1456 Pages
    by Routledge

    James Augustine Aloysius Joyce (1882–1941) is a towering figure in the development of English-language modernist prose fiction. And his influence extends well beyond the anglophone literary world; like his alter ego, Stephen Dedalus, Joyce flew by the nets of nationality, language, and religion, and spent most of his life in continental Europe.

    The significance of Joyce’s oeuvre—particularly the later and more radical prose works—far outweighs the modesty of its bulk: only two books of verse, a play, one collection of short stories, and three novels (using that term in its most elastic sense) were published in his lifetime. But the combination of a modest output with an increasingly audacious experimentalism has generated interpretative and critical commentary on a vast and bewildering scale. Joyce attracted serious attention (not always favourable) from virtually every significant writer of the age: elder statesmen like Yeats recognized his importance, as did members of his own generation, such as Pound, Eliot, and Lawrence. The major American critics of the era, like Edmund Wilson and Lionel Trilling, and, in France, Eugene Jolas and Jacques Mercanton, also responded with enthusiasm to his work, as did Cyril Connolly and F. R. Leavis in Britain. Joyce’s work has also lent itself to approaches informed by contemporary theory—whether new critical, formalist, structuralist, deconstructionist, feminist, or materialist—such that the development of Joycean criticism maps the spread and transmutations of ‘theory’ and illustrates its applications.

    So, while the prospective reader of Ulysses or Finnegans Wake is likely to feel a compelling need for some preparation before consuming the text itself, the daunting quantity (and variable quality) of Joyce criticism makes it difficult to discriminate the useful from the tendentious, superficial, and otiose. That is why this new Routledge title is so urgently needed. In four volumes, the collection meets the need for an authoritative reference work to allow researchers and students to make sense of the vast Joycean literature and the continuing explosion in research output. Users will now be able easily and rapidly to locate the best and most influential critical scholarship, work that is otherwise often inaccessible or scattered throughout a variety of specialist journals and books. With material gathered into one easy-to-use set, researchers and students can now spend more of their time with the key journal articles, book chapters, and other pieces, rather than on time-consuming (and sometimes fruitless) archival searches.

    Fully indexed and with a comprehensive introduction newly written by the editor, which places the collected material in its historical and intellectual context, James Joyce is an essential reference work and is destined to be valued as a vital research resource. 


    Volume I

    Part 1: Encounters and Impressions

    1. Stanislaus Joyce, ‘The Soil’, My Brother’s Keeper (Faber, 1958), p. 27.

    2. C. P. Curran, James Joyce Remembered (OUP, 1968), pp. 25–7, 28–31, 33–4, 35–6.

    3. Oliver St John Gogarty, Mourning Became Mrs Spendlove (Creative Age Press, 1948), pp. 41–2, 43–4, 46, 48–9, 50–1.

    4. Mary and Padraic Colum, Our Friend James Joyce (Doubleday, 1958), pp. 10, 11, 18–21, 35–7.

    5. The Dublin Diary of Stanislaus Joyce, ed. George H. Healey (Faber, 1962), pp. 13–15, 29–30, 46–52, 103.

    6. Alessandro Bruni, ‘Recollections of Joyce’, James Joyce Quarterly, 1977, XIV, 2, 160–63.

    7. Frank Budgen, James Joyce and the Making of Ulysses (OUP, 1972), pp. 9–15.

    8. Sylvia Beach, Shakespeare and Company (Faber, 1960), pp. 45–52.

    9. Arthur Power Clive Hart (ed.), Conversations with James Joyce (Barnes and Noble, 1974), pp. 27, 28–9, 48–50.

    10. Frank Budgen, ‘Further Recollections of James Joyce’, Partisan Review, 1956, XXIII, 349–54, 363–6.

    Part 2: Obituaries and Initial Assessments of His Significance

    11. Neil Tomkinson, ‘James Joyce’, Adelphi, 1941, XVII, 175–7.

    12. Eugene Jolas, ‘My Friend James Joyce’, Partisan Review, 1941, VIII, 2, 82–93.

    13. Ezra Pound, ‘James Joyce: To His Memory’, in Olga Rudge (ed.), If This Be Treason (Tisp Nuova, 1948), pp. 269–71.

    14. A. L. Rowse, ‘James Joyce’, World Review, Mar. 1941, 39–42.

    15. Desmond MacCarthy, ‘James Joyce’, Memories (MacGibbon and Kee, 1953), pp. 113–17.

    16. A. J. Leventhal, ‘James Joyce’, Dublin Magazine, 1941, XVI, 12–21.

    17. B. J. Brooks, ‘"Shem the Penman": An Appreciation of James Joyce’, Nineteenth Century and After, Jan.–June 1941, CXXIX.

    18. T. S. Eliot, ‘The Approach to James Joyce’, The Listener, 14 Oct. 1943, pp. 446–7.

    19. Stanislaus Joyce, ‘James Joyce: A Memoir’, Hudson Review, 1949, 2, 485, 486–90, 491–3, 495, 496–8.

    20. Stuart Gilbert, ‘The Latin Background of James Joyce’s Art’, Horizon, 1944, X, 57, 178–89.

    21. Herbert Read, ‘James Joyce’, A Coat of Many Colours (Routledge, 1945), pp. 145–9.

    22. Harry Levin, ‘James Joyce’, Atlantic Monthly, Dec. 1946, 125–9.

    23. John Lehmann, ‘Portrait of the Artist as an Escaper’, Penguin New Writing 33 (1948), pp. 138–43.

    Part 3: Joyce and Ireland

    24. Benedict Kiely, ‘Rebels’; ‘Townsmen’; ‘Dreams’; ‘Lovers and Creeds’, Modern Irish Fiction (Golden Eagle Books, 1950), pp. 44–7.

    25. Frank O’Connor, ‘Antithesis–I’, A Short History of Irish Literature (Capricorn Books, 1967), pp. 198–202.

    26. Thomas Kinsella, ‘Irish Literature–Continuity of the Tradition’, Poetry Ireland, 1968, VII, 8, 109–16.

    27. Raymond Porter, ‘The Cracked Lookingglass’, in McGrory and Unterecker (eds.), Yeats, Joyce and Beckett (Associated University Press, 1976), pp. 87–91.

    28. Brian Moore, ‘Old Father, Old Artificer’, Irish Universities Review (Joyce Centenary Number), 1982, XII, 1, 13–16.

    29. John Montague, ‘James Joyce: Work Your Progress’, Irish Universities Review, 1982, XII, 1, 98–103.

    30. Seamus Deane, ‘Joyce and Nationalism’, Celtic Revivals (Faber, 1985), pp. 92–107.

    31. Declan Kiberd, ‘James Joyce and Mythic Realism’, Inventing Ireland (Cape, 1995), pp. 327–55, 677–9.

    32. Vincent J. Cheng, ‘Nation Without Borders: Joyce, Cosmopolitanism and the Inauthentic Irishman’, in Andrew Gibson and Ian Platt (eds.), Joyce, Ireland, Britain (University Press of Florida, 2006), pp. 212–29.

    Part 4: Joyce and the Forms of Fiction

    33. Irene Hendry, ‘Joyce’s Epiphanies’, in Seon Givens (ed.), James Joyce: Two Decades of Criticism (Vanguard Press, 1948), pp. 27–38.

    34. Henry Reed, ‘James Joyce: The Triple Exile’, The Listener, 9 Mar. 1950, 437–9.

    35. Ellsworth Mason, ‘Joyce’s Categories’, Sewanee Review, 1953, 61, 427–32.

    36. Thornton Wilder, ‘Joyce and the Modern Novel’, in Marvin Magalaner (ed.), A James Joyce Miscellany (James Joyce Society, 1957), pp. 11–19.

    37. ‘The Consistency of James Joyce’, in Arnold Kettle and Boris Ford (eds.), The Pelican Guide to English Literature, Vol. 7 (‘The Modern Age’) (Penguin Books, 1961), pp. 301–14.

    38. S. L. Goldberg, ‘Symbolism and Realism: A Digression’, The Classical Temper (Chatto and Windus, 1961), pp. 214–20.

    39. Robert Glynn Kelly, ‘Joyce Hero’, in Thomas Staley (ed.), James Joyce Today (Indiana University Press, 1966), pp. 3–10.

    40. Derek Bickerton, ‘James Joyce and the Development of Interior Monologue’, Essays in Criticism, 1968, XVIII, 32–46.

    41. Weldon Thornton, ‘James Joyce and the Power of the Word’, in H. Harper and C. Edge (eds.), The Classic British Novel (University of Georgia Press, 1972), pp. 183–93.

    42. John Paterson, ‘James Joyce: It’s All Won’, The Novel as Faith (Gambit, 1973), pp. 107–22.

    43. David Lodge, ‘James Joyce’, The Modes of Modern Writing (Edward Arnold, 1977), pp. 125–44.

    Volume II

    Part 5: Contexts, Connections, Comparisons

    44. Vivienne Macleod, ‘The Influence of Ibsen on Joyce’, PMLA, 1945, LX, 879–98.

    45. James J. Sweeney, Hudson Review, 1952, V, 404–8.

    46. Marshall McLuhan, ‘Joyce, Mallarmé and the Press’, Sewanee Review, 1954, LXII, 38–43, 45–5.

    47. Daniel Schenker, ‘Stalking the Invisible Hero’, ELH, 1954, LI, 153–61, 162–74, 176–83.

    48. Haskell M. Block, ‘Theory of Language in Gustave Flaubert and James Joyce’, Revue de Litterature Comparé, 1961, XXXV, 197–206.

    49. Robert Ryf, ‘Joyce’s Visual Imagination’, A New Approach to Joyce (University of California Press, 1964), pp. 171–90.

    50. Herbert N. Schneidau, ‘Pound and Joyce: The Universal in the Particular’, Ezra Pound: The Image and the Real (Louisiana State University Press, 1969), pp. 74–87.

    51. Dominic Manganiello, ‘Perspectives: Socialism and Anarchism’, Joyce’s Politics (Routledge, Kegan Paul, 1980), pp. 67–94.

    52. Richard Brown, ‘Love and Marriage’, James Joyce and Sexuality (Cambridge University Press, 1985), pp. 12–49.

    53. Margot Norris, ‘Patronage and Censorship. the Production of Art in the Social Real’, Joyce’s Web: The Social Unravelling of Modernism (University of Texas Press, 1992), pp. 29–38.

    54. Ronald Bush, ‘Joyce’s Modernisms’, in J.-M. Rabaté (ed.), Palgrave Advances in James Joyce Studies (Basingstoke, 2004), pp. 29–35, 37.

    Part 6: Letters, Non-fiction, Poetry, ‘Exiles’, Giacomo Joyce

    6.1: Letters

    55. Lionel Trilling, ‘The Person of the Artist’, Encounter, 1957, IX, 73–9.

    6.2: Poetry

    56. Robert Scholes, ‘James Joyce: Irish Poet’, James Joyce Quarterly, 1965, II, 255–70.

    57. Francis Warner, ‘The Poetry of James Joyce’, in Benstock and Bashrui (eds.), James Joyce: An International Perspective (Colin Smythe, 1982), pp. 115–27.

    6.3: Exiles

    58. Francis Fergusson, ‘Joyce’s "Exiles"’, The Human Image in Dramatic Literature (Doubleday Anchor, 1957), pp. 72–84.

    59. Hugh Kenner, ‘Joyce’s ‘Exiles’, Hudson Review, 1952, V, 3, 389–403.

    60. R. A. Maher, ‘James Joyce’s Exiles: The Comedy of Discontinuity’, James Joyce Quarterly, 1972, IX, 4, 461–74.

    61. John MacNicholas, ‘Joyce’s Exiles: The Argument for Doubt’, James Joyce Quarterly, 1973, XI, 1, 33–40.

    62. Marian Eide, Ethical Joyce (Cambridge University Press, 2002), pp. 40–8.

    6.4: Giacomo Joyce

    63. Henriette Power, ‘Incorporating Giacomo Joyce’, James Joyce Quarterly, 1991, XXVIII, 3, 623–30.

    64. John McCourt, ‘The Importance of Being Giacomo’, in Thomas Staley (ed.), Joyce Studies Annual 2000 (University of Texas Press), pp. 4–26.

    Volume III

    Part 7: Dubliners

    65. H. E. Bates, ‘The Irish School’, The Modern Short Story: A Critical Survey (Nelson, 1941), pp. 148–57.

    66. Brewster Ghiselin, ‘The Unity of Joyce’s Dubliners’, Accent, 1956, XVI, 75–88.

    67. Anthony Ostroff, ‘The Moral Vision in "Dubliners"’, Western Speech, 1956, 20, 196–209.

    68. Warren Beck, Joyce’s Dubliners: Substance, Vision and Art (Duke University Press, 1969), pp. 20–30.

    69. Paul Delany, ‘Joyce’s Political Development and the Aesthetic of Dubliners’, College English, 1972, 34, 2, 256–68.

    70. G. J. Watson, ‘On Dubliners’, Irish Identity and the Literary Revival (Croom Helm, 1979), pp. 166–79.

    71. Neil Murphy, ‘James Joyce’s Dubliners and Modernist Doubt: The Making of a Tradition’, in Oona Frawley (ed.), A New and Complex Sensation: Essays on James Joyce’s Dubliners Dublin (Liliput Press, 2004), pp. 174–81.

    7.1: Dubliners; Individual Stories

    72. Helene Cixous, ‘Joyce: The (R)use of Writing’, in Attridge and Ferrer (eds.), Post-Structuralist Joyce (Cambridge University Press, 1984).

    73. Allen Tate, ‘Three Commentaries: The Dead’, Sewanee Review, 1950, LVII, 10–15.

    74. C. C. Loomis Jr, ‘Structure and Sympathy in Joyce’s "The Dead"’, PMLA, 1960, LXXV, 149–51.

    75. Vincent P. Pecora, ‘"The Dead" and the Generosity of the Word’, PMLA, 1986, CI, 2, 233–43.

    76. Brian Cosgrove, ‘Male Sexuality and Female Rejection: Persistent Irony in Joyce’s "The Dead"’, Irish University Review, 1996, 37–47.

    77. Margot Norris, ‘Not the Girl She Was at All: Women in "The Dead"’, in D. Schwartz (ed.), Case Studies in Contemporary Criticism (St Martin’s Press, 1994), pp. 190–204.

    78. Kevin Barry, ‘In the Drawing Room: Classic Hollywood Narrative Style’, The Dead (Cork University Press, 2001), pp. 54–66.

    Part 8: Portrait of the Artist as a Young Man and Stephen Hero

    79. Harry Levin, ‘The Artist’, James Joyce: A Critical Introduction (New Directions, 1941), pp. 322–5.

    80. Kenneth Burke, ‘Three Definitions’, Kenyon Review, 1951, XIII, 2, 173–86.

    81. Maurice Beebe, ‘Joyce and Aquinas: The Theory of Aesthetics’, Philological Quarterly, 1957, XXXVI, 4, 20–35.

    82. Eugene M. Waith, ‘The Calling of Stephen Dedalus’, in T. E. Connolly (ed.), Joyce’s ‘Portrait’: Criticisms and Critiques (Century Crofts, 1962), pp. 114–23.

    83. Robert Scholes, ‘Joyce and the Epiphany: The Key to the Labyrinth?’, Sewanee Review, 1964, 72, 65–74.

    84. Arnold Goldman, ‘A Portrait of the Artist as a Young Man: Disengagement’, The Joyce Paradox: Form and Freedom in His Fiction (Routledge, 1966), pp. 22–50.

    85. Maurice Beja, ‘James Joyce: The Bread of Everyday Life’, Epiphany in the Modern Novel (University of Washington Press, 1971), pp. 71–81.

    86. Breon Mitchell, ‘A Portrait and the Bildungsroman Tradition’, in Staley and Benstock (eds.), Approaches to Joyce’s Portrait: Ten Essays (Pittsburgh University Press, 1976), pp. 61–75.

    87. James Sosnoski, ‘Reading Acts and Reading Warrants’, James Joyce Quarterly, 1978–9, 16, 43–63.

    88. Charles Rossman, ‘The Reader’s Role in A Portrait of the Artist as a Young Man’, in Bushnui and Benstock (eds.), James Joyce: An International Perspective (Colin Smythe, 1982), pp. 19–37.

    89. Margot Norris, ‘Portraits of the Artist as a Young Lover’, in Bonnie Kime Scott (ed.), New Alliances in Joyce Studies (University of Delaware Press, 1988), pp. 144–52.

    90. ‘Joyce’s Epiphanic Mode: Material Language and the Representation of Sexuality in Stephen Hero and Portrait’, Twentieth Century Literature, 2000, 20–33.

    8.1: From Stephen Hero to A Portrait

    91. Joseph Prescott, ‘James Joyce’s "Stephen Hero"’, Journal of English and Germanic Philology, 1954, LIII, 214–23.

    92. Thomas E. Connolly, ‘Stephen Hero Revisited’, James Joyce Review, 1959, 3, 1–2, 40–6.

    Volume IV

    Part 9: Ulysses

    93. R. P. Blackmur, ‘The Jew in Search of a Son: Joyce’s Ulysses’, Eleven Essays in the European Novel (Harcourt Brace, 1964), pp. 27–42.

    94. Douglas Knight, ‘The Reading of Ulysses’, ELH, 1952, 19, 64–75.

    95. William Schutte, ‘The Artist’s Role: The God of Creation’, Joyce and Shakespeare (Yale University Press, 1957), pp. 81–94.

    96. Leon Edel, ‘The Mind’s Eye View’, The Psychological Novel 1900–1950 (Rupert Hart-Davis, 1961), pp. 75–93.

    97. Robert M. Adams, ‘Surface or Symbol?’, Surface and Symbol: The Consistency of James Joyce’s Ulysses (Oxford University Press, 1967), pp. 83–104.

    98. Joseph Frank, ‘Spatial Form in Modern Literature’, The Widening Gyre (Indiana University Press, 1968), pp. 3–9, 14–19.

    99. Alan Dundes, ‘The Study of Folklore in Literature and Culture’, Journal of American Folklore, 1965, 78, 308, 136–8.

    100. Philip F. Herring, ‘The Bedsteadfastness of Molly Bloom’, Modern Fiction Studies, 1969, 15, 1, 49–61.

    101. Raymond Williams, ‘The Figure in the City’, The Country and the City (Chatto, 1973), pp. 239–47.

    102. A. Walton Litz, ‘The Genre of "Ulysses"’, in John Halperin (ed.), The Theory of the Novel (Oxford University Press, 1974), pp. 109–20.

    103. Wolfgang Iser, ‘Patterns of Communication in Joyce’s Ulysses’, The Implied Reader (Johns Hopkins University Press, 1974), pp. 196–208.

    104. Marilyn French, ‘The Void, Incertitude’, The Book as World (Sphere Books, 1982), pp. 35–53.

    105. Michael Groden, ‘Ulysses. The Three Stages’, Ulysses in Progress (Princeton University Press, 1977), pp. 13–37.

    106. Suzette Henke, ‘Gerty MacDowell: Joyce’s Sentimental Heroine’, in Henke and Unkeless (eds.), Women in Joyce (Harvester, 1982), pp. 132–46.

    107. Declan Kiberd, ‘The Vulgarity of Heroics: Joyce’s Ulysses’, in Bashrui and Benstock (eds.), James Joyce: An International Perspective (Smythe, 1982), pp. 157–68.

    108. Augustine Martin, ‘Novelist and City. The Technical Challenge’, in Maurice Harmon (ed.), The Irish Writer and the City (Colin Smythe, 1984), pp. 37–48.

    109. Fritz Senn, ‘The Rhythm of Ulysses’, in John P. Riquelme (ed.), Joyce’s Dislocutions (Johns Hopkins University Press, 1984), pp. 188–97.

    110. Seamus Deane, ‘Joyce and Stephen: The Provincial Intellectual’, Celtic Revivals (Faber, 1985), pp. 75–91.

    111. Andrew Gibson, ‘"History, All That": Revival Historiography and Literary Strategy in the "Cyclops" Episode in Ulysses’, in Angus Easson (ed.), Essays and Studies: History and the Novel (The English Association, 1991), pp. 53–67.

    112. Derek Attridge, ‘The Postmodernity of Joyce: Chance, Coincidence and the Reader’, Joyce Effects: On Language, Theory and History (Cambridge University Press, 2000), pp. 117–25.

    113. Maud Ellmann, ‘"Penelope Without the Body’, in Richard Brown (ed.), European Joyce Studies 14 (Rodopi, 2006), pp. 97–108.

    Part 10: Finnegans Wake

    114. Joseph Campbell and Henry Robinson, ‘Introduction to a Strange Subject’, A Skeleton Key to Finnegans Wake (Faber, 1947), pp. 13–21.

    115. John Peter, ‘Joyce and the Novel’, Kenyon Review, 1956, XVIII, 619–32.

    116. James S. Atherton, The Books at the Wake (Faber, 1960), pp. 11–18.

    117. Clive Hart, ‘Some Aspects of Finnegans Wake’, Structure and Motif in Finnegans Wake (Faber, 1962), pp. 23–43.

    118. ‘Vico and Joyce’, in A. Walton Litz, Hayden White, and Giorgio Tagliacozzo (eds.), Giambattista Vico: An International Symposium (Johns Hopkins University Press, 1969), pp. 245–55.

    119. Bernard Benstock, ‘Every Telling Has a Taling: A Reading of the Narrative of Finnegans Wake’, Modern Fiction Studies, 1969, XV, 1, 3–25.

    120. Strother B. Purdy, ‘Mind Your Genderous: Toward a Wake Grammar’, in Fritz Senn (ed.), New Light on James Joyce (Indiana University Press, 1972), pp. 46–65, 74–8.

    121. Margot Norris, ‘The Function of Mythic Repetition in Finnegans Wake’, James Joyce Quarterly, 1974, 11, 4, 343–54.

    122. Pieter Bekker, ‘Reading "Finnegans Wake"’, in W. McCormack and A. Stead (eds.), James Joyce and Modern Literature (Routledge, Kegan Paul, 1982), pp. 185–201.

    123. Jacques Derrida, ‘Two Words for Joyce’, in Derek Attridge and Dan Ferrer (eds.), Post-Structuralist Joyce (Cambridge University Press, 1984), pp. 145–59.

    124. John Gordon, ‘Mimesis’, ‘Finnegans Wake’: A Plot Summary (Gill and Macmillan, 1986).

    125. Harry Burrell, ‘Background’, Narrative Design in Finnegans Wake: The "Wake" Lock Picked (University Press of Florida, 1996), pp. 7–11.

    126. Margot Norris, ‘Possible Worlds Theory and the Fantasy Universe of Finnegans Wake’, James Joyce Quarterly, 2007, 44, 3, 455–74.


    Colin Milton recently retired from the University of Aberdeen (he retains honorary status there as Associate Director of the University’s ethnologically based Elphinstone Institute). The author of Lawrence and Nietzsche: A Study in Influence (AUP, 1987), he has many years of experience of lecturing and conducting seminars on Joyce in the context of European modernism, Irish writing in the twentieth century, and of recent developments in criticism and literary theory.