
Yesterday, to mark the anniversary of Bloomsday—Thursday, June 16, 1904, the day the action of James Joyce's Ulysses, starring Dubliner Leopold Bloom, is set—I read the introductory note to the section on Joyce in The Norton Anthology of English Literature. It was written by David Daiches and gets off to a fast start:
James Joyce was born in Dublin, son of a talented but feckless father who is accurately described by Stephen Dedalus in A Portrait of the Artist as a Young Man as a man who had in his time been "a medical student, an oarsman, a tenor, an amateur actor, a shouting politician, a small landlord, a small investor, a drinker, a good fellow, a storyteller, somebody's secretary, something in a distillery, a tax-gatherer, a bankrupt, and at present a praiser of his own past." The elder Joyce drifted steadily down the financial and social scale, his family moving from house to house, each one less genteel and more shabby than the previous.
A paragraph later, concerning the son as a young artist, a couple ways in which the apple fell near the tree come into view:
Proud, obstinate, absolutely convinced of his genius, given to fits of sudden gaiety and of sudden silence, Joyce was not always an easy person to get on with, yet he never lacked friends and throughout his 36 years on the Continent was always the center of a literary circle. Life was hard at first. At Trieste he had very little money, and he did not improve matters by drinking heavily, a habit checked somewhat by his brother Stanislaus who came out from Dublin to act (as Stanislaus put it much later) as his "brother's keeper." His financial position was much improved by the patronage of . . . .
And there follows a roll call of the benefactors who kept Joyce afloat in an age before fellowships, arts grants, writing colonies, and so on. But what's really great about Daiches's note is the way in which he describes why many of us adore Joyce, notwithstanding some of his unattractive personal traits:
Joyce's almost life-long exile from his native Ireland has something paradoxical about it. No writer has ever been more soaked in Dublin, its atmosphere, its history, its topography; in spite of doing most of his writing in Trieste, Zurich, and Paris, he wrote only and always about Dublin. He devised ways of expanding his accounts of Dublin, however, so that they became microcosms, small-scale models, of all human life, of all history and all geography. Indeed that was his life's work: to write about Dublin in such a way that he was writing about all human experience. . . .
Ulysses is an account of one day in the lives of citizens of Dublin in the year 1904: it is thus the description of a limited number of events involving a limited number of people in a limited environment. Yet Joyce's ambition—which took him seven years to realize—is to make his action into a microcosm of all human experience. The events are therefore not told on a single level; the story is presented in such a manner that depth and implication are given to them and they become symbolic of the activity of Man in the World. . . .
The climax of the book comes when Stephen, far gone in drink, and Bloom, worn out with fatigue, succumb to a series of hallucinations where their subconscious and unconscious come to the surface in dramatic form and their whole personalities are revealed with a completeness and a frankness unique in literature. Then Bloom takes the unresponsive Stephen home and gives him a meal. . . .
The more one reads Ulysses the more one finds in it, but at the same time one does not need to probe into the symbolic meaning in order to relish both its literary artistry and its human feeling. At the forefront stands Leopold Bloom, from one point of view a frustrated and confused outsider in the society in which he moves, from another a champion of kindness and justice whose humane curiosity about his fellows redeems him from mere vulgarity and gives the book its positive human foundation.
Perhaps one senses a few ounces of special pleading, a bit of a soft sell of the challenge connected with making sense of Ulysses: what Daiches calls "literary artistry," for example, sometimes seems to me like a pianist playing a discordant but difficult piece mainly just to exhibit his skill. But my own experience as a reader would cause me to write that, the more you read Ulysses, the more you love Leopold Bloom, and the better you feel about being a member of his species. Happy Bloomsday, a day late!