The amazing printing history of James Joyce's Ulysses and its editorial disasters. Novelist Arnold (Running to Paradise, 1983, etc.) does a fine job of setting before us the horrors of getting a true version of Ulysses into print—which apparently hasn't happened yet. Though much of Arnold's material repeats itself, the repetition is all part of the disaster bred by Joyce himself and recently complicated by the three-volume Hans Walter Gabler critical edition (1984) and Gabler's one-volume Ulysses: The Corrected Text (1986), both of which caused a mudfest among Joyceans. While writing the novel in Paris (1914-21), Joyce sold individual chapters to American collectors. Those chapters also acted as the texts for first publication in The Little Review. The chapters, which bore Joyce's corrections, were never returned to him, while his own carbons had not been corrected. When The Egoist Press printed Ulysses, Joyce made entirely new corrections inconsistent with the already published chapters, which he could not get hold of, and meanwhile added nearly a third to the novel's bulk on his galley proofs. Joyce, who was going blind, was a poor editor and even embroidered imaginatively on his Paris printer's errors, thus establishing a first edition not only aswim with errors and gaga sentences but also wildly inconsistent with his own manuscripts. Moreover, when Joyce began Finnegan's Wake, he lost interest in correcting Ulysses. Joyce did help in the French translation of Ulysses, which sometimes helps to make sense of his English. When Gabler came along to establish a corrected text, however, he threw out the first edition, assembled only manuscripts, corrupt magazine versions, etc., and intuitively put together a still newer Ulysses that has incensed Joyceans. But the problems are infinitely more complicated than this. Essential.
Pub Date: July 1, 1992
ISBN: 0-312-08288-6
Page Count: 288
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1992
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.
The undisputed champion of the self-conscious and the self-deprecating returns with yet more autobiographical gems from his apparently inexhaustible cache (Naked, 1997, etc.).
Sedaris at first mines what may be the most idiosyncratic, if innocuous, childhood since the McCourt clan. Here is father Lou, who’s propositioned, via phone, by married family friend Mrs. Midland (“Oh, Lou. It just feels so good to . . . talk to someone who really . . . understands”). Only years later is it divulged that “Mrs. Midland” was impersonated by Lou’s 12-year-old daughter Amy. (Lou, to the prankster’s relief, always politely declined Mrs. Midland’s overtures.) Meanwhile, Mrs. Sedaris—soon after she’s put a beloved sick cat to sleep—is terrorized by bogus reports of a “miraculous new cure for feline leukemia,” all orchestrated by her bitter children. Brilliant evildoing in this family is not unique to the author. Sedaris (also an essayist on National Public Radio) approaches comic preeminence as he details his futile attempts, as an adult, to learn the French language. Having moved to Paris, he enrolls in French class and struggles endlessly with the logic in assigning inanimate objects a gender (“Why refer to Lady Flesh Wound or Good Sir Dishrag when these things could never live up to all that their sex implied?”). After months of this, Sedaris finds that the first French-spoken sentiment he’s fully understood has been directed to him by his sadistic teacher: “Every day spent with you is like having a cesarean section.” Among these misadventures, Sedaris catalogs his many bugaboos: the cigarette ban in New York restaurants (“I’m always searching the menu in hope that some courageous young chef has finally recognized tobacco as a vegetable”); the appending of company Web addresses to television commercials (“Who really wants to know more about Procter & Gamble?”); and a scatological dilemma that would likely remain taboo in most households.
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.Pub Date: June 1, 2000
ISBN: 0-316-77772-2
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2000
PERSPECTIVES
The memoir of George Dawson, who learned to read when he was 98, places his life in the context of the entire 20th century in this inspiring, yet ultimately blighted, biography. Dawson begins his story with an emotional bang: his account of witnessing the lynching of a young African-American man falsely accused of rape. America’s racial caste system and his illiteracy emerge as the two biggest obstacles in Dawson’s life, but a full view of the man overcoming the obstacles remains oddly hidden. Travels to Ohio, Canada, and Mexico reveal little beyond Dawson’s restlessness, since nothing much happens to him during these wanderings. Similarly, the diverse activities he finds himself engaging in—bootlegging in St. Louis, breaking horses, attending cockfights—never really advance the reader’s understanding of the man. He calls himself a “ladies’ man” and hints at a score of exciting stories, but then describes only his decorous marriage. Despite the personal nature of this memoir, Dawson remains a strangely aloof figure, never quite inviting the reader to enter his world. In contrast to Dawson’s diffidence, however, Glaubman’s overbearing presence, as he repeatedly parades himself out to converse with Dawson, stifles any momentum the memoir might develop. Almost every chapter begins with Glaubman presenting Dawson with a newspaper clipping or historical fact and asking him to comment on it, despite the fact that Dawson often does not remember or never knew about the event in question. Exasperated readers may wonder whether Dawson’s life and his accomplishments, his passion for learning despite daunting obstacles, is the tale at hand, or whether the real issue is his recollections of Archduke Ferdinand. Dawson’s achievements are impressive and potentially exalting, but the gee-whiz nature of the tale degrades it to the status of yet another bowl of chicken soup for the soul, with a narrative frame as clunky as an old bone.
Pub Date: Feb. 1, 2000
ISBN: 0-375-50396-X
Page Count: 288
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1999
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