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Overview

Ulysses is one of the most influential novels of the twentieth century. It was not easy to find a publisher in America willing to take it on, and when Jane Jeap and Margaret Anderson started printing extracts from the book in their literary magazine The Little Review in 1918, they were arrested and charged with publishing obscenity. They were fined $100, and even The New York Times expressed satisfaction with their conviction.

Ulysses was not published in book form until 1922, when another American woman, Sylvia Beach, published it in Paris her Shakespeare & Company. Ulysses was not available legally in any English-speaking country until 1934, when Random House successfully defended Joyce against obscenity charges and published it in the Modern Library.

This edition follows the complete and unabridged text as corrected and reset in 1961. Judge John Woolsey's decision lifting the ban against Ulysses is reprinted, along with a letter from Joyce to Bennett Cerf, the publisher of Random House, and the original foreword to the book by Morris L. Ernst, who defended Ulysses during the trial.


Product Details

ISBN-13: 9780679600114
Publisher: Random House Publishing Group
Publication date: 09/05/1992
Series: Modern Library 100 Best Novels
Edition description: Modern Library Edition
Pages: 816
Sales rank: 167,163
Product dimensions: 5.60(w) x 8.30(h) x 1.60(d)

About the Author

About The Author
James Joyce (1882 - 1941) was born in Dublin, Ireland, to a well-meaning but financially inept father and a solemn, pious mother. One of the most revered writers of the 20th century, he was noted for his experimental use of language in his works. His first publication, an essay on Ibsen’s play, appeared in the Fortnightly Review in 1900. In 1904, he made his first attempt at a novel, Stephen Hero, and also attempted to publish A Portrait of the Artist, an essay-story dealing with aesthetics, only to have it rejected.
At the outset of the First World War, Joyce moved to Zurich, where he wrote Exiles, reworked on the early chapters of Ulysses, and published A Portrait of the Artist as a Young Man in a serial form. It appeared in twenty-five instalments in The Egoist. Almost a complete rewrite of the abandoned Stephen Hero, it is heavily autobiographical incorporating the techniques of stream of consciousness and interior monologue.

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

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.

Table of Contents

Map: Dublin c. 1904
Abbreviations
Introduction
Composition and Publication History
Select Bibliography
A Chronology of James Joyce
ULYSSES
Appendix A: The Gilbert and Linati Schemata
Appendix B: Ulysses: Serialization and Editions
Appendix C: Errata
Explanatory Notes

What People are Saying About This

Edmund Wilson

One of the most remarkable features of Ulysses is its interest as an investigation into the nature of human consciousness and behavior...Joyce has studied what we are accustomed to consider the dirty, the trivial and the base elements in our lives with the restlessness of a modern psychologist; and he has also...done justice to all those elements in our lives which we have been in the habit of describing by such names as love, nobility, truth and beauty.

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

Introduction

The 100 Best English Language Novels of the Century

"We tried to pick books that were of great merit and proven over time." -- Christopher Cerf, chairman of the Modern Library Editorial Board

On Monday, July 20th, the editorial board of the Modern Library released a list of the 100 best English-language novels of the century. Topping the list was Ulysses, the unique, original novel that recounts a day in the lives of a group of Dubliners. The same book that was banned in the United States from 1920 to 1933 for obscenity now tops the list of novels written in English in this century, followed in descending order by The Great Gatsby, A Portrait of the Artist As a Young Man, Lolita, and Brave New World.

The editorial board that created this list comprised Christopher Cerf, Gore Vidal, Daniel J. Boorstin, Shelby Foote, Vartan Gregorian, A. S. Byatt, Edmund Morris, John Richardson, Arthur M. Schlesinger Jr., and William Styron. The top five novels originally tied for first place, all selected by nine out of ten editorial board members. Then, in another vote, the board members listed the books in order, resulting in the conclusive top five.

All the judges agreed that Ulysses was deserving of the rank of top book of the century. James Joyce was a brilliant author who, many think, ignited modern literature much as Picasso ignited 20th-century art. Joyce spent seven years working on this novel, as evidenced in his masterful prose. But is it the best English-language novel of the 20th century? Why are there only eight women on the list of 100? Is Catcher In the Rye really the 64th best novel of our century?

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