Introduction to: James Joyce, Dubliners, ed. Margot Norris. (A Norton Critical Edition, 2006). (original) (raw)

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This edition of James Joyce's "Dubliners," edited by Margot Norris and introduced by Hans Walter Gabler, details the editorial decisions and the historical context surrounding the publication of the seminal work. Gabler examines the challenges Joyce faced during the publication process, the textual history of the stories, and the editorial conventions employed in this critical edition. Insights are provided into the complexities of Joyce's writing, including his correspondence with Constable and Richards, and the impact of censorship on his work. This introduction serves as a scholarly framework for understanding the artistic and personal struggles behind "Dubliners."

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Art and artifice, reportage and reportifarce in James Joyce

This paper takes a literary, historical and theoretical look at James Joyce's view and treatment of and by the press in the late 19 th and early 20 th centuries. The reason why is simple: because he baffled the critics, especially the Irish critics (Murphy). Although critics and the public recognized Joyce's genius, they were upset by his apparent renunciation of Catholicism and nationalism, as well perceived pornography in his literary style. So the press of his day framed Joyce as something of an "intelligent but mentally perverted fiend" (Murphy).

The Free Man's Journal: The Making of His[＄]tory in Joyce's "The Sisters

Modern Fiction Studies, 1990

Over the last thirty years "The Sisters" has been persistently analyzed, both as a self-contained story and as an "early example" of Joyce's complex preoccupations in Portrait, Ulysses, and Finnegans Wake. The need to explicate the story has never had to be defended; after all, it is the first published piece of fiction by one of the most important prose writers of our century.1 By using some of the insights of Lacanian theory, I hope 1WHaI I offer here is a selective and hurried survey of different "extra-textual" approaches to "The Sisters" from Richard Levin and Charles Shattuck's ingenious 1944 discussion of Dubliners in relation to Homer to R. B. Kershner's recent and fascinating account of the popular culture sources that make up the different "voices" we hear in the stories. Florence W. Walzl offers a detailed comparison of the Irish Homestead version and the later version. The comparison is still provocative, particularly in the way Walzl argues that Joyce's rewrite made "The Sisters" a more fitting introduction to the collection as a whole. Brewster Ghiselin's article, thirty-three years after the fact, is still one of the best treatments of the interrelationships among all the stories. Fritz Senn's much more specific examination of Joyce's play on language in the opening paragraph of "The Sisters" makes it clear that Dubliners was not an apprenticeship work by an author not yet sure of his craft. My Lacanian approach in this essay, which assumes a very sophisticated technique on the part of Joyce, is indebted to these two early articles that showed how Dubliners was characteristic of Joyce's later works. Walzl and Burton A. Waisbren compare descriptions of Father Flynn with description in medical textbooks of the early nineteen hundreds of victims of tertiary syphilis. The essay is not without interest, but it leans too heavily on the type of reading I am challenging in this essayÂ-the argument that something explicable lies outside the boundary of the text which, once known, resolves the many enigmas of the story. See also Warren Carrier and Margaret Church.

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