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James Joyce
James Joyce, ca. 1918
Born	James Augustine Aloysius Joyce 2 February 1882(1882-02-02) Rathgar, Dublin, Ireland
Died	13 January 1941 (aged 58) Zürich, Switzerland
Occupation	Novelist, poet, teacher
Literary movement	Modernism, imagism
Notable work(s)	Ulysses (1922)
Spouse(s)	Nora Barnacle (1931-1941)
Influences Homer, Aristotle, Dante Alighieri, Gustave Flaubert, Percy Shelley, Ben Jonson, Thomas Aquinas, William Shakespeare, John Milton, Friedrich Nietzsche, Édouard Dujardin, Henrik Ibsen, Giordano Bruno, Giambattista Vico, Anton Chekhov, Leo Tolstoy, Oscar Wilde, W.B. Yeats
Influenced Samuel Beckett, Jorge Luis Borges, Flann O'Brien, Paul Auster, Salman Rushdie, Umberto Eco, Virginia Woolf, Don DeLillo, Anthony Burgess, Joseph Campbell, William Faulkner, Thomas Pynchon, Edna O'Brien, Martin Amis, Jamie O'Neill, George Orwell, Bret Easton Ellis, Brendan Behan, Robert Anton Wilson, Máirtín Ó Cadhain, John Updike, Sylvia Plath, Jacques Derrida, Jacques Lacan, Guram Dochanashvili

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish expatriate author of the 20th century. He is best known for his landmark novel Ulysses (1922) and its controversial successor Finnegans Wake (1939), as well as the short story collection Dubliners (1914) and the semi-autobiographical novel A Portrait of the Artist as a Young Man (1916).

Although he spent most of his adult life outside Ireland, Joyce's psychological and fictional universe is firmly rooted in his native Dublin, the city which provides the settings and much of the subject matter for all his fiction. In particular, his tempestuous early relationship with the Irish Roman Catholic Church is reflected through a similar inner conflict in his recurrent alter ego Stephen Dedalus. As the result of his minute attentiveness to a personal locale and his self-imposed exile and influence throughout Europe, notably in Paris, Joyce became paradoxically one of the most cosmopolitan yet one of the most regionally-focused of all the English language writers of his time.^[1]

Contents 1 Life 1.1 Dublin: 1882-1904 1.2 Trieste and Zürich: 1904-1920 1.3 Paris and Zürich: 1920-1941 2 Major works 2.1 Dubliners 2.2 A Portrait of the Artist as a Young Man 2.3 Exiles and poetry 2.4 Ulysses 2.5 Finnegans Wake 3 Legacy 4 Works 5 Notes 6 References 7 Further reading 8 External links

[edit] Life

[edit] Dublin: 1882-1904

James Augustine Aloysius Joyce was born on February 2, 1882 to John Stanislaus Joyce and Mary Jane Murray in the Dublin suburb of Rathgar. He was the oldest of 10 surviving children; two of his siblings died of typhoid. His father's family, originally from Fermoy in Cork, had once owned a small salt and lime works. Joyce's father and paternal grandfather both married into wealthy families. In 1887, his father was appointed rate (i.e., a local property tax) collector by Dublin Corporation; the family subsequently moved to the fashionable adjacent small town of Bray 12 miles (19 km) from Dublin. Around this time Joyce was attacked by a dog; this resulted in a lifelong canine phobia. He also suffered from a fear of thunderstorms, which his deeply religious aunt had described to him as being a sign of God's wrath.^[2]

In 1891, Joyce wrote a poem, "Et Tu Healy," on the death of Charles Stewart Parnell. His father was angry at the treatment of Parnell by the Catholic church and at the resulting failure to secure Home Rule for Ireland. The elder Joyce had the poem printed and even sent a copy to the Vatican Library. In November of that same year, John Joyce was entered in Stubbs Gazette (an official register of bankruptcies) and suspended from work. In 1893 John Joyce was dismissed with a pension. This was the beginning of a slide into poverty for the family, mainly due to John's drinking and general financial mismanagement.^[3]

James Joyce was initially educated by the Jesuit order at Clongowes Wood College, a boarding school near Clane in County Kildare, which he entered in 1888 but had to leave in 1892 when his father could no longer pay the fees. Joyce then studied at home and briefly at the Christian Brothers school on North Richmond Street, Dublin, before he was offered a place in the Jesuits' Dublin school, Belvedere College, in 1893. The offer was made at least partly in the hope that he would prove to have a vocation and join the Order. Joyce, however, was to reject Catholicism by the age of 16, although the philosophy of Thomas Aquinas would remain a strong influence on him throughout his life.^[4]

He enrolled at the recently established University College Dublin (UCD) in 1898. He studied modern languages, specifically English, French and Italian. He also became active in theatrical and literary circles in the city. The article Ibsen's New Drama, his first published work, was published in 1900 and resulted in a letter of thanks from the Norwegian dramatist himself. Joyce wrote a number of other articles and at least two plays (since lost) during this period. Many of the friends he made at University College Dublin would appear as characters in Joyce's written works. He was an active member of the Literary and Historical Society, University College Dublin, and presented his paper "Drama and Life" to the L&H in 1900.

After graduating from UCD in 1903, Joyce left for Paris to "study medicine", but in reality he squandered money his family could ill afford. He returned to Ireland after a few months, when his mother was diagnosed with cancer.^[5] Fearing for her son's "impiety", his mother tried unsuccessfully to get Joyce to make his confession and to take communion. She finally passed into a coma and died on August 13, Joyce having refused to kneel with other members of the family praying at her bedside.^[6] After her death he continued to drink heavily, and conditions at home grew quite appalling. He scraped a living reviewing books, teaching and singing — he was an accomplished tenor, and won the bronze medal in the 1904 Feis Ceoil.^[7]

On 7 January 1904, he attempted to publish A Portrait of the Artist as a Young Man, an essay-story dealing with aesthetics, only to have it rejected by the free-thinking magazine Dana. He decided, on his twenty-second birthday, to revise the story and turn it into a novel he planned to call Stephen Hero. However, he never published this novel in this original name. This was the same year he met Nora Barnacle, a young woman from Galway city who was working as a chambermaid at Finn's Hotel in Dublin. On 16 June 1904, they went on their first date, an event which would be commemorated by providing the date for the action of Ulysses.

Joyce remained in Dublin for some time longer, drinking heavily. After one of his alcoholic binges, he got into a fight over a misunderstanding with a man in St. Stephen's Green; he was picked up and dusted off by a minor acquaintance of his father, Alfred H. Hunter, who brought him into his home to tend to his injuries.^[8] Hunter was rumored to be Jewish and to have an unfaithful wife, and would serve as one of the models for Leopold Bloom, the main protagonist of Ulysses.^[9] He took up with medical student Oliver St John Gogarty, who formed the basis for the character Buck Mulligan in Ulysses. After staying in Gogarty's Martello Tower for 6 nights he left in the middle of the night following an altercation which involved Gogarty shooting a pistol at some pans hanging directly over Joyce's bed.^[10] He walked all the way back to Dublin to stay with relatives for the night, and sent a friend to the tower the next day to pack his possessions into his trunk. Shortly thereafter he eloped to the continent with Nora.

[edit] Trieste and Zürich: 1904-1920

Joyce and Nora went into self-imposed exile, moving first to Zürich, where he had supposedly acquired a post teaching English at the Berlitz Language School through an agent in England. It turned out that the English agent had been swindled, but the director of the school sent him on to Trieste, which was part of Austria-Hungary until World War I (today part of Italy). Once again, he found there was no position for him, but with the help of Almidano Artifoni, director of the Trieste Berlitz school, he finally secured a teaching position in Pula, then also part of Austria-Hungary (today part of Croatia). He stayed there, teaching English mainly to Austro-Hungarian naval officers stationed at the Pula base, from October 1904 until March 1905, when the Austrians — having discovered an espionage ring in the city — expelled all aliens. With Artifoni's help, he moved back to the city of Trieste and began teaching English there. He would remain in Trieste for most of the next 10 years.^[1]

Later that year Nora gave birth to their first child, Giorgio. Joyce then managed to talk his brother, Stanislaus, into joining him in Trieste, and secured him a position teaching at the school. Ostensibly his reasons were for his company and offering his brother a much more interesting life than the simple clerking job he had back in Dublin, but in truth, he hoped to augment his family's meagre income with his brother's earnings.^[11] Stanislaus and James had strained relations the entire time they lived together in Trieste, with most arguments centering on James' frivolity with money and drinking habits.^[12]

With chronic wanderlust much of his early life, Joyce became frustrated with life in Trieste and moved to Rome in late 1906, having secured employment in a bank. He intensely disliked Rome, and moved back to Trieste in early 1907. His daughter Lucia was born in the summer of the same year.

Joyce returned to Dublin in the summer of 1909 with Giorgio, to visit his father and work on getting Dubliners published. He visited Nora's family in Galway, meeting them for the first time (a successful visit, to his relief). When preparing to return to Trieste he decided to bring one of his sisters, Eva, back to Trieste with him to help Nora run the home. He would spend only a month in Trieste before returning to Dublin, this time as a representative of some cinema owners to set up a regular cinema in Dublin. The venture was successful (but quickly fell apart in his absence), and he returned to Trieste in January 1910 with another sister in tow, Eileen. While Eva became very homesick for Dublin and returned a few years later, Eileen spent the rest of her life on the continent, eventually marrying Czech bank cashier František Schaurek.

Joyce returned to Dublin briefly in the summer of 1912 during his years-long fight with his Dublin publisher, George Roberts, over the publication of Dubliners. His trip was once again fruitless, and on his return he wrote the poem "Gas from a Burner" as a thinly veiled invective against Roberts. It was his last trip to Ireland, and he never again came closer to Dublin than London, despite the many pleas of his father and invitations from fellow Irish writer William Butler Yeats.

Joyce concocted many money-making schemes during this period, such as his attempt to become a cinema magnate in Dublin, as well as a frequently discussed but ultimately abandoned plan to import Irish tweeds into Trieste. His expert borrowing skills saved him from indigence. His income was partially from his position at the Berlitz school and from teaching private students. Many of his acquaintances through meeting these private students proved invaluable allies when he faced problems getting out of Austria-Hungary and into Switzerland in 1915.

One of his students in Trieste was Ettore Schmitz, better known by the pseudonym Italo Svevo; they met in 1907 and became lasting friends and mutual critics. Schmitz was a Catholic of Jewish origin, and became the primary model for Leopold Bloom; most of the details about the Jewish faith included in Ulysses came from Schmitz in response to Joyce's queries.^[13] Joyce would spend most of the rest of his life on the Continent. It was in Trieste that he was first beset with eye problems, ultimately requiring over a dozen surgeries.

In 1915, when Joyce moved to Zürich to avoid the complexities (as a British subject) of living in Austria-Hungary during World War I, he met one of his most enduring and important friends, Frank Budgen, whose opinion Joyce constantly sought through the writing of Ulysses and Finnegans Wake. It was also here where Ezra Pound brought him to the attention of English feminist and publisher Harriet Shaw Weaver, who would become Joyce's patron, providing him thousands of pounds over the next 25 years and relieving him of the burden of teaching to focus on his writing. After the war he returned to Trieste briefly, but found the city had changed, and his relations with his brother (who had been interned in an Austrian prison camp for most of the war due to his pro-Italian politics) were more strained than ever. Joyce headed to Paris in 1920 at an invitation from Ezra Pound, supposedly for a week, but he ended up living there for the next twenty years.

[edit] Paris and Zürich: 1920-1941

During this era, Joyce traveled frequently to Switzerland for eye surgeries and treatments for Lucia, who, according to the Joyce estate, suffered from schizophrenia. Lucia was even analyzed by Carl Jung at the time, who was of the opinion that her father had schizophrenia after reading Ulysses.^[14] Jung noted that she and her father were two people heading to the bottom of a river, except that he was diving and she was falling.^[15][16] In-depth knowledge of Joyce's relationship with his schizophrenic daughter is scant, because the current heir of the Joyce estate, Stephen Joyce, burned thousands of letters between Lucia and her father that he received upon Lucia's death in 1982.^[17] Stephen Joyce stated in a letter to the editor of the New York Times that "Regarding the destroyed correspondence, these were all personal letters from Lucia to us. They were written many years after both Nonno and Nonna [i.e. Joyce and Nora Barnacle..] died and did not refer to them. Also destroyed were some postcards and one telegram from Samuel Beckett to Lucia. This was done at Sam's written request."^[18]

In Paris, Maria and Eugene Jolas nursed Joyce during his long years of writing Finnegans Wake. Were it not for their unwavering support (along with Harriet Shaw Weaver's constant financial support), there is a good possibility that his books might never have been finished or published. In their now legendary literary magazine "transition," the Jolases published serially various sections of Joyce's novel under the title Work in Progress. He returned to Zürich in late 1940, fleeing the Nazi occupation of France. On 11 January 1941, he underwent surgery for a perforated ulcer. While at first improved, he relapsed the following day, and despite several transfusions, fell into a coma. He awoke at 2 a.m. on 13 January 1941, and asked for a nurse to call his wife and son before losing consciousness again. They were still en route when he died 15 minutes later. He is buried in the Fluntern Cemetery within earshot of the lions in the Zürich zoo. Although two senior Irish diplomats were in Switzerland at the time, neither attended Joyce's funeral, and the Irish government subsequently declined Nora's offer to permit the repatriation of Joyce's remains. Nora, whom Joyce had finally married in London in 1931, survived him by 10 years. She is buried now by his side, as is their son Giorgio, who died in 1976. Ellmann reports that when the arrangements for Joyce's burial were being made, a Catholic priest tried to convince Nora that there should be a funeral Mass. Ever loyal, she replied, 'I couldn't do that to him'. Swiss tenor Max Meili sang Addio terra, addio cielo from Monteverdi's L'Orfeo at the funeral service.

[edit] Major works

[edit] Dubliners

Joyce's Irish experiences constitute an essential element of his writings, and provide all of the settings for his fiction and much of their subject matter. His early volume of short stories, Dubliners, is a penetrating analysis of the stagnation and paralysis of Dublin society. The final and most famous story in the collection, "The Dead," was made into a feature film in 1987, directed by John Huston (it was Huston's last major work).

[edit] A Portrait of the Artist as a Young Man

A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen Hero, the original manuscript of which Joyce partially destroyed in a fit of rage during an argument with Nora, who asserted that it would never be published. A Künstlerroman, or story of the personal development of an artist, it is a biographical coming-of-age novel in which Joyce depicts a gifted young man's gradual attainment of maturity and self-consciousness; the main character, Stephen Dedalus, is in many ways based upon Joyce himself.^[19] Some hints of the techniques Joyce was to employ frequently in later works — such as the use of interior monologue and references to a character's psychic reality rather than his external surroundings — are evident in this novel.^[20] Joseph Strick directed a film of the book in 1977 starring Luke Johnston, Bosco Hogan, T.P. McKenna and John Gielgud.

[edit] Exiles and poetry

Despite early interest in the theatre, Joyce published only one play, Exiles, begun shortly after the outbreak of World War I in 1914 and published in 1918. A study of a husband and wife relationship, the play looks back to The Dead (the final story in Dubliners) and forward to Ulysses, which was begun around the time of the play's composition.

Joyce also published a number of books of poetry. His first mature published work was the satirical broadside "The Holy Office" (1904), in which he proclaimed himself to be the superior of many prominent members of the Celtic revival. His first full-length poetry collection Chamber Music (referring, Joyce explained, to the sound of urine hitting the side of a chamber pot) consisted of 36 short lyrics. This publication led to his inclusion in the Imagist Anthology, edited by Ezra Pound, who was a champion of Joyce's work. Other poetry Joyce published in his lifetime includes "Gas From A Burner" (1912), Pomes Penyeach (1927) and "Ecce Puer" (written in 1932 to mark the birth of his grandson and the recent death of his father). It was published in Collected Poems (1936).

[edit] Ulysses

As he was completing work on Dubliners in 1906, Joyce considered adding another story featuring a Jewish advertising canvasser called Leopold Bloom under the title Ulysses. Although he did not pursue the idea further at the time, he eventually commenced work on a novel using both the title and basic premise in 1914. The writing was completed in October, 1921. Three more months were devoted to working on the proofs of the book before Joyce halted work shortly before his self-imposed deadline, his 40th birthday (2 February 1922).

Thanks to Ezra Pound, serial publication of the novel in the magazine The Little Review began in 1918. This magazine was edited by Margaret Anderson and Jane Heap, with the backing of John Quinn, a New York attorney at law with an interest in contemporary experimental art and literature. Unfortunately, this publication encountered censorship problems in the United States; serialization was halted in 1920 when the editors were convicted of publishing obscenity. The novel remained proscribed in the United States until Judge John M. Woolsey lifted the ban in 1933.

At least partly because of this controversy, Joyce found it difficult to get a publisher to accept the book, but it was published in 1922 by Sylvia Beach from her well-known Rive Gauche bookshop, Shakespeare and Company at 12 Rue l'Odéon, Paris. An English edition published the same year by Joyce's patron, Harriet Shaw Weaver, ran into further difficulties with the United States authorities, and 500 copies that were shipped to the States were seized and possibly destroyed. The following year, John Rodker produced a print run of 500 more intended to replace the missing copies, but these were burned by English customs at Folkestone. A further consequence of the novel's ambiguous legal status as a banned book was that a number of 'bootleg' versions appeared, most notably a number of pirate versions from the publisher Samuel Roth. In 1928, a court injunction against Roth was obtained and he ceased publication.

The year 1922 was a key year in the history of English-language literary modernism, with the appearance of both Ulysses and T. S. Eliot's poem, The Waste Land. In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other literary technique to present his characters.^[21] The action of the novel, which takes place in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, contrasted with their lofty models. The book explores various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce said that "I want to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth it could be reconstructed out of my book".^[22] In order to achieve this level of accuracy, Joyce used the 1904 edition of Thom's Directory — a work that listed the owners and/or tenants of every residential and commercial property in the city. He also bombarded friends still living there with requests for information and clarification.

The book consists of 18 chapters, each covering roughly one hour of the day, beginning around about 8 a.m. and ending sometime after 2 a.m. the following morning. Each of the 18 chapters of the novel employs its own literary style. Each chapter also refers to a specific episode in Homer's Odyssey and has a specific colour, art or science and bodily organ associated with it. This combination of kaleidoscopic writing with an extreme formal, schematic structure represents one of the book's major contributions to the development of 20th century modernist literature.^[23] Others include the use of classical mythology as a framework for his book and the near-obsessive focus on external detail in a book in which much of the significant action is happening inside the minds of the characters. Nevertheless, Joyce complained that, "I may have oversystematised Ulysses," and played down the mythic correspondences by eliminating the chapter titles that had been taken from Homer.^[24]

Joseph Strick directed a film of the book in 1967 starring Milo O'Shea, Barbara Jefford and Maurice Roëves. Sean Walsh directed another version released in 2004 starring Stephen Rea, Angeline Ball and Hugh O'Conor.

[edit] Finnegans Wake

Having completed work on Ulysses, Joyce was so exhausted that he did not write a line of prose for a year.^[25] On 10 March 1923 he informed a patron, Harriet Weaver: "Yesterday I wrote two pages — the first I have since the final Yes of Ulysses. Having found a pen, with some difficulty I copied them out in a large handwriting on a double sheet of foolscap so that I could read them. Il lupo perde il pelo ma non il vizio, the Italians say. The wolf may lose his skin but not his vice or the leopard cannot change his spots".^[26] Thus was born a text that became known, first, as Work in Progress and later Finnegans Wake.

By 1926 Joyce had completed the first two parts of the book. In that year, he met Eugene and Maria Jolas who offered to serialise the book in their magazine transition. For the next few years, Joyce worked rapidly on the new book, but in the 1930s, progress slowed considerably. This was due to a number of factors, including the death of his father in 1931, concern over the mental health of his daughter Lucia and his own health problems, including failing eyesight. Much of the work was done with the assistance of younger admirers, including Samuel Beckett. For some years, Joyce nursed the eccentric plan of turning over the book to his friend James Stephens to complete, on the grounds that Stephens was born in the same hospital as Joyce exactly one week later, and shared the first name of both Joyce and of Joyce's fictional alter-ego (this is one example of Joyce's numerous superstitions).^[27]

Reaction to the work was mixed, including negative comment from early supporters of Joyce's work, such as Pound and the author's brother Stanislaus Joyce.^[28] In order to counteract this hostile reception, a book of essays by supporters of the new work, including Beckett, William Carlos Williams and others was organised and published in 1929 under the title Our Exagmination Round His Factification for Incamination of Work in Progress. At his 47th birthday party at the Jolases' home, Joyce revealed the final title of the work and Finnegans Wake was published in book form on 4 May 1939.

Joyce's method of stream of consciousness, literary allusions and free dream associations was pushed to the limit in Finnegans Wake, which abandoned all conventions of plot and character construction and is written in a peculiar and obscure language, based mainly on complex multi-level puns. This approach is similar to, but far more extensive than that used by Lewis Carroll in Jabberwocky. If Ulysses is a day in the life of a city, then Wake is a night and partakes of the logic of dreams. This has led many readers and critics to apply Joyce's oft-quoted description in the Wake of Ulysses as his "usylessly unreadable Blue Book of Eccles"^[29] to the Wake itself. However, readers have been able to reach a consensus about the central cast of characters and general plot.

Much of the wordplay in the book stems from the use of multilingual puns which draw on a wide range of languages. The role played by Beckett and other assistants included collating words from these languages on cards for Joyce to use and, as Joyce's eyesight worsened, of writing the text from the author's dictation.^[30]

The view of history propounded in this text is very strongly influenced by Giambattista Vico, and the metaphysics of Giordano Bruno of Nola are important to the interplay of the "characters". Vico propounded a cyclical view of history, in which civilisation rose from chaos, passed through theocratic, aristocratic, and democratic phases, and then lapsed back into chaos. The most obvious example of the influence of Vico's cyclical theory of history is to be found in the opening and closing words of the book. Finnegans Wake opens with the words 'riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.' ('vicus' is a pun on Vico) and ends 'A way a lone a last a loved a long the'. In other words, the book ends with the beginning of a sentence and begins with the end of the same sentence, turning the book into one great cycle. Indeed, Joyce said that the ideal reader of the Wake would suffer from "ideal insomnia"^[31] and, on completing the book, would turn to page one and start again, and so on in an endless cycle of reading.

[edit] Legacy

Joyce's work has been subject to intense scrutiny by scholars of all types. He has also been an important influence on writers and scholars as diverse as Hugh MacDiarmid,^[32] Samuel Beckett,^[33] Jorge Luis Borges,^[34] Flann O'Brien,^[35] Máirtín Ó Cadhain, Salman Rushdie,^[36] Robert Anton Wilson,^[37] and Joseph Campbell.^[38]

Some scholars, most notably Vladimir Nabokov, have mixed feelings on his work, often championing some of his fiction while condemning other works. In Nabokov's opinion, Ulysses was brilliant;^[39] Finnegans Wake, horrible (see Strong Opinions, The Annotated Lolita or Pale Fire^[40]), an attitude Jorge Luis Borges shared.^[41] In recent years, literary theory has embraced Joyce's innovation and ambition.

Joyce's influence is also evident in fields other than literature. The phrase "Three Quarks for Muster Mark" in Joyce's Finnegans Wake is often called the source of the physicists' word "quark", the name of one of the main kinds of elementary particles, proposed by the physicist Murray Gell-Mann.^[42] American philosopher Donald Davidson has written on Finnegans Wake in comparison with Lewis Carroll. Psychoanalyst Jacques Lacan used Joyce's writings to explain his concept of the sinthome. According to Lacan, Joyce's writing is the supplementary cord which kept Joyce from psychosis.^[43]

The life of Joyce is celebrated annually on 16 June, Bloomsday, in Dublin and in an increasing number of cities worldwide.

The James Joyce Society was founded in February 1947 at the Gotham Book Mart in Manhattan. Its first member was T. S. Eliot. The Joyce bibliographer, John Slocum, was the society's first president and Frances Steloff, founder and owner of the Gotham, served as its first treasurer.

Each year in Dedham, Massachusetts, USA literary-minded runners hold the James Joyce Ramble, a 10K Road Race with each mile dedicated to a different work by Joyce.^[44] With professional actors in period garb lining the streets and reading from his books as the athletes run by, it is billed as the only theatrical performance where the performers stand still and the audience does the moving.

Much of Joyce's legacy is protected by the Harry Ransom Center at the University of Texas, which houses thousands of manuscripts, pieces of correspondence, drafts, proofs, notes, novel fragments, poems, song lyrics, musical scores, limericks, and translations by Joyce.

Not everyone is eager to expand upon academic study of Joyce, however; Stephen Joyce, James' grandson and sole beneficiary owner of the estate, has been alleged to have destroyed some of the writer's correspondence,^[45] threatened to sue if public readings were held during Bloomsday,^[46] and blocked adaptations he felt were 'inappropriate'.^[47] On 12 June 2006, Carol Schloss, a Stanford University professor, sued the estate for refusing to give permission to use material about Joyce and his daughter on the professor's website.^[48][49]

The main libraries at Joyce's Alma mater, University College Dublin and Clongowes Wood College, are now named in his honour.

[edit] Works

• Stephen Hero (written 1904–6, published 1944)
• Chamber Music (1907 poems)
• Giacomo Joyce (written 1907, published 1968)
• Dubliners (1914)
• A Portrait of the Artist as a Young Man (1916)
• Exiles (1918 play)
• Ulysses (1922)
• Pomes Penyeach (1927 poems)
• Collected Poems (1936 poems)
• Finnegans Wake (1939)
• James Joyce’s Letters to Sylvia Beach, 1921-1940 (1987)

[edit] Notes

[edit] References

[edit] Further reading

General

• Attridge, Derek. The Cambridge Companion to James Joyce. 2nd ed. Cambridge and New York: Cambridge UP, 2004. ISBN 978-0-5218-3710-1.
• Benstock, Bernard, ed. Critical Essays on James Joyce. Boston: G. K. Hall, 1985. ISBN 0-81618-751-7.
• Bloom, Harold. James Joyce. New York: Chelsea House, 1986. ISBN 0-87754-625-8.
• Brannon, Julie Sloan. Who Reads Ulysses?: The Rhetoric of the Joyce Wars and the Common Reader. New York: Routledge, 2003. ISBN 978-0-4159-4206-5.
• Brooker, Joseph. Joyce's Critics: Transitions in Reading and Culture. Madison: University of Wisconsin Press, 2004. ISBN 0-2991-9604-6.
• Brown, Richard, ed. A Companion to James Joyce. Malden, MA: Blackwell, 2008. ISBN 978-1-4051-1044-0.
• Bulson, Eric. The Cambridge Introduction to James Joyce. Cambridge and New York: Cambridge UP, 2006. ISBN 978-0-5218-4037-8.
• Connolly, Thomas Edmund. James Joyce's Books, Portraits, Manuscripts, Notebooks, Typescripts, Page Proofs: Together With Critical Essays About Some of His Works. Lewiston, NY: Edwin Mellen, 1997. ISBN 0-77348-645-3.
• Epstein, Edmund L., ed. Mythic Worlds, Modern Words: On the Art of James Joyce/Joseph Campbell. Novato, CA: Josephe Campbell Foundation, New World Library, 2003. ISBN 978-1-5773-1406-6.
• Fargnoli, A. Nicholas and Michael Patrick Gillespie. Critical Companion to James Joyce: A Literary Reference to His Life and Work. Rev. ed. New York: Checkmark Books, 2006. ISBN 978-0-8160-6689-6.
• Hodgart, Matthew. James Joyce: A Student's Guide. London and Boston: Routledge, 1978. ISBN 0-71008-817-5.
• Jones, Ellen Carol and Beja Morris, eds. Twenty-First Joyce. Gainesville: University Press of Florida, 2004. ISBN 978-0-8130-2760-9.
• Knowles, Sebastian D. G., et al., eds. Joyce in Trieste: An Album of Risky Readings. Gainesville: University Press of Florida, 2007. ISBN 978-0-8130-3033-3.
• Manista, Frank C. Voice, Boundary, and Identity in the Works of James Joyce. Lewiston, NY: Edwin Mellen, 2006. ISBN 978-0-7734-5522-1.
• Milesi, Laurent, ed. James Joyce and the Difference of Language. Cambridge and New York: Cambridge UP, 2003. ISBN 0-52162-337-5.
• Nash, John. James Joyce and the Act of Reception: Reading, Ireland, Modernism. Cambridge and New York: Cambridge UP, 2006. ISBN 978-0-5218-6576-0.
• O'Neill, Patrick. Polyglot Joyce: Fictions of Translation. Toronto and Buffalo: University of Toronto Press, 2005. ISBN 978-0-8020-3897-5.
• Pierce, David. Reading Joyce. Harlow, England and New York: Pearson Longman, 2008. ISBN 978-1-4058-4061-3.
• Rabate, Jean-Michel. Palgrave Advances in James Joyce Studies. New York: Palgrave Macmillan, 2004. ISBN 978-1-4039-1210-7.
• Scholes, Robert. In Search of James Joyce. Urbana: University of Illinois Press, 1992. ISBN 0-25206-245-0.
• Seidel, Michael. James Joyce: A Short Introduction. Malden, MA: Blackwell, 2002. ISBN 0-63122-702-4.
• Stewart, Bruce. James Joyce. Very Interesting People series, no. 11. Oxford: Oxford UP, 2007. ISBN 978-0-1992-1752-6.
• Tindall, William York. A Reader's Guide to James Joyce. London: Thames & Hudson, 1959, 1960, and 1963.

Dubliners

• Benstock, Bernard. Narrative Con/Texts in Dubliners. Urbana: University of Illinois Press, 1994. ISBN 978-0-2520-2059-9.
• Bloom, Harold. James Joyce's Dubliners. New York: Chelsea House, 1988. ISBN 978-1-5554-6019-8.
• Bosinelli Bollettieri, Rosa Maria and Harold Frederick Mosher, eds. ReJoycing: New Readings of Dubliners. Lexington: University Press of Kentucky, 1998. ISBN 978-0-8131-2057-7.
• Frawley, Oona. A New & Complex Sensation: Essays on Joyce's Dubliners. Dublin: Lilliput, 2004. ISBN 978-1-8435-1051-2.
• Hart, Clive. James Joyce's Dubliners: Critical Essays. London: Faber, 1969. ISBN 978-0-5710-8801-0.
• Ingersoll, Earl G. Engendered Trope in Joyce's Dubliners. Carbondale: Southern Illinois UP, 1996. ISBN 978-0-8093-2016-5.
• Norris, Margot, ed. Dubliners: Authoritative Text, Contexts, Criticism. New York: Norton, 2006. ISBN 0-393-97851-6.
• Thacker, Andrew, ed. Dubliners: James Joyce. New Casebook Series. New York: Palgrave Macmillan, 2006. ISBN 978-0-3337-7770-1.

A Portrait of the Artist as a Young Man

• Bloom, Harold. James Joyce's A Portrait of the Artist as a Young Man. New York: Chelsea House, 1988. ISBN 1-55546-020-8.
• Brady, Philip and James F. Carens, eds. Critical Essays on James Joyce's A Portrait of the Artist as a Young Man. New York: G. K. Hall, 1998. ISBN 978-0-7838-0035-6.
• Doherty, Gerald. Pathologies of Desire: The Vicissitudes of the Self in James Joyce's A Portrait of the Artist as a Young Man. New York: Peter Lang, 2008. ISBN 978-0-8204-9735-8.
• Empric, Julienne H. The Woman in the Portrait: The Transforming Female in James Joyce's A Portrait of the Artist as a Young Man. San Bernardino, CA: Borgo Press, 1997. ISBN 978-0-8937-0193-2.
• Epstein, Edmund L. The Ordeal of Stephen Dedalus: The Conflict of Generations in James Joyce's A Portrait of the Artist as a Young Man. Carbondale: Southern Illinois UP, 1971. ISBN 978-0-8093-0485-1 .
• Harkness, Marguerite. Portrait of the Artist as a Young Man: Voices of the Text. Boston: Twayne, 1989. ISBN 978-0-8057-8125-0.
• Morris, William E. and Clifford A. Nault, eds. Portraits of an Artist: A Casebook on James Joyce's Portrait. New York: Odyssey, 1962.
• Seed, David. James Joyce's A Portrait of the Artist as a Young Man. New York: St. Martin's Press, 1992. ISBN 978-0-3120-8426-4.
• Thornton, Weldon. The Antimodernism of Joyce's A Portrait of the Artist as a Young Man. Syracuse, NY: Syracuse UP, 1994. ISBN 978-0-8156-2587-2.
• Wollaeger, Mark A., ed. James Joyce's A Portrait of the Artist as a Young Man: A Casebook. Oxford and New York: Oxford UP, 2003. ISBN 978-0-1951-5075-9.
• Yoshida, Hiromi. Joyce & Jung: The "Four Stages of Eroticism" in A Portrait of the Artist as a Young Man. New York: Peter Lang, 2007. ISBN 978-0-8204-6913-3.

Exiles

• Bauerle, Ruth and Connie Jo Coker. A Word List to James Joyce's Exiles. New York: Garland, 1981. ISBN 978-0-8240-9500-0.
• MacNicholas, John. James Joyce's Exiles: A Textual Companion. New York: Garland, 1979. ISBN 978-0-8240-9781-3.

Ulysses

• Arnold, Bruce. The Scandal of Ulysses: The Life and Afterlife of a Twentieth Century Masterpiece. Rev. ed. Dublin: Liffey Press, 2004. ISBN 190-4148-45X.
• Attridge, Derek, ed. James Joyce's Ulysses: A Casebook. Oxford and New York: Oxford UP, 2004. ISBN 978-0-1951-5830-4.
• Benstock, Bernard. Critical Essays on James Joyce's Ulysses. Boston: G. K. Hall, 1989. ISBN 978-0-8161-8766-9.
• Duffy, Enda, The Subaltern Ulysses. Minneapolis: University of Minnesota Press, 1994. ISBN 0-8166-2329-5.
• Ellmann, Richard. Ulysses on the Liffey. New York: Oxford UP, 1972. ISBN 978-0-1951-9665-8.
• French, Marilyn. The Book as World: James Joyce's Ulysses. Cambridge, MA: Harvard UP, 1976. ISBN 978-0-6740-7853-6.
• Gillespie, Michael Patrick and A. Nicholas Fargnoli, eds. Ulysses in Critical Perspective. Gainesville: University Press of Florida, 2006 . ISBN 978-0-8130-2932-0.
• Goldberg, Samuel Louis. The Classical Temper: A Study of James Joyce's Ulysses. New York: Barnes and Noble, 1961 and 1969.
• Henke, Suzette. Joyce's Moraculous Sindbook: A Study of Ulysses. Columbus: Ohio State UP, 1978. ISBN 978-0-8142-0275-3.
• Killeen, Terence. Ulysses Unbound: A Reader's Companion to James Joyce's Ulysses. Bray, County Wicklow, Ireland: Wordwell, 2004. ISBN 978-1-8698-5772-1.
• MacBride, Margaret. Ulysses and the Metamorphosis of Stephen Dedalus. Lewisburg, PA: Bucknell UP, 2001. ISBN 0-8387-5446-5.
• McKenna, Bernard. James Joyce's Ulysses: A Reference Guide. Westport, CT: Greenwood Press, 2002. ISBN 978-0-3133-1625-8.
• Mood, John. Joyce's Ulysses for Everyone: Or How to Skip Reading It the First Time. Bloomington, IN: AuthorHouse, 2004. ISBN 978-1-4184-5105-9.
• Murphy, Niall. A Bloomsday Postcard. Dublin: Lilliput Press, 2004. ISBN 978-1-8435-1050-5.
• Norris, Margot. A Companion to James Joyce's Ulysses: Biographical and Historical Contexts, Critical History, and Essays From Five Contemporary Critical Perspectives. Boston: Bedford Books, 1998. ISBN 978-0-3122-1067-0.
• Schutte, William M. James Index of Recurrent Elements in James Joyce's Ulysses. Carbondale: Southern Illinois UP, 1982. ISBN 978-0-8093-1067-8.
• Segall, Jeffrey. Joyce in America: Cultural Politics and the Trials of Ulysses. Berkeley: University of California, 1993. ISBN 978-0-5200-7746-1.
• Vanderham, Paul. James Joyce and Censorship: The Trials of Ulysses. New York: New York UP, 1997. ISBN 978-0-8147-8790-8.
• Weldon, Thornton. Allusions in Ulysses: An Annotated List. Chapel Hill: University of North Carolina Press, 1968 and 1973. ISBN 978-0-8078-4089-4.

Finnegans Wake

• Beckman, Richard. Joyce's Rare View: The Nature of Things in Finnegans Wake. Gainesville: University Press of Florida, 2007. ISBN 978-0-8130-3059-3.
• Brivic, Sheldon. Joyce's Waking Women: An Introduction to Finnegans Wake. Madison: University of Wisconsin Press, 1995. ISBN 978-0-2991-4800-3.
• Crispi, Luca and Sam Slote, eds. How Joyce Wrote Finnegans Wake: A Chapter-By-Chaper Genetic Guide. Madison: University of Wisconsin Press, 2007. ISBN 978-0-2992-1860-7.
• McHugh, Roland. Annotations to Finnegans Wake. 3rd ed. Baltimore: Johns Hopkins UP, 2006. ISBN 978-0-8018-8381-1.
• Platt, Len. Joyce, Race and Finnegans Wake. Cambridge and New York: Cambridge UP, 2007. ISBN 978-0-5218-6884-6.

[edit] External links

• Works by James Joyce at Project Gutenberg
• The James Joyce Checklist: A Bibliography of Primary and Secondary Materials
• The James Joyce Literary Supplement
• The James Joyce Quarterly
• Joyce Studies Annual
• James Joyce from Dublin to Ithaca Exhibition from the collections of Cornell University
• Dirty Letters to Nora
• How to Read Joyce, a seminar by Derek Attridge for Cambridge University Press.
• Music in his works
• James Joyce Centre (Dublin)
• University at Buffalo James Joyce Collection
• Recording of James Joyce reading from Finnegans Wake from Ubunet
• James Joyce's handwriting as a True Type font
• James Joyce in the streetscapes of Dublin today
• Patrick Healy, in Lacanian Ink 11, on "Joyce: Through the Lacan Glass"
• Grave site in Fluntern Cemetery, Zurich
• Poems and Exiles at themodernword.com
• The James Joyce Scholars' Collection from the University of Wisconsin Digital Collections Center

v • d • e Works by James Joyce Novels A Portrait of the Artist as a Young Man (1916) · Ulysses (1922) · Finnegans Wake (1939) · Stephen Hero (1944) Dubliners (1914) (short stories) "The Sisters" (1904) · "An Encounter" (1905) · "Araby" (1905) · "Eveline" (1904) · "After the Race" (1904) · "Two Gallants" (1906) · "The Boarding House" (1905) · "A Little Cloud" (1906) · "Counterparts" (1905) · "Clay" (1905) · "A Painful Case" (1905) · "Ivy Day in the Committee Room" (1905) · "A Mother" (1905) · "Grace" (1906) · "The Dead" (1907) Play Exiles (1918) Poetry Chamber Music (1907) · Pomes Penyeach (1927) · Giacomo Joyce (1968)

Persondata
NAME	Joyce, James
ALTERNATIVE NAMES	Joyce, James Augustine Aloysius; Seoighe, Seamus
SHORT DESCRIPTION	Irish writer and poet
DATE OF BIRTH	2 February 1882(1882-02-02)
PLACE OF BIRTH	Rathgar, Dublin, Ireland
DATE OF DEATH	13 January 1941
PLACE OF DEATH	Zürich, Switzerland