One of the most important works of modernist literature, James Joyce’s “Ulysses” was originally published in serial format from 1918 to 1920 and then published in a single edition in 1922, which this edition is drawn from. “Ulysses” chronicles the passage of Leopold Bloom through Dublin during an ordinary day, June 16, 1904. While the novel appears largely unstructured at first glance it is in fact very closely paralleled to Homer’s “Odyssey”, containing eighteen episodes that correspond to various parts of Homer’s work. Filled with experimental forms of prose, stream of consciousness, puns, parodies, and allusions that Joyce himself hoped would “keep the professors busy for centuries arguing over what I meant”. This expansive work is considered one of the great works of English literature and a must read for fans of the modernist genre. Annotated by critical introduction about the author.
Ulysses has been labeled dirty, blasphemous, and unreadable. In a famous 1933 court decision, Judge John M. Woolsey declared it an emetic book–although he found it sufficiently unobscene to allow its importation into the United States–and Virginia Woolf was moved to decry James Joyce’s “cloacal obsession.” None of these adjectives, however, do the slightest justice to the novel. To this day it remains the modernist masterpiece, in which the author takes both Celtic lyricism and vulgarity to splendid extremes. It is funny, sorrowful, and even (in a close-focus sort of way) suspenseful. And despite the exegetical industry that has sprung up in the last 75 years, Ulysses is also a compulsively readable book. Even the verbal vaudeville of the final chapters can be navigated with relative ease, as long as you’re willing to be buffeted, tickled, challenged, and (occasionally) vexed by Joyce’s sheer command of the English language.Among other things, a novel is simply a long story, and the first question about any story is: What happens?. In the case of Ulysses, the answer might be Everything. William Blake, one of literature’s sublime myopics, saw the universe in a grain of sand. Joyce saw it in Dublin, Ireland, on June 16, 1904, a day distinguished by its utter normality. Two characters, Stephen Dedalus and Leopold Bloom, go about their separate business, crossing paths with a gallery of indelible Dubliners. We watch them teach, eat, stroll the streets, argue, and (in Bloom’s case) masturbate. And thanks to the book’s stream-of-consciousness technique–which suggests no mere stream but an impossibly deep, swift-running river–we’re privy to their thoughts, emotions, and memories. The result? Almost every variety of human experience is crammed into the accordian folds of a single day, which makes Ulysses not just an experimental work but the very last word in realism.
Both characters add their glorious intonations to the music of Joyce’s prose. Dedalus’s accent–that of a freelance aesthetician, who dabbles here and there in what we might call Early Yeats Lite–will be familiar to readers of Portrait of an Artist As a Young Man. But Bloom’s wistful sensualism (and naive curiosity) is something else entirely. Seen through his eyes, a rundown corner of a Dublin graveyard is a figure for hope and hopelessness, mortality and dogged survival: “Mr Bloom walked unheeded along his grove by saddened angels, crosses, broken pillars, family vaults, stone hopes praying with upcast eyes, old Ireland’s hearts and hands. More sensible to spend the money on some charity for the living. Pray for the repose of the soul of. Does anybody really?” —James Marcus
Review From Customer
“Ulysses will immortalize its author with the same certainty that Gargantua immortalized Rabelais, and The Brothers Karamazov immortalized Dostoyevsky…. It comes nearer to being the perfect revelation of a personality than any book in existence.”
–The New York Times
“To my mind one of the most significant and beautiful books of our time.”
-Gilbert Seldes, in The Nation
“Talk about understanding “feminine psychology”– I have never read anything to surpass it, and I doubt if I have ever read anything to equal it.”
“In the last pages of the book, Joyce soars to such rhapsodies of beauty as have probably never been equaled in English prose fiction.”
-Edmund Wilson, in The New Republic