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'... (MacCabe is) the most lucid, least blinkered expounder of the post-structuralist mysteries I have ever come across. This is an important, challenging book, which no Joycean can afford to ignore.'' David Lodge '... (this is) the most exciting and original book on Joyce to have appeared for many years ...' Terry Eagleton, New Statesman
Joyce kept this workbook as a source for expressions and ideas for Finnegans Wake. The structure of the notebook and the way in Joyce used it offer insights into his methods and the writing of Finnegans wake.
The mythographer who has command of scholarly literature, the analytic ability and the lucid prose and the staying power.
In his denial that language refers to anything but itself and in his undoing representation, Joyce anticipates contemporary developments in the history of critical theory. Contrary to modern criticism, Joyce does not abandon representation, the idea that language affords access to reality.
Founder of the Left Bank bookstore Shakespeare and Company and the first publisher of James Joyce's Ulysses, Sylvia Beach had a legendary facility for nurturing literary talent. In this first collection of her letters, we witness Beach's day-to-day dealings as bookseller and publisher to expatriate Paris. Friends and clients include Ernest Hemingway, Gertrude Stein, H.D., Ezra Pound, Janet Flanner, William Carlos Williams, F. Scott Fitzgerald, James Joyce, and Richard Wright. As librarian, publicist, publisher, and translator, Beach carved out a unique space for herself in English and French letters. This collection reveals Beach's charm and resourcefulness, sharing her negotiations with Marianne Moore to place Joyce's work in The Dial; her battle to curb the piracy of Ulysses in the United States; her struggle to keep Shakespeare and Company afloat during the Depression; and her complicated affair with the French bookstore owner Adrienne Monnier. These letters also recount Beach's childhood in New Jersey; her work in Serbia with the American Red Cross; her internment in a German prison camp; and her friendship with a new generation of expatriates in the 1950s and 1960s. Beach was the consummate American in Paris and a tireless champion of the avant-garde. Her warmth and wit made the Rue de l'Odéon the heart of modernist Paris.
A Portrait of the Artist as a Young Man is semi-autobiographical, following Joyce's fictional alter-ego through his artistic awakening. The young artist Steven Dedelus begins to rebel against the Irish Catholic dogma of his childhood and discover the great philosophers and artists. He follows his artistic calling to the continent.
Commentary on Joyce for the average reader.
One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity. Including these twenty-eight profiles: “Mr. Hunter’s Grave” by Joseph Mitchell “Secrets of the Magus” by Mark Singer “Isadora” by Janet Flanner “The Soloist” by Joan Acocella “Time . . . Fortune . . . Life . . . Luce” by Walcott Gibbs “Nobody Better, Better Than Nobody” by Ian Frazier “The Mountains of Pi” by Richard Preston “Covering the Cops” by Calvin Trillin “Travels in Georgia” by John McPhee “The Man Who Walks on Air” by Calvin Tomkins “A House on Gramercy Park” by Geoffrey Hellman “How Do You Like It Now, Gentlemen?” by Lillian Ross “The Education of a Prince” by Alva Johnston “White Like Me” by Henry Louis Gates, Jr. “Wunderkind” by A. J. Liebling “Fifteen Years of The Salto Mortale” by Kenneth Tynan “The Duke in His Domain” by Truman Capote “A Pryor Love” by Hilton Als “Gone for Good” by Roger Angell “Lady with a Pencil” by Nancy Franklin “Dealing with Roseanne” by John Lahr “The Coolhunt” by Malcolm Gladwell “Man Goes to See a Doctor” by Adam Gopnik “Show Dog” by Susan Orlean “Forty-One False Starts” by Janet Malcolm “The Redemption” by Nicholas Lemann “Gore Without a Script” by Nicholas Lemann “Delta Nights” by Bill Buford
Studies the role that etymologies and etymological thinking have played in the works of English language poets including Seamus Heaney, R. F. Langley, J. H. Prynne, Geoffrey Hill, and Paul Muldoon.