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Amazon.co.uk Review
Among other things, a novel is simply a long story, and the first question about any story is "What happens?" In the case of Ulysses, the answer could be "Everything". William Blake, one of literature's sublime myopics, saw the universe in a grain of sand. Joyce saw it in Dublin, Ireland, on June 16, 1904, a day distinguished by its utter normality. Two characters, Stephen Dedalus and Leopold Bloom, go about their separate business, crossing paths with a gallery of inforgettable Dubliners. We watch them teach, eat, loiter, argue and (in Bloom's case) masturbate. And thanks to the book's stream- of-consciousness technique--which suggests no mere stream but an impossibly deep, swift-running river-- we're privy to their thoughts, emotions and memories. The result? Almost every variety of human experience is crammed into the accordion-folds of a single day, which makes Ulysses not just an experimental work but the very last word in realism.
Both characters add their glorious intonations to the music of Joyce's prose. Dedalus's accent--that of a freelance aesthetician, who dabbles here and there in what we might call "Early Yeats Lite"-- will be familiar to readers of Portrait of an Artist As a Young Man. But Bloom's wistful sensualism (and naïve curiosity) is something else entirely. Seen through his eyes, a rundown corner of a Dublin graveyard is a figure for hope and hopelessness, mortality and dogged survival: "Mr Bloom walked unheeded along his grove by saddened angels, crosses, broken pillars, family vaults, stone hopes praying with upcast eyes, old Ireland's hearts and hands. More sensible to spend the money on some charity for the living. Pray for the repose of the soul of. Does anybody really?" --James Marcus --This text refers to the Paperback edition.
Amazon.co.uk Review
Among other things, a novel is simply a long story, and the first question about any story is "What happens?" In the case of Ulysses, the answer could be "Everything". William Blake, one of literature's sublime myopics, saw the universe in a grain of sand. Joyce saw it in Dublin, Ireland, on June 16, 1904, a day distinguished by its utter normality. Two characters, Stephen Dedalus and Leopold Bloom, go about their separate business, crossing paths with a gallery of inforgettable Dubliners. We watch them teach, eat, loiter, argue and (in Bloom's case) masturbate. And thanks to the book's stream- of-consciousness technique--which suggests no mere stream but an impossibly deep, swift-running river-- we're privy to their thoughts, emotions and memories. The result? Almost every variety of human experience is crammed into the accordion-folds of a single day, which makes Ulysses not just an experimental work but the very last word in realism.
Both characters add their glorious intonations to the music of Joyce's prose. Dedalus's accent--that of a freelance aesthetician, who dabbles here and there in what we might call "Early Yeats Lite"-- will be familiar to readers of Portrait of an Artist As a Young Man. But Bloom's wistful sensualism (and naïve curiosity) is something else entirely. Seen through his eyes, a rundown corner of a Dublin graveyard is a figure for hope and hopelessness, mortality and dogged survival: "Mr Bloom walked unheeded along his grove by saddened angels, crosses, broken pillars, family vaults, stone hopes praying with upcast eyes, old Ireland's hearts and hands. More sensible to spend the money on some charity for the living. Pray for the repose of the soul of. Does anybody really?" --James Marcus --This text refers to an out of print or unavailable edition of this title.
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Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed. Read the first page Browse Sample Pages
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Customer Reviews
Marcella Riordan is also marvellous as Molly. She is vividly realised and her soliloquy becomes a fascinating and erotic experience. Despite their considerable length, I have already enjoyed these discs several times and find each repetition more illuminating.I now understand why this book has achieved its legendary status. This reading is, perhaps, the most remarkable piece of storytelling I have ever heard.
From its first appearance in the 1980s this edition was referred to as the "corrected text" and as such it has attracted much attention; several of its "corrections" have been called into question by Joycean scholars. However in my opinion -- and I am a Ulysses fan, not a professional expert -- it remains one of the better editions available.
It's fair to say that most readers need not worry about the particular edition of Ulysses they read. The typos that persist in different editions are insignificant when compared to the deliberate inventions and irregularities of the author, and the strength and beauty of the novel shine through regardless of the occasional misspelling. However there are now more editions of Ulysses available than ever, and in my humble opinion it's worth taking five minutes to check out the attributes of edition that you might buy. (There is one edition for example that I wouldn't touch with a long pole.) This edition has received its bouquets and brickbats in the last couple of decades but I think it's definitely worth considering.
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