Ulysses (novel)

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Ulysses

1922 first edition cover
Author	James Joyce
Language	English
Genre(s)	Novel
Publisher	Sylvia Beach
Publication date	1922
Media type	Print (Hardback & Paperback)
Pages	644-1,000, depending on edition
ISBN	ISBN 0-679-72276-9
Preceded by	A Portrait of the Artist as a Young Man (1916)
Followed by	Finnegans Wake (1939)

Ulysses is a novel by James Joyce, first serialized in parts in the American journal The Little Review from March 1918 to December 1920, and then published in its entirety by Sylvia Beach on February 2, 1922, in Paris. It is considered one of the most important works of Modernist literature.^[1]

Ulysses chronicles the passage through Dublin by its main character, Leopold Bloom, during an ordinary day, June 16, 1904. The title alludes to the hero of Homer's Odyssey (Latinised into Ulysses), and there are many parallels, both implicit and explicit, between the two works (e.g., the correspondences between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus). June 16 is now celebrated by Joyce's fans worldwide as Bloomsday.

Ulysses totals 250,000 words from a vocabulary of 30,000 words, with most editions containing between 644 and 1000 pages.^{[citation needed]} Divided into 18 'episodes', as they are referred to in most scholarly circles, the book has been the subject of much controversy and scrutiny since its publication, ranging from early obscenity trials to protracted textual 'Joyce Wars'. Ulysses's groundbreaking stream-of-consciousness technique, careful structuring, and highly experimental prose—full of puns, parodies, and allusions—as well as its rich characterizations and broad humour, have made the book perhaps the most highly regarded novel in the Modernist pantheon.

In 1999, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.^[2]

Contents 1 Background 2 Structure and themes 2.1 Plot summary 2.2 Religious themes 3 Publication history 4 Film, TV or theatrical adaptations 5 Allusions/references to other works 6 Allusions/references in other works 7 References 8 Further reading 8.1 Editions in print 8.1.1 Facsimile texts of the manuscript 8.1.2 Facsimile texts of the 1922 first edition 8.1.3 Based on the 1960 Bodley Head/1961 Random House editions 8.1.4 Based on the 1984 Gabler edition 8.2 Literary criticism and commentary 9 External links

[edit] Background

Joyce's first acquaintance with Odysseus was via Charles Lamb's Adventures of Ulysses - an adaptation of the Odyssey for children, which seems to have established the Roman name in Joyce‘s mind. At school he wrote an essay on Ulysses as his 'favourite hero' (Gorman, p. 45). Joyce told Frank Budgen that he considered Ulysses to be the only all-round character in literature.^[3] He thought about calling Dubliners Ulysses in Dublin (Borach, p. 325), but the idea grew from a story in Dubliners in 1906, to a 'short book' in 1907 (Ellmann, p. 265), to the vast novel which he began writing in 1914. Joyce's original handwritten manuscript of Ulysses is in the collection of the Rosenbach Museum & Library, Philadelphia, PA, USA.

[edit] Structure and themes

See also: Linati schema for Ulysses and Gilbert schema for Ulysses

Ulysses is divided into eighteen chapters or 'episodes.' At first glance much of the book may appear unstructured and chaotic (Joyce once said that he'd "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant" in order to attain "immortality"^[4]) , but the two schemata which Stuart Gilbert and Herbert Gorman released after publication to defend Joyce from the obscenity accusations make the links to the Odyssey, and much internal structure, linkable.

Every episode of Ulysses has an assigned theme, technique and, tellingly, correspondences between its characters and those of the Odyssey. The episode titles and the correspondences were not included in the original text but are known from the Linati and Gilbert schema. Joyce referred to the episodes by their Homeric titles in his letters. He took the titles from Victor Bérard’s two-volume Les Phéniciens et l’Odyssée which he consulted in 1918 in the Zentralbibliothek of Zürich. Bérard’s book was the source of Joyce’s idiosyncratic rendering of some of the Homeric titles: 'Nausikaa', the 'Telemachia'. It is believed that Joyce wrote some of the novel in The Mullingar House In Chapelizod.

[edit] Plot summary

Part I: The Telemachiad
Episode 1, Telemachus
It is 8 a.m. on the morning of 16 June 1904 (the day Joyce first formally went out with Nora Barnacle).^[5] The book opens inside a Martello tower at Sandycove on Dublin Bay, where three young men, Buck Mulligan (a callous, verbally aggressive and boisterous medical student), Stephen Dedalus (a young writer first encountered in A Portrait of the Artist as a Young Man) and Haines (a nondescript, antisemitic Englishman from Oxford) have just awakened and are preparing for the day. Stephen, brooding about the recent death of his mother, complains about Haines' hysterical nightmares. Mulligan shaves and prepares breakfast and all three then eat. Haines decides to go to the library and Mulligan suggests swimming beforehand; all three then leave the tower. Walking for a time, Stephen chats with Haines and smokes before leaving; deciding that he cannot return to the tower that evening for Mulligan has usurped his place.

Episode 2, Nestor
Stephen is at school, attempting to teach bored schoolboys history and English, though they are unappreciative of his efforts. Before seeing the boys out of the classroom, Stephen attempts to tell a riddle, which falls flat. One student stays behind so that Stephen can show him how to do a set of arithmetic exercises. Afterwards, Stephen visits the anti-semitic school headmaster, Mr. Deasy, from whom he collects his pay and a letter to take to a newspaper office for printing. This scene is the source of some of the novel's most famous lines, such as Dedalus' claims that God is "A shout in the street," and that "History is a nightmare from which I am trying to wake."

Episode 3, Proteus
In this chapter, characterized by its stream of consciousness narrative style, the action is presented to the reader through the prism of Stephen's interior monologue. He finds his way to the strand and mopes around for some time, thinking about various philosophical ideas (the most prominent of which is the issue of signifier versus signified), his family, his life as a student in Paris, and again, his mother's death. As Stephen remininisces and ponders, he lies down among some rocks, watches a couple and a dog, writes some poetry ideas, picks his nose, and urinates behind a rock.

Part II: The Odyssey
Episode 4, Calypso
The narrative shifts abruptly. The time is again 8 a.m., but we have moved across the city to Eccles Street and to the second protagonist of the book, Leopold Bloom, a part-Jewish advertising canvasser. Bloom lives at No. 7 Eccles Street and is preparing breakfast at the same time as Mulligan in the tower. He walks to a butcher to purchase a pork kidney for his breakfast and returns to finish his cooking. He brings his wife, Molly, her breakfast and mail and reads his own letter from their daughter, Milly. The chapter closes with his plodding to the outhouse and defecating.

Episode 5, The Lotus Eaters
Bloom now begins his day proper, furtively making his way to a post office (by an intentionally indirect route), where he receives a love letter from one 'Martha Clifford' addressed to his pseudonym, 'Henry Flower'. He buys a newspaper and meets an acquaintance, C. P. M'Coy; while they chat, Bloom attempts to ogle a woman wearing stockings, but is prevented by a passing tram. Next, he reads the letter and tears up the envelope in an alley. He makes his exit via a Catholic church service and thinks about what is going on inside it. He goes to a chemist, then meets another acquaintance, Bantam Lyons, to whom he unintentionally gives a racing tip for the horse Throwaway. Finally, Bloom visits the baths to wash for the rest of the day.

Episode 6, Hades
The episode begins with Bloom entering a funeral carriage with three others, including Stephen's father Simon Dedalus. They make their way to Paddy Dignam's funeral, passing Stephen and making small talk on the way. Bloom scans his newspaper. There is discussion of various deaths, forms of death, and the tram-line before arriving and getting out. They enter the chapel into the service and subsequently leave with the coffin cart. Bloom sees a mysterious man wearing a mackintosh during the burial and reflects upon various subjects. Leaving, he points out a dent in a friend's hat.

Episode 7, Aeolus
At the newspaper office, Bloom attempts to place an ad, while Stephen arrives bringing Deasy's letter about 'foot and mouth' disease. The two do not meet. The episode is broken up into short sections by newspaper-style headlines, and is characterized by a deliberate abundance of rhetorical figures and devices. Lenehan and Corley appear in this section.

Episode 8, The Lestrygonians
Bloom searches for lunch, eventually dining on a Gorgonzola cheese sandwich and a glass of burgundy at Davy Byrne's pub.

Episode 9, Scylla and Charybdis
At the National Library, Stephen explains to various scholars his biographical theory of the works of Shakespeare, especially Hamlet, which he claims are based largely on the posited adultery of Shakespeare's wife, Anne Hathaway. Bloom enters the library to look at some statues on exhibit, but does not encounter Stephen except briefly and unknowingly at the end of the episode. Buck Mulligan does see Bloom, however, and jokingly warns Stephen of Bloom's possible homosexuality.

Episode 10, The Wandering Rocks
In this episode, nineteen short vignettes depict the wanderings of various characters, major and minor, through the streets of Dublin. The chapter ends with an account of the cavalcade of the Lord Lieutenant, William Humble, Earl of Dudley, through the streets, where it is encountered by the various characters we have met in the episode. Neither Stephen nor Bloom sees the Viceroy's procession.

This chapter is unique in that it draws Homeric parallels to an incident that is described third-hand in the Odyssey. That is to say, the Wandering Rocks are spoken about in the Odyssey, but never experienced by its protagonist, Odysseus. This is perhaps why Joyce disembodies the narrative from the three main characters.

Episode 11, The Sirens
In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle Richie Goulding at the Ormond Hotel, while Molly's lover, Blazes Boylan, proceeds to his rendezvous with her. While dining, Bloom watches the seductive barmaids Lydia Douce and Mina Kennedy and listens to the singing of Simon Dedalus and others.

Episode 12, The Cyclops
This chapter is narrated largely by an unnamed denizen of Dublin, although his style of speech is heavily modeled on John Joyce, Joyce's father. He runs into Hynes and they enter a pub for a drink. At the pub, they meet Alf Bergan and a character referred to only as the 'Citizen', who is largely modeled on Michael Cusack, founder of the Gaelic Athletic Association. Eventually, Leopold Bloom enters waiting to meet Martin Cunningham. The citizen is discovered to be a fierce Fenian and begins berating Bloom. The atmosphere quickly becomes anti-Semitic and Bloom escapes upon Cunningham's arrival. The chapter is marked by extended digressions made outside the voice of the unnamed narrator: hyperboles of legal jargon, Biblical passages, Irish mythology, etc., with lists of names often extending half a page. The episode title Cyclops refers both to the narrator, who is often quoted with 'says I', and to the Citizen, who fails to see the folly of his narrow-minded thinking.

Episode 13, Nausicäa
Three young women, Cissy Caffrey, Edy Boardman, and Gerty MacDowell, have come to the strand to watch a display of fireworks. The chapter opens by following Gerty's stream of consciousness as she daydreams of finding someone to love her. Eventually, Bloom appears and they begin to flirt from a distance. The girls are about to leave when the fireworks start. Cissy and Edy leave to get a better view, but Gerty remains. Bloom has made his way to the rocks of Sandymount Strand where he encounters the young beauty. Bloom becomes the romantic stranger to Gerty by watching her from a distance. She sees Bloom's troubled face and ponders over what terrible thing may have cast him out upon this rocky shore. It is here that Gerty becomes like the Virgin Mary, the beacon "to the storm-tossed heart of man" (346). Her romantic notions of marriage and passion become more abundant as she views Bloom.

Gerty becomes anxious for her friends to leave and inquires of the time as a subtle hint that they should be getting on their way. One of the girls approaches Bloom, asking for the time. Bloom discovers that his watch has stopped at half past four. Later the reader discovers that this is probably the time at which Bloom's wife, Molly, was committing adultery with Blazes Boylan. Bloom does not strike up a conversation with the girl but rather keeps his focus on Gerty who is now fully aware of her admirer. The girls decide that it is late and begin to leave. As they are packing up the children's things, Gerty begins to entice the stranger through the exploitation of her body.

At about this time the benediction at the church has drawn to a close and fireworks are set off. Everyone runs to see the fireworks except for Gerty and Bloom. Gerty, filled with passion, is enticed by the fireworks as she tilts her body backwards to see. As she moves back on the rocks she deliberately exposes herself fully to Bloom. At this moment a long Roman candle is shot off into the air. Gerty sees the long rocket as it goes "higher and higher" (Joyce 366) and leans back even further, exposing even more to Bloom. Gerty's sexual excitement grows as she is "trembling in every limb" (Joyce 366). The imagery of the long rocket corresponds with Bloom's manhood as he is masturbating to Gerty's display in time with the rocket. Finally the two reach their climax as the Roman candle explodes in the air and from it gushes out "a stream of rain gold hair threads" (Joyce 367). Gerty then leaves, revealing herself to be lame, and leaving Bloom meditating on the beach. Gerty's display of her body is inset with allusions to the Benediction of the Blessed Sacrament taking place across the street from the strand in a Catholic church. This is usually read as Joyce's playful punning on the ceremonial display of the 'Body of Christ' in the form of the Host coupled with Gerty's displaying her own body to Bloom (who is clearly acting out his own version of an Adoration). Gerty's final revelation of being 'lame' is also read as Joyce's opinion of the state of the Roman Catholic Church, especially in Ireland. The first half of the episode is marked by an excessively sentimental style, and it is unclear how much of Gerty's monologue is actually imagined by Bloom.

Episode 14, The Oxen of the Sun
Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who is drinking with Buck Mulligan and his medical student friends. They continue on to a pub to continue drinking, following the successful birth of the baby. This chapter is remarkable for Joyce's wordplay, which seems to recapitulate the entire history of the English language to describe a scene in an obstetrics hospital, from the Carmen Arvale

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

to something resembling alliterative Anglo-Saxon poetry

In ward wary the watcher hearing come that man mildhearted eft rising with swire ywimpled to him her gate wide undid. Lo, levin leaping lightens in eyeblink Ireland's westward welkin. Full she dread that God the Wreaker all mankind would fordo with water for his evil sins. Christ's rood made she on breastbone and him drew that he would rathe infare under her thatch. That man her will wotting worthful went in Horne's house.

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

This extremely complex chapter can be further broken down structurally. It consists of sixty paragraphs. The first ten paragraphs are parodies of Latin and Anglo-Saxon language, the two major predecessors to the English language, and can be seen as intercourse and conception. The next forty paragraphs, representing the 40 weeks of gestation in human embryonic development, begin with Middle English satires, the earliest form of English; they move chronologically forward through the various styles mentioned above. At the end of the fiftieth paragraph, the baby in the maternity hospital is born, and the final ten paragraphs are the child, combining all the different forms of slang and street English that were spoken in Dublin in the early part of the 20th century.

Episode 15, Circe
In an extended hallucinatory sequence, Bloom and Stephen go to Bella Cohen's brothel. This episode, the longest in the novel, is written in the form of a play. Molly’s letter from Boylan and Bloom's from Martha are reworked into a series of seductive letters ending in a trial. Bloom's sexual infidelities, beginning with Lotty Clarke and ending with Gerty McDowell, are relived and reconciled.

Part III: The Nostos
Episode 16, Eumaeus
Bloom and Stephen go to the cabman's shelter to eat. There they encounter a drunken sailor, as well as Lord John Corley.

Episode 17, Ithaca
Bloom returns home with Stephen, who refuses his offer of a place to stay for the night. The two men urinate in the backyard, Stephen goes home, and Bloom goes to bed. The episode is written in the form of a rigidly organized catechism, and was reportedly Joyce's favourite episode in the novel.

Episode 18, Penelope
The final episode, which also utilizes the stream of consciousness technique seen in Episode 3, consists of Molly Bloom's Soliloquy: Eight enormous sentences (without punctuation) written from the viewpoint of Bloom's adulterous wife. Molly accepts Leopold into her bed, frets about his health, then reminisces about their first meeting and about when she knew she was in love with him. The concluding period following the final words of her reverie is one of only three punctuation marks in the chapter, the others being after the fourth and eighth "sentences".

[edit] Religious themes

Although Leopold Bloom is identified by other characters as a Jew, his religious identity is more complicated. His father, Rudolph Virag, was born Jewish but later converted to Protestantism; his mother, Ellen Higgins, was a Catholic. Leopold would not be considered Jewish under Jewish law, because the religion is conveyed matrilineally. Furthermore, Leopold converted to Catholicism in order to marry Molly Bloom. Leopold does not observe Jewish customs, but he displays his (sometimes flawed) awareness of them throughout the novel. It is not until the Cyclops episode that he affirmatively identifies himself as a Jew. Stephen, who resembles Joyce himself, voices many opinions on Catholicism and its hold over Ireland.

[edit] Publication history

Written over a seven-year period from 1914 to 1921, the novel was serialised in the American journal The Little Review from 1918 until the publication of the Nausicäa episode led to a prosecution for obscenity.^[6] In 1919, sections of the novel also appeared in the London literary journal The Egoist. The book was first published in its entirety by Sylvia Beach at Shakespeare and Company in Paris in 1922, but was banned in both the United States and the United Kingdom until the 1930s. The work was blacklisted by Irish customs.

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

In 1920 after the magazine The Little Review serialized a passage of the book dealing with the main character masturbating, a group called the New York Society for the Suppression of Vice, who objected to the book's content, took action to attempt to keep the book out of the United States. At a trial in 1921 the magazine was declared obscene and as a result Ulysses was banned in the United States. The publisher, Random House, decided to try to get the ban lifted. In 1933, the publisher arranged to import the French edition and have a copy seized by customs when the ship was unloaded. The publisher then contested the seizure, and in United States v. One Book Called Ulysses, U.S. District Judge John M. Woolsey ruled on December 6, 1933 that the book was not pornographic and therefore could not be obscene.^[7] Woolsey's decision has been called "epoch-making" by Stuart Gilbert,^[8], and "among the most civilized ever handed down by an American Court."^{[citation needed]} The Second Circuit Court of Appeals affirmed the ruling in 1934 in an opinion by Judge Augustus Noble Hand.^[9]

According to Jack Dalton (p. 102, 113), the first edition of Ulysses contained over two thousand errors but was still the most accurate edition published. As each subsequent edition attempted to correct these mistakes, it incorporated more of its own. Hans Walter Gabler's 1984 edition was an attempt to produce a corrected text, but it has received much criticism, most notably from John Kidd. Kidd's main theoretical criticism is of Gabler's choice of a patchwork of manuscripts as his copy-text (the base edition with which the editor compares each variant). This choice is problematic, in that there is no unified manuscript as such: Joyce wrote approximately 30% of the final text as marginal notes on the typescripts and proof sheets. Perhaps more confusing is the fact that for hundreds of pages the extant manuscript is merely a 'fair copy' Joyce made for sale to a patron. For about half the chapters of Ulysses Joyce's final draft is lost. For these, the existing typescript is the last witness. Gabler attempted to reconstruct what he called 'the continuous manuscript text', which had never physically existed, by adding together all of Joyce's accretions from the various sources. This allowed Gabler to produce a 'synoptic text' indicating the stage at which each addition was inserted. Kidd and even some of Gabler's own advisers believe this method meant losing Joyce's final changes in about two thousand places. Far from being 'continuous', the manuscripts seem to be opposite. Jerome McGann describes in detail the editorial principles of Gabler in his article for the journal Criticism, issue 27, 1985. Still other commentators have charged that Gabler's perhaps spurious changes were motivated by a desire to secure a fresh copyright and another seventy-five years of royalties beyond a looming expiration date.

In June 1988 John Kidd published 'The Scandal of Ulysses' in the New York Review of Books, charging that not only did Gabler's changes overturn Joyce's last revisions, but in another four hundred places Gabler failed to follow any manuscript whatever, making nonsense of his own premises. Kidd accused Gabler of unnecessarily changing Joyce's spelling, punctuation, use of accents, and all the small details he claimed to have been restoring. Instead, Gabler was actually following printed editions such as that of 1932, not the manuscripts. More fatally, Gabler was found to have made genuine blunders, the most famous being his changing the name of Dubliner Harry Thrift to 'Shrift' and cricket hero Captain Buller to Culler. (These 'corrections' were undone by Gabler in 1993.)

In December 1988, Charles Rossman's 'The New Ulysses: The Hidden Controversy' for the New York Review revealed that Gabler's own advisers felt too many changes were being made, but that the publishers were pushing for as many alterations as possible. Then Kidd produced a 174-page critique that filled an entire issue of the Papers of the Bibiographical Society of America, dated the same month. This 'Inquiry into Ulysses: The Corrected Text' was the next year published in book format and on floppy disk by the James Joyce Research Center at Boston University, which Kidd founded and led from 1988 to 2000.

In 1990 Gabler's American publisher Random House quietly brought back its 1961 version, and in the United Kingdom the Bodley Head press revived its 1960 version. In both the UK and USA, Everyman Books, too, republished the 1960 Ulysses. In 1992 Penguin dropped Gabler and reprinted the 1960 text. The Gabler version is at present only available from Vintage International. From one hundred percent of world paperback sales in 1986-1990, the Gabler edition has dropped to perhaps ten percent of the market. Reprints of the imperfect 1922 first edition are now widely available, despite Gabler's (often disputed) claim that it had 'five thousand errors'.

Ulysses contained the longest "sentence" in English literature until it was surpassed in 2001 by Jonathan Coe's The Rotters' Club, which contained a string of 13,955 words. Ulysses' longest sentence is given to Molly Bloom and contains 4,391 words. In the first edition this sentence stretched over more than forty pages.^[10]

[edit] Film, TV or theatrical adaptations

In 1967, a movie version of the book was produced gaining an Oscar nomination for Best Adapted Screenplay.

More recently, a big-budget version of Ulysses called Bloom was made and released in early 2004. The film stars Stephen Rea as the lead character.

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

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

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

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

On Bloomsday 1982, the Irish RTÉ aired a full-cast dramatised radio production of Ulysses, that ran uninterruptedly for 29 hours and 45 minutes, being perhaps the longest radio programme ever made. It has been commercially released on CD and mp3.

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

[edit] Allusions/references to other works

Aside from the obvious footprint of Homer's Odyssey, Joyce deliberately allowed himself to be influenced by literally hundreds of other writers and their works during the composition of Ulysses.

Samuel Rosenberg, in his book Naked is the Best Disguise, noted similarities between the section in which Bloom tracks Dedalus and a section in Sir Arthur Conan Doyle's A Study in Scarlet. Rosenberg also notes other references to Doyle's writings.

[edit] Allusions/references in other works

Trivia sections are discouraged under Wikipedia guidelines. The article could be improved by integrating relevant items and removing inappropriate ones.

The legacy and impact of Ulysses on modern literature and literary culture is sizable; one need only note the proliferation of the celebration of Bloomsday on 16 June all over the world, with a notably large celebration in Dublin, Ireland during 2004 to commemorate the centenary of the book's events.

Joyce once said of Ulysses 'I want to give a picture of Dublin so complete that if the city suddenly disappeared from the earth it could be reconstructed out of my book.' The passage of nearly a century has changed Joyce's Dublin, but many of the places and landmarks featured in Ulysses may still be found, such as the Martello tower where the novel begins (now a Joyce museum) and Davy Byrne's pub. Indeed, walking around the city as Bloom and Dedalus did, one can still get a sense of how the city influenced Joyce's novel.

The soliloquy is quoted by the Firesign Theatre on their album How Can You Be in Two Places at Once When You're Not Anywhere at All.

The well read Jimmy Porter in Look back in anger describes his relationship with one time mistress Madeline with a reference to the novel.'To be with her was an adventure,just to sit atop a bus with her was like setting out on Ulysses.'

Robert Shea and Robert Anton Wilson's The Illuminatus! Trilogy owes a heavy debt to Ulysses and Joyce, who is mentioned many times in the novels. A female monologue late in the third book is a paraphrasing of Molly's soliloquy, ending instead in 'No'.

The soliloquy is featured in a Rodney Dangerfield movie, Back to School, wherein it is read aloud to a college English class by Dr. Diane Turner (played by Sally Kellerman). Her passionate reading causes the over-excited Thornton Melon (played by Mr. Dangerfield) to blurt out 'YES! YES!' during the class.

Joyce's legacy has also extended to musicians such as Syd Barrett, who recorded a version of Joyce's poem Golden Hair on his solo debut The Madcap Laughs, and, most notably in regards to Ulysses, Kate Bush, whose song The Sensual World has lyrics entirely lifted or paraphrased from Molly's soliloquy.

The Jefferson Airplane song ReJoyce, written by Grace Slick, has lyrics that are heavily inspired by Joyce's novel.

The Libertines' debut single What a Waster also makes reference to the 'unabridged Ulysses'.

On the seventh track of Sonic Youth's album Evol, Kim Gordon sings, 'I am the boy, that can enjoy, invisibility'. This is taken directly from the Telemachus episode.

Dance artist Amber also used parts of Molly's soliloquy for the chorus of her 2001 single Yes.

American punk rock band Minutemen were also heavily influenced by Ulysses in their lyrics, and also on an instrumental track called June 16, from the album Double Nickels on the Dime.

In the Mel Brooks films and stage musical The Producers, one of the characters' names is Leopold (Leo) Bloom, and the day on which he and Max Bialysctock meet is, indeed, June 16. In the 2005 Musical version of the Film, Leo Bloom, played by Matthew Broderick, asked 'when is it going to be Bloom's day?' - in reality, that day was Bloom's day.

In the Robert De Niro film The Good Shepherd, Matt Damon's character Edward Wilson (director of CIA counter-intelligence) code names Russia's head of counter-intelligence as 'Ulysses'. 'Ulysses' refers to Edward Wilson as 'Mother'. The book makes several appearances throughout the movie.It is inside the book binding Wilson finds a passport and escape plan for Valentine,evidence that he is a Soviet spy.

The Richard Linklater film Before Sunrise is set on June 16 1994, which is exactly 90 years after the original Bloomsday. There are some other obvious references to the book throughout the movie.

Saul Bellow named the central character of his novel Herzog after an individual named Moses Herzog, who features in an anecdote recounted by the 'I' character in the Cyclops episode.

Jack Kerouac makes several references to Joyce's "Ulysses" in his book "Vanity of Duluoz"

Roger Waters of Pink Floyd makes reference to Leopold Bloom in his song "Flickering Flame"

The hit comic song by Allan Sherman, Hello Muddah, Hello Fadduh has the lines "The Head Coach wants no sissies, so he reads to us from something called Ulysses." The song is about a child writing home to his parents from summer camp. Desperate to be taken home, he tries to persuade them that he is in physical and moral danger as long as he remains at Camp Granada.

Minnesota based folk-rock singer Mason Jennings has a song title Ulysses on his 2004 album named Use Your Voice, the song is about the singer's search for the book.

Kate Bush's song "The Sensual World" was inspired by Molly Bloom's soliloquy. It is the title track from Bush's sixth album, released in 1989, and was the first track from it to be released as a single (also in 1989).

[edit] References

[edit] Further reading

[edit] Editions in print

[edit] Facsimile texts of the manuscript

• Ulysses, A three volume, hardcover, with slip-case, facsimile copy of the only complete, handwritten manuscript of James Joyce's Ulysses. Three volumes. Quarto. Critical introduction by Harry Levin. Bibliographical preface by Clive Driver. The first two volumes comprise the facsimile manuscript, while the third contains a comparison of the manuscript and the first printings, annotated by Clive Driver. These volumes were published in association with the Philip H. &. A.S.W. Rosenbach Foundation (now known as the Rosenbach Museum & Library), Philadelphia. New York: Octagon Books (1975).

[edit] Facsimile texts of the 1922 first edition

• Ulysses, The 1922 Text, with an introduction and notes by Jeri Johnson, Oxford University Press (1993). A World Classics paperback edition with full critical apparatus. ISBN 0-19-282866-5
• Ulysses: A Reproduction of the 1922 First Edition, Dover Publications (2002). Paperback. ISBN 978-0486424446
• Ulysses: A Facsimile of the First Edition Published in Paris in 1922, Orchises Press (1998). This hardback edition closely mimics the first edition in binding and cover design. ISBN 978-0914061700

[edit] Based on the 1960 Bodley Head/1961 Random House editions

• Ulysses, Vintage International (paperback, 1990)
• Ulysses: Annotated Student's Edition, with an introduction and notes by Declan Kiberd, Penguin Twentieth Century Classics (paperback, 1992).
• Ulysses: The 1934 Text, As Corrected and Reset in 1961, Modern Library (hardback, 1992). With a foreword by Morris L. Ernst.
• Ulysses, Everyman's Library, (hardback, 1997)
• Ulysses, Penguin Modern Classics (paperback, 2000), with an introduction by Declan Kiberd.
• Ulysses, Random House (hardback, 2002). With a foreword by Morris L. Ernst.

[edit] Based on the 1984 Gabler edition

• Ulysses: The corrected text, Edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior, and a new preface by Richard Ellmann, Vintage International (1986) - This follows the disputed Garland Edition.

[edit] Literary criticism and commentary

• Blamires, Harry. The Bloomsday Book: A Guide Through Joyce's Ulysses, Methuen (1966)
• Borach, Georges. Conversations with James Joyce, translated by Joseph Prescott, College English, 15 (March 1954).
• Burgess, Anthony. Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader (1965); also published as Re Joyce.
• —, Joysprick: An Introduction to the Language of James Joyce (1973)
• Budgen, Frank. James Joyce and the Making of Ulysses. Bloomington: Indiana University Press, 1960.
• Campbell, Joseph. Mythic Worlds, Modern Words. Canada: New World Library, 2004.
• Dalton, Jack. The Text of Ulysses in Fritz Senn, ed. New Light on Joyce from the Dublin Symposium. Indiana University Press (1972).
• Ellmann, Richard. James Joyce. Oxford University Press, revised edition (1983).
• Ellmann, Richard, ed. Selected Letters of James Joyce. The Viking Press (1975).
• Gifford, Don with Seidman, Robert J. Ulysses Annotated: Notes for James Joyce's Ulysses, Revised and Expanded Edition, University of California Press (1988)
• Gilbert, Stuart. James Joyce's Ulysses: A study, Faber and Faber (1930)
• Gorman, Herbert. James Joyce: A Definitive Biography (1939).
• Kain, Richard M. Fabulous Voyager: A Study of James Joyce's Ulysses, University of Chicago Press (1947)
• Kenner, Hugh. Ulysses, Unwin Critical Library (1980)
• Mood, John. Joyce's "Ulysses" for Everyone, Or How to Skip Reading It the First Time. Bloomington, Indiana: Author House, 2004. ISBN 1-4184-5104-5
• Schwaber, Paul. The Cast of Characters, Yale University Press (1999)
• Thornton, Weldon. Allusions in Ulysses: An Annotated List, University of North Carolina Press (1961)

[edit] External links

• Ulysses, available at Project Gutenberg.
• Ulysses, full text with audio.
• A brief satirical summary of Ulysses with illustrations
• A large website discussing Ulysses
• The text of Joseph Collins's 1922 New York Times review of Ulysses
• A hypertextual, self-referential, complete edition of Ulysses
• Daedalus and Odysseus: Two Mythic Heroes Influencing Fatherhood as Represented in James Joyce’s Ulysses
• Group audio recording of novel
• Ulysses podcast – episodic reading, with discussion of academic texts about the novel

v • d • e Works by James Joyce
Novels	A Portrait of the Artist as a Young Man (1916) · Ulysses (1922) · Finnegans Wake (1939) · Stephen Hero (1944)
Dubliners (1914) (short stories)	"The Sisters" (1904) · "An Encounter" (1905) · "Araby" (1905) · "Eveline" (1904) · "After the Race" (1904) · "Two Gallants" (1906) · "The Boarding House" (1905) · "A Little Cloud" (1906) · "Counterparts" (1905) · "Clay" (1905) · "A Painful Case" (1905) · "Ivy Day in the Committee Room" (1905) · "A Mother" (1905) · "Grace" (1906) · "The Dead" (1907)
Play	Exiles (1918)
Poetry	Chamber Music (1907) · Pomes Penyeach (1927) · Giacomo Joyce (1968)