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    Ulysses

    Ulysses

    3.9 180

    by James Joyce, Murat Ukray (Illustrator)


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      ISBN-13: 9786155565359
    • Publisher: PublishDrive
    • Publication date: 04/13/2015
    • Series: Ulysses
    • Sold by: PUBLISHDRIVE KFT
    • Format: eBook
    • Pages: 705
    • File size: 5 MB


    Irish novelist, poet, and short-story writer James Joyce (1882–1941) ranks among the giants of 20th-century literature. His experimental narrative techniques opened a new world of storytelling that continues to influence modern writers.

    Brief Biography

    Date of Birth:
    February 2, 1882
    Date of Death:
    January 13, 1941
    Place of Birth:
    Dublin, Ireland
    Place of Death:
    Zurich, Switzerland
    Education:
    B.A., University College, Dublin, 1902
    Website:
    http://www.jamesjoyce.ie

    Read an Excerpt

    STATELY, PLUMP Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed. A yellow dressinggown, ungirdled, was sustained gently behind him by the mild morning air. He held the bowl aloft and intoned:

    --Introibo ad altare Dei.

    Halted, he peered down the dark winding stairs and called up coarsely:

    --Come up, Kinch. Come up, you fearful jesuit.

    Solemnly he came forward and mounted the round gunrest. He faced about and blessed gravely thrice the tower, the surrounding country and the awaking mountains. Then, catching sight of Stephen Dedalus, he bent towards him and made rapid crosses in the air, gurgling in his throat and shaking his head. Stephen Dedalus, displeased and sleepy, leaned his arms on the top of the staircase and looked coldly at the shaking gurgling face that blessed him, equine in its length, and at the light untonsured hair, grained and hued like pale oak.

    Buck Mulligan peeped an instant under the mirror and then covered the bowl smartly.

    --Back to barracks, he said sternly.

    He added in a preacher's tone:

    --For this, O dearly beloved, is the genuine Christine: body and soul and blood and ouns. Slow music, please. Shut your eyes, gents. One moment. A little trouble about those white corpuscles. Silence, all.

    He peered sideways up and gave a long low whistle of call, then paused awhile in rapt attention, his even white teeth glistening here and there with gold points. Chrysostomos. Two strong shrill whistles answered through the calm.

    --Thanks, old chap, he cried briskly. That will do nicely. Switch off the current, will you?

    He skipped off the gunrest and looked gravely at his watcher, gathering about his legs the loose folds of his gown. The plump shadowed face and sullen oval jowl recalled a prelate, patron of arts in the middle ages. A pleasant smile broke quietly over his lips.

    --The mockery of it, he said gaily. Your absurd name, an ancient Greek.

    He pointed his finger in friendly jest and went over to the parapet, laughing to himself. Stephen Dedalus stepped up, followed him wearily halfway and sat down on the edge of the gunrest, watching him still as he propped his mirror on the parapet, dipped the brush in the bowl and lathered cheeks and neck.

    Buck Mulligan's gay voice went on.

    --My name is absurd too: Malachi Mulligan, two dactyls. But it has a Hellenic ring, hasn't it? Tripping and sunny like the buck himself. We must go to Athens. Will you come if I can get the aunt to fork out twenty quid?

    He laid the brush aside and, laughing with delight, cried:

    --Will he come? The jejune jesuit.

    Ceasing, he began to shave with care.

    --Tell me, Mulligan, Stephen said quietly.

    --Yes, my love?

    --How long is Haines going to stay in this tower? Buck Mulligan showed a shaven cheek over his right shoulder.

    --God, isn't he dreadful? he said frankly. A ponderous Saxon. He thinks you're not a gentleman. God, these bloody English. Bursting with money and indigestion. Because he comes from Oxford. You know, Dedalus; you have the real Oxford manner. He can't make you out. O, my name for you is the best: Kinch, the knife-blade.
    He shaved warily over his chin.

    --He was raving all night about a black panther, Stephen said. Where is his guncase?

    --A woful lunatic, Mulligan said. Were you in a funk?

    --I was, Stephen said with energy and growing fear. Out here in the dark with a man I don't know raving and moaning to himself about shooting a black panther. You saved men from drowning. I'm not a hero, however. If he stays on here I am off.

    Buck Mulligan frowned at the lather on his razorblade. He hopped down from his perch and began to search his trouser pockets hastily.

    --Scutter, he cried thickly.

    He came over to the gunrest and, thrusting a hand into Stephen's upper pocket, said:

    --Lend us a loan of your noserag to wipe my razor.

    Stephen suffered him to pull out and hold up on show by its corner a dirty crumpled handkerchief. Buck Mulligan wiped the razorblade neatly. Then, gazing over the handkerchief, he said:

    --The bard's noserag. A new art colour for our Irish poets: snotgreen. You can almost taste it, can't you?

    He mounted to the parapet again and gazed out over Dublin bay, his fair oakpale hair stirring slightly.--
    ----
    --God, he said quietly. Isn't the sea what Algy calls it: a grey sweet mother? The snotgreen sea. The scrotumtightening sea. Epi oinopa ponton. Ah, Dedalus, the Greeks. I must teach you. You must read them in the original. Thalatta! Thalatta! She is our great sweet mother. Come and look.

    Stephen stood up and went over to the parapet. Leaning on it he looked down on the water and on the mailboat clearing the harbour mouth of Kingstown.

    --Our mighty mother, Buck Mulligan said.

    He turned abruptly his great searching eyes from the sea to Stephen's face.

    --The aunt thinks you killed your mother, he said. That's why she won't let me have anything to do with you.

    --Someone killed her, Stephen said gloomily.

    --You could have knelt down, damn it, Kinch, when your dying mother asked you, Buck Mulligan said. I'm hyperborean as much as you. But to think of your mother begging you with her last breath to kneel down and pray for her. And you refused. There is something sinister in you . . .

    He broke off and lathered again lightly his farther cheek. A tolerant smile curled his lips.

    --But a lovely mummer, he murmured to himself. Kinch, the loveliest mummer of them all.

    He shaved evenly and with care, in silence, seriously.

    Stephen, an elbow rested on the jagged granite, leaned his palm against his brow and gazed at the fraying edge of his shiny black coat-sleeve. Pain, that was not yet the pain of love, fretted his heart. Silently, in a dream she had come to him after her death, her wasted body within its loose brown grave-clothes giving off an odour of wax and rosewood, her breath, that had bent upon him, mute, reproachful, a faint odour of wetted ashes. Across the threadbare cuffedge he saw the sea hailed as a great sweet mother by the wellfed voice beside him. The ring of bay and skyline held a dull green mass of liquid. A bowl of white china had stood beside her deathbed holding the green sluggish bile which she had torn up from her rotting liver by fits of loud groaning vomiting.

    What People are Saying About This

    From the Publisher

    "Ulysses will immortalize its author with the same certainty that Gargantua immortalized Rabelais, and The Brothers Karamazov immortalized Dostoyevsky.... It comes nearer to being the perfect revelation of a personality than any book in existence."
    -The New York Times

    "To my mind one of the most significant and beautiful books of our time."
    -Gilbert Seldes, in The Nation

    "Talk about understanding "feminine psychology"— I have never read anything to surpass it, and I doubt if I have ever read anything to equal it."
    -Arnold Bennett

    "In the last pages of the book, Joyce soars to such rhapsodies of beauty as have probably never been equaled in English prose fiction."
    -Edmund Wilson, in The New Republic

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    The book consists of 18 chapters, each covering roughly one hour of the day, beginning around 8 a.m. and ending sometime after 2 a.m. the following morning. Each chapter employs its own literary style, and parodies a specific episode in Homer's Odyssey. Furthermore, each chapter is associated with a specific colour, art or science, and bodily organ. This combination of kaleidoscopic writing with an extreme formal schematic structure renders the book a major contribution to the development of 20th-century modernist literature. The use of classical mythology as an organising framework, the near-obsessive focus on external detail, and the occurrence of significant action within the minds of characters have also contributed to the development of literary modernism. Nevertheless, Joyce complained that, "I may have oversystematised Ulysses," and played down the mythic correspondences by eliminating the chapter titles that had been taken from Homer.


    As he was completing work on Dubliners in 1906, Joyce considered adding another story featuring a Jewish advertising canvasser called Leopold Bloom under the title Ulysses. Although he did not pursue the idea further at the time, he eventually commenced work on a novel using both the title and basic premise in 1914. The writing was completed in October 1921. Three more months were devoted to working on the proofs of the book before Joyce halted work shortly before his self-imposed deadline, his 40th birthday (2 February 1922).


    this publication encountered censorship problems in the United States; serialisation was halted in 1920 when the editors were convicted of publishing obscenity. Although the conviction was based on the “Nausicaä” episode of Ulysses, The Little Review had fuelled the fires of controversy with dada poet Elsa von Freytag-Loringhoven’s defence of Ulysses in an essay “The Modest Woman.” Joyce's novel was not published in the United States until 1933.


    With the appearance of both Ulysses and T. S. Eliot's poem, The Waste Land, 1922 was a key year in the history of English-language literary modernism.


    In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other established literary technique to present his characters. The action of the novel, which takes place in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models.


    The book explores various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce claimed that if Dublin were to be destroyed in some catastrophe it could be rebuilt, brick by brick, using his work as a model. To achieve this level of accuracy, Joyce used the 1904 edition of Thom's Directory—a work that listed the owners and/or tenants of every residential and commercial property in the city. He also bombarded friends still living there with requests for information and clarification.

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    From the Publisher
    "Ulysses will immortalize its author with the same certainty that Gargantua immortalized Rabelais, and The Brothers Karamazov immortalized Dostoyevsky.... It comes nearer to being the perfect revelation of a personality than any book in existence."
    -The New York Times

    "To my mind one of the most significant and beautiful books of our time."
    -Gilbert Seldes, in The Nation

    "Talk about understanding "feminine psychology"— I have never read anything to surpass it, and I doubt if I have ever read anything to equal it."
    -Arnold Bennett

    "In the last pages of the book, Joyce soars to such rhapsodies of beauty as have probably never been equaled in English prose fiction."
    -Edmund Wilson, in The New Republic

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