third recent criti- cal trend, sharing common ground with these previous two, employs reception theory, for instance, in Continuum’s important two-volume series, The Reception of James Joyce in Europe (2004) and John McCourt’s James Joyce in Context (Cambridge, 2009). As Ferrer, Slote, and Topia astutely comment, ‘Joyce is perhaps the author par excellence of per- petual recontextualization’ (2), which is what unites the approaches of all these collections. While Joycean Legacies shares certain aspects of these current criti- cal trajectories, exhibiting globalism for instance in its selection of authors as well as their subjects, and reception theory in some of the discussions of influence, by contrast – and this is what makes the col- lection unique – its purpose is not to recontextualize Joyce himself nor to re-read Joyce’s work. Rather, the essays in Joycean Legacies analyze the complex pleasures and problems of engaging with Joyce for subse- quent writers, and suggest new ways of reading their texts through the lens of Joyce. Discussions of influences on Joyce began as far back as William M. Schutte’s 1957 Joyce and Shakespeare: A Study in the Meaning of and continue apace today as the above titles illustrate, but studies of Joyce’s influence on others are few and have focused in the main on obvious heirs, such as Beckett and Borges. While Joyce’s central place in the development of modernist as well as Irish literary traditions has been well established, this collection engages head-on with the subject of his direct, aesthetic, and formal influence upon the craft of subsequent writers. The contributors range from new post-doctoral scholars to seasoned Joyceans, from postcolonial and Irish Studies scholars to translators and creative writers, and an effort has been made to bring some fresh voices into the Joycean discourse, including some from outside Joyce studies, such as Maria McGarrity, a leading Derek Walcott scholar, and Nathan Oates, a celebrated fiction writer whose recent short story collection, The Empty House, won the 2012 Spokane Prize.2 In his introduction to the Cambridge Companion to James Joyce, Derek Attridge comments on the ubiquity of Joyce, concluding, ‘we are indirectly reading Joyce [. . .] in many of our engagements

Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 Introduction 3 with the past half century’s serious fiction.’3 As Joseph Brooker has also pithily observed, ‘He seems to have turned up everywhere, on multiple continents, in countless cities. In his physical absence, his presence as idea, image, generative text, has only enlarged. [. . .] Joyce has been not a fleeting spirit but a relentless resident.’4 Most recently, fiction writer Rivka Galchen has added, ‘Joyce’s work is so canonical that in some sense we are all inescapably his heirs. [. . .] Every attention paid to the quotidian seems to link back to him, as does every highly allusive and densely detailed creation, every loung- ing in the texture of language, every joke, every game, every difficulty and every .’5 Such cultural pervasiveness results in a challeng- ing inheritance for the creative writer, one that is oppressive as well as inspirational, and one that writers have handled in a multitude of ways, which these essays illuminate. Taken together, they analyze cases of direct, acknowledged Joycean influence on an eclectic yet representative roster of Irish, British, American, and postcolonial writers from the 1940s to the twenty-first century. Their views of Joyce run the gamut from Kate O’Brien’s emula- tion of his use of cunning and silence as ‘two great weapons in protec- tion of his third, his greatest, exile’; to Frank McCourt’s identification with Oliver St. John Gogarty ‘as the next best thing, a door to the work, the mind, the life of The Master’; to Derek Walcott’s plea, ‘someday a new Ulysses willcomeforth [sic] out of these emerald, ethnic isles, and sure then he had put his finger on me. Imitation, imitation, when will I be me?’6 Each essay begins with a discussion of, to use Derek Attridge’s categories, the assertion: the writer’s explicit positioning of him- or herself in relation to the professed Joycean legacy. Then contributors proceed to analyze those moments in the creative work in which mere mimicry, parody, or allusion becomes conjoined with original expres- sion to create a new form; that is, to explicate the varying degrees of nod, echo, and counter-signature. Theoretically, the essays engage ‘the mystery of influence’ and its impact upon craft as opened up by Eavan Boland’s confession about Joyce’s influence on her:

[I]n some ways, the relation between any dead writer and any living one is always a mystery. [. . .] I knew, in some instinctive way, that he was a presence. I know now that a presence is not an influence. For presence to turn into influence, the untidy and unsymmetrical details of the relation between a dead writer and a living one must become intense and formal at some point.7

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As Boland indicates, regardless of issues of historicity, nationalism, identity, ideology, or anxiety, at a certain point ‘for presence to turn to influence’ it must become formal, and it is this largely unexplored discussion of formalist analysis in direct relation to influence that the present collection takes up. The questions asked by the contributors are new formalist ones, which, akin to Caroline Levine’s ‘strategic formal- ism’, seek ‘to be as much diachronic as synchronic’, taking into account the historical evolution of formal strategies originated or reinvented by Joyce, and arguing that Joycean influence becomes ‘a self-reflexive project of formalist bricolage’ inspired by the powerful example of Joyce himself as père bricoleur.8 In the words of Marjorie Levinson from her defining essay, ‘What is New Formalism’, this collection ‘does not advocate for any particular theory, method, or scholarly practice’ to recontextualize or re-read Joyce, as so many have done in the past.9 The primary focus is on the craft of James Joyce and the profound challenge it has posed for subsequent writers, while the methodology reinstates close comparative reading and explication of texts in order to highlight exactly how each writer has incorporated and surmounted that chal- lenge in his or her own unique way. While historical and cultural issues are not ignored, indeed they are highlighted in some of the essays, attention has been paid overall ‘to the formal means that establish the conditions of possibility for experience – textual, aesthetic, and every other kind’ (Levinson, 562). The first four essays undertake the problematics of Joycean influ- ence among a selection of Irish writers, beginning with Elizabeth Foley O’Connor’s ‘Kate O’Brien, James Joyce, and the “Lonely Genius.”’ O’Brien was a Limerick novelist and playwright who achieved critical acclaim and commercial success in the 1930s and 40s, but whose work was marginalized by censorship and then by a New Critical aesthetics that deprecated her conventional style and missed the covert modernist agenda and queer poetics that recent critics are beginning to identify in her novels. Despite O’Brien’s public dissociation from the avant-garde aesthetics of the previous generation, O’Connor establishes that Joyce was her ‘most sustained and pervasive literary mentor’ through exami- nation of her unpublished speeches and lectures. O’Connor goes on to analyze Joycean influence in two of O’Brien’s novels: her most well- known The Land of Spices (1941), a Künstlerroman overtly modeled on A Portrait of the Artist as a Young Man, and her first novel, Without My Cloak (1931), in which she exposes the subordination and commodification of Irish women through ironic allusion to Molly and Gerty, not only in the mid-nineteenth century in which the novel takes place, but also

Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 Introduction 5 in the repressive Irish Free State that was governing Ireland when the novel was written and published. Written in Irish in Paris in 1949, and first published in the Irish- language journal Comhar in August of that year, Brendan Behan’s poem ‘Buíochas le Joyce’ has received just passing attention from Behan scholars since its first appearance in English in 1962. Thomas O’Grady’s discussion of it in ‘Thanks Be To Joyce: Brendan Behan à Paris’ illumi- nates Joyce’s complex legacy for the next generation of Irish writers and explores the additional context of Behan having literally followed his fellow Dublinman’s footsteps to Paris. O’Grady’s close reading, informed by his intimate knowledge of the subtleties of colloquial Gaelic, result in Behan’s original poem, along with its three translations into English, revealing a richness and resonance that belie its seemingly dashed-off simplicity. In fact, ‘Buíochas le Joyce’ both embodies and expresses a subtle sophistication on the part of a writer whose literary accomplishments have frequently been overshadowed by the notoriety of his public persona. Prompted – or provoked – by Joyce, the poem reflects not just a conventional anxiety of artistic influence: it becomes the vehicle by which Behan explores the broader insecurity surrounding the very self of an aspiring littérateur. Steven Morrison’s ‘Houses of Decay: Joyce, History, and J.G. Farrell’s Troubles’ sees Farrell’s fourth novel, Troubles (1970), the first of his acclaimed ‘Empire Trilogy’, as an engagement with the Joycean critique of history when it is ‘put to the service of the maintenance of a mono- lithic identity.’ Establishing Farrell’s own liminal Anglo-Irish status, Morrison argues that his satiric novel, which covers almost exactly the years of the 1919–1921 War of Independence, ‘can be seen as a form of response to Ulysses, a report back from the other side of Irish history, on the endgame of those who had previously always considered themselves born to rule.’ While direct allusions are often covert, Morrison argues that Farrell’s professed goal, ‘to show people “undergoing” history’, was inspired by Ulysses as ‘a powerful exemplar of the ways in which a novel might show [. . .] the accumulated weight of centuries of Irish history as they shape people’s daily actions, thoughts, and language’, as the novel’s protagonist struggles and fails, much like Stephen Dedalus, to claim an identity free of the fierce ‘tribalism’ of Irish society. Another novel that undertakes a critique of Irish history, using allu- sions to, and formal strategies from, Ulysses ironically to expose De Valera’s Ireland, is Patrick McCabe’s School (1995). Following a comparative discussion of various contemporary Irish writers’ reactions to Joyce, Ellen McWilliams in ‘Adaptations of Joyce in the Fiction of

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Patrick McCabe’ situates McCabe in ‘a similarly knowing and playful position to Flann O’Brien’s regarding Joycean influence’, as illustrated by McCabe’s celebratory and irreverent contribution to the Writings on Joyce, UCD James Joyce 2012 birthday letters. McWilliams then surveys a number of Joycean motifs revisited in McCabe’s fiction, arguing that The Dead School ‘remains McCabe’s most audacious Joycean experi- ment.’ Covering the historical period of 1913–1979, the novel tells of colonial and post-independence Ireland through, McWilliams argues, McCabe’s adroit adaptations of a variety of allusive, meta-narrative, and intertextual Joycean strategies, contrasting the parallel lives of its two main characters in ‘a Gothic rewriting of the father-son dynamic of Bloom and Dedalus’ as a means of challenging the totalizing narratives of Irish revivalism and nationalism. A British writer who emulated Joyce’s exposure of the construction of consciousness by the ideological discourses of history was George Orwell, who analyzed his own Joycean influence in a wealth of docu- mentary evidence with which recent critics are beginning to engage. Ruth Hoberman’s ‘The Nightmare of History in George Orwell’s A Clergyman’s Daughter’ takes Orwell’s imitation of ‘Circe’ in the Trafalgar Square scenes of his 1935 novel beyond previous critical dismissals of it as merely ‘inept pastiche’, arguing that Orwell dramatizes the tension between Homi Babha’s ‘pedagogical’ and ‘performative’ histories as his characters’ ‘mimicry reframes the clichés of national identity’, while at the same time ‘they enact roles within a national narrative from which there is no escape.’ Hoberman extends her comparative analysis to dis- cuss Orwell’s incorporation as well of both ‘Nestor’ and ‘Oxen of the Sun’ into the novel, as the protagonist, Dorothy Hare, becomes, like Stephen Dedalus, a young teacher who questions the teleological inevitability of history lessons that silence female reproductive power. Ultimately Hoberman finds Orwell’s vision darker than Joyce’s, as Dorothy’s fate suggests a ‘deadening submission’ to the ‘facts’ of history from which Stephen, with the help of Bloom, may at least potentially escape. In some cases the Joycean legacy involves a recurrence or afterlife of modernism where it is least expected, as revealed by Margaret Hiley’s discovery of ‘two particularly interesting bits of scrap paper’ among J.R.R. Tolkien’s manuscripts that ‘contradict the widely-held opinion that he did not read modernist literature’ and show Tolkien actively engaging with Finnegans Wake. In ‘“Bizarre or dream like”: J.R.R. Tolkien on Finnegans Wake’, Hiley compares both authors’ concern with desta- bilizing the relationship between the form, sound, and meaning of words, as well as their methods for disrupting narrative with editorial

Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 Introduction 7 interpolation and translation, concluding that Joyce may well have provided Tolkien with collegial inspiration as he developed the ‘linguis- tic aesthetic’ that can be seen in The Lord of the Rings. Ultimately both authors’ works reach well past modernism to the postmodern endgame that there is no ‘reality’ at all beyond language itself. Another essay that examines the impact of Joyce on postmodern linguistic experimentation is Jim Clarke’s ‘The “Baroque Weaving Machine”: Contrasting Counterpoint in James Joyce and Anthony Burgess.’ Counterpoint is a structural form in music which, in the high modernist era, was mapped onto literature with varying degrees of success. Clarke discusses Joyce’s attempts to incorporate contrapuntal methodology into the ‘Wandering Rocks’ and ‘Sirens’ episodes of Ulysses, and his reprisal of the experiment using a radically different structural meth- odology in Finnegans Wake. The challenge of constructing a literary version of counterpoint was one that Burgess, also an accomplished musical composer, repeatedly revisited in the shadow of Joyce’s earlier attempts, exploring analogues of the musical form verbally, linguisti- cally, typographically, and even televisually. Clarke examines the extent to which Burgess’s contrapuntal experiments in fiction both draw upon and surpass those of Joyce, and he concludes with a discussion of whether Burgess can be said to have achieved the form of counterpoint in his work beyond the level of mere metaphor. In ‘Wars Waged With/Against Joyce: James Joyce and Post-1984 British Fiction’ David Vichnar counters the anti-modernist reaction commonly attributed to postmodernism through explication of Joycean elements in mainstream and avant-garde British literature from the 1980s to the early decades of the twenty-first century. Taking on giants of British postmodernist fiction, and often self-professed heirs (however ambigu- ously) to the Joycean modernist heritage, Martin Amis, Will Self, and Jonathan Coe, Vichnar concludes that diegetical parody, heteroglossic excess, and ‘literary contests in longest-sentence record breaking’ do not necessarily comprise ‘a truly Joycean destabilization of identity via language, transcendence of any individual consciousness, or radical innovation and expansion of literary mimesis.’ Rather, Iain Sinclair’s at once more personal and avant-garde ‘modernist psycho-geographic project’ offers greater evidence that ‘Joyce’s influence can still remain a nourishing one for those capable of departing from it in their own per- sonal directions, using it for their own particular artistic needs.’ Issues of genre preoccupy the next two essays, as my own, ‘Frank McCourt’s Angela’s Ashes and the Joycean Bildungsroman’, counters mis- readings of Frank McCourt’s memoir as autobiographical verisimilitude

Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 8 Martha C. Carpentier with narrative analysis of Angela’s Ashes’ complex heteroglossia and play on performative identity in the Joycean tradition. I then argue that McCourt’s coming-of-age narrative ‘based on flight and fantasy rather than resolution and integration’ replicates a modernist Irish Bildungsroman that, as Gregory Castle has established, derives from Joyce. Like Joyce, McCourt employs a ‘thematics of dissent’ to critique Irish Catholicism and to expose Irish nationalism as a conformist, sectarian ideology. In the Joycean tradition he also portrays father as primordial story-teller and feckless alcoholic, and mother as amor matris hopelessly lost, as well as a corpse-chewing ghoul that will not let him be, both as stunted by Irish paralysis as any character in . Ireland has both changed and not changed between the 1890s and the 1940s, which is illustrated again and again by the intertextual play McCourt establishes between Stephen’s fi n-de-siècle tale of genteel decline, oedipal angst, and Jesuitical aestheticism, and young Frankie’s sassy, street-wise Depression-era narrative. Fiction writer Nathan Oates then considers the impact of the Joycean short story on contemporary American short fiction in ‘“A Stone in Place of a Heart”: The Influence of James Joyce on the Late Style of Raymond Carver’ through a detailed discussion of Joyce’s evolving influence on Carver, arguably the most influential American fiction writer of the last forty years. Oates first establishes Carver’s use of epiphany and epicleti through analysis of the stories from his first col- lection, ‘Fat’ and ‘The Student’s Wife’, in comparison with ‘’ and ‘’, showing how, in each case, revelation is reserved for the reader, while the characters remain ‘reaching after and connection in the face of the ruthless banality of experience.’ Oates then goes on to argue that Carver’s departure from minimalism in his later work follows the development of Joyce’s craft in Dubliners – moving away from the aloof detachment of the early stories to the broader sense of compassion and gentleness exhibited in ‘The Dead’ – an evolution due, in large part, to Carver’s relationship with Irish-American poet Tess Gallagher, who demonstrably enhanced his appreciation of Joyce. Oates’s argument culminates in a nuanced discussion of the use of cliché as ‘social voice’ in Carver’s ‘Elephant’ as compared with Joyce’s technique in ‘The Dead.’ The collection concludes with two views of Joyce’s global legacy. In ‘Imagining the “wettest indies”: The Transatlantic Network of James Joyce and Derek Walcott’, Maria McGarrity offers an illuminat- ing review of Joyce’s ‘awareness of a transatlantic nexus’ through the maritime, New World, and Caribbean ‘island imaginary’ she locates briefly in Dubliners and more extensively in ‘Ireland: Isle of Saints and

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Sages’, Ulysses, and Finnegans Wake. She then evaluates Walcott’s various acknowledgments of indebtedness to Joyce, adding new evidence from interviews and manuscripts. Moving beyond previous comparative dis- cussions of Ulysses and Omeros, McGarrity discusses Walcott’s tribute to Finnegans Wake in his transatlantic epic, where he recirculates Joyce’s ‘maritime motifs placed within intimate moments of exile and wander- ing that culminate with a return to the island’ as spiritual home. In the sea, as in the Wake and Omeros, there is no fixed beginning or ending; thus, Walcott’s depiction of Joyce and Ireland in the Caribbean ‘has its roots in Joyce’s images of the Caribbean which function for Walcott as an enduring “wake glittering like keys.”’ Finally, in ‘An Artistic Metempsychosis: James Joyce’s and Sadeq Hedayat’s Nonlinear and Chaotic Imagination’, Iranian scholars Leila Baradaran Jamili and Bahman Zarrinjooee discuss Sadeq Hedayat, whose 1937 The Blind Owl is regarded as the foundational text of mod- ernist fiction in twentieth-century Persian literature. In the first section of their essay, Jamili and Zarrinjooee add to the critical estimations of Hedayat’s indebtedness to Western influences a discussion of how his exilic condition, much like Joyce’s, was central to his art and his aes- thetic. Their second section explicates how Hedayat’s professed admi- ration for Joyce is integrated into The Blind Owl’s narrative structure, charting an unnamed narrator’s struggle in the first three chapters, much like Stephen’s Künstlerroman, to overcome a devouring maternal ghost in order become an artist, and in the final two chapters, the nar- rator’s closer psychological link with Bloom as the cuckolded husband and masochist whose pleasure and pain originate in the infidelities of his wife. Jamili and Zarrinjooee then use critical discussions of Joycean orientalism to show how Hedayat’s image of woman paradoxically represents the ‘orientalized reconstruction of occidental constructions.’ Similar to Joyce’s technique in Ulysses, The Blind Owl incorporates rein- carnations of Persian myth, and myriad cultural, religious, and literary allusions, in which past foreshadows present and present mirrors past. Hedayat thus recreates a Joycean ‘chaotic nonlinear dynamic system’, refracting ‘the political and historical tensions of Persia and the Persians [. . .] through this reimagining of a Western exemplar of modernity.’

Notes

1. In addition to reprints of classic essays and guides to reading, such as Michael Patrick Gillespie and Sebastian D.G. Knowles’ Ulysses in Critical Perspective (Florida, 2006) and Foundational Essays in James Joyce Studies (Florida, 2011),

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as well as Derek Attridge’s James Joyce’s Ulysses: A Casebook (Oxford, 2004) and Cambridge Companion to James Joyce (2004), among others. 2. All of the essays were solicited, some written specifically for this volume, others revised from conference papers given at such Joyce conferences as the XXIV International James Joyce Symposium in Utrecht, June 15–20, 2014; the 18th Miami Joyce Conference, Coral Gables FL, January 31– February 2, 2013; the XXIII International James Joyce Symposium, Trinity College & University College Dublin, June 10–16, 2012; and the Joycean Literature Fiction and Poetry Conference held in 2011 at the Institute of English Studies, University of London. 3. Derek Attridge, ‘Reading Joyce’ in Derek Attridge (ed.), The Cambridge Companion to James Joyce, 2nd ed. (Cambridge: Cambridge University Press, 2004), 1. 4. Joseph Brooker, ‘Post-war Joyce’, in John McCourt (ed.), James Joyce in Context (Cambridge: Cambridge University Press, 2009), 52. 5. Rivka Galchen and Pankaj Mishrajan, ‘Who Are James Joyce’s Modern Heirs?’ New York Times Sunday Book Review/Bookends, 28 January 2014 http://www .nytimes.com/2014/02/02/books/review/who-are-james-joyces-modern-heirs .html?ref=books&_r=1 [Accessed 5 February 2014]. 6. Kate O’Brien, University of Limerick, Glucksman Library Special Collections, Box 159, 4; Frank McCourt, ‘Foreword’ in Nola Tully (ed.), yes I said yes I will Yes (New York: Vintage, Random House, 2004), x; Derek Walcott, ‘Another Life Manuscript’, MS One 93 (Mona, Jamaica: University of the West Indies). 7. Eavan Boland, ‘James Joyce: the mystery of influence’ in Karen Lawrence (ed.), Transcultural Joyce (Cambridge: Cambridge University Press, 1998), 13. 8. Caroline Levine, ‘Strategic Formalism: Toward a New Method in Cultural Studies’, Victorian Studies 48:4 (Summer 2006), 636, 633. 9. Marjorie Levinson,’What is New Formalism’, PMLA 122.2 (2007), 562. Subsequent reference cited parenthetically in text.

Bibliography

C. Levine (2006) ‘Strategic Formalism: Toward a New Method in Cultural Studies’, Victorian Studies 48:4 (Summer), 625–57. D. Attridge (2004) ‘Reading Joyce’ in Derek Attridge (ed.), The Cambridge Companion to James Joyce, 2nd edition (Cambridge: Cambridge University Press, 2004), 1–17. E. Boland (1998) ‘James Joyce: the mystery of influence’ in Karen Lawrence (ed.), Transcultural Joyce (Cambridge: Cambridge University Press), 11–20. J. Brooker (2009) ‘Post-war Joyce’, in John McCourt (ed.), James Joyce in Context (Cambridge: Cambridge University Press), 52–64. M. Levinson (2007) ‘What is New Formalism’, PMLA 122.2, 558–69. R. Galchen and P. Mishrajan (2014) ‘Who Are James Joyce’s Modern Heirs?’ New York Times Sunday Book Review/Bookends, 28 January. http://www .nytimes.com/2014/02/02/books/review/who-are-james-joyces-modern-heirs .html?ref=books&_r=1 [Accessed 5 February 2014].

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Index

adaptation 74–5 Brendan Behan’s Island 36, 37 allegory ‘Buíochas le Joyce’ 5, 35–50 place of in contemporary Irish The Hostage 35, 43 novel 80 incarcerations 35–6, 41 Amis, Martin 7, 152–7, 161, 168 and Irish language 35, 36, 43 essays on Joyce 153–5 in Paris 41–2, 45–6 as heir to Joycean modernist Poems and a Play in Irish 36 heritage 153 The Quare Fellow 35, 43, 46 The Information 156–7 The Scarperer 33–4, 38–9, 49 Joycean references and influence in Benstock, Shari 120 fiction of 155–9 Bérard, Victor 217 London Fields 155–6, 157 Betha, Arthur 195 modernist/anti-modernist Bhabha, Homi 6, 100, 102 style 158–9 The Location of Culture 97 preference for diegesis in narrative Bildungsroman 7, 8, 162, 175 technique 157–8 and Joyce 176, 183, 188, 189 ‘The War Against Cliché’ 153–5 and McCourt 175–6, 189 art-speech 158 Binns, Ronald 57 Attridge, Derek 2–3, 74 Blake, William 96 Auden, W.H. 35, 48, 113 Bloom (film) 75 avant-garde 7, 13 Bloom, Harold 128 Boland, Eavan 3–4 Bach, J.S. 129 Eire: Ireland essay 12 Backus, Margot 12, 19, 21, 22 Bowen, Zack 82, 134 Baldwin, James 42 Bradford, Richard 151–2 Ballard, J.G. 152 Brannigan, John 45 Barbados Brief Encounter (film) 15 Irish in 219 Brooke-Rose, Christine 150 Barnacle, Nora 203 Brooker, Joseph 3 Barth, John 195 Brophy, Brigid 150 Barthes, Roland 243 Brown, Calvin S. Bazargan, Susan 104 Music and Literature 129 Beard, Michael 231–2, 235, 241 Brown, Richard 216 Beckett, Samuel 42, 54, 123, 166 Brown, Zack 204 Endgame 85–6, 166 Budgen, Frank 103 Our Exagmination 136 Burgess, Anthony 76, 127–48, 136, Beckles, Hilary 219 150 Begnal, Michael H. 120 1985 139, 142 Behan, Brendan 5, 33–50 career 127 ‘After the Wake’ 42 A Clockwork Orange 127, 128, appropriation of sonnet 136, 140 form 39–40, 41 and counterpoint 7, 130–1, Borstal Boy 35, 43 137–46

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Earthly Powers 76, 127 links between Joyce’s Dubliners and The End of the World News: An works of 198–202 Entertainment 140–1, 142, 145 literary influences 195 and Finnegans Wake 127, 136 relationship with Gallagher Honey for the Bears 140 202–3 incorporation of musical forms into relationship with Lish 202 fiction 128, 138 ‘The Student’s Wife’ 196, Joycean influence in work 200–1, 206 of 127–8 use of epiphany and epicleti 8, Joysprick 130 194, 197–200, 201–2, 205, 206 Moses 140 Where I’m Calling From 194, 203 Mozart and the Wolf Gang 141–6 Will You Please Be Quiet, Napoleon Symphony 135, 139, 143, Please? 196, 197, 198 144, 145 Castle, Gregory 8, 175, 183, 185–7 Nothing Like the Sun 128 Censorship of Publications Act The Novel Now 130 (1929) 18 reliance on mythic superstructure chaos theory 242, 246, 249 in works 138 Cheng, Vincent J. 188, 217, 244, Shakespeare 140 246, 248 technical borrowings from Cixous, Hélène 244, 245–6 Joyce 138 The Exile of James Joyce 234 This Man and Music 130 Clare, John 165 Tremor of Intent 128 cliché A Vision of Battlements 128, 138 in Dubliners 207–8 The Worm and The Ring 138 used by Carver in late stories Burnett, Paula 222 206–7, 208 Burns, Alan 150 Coe, Jonathan 7, 161–3, 168 Butler, Judith 173, 174 advocacy of Johnson 161–2 The Rotters’ Club 162–3 Camus, Albert 42 confession 185 Caribbean in Portrait of a Gentleman 185 allusions to in Finnegans Coover, Robert 195 Wake 218, 219 Corcoran, Neil 54 Irish in 219 counterpoint references to in Joyce 213 and Burgess 7, 130–1, 137–46 Carrigan Report 17 definition 128–9 Carson, Ciaran 40 and Dubliners 131 The Alexandrine Plan 40 and Finnegans Wake 7, 136–7, 139 The Twelfth of Never 40 and Joyce 131–8 Carver, Raymond 8, 194–211 meaning of in literature 129 change in style 196–7, 202 and modernism 129–30 clichés in late stories 206–7, and Ulysses 7, 132–6 208 craft ‘Elephant’ 8, 205–7, 208 distinction between technique Elephant and Other Stories 194 and 40–1 ‘Fat’ 198–200 Crane, Ralph J. 57 and Hemingway 194, 195–6 Cross, Eric influence of Joyce 194–5 The Tailor and Antsy 20 influence of 194, 209 Cullingford, Elizabeth Butler 244–5

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influence of Joyce 233–4 and counterpoint 131–8 and Kafka 232 dismissal of relevance of 152 literary influences 232 and Dublin 16 living in self-imposed exile 234, impact of the Orient on 244–5 235 importance of consumer and and Persian history and popular culture in reading 82 legend 232 importance of sound of words in portrayal of Eastern women as novels 116 Other 246–8 ‘Ireland, Island of Saints and use of metaphor and imagery 235 Sages’ 214–15, 217 Hemingway, Ernest and Irish tribalism 60 and Carver 194, 195–6 and ‘island imaginary’ 8, 214 ‘Cat in the Rain’ 195–6 link of maritime culture of Ireland Henke, Suzette 26, 180–81 in works 217–18 Hernstein Smith, Barbara 48 and narrative structure 119–20 Herr, Cheryl 82 and politics 94 Herron, Tom 81 presence of New World in Hoveyda, Fereydoon 233–4 works 215 Hutcheon, Linda, A Theory of relationship with Nora Adaptation 75 Barnacle 203 Huxley, Aldous, Point Counter and self-imposed exile 234–5 Point 130 and translation 122 use of epiphany 197 Ireland view of Roman Catholic Church 8, prohibition of birth control 27–8 11, 222 women’s rights and role see also individual novels issues 17–18 Joyce, Paul 75 Iremonger, Valentin 37, 43, 44, 48 Irish Literary Revival 63, 81 Kafka, Frantz 232 Irish nationalism 8 Karnow, Stanley 45 Irish orientalism 243–4 Katouzian, Homayoun 230–1, 235, 236 Irish Times 58, 73 Kavanagh, Patrick 33, 84–5 ‘island imaginary’ 8, 214 ‘Who Killed James Joyce?’ 73 Kearney, Colbert 35, 37, 43, 44, Jahanbegloo, Ramin 232 45, 48 (Dublin) 75 Kenner, Hugh Jameson, Storm 106 ‘Uncle Charles Principle’ 131, 174 Jarnach, Phillipp 131, 133 Kershner, R. Brandon 82, 243–4, 245 Jauchen, Michael 26 Kiberd, Declan 49, 73–4 Jeffs, Rae 35 Ulysses and Us 82 Johnson, B.S. 150, 161–2 Kierkeggard, Søren 132 Joyce, James Kramer, Lawrence 129 adaptations of works 76–7 Küntslerroman 4, 9, 19, 236 and Bildungsroman 176, 183, 188, 189 Lawrence, Karen 119 Caribbean cultural references 213 Lennon, Joseph censorship and obscenity Irish Orientalism 243–4 charges 18 Lennon, Sean 75 childhood and upbringing 14 Leonard, Garry 26, 82, 173

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Lessing, Gotthold 132 McGahern, John 29 Levin, Harry McGrath, Charles 194 ‘What was Modernism’ 151 McLeod, John 57, 61 Levine, Caroline 4 Maley, Willy 86–7 Levinson, Marjorie 4 Marken, Ronald 40 Levitt, Morton 150, 151, 168 Martin, Timothy 219 Lewis, C.S. 113, 118 melopoetics 129 ley line 164–6, 167 Mentxaka, Aintzane 11, 13 Leypoldt, Gunter 198, 200 Mitchell, David 168 Lichtenstein, Rachel 164 Mitchell, James B. 175 Lish, Gordon 194, 202 modernism 121, 151–2 Livett, Jennifer 57 and counterpoint 129–30 Lodge, David 157 Mosher, Harold 207 L’Ouverture, Toussaint 218 Muldoon, Paul 40 Lowe, Lisa 246, 247 music Lowe-Evans, Mary 185 and literature 129 see also Luening, Otto 131, 133 counterpoint musicology 132 Macbeth and Orwell’s A Clergyman’s nacheinander 132 Daughter 102–3 Nally, Claire 78, 79, 82 MacCabe, Colin 122 nebeneinander 132, 135 McCabe, Patrick 71–89 Norris, Margot 106 allegorical elements of work Noyes, Alfred 79, 80 ‘The Highwayman’ 183–4 Breakfast on Pluto 71, 78–9 Nuabhéarsaíocht 39 The Butcher’s Boy 71, 78–9, 80 contribution to Writings on Ó Cadhain, Máirtín 36 Joyce 74 O’Briain, Sean 36 The Dead School 5–6, 71–2, O’Brien, Edna 77 79–87 The Country Girls 77 influence of Joyce 73, 74, 75 O’Brien, Flann 33, 54, 86, 87 ‘James Joyce and Me’ 74, 78, 87 The Dalkey Archive 71, 77–8 Mondo Desperado 79 O’Brien, Kate 3, 4, 11–32 references to music and film in The Ante-Room 18, 29 novels of 82 As Music for Splendour 12, MacCall, Patrick J. 244 16, 18 McCarthy, Tom 168 The Bridge 15 McCourt, Frank 3, 172–92 censorship and banning of Angela’s Ashes 7–8, 173–89 books 18–19, 20, 29 and Bildungsroman 175–6, 189 childhood and early criticism of work 173 years 14–15, 19 and Irish nationalism 176, 177 critic of avant-garde 13 ’Tis 173, 175 The Distinguished Villa 15 yes I said yes I will Yes 172, 176 Dublin and Cork 17 McCurl, Mark estrangement from Irish The Program Era 194 culture 14–15 McDermott, John familial relations 17 ‘American Epicleti’ 197 female characters in novels 13

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The Flower of May 18 Other focus on position of women and portrayal of women as in Hedayat’s quest for self-determination in The Blind Owl 246–8 novels 11, 12–13, 24 Irish Times ‘Long Distance’ Paor, Louis de 39 column 13 Parastesh, Shahram 233 James Joyce: A Life 77 Parker, Michael 80 on Joyce’s secretiveness 13 Pater, Walter 130, 131 lack of popularity 12, 15, 16, 29 Patten, Eve 80 The Land of Spices 4, 11, 12, 16, Persia 18, 19–23 eroticization and Othering of by The Last of Summer 12 Joyce and Hedayat 243–9 lecture on Joyce (1968) 13, 21 Persian literature Mary Lavelle 12, 15, 16, 18, and Hedayat 230–1, 232, 233, 235 19, 20 Persian writers 231, 232, 233 My Ireland 16–17 Pfister, Manfred 248 reappraisal of work of 29 Philips, Paul 138–9 relationship with Limerick and polyphony 130, 132, 133, 135, 136 featuring of in novels 16–17 Portrait of the Artist as a Young Man setting novels in the past 18 (Joyce) 78, 116 That Lady 12, 18 and McCourt’s Angela’s Ashes 175, topics in works 12 177–89 Without My Cloak 4–5, 11, 12, 14, and O’Brien’s Land of Spices 15, 16, 18, 23–9 and 16, 19, 20–3 writing career 12 and Orwell’s A Clergyman’s O’Brien, Thomas 14 Daughter 101 O’Casey, Sean 175 portrayal of confession 185 Ochoa, Peggy 26 postmodernism 7, 150–1 O’Connor, Ulick 37, 39, 42, 43, 44, Pound, Ezra 130 47–8 Cantos 130 O’Faolain, Sean 203 O’Grady, Thomas 5 Rahimieh, Nasrin 232 O’Mara, Stephen 15 Renier, Gustaaf 15 O’Nolan, Brian 33 see also O’Brien, Reynolds, Lorna 17 Flann 33 Richards, Thomas 26 Orient/Orientalism Richardson, Caleb 19–20 comparing Irish history Riquelme, Jean Paul 117, 122, 204 with 243–4 Rorem, Ned 132 in the Dubliners 244 Roughley, Alan 234–5 impact of on Joyce 244–5 Orwell, George 6, 92–110 Saunders, George 209 Burmese Days 93 Saunders, Loraine 94 A Clergyman’s Daughter 6, 92–106 Scanlan, Margaret 63 ‘Inside the Whale’ 92, 106 Scher, Steven 129 reading of Ulysses 93–4 Schoenberg self-identification as a eunuch in Pierrot Lunaire 129 comparison with Joyce 92, Scott, Jeremy 158, 159, 160, 161 106–7 sea culture, Irish ‘Shooting an Elephant’ 93 in Finnegans Wake 217–21

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Self, Will 7, 168 literary influences on 112, 113 The Book of Dave 160–1 The Lord of the Rings 7, 112, 115, How the Dead Live 159–60 118, 120–3 Sen, Malcolm 245 made-up languages in Senn, Fritz 132 books 115–16 Servicemen’s Readjustment Act and narrative structure 118–19 (1944) 33 ‘On Fairy Stories’ 113 Sexton, David 158 and relationship between form, Shamissa, C. 238 sound and meaning 114–18 Share, Bernard 43 The Two Towers 115 Shockley, Alan 129, 132, 133, translation 122 135, 137 Turner, Jenny 113 Sicker, Philip 25, 26 Simidchieva, Marta 232, 238 Ulysses (Joyce) 9, 42, 116, 215–16 Sinclair, Iain 7, 163–6 adaptations of 75–6 Dining on Stones 164, 165 Amis on 153–4 Downriver 164 and Amis’s London Fields 156 Edge of the Orison 165–8 Anglo-Irish and British of 63 influence of Joyce 165–6 and Behan’s Scraperer 34 Landor’s Tower 163–4 ‘Circe’ chapter 78, 79, 92, 95–7, London Orbital 164–5 99, 104–5, 106, 132, 133, 159, Lud Heat 164 237, 241, 245 Rodinsky’s Room 164 concluding section (‘Green use of ley line 164–5, 167 Coaster’) 162 White Chappell, Scarlet Tracings counterpoint in 7, 132–6 164 and dangers of nationalism 83 Smyer, Richard I. 92 Doyle’s indictment of 72 Smyth, Ailbhe 19 and Farrell’s Troubles 5, 56, 57, 59, sonnet 62, 63–7 appropriation of by Gibraltar in 216 Behan 39–40, 41 and Hedayat’s The Blind Owl deployment of by Northern Irish 236–7, 238–43, 246–7, 248–50 poets 40 and McCabe’s Breakfast on Petrarchan 40, 41, 42, 47 Pluto 71, 78–9 Spoo, Robert 101–2, 104, 106 and McCabe’s The Dead School 5, Stevenson, Randall 151 72, 79–84 Strachan, John 82 and McCourt’s Angela’s Ashes 175 Strachey, John 106 narrative structure 119 Sugisaki, Shingo 131 ‘Nestor’ chapter 6, 92, 99–100, ‘’ 131, 135 104, 105–6 Synge, J.M. 81 New World in 216–17 and O’Brien’s Without My Tamplin, Ronald 67 Cloak 23–8 Tolkien, J.R.R. 6, 112–26 and Orientalism 244, 245 and contemporary writers 113 and Orwell’s A Clergyman’s depth of secondary world 121 Daughter 92–106 and Finnegans Wake 6, 112–13, and Phoenicians 216–17 114–18, 123 portrayal of women as interest in linguistics 113 other 245–6

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prominence of the word ‘womb’ Walsh, Sean 75 in 103 Walshe, Eibhear 12, 15 publishing of 15 Watkins, Alfred 164 and the sea 217 Williams, Keith 94 and Shakespeare’s Hamlet 102 Wilson, Angus ‘Sirens’ chapter 7, 132, 133–6 Diversity and Depth in Fiction 153 and Walcott’s Omeros 214, 216 Wilson, Georges 46 ‘Wandering Rocks’ chapter 7, 34, Winterson, Jeanette 152 135, 154 Wolf, Werner 129 Ulysses ‘SEEN’ 75 Wolff, Gregory 202–3 Wolff, Tobias 196, 202, 204, 209 Valente, Joseph 12, 19, 21, 22 Wollaeger, Mark A. 99 Vendler, Helen 41, 45 women Virgil focus on quest for self- Aeneid 138 determination in works of O’Brien 11, 12–13, 24 Walcott, Derek 3, 8–9, 213–28 portrayal of Eastern women as affection for Irish literature 213 Other by Hedayat 246–8 Another Life 213 portrayal of as other in Omeros 9, 214, 215, 216, 221–6 Ulysses 245–6 reading of Joyce and use of throughout his works 213–14 Yeats, W.B. 39, 49, 56, 81 and religion 222–3 and Farrell’s Troubles 56, 62 use of Ireland in in works 213 ‘Sailing to Byzantium’ 39 Wales, Katie 123 Walking Ulysses project 76 Zola, Émile Wallace, David Foster 195 The Belly of Paris 48

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