Mike Watt and Adam Harvey adapted the “Shem the Penman” episode of James Joyce’s Finnegans Wake for the Waywords and Meansigns project. Raymond Pettibon provided an illustration.
One of my favorite passages in Ulysses (it’s from the “Cyclops” chapter, episode 12)—
He wore a long unsleeved garment of recently flayed oxhide reaching to the knees in a loose kilt and this was bound about his middle by a girdle of plaited straw and rushes. Beneath this he wore trews of deerskin, roughly stitched with gut. His nether extremities were encased in high Balbriggan buskins dyed in lichen purple, the feet being shod with brogues of salted cowhide laced with the windpipe of the same beast. From his girdle hung a row of seastones which dangled at every movement of his portentous frame and on these were graven with rude yet striking art the tribal images of many Irish heroes and heroines of antiquity, Cuchulin, Conn of hundred battles, Niall of nine hostages, Brian of Kincora, the Ardri Malachi, Art MacMurragh, Shane O’Neill, Father John Murphy, Owen Roe, Patrick Sarsfield, Red Hugh O’Donnell, Red Jim MacDermott, Soggarth Eoghan O’Growney, Michael Dwyer, Francy Higgins, Henry Joy M’Cracken, Goliath, Horace Wheatley, Thomas Conneff, Peg Woffington, the Village Blacksmith, Captain Moonlight, Captain Boycott, Dante Alighieri, Christopher Columbus, S. Fursa, S. Brendan, Marshal Mac-Mahon, Charlemagne, Theobald Wolfe Tone, the Mother of the Maccabees, the Last of the Mohicans, the Rose of Castille, the Man for Galway, The Man that Broke the Bank at Monte Carlo, The Man in the Gap, The Woman Who Didn’t, Benjamin Franklin, Napoleon Bonaparte, John L. Sullivan, Cleopatra, Savourneen Deelish, Julius Caesar, Paracelsus, sir Thomas Lipton, William Tell, Michelangelo, Hayes, Muhammad, the Bride of Lammermoor, Peter the Hermit, Peter the Packer, Dark Rosaleen, Patrick W. Shakespeare, Brian Confucius, Murtagh Gutenberg, Patricio Velasquez, Captain Nemo, Tristan and Isolde, the first Prince of Wales, Thomas Cook and Son, the Bold Soldier Boy, Arrah na Pogue, Dick Turpin, Ludwig Beethoven, the Colleen Bawn, Waddler Healy, Angus the Culdee, Dolly Mount, Sidney Parade, Ben Howth, Valentine Greatrakes, Adam and Eve, Arthur Wellesley, Boss Croker, Herodotus, Jack the Giantkiller, Gautama Buddha, Lady Godiva, The Lily of Killarney, Balor of the Evil Eye, the Queen of Sheba, Acky Nagle, Joe Nagle, Alessandro Volta, Jeremiah O’Donovan Rossa, Don Philip O’Sullivan Beare. A couched spear of acuminated granite rested by him while at his feet reposed a savage animal of the canine tribe whose stertorous gasps announced that he was sunk in uneasy slumber, a supposition confirmed by hoarse growls and spasmodic movements which his master repressed from time to time by tranquillising blows of a mighty cudgel rudely fashioned out of paleolithic stone.
Christmas Bonus: George Orwell’s Recipes for Plum Cake and Christmas Pudding
Author Brian Hall is known for his diverse subject matter. His 2003 novel I Should Be Extremely Happy In Your Company is a fictionalized account of Lewis and Clark, and his 2008 novel The Fall of Frost re-imagines Robert Frost’s personal life and inner world. Hall’s writing has received significant praise over the years; his 1997 coming-of-age novel The Saskiad has been translated into twelve languages.
This year Hall collaborated with composer Mary Lorson for a rather unusual endeavor: setting James Joyce’s Finnegans Wake to music. Part of the Waywords and Meansigns project, Hall and Lorson were tasked with creating an unabridged musical version of the Wake’s famous eighth chapter. The chapter presents a dialogue between two women, who are in turn juxtaposed with Dublin’s Liffey river and one of the book’s main characters, Anna Livia Plurabelle. (You can hear their chapter in the embedded audio player below.)
Derek Pyle, who runs Waywords and Meansigns, spoke with Brian Hall about a number of topics ranging from the experience of wrestling with Joyce’s text to the process of writing and researching novels.
Brian Hall: We decided that I would record the voice track first, before she did anything else. I’ve never recorded any reading before, so we practice recorded the thing twice, just to get me used to it. That way I could get used to just how thorny it is to read at a relatively quick pace, to manage to spit out all of these weird words one after another. You have to practice quite a lot so you can get through a sentence and make it sound somewhat natural.
I assured Mary right at the beginning that the final mix and music, all of that would be entirely up to her and I wasn’t going to interfere. I made some suggestions, just throwing out ideas — I know [classical music] pretty well, and she was interested in drawing on that, so I mentioned a few things that could be related.
Derek Pyle: At times your voice has a call and response feel — it was her tinkering that created this effect?
Brian Hall: The chapter is clearly some kind of a dialogue, but a lot of it is not really clear which voice is which. I was looking online and nobody really agrees on how the voices divide. I made my own version of the back and forth, just by highlighting the younger voice, and I gave Mary a copy of this marked up version of the text.
When I read it in the studio in Toronto, it was all on one track. As I read, every time I went to the younger voice I pitched my voice a little bit higher. So with the pitch between the two voices, and my printed version, which had highlighted the young woman’s lines, Mary could tell pretty easily which was which. She put the voices on two different tracks, one on the left speaker, one on the right speaker, and did everything that we hear. It really gives a much better feel.
Derek Pyle: It’s such a full landscape of sound, with the river running through the conversation. What were some of the other underlying conceptual elements guiding your reading?
Brian Hall: Because I tend to gather books, I already had the Tindall guide to Finnegans Wake and I also had the Roland McHugh Annotations to Finnegans Wake. I read through both the Tindall and the McHugh related to this chapter, to see whatever there was — things that I couldn’t figure out on my own.
Since Joyce uses — I can’t remember the figure — 140 different river names, McHugh notes pretty much every time there’s a river name. He doesn’t say which country it’s in, so I marked all of this up and then for all the river names I looked them up on Google Maps.
I wanted to find out what country the rivers are in, because you don’t really have a sense how to pronounce it unless you know what language it’s in. When you’re reading [the Wake] out loud you want to straddle, as much as possible, the different possible pronunciations of these multilingual words.
But I don’t really know how Joyce pronounced some of those words. He may have had a Dublin-English version of it. A lot of it is total guesswork but it was really fun, although a fair amount of work — with a text like this you basically have stuff all over the page, with arrows trying to figure out what the hell you’re doing.
Derek Pyle: What was your engagement with Joyce prior to this undertaking?
Brian Hall: By the time I got out of college I had read most of Joyce except Finnegans Wake. I cheated a bit — I took a course on Ulysses and I ran out of time in the course, the way you do in college, and I ended up only reading about half of Ulysses. I wrote a paper on the part that I had read, to hide the fact that I hadn’t read the whole thing.
When I was forty, I went back and read the entire Ulysses, and like loads of writers I was pretty fascinated. Large parts of it are some of the most interesting stuff written in the 20th century, I think.
But it’s true for a lot of great work, one of the things that makes them so fascinating — as you approach them as a critical reader and as a writer yourself, it makes sense that there are things that you don’t entirely agree with. There are parts of Ulysses which I think go farther down the formalistic path than is really helpful. I never much liked the “Oxen of the Sun” chapter, the one that goes through the history of the English language.
I think a lot of Ulysses, as great as it is, it’s a little longer than ideal. But you know, it’s a fabulous monumental work. When people pick it as like, if you’re forced to choose the greatest novels of the 20th century, I’m certainly not surprised that a lot of people pick Ulysses.
Portrait of the Artist I’ve probably read three or four times. Dubliners you of course get in high school and I read it again in my forties. I read Stephen Hero at one point because I was curious to see the earlier version of Portrait of the Artist.
But Finnegans Wake was the big thing that I had never gotten around to. I actually have you to thank — it really was an opportunity for me to do something I’d wanted to do, which is to take a closer look at one part of the Wake. I always wondered how to what extent I would appreciate what his goals are in Finnegans Wake.
Derek Pyle: How would you articulate Joyce’s goals?
I can only speak of the Liffey chapter, but I think he goes further down the path of playing with language, to the point where it starts to become a question of diminishing returns. I want to stress how much I enjoyed reading it out loud — it is a fascinating word fest he’s done.
But he has the idea that [the chapter] is going to be about rivers — about a river, the Liffey. He has what I think are loads of great ideas about how to do this, where Liffey and Livia are basically the same. The way he describes the places where the Liffey runs and the kinds of landscape it runs through — he does it in such a way that pretty much every moment is both about the river but also about this sort of mythical female figure, Livia. I think a lot of that is really great.
Then there’s this other side of Joyce — and this is the part where I as an artist part ways with him — since he’s doing a thing about the river, he decides to incorporate into the chapter the names of like 140 rivers from around the world. I think that layer just gets in the way; I can’t see that it adds much.
Who am I, of course — I’m just me and he’s James Joyce. If I were his childhood friend and he took any advice from me, I would say “hey Jim, maybe that one layer…”
Derek Pyle: As a writer reading Joyce, is there any way his works have influenced your own craft in terms of techniques to use, or even to avoid?
The generally broad idea of stream of consciousness narration, which of course takes many forms, but he was obviously one of the big fat originators of it. That’s had a big effect on the way I write. I believe very strongly that prose should take whatever form it needs to take, to properly convey the way a person is thinking.
All of my writing, except for my first novel, is in close third person. But I think the writer whose style of stream of consciousness influenced me somewhat more than Joyce — but of course she herself was influenced by Joyce and vice versa — was Virginia Woolf. Her approach in Mrs. Dalloway is the way I tend to write when I’m trying to convey the moment of thought in one of my character’s minds.
I think a big problem with a lot of literary writing today is that a lot of writers consistently stick to a polished lyrical style. I guess it’s out of the idea that beautiful writing is always beautiful, so why not write beautifully. My temperament or whatever, my reading of that, it’s not psychologically acute writing because it doesn’t reflect emotional turmoil.
If you’re describing a character who is very upset or angry or confused, or if the character is not very literate — I think the prose should always try to reflect the content, and that means loads of good prose is not beautiful.
You know Joyce, a lot of his stuff is of course beautiful in its own way, but you get to the “Sirens” chapter in Ulysses and you have this overture section at the beginning. It’s just totally fractured. He’s not trying something beautiful there, he’s trying something much more interesting.
Derek Pyle: Whether it’s Woolf or Joyce, did you take a research approach into looking at technique, breaking down how and why does this work?
Brian Hall: I haven’t sat down and analyzed it. Stuff that I read that really excites me, I just assume it’s working its way into how I think about writing. I do lots of research for my novels, but it’s not related to stylistic stuff.
The novel I’m working on right now, the main character is an astronomer. My sense is, if you’re going to write a novel where the main character is an astronomer, you really should know a lot about astronomy. It’s not like you need lectures in there about astronomy, but just in the background of your mind, you should know a lot because that’s how your character will look at the world.
It helps if you like to do research for its own sake, because then you don’t have the temptation to try to shoehorn too much into the novel. It doesn’t feel like a waste to me if I have twenty times more material than I actually put into the book. I love research, so I don’t regret that at all.
Derek Pyle: Anything else you want to add? Biblioklept interviews usually end with the question ‘have you ever stolen a book?’
Brian Hall: I’ll say this. I really detest copyright law in general and in the U.S. in particular and these organizations like creative commons — what you’re doing with this whole project, where stuff is put online for people to freely download, I just think it’s great.
My understanding of the original idea of copyright law, for one thing it only lasted for sixteen years when it was first proposed by Jefferson. The idea was to keep people from competing in the market with the original thing.
But when you take something, and you change it dramatically by adding things — I ran into this with my Frost book. I ended up not being able to quote certain Frost poems because of supposed copyright problems. That’s a real perversion of the original idea of copyright protection. What I was doing in the Frost book would in no conceivable way cut into the sales of volumes of poetry by Frost.
I personally sympathize with people who are alive and remember Frost and are uncomfortable with the idea of a novelist like me coming along and writing a very personal novel about Frost. I don’t think it’s ridiculous that they don’t like it. But if it weren’t for the ridiculously extended copyright laws in this country, there wouldn’t be a problem. I’d be allowed to do what I do, they could be unhappy about it the way that I’m unhappy about lots of things, and you know, we would just move on.
Oh, and to answer your question, I’ve never stolen a book.
A week or so ago, I wrote about the books (specifically novels) that I can’t seem to finish despite beginning them five, six, seven plus times. In that post, I noted that there “are certain books I’ll probably never ‘finish,’ that I have no aim of finishing,” and hence didn’t include in my silly little list. Such titles seemed to need their own post.
“Finish” is probably the wrong verb to use to denote the act of reading, in traditional sequence, all the words on all the pages of a grand great novel. I have never really “finished” the books that I’ve read the most times from cover to cover—books like Adventures of Huckleberry Finn, Their Eyes Were Watching God, Moby-Dick, Ulysses, Blood Meridian, 2666. Something about such books remains somewhere inside of me, unfinished (in contrast to the many, many novels—most often contemporary “literary” fictions—that I truly finish by reading and then jettisoning from memory). The great books that I’ve finished are unfinished. Something of the really great novels wriggles around in the background of consciousness, whispering, howling.
Putting together a little list of books I’m always reading but will likely never finish was not difficult, although I should clarify that I’ve intentionally left off a good number of critical texts—stuff like Derrida, Foucault, Kristeva, etc.—as well as the letters, notebooks, and journals of writers that I return to again and again. I tried to stick to novels. But are the works pictured/listed here—Tristram Shandy, The Anatomy of Melancholy, Don Quixote, Finnegans Wake, and 1982, Janine—are these actually novels? The question is complex and productive, but I’ll answer it with the simple, “Yes, but– ”
(And yet, parenthetically: That the novelness of these novels is suspect is perhaps a key to why these are the works that fascinate me, that these unnovelly novels make me stumble; I resort to shelving them, grab for critical interpretations, guides, commentaries, etc.—in the hopes of…of what?)
Joyce’s Finnnegans Wake is a nice starting place for this little list. The novel’s famous opening line (“riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs”) actually completes the novel’s “final” (non-)sentence (“A lone a last a loved a long the”). So Finnegans Wake is a loop, an infinite jest. Over the past decade, I’ve dipped into the book again and again, using Joseph Campbell’s Skeleton Key as a friendly guide. I’ve learned to have fun with Finnegans Wake, taking something from its language, its connections, its syntheses, while abandoning the pretense that I’ve anything to gain by trucking through it at full speed just to “finish” it.
I pick up Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman less often than I used to, having recovered from trying to understand it. The novel seems to me proof that the term “postmodern” is simply a description of a way of seeing, and not a set of aesthetic conditions. Also, I love that Sterne loves the dash—
It’s perhaps a great moral failing on my part that I’ve never made it past the first few chapters of the Second Part of Don Quixote. I’m familiar with it, largely by way of Nabokov’s lectures and summaries. Anyway, I fail to understand Don Quixote; I fail to read it rightly.
Alasdair Gray’s 1982, Janine doesn’t have the same reputation as the other novels I’ve listed here; its inclusion wasn’t so much an afterthought but a realization—I bought it four years ago and have yet to shelve it. It’s always on a coffee table, the edge of a sofa, next to my bed, cooing, Start again. I start reading it and then I skip ahead to its weird black heart, then I read from the end, then I go back to the beginning. Then I put it aside, having made no “progress.”
I don’t know what Robert Burton’s The Anatomy of Melancholy is. Is it a novel? (Wait. I think we went through this above). I first encountered it as a bewildered undergrad, checking out an old huge hardback edition from the library. I made a small dent (aided by Ritalin). All that Latin is Greek to me. In his preface to the NYRB edition, William H. Gass advises, “Be prepared to proceed slowly and you will soon go swiftly enough. Read a member a day; it will chase gloom away.” I have not read a member a day, but I do like to pull Melancholy from the shelf late at night, after a few glasses of wine, and dip into it somewhere. I will never finish it.
And yet I’ve retained more from these unfinished novels than most of the contemporary fiction novels I’ve read. Anna Livia Plurabelle. The priest burning poor Quixote’s beautiful books. The marbled pages, the blacked out pages, the squiggles of Tristram Shandy. The typographic explosions in 1982, Janine. The dirty bits. The lists. The force of language, above all.
In a sense, not “finishing” these grand weird novels keeps them vital to me, present somehow, promising in their possibility, taunting and tantalizing in their pregnant unfinishabilty.
I am a huge fan of audiobooks. I’ve pretty much always got one going—for commutes, jogs, workaday chores, etc. The usual. I love to listen to audiobooks of books I’ve already read, in particular, but I of course listen to new stuff too, or stuff that’s new to me, anyway. There just isn’t time to get to all the reading and rereading I want to do otherwise.
Beyond the fact that audiobooks allow me to experience more books than I would be able to otherwise, I like the medium itself: I like a reader reading me a story. Like a lot of people, some of my earliest, best memories are of someone reading to me. (The narrative in my family was always that my mother fell asleep while reading me The Lion, the Witch and the Wardrobe and that I picked it up and finished it on my own and that’s how I “learned” to read—I’m not really sure of this tale’s veracity, which makes it a good story, of course). So I’ve never fully understood folks who sniff their noses at audiobooks as less than real reading.
Indeed, the best literature is best read aloud. It is for the ear, as William H. Gass puts it in his marvelous essay “The Sentence Seeks Its Form”:
Breath (pneuma) has always been seen as a sign of life . . . Language is speech before it is anything. It is born of babble and shaped by imitating other sounds. It therefore must be listened to while it is being written. So the next time someone asks you that stupid question, “Who is your audience?” or “Whom do you write for?” you can answer, “The ear.” I don’t just read Henry James; I hear him. . . . The writer must be a musician—accordingly. Look at what you’ve written, but later … at your leisure. First—listen. Listen to Joyce, to Woolf, to Faulkner, to Melville.
Joyce, Woolf, Faulkner, Melville—a difficult foursome, no? I would argue that the finest audiobooks—those with the most perceptive performers (often guided by a great director and/or producer) can guide an auditor’s ear from sound to sense to spirit. A great audiobook can channel the pneuma of a complex and so-called difficult novel by animating it, channeling its life force. The very best audiobooks can teach their auditors how to read the novels—how to hear and feel their spirit.
I shall follow (with one slight deviation, substituting one William for another) Gass’s foursome by way of example. Joyce initiates his list, so:
I had read Joyce’s Ulysses twice before I first experience RTÉ’s 1982 dramatized, soundtracked, sound-effected, full cast recording of the novel (download it via that link). I wrote about the Irish broadcast company’s production at length when I first heard it, but briefly: This is a full cast of voices bringing the bustle and energy (and torpor and solemnity and ecstasy and etc.) of Bloomsday to vivid vivacious vivifying life. It’s not just that RTÉ’s cast captures the tone of Ulysses—all its brains and hearts, its howls and its harrumphs—it’s also that this production masterfully expresses the pace and the rhythm of Ulysses. Readers (unnecessarily) daunted by Ulysses’s reputation should consider reading the book in tandem with RTÉ’s production.
Woolf is next on Gass’s list. Orlando is my favorite book of hers, although I have been told by scholars and others that it is not as serious or important as To the Lighthouse or Mrs. Dalloway. It is probably not as “difficult” either; nevertheless, put it on the list! Clare Higgins’s reading of Orlando remains one of my favorite audiobooks of all times: arch without being glib, Higgins animates the novel with a picaresque force that subtly highlights the novel’s wonderful absurdities.
Faulkner…well, did you recall that I admitted I would not keep complete faith to Gass’s short list? Certainly Faulkner’s long twisted sentences evoke their own mossy music, but alas, I’ve yet to find an audiobook with a reader whose take on Faulkner I could tolerate. I tried Grover Gardner’s take on Absalom, Absalom! but alas!—our reader often took pains to untangle what was properly tangled. I don’t know. I was similarly disappointed in an audiobook of The Sound and the Fury (I don’t recall the reader). And yet I’m sure Faulkner could be translated into a marvelous audiobook (Apprise me, apprise me!).
Let me substitute another difficult William: Gaddis. I don’t know if I could’ve cracked J R if I hadn’t first read it in tandem with Nick Sullivan’s audiobook. J R is a tragicomic opera of voices—unattributed voices!—and it would be easy to quickly lose heart without signposts to guide you. Sullivan’s reading is frankly amazing, a baroque, wild, hilarious, and ultimately quite moving performance of what may be the most important American novel of the late twentieth century. A recent reread of J R was almost breezy; Sullivan had taught me how to read it.
Mighty Melville caps Gass’s list. I had read Moby-Dick a number of times, studying it under at least two excellent teachers, before I first heard William Hootkins read it. (Hootkins, a character actor, is probably most well-known as the X-wing pilot Porkins in A New Hope). As a younger reader, I struggled with Moby-Dick, even as it intrigued me. I did not, however, understand just how funny it was, and even though I intuited its humor later in life, I didn’t fully experience it until Hootkins’ reading. Hootkins inhabits Ishmael with a dynamic, goodwilled aplomb, but where his reading really excels is in handling the novel’s narrative macroscopic shifts, as Ishmael’s ego seems to fold into the crew/chorus, and dark Ahab takes over at times. But not just Ahab—Hootkins embodies Starbuck, Flask, and Stubb with humor and pathos. Hootkins breaths spirit into Melville’s music. I cannot overstate how much I recommend Hootkins audiobook, particularly for readers new to Moby-Dick. And readers old to Moby-Dick too.
“What can we do to find out how writing is written? Why, we listen to writers who have written well,” advises (or scolds, if you like) William Gass. The best audiobook performances of difficult books don’t merely provide shortcuts to understanding those books—rather, they teach auditors how to hear them, how to feel them, how to read them.
On pages 611-613 of James Joyce’s Finnegans Wake, St. Patrick meets the archdruid Balkelly:
Tunc. Bymeby, bullocky vampas tappany bobs topside joss pidgin fella Balkelly, archdruid of islish chinchinjoss in the his heptachromatic sevenhued septicoloured roranyellgreenlindigan mantle finish he show along the his mister guest Patholic with alb belongahim the whose throat hum with of sametime all the his cassock groaner fellas of greysfriaryfamily he fast all time what time all him monkafellas with Same Patholic, quoniam, speeching, yeh not speeching noh man liberty is, he drink up words, scilicet, tomorrow till recover will not, all too many much illusiones through photoprismic velamina of hueful panepiphanal world spectacurum of Lord Joss, the of which zoantholitic furniture, from mineral through vegetal to animal, not appear to full up to-gether fallen man than under but one photoreflection of the several iridals gradationes of solar light, that one which that part of it (furnit of heupanepi world) had shown itself (part of fur of huepanwor) unable to absorbere, whereas for numpa one pura —— duxed seer in seventh degree of wisdom of Entis–Onton he savvy inside true inwardness of reality, the Ding hvad in idself id est, all objects (of panepiwor) allside showed themselves in trues coloribus resplendent with sextuple gloria of light actually re-tained, untisintus, inside them (obs of epiwo). Rumnant Patholic, stareotypopticus, no catch all that preachybook, utpiam, tomorrow recover thing even is not, bymeby vampsybobsy tap — panasbullocks topside joss pidginfella Bilkilly–Belkelly say pat — fella, ontesantes, twotime hemhaltshealing, with other words verbigratiagrading from murmurulentous till stridulocelerious in a hunghoranghoangoly tsinglontseng while his comprehen-durient, with diminishing claractinism, augumentationed himself in caloripeia to vision so throughsighty, you anxioust melan-cholic, High Thats Hight Uberking Leary his fiery grassbelong- head all show colour of sorrelwood herbgreen, again, nigger- blonker, of the his essixcoloured holmgrewnworsteds costume the his fellow saffron pettikilt look same hue of boiled spinasses,other thing, voluntary mutismuser, he not compyhandy the his golden twobreasttorc look justsamelike curlicabbis, moreafter, to pace negativisticists, verdant readyrainroof belongahim Exuber High Ober King Leary very dead, what he wish to say, spit of superexuberabundancy plenty laurel leaves, after that com-mander bulopent eyes of Most Highest Ardreetsar King same thing like thyme choppy upon parsley, alongsidethat, if please-sir, nos displace tauttung, sowlofabishospastored, enamel Indian gem in maledictive fingerfondler of High High Siresultan Em-peror all same like one fellow olive lentil, onthelongsidethat, by undesendas, kirikirikiring, violaceous warwon contusiones of facebuts of Highup Big Cockywocky Sublissimime Autocrat, for that with pure hueglut intensely saturated one, tinged uniformly, allaroundside upinandoutdown, very like you seecut chowchow of plentymuch sennacassia Hump cumps Ebblybally! Sukkot?
Punc. Bigseer, refrects the petty padre, whackling it out, a tumble to take, tripeness to call thing and to call if say is good while, you pore shiroskuro blackinwhitepaddynger, by thiswis aposterioprismically apatstrophied and paralogically periparo-lysed, celestial from principalest of Iro’s Irismans ruinboon pot before, (for beingtime monkblinkers timeblinged completamen-tarily murkblankered in their neutrolysis between the possible viriditude of the sager and the probable eruberuption of the saint), as My tappropinquish to Me wipenmeselps gnosegates a handcaughtscheaf of synthetic shammyrag to hims hers, seeming-such four three two agreement cause heart to be might, saving to Balenoarch (he kneeleths), to Great Balenoarch (he kneeleths down) to Greatest Great Balenoarch (he kneeleths down quite-somely), the sound salse sympol in a weedwayedwold of the firethere the sun in his halo cast. Onmen.
That was thing, bygotter, the thing, bogcotton, the very thing, begad! Even to uptoputty Bilkilly–Belkelly-Balkally. Who was for shouting down the shatton on the lamp of Jeeshees. Sweating on to stonker and throw his seven. As he shuck his thumping fore features apt the hoyhop of His Ards.
Good safe firelamp! hailed the heliots. Goldselforelump! Halled they. Awed. Where thereon the skyfold high, trampa-trampatramp. Adie. Per ye comdoom doominoom noonstroom. Yeasome priestomes. Fullyhum toowhoom.
James Joyce’s death mask, by Paul Speck (1941)
Last year, I talked to Derek Pyle about his production Waywords and Meansigns, a collaborative music project that recreates James Joyce’s Finnegans Wake in a range of musical genres by all kinds of musicians. In our interview, he revealed that there would be a second volume adaptation of the Wake this winter:
Biblioklept: When do you anticipate the completed project being released?
DP: So we’re actually doing two separate editions of Waywords and Meansigns; both will be unabridged, all 17 chapters. When we first put out the call for musicians, there were so many folks we didn’t want to turn away. So the first edition will debut very soon — 4 May 2015. Then the second edition will debut sometime during the coming winter, with a whole new cast of musicians.
And so well that coming winter is here now—on JJ’s birthday. So Here Comes Everybody! Check it out.
Stephen Dedalus and Leopold Bloom have stopped at a cabman’s shelter, a small coffeehouse under the Loop Line Bridge, for a cuppa and a rest on their way home. And the hope that the coffee will sober Stephen up. After an appropriate period of such hospitality, Bloom sees that it is time to leave.
James Joyce. Ulysses, (1921).
To cut a long story short Bloom, grasping the situation, was the first to rise to his feet so as not to outstay their welcome having first and foremost, being as good as his word that he would foot the bill for the occasion, taken the wise precaution to unobtrusively motion to mine host as a parting shot a scarcely perceptible sign when the others were not looking to the effect that the amount due was forthcoming, making a grand total of fourpence (the amount he deposited unobtrusively in four coppers, literally the last of the Mohicans) he having previously spotted on the printed price list for all who ran to read opposite to him in unmistakable figures, coffee ad., confectionary do, and honestly well worth twice the money once in a way, as Wetherup used to remark.
Commonplaces Narrative Events
1. to cut a long story short authorial intervention
2. grasp the situation subjective interpretation
3. rise to his feet narrative action
4. don’t outstay your welcome rationale or justification
5. first and foremost subjective evaluation
6. good as his word characterization
7. foot the bill promise, therefore a prediction
8. take the wise precaution subjective evaluation
9. mine host authorial archness
10. parting shot subjective evaluation
11. scarcely perceptible sign narrative action
12. to the effect that subjective interpretation
13. amount due is forthcoming subjective interpretation
14. grand total characterization
15. literally the last of the Mohicans authorial intervention, allusion
16. previously spotted subjective interpretation
17. all who run can read authorial intervention, allusion
18. honestly (in this context) subjective interpretation
19. well worth it subjective interpretation
20. worth twice the money subjective interpretation
21. once in a waysubjective allusion
22. as [Wetherup] used to [remark] say attribution
The sentence without its commonplaces:
To be brief, Bloom, realizing they should not stay longer, was the first to rise, and having prudently and discreetly signaled to their host that he would pay the bill, quietly left his last four pennies, a sum—most reasonable—he knew was due, having earlier seen the price of their coffee and confection clearly printed on the menu.
Bloom was the first to get up so that he might also be the first to motion (to the host) that the amount due was forthcoming.
The theme of the sentence is manners: Bloom rises so he and his companion will not have sat too long over their coffees and cake, and signals discreetly (unobtrusively is used twice) that he will pay the four pence due according to the menu. The sum, and the measure of his generosity, is a pittance.
The sentence is itself an odyssey, for Bloom and Dedalus are going home. They stop (by my count) at twenty-two commonplaces on their way. Other passages might also be considered for the list, such as “when others were not looking.” Commonplaces are the goose down of good manners. They are remarks empty of content, hence never offensive; they conceal hypocrisy in an acceptable way, because, since they have no meaning in themselves anymore they cannot be deceptive. That is, we know what they mean (“how are you?”), but they do not mean what they say (I really don’t want to know how you are). Yet they soothe and are expected. We have long forgotten that “to foot the bill,” for instance, is to pay the sum at the bottom of it, though it could mean to kick a bird in the face. Bloom, we should hope, is already well above his feet when he rises to them. The principal advantage of the commonplace is that it is supremely self-effacing. It so lacks originality that it has no source. The person who utters a commonplace—to cut a long explanation short—has shifted into neutral.
From William H. Gass’s essay “Narrative Sentences.” Collected in Life Sentences.
Enjoy Thanksgiving with this menu of literary recipes:
Christmas Bonus: George Orwell’s Recipes for Plum Cake and Christmas Pudding
THERE was no hope for him this time: it was the third stroke. Night after night I had passed the house (it was vacation time) and studied the lighted square of window: and night after night I had found it lighted in the same way, faintly and evenly. If he was dead, I thought, I would see the reflection of candles on the darkened blind for I knew that two candles must be set at the head of a corpse. He had often said to me: “I am not long for this world,” and I had thought his words idle. Now I knew they were true. Every night as I gazed up at the window I said softly to myself the word paralysis. It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work.
Old Cotter was sitting at the fire, smoking, when I came downstairs to supper. While my aunt was ladling out my stirabout he said, as if returning to some former remark of his:
“No, I wouldn’t say he was exactly… but there was something queer… there was something uncanny about him. I’ll tell you my opinion….”
He began to puff at his pipe, no doubt arranging his opinion in his mind. Tiresome old fool! When we knew him first he used to be rather interesting, talking of faints and worms; but I soon grew tired of him and his endless stories about the distillery.
“I have my own theory about it,” he said. “I think it was one of those… peculiar cases…. But it’s hard to say….” Continue reading ““The Sisters” — James Joyce”
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 O’Brien) having to be helped around by pals Anthony Cronin and Patrick Kavanagh. We’re also treated to a scene of Kavanagh taking a piss with Joyce’s cousin Tom Joyce, a dentist who joined the merry band. (The scene will undoubtedly recall to you that marvelous moment in Ulysses when “first Stephen, then Bloom, in penumbra urinated“). The troupe didn’t quite finish their mission, getting sidetracked by booze and quarrels. Read the full account at Malette’s site.
“After the Race” by James Joyce
THE cars came scudding in towards Dublin, running evenly like pellets in the groove of the Naas Road. At the crest of the hill at Inchicore sightseers had gathered in clumps to watch the cars careering homeward and through this channel of poverty and inaction the Continent sped its wealth and industry. Now and again the clumps of people raised the cheer of the gratefully oppressed. Their sympathy, however, was for the blue cars—the cars of their friends, the French.
The French, moreover, were virtual victors. Their team had finished solidly; they had been placed second and third and the driver of the winning German car was reported a Belgian. Each blue car, therefore, received a double measure of welcome as it topped the crest of the hill and each cheer of welcome was acknowledged with smiles and nods by those in the car. In one of these trimly built cars was a party of four young men whose spirits seemed to be at present well above the level of successful Gallicism: in fact, these four young men were almost hilarious. They were Charles Segouin, the owner of the car; Andre Riviere, a young electrician of Canadian birth; a huge Hungarian named Villona and a neatly groomed young man named Doyle. Segouin was in good humour because he had unexpectedly received some orders in advance (he was about to start a motor establishment in Paris) and Riviere was in good humour because he was to be appointed manager of the establishment; these two young men (who were cousins) were also in good humour because of the success of the French cars. Villona was in good humour because he had had a very satisfactory luncheon; and besides he was an optimist by nature. The fourth member of the party, however, was too excited to be genuinely happy. Continue reading ““After the Race” — James Joyce”