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Since its publication in 1939, countless would-be readers of "Finnegans Wake" - James Joyce's masterwork, which consumed a third of his life - have given up after a few pages, dismissing it as a "perverse triumph of the unintelligible." In 1944, a young professor of mythology and literature named Joseph Campbell, working with Henry Morton Robinson, wrote the first "key" or guide to entering the fascinating, disturbing, marvelously rich world of "Finnegans Wake." The authors break down Joyce's "unintelligible" book page by page, stripping the text of much of its obscurity and serving up thoughtful interpretations via footnotes and bracketed commentary. They outline the book's basic action, and then simplify -- and clarify -- its complex web of images and allusions. "A Skeleton Key to Finnegans Wake" is the latest addition to the "Collected Works of Joseph Campbell" series.
The biggest stumbling block facing any prospective reader of "Finnegans Wake" is the book itself, with its thousands of words of Joyce's inventions, derived from nearly every foreign language imaginable and from a host of other sources. Now extensively revised, expanded, and corrected, Roland McHugh's "Annotations" is a unique one-volume guidebook designed to be read side by side with the "Wake" itself.
Joyce’s art is an art of idiosyncratic transformation, revision and recycling. More specifically, the work of his art lies in the act of creative transformation: the art of the paste that echoes Ezra Pound’s urge to make it new. The essays in this volume examine various modalities of the Joycean aesthetic metamorphosis: be it through the prism of Joyce engaging with other arts and artists, or through the prism of other arts and artists engaging with the Joycean aftermath. We have chosen the essays that best show the range of Joycean engagement with multiple artistic domains in a variety of media. Joyce’s art is multiform and protean: influenced by many, it influences many others.
A Companion to James Joyce offers a unique composite overview and analysis of Joyce's writing, his global image, and his growing impact on twentieth- and twenty-first-century literatures. Brings together 25 newly-commissioned essays by some of the top scholars in the field Explores Joyce's distinctive cultural place in Irish, British and European modernism and the growing impact of his work elsewhere in the world A comprehensive and timely Companion to current debates and possible areas of future development in Joyce studies Offers new critical readings of several of Joyce's works, including Dubliners, A Portrait of the Artist as a Young Man, and Ulysses
Many scholars of Finnegans Wake have long suspected that a key to the Wake lay deep within the core of Irish myth. George Gibson proposes a new interpretation of the novel, based upon a previously unrecognized paradigm from Irish mythology underlying the entirety of the work. This mythic structure derives from the ancient rituals and events collectively known as the Teamhur Feis (the Rites of Tara), the most important religious festival conducted in pre-Christian Ireland. Gibson demonstrates that sources known and used by Joyce describe the Rites as a historical event with nationwide attendance, an extraordinary and complex array of Druidic ritual, mystical rites, historical reenactments, sacred drama, conclaves, assemblies, and ceremonies performed by a bizarre cast of characters ranging from representatives of Irish deities and personifications of abstract principles to Druids, magistrates, ritual functionaries, and reenactors of the mythic dead. In Irish tradition, the most significant performance of this pagan spectacle occurred in 433 A.D., when Saint Patrick arrived at Tara just as the Rites were reaching their climax. Gibson argues that this pivotal event is also the climax of Finnegans Wake. Demonstrating remarkable parallels between specific events and performers of the Rites and the episodes and characters comprising Finnegans Wake, Gibson shows that every event and performer at the Rites has a correlate in the novel, and all Wakean episodes and performers have their parallels in the Rites of Tara. Ultimately, he argues, Joyce structured his novel according to the Teamhur Feis, and Finnegans Wake is a calculated reenactment of the most important event in Irish paganism.
“Joyce’s Book of the Dark gives us such a blend of exciting intelligence and impressive erudition that it will surely become established as one of the most fascinating and readable Finnegans Wake studies now available.”—Margot Norris, James Joyce Literary Supplement
The study establishes the nature and aims of Finnegans Wake as Menippean satire and interprets the Wake in that light. McLuhan examines Joyce's use of language, and in particular his use of ten hundred-lettered words (thunderclaps).