Enjoy Thanksgiving with this menu of literary recipes:
Christmas Bonus: George Orwell’s Recipes for Plum Cake and Christmas Pudding
Enjoy Thanksgiving with this menu of literary recipes:
Christmas Bonus: George Orwell’s Recipes for Plum Cake and Christmas Pudding
The matron had given her leave to go out as soon as the women’s tea was over and Maria looked forward to her evening out. The kitchen was spick and span: the cook said you could see yourself in the big copper boilers. The fire was nice and bright and on one of the side-tables were four very big barmbracks. These barmbracks seemed uncut; but if you went closer you would see that they had been cut into long thick even slices and were ready to be handed round at tea. Maria had cut them herself.
Maria was a very, very small person indeed but she had a very long nose and a very long chin. She talked a little through her nose, always soothingly: “Yes, my dear,” and “No, my dear.” She was always sent for when the women quarrelled over their tubs and always succeeded in making peace. One day the matron had said to her:
“Maria, you are a veritable peace-maker!”
And the sub-matron and two of the Board ladies had heard the compliment. And Ginger Mooney was always saying what she wouldn’t do to the dummy who had charge of the irons if it wasn’t for Maria. Everyone was so fond of Maria.
The women would have their tea at six o’clock and she would be able to get away before seven. From Ballsbridge to the Pillar, twenty minutes; from the Pillar to Drumcondra, twenty minutes; and twenty minutes to buy the things. She would be there before eight. She took out her purse with the silver clasps and read again the words A Present from Belfast. She was very fond of that purse because Joe had brought it to her five years before when he and Alphy had gone to Belfast on a Whit-Monday trip. In the purse were two half-crowns and some coppers. She would have five shillings clear after paying tram fare. What a nice evening they would have, all the children singing! Only she hoped that Joe wouldn’t come in drunk. He was so different when he took any drink. Read More
“James Joyce,” a chapter from James Huneker’s collection of criticism, Unicorns (1917).
Who is James Joyce? is a question that was answered by John Quinn, who told us that the new writer was from Dublin and at present residing in Switzerland; that he is not in good health—his eyes trouble him—and that he was once a student in theology, but soon gave up the idea of becoming a priest. He is evidently a member of the new group of young Irish writers who see their country and countrymen in anything but a flattering light. Ireland, surely the most beautiful and most melancholy island on the globe, is not the Isle of Saints for those iconoclasts. George Moore is a poet who happens to write English, though he often thinks in French; Bernard Shaw, notwithstanding his native wit, is of London and the Londoners; while Yeats and Synge are essentially Celtic, and both poets. Yes, and there is the delightful James Stephen, who mingles angels’ pin-feathers with rainbow gold; a magic decoction of which we never weary. But James Joyce, potentially a poet, and a realist of the De Maupassant breed, envisages Dublin and the Dubliners with a cruel scrutinising gaze. He is as truthful as Tchekov, and as grey—that Tchekov compared with whose the “realism” of De Maupassant is romantic bric-à-brac, gilded with a fine style. Joyce is as implacably naturalistic as the Russian in his vision of the sombre, mean, petty, dusty commonplaces of middle-class life, and he sometimes suggests the Frenchman in his clear, concise, technical methods. The man is indubitably a fresh talent.
Emerson, after his experiences in Europe, became an armchair traveller. He positively despised the idea of voyaging across the water to see what is just as good at home. He calls Europe a tapeworm in the brain of his countrymen. “The stuff of all countries is just the same.” So Ralph Waldo sat in his chair and enjoyed thinking about Europe, thus evading the worries of going there too often. It has its merit, this Emersonian way, particularly for souls easily disillusioned. To anticipate too much of a foreign city may result in disappointment. We have all had this experience. Paris resembles Chicago, or Vienna is a second Philadelphia at times; it depends on the colour of your mood. Few countries have been so persistently misrepresented as Ireland. It is lauded to the eleventh heaven of the Burmese or it is a place full of fighting devils in a hell of crazy politics. Of course, it is neither, nor is it the land of Lover and Lever; Handy Andy and Harry Lorrequer are there, but you never encounter them in Dublin. John Synge got nearer to the heart of the peasantry, and Yeats and Lady Gregory brought back from the hidden spaces fairies and heroes.
Is Father Ralph by Gerald O’Donovan a veracious picture of Irish priesthood and college life? Is the fiction of Mr. Joyce representative of the middle class and of the Jesuits? A cloud of contradictory witnesses passes across the sky. What is the Celtic character? Dion Boucicault’s The Shaughraun? Or isn’t the pessimistic dreamer with the soul of a “wild goose,” depicted in George Moore’s story, the real man? Celtic magic, cried Matthew Arnold. He should have said, Irish magic, for while the Irishman is a Celt, he is unlike his brethren across the Channel. Perhaps he is nearer to the Sarmatian than the continental Celt. Ireland and Poland! The Irish and the Polish! Dissatisfied no matter under which king! Not Playboys of the Western World, but martyrs to their unhappy temperaments. Read More
[Ed. note: The following citations come from one-star Amazon reviews of James Joyce’s Ulysses. To be clear, I think Ulysses is a marvelous, rewarding read. While one or two of the reviews are tongue-in-cheek, most one-star reviews of the book are from very, very angry readers who feel duped]
I can sum this book up in two words: “Ass Beating”.
What an awful book this is?
I bought this having been a huge fan of the cartoon series, but Mr Joyce has taken a winning formula and produced a prize turkey. After 20 pages not only had Ulysses failed to even board his spaceship, but I had no idea at all what on earth was going on. Verdict: Rubbish.
When an English/American writer try to explain his/her ideas about life(I mention ideas about meaning,purpose and philosophy of life)and when he/she try to do this with complicated ideas and long sentences(or like very short ones especially in this particular book);what his/her work become to is:A tremendous nonsense!!!
Thi’ got to be the worst, I- I – I mean the worst ever written book ever. Know why? ‘Cause he’ such a showoff, know what I MEAN? He’s ingenious I’ll giv’ ‘em that, but ingenuity my friends tire and enervate. Get to the point and stick to it ‘s my motto.
This is one of those books that “smart” people like to “read.”
The grammar is so disjointed as to make it nearly impossible to read.
Ulysses is basically an unbridled attack on the very ideas of heroism, romantic love and sexual fulfillment, and objective literary expression.
What’s with all the foreign languages?
It has no real meaning.
It is a blasphemy that it ever was published.
Anyone who tells you they’ve read this so-called book all the way through is probably lying through their teeth.It is impossible to endure this torture.
A babbling, senseless tome upheld by “literary luminaries” who fear being cast into the tasteless bourgeois darkness for dissent? Yes, that’s the gist.
I discovered that the novel was not what I though it would be.
Joyce is an aesthetic bother of Marcel Duchamp (known for The Fountain, a urinal, now a museum piece) and John Cage (the composer of pieces for prepared piano, where the piano’s strings are mangled with trash.
Two positive things I can say about James Joyce is that he has a great sounding name and he gives wonderful titles to his works.
Ask yourself – are you going to enjoy a book that neccesitates your literature teacher lie next to you and explain its ‘sophistication’ to you ?
It’s the worst book which has ever been written.
Unless you really hate yourself, do not attempt to read this book.
The truth is this book stinks. For one thing it is vulgar, which, I hate to disappoint anyone, requires no talent at all. This is a talent any six year-old boy possesses.
The book is not so good, it is boring, it is a colection of words and a continuous experimentation of styles that, unhappily, do not mean anything to the meaning of the story; that is, the book’s language is snobbish and useless. Those who say that “love” such a writing are to be thought about as non-readers or as victims of a literary abnormality.
…the single most destructive piece of Literature ever written…
I’m all for challenging reads, but not for gibberish which academics persist in labeling erudition.
This book is extremely dull!!! My book club decided to read this book after one of the members visited the James Joyce tower in Ireland, which the author supposedly wrote part of the book in.
Ulysses is a failed novel because Joyce was a bad writer (shown by his other works).
In conclusion, Don’t read the book. Burn it hard. Do not let your children read the book—it will mutilate their brain cells.
I would be delighted to feel my flesh tingling under your hand. Do you know what I mean, Nora dear? I wish you would smack me or flog me even. Not in play, dear, in earnest and on my naked flesh. I wish you were strong, strong, dear, and had a big full proud bosom and big fat thighs. I would love to be whipped by you, Nora love! I would love to have done something to displease you, something trivial even, perhaps one of my rather dirty habits that make you laugh: and then to hear you call me into your room and then to find you sitting in an armchair with your fat thighs far apart and your face deep red with anger and a cane in your hand. To see you point to what I had done and then with a movement of rage pull me towards you and throw me face downwards across your lap. Then to feel your hands tearing down my trousers and inside clothes and turning up my shirt, to be struggling in your strong arms and in your lap, to feel you bending down (like an angry nurse whipping a child’s bottom) until your big full bubbies almost touched me and to feel you flog, flog, flog me viciously on my naked quivering flesh!!
Film footage of the first Bloomsday celebration (June 16, 1954)–a great find by Antoine Malette, who posted the video along with an account of the journey as told in Flann O’Brien: An Illustrated Biography. The film was shot by John Ryan, and shows an extremely inebriated Brian O’Nolan (aka Flann…
Makes breakfast for his wife. Goes to the butcher. Goes to the post office. Goes to church. Goes to a chemist. Goes to a public bath. Goes to a funeral. Goes to a newspaper press. Goes to a locksmith to canvass an ad. Feeds some seagulls. Goes to a bar. Helps a blind man cross the street. Goes to the museum. Goes to to the library. Visits a bookseller. Window-shops. Goes to a restaurant. Listens to some live music. Writes a love letter. Goes to another bar. Nearly gets in a fight. Masturbates to a beautiful eighteen-year-old exhibitionist giving him a private show. Takes an alfresco nap. Takes up a collection for a widow. Goes to a hospital to visit a pregnant woman. Flirts with a nurse. Feeds a stray dog. Goes to a whorehouse. Helps avert a row with the police. Goes to a cabman’s shelter and listens to a sailor tell stories. Breaks into his own house. Urinates under the stars with another man. Watches the sunrise. Kisses his wife on her arse.
It would have been the single busiest, most adventurous day of my life.
From Evan Lavender-Smith’s From Old Notebooks.
—A father, Stephen said, battling against hopelessness, is a necessary evil. He wrote the play in the months that followed his father’s death. If you hold that he, a greying man with two marriageable daughters, with thirtyfive years of life, nel mezzo del cammin di nostra vita, with fifty of experience, is the beardless undergraduate from Wittenberg then you must hold that his seventyyear old mother is the lustful queen. No. The corpse of John Shakespeare does not walk the night. From hour to hour it rots and rots. He rests, disarmed of fatherhood, having devised that mystical estate upon his son. Boccaccio’s Calandrino was the first and last man who felt himself with child. Fatherhood, in the sense of conscious begetting, is unknown to man. It is a mystical estate, an apostolic succession, from only begetter to only begotten. On that mystery and not on the madonna which the cunning Italian intellect flung to the mob of Europe the church is founded and founded irremovably because founded, like the world, macro and microcosm, upon the void. Upon incertitude, upon unlikelihood. Amor matris, subjective and objective genitive, may be the only true thing in life. Paternity may be a legal fiction. Who is the father of any son that any son should love him or he any son?
What the hell are you driving at?
I know. Shut up. Blast you. I have reasons.
Amplius. Adhuc. Iterum. Postea.
Are you condemned to do this?
—They are sundered by a bodily shame so steadfast that the criminal annals of the world, stained with all other incests and bestialities, hardly record its breach. Sons with mothers, sires with daughters, lesbic sisters, loves that dare not speak their name, nephews with grandmothers, jailbirds with keyholes, queens with prize bulls. The son unborn mars beauty: born, he brings pain, divides affection, increases care. He is a new male: his growth is his father’s decline, his youth his father’s envy, his friend his father’s enemy.
In rue Monsieur-le-Prince I thought it.
—What links them in nature? An instant of blind rut.
Am I a father? If I were?
Shrunken uncertain hand.
—Sabellius, the African, subtlest heresiarch of all the beasts of the field, held that the Father was Himself His Own Son. The bulldog of Aquin, with whom no word shall be impossible, refutes him. Well: if the father who has not a son be not a father can the son who has not a father be a son? When Rutlandbaconsouthamptonshakespeare or another poet of the same name in the comedy of errors wrote Hamlet he was not the father of his own son merely but, being no more a son, he was and felt himself the father of all his race, the father of his own grandfather, the father of his unborn grandson who, by the same token, never was born, for nature, as Mr Magee understands her, abhors perfection.
Stephen Dedalus, holding forth in Ulysses. (Context, if necessary: The referent of He in the second paragraph is William Shakespeare; the play is of course Hamlet).
The book, Lee Server’s Baby I Don’t Care, a biography of Robert Mitchum, and its annotations, belong to Tony Shafrazi—
Enoc Perez took the photo–
The novelist James Boice seems to be the origin of the link between the Mitchum biography to DFW/JJ (clearly a jest):
And then somehow the pic got to tumblr.
Oh, and, here’s a bigger pic of the passage from Server’s book:
MR HOLOHAN, assistant secretary of the Eire Abu Society, had been walking up and down Dublin for nearly a month, with his hands and pockets full of dirty pieces of paper, arranging about the series of concerts. He had a game leg and for this his friends called him Hoppy Holohan. He walked up and down constantly, stood by the hour at street corners arguing the point and made notes; but in the end it was Mrs. Kearney who arranged everything.
Miss Devlin had become Mrs. Kearney out of spite. She had been educated in a high-class convent, where she had learned French and music. As she was naturally pale and unbending in manner she made few friends at school. When she came to the age of marriage she was sent out to many houses where her playing and ivory manners were much admired. She sat amid the chilly circle of her accomplishments, waiting for some suitor to brave it and offer her a brilliant life. But the young men whom she met were ordinary and she gave them no encouragement, trying to console her romantic desires by eating a great deal of Turkish Delight in secret. However, when she drew near the limit and her friends began to loosen their tongues about her, she silenced them by marrying Mr. Kearney, who was a bootmaker on Ormond Quay.
He was much older than she. His conversation, which was serious, took place at intervals in his great brown beard. After the first year of married life, Mrs. Kearney perceived that such a man would wear better than a romantic person, but she never put her own romantic ideas away. He was sober, thrifty and pious; he went to the altar every first Friday, sometimes with her, oftener by himself. But she never weakened in her religion and was a good wife to him. At some party in a strange house when she lifted her eyebrow ever so slightly he stood up to take his leave and, when his cough troubled him, she put the eider-down quilt over his feet and made a strong rum punch. For his part, he was a model father. By paying a small sum every week into a society, he ensured for both his daughters a dowry of one hundred pounds each when they came to the age of twenty-four. He sent the older daughter, Kathleen, to a good convent, where she learned French and music, and afterward paid her fees at the Academy. Every year in the month of July Mrs. Kearney found occasion to say to some friend:
“My good man is packing us off to Skerries for a few weeks.”
If it was not Skerries it was Howth or Greystones. Read More
DA: Do you approach the book as a puzzle or a palette? Do you try to make your artwork close to what Joyce might have meant or do you embrace the possibilities of your own interpretations? Is it possible or even desirable to try to work out what Joyce meant?
SC: Clearly Joyce meant to say something – it’s not just a stream of gibberish. So as an illustrator I think I owe it to the text to try to understand as much of it as I can. I try to figure out at least a couple of different ways to interpret every passage, but I certainly don’t exhaust every avenue. There’s a limit to how much information I can cram into the illustrations anyway. On the other hand, I do think that there are portions of the book where it’s not really important to understand it on a semantic level. Joyce was deeply influenced by music in his writing, and I think it’s fine to appreciate some of the book quite passively, as if it were music. I would agree that there’s no such thing as “understanding” the book entirely. Partial incomprehensibility is part of its design.
First, I want to get a bad joke out of the way: it seems cruelly apt to review a scholarly text titled The Problem With Pleasure: Modernism and Its Discontents (Columbia UP 2013), especially one, while passionate and provocative, that may preclude pleasure for the casual reader. To be expected from a scholarly text, hence the bad joke, but Frost’s study of the vicissitudes of modernist unpleasure performs its argument quite well — The arrays of Unpleasure found in this book do delight and prod the reader in its investigations of everything from stalwart modernist topoi to perfume and farts. Frost’s mission, in her own words, is to “present the interwar debate about pleasure and the rise of unpleasure … as a new way of defining literary modernism more capaciously” (14). Frost wants to collapse the schism between the two divergent interwar poles of “high” and “low” culture and their shared mission to re-stabilize the shocked and distended interwar subject. Frost’s contribution to her field isn’t quite revolutionary, but the methods in which she ties the affect of text and media on the body is pressing and important, and carries weight outside the academy. For it is not simply that the “high” modernists wanted its world to repudiate fast & easy entertainment to engage with the post-World War One space. Rather, they wanted their readers to engage with pleasure in a different key — unpleasure. Seeing the beginnings of literary modernism with the more inclusive Unpleasure rather than Eliotian disdain or Poundian militancy allows us to see how literary modernists not only critiqued vernacular entertainment, but how Jean Rhys, James Joyce and Aldous Huxley were themselves subject to mass cultural motifs in their own texts. “High” and “low” culture were not as mutually exclusive as previously thought, Frost asserts, and the interwar period set the stage for our current moment of pleasure, cultural division, and technological innovation considerably more than we think.