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This book offers a comprehensive account of James Joyce and Zurich, one of the four cities (including Dublin, Trieste and Paris) in which he spent significant parts of his life. As a refugee during World War I, Joyce wrote a substantial part of Ulysses in Zurich and subsequently visited the city regularly during the 1930s. Finally, a refugee for the second time, he died there on 13 January 1941 and is buried in Fluntern Cemetery. This guide is conceived both as a book that may be read in its entirety or consulted selectively for specific information. An introduction and three chapters, Joyce in Zurich, Zurich in Joyce and Zurich after Joyce, are followed by sixty alphabetically ordered articles on people, places, institutions and events relevant to Joyce during his time in Zurich. Linked by cross-references and an index, they provide a rich, kaleidoscopic view of Joyce’s Zurich.
Includes interviews about Joyce and his works, the global Joyce community and friends, problems of translation, Joyce and Homer, the Zurich James Joyce Foundation, the intricacies of language and, Senn's life and personality.
The first-ever U.S. edition of this delightful gem based on a letter Joyce wrote to his grandson, revealing the modernist master’s playful side—filled with one-of-a-kind illustrations—the perfect gift for Joyce fans and cat lovers alike. The Cats of Copenhagen was first written for James Joyce’s most beloved audience, his only grandson, Stephen James Joyce, and sent in a letter dated September 5, 1936. Cats were clearly a common currency between Joyce and his grandson. In early August 1936, Joyce sent Stephen “a little cat filled with sweets”—a kind of Trojan cat meant to outwit grown-ups. A few weeks later, Joyce penned a letter from Copenhagen that begins “Alas! I cannot send you a Copenhagen cat because there are no cats in Copenhagen.” The letter reveals the modernist master at his most playful, yet Joyce’s Copenhagen has a keen, anti-authoritarian quality that transcends the mere whimsy of a children’s story. Only recently rediscovered, this marks the inaugural U.S. publication of The Cats of Copenhagen, a treasure for readers of all ages. A rare addition to Joyce’s known body of work, it is a joy to see this exquisite story in print at last.
All Future Plunges to the Past explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or "translations," of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment.