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The approximately 20,000 pages of Joyce manuscripts and letters in the Lockwood Memorial Library of the University of Buffalo here catalogued by Dr. Spielberg offer scholars and critics much unpublished and unsifted material for the explication and examination of Joyce's individual works, as well as the raw material necessary for a detailed exploration of James Joyce's creative process. The scope of the Buffalo Joyce Collection is vast, spanning the full range of Joyce's writing career from 1900 to 1940, from his Epiphanies to possible revisions for Finnegans Wake. Dr. Spielberg's work in compiling the present catalogue of Joyce's own writings and letters in the collection now provides for Joyceans a guide to what up until now has been mainly uncharted territory. The manuscripts--workbooks, notebooks, sketches, schemas, notes, early and late drafts, fair copies, typescripts, galley and page proofs, errata, translations, and letters--have been divided into ten major categories: "Epiphanies," "A Portrait of the Artist as a Young Man," "Exiles," "Verses," "Ulysses," "Finnegans Wake," "Criticism," "Notebooks," "Miscellaneous Manuscripts," and "Letters from Joyce." Each item has been described and identified, following a uniform format for the pertaining facts: title, collation, pagination, contents, other markings, dating, publication, and notes. In his introduction to the catalogue, the author describes the Buffalo Joyce Collection itself, giving the history of its growth, its extent, and holdings. In discussing the manuscripts, he calls particular attention to the "Finnegans Wake Workbooks" (MSS. VI. A., B., C., and D.), which, he comments, "are probably the strangest manuscripts in existence--even for so strange a book as Finnegans Wake ... The apparent disorder and lock of organization of these workbooks is a false impression. Where the reader of the workbooks stumbles and bombinates through what seems to be utter blackness, Joyce danced and skipped with ease. What to us seems chaos was neatness and method to Joyce." It is Dr. Spielberg's hope that the manuscripts he has catalogued will, when examined in detail, "offer a key to the better understanding of the 'hides and hints and misses in prints' in the writings of the most controversial figure of twentieth-century literature."
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
The approximately 20,000 pages of Joyce manuscripts and letters in the Lockwood Memorial Library of the University of Buffalo here catalogued by Dr. Spielberg offer scholars and critics much unpublished and unsifted material for the explication and examination of Joyce's individual works, as well as the raw material necessary for a detailed exploration of James Joyce's creative process. The scope of the Buffalo Joyce Collection is vast, spanning the full range of Joyce's writing career from 1900 to 1940, from his Epiphanies to possible revisions for Finnegans Wake. Dr. Spielberg's work in compiling the present catalogue of Joyce's own writings and letters in the collection now provides for Joyceans a guide to what up until now has been mainly uncharted territory. The manuscripts—workbooks, notebooks, sketches, schemas, notes, early and late drafts, fair copies, typescripts, galley and page proofs, errata, translations, and letters—have been divided into ten major categories: "Epiphanies," "A Portrait of the Artist as a Young Man," "Exiles," "Verses," "Ulysses," "Finnegans Wake," "Criticism," "Notebooks," "Miscellaneous Manuscripts," and "Letters from Joyce." Each item has been described and identified, following a uniform format for the pertaining facts: title, collation, pagination, contents, other markings, dating, publication, and notes. In his introduction to the catalogue, the author describes the Buffalo Joyce Collection itself, giving the history of its growth, its extent, and holdings. In discussing the manuscripts, he calls particular attention to the "Finnegans Wake Workbooks" (MSS. VI. A., B., C., and D.), which, he comments, "are probably the strangest manuscripts in existence—even for so strange a book as Finnegans Wake ... The apparent disorder and lock of organization of these workbooks is a false impression. Where the reader of the workbooks stumbles and bombinates through what seems to be utter blackness, Joyce danced and skipped with ease. What to us seems chaos was neatness and method to Joyce." It is Dr. Spielberg's hope that the manuscripts he has catalogued will, when examined in detail, "offer a key to the better understanding of the 'hides and hints and misses in prints' in the writings of the most controversial figure of twentieth-century literature."
A collection of essays commemorating the 1922 publication of James Joyce's Ulysses. Includes contributions by preeminent Joyce scholars and by curators of his manuscripts and early editions.
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.
Recipient of the 2015 PEN New England Award for Nonfiction “The arrival of a significant young nonfiction writer . . . A measured yet bravura performance.” —Dwight Garner, The New York Times James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to the book’s landmark federal obscenity trial in 1933. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say Yes to Ulysses.
Joyce's methods of composition have only recently begun to be examined in a rigorous fashion. Already the work done on the genesis of Joyce's texts has fostered both new insights and new questions regarding the overall status of his oeuvre. The conference Genitricksling Joyce, held at Antwerp in 1997, testified to the variety and vitality of genetic investigations into Joyce's work. We have tried to recreate this vitality in the present volume with a double purpose, or double trick. First, the essays collected in Genitricksling Joyce are not only indicative of the growing body of genetic scholarship, they also signify methodological and theoretical changes among its practitioners towards a more open form of discussion and understanding. Second, we hope that these essays will clearly demonstrate the relevance of genetic criticism to current critical and cultural concerns in Joyce studies.