Copyrighted material – 978–1–137–50361–9 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 Typeset by MPS Limited, Chennai, India. Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 Contents Foreword vii Derek Attridge Notes on Contributors xxi Introduction 1 Martha C. Carpentier 1 Kate O’Brien, James Joyce, 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 Finnegans Wake 112 Margaret Hiley 7 The ‘Baroque Weaving Machine’: Contrasting Counterpoint in James Joyce and Anthony Burgess 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 v Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 vi Contents 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 Copyrighted material – 978–1–137–50361–9 Copyrighted material – 978–1–137–50361–9 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 1 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 Ulysses 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 epiphany.’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.