By Joyce, James; Joyce, James; Conner, Marc C
“An vital number of essays that are meant to encourage new curiosity in Joyce’s poetry, either for its personal sake and for its dating to the prose works.”—Patrick A. McCarthy, coeditor of the James Joyce Literary Supplement
“The authors show jointly that the lyric poems reward—and will proceed to reward—greater awareness than they've got hitherto obtained. the gathering as a complete should still motivate the subsequent new release of Joyceans to foreground Chamber Music and Pomes Penyeach in their scholarship and of their teaching.”—Victor Luftig, coeditor of Joyce and the topic of History
To many, James Joyce is just the best novelist of the 20 th century. students have pored over each minutia of his private and non-private life—from software accounts to deeply own letters—in seek of recent insights into his existence and paintings. but, for the main half, they've got paid scant awareness to the 2 volumes of poetry he published.
The 8 members to The Poetry of James Joyce Reconsidered convincingly problem the severe consensus that Joyce’s poetry is not so good as his prose. They demonstrate how his poems offer entries into Joyce’s such a lot own and intimate suggestions and ideas. in addition they exhibit that
Joyce’s poetic explorations—of the character of information, sexual intimacy, the altering caliber of affection, the relatives among writing and tune, and the spiritual dimensions of the human experience—were basic to his improvement as a author of prose.
This fascinating new paintings is bound to spark new curiosity in Joyce’s poetry and should turn into a vital and necessary source for college kids and students of his lifestyles and work.
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Extra resources for Poetry of James Joyce reconsidered
Sample text
The child born would be named Giorgio, in homage to George Joyce, and this burden of paternity and death would be revisited over a quarter-century later in Joyce’s final poem, “Ecce Puer” (26). 17. As we have seen, Joyce wrote the bulk of the poems before he knew Nora, but the final poems, and the final shape of the collection, were decisively influenced by his meeting with her. Joyce later reflected on the almost mystical relation Nora bore to the girl-figure in the poems: You were not in a sense the girl for whom I had dreamed and written the verses you find now so enchanting.
Matthew Campbell, in an essay titled “The Unconsortable Joyce: Chamber Music,” focuses on how Chamber Music is tied to the poetic tradition that precedes and surrounds it. Campbell’s study reveals the extent of Joyce’s remarkable indebtedness to and conversation with others, as well as the incipient signs of Joyce’s defining originality and independence. He shows how the poems’ obsession with betrayal and the solitary hero places Joyce within traditions of nineteenth- and early twentieth-century Irish literary forms, especially those poems of lost glory by Mangan and of betrayal and loss in Moore’s melodies.
However, reading that attitude alone into Joyce’s prose greatly diminishes its impact, and the poems of Chamber Music offer ample evidence to support a fuller, if somewhat contradictory, reading of the Dubliners stories. The poem to which I have already referred, XXI/1, “He who hath glory lost,” seems a useful point of departure for such an examination. Joyce had originally intended this poem to appear as the first in the collection (Letters II, 92).