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NA317312 - JOYCE, J.: Dubliners, Part I (Unabridged)

James Joyce

James Joyce


Part I


The Sisters • An Encounter • Araby • Eveline

After the Race • Two Gallants • The Boarding House

A Little Cloud • Counterparts • Clay


James Joyce’s Dubliners is a collection of short stories about the lives of the people of Dublin around the turn of the century. Each story describes a small but significant moment of crisis or revelation in the life of a particular Dubliner, sympathetically but always with stark honesty. Many of the characters are desperate to escape the confines of their humdrum lives, though those that have the opportunity to do so seem unable to take it. This book holds none of the difficulties of Joyce’s later novels, such as Ulysses, yet in its way it is just as radical. These stories introduce us to the city, which fed Joyce’s entire creative output, and to many of the characters who made it such a well of literary inspiration.


Writing to his publisher, Grant Richards, in 1905, Joyce proclaimed “I do not think that any writer has yet presented Dublin to the world. It has been a capital city of Europe for thousands of years, it is supposed to be the second city of the British Empire and it is nearly three times the size of Venice. Moreover… the expression Dubliner seems to me to bear some meaning and I doubt whether the same can be said for such words as ‘Londoner’ and ‘Parisian’, both of which have been used by writers as titles.”


Joyce’s mission to “present Dublin to the world” remained central to his work throughout his life.  The city is somewhat aggrandized in Ulysses and Finnegans Wake, where it takes on a mythic quality (suitable for a modern day Odyssey and a World History), but here, in Dubliners, it is painted in the plain and often drab colors of reality. The fifteen stories, written at different times during the period 1904-1907 when Joyce was no longer living in Ireland, are meticulous in detail.  We are given pub and street names, tram and train routes at every opportunity. The subject of these stories is not the city itself, however, but rather the lives of its citizens. Most of the characters and incidents described are based on characters and incidents remembered from Joyce’s early years in Dublin. The stories are arranged in a sequence roughly charting a development from childhood, through adolescence, to adulthood and public life, with death as a principal theme of the first and last stories.


The young James’ first encounter with death — that of a local priest, Father

Flynn — in The Sisters, sets a melancholy tone, which pervades much of the book. In An Encounter the freedom and exuberance of a childhood adventure is somewhat dampened by the disturbing attentions of a stranger; and in Araby the disappointment of the young teenager determined to impress his sweetheart, is clearly the first of the many disappointments which seem to characterize the lives of most of the residents of Joyce’s Dublin.


Indeed disappointment, with the shallowness of their lives, is the main theme of several of the stories, together with a hopeless longing to escape. For Eveline there is a chance to escape the brutality of her existence with a domineering father, by fleeing to South America with her worldly lover, Frank. For Jimmy Doyle in After the Race, there is escape of a kind in his wild night with a cosmopolitan group of young men. But when day breaks after the all-night card party, Doyle is left with the reality of Dublin — and some hefty IOU’s to be paid somehow.


Perhaps the most hopeless of all the captives in these stories is Little Chandler in A Little Cloud.  For him the worldly loutishness of his well-traveled old friend Gallagher, is both revolting and exciting. His own timidity, propriety and imagined poetic sensitivity has prevented him from breaking out of his own rut, and he knows it: “There was no doubt about it: if you wanted to succeed you had to go away.


You could do nothing in Dublin.”


So simple are these stories, both in content and style, it is easy to forget how

innovative they were at the time of their publication. Joyce set his face firmly against what he saw as the romance and sentimentality of contemporary Irish writers, and produced something rather shocking. Here is a city full of small people with real failings — no high tragedy, little passion, and no dramatic revelation. Their speech is not poetically engineered, but the everyday speech familiar to all Dubliners — warts and all. Indeed the warts were so shocking to the printer and publisher, that it took eight years of legal wrangling before the book saw full publication.


What was so shocking? The frank inclusion of thoughts and actions considered too vulgar for literary purpose: a woman crossing and uncrossing her legs suggestively, a man discussing his sexual conquests with a chum, a peculiar old vagrant performing an unspecified act alone in the bushes — and several uses of the word ‘bloody’. Despite the protests of his publisher, Joyce refused point-blank to alter, for example, the line: ‘if any fellow tried that sort of a game on with his sister he’d bloody well put his teeth down his throat: so he would.’


In a letter to Grant Richards he wrote: “The word, the exact expression I have used, is in my opinion the one expression in the English language which can create on the reader the effect I wish to create. Surely you can see this for yourself?”


Furthermore, he objected: “I seriously believe that you will retard the course of

civilization in Ireland by preventing the Irish people from having one good look at themselves in my nicely polished looking glass.”


Notes by Roger Marsh

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