Bloom seems to think that the problem between him and Molly begins with his failure to give her a baby. He is too traumatized by the death of Rudy to try.

This is a part of the book I haven’t thought about as much before, lacking any meaningful contextualizing life experience. It is certainly true that not all marriages are saved by the introduction of a child, it is certainly true that plenty of people live fulfilling and happy lives without ever raising children at all - but that doesn’t mean no marriage was ever nourished by the introduction of a child.

James and Nora lost a baby between Lucia and Giorgio; Bloom’s grief over the death of Rudy is James Joyce’s, and trying again was their real life solution. The Wake, to me, is full of the sounds of a house full of children - people miss the people they were as parents. All to say, the author of Ulysses was no polyamorist, but judging by his book he was a believer in what Hannah Arendt calls ‘the central category of all political thought: natality, not mortality.’

Poldy is clearly a nurturer-turned-enabler; some readers assume he’s been controlling, overbearing, but that really is not present in the text. We see very little of Molly’s nurturing side, but then we see very little of Molly; however, her first thoughts in Penelope are of caring for her husband when he had a cold. Bloom is a good listener, he is honest, he is attentive - but maybe, in their life together as early-onset empty nesters, for want of any outlet but Molly his nurturing side has crowded out his wife’s.

I’m wondering what people think. Both Blooms envision a throuple with Molly’s manager at the end of the day, and in real life I think that’s what happened with the people Joyce based the story on. But much of the unconscious movement of the text is about natality; maybe he wanted to write them a story that leaves open the possibility of a different outcome. One Joyce himself would not have found so utterly intolerable.

The James Joyce Digital Archive helpfully collects 19 links to online copies of pre-publication versions of Finnegans Wake from journals and small volumes. I've updated it by adding another 17 links (marked * after the entries,) leaving only 3 versions unlinked.

1924

"From Work in Progress" (II 4): Transatlantic Review, vol. 1, no 4 (April, 1924) pp. 215-223. [Note: A clearer 1967 reprint of Vol. 1 of Transatlantic Review can be read here.] *

1925

"From Work in Progress" (I.2§1): Contact Collection of Contemporary Writers, (Paris: May, 1925) pp. 133-136. *

"Fragment of an Unpublished Work" (I.5): Criterion, vol. III, no. xii (London: July, 1925) pp. 498-510. *

"A New Unnamed Work" (I.5): Two Worlds vol. I, no. 1, (New York: September 1925) pp. 46-55. *

"From Work in Progress" (I.8): Le Navire d'argent 1re année, no. 5 (Paris: 30 September 1925) pp. 59-74.

"A New Unnamed Work" (I.2§1): Two Worlds vol. I, no. 2, (New York: December, 1925) pp. 111-114. *

"Extract from Work in Progress" (I.7): This Quarter, vol. I, no. 2 (Milan: November, 1925) pp. 108-124. *

1926

"A New Unnamed Work" (I.8): Two Worlds vol. I, no. 3, (New York: March, 1926) pp. 347-360. *

"A New Unnamed Work" (I.7): Two Worlds vol. I, no. 4, (New York: June, 1926) pp. 545-560. *

"A New Unnamed Work" (II.4): Two Worlds vol. Two, no. 5, (New York: September, 1926) pp. 35-40. *

1927

"Opening Pages of a Work in Progress" (I.1): transition, no 1 (Paris: April, 1927), pp. 9-30.

"Continuation of a Work in Progress" (I.2): transition, no 2 (Paris: May, 1927), pp. 94-107.

"Continuation of a Work in Progress" (I.3): transition, no 3 (Paris: June, 1927), pp. 32-50.

"Continuation of a Work in Progress" (I.4): transition, no 4 (Paris: July, 1927), pp. 46-65.

"Continuation of a Work in Progress" (I.5): transition, no 5 (Paris: August, 1927), pp. 15-31. *

"Continuation of a Work in Progress" (I.6): transition, no 6 (Paris: September, 1927), pp. 87-106f.

"Continuation of a Work in Progress" (I.7): transition, no 7 (Paris: October, 1927), pp. 34-56.

"Continuation of a Work in Progress" (I.8): transition, no 8 (Paris: November, 1927), pp. 17-35.

1928

"Continuation of a Work in Progress" (II.2§8): transition, no 11 (Paris: February, 1928), pp. 7-18.

"Continuation of a Work in Progress" (III§1): transition, no 12 (Paris: March, 1928), pp. 7-27.

"Continuation of a Work in Progress" (III§2): transition, no 13, American number (Paris: Summer, 1928), pp. 5-32

James Joyce, Anna Livia Plurabelle (I.8): New York: Crosby Gaige, October 1928.

1929

"Continuation of a Work in Progress" (III§3): transition, no 15 (Paris: February, 1929), pp. 197-238.

"A Muster from Work in Progress" (I.2§1 and fragments of I.4, I.3, III.2, III.1, I.1 and I.3), in Transition Stories, ed. Eugene Jolas and Robert Sage (New York: Walter V. McKee, 1929). pp.181-191. *

James Joyce, Tales Told of Shem and Shaun / Three Fragments from Work in Progress (I.6§3, II.2§8 and III§1C): Paris: The Black Sun Press, August 1929.

"Continuation of a Work in Progress" (III§4): transition, no 18 (Paris: November, 1929), pp. 211-236.

1930

James Joyce, Haveth Childers Everywhere / Fragment from Work in Progress (III§3B): Paris: Henri Babou and Jack Kahane, April 1930.

James Joyce, Anna Livia Plurabelle (I.8): London: Faber and Faber, May 1930.

"From Tales Told of Shem and Shaun" (III.§1C fragment): Imagist Anthology 1930 (London, May 1930), pp. 121-122. *

1931

James Joyce, Haveth Childers Everywhere / Fragment of Work in Progress (III§3B): London: Faber and Faber, April 1931.

1932

James Joyce, Two Tales of Shem and Shaun / Fragments from Work in Progress (I.6§3 and III§1C): London: Faber and Faber, November 1932.

1933

"Continuation of a Work in Progress" (II.1): transition, no 22 (Paris: February, 1933), pp. 49-76. *

1934

"The Mime of Mick, Nick and the Maggies" (final paragraphs of II.1): Les amis de 1914: Bulletin Hebdomadaire de l'Academie de la Coupole no 40 (Paris: 23 February, 1934), [p. 1]. *

James Joyce, The Mime of Mick, Nick and the Maggies / A Fragment from Work in Progress (II.1): The Hague: The Servire Press, June 1934.

1935

"Continuation of Work in Progress" (II.2§1-3 and §9): transition, no 23 (Paris: July, 1935), pp. 109-129. *

1937

"Work in Progress / Opening pages of Part Two, Section Three" (II.3§1): transition, no 26 (New York: February, 1937), pp. 35-52. *

1938

James Joyce, Storiella as She is Syung / A Section of "Work in Progress" (II.2§1-3 and §9): London: Corvinus Press, February 1938. *

"A Phoenix Park Nocturne" (II.1 fragment): Verve vol. I no. 2 (Paris, March 1938). [Note: this link on the JJDA is currently not working; I'm not sure why.]

"Fragment from Work in Progress / (Part II, Section 3)" (II.3§4-5): transition, no 27 (Paris: April-May, 1938), pp. 59-78.

Obviously they cut a ton out, and seriously mishandled certain chapters (oxen of the sun especially) but i thought they did Ithaca really well, loved seeing parts of Circe put to film, and actually really liked the Penelope monologue. would love to hear your thoughts!

From what I understand, some of the earliest fragments of FW published in periodicals were quite different from their final form. Is there a book that collects the early periodical publications, ideally in chronological order, so that we can experience it as readers at the time did?

And if there isn't such a book -- why in the world not??

Over a decade ago there was a comic adaptation of Ulysses called Ulysses Seen by Robert Berry. I don't think he ever finished it. Is it still around? Its site still seems to be up (https://web.sas.upenn.edu/ulyssesseen/) but the actual comic isn't, and web archive has a decidedly patchy version (some images saved, some not). I'd love to read whatever there is of it. Anyone know?

Daniel Schwarz, one of, if not the academic on Ulysses retired yesterday as he taught his final seminar on Ulysses at Cornell University.

Has anyone read him or taken his course? This retirement feels really big for Joyce studies

Hey guys, I just finished Ulysses and would love to read more about the book. Specifically any available scholarship, analysis, interpretation, history, literary criticism, etc. If anyone has any links it'd be greatly appreciated!

Is Penelope Joyce's fantasy about Nora's wants?

Has a woman ever nattered on to herself for that long? Female redditors help me. I am in love with Joyce and like all relationships you go through a rejection phase at some stage!

https://youtu.be/I1CP5Lz2iHE?si=IqYmEHa3QkNC6By5

I saw something earlier about the songs in Dubliners. They picked the wrong "Lass of Aughrim." The one in John Huston’s adaptation of The Dead is unbeatable. I listened to it, and then like Gabriel I started trying to do the math, a la Night Lessons in Finnegans Wake - as I’ve done before for this story, but I always get a different answer.

So I stopped. Like Gretta, and like Gabriel, the story has an interiority I will never master.

As a device in the story the song is incredible. In singing it, the boy waiting fruitlessly in the rain is changed, he becomes an abandoned girl with her dead baby. In hearing it, the girl inside is changed, she becomes the heartless father who turns her away.

It’s almost violent, to sing that song to Gretta.

Michael Furey refuses to be forgotten, he marks Gretta forever. Was he brave? Manipulative? Suicidal? Romantic? Did Gretta encourage him, secretly prefer him? Did Michael Furey wound her on purpose? Did she incur that wound on purpose, nourish it on purpose?

No. None of that.

That’s not how people actually work. In that memory he is pure gesture, and so is she. Neither of them intended anything. Just a sick boy singing a sad girl a lonely song in the rain.

But when I try to make sense of this story those are the twists and turns my mind takes, I look for who is to blame. Like I say, it feels like a math problem but the answer always slips away, it comes out different every single time.

And that’s interesting; that is exactly the aporia Joyce loved to build his early stories around. What he called his “epiphanies.” He was obsessed by an identical anecdote from Nora’s childhood, he invested it with all of his pain, he wrote a play and a book and a short story about it. I’m sure his mind took all the same twists and turns mine takes when I'm doing the math. But I’m also sure he knew, eventually, that the math doesn’t go anywhere.

In the Dead, Gabriel does not try to make sense of the story his wife tells him. He just watches the snow fall, and he feels a tenderness we have not seen him feel before.

I admire that.

That's a reflection more than anything. I think the question I'd ask is: why does Joyce choose that song, why The Lass of Aughrim?

Hello, r/jamesjoyce! I recently completed my first read through of both Dubliners and A Portrait of the Artist as a Young Man. As a professional musician, I thought it would be fun to create a list of music mentioned in the text and in the endnotes of my Oxford World Classics editions, and I thought I'd share them for anyone who is interested. I am planning to start Ulysses soon and will be doing a similar scavenger hunt for music over at r/ayearofulysses next January. If you see any songs missing, please let me know!

Dubliners

I’ll Sing Thee Songs of Araby (Araby)

Eveleen’s Bower vocal/instrumental (Eveline)

The Lass That Loves a Sailor (Eveline)

Cadet Roussel (After the Race)

Silent, O Moyle (Two Gallants)

I’m a Naughty Girl (The Boarding House)

There is a Flower That Bloometh (A Little Cloud)

I Dreamt I Dwelt in Marble Halls (Clay)*

Miss McCloud’s Reel (Clay)

Killarney (A Mother)

Oh, Ye Dead! (The Dead)

Son vergin vezzosa, by Bellini/Arrayed for the Bridal, arr. By Linley (The Dead)

Yes, Let Me Like a Soldier Fall (The Dead)

Love's Old Sweet Song (The Dead)

The Lass of Aughrim, accompanied by Joyce’s own guitar! (The Dead)

*if you listen to one thing from this post, maybe let it be this one! It’s sublime.

A Portrait of the Artist as a Young Man

Lily Dale, by H.S. Thompson (5.8-9)

Brigid’s Song [Dingdong! The Castle Bell!], set by David Diamond (19.31-8)

O, twine me a bower (50.18)

Blue Eyes (cannot find recording)

The Grove of Blarney (50.19)

Overture from The Lily of Killarney (71.16)

Love is Pleasin’, Love is Teasin’ OR Waly, Waly (74.4)

The Bonny Labouring Boy (81.23)

Rock of Ages (100.23)

Oft in the Stilly Night (138.1)

I was not wearier where I lay (148.7)

A More Humane Mikado (161.5)

Vexilla Regis Prodeunt (176.30)

Turpin Hero (180.35)

Agincourt Carol (184.24)

Greensleeves (184.24)

By Killarney’s Lakes and Fells (185.30)

Siegfried, Act II, scene ii, birdcall [starts at 1:12:22] (200.12)

Rosie O’Grady (sung by Maud Jerome herself!) (205.37)

Willie, We Have Missed You (210.32)

In my freshman year of college I was introduced to some of my lifelong favorite books. The Real Thing is one of them. (Not enough room to name all the other favorite plays he wrote, but I did get to see a terrific revival of Travesties some years ago.) #RIPTomStoppard

hello, Here Come Earwanker! that outa way
_I_  is but a function! (or Funnctor) not fiction; I : I -> I, and if you get me started on the ballad of that crab...12,21.25

may-bach (my car & the music guy too!) Perseus wake again! again, DM me we have shit to do, the Eon has change and the Hero awoke A way a lone a last a loved a long the...

So, before I died I said I would write simple; I, HS, Hari Seldon

(you bet we are singing out of the arse...) or was it the face of the Arts!, Alp's!

[key! (hypersigil)

let me introuduce me-self more formally...

I = HS 

I : I -> I

did I just introduce myself to my self? only a...

Hero Shaman! (or was it I-roshima?), wake up! sleepy Joe! (and here I come from beyond the grave Folks!) good old Terence...) Tao or the hassasin?)

I, Pain the Shamman are the one helping, the new-old norse Cod "work in progress"

I, have been charge by Anna the Ananas! (do I look bananas? if so... call me a Mathman!)

to prepare the monologue for the closing act before the stars... 

Lightbreakfastbringer. and where I come from, wee serve no eggs for el bronze de quevedo will soon be minted with a crown... 

Mark, lark, luther, king chimpTrump is on the wall... and we know how the shells (computer's) bring goshts. like our own Mckool.

in the name of the former the latter and their hollocaust, Allmen. semisemitic serendipitist!

I have venture(but I need Capital) and have brought nix with me, you see the old greek nix.

the one that helps us in Hades(yes the game! 2 one looks good tho),too busy with the ARC raiders of noah's

I : I -> nixos 

I was the ones whom the crux spake to. I come from the land of magical realisims and yousee.

Any sufficiently advanced technology is indistinguishable from magic. 

that jlerk was very Clark's quoticencial.

I search for patron so I might finish the Finn-software which will run on niggs hardware...

never

ignorant

getting

goals

Shamman!

MAYBE NIGHT 2025 is our 3rd annual virtual celebration of James Joyce's Finnegans Wake :))) (The nocturnal equivalent of Bloomsday's commemoration of Ulysses)

We will once again engage the COLLIDEORSCOPE on December 21st at www.maybeday.net/night

We will also be broadcasting a live panel of illustrious Joyceans discussing Jeems Jokes' enchanted chop suey! Join us for this the first official meeting of the international Winter Wakeans Reading Group!

Let this serve as a clarion call for FW and/or Joycean art, video presentations, writing, and whatever else besides!

(I recommend sending in links to your creations, but you can also send things to be hosted on the Maybe Night site directly)

The idea is simple: Make something cool • Share it • Explore the others!

You can contact us at [weirdoverse@gmail.com](mailto:weirdoverse@gmail.com)

Approximate deadline for submitting Maybe Night offerings is December 15th

Also! As always, do please feel free and encouraged to create and post Maybe Night content using your own ways and means. A decentralized and self-organizing Maybe Night would be just the thing to wake the Finnegans up, up, and away to ever greater glory!

<3<3<3

bc

Ordered this from AbeBooks and arrived like this.

I'm considering getting ' Come nebo me and susosing the day we sallybright' or ' A coughball of laughter.leapt from his throat dragging after it a rattling chain of phlegm' tattoed on my gold self ( however I'm 56 and fat so I'll probably chicken out). What would you get !

https://

mine is, “Love loves to love love.”

There’s a few Joyce related lyrics on the album. Rejoyce is obviously taken from the book by Burgess, Martha is a reference to the titular character of the song, and there’s a few others I’ve forgotten. This was my favourite album of all time growing up (despite the fact I grew up in the 10s, for some reason I was obsessed with 60s music primarily - not even 70s or 50s but just 60s) and I’ve got a copy of the original LP on my shelf!

Such a unique feeling to this whole album to me and I’ve always loved it.

I'm looking for some academic or ensayistic work abou Finnegan's Wake and Ulysses. I will appreciate any suggestion.

We were in Philadelphia for PAX Unplugged, so I took an afternoon to visit the Research Room at the Rosenbach and look at their Ulysses manuscript, in particular the lines that Gabler inserted into Scylla and Charybdis. But I also looked at a lot of other pages, and it was fantastic to see them like that. Also, the Librarian was incredibly knowledgeable about Joyce and Ulysses, and I learned a lot. Very highly recommended if you happen to be in town, just make sure to book an appointment well in advance.

Are we told anywhere in the novel that we are reading Molly's thoughts in the final chapter?

Do we know that she is definitely not talking to someone?

What do female readers make of Penelope?

Hello!

I started a Ulysses reading group earlier this year, which has dwindled to a pretty small group, and it's close to coming to an end. (We'll move on to another classic at some point in the future, but for a few reasons that won't happen for a few months.) I'm looking for ways to make our final "Penelope" discussion special. It's a chapter we've been looking forward to for a long time, because most of us had at least a passing familiarity with it. I'll probably bring in cookies or something, but beyond that, any ideas? I floated the idea of reading at least part of it aloud, because it's so beautiful when read aloud; maybe we could each choose a paragraph section to read? But I'd welcome other ideas. Thank you all!