The passage is marked by Buck’s rhetorical bombast-“stately,” “bearing a bowl”-but deflated by the gently ironizing description of him as “plump.” It was on the back of this observation that the critic Leo Bersani claimed that “Ulysses” brought to modern literature its most refined technique: a narrative perspective that was “at once seduced” by its characters’ distinctive thoughts and “coolly observant of their person.”įrom these two sentences, a whole history of literature beckons-a sudden blooming of forms and genres, authors and periods, languages and nations. Grasping whose point of view these sentences issue from is trickier, but key to the novel’s technical ambitions. The tower, an obsolete British defense fortress, overlooks the “snotgreen,” “scrotumtightening” Irish Sea-“a great sweet mother,” Buck Mulligan intones, playing the roles of both priest and jester before an unamused Stephen Dedalus, who is grieving the death of his mother. It is eight in the morning at the Martello tower in Sandycove. A yellow dressinggown, ungirdled, was sustained gently behind him on the mild morning air. Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and razor lay crossed. Sometimes it greets me with a sentence whose origin and significance I know with the same certainty that I know my name. Waking up, sleepy and displeased, I roll over to see what it has been up to during the night. My relationship with UlyssesReader is intense and, I suspect, typical. Then it begins again, arranging, in its mechanical way, the tale of a young Dubliner named Stephen Dedalus and an older one named Leopold Bloom, brought together in a hospital, a brothel, a cabmen’s shelter, and, finally, the kitchen of Bloom’s home-on June 16, 1904, “an unusually fatiguing day, a chapter of accidents.” When UlyssesReader reaches the end, it presents the novel’s historic signature, “Trieste-Zurich-Paris 1914-1921,” intact, like a bone fished out of the throat. Characters are dismembered into bellies, breasts, and bottoms. The novel’s eighteen episodes, each contrived according to an elaborate scheme of correspondences-Homeric parallels, hours of the day, organs of the body-are torn asunder. For nine years, UlyssesReader has consumed the novel’s inner parts with relish, only to spit them out at a rate of one tweet every ten minutes.
In 1999, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.The Twitter account UlyssesReader is what programmers call a “corpus-fed bot.” The corpus on which it feeds is James Joyce’s modernist epic, “ Ulysses,” which was published a hundred years ago this month. Since publication, the book attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prose-full of puns, parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly regarded novel in the Modernist pantheon. Ulysses contains approximately 265,000 words from a lexicon of 30,030 words (including proper names, plurals and various verb tenses), divided into eighteen episodes. Joyce fans worldwide now celebrate 16 June as Bloomsday.
BEST AUDIO BOOK ULYSSES SERIES
The title alludes to Odysseus (Latinised into Ulysses), the hero of Homer's Odyssey, and establishes a series of parallels between characters and events in Homer's poem and Joyce's novel (e.g., the correspondences between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus). Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the day of Joyce's first date with his future wife, Nora Barnacle). One of the most important works of Modernist literature, it has been called "a demonstration and summation of the entire movement". Ulysses is a novel by the Irish author James Joyce, first serialised in parts in the American journal The Little Review from March 1918 to December 1920, then published in its entirety by Sylvia Beach on 2 February 1922, in Paris.
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