Ulysses (novel)

Ulysses
1922 first edition cover
Author	James Joyce
Language	English
Genre(s)	Novel, Modernism, Stream of consciousness
Publisher	Sylvia Beach
Publication date	2 February 1922
Media type	Print (Hardback & Paperback)
Pages	644–1,000, depending on edition
ISBN	0-679-72276-9
OCLC Number	20827511
Dewey Decimal	823/.912 20
LC Classification	PR6019.O9 U4 1990
Preceded by	A Portrait of the Artist as a Young Man (1916)
Followed by	Finnegans Wake (1939)

Ulysses is a novel by the Irish author James Joyce, first serialised in parts in the American journal The Little Review from March 1918 to December 1920, then published in its entirety by Sylvia Beach on 2 February 1922, in Paris. One of the most important works of Modernist literature,^[1] it has been called "a demonstration and summation of the entire movement".^[2]

Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the day of Joyce's first date with his future wife, Nora Barnacle).^[3] The title alludes to Odysseus (Latinised into Ulysses), the hero of Homer's Odyssey, and establishes a series of parallels between characters and events in Homer's poem and Joyce's novel (e.g., the correspondences between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus). Joyce fans worldwide now celebrate 16 June as Bloomsday.

Ulysses contains approximately 265,000 words from a lexicon of 30,030 words (including proper names, plurals and various verb tenses),^[4] divided into eighteen episodes. Since publication, the book attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prose—full of puns, parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly regarded novel in the Modernist pantheon. In 1999, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.^[5]

1 Background
2 Structure
3 Publication history
4 Media adaptations
5 Notes
6 References
7 Further reading
- 7.1 Editions in print
8 External links

Background

Joyce first encountered Odysseus in Charles Lamb's Adventures of Ulysses—an adaptation of the Odyssey for children, which seemed to establish the Roman name in Joyce's mind. At school he wrote an essay on Ulysses as his "favourite hero".^[6] Joyce told Frank Budgen that he considered Ulysses the only all-round character in literature.^[7] He thought about calling Dubliners by the name Ulysses in Dublin,^[8] but the idea grew from a story in Dubliners in 1906, to a "short book" in 1907,^[9] to the vast novel that he began in 1914.

Structure

Ulysses, Egoist Press, 1922

Joyce divided Ulysses into eighteen chapters or "episodes". At first glance much of the book may appear unstructured and chaotic; Joyce once said that he had "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant", which would earn the novel "immortality".^[10] The two schemata which Stuart Gilbert and Herbert Gorman released after publication to defend Joyce from the obscenity accusations made the links to the Odyssey clear, and also explained the work's internal structure.

Every episode of Ulysses has a theme, technique, and correspondences between its characters and those of the Odyssey. The original text did not include these episode titles and the correspondences; instead, they originate from the Linati and Gilbert schema. Joyce referred to the episodes by their Homeric titles in his letters. He took the titles from Victor Bérard's two-volume Les Phéniciens et l’Odyssée which he consulted in 1918 in the Zentralbibliothek Zürich. Bérard's book served as the source of Joyce's idiosyncratic rendering of some of the Homeric titles: 'Nausikaa', the 'Telemachia'.

Part I: The Telemachiad

Episode 1, Telemachus

It is 8 a.m. Buck Mulligan (a callous, verbally aggressive and boisterous medical student) calls Stephen Dedalus (a young writer first encountered in A Portrait of the Artist as a Young Man) up to the roof of the Martello tower in Sandycove where they both live. Stephen is highly introspective and there is palpable tension between him and Mulligan, stemming from a cruel remark Stephen has overheard Mulligan making about his dead mother and from the fact that Mulligan has invited an English student, Haines, to stay with them. The three men eat breakfast and walk to the shore, where Mulligan goes swimming - although not before demanding the key to the tower and to be lent money. Departing, Stephen declares that he will not return to the tower tonight, citing Mulligan as an "Usurper". The episode introduces the Hamlet parallels which will recur throughout the novel, with the character of Stephen–dressed in black, brooding, tormented by ghosts–clearly echoing the character of Shakespeare's prince. The parallels with Homer are also evident here, with the young Telemachus oppressed by the unruly suitors usurping his home, consuming his wealth and estate, and seeking to woo his mother Penelope.

Episode 2, Nestor

Stephen is teaching a history class on the victories of Pyrrhus of Epirus. The class is visibly bored, unconcerned with the subject and not disciplined. Before seeing the boys out of the classroom, Stephen tells the students a cryptic and impenetrable riddle about a fox burying his grandmother under a bush, which falls flat. One student, Sargent, stays behind so that Stephen can show him how to do a set of arithmetic exercises. Stephen indulges him, but looks at the aesthetically unappealing Sargent and tries to imagine Sargent's mother's love for him. Afterwards, Stephen visits the anti-Semitic school headmaster, Mr. Deasy, from whom he collects his pay and a letter to take to a newspaper office for printing. Deasy lectures Stephen on the satisfaction of money earned and the importance of efficient money management. This scene is the source of some of the novel's most famous lines, such as Dedalus's claim that "history is a nightmare from which I am trying to awake" and that God is "a shout in the street." He rejects Deasy's biased recollection of past events, which he uses to justify his prejudices. At the end of this episode, Deasy makes another derogatory remark against the Jews, stating that Ireland has never extensively persecuted the Jews because they were never let in to the country.

Episode 3, Proteus

In this chapter, characterised by its stream of consciousness narrative style, the action is presented to the reader through the prism of Stephen's interior monologue. He finds his way to Sandymount Strand and mopes around for some time, mulling various philosophical concepts, his family, his life as a student in Paris, and again, his mother's death. As Stephen reminisces and ponders, he lies down among some rocks, watches a couple and a dog, scribbles some ideas for poetry, picks his nose, and urinates behind a rock.

Part II: The Odyssey

Episode 4, Calypso

The narrative shifts abruptly. The time is again 8 a.m., but the action has moved across the city to Eccles Street and to the second protagonist of the book, Leopold Bloom, a part-Jewish advertising canvasser. Bloom lives at No. 7 Eccles Street and is preparing breakfast at the same time as Mulligan in the tower. He walks to a butcher to buy a pork kidney for breakfast. He brings breakfast and the mail to his wife Molly as she lounges in bed. One of the letters (addressed in over-familiar fashion to Mrs Marion Bloom) is from her concert manager Blazes Boylan, whom she will welcome into her bed later that day. Bloom reads a letter from their daughter, Milly. The chapter closes with Bloom defecating in the outhouse.

Episode 5, Lotus Eaters

Bloom makes his way to Westland Row post office (by an intentionally indirect route), where he receives a love letter from one 'Martha Clifford' addressed to his pseudonym, 'Henry Flower'. He meets an acquaintance, C. P. M'Coy; while they chat, Bloom attempts to ogle a woman wearing stockings, but is prevented by a passing tram. Next, he reads the letter and tears up the envelope in an alley. He wanders into a Catholic church service and muses on theology. He goes to a chemist, Sweny's in Lincoln place, where he buys a bar of lemon soap. He then meets another acquaintance, Bantam Lyons, to whom he unintentionally gives a racing tip for the horse Throwaway. Finally, Bloom heads towards the baths.

Episode 6, Hades

The episode begins with Bloom entering a funeral carriage with three others, including Stephen's father Simon Dedalus. They drive to Paddy Dignam's funeral at Glasnevin cemetery, making small talk on the way. The carriage passes both Stephen and Blazes Boylan. There is discussion of various forms of death and burial, and Bloom is preoccupied by thoughts of his dead son, Rudy and the suicide of his father. They enter the chapel into the service and subsequently leave with the coffin cart. Bloom sees a mysterious man wearing a macintosh during the burial. Bloom continues to reflect upon death, but at the end of the episode rejects morbid thoughts to embrace 'warm fullblooded life'.

Episode 7, Aeolus

At the office of the Freeman's Journal, Bloom attempts to place an ad. After initial encouragement from the editor, Myles Crawford, he is unsuccessful. Stephen arrives bringing Deasy's letter about 'foot and mouth' disease, but the two do not meet. Stephen leads Crawford and others to the pub, telling an anecdote on the way about 'two Dublin vestals'. The episode is broken up into short sections by newspaper-style headlines, and is characterised by an abundance of rhetorical figures and devices.

Episode 8, Lestrygonians

Bloom's thoughts are peppered with references to food as lunchtime approaches. He meets an old flame, Josie Breen, and hears news of Mina Purefoy's labour. He enters the restaurant of the Burton Hotel where he is revolted by the sight of men eating like animals. Heading instead to Davy Byrne's, Bloom is greeted by Nosey Flynn. He consumes a gorgonzola cheese sandwich and a glass of burgundy, and muses upon the early days of his relationship with Molly and how the marriage has declined: 'Me. And me now.' After Bloom leaves the restaurant, Nosey Flynn talks to other patrons about Bloom's sober character. Bloom heads towards the National Museum to look at the statues of Greek goddesses, and, in particular, their bottoms. Bloom suddenly spots Boylan across the street and, panicking, rushes into the museum.

Episode 9, Scylla and Charybdis

At the National Library, Stephen explains to various scholars his biographical theory of the works of Shakespeare, especially Hamlet, which he claims are based largely on the posited adultery of Shakespeare's wife, Anne Hathaway. Bloom enters the National Library to look up the Keyes ad. He encounters Stephen briefly and unknowingly at the end of the episode.

Episode 10, Wandering Rocks

In this episode, nineteen short vignettes depict the wanderings of various characters, major and minor, through the streets of Dublin. The episode ends with an account of the cavalcade of the Lord Lieutenant, William Humble, Earl of Dudley, through the streets, where it is encountered by the various characters we have met in the novel, although neither Stephen nor Bloom are among them.

Episode 11, Sirens

In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle Richie Goulding at the Ormond Hotel, while Molly's lover, Blazes Boylan, proceeds to his rendezvous with her. While dining, Bloom watches the seductive barmaids Lydia Douce and Mina Kennedy and listens to the singing of Simon Dedalus and others.

Episode 12, Cyclops

This chapter is narrated by an unnamed denizen of Dublin. The narrator goes to a pub where he meets a character referred to only as the 'Citizen'. When Leopold Bloom enters the pub, he is berated by the Citizen, who is a fierce Fenian and anti-Semite. The episode ends with Bloom reminding the Citizen that his Saviour was a Jew. As Bloom leaves the pub, the Citizen, in anger, throws a biscuit tin at Bloom's head, but misses. The chapter is marked by extended tangents made outside the voice of the unnamed narrator: hyperboles of legal jargon, Biblical passages, Irish mythology, etc. The episode title Cyclops refers both to the first-person 'I' of the narrator, and to the Citizen, who fails to see the folly of his narrow-sighted thinking.

Episode 13, Nausicaa

The episode begins from the perspective of Gerty McDowell, a young woman on Sandymount strand contemplating love, marriage and femininity as night falls. The reader is gradually made aware that Bloom is watching her from a distance, and as she exposes her legs and underwear to him it is unclear how much of Gerty's narrative is actually Bloom’s sexual fantasy. Bloom’s masturbatory climax is echoed by the fireworks at the nearby bazaar. After Bloom’s orgasm and Gerty’s departure he grows pensive, brooding again on Molly and deciding to visit Mina Purefoy at the hospital. In the first half of the chapter the style parodies the cheap romantic magazines for women and feminine novelettes that were popular in the early 20th Century; precursors to 'chick-lit', the prose style of such publications was over-written and florid, full of cliches and hackneyed phrases. When the perspective switches to Bloom, the style reverts to the stream-of-consciousness manner familiar from earlier passages of the novel.

Episode 14, Oxen of the Sun

Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who is drinking with Buck Mulligan and his medical student friends. They continue on to a pub to continue drinking, following the successful birth of the baby. This chapter is remarkable for Joyce's wordplay, which seems to recapitulate the entire history of the English language to describe a scene in an obstetrics hospital, from the Carmen Arvale

Deshil Holles Eamus. Deshil Holles Eamus. Deshil Holles Eamus.

to something resembling alliterative Anglo-Saxon poetry

In ward wary the watcher hearing come that man mildhearted eft rising with swire ywimpled to him her gate wide undid. Lo, levin leaping lightens in eyeblink Ireland's westward welkin.

and on through skillful parodies of, among others, Malory, the King James Bible, Bunyan, Pepys, Defoe, Addison and Steele, Sterne, Goldsmith, Junius, Gibbon, Lamb, De Quincey, Landor, Dickens, Newman, Ruskin and Carlyle, before concluding in a haze of nearly incomprehensible slang, bringing to mind American English employed in advertising. Indeed, Joyce organised this chapter as three sections divided into nine total subsections, representing the trimesters and months of gestation.

Episode 15, Circe

Episode Fifteen takes the form of a play script with stage directions and descriptions. The majority of the action of the episode occurs only as drunken hallucinations. This episode is the longest in the novel yet occurs within a rather short time-frame.

Stephen and Lynch walk toward a brothel in Nighttown, Dublin's red-light district. Bloom pursues the two men, but loses his way. In a hallucination, Bloom is confronted by family and acquaintances, who take him to task for various offences.

Awakening from this hallucination, Bloom feeds a dog. This act leads onto another hallucination in which Bloom is questioned by a pair of Night-Wardens. From here, Bloom then imagines facing trial, accused of a variety of outlandish crimes, including forgery and bigamy. Other characters accuse and testify against Bloom. Shaking off this fantasy, Bloom is approached by Zoe Higgins, a local prostitute who tells him Stephen is currently in the brothel that she works in. Another fantasy ensues, in which Bloom gives a campaign speech. Attracting the attention and subsequent admiration of both the Irish and Zionists, he is subsequently hailed as the leader of "Bloomusalem." However, Bloom is accused of yet more outlandish offenses and for having sexual abnormalities. Bloom is then declared a woman, and spontaneously gives birth to eight children.

Zoe then reappears, signalling the end of the hallucination. After Bloom is led inside the brothel and sees Stephen, another hallucination begins with the arrival of Bloom's grandfather, who lectures Bloom about sexual attitudes and conduct. The owner of the brothel, Bella Cohen, appears and soon turns into a male version of herself "Bello," who proceeds to dominate and humiliate Bloom, who is conversely referred to in the feminine. In this hallucination, Bloom proceeds to "die". After his "death" he converses with the nymph from the picture in the Blooms’ bedroom, who berates Bloom for his fallibility. Bloom, regaining a degree of triumphant confidence, stands up to the nymph, questioning her own sexual attitudes.

Bloom then returns to reality, finding Bella Cohen before him. Stephen pays far more than necessary for the services received. Seeing this, Bloom confiscates the rest of Stephen's money. Another hallucination starts, involving Bloom watching Boylan and Molly fornicate. Returning to consciousness, Bloom finds Stephen dancing to the pianola. Another hallucination then starts, this time Stephen's, in which the rotting cadaver of his mother rises up from the floor to confront him. Terrified, Stephen uses his walking stick to smash a chandelier. Bloom quickly pays Bella for the damage, then runs after Stephen, worried for his safety.

Bloom finds Stephen engaged in a heated argument with an English soldier who, after a perceived insult to the King, knocks out Stephen. The police arrive and the crowd disperses. As Bloom is tending to Stephen, an apparition of Rudy, Bloom's deceased child, appears.

Part III: The Nostos

Episode 16, Eumaeus

Bloom and Stephen go to the cabman's shelter to restore the latter to his senses. On the way to the shelter with Bloom, Stephen meets Corley, familiar to readers of the Dubliners story "Two Gallants". At the cabman's shelter, they encounter a drunken sailor, D. B. Murphy. Riding in the cab, Stephen sings a spirited song by the Baroque composer Johannes Jeep, and he and Bloom bond over its misogyny. The episode is dominated by the motif of confusion and mistaken identity, with Bloom, Stephen and Murphy's identities being repeatedly called into question. The rambling and laboured style of the narrative in this episode reflects the nervous exhaustion and confusion of the two protagonists.

Episode 17, Ithaca

Bloom returns home with Stephen, who refuses Bloom's offer of a place to stay for the night. The two men urinate in the backyard, Stephen departs and wanders off into the night,^[11] and Bloom goes to bed. The episode is written in the form of a rigidly organised catechism, and was reportedly Joyce's favourite episode in the novel.

Episode 18, Penelope

The final episode, which also uses the stream of consciousness technique seen in Episode 3, consists of Molly Bloom's Soliloquy: eight great run-on sentences (without punctuation) describe the thoughts of Molly, Bloom's wife, as she lies in bed next to her husband.

Molly guesses that Bloom had an orgasm that day, and is reminded of his past possible infidelity with other women. She considers the differences between Boylan and Bloom, in terms of virility and masculinity. Molly feels that she and Bloom are lucky, despite their current marital difficulties. Molly recalls her many admirers, previous and current. She wishes she had more money to buy stylish clothes, and believes that Bloom should quit his advertising job and get better paid work elsewhere. Molly thinks about how beautiful female breasts are, particularly compared to male genitalia. She thinks of the time Bloom suggested she pose naked in exchange for money. Her thoughts return to Boylan and of her orgasm earlier.

A train whistle blows outside, and Molly thinks of her childhood in Gibraltar. Out of boredom and loneliness, she had resorted to writing herself letters. Molly thinks about how Milly sent her a card this morning, whereas her husband received a whole letter. She imagines that she may receive another love letter from Boylan. Molly recalls her first love letter from Lieutenant Mulvey, whom she kissed under the bridge in Gibraltar. She later lost contact with him and wonders what he would be like now. Her thoughts turn to her singing career, and Molly wonders what path her career could have taken had she not married Bloom.

Molly senses the start of her period, confirmation that her tryst with Boylan has not caused a pregnancy. She gets up to use the chamberpot. Events of the day spent with Boylan run through her mind.

Molly climbs quietly back into bed and thinks of the times she and Bloom have had to relocate. Her mind then turns to Stephen, whom she met during his childhood. She conjectures that Stephen is probably not stuck-up, and is most likely clean. She fantasizes about having sexual encounters with him. Molly resolves to study before meeting him so he will not look down upon her. Molly thinks of her husband's strange sexual habits. Molly speculates that the world would be much improved if it consisted of Matriarchal Societies. She thinks again of Stephen, and of his mother's death, and that of Rudy's death, she then ends this line of thought as it is making her depressed. Molly thinks about arousing Bloom in the morning, then revealing the details of her affair with Boylan to make him realise his culpability. Molly then decides to procure some flowers, in case Stephen Dedalus decides to come around. Thinking of flowers, Molly thinks of the day she and Bloom spent at Howth, his marriage proposal, and her response of "yes".

Publication history

Written over a seven-year period from 1914 to 1921, the novel was serialised in the American journal The Little Review from 1918 until the publication of the Nausicaä episode led to a prosecution for obscenity.^[12] In 1919, sections of the novel also appeared in the London literary journal The Egoist, but the novel itself was banned in the United Kingdom until the 1930s.^[13] In 1920 after the US magazine The Little Review serialised a passage of the book dealing with the main character masturbating, a group called the New York Society for the Suppression of Vice, who objected to the book's content, took action to attempt to keep the book out of the United States. At a trial in 1921 the magazine was declared obscene and as a result Ulysses was banned in the United States. In 1933, the publisher Random House arranged to import the French edition and have a copy seized by customs when the ship was unloaded, which it then contested. In United States v. One Book Called Ulysses, U.S. District Judge John M. Woolsey ruled on 6 December 1933 that the book was not pornographic and therefore could not be obscene,^[14] a decision that has been called "epoch-making" by Stuart Gilbert.^[15] The Second Circuit Court of Appeals affirmed the ruling in 1934.^[16] Contrary to popular belief, Ulysses was never banned in Ireland. ^[17]

The publication history of Ulysses is disputed and obscure. There have been at least eighteen editions, and variations in different impressions of each edition. Notable editions include the first edition published in Paris on 2 February 1922 by Sylvia Beach at Shakespeare and Company (only 1000 copies printed), the pirated Roth edition, published in New York in 1929, the Odyssey Press edition of 1932 (including some revisions generally attributed to Stuart Gilbert, and therefore sometimes considered the most accurate edition); the 1934 Random House US edition, the first English edition of the Bodley Head in 1936, the revised Bodley Head Edition of 1960, the revised Random House edition of 1961 (reset from the Bodley Head 1960 edition), and the Gabler critical and synoptic edition of 1984.

According to Joyce scholar Jack Dalton, the first edition of Ulysses contained over two thousand errors but was still the most accurate edition published.^[18] As each subsequent edition attempted to correct these mistakes, it incorporated more of its own. Hans Walter Gabler's 1984 edition was the most sustained attempt to produce a corrected text, but it received much criticism, most notably from John Kidd. Kidd's main theoretical criticism is of Gabler's choice of a patchwork of manuscripts as his copy-text (the base edition with which the editor compares each variant), but this fault stems from an assumption of the Anglo-American tradition of scholarly editing rather than the blend of French and German editorial theories that actually lay behind Gabler's reasoning. The choice of a multiple copy-text is seen to be problematic in the eyes of some American editors, who generally favor the first edition of any particular work as copy-text. Less subject to differing national editorial theories, however, is the claim that for hundreds of pages—about half the episodes of Ulysses—the extant manuscript is purported to be a 'fair copy' which Joyce made for sale to a potential patron. (As it turned out, John Quinn, the Irish-American lawyer and collector, purchased the manuscript.) Diluting this charge somewhat, is the fact that the theory of (now lost) final working drafts is Gabler's own. For the suspect episodes, the existing typescript is the last witness. Gabler attempted to reconstruct what he called 'the continuous manuscript text', which had never physically existed, by adding together all of Joyce's accretions from the various sources. This allowed Gabler to produce a 'synoptic text' indicating the stage at which each addition was inserted. Kidd and even some of Gabler's own advisers believe this method meant losing Joyce's final changes in about two thousand places . Far from being 'continuous', the manuscripts seem to be opposite. Jerome McGann describes in detail the editorial principles of Gabler in his article for the journal Criticism, issue 27, 1985. In the wake of the controversy, still other commentators charged that Gabler's changes were motivated by a desire to secure a fresh copyright and another seventy-five years of royalties beyond a looming expiration date.

In June 1988 John Kidd published 'The Scandal of Ulysses' in the New York Review of Books,^[19] charging that not only did Gabler's changes overturn Joyce's last revisions, but in another four hundred places Gabler failed to follow any manuscript whatever, making nonsense of his own premises. Kidd accused Gabler of unnecessarily changing Joyce's spelling, punctuation, use of accents, and all the small details he claimed to have been restoring. Instead, Gabler was actually following printed editions such as that of 1932, not the manuscripts. More sensationally, Gabler was found to have made genuine blunders, the most famous being his changing the name of Dubliner Harry Thrift to 'Shrift' and cricketer Captain Buller to 'Culler' on the basis of handwriting irregularities in the extant manuscript. (These 'corrections' were undone by Gabler in 1986.)

In December 1988, Charles Rossman's 'The New Ulysses: The Hidden Controversy' for the New York Review revealed that Gabler's own advisers felt too many changes were being made, but that the publishers were pushing for as many alterations as possible. Then Kidd produced a 174-page critique that filled an entire issue of the Papers of the Bibliographical Society of America, dated the same month. This 'Inquiry into Ulysses: The Corrected Text' was the next year published in book format and on floppy disk by Kidd's James Joyce Research Center at Boston University. Gabler and others rejected Kidd's critique, and the scholarly community remains divided. To this day, many European critics teach the Gabler edition while their counterparts in the U.S. tend to shy away from it.

In 1990 Gabler's American publisher Random House quietly replaced the Gabler edition with its 1961 version, and in the United Kingdom the Bodley Head press revived its 1960 version. In both the UK and USA, Everyman's Library, too, republished the 1960 Ulysses. In 1992 Penguin dropped Gabler and reprinted the 1960 text. The Gabler version is at present available from Vintage International. Reprints of the imperfect 1922 first edition are now widely available, largely due to the expiration of the copyright for that edition in the United States.

While much ink has been spilt over the faults and theoretical underpinnings of the Gabler edition, the much vaunted Kidd edition has yet to be published. In 1992 W.W. Norton announced that a Kidd edition of Ulysses was about to be published as part of a series called "The Dublin Edition of the Works of James Joyce." This book had to be withdrawn, however, when the Joyce estate objected. The estate has refused to authorise any further editions of Joyce's work for the present but has recently signed a deal with Wordsworth Editions to bring out a bargain version of the novel in January 2010, ahead of copyright expiration in 2012.^[20] ^[21]

Media adaptations

In 1958, a stage adaptation of the novel, named Ulysses in Nighttown, was produced, starring Zero Mostel. The play incorporated many of the dialogue-heavy parts of the novel, and much like it began at the tower in Sandycove and ended with Molly's soliloquy. It was revived in the 1970s.

In 1967, a film version of the book was directed by Joseph Strick, and was nominated for an Academy Award for Best Adapted Screenplay.

In 1974, chapter 15 was staged in the Polish Teatr Ateneum under the name of New Bloomusalem. It was staged again in 1999 in Teatr Narodowy (National Theater). Both plays were directed by Jerzy Grzegorzewski.

On Bloomsday 1980, the Abbey Theatre launched a celebrated one-man show Joycemen by Irish actor Eamon Morrissey. The show consisted of extracts from Ulysses ranging from Bloom's breakfast to Molly's soliloquy, and included as a tour de force a celebrated version of the rowdy pub scene in Cyclops where he played all the characters. The show opened to acclaim at the Peacock Theatre in Dublin and was repeated, including global tours, until the late 1980's.

On Bloomsday 1982, RTÉ, Ireland's national broadcaster, aired a full-cast, unabridged, dramatised radio production of Ulysses,^[22] that ran uninterrupted for 29 hours and 45 minutes. It has been commercially released as a boxed set of 32 CDs, and as an MP3 set on three CDs.

In 1982, author Frank Delaney did a series of one-man performances derived from "Ulysses" at multiple venues in the UK, including several at the Royal National Theatre in London under the title, “ReJoyce.”

BBC Radio broadcast a dramatisation of Ulysses read by Sinéad Cusack, James Greene, Stephen Rea, Norman Rodway, and others in 1993. This performance had a running time of 5 hours and 50 minutes.

In 2003, a movie version Bloom was released starring Stephen Rea.

The unabridged text of Ulysses has been performed by Jim Norton, with Marcella Riordan. This recording was released by Naxos Records on 22 audio CDs in 2004. It follows an earlier abridged recording with the same actors.

Each 16 June, Symphony Space in New York City performs as a staged reading, over the entire day, many passages from the book. It culminates with a guest star reading the final chapter, ending roughly at midnight.

In 2006, playwright Sheila Callaghan's Dead City, a contemporary stage adaptation of the book set in New York City, and featuring the male figures Bloom and Dedalus re-imagined as female characters Samantha Blossom and Jewel Jupiter, was produced in Manhattan by New Georges.^[23]

On Bloomsday 2010, author Frank Delaney launched a series of short weekly podcasts called "Re:Joyce" that take listeners through "Ulysses" page by page discussing its allusions, historical context and references.

Notes

↑ Harte, Tim (Summer, 2003). "Sarah Danius, The Senses of Modernism: Technology, Perception, and Aesthetics". Bryn Mawr Review of Comparative Literature 4 (1). http://www.brynmawr.edu/bmrcl/Summer2003/Danius.html. Retrieved 2001-07-10. (review of Danius book).
↑ Beebe (1971), p. 176.
↑ Keillor, Garrison, "The Writer's Almanac", Feb. 2, 2010.
↑ Vora, Avinash (2008-10-20). "Analyzing Ulysses". http://avinashv.net/2008/10/analyzing-ulysses/. Retrieved 2008-10-20.
↑ "100 Best Novels". Random House. 1999. http://www.randomhouse.com/modernlibrary/100bestnovels.html. Retrieved 2007-06-23. This ranking was by the Modern Library Editorial Board of authors and critics; readers ranked it 11th. Joyce's A Portrait of the Artist as a Young Man was ranked third by the board.
↑ Gorman (1939), p. 45.
↑ Budgen (1972), p.
↑ Borach (1954), p. 325.
↑ Ellmann (1982), p. 265.
↑ "The bookies' Booker...". The Observer. 5 November 2000. http://books.guardian.co.uk/bookerprize2000/story/0,,392737,00.html. Retrieved 2002-02-16.
↑ Hefferman, James A. W. (2001) Joyce’s Ulysses. Chantilly, VA: The Teaching Company LP.
↑ Ellmann, Richard (1982). James Joyce. New York: Oxford University Press. pp. 502–04. ISBN 0-1950-3103-2.
↑ McCourt (2000), p. 98.
↑ United States v. One Book Called "Ulysses", 5 F.Supp. 182 (S.D.N.Y. 1933).
↑ "Ulysses (first American edition)". James Joyce, Ulysses: The Classic Text: Traditions and Interpretations. University of Wisconsin at Milwaukee. 2002. http://www.uwm.edu/Library/special/exhibits/clastext/clspg174.htm. Retrieved 2007-08-18.
↑ United States v. One Book Entitled Ulysses by James Joyce, 72 F.2d 705 (2nd Cir. 1934)
↑ Ireland set for festival of Joyce BBC, 11 June, 2004. Retrieved 2010-08-09.
↑ Dalton, pp. 102, 113
↑ Kidd, John (June, 1988). "The Scandal of Ulysses". New York Review of Books. http://www.nybooks.com/articles/archives/1988/jun/30/the-scandal-of-ulysses-2/?pagination=false. Retrieved 2010-07-13.
↑ Max, D.T. (2006-06-19). "The Injustice Collector". The New Yorker. http://www.newyorker.com/archive/2006/06/19/060619fa_fact. Retrieved 2009-03-26.
↑ Battles, Jan (2009-08-09). "Budget Ulysses to flood the market". The Sunday Times. http://www.timesonline.co.uk/tol/news/world/ireland/article6788825.ece. Retrieved 2009-11-30.
↑ [1]
↑ Robertson, Campbell (16 June 2006). "Playwright of 'Dead City' Substitutes Manhattan for Dublin". The New York Times. http://www.nytimes.com/2006/06/16/theater/16bloo.html. Retrieved 18 March 2010.

References

Beebe, Maurice (Fall 1972). "Ulysses and the Age of Modernism". James Joyce Quarterly (University of Tulsa) 10 (1): 172–88.
Blamires, Harry. The Bloomsday Book: A Guide Through Joyce's Ulysses, Methuen (1966).
Borach, Georges. Conversations with James Joyce, translated by Joseph Prescott, College English, 15 (March 1954).
Burgess, Anthony. Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader (1965); also published as Re Joyce.
Burgess, Anthony. Joysprick: An Introduction to the Language of James Joyce (1973).
Budgen, Frank. James Joyce and the Making of Ulysses. Bloomington: Indiana University Press, (1960).
Budgen, Frank (1972). James Joyce and the making of 'Ulysses', and other writings. Oxford University Press. ISBN 0-192-11713-0.
Campbell, Joseph. Mythic Worlds, Modern Words. Canada: New World Library, 2004.
Dalton, Jack. The Text of Ulysses in Fritz Senn, ed. New Light on Joyce from the Dublin Symposium. Indiana University Press (1972).
Derrida, Jacques (1992) ‘Ulysses’ Gramophone: Hear Say Yes In Joyce. in Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1992. pp. 253-309.
Ellmann, Richard. James Joyce. Oxford University Press, revised edition (1983).
Ellmann, Richard, ed. Selected Letters of James Joyce. The Viking Press (1975).
Gifford, Don with Seidman, Robert J. Ulysses Annotated: Notes for James Joyce's Ulysses, Revised and Expanded Edition, University of California Press (1988).
Gilbert, Stuart. James Joyce's Ulysses: A study, Faber and Faber (1930).
Gorman, Herbert. James Joyce: A Definitive Biography (1939).
Heffernan, James A. W. Joyce's Ulysses, The Teaching Company LP (2001).
Kain, Richard M. Fabulous Voyager: A Study of James Joyce's Ulysses, University of Chicago Press (1947).
Kenner, Hugh. Ulysses, Unwin Critical Library (1980).
McCourt, John (2000). James Joyce: A Passionate Exile. London: Orion Books Ltd. ISBN 0752818295.
Mood, John. Joyce's "Ulysses" for Everyone, Or How to Skip Reading It the First Time. Bloomington, Indiana: Author House, 2004. ISBN 1-4184-5104-5.
Schwaber, Paul. The Cast of Characters, Yale University Press (1999).
Weldon, Thornton. Allusions in Ulysses: An Annotated List. Chapel Hill: University of North Carolina Press, 1968 and 1973. ISBN 978-0-8078-4089-4.

External links

Ulysses at Project Gutenberg
The Little Review, March 1918, contains original publication of Ulysses, via Internet Archive (scanned books)
Schemata of Ulysses
The text of Joseph Collins's 1922 New York Times review of Ulysses
Publication history of Ulysses
Ulysses in real life by Bridget Hourican, historian

Works by James Joyce

Novels	A Portrait of the Artist as a Young Man (1916) · Ulysses (1922) · Finnegans Wake (1939) · Stephen Hero (1944)

Dubliners (1914) (short stories)	"The Sisters" (1904) · "An Encounter" (1905) · "Araby" (1905) · "Eveline" (1904) · "After the Race" (1904) · "Two Gallants" (1906) · "The Boarding House" (1905) · "A Little Cloud" (1906) · "Counterparts" (1905) · "Clay" (1905) · "A Painful Case" (1905) · "Ivy Day in the Committee Room" (1905) · "A Mother" (1905) · "Grace" (1906) · "The Dead" (1907)

Play	Exiles (1918)

Poetry	Chamber Music (1907) · Pomes Penyeach (1927) · Giacomo Joyce (1968)