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BIG EXCITING SOURCE!! - See Joyce Scholars’ Collection Online (at Genetic Joyce Studies / Wisconsin U.) - infra.
| Dubliners |
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| Ulysses |
Images of Ulysses - a photo-gallery created by Aida Yared - online [last accessed on 12.06.2011]. The Rosenbach Museum (Philadephia): The famous book collector’s web-page gives a chapter-by-chapter summary of Ulysses - online.
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| Finnegans Wake |
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| Joyicity in General |
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| Joyce at the Buffalo University Libraries | |||
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| Olwen Fouéré’s riverrun, at The Shed (Nat. Theatre, London) - 11-22 March 2014 - - online. |
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Buffalo University James Joyce Collection
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D. J. O’Donoghue, The Poets of Ireland (Dublin: Hodges Figgis 1912) incls. JOYCE, JAMES A., and lists Chamber Music, poems (London 1907) - with comments: ‘A remarkable volume by a young Irish writer of Galway parentage [sic]. He was a brilliant student of University College, Dublin, and went to Trieste some years ago.’
Stephen Brown, Ireland in Fiction [Pt. I] (Dublin: Maunsel 1919), comments: ‘He held for a long time a position in the consular service at Trieste. Besides the following, he has published another work of fiction, Ulysses, and a volume of verse, Chamber Music. In 1916 he published a work entitled A Portrait of the Artist as a Young Man. It is autobiographical and resembles the reminiscences of George Moore in its entire absence of reticence and of regards for the ordinary amenities of publicity.’ Brown, on Dubliners, ‘17 genre studies in the form of stories picturing life among the Dublin lower-middle and lower classes, but from one aspect only, viz., the dark and squalid aspect. This is depicted with almost brute realism, and though there is an occasional gleam of humour, on the whole we move, as we read, in the midst of painful scenes of vice and poverty. His characters seem to interest the Author in so far as they are wrecks or failures in one way or another. He writes as one who knows his subject well.’ Note also [Qry ?IF], Chamber Music (1907) ‘A remarkable volume by a young Irish writer of Galway parentage. He was a brilliant student of University College, Dublin, and went to Trieste some years ago.
Desmond Clarke, Ireland in Fiction [Part II] (Royal Carbery 1988), reviews the whole series of works, quoting extensively from Ernest Baker (The English Novel, 1932). Stephen Hero: ‘differs considerably from the final published version’ [Clarke]; Ulysses: ‘determined to unveil the background of consciousness, the irrational forces that determine behaviour’; Portrait: ‘the story is formless; the dialogue is just ragged scraps of sentences spat out by incoherent boys and youths, with an unholy gusto for blasphemy, but there is a strange power in certain scenes.’ Finnegans Wake, written in a dram language compounded of dozens of languages including Eskimo, it contains not a single sentence to guide the reader in interpreting it, not a single direct statement of what it is about’ [Clarke].
Arthur Quiller Couch, ed., Oxford Book of English Verse, 1250-1918 (new ed. 1929), 951. Note that Joyce is presented only by ‘A Portrait of the Artist as a Young Man’ (title of book) in the Oxford Dictionary of Quotations. (2nd edn. 1953, rep.1970).
Seamus Deane, gen. ed., The Field Day Anthology of Irish Writing (Derry: Field Day 1991), Vol. 2, selects from Chamber Music, II, III, XXXIV, XXXV; from Pomes Penyeach, ‘Tilly’, ‘A flower given to my Daughter’, ‘She weeps over Rahoon’; from collected Poems, ‘Flood!’, ‘Night-piece’, ‘Ecce Puer’ [698-69], ‘The Holy Office’ [769-71]; ‘Gas from a Burner’ [771-73]; also remarks and references, Moore in repertoire of ubiquitous Irish tenors incl. Joyce [Seamus Deane, ed.] 4, thought Mangan to be the one important poet of the century, in whom ‘an hysterical nationalism received its final justification’, not only believed in the Mangan myth, he was, after Mitchel and others one of its most ardent supporters [ibid.] 5-6; the peculiar brand of politeness and sentimentality that Moore broguht to Irish verse persisted in the poetry of later writers like Oscar Wilde and James Joyce, enhanced in their cases by the preciousness and local intensities favoured by the aesthetic movement, 8; Joyce made Parnell into a version of Ireland itself [Deane, ed.], 210; an apocryphal escape of James Stephen’s escape of 1865 given in ‘Proteus’, 268n; (Joyce’s attachment to Parnell, the dinner-scene in A Portrait, 303); Richard Pigott’s ‘hesitency’ in Finnegans Wake, 309n; note to Parnell’s phrase about ‘the English wolves howling for my destruction’, reported in TP O’Connor, Memoirs of an Old Parliamentarian (1929), Joyce wrote in ‘The Shade of Parnell’ (1912), the Irish ‘did not throw him to the English wolves; they tore him to pieces themselves’ [and see Goethe for ultimate source of this]. In fact Parnell’s manifesto was a bad political error and alienated many political supporters [Deane, ed.], 323n; Wilde and Shaw, instructive lessons for Joyce [Declan Kiberd, ed.], 373; Wilde, in ‘The Decay of Lying’, says that to treat art as a mirror would ‘reduce genius to the position of a cracked looking-glass’; cf. Joyce’s ‘cracked looking-glass of a servant’, in ‘Telemachus’, Ulysses, 383; the notion of the self-invented man pervades the writings of Shaw, Nietszche, Yeats and Joyce [Kiberd, ed.], 399n; the cracked looking-glass confirms traditional image of Ireland as subservient and menial, 423; Haines compared to Broadbent, in taking the precaution of coming with a gun [Kiberd, ed.], 475n; on the Literary Revival, it was in Joyce that the movement as a whole was to endure a withering, searchingly intelligent critique [Terence Brown, ed.], 520; [with others] most redeeming feature of [his] poetry its technical elegance [Deane, ed.], 721; compared with Gogarty as poet; a love for that faded, lingering spareness they both associated with the Elizabethans [ibid.], 750; Gogarty biog. 780; [for Joyce biog. & bibl. see FDA3, 782 86], 783; Joyce on Moore; his ‘servile head ... a Firbolg in the borrowed cloak of a Milesian’ [Seamus Heaney, ed.], 784; compared with Yeats, even an intelligence as strong and antagonistic as Joyce’s functioned within a set of cultural and intellectual forms that generally were shared and assented to [Homer, Roman Catholic liturgy, Dante, Aquinas] when Joyce began to write, such a keyboard of references looked as solidly estabished as the contours of nature ... harnessed a whole system to his own ends [ibid.], 786; one must remember [with Yeats] to grant to the occult at least as much formative and directive influence as one might unthinkingly grant to catholicism in Joyce’s [ibid.], 787; [in Yeats biog., 830] [W. J. McCormack, ed., negates comparison with Larminie, 846]; Joyce’s attention attracted to The House by the Church-Yard by the resurrectionist preface [ibid.], 883; avid reader of Corelli [Luke Gibbon, ed.], 963n; Corkery, in Synge and Anglo Irish Literature (1931), expatriation a chronic disease from Goldsmith’s time ... to our own time of Shaw, Joyce and Moore, 1008; Corkery makes reference - literally in parenthesis, ‘Mr James Joyce has gone astray - although that very texture we have spoken of nearly succeeded in holding him fast [ibid.], 1012; Joyce admired Eglintons critical intelligence and thought him the only one worth challenging in ‘Scylla’, 1018; Arthur Clery, college contemporary, 1019; [no refs. 1020], Joyce impressed by Yeats’s ‘The Tables of the Law’, 1021; George Birmingham chooses ‘‘A Painful Case” from Dubliners, ‘Are they stories or not? I have decided perhaps wrongly, that of them some are, some of them are not. I have picked out one that is’, 102-23; [?1024], religious scruples and adolescence echoed in Forrest Read, 1025; modernism finds new exponents in Beckett and Flann O’Brien, 1027 [1021-1027, Augustine Martin, ed.] FDA3 selects ‘James Clarence Mangan’, ‘Ireland, Isle of Saints and Sages’; ‘The Home Rule comet’, ‘The Shade of Parnell’; Stephen Hero; Dubliners, ‘Araby’, ‘Ivy Day in the Committee Room’, A Portrait of the Artist as a Young Man; Ulysses, ‘Telemachus, ‘Proteus’, ‘Scylla and Charybdis’, ‘Sirens’, ‘cyclops’, ‘Ithaca’, ‘Penelope’; Finnegans Wake; REFS & REM passim; and BIOG. 86-88. ALSO FDA2 1023, George Bermingham selected ‘A Painful Case’ for his volume of stories, after agonising over definitions, ‘Are they stories or not? I decided, perhaps wrongly, that some of them are and some of them are not. I have picked out that one.’
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Kevin Rockett, et al., Cinema & Ireland (1988), citing Dead, The (Huston, 1987), 261-3 [Huston’s last film] ; Tragic Story of Beatrice Cenci, The (Joyce’s first show at the Volta), 5; Ulysses (1967, 112, 142 [dir. Joseph Strick; controversial version]. TV Film, Dublin 1, James Joyce, adpt. Hugh Leonard, from Dubliners/dir. Louis Lentin (1964); Echoland, James Joyce [extracts from Finnegans Wake]/Louis Lentin (1964); Exiles, James Joyce/Donall Farmer (1974); Mr Joyce is Leaving Paris, 298, Tom Gallagher/Louis Lentin (1971); A Painful Case, James Joyce, adpt. Michael Voysey/John Lynch. See Helena Sheehan, Irish Television Drama, A Society and Its Stories (RTE 1987).
Anthony Slide, Cinema in Ireland (1988), pp.66-67, gives details of Joyce’s venture at the Volta, 45 Mary St., off Sackville St., and Dublin’s second cinema. A representative of The Dublin Evening Telegraph was present at the first afternoon’s peformance [20 Dec 1910], which featured three European films, all one reel (10 mins) in length, The First Paris Orphanage, La Pouponniere, and The Tragic Story of Beatrice Cenci; the last [he] considered as ‘hardly as exhilarating a subject as one would desire on the eve of the festive season’. There was however ‘full praise for Mr James Joyce, who has worked indefatiguably in its production and deserves to be congratulated on the success of its inaugural exhibition.’ Assisting was projetionists Lennie Collinge, a witty working-class Dubliner (d.1979) whom the author met when he was living with his invalid wife in the Kevin St. slums. He had worked to 80, and finally retired in capacity of film censor. The projector had lacked a take up spool, film flowing into a bucket on the floor, and was operated by a hand-turned crank. According to Patricia Hutchins, he was impressed by Man of Aran. He felt that only Sergei Eisenstein or Walter Ruttman was capable of filming Ulysses. A draft scenario for the Anna Livia episode, written with Joyce’s encouragement. An adaptation of Finnegans Wake was filmed from Mary Manning’s off-Broadway play, Passages from Finnegans Wake, cost $250,000, and was first seen on May 1965, being released commercially in 1967, with subtitles. Joseph Strick began filming Ulysses in Dublin, 4 July 1966, cost only $500,000, featuring Milo O’Shea, Barbara Jefford, Maurice Roeves [sic] (Stephen), and T. P. McKenna (Buck); John Huston planned a film version of A Portrait in 1970, to be adapted by Hugh Leonard; again, it was Strick who brought it out, in 1977, with Bosco Hogan, TP McKenna, John Gielgud, Rosaleen Linihan, and Maureen Potter (Dante). Meredith Burgess had produced a 1973 Broadway Ulysses in Nighttown, with Fionnula Flanagan and Zero Mostel; the former went on the produced her one-woman James Joyce’s Women, directed by Burgess (1977); a remake for television with the same title, released 1985, directed by Michael Pearce, with a cast of 14 players besides Flanagan in all female roles. Documentaries of Joyicity include Kieran Hickey’s Faithful Departed (1968), with comm. spoken by Jack MacGowran; also Norma Cohen’s Joyce’s Dublin (1967), narrated by MacLiammóir, with Joyce’s works read by Ulick O’Connor; Andy O’Mahoney Narrates the 10-min. City of James Joyce (1968).
Peter Ellis (Cat. No. 10; 2002), James Joyce, Ulysses (Paris: Shakespeare & Co. 1926), 8th imp., entirely reset; half-morocco contemp. [orig. £650; reduced to £550 in 2004]; Ulysses (London: John Lane/Bodley Head 1937), 1st UK trade edn., green cloth with Homeric bow [£775]; Stephen Hero: A part of the first draft of A Portrait of the Artist as a Young man (NY: New Directions 1944) [£125]; Portrait of the Artist [&c.]; (London: Jon. Cape 1968), 1st UK edn., ed. Richard Ellmnann, ill. Robin Jacques [£45]. Also, Beckett et al., Our Exagmination [... &c.] (Paris: Shakespeare & Co.) [£350].
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Stuart Gilbert (1883-1969) - Works: COPAC lists [selected] Le 18e Siècle. De Watteau à Tiepolo] The Eighteenth Century. Watteau to Tiepolo, Translated by Stuart Gilbert. [With reproductions] by François Fosca, [pseud. Stuart Gilbert, 1952; Affairs of destiny [by] Simenon, Georges; 1942; Altona. (Translated by Sylvia and George Leeson.) Men without Shadows. (Translated by Kitty Black.) The Flies. (Translated by Stuart Gilbert.) by Sartre, Jean Paul; Black, Kitty; Gilbert, Stuart; Leeson, George; Leeson, Sylvia, 1962; Analects; translated by Stuart Gilbert, with an introduction by W. H. Auden [by] Valéry, Paul Ambroise Toussaint Jules; Auden, Wystan Hugh; Gilbert, Stuart, 1970; Analects; translated by Stuart Gilbert, with an introduction by W. H. Auden [by] Valéry, Paul Ambroise Toussaint Jules; Auden, Wystan Hugh; Gilbert, Stuart, 1970; The ancien régime and the French Revolution. Translated by Stuart Gilbert [by] Clérel De Tocqueville, Charles Alexis Henri Maurice, Count; Gilbert, Stuart, 1966; [André Beaudin] André Beaudin. Text by Georges Limbour. (Translated by Stuart Gilbert.) by Beaudin, André; Gilbert, Stuart; Limbour, Georges, 1961; [Le Blanc à lunettes] Havoc by Accident. Translated by Stuart Gilbert [by] Simenon, Georges; Gilbert, Stuart, 1943; [Le Blanc à lunettes] Havoc by Accident, Translated by Stuart Gilbert [by] Simenon, Georges; Gilbert, Stuart, 1952; Byzantium: from the death of Theodosius to the rise of Islam; translated by Stuart Gilbert and James Emmons [by] Grabar, Andrei N.; Emmons, James; Gilbert, Stuart, 1967; Caligula and Cross purpose, by Albert Camus; translated by Stuart Gilbert; introduced by John Cruickshank, 1965; Carolingian art / J. Hubert, J. Porcher and W. F. Volbach; translated by James Emmons, Stuart Gilbert and Robert Allen, 1968; [Citadelle] The Wisdom of the Sands. Translated by Stuart Gilbert, etc [by] Saint-Exupéry, Antoine Jean Baptiste Marie Roger de; Gilbert, Stuart, 1952; The Code of Criminal Procedure, being Act V of 1898, with copious notes, Fifth edition by G. S. Henderson [by] Agnew, Sir William Thomas Fischer; HARI-BHUSHANA MUKHOPADHYAYA; Henderson, Gilbert Stuart, Judge of the High Court, Calcutta, 1910; The Collected Fiction of Albert Camus. Comprising The Outsider, The Plague (translated by Stuart Gilbert), The Fall, Exile and the Kingdom (translated by Justin O’Brien) [by] Camus, Albert; Gilbert, Stuart; O’Brien, Justin, 1960; The collected fiction of [albert Camus]: The outsider; The plague; The fall; Exile and the kingdom by Albert Camus; translated by Stuart Gilbert., 1967; The Collected Plays of Albert Camus, Caligula. Cross Purpose. (Translated by Stuart Gilbert.) The Just. (Translated by Henry Jones.) The Possessed. (Translated by Justin O’Brien.) by Camus, Albert; Gilbert, Stuart; Jones, Henry, Translator; O’Brien, Justin, 1965; The Collected Poems of Harry Crosby [by] Crosby, Harry; Eliot, Thomas Stearns; Gilbert, Stuart; Lawrence, David Herbert; Pound, Ezra Loomis, 1931; Days of hope / André Malraux; translated from the French by Stuart Gilbert and Alastair Macdonald, 1982; Days of hope. Translated by Stuart Gilbert and Alastair Macdonald [by] Malraux, André; Gilbert, Stuart; Macdonald, Alastair, Translator, 1938, 1968; [Dessins pour la Bible] Drawings for the Bible, Text by Gaston Bachelard. (Translated by Stuart Gilbert.) by Chagall, Marc; Bachelard, Gaston; Bible; Gilbert, Stuart, 1960; Dimensions of the 20th century 1900-1945 / Robert L. Delevoy; translated by Stuart Gilbert, 1965; Drawings for the Bible / text by Gaston Bachelard; translated by Stuart Gilbert, 1960; Early Medieval Painting from the Fourth to the Eleventh Century. Mosaics and mural painting by A. Grabar, Book illustration by Carl Nordenfalk. (Translated by Stuart Gilbert.) [With reproductions] by Grabar, Andrei N.; Gilbert, Stuart; Nordenfalk, Carl Adam Johan, 1957; Egyptian painting / text by Arpag Mekhitarian; [translated from the French by Stuart Gilbert], 1954, 1978; [L’empire carolingien] Carolingian art. ([By] J. Hubert, J. Porcher, W. F. Volbach.-Translated from, L’empire Carolingien by James Emmons, Stuart Gilbert, Robert Allen.) by Hubert, Jean, Archiviste-paléographe; Allen, Robert, Translator; Emmons, James; Gilbert, Stuart; Porcher, Jean; Volbach, Wolfgang Fritz, 1970; The epic-makers by Morand, Paul; Gilbert, Stuart [Translator], 1935; Escape in Vain. Translated by Stuart Gilbert. [Translations of “Le Locataire” and “Les Suicidés.”] by Simenon, Georges; Gilbert, Stuart, 1943; [Essais de psychologie de l’art. vol. 1] Museum without walls. [A revised and enlarged edition of “Le Musée imaginaire”] Translated by Stuart Gilbert and Francis Price. [With illustrations] by Malraux, André; Gilbert, Stuart; Price, Francis, Translator, 1967; [L’étranger] The Outsider. Translated by Stuart Gilbert, etc [by] Camus, Albert; Gilbert, Stuart, 1961; Etruscan painting / text by Massimo Pallottino; [translated by M.E. Stanley and Stuart Gilbert], 1952; [L’Europe des invasions] Europe in the Dark Ages by Jean Hubert, Jean Porcher, W. F. Volbach; [translated by Stuart Gilbert and James Emmons] [by] Hubert, Jean, Archiviste-paléographe; Emmons, James; Gilbert, Stuart; Porcher, Jean; Volbach, Wolfgang Fritz, 1969; The fall; and, The outsider by Albert Camus; translated from the French by Stuart Gilbert, 1977; Round the World again in Eighty Days. Translated by Stuart Gilbert [by] Cocteau, Jean; Gilbert, Stuart, 1937; Ulysses. (Specially revised by Stuart Gilbert.) Publisher: Hamburg: Odyssey Press, [1932] Physical desc.: 2 vol. pp. 791.; 8o.; also Reflections on James Joyce: Stuart Gilbert’s Paris Journal, ed. Thomas F. Staley & Randolph Lewis, eds. (Austin: Texas UP 1993 with [Harry Ransom Humanities Research Center], xiii, pp.103pp., ill. There is a also ‘retrato’ of Gilbert in Spain in 1925.
Archives: see Dave Oliphant & Thomas Zigal, Joyce at Texas: Essays on the James Joyce Materials at the Humanities Research Center (HRC Texas U., Austin 1983), being a full issue of The Library Chronicle relating to the holdings of the Harry Ransom Humanities Centre (Texas U.) [link].
Thomas A. Goldwasser Rare Books (San Francisco; Cat 17 [2004]): A Portrait of the Artist as a Young Man (London: Jonathan Cape 1924), first Cape edn., being 2nd English edn., with type reset, presentation copy “To Arthur Collinson / James Joyce / Paris / Christmas 1924. Collinson was Dr. Louis Borach’s assistant, Joyce continuing in his care for a time after Borach’s death. [$18,500.] Also Collected Poems of James Joyce (NY: Black Sun 1936), orig. cream boards stamped in gilt on front & spine, port. front. by Augustus John, blue silk ribbon marker; printed on japanese vellum and signed by author on frontispiece; copy 41 of 50 lit. edn; autograph MS of first six-line stanza of “Nightpiece” [from Pomes Penyeach] tipped in at the rear; with inscription from Tania Whitman, the orig. owner, and expatriate American who worked at Shakespeare & Co. ‘The collector whose acquisition of this book she arranged was the owner of a suite of Joyce large-paper msss of the Chamber Music poems, which Sylvia Beach desperately wanted to have back. This book and MS were offered as a gesture of thanks to him for allowing her to re-acquire the suite [in 1938]’; Slocum & Cahoon 44. [$65,000.]
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