Clever, Very: Simon O’Connor

Simon O’Connor was recently appointed Director of the Ulysses Centre* at Newman House, a joint venture of University College Dublin and the National Library of Ireland. This exciting new cultural landmark is slated to open in Spring 2019. O’Connor is himself a composer and served as founding curator of the Little Museum of Dublin. He agreed to share some of his ideas and plans for the Ulysses Centre with the staff of the JJQ.

James Joyce Quarterly: Before we talk about the new Centre, it would be nice to get to know you a bit. Can you tell us something about your background? And maybe something about what had drawn you to this exciting new project?

Simon O’Connor: I’ve had an unusual creative career, starting in punk bands as a teenager. I studied literature in Trinity College Dublin (and got terrible marks in my Joyce assignments!), became very active composing music for theatre, and eventually studied music as a postgraduate. I got to study with some of the world’s leading composers, in particular Donnacha Dennehy and Kevin Volans. I have been composing ever since, but accidentally became an editorial and graphic designer for about twelve years (quite a good career in fact) and from there founded the Little Museum of Dublin with a friend of mine from the publishing industry, Trevor White. This was a small project which became successful quite quickly – it made me realise this unusual collection of skills I had gathered had a home in museums and cultural institutions.

I first heard about the Ulysses Centre when giving a talk here about a year ago. The project and people were inspiring, as was the ambition to combine significant philanthropic support with an incredible physical site and a partnership between UCD and the National Library. It is a once-in-a-lifetime opportunity, as well as a privilege to be involved in establishing an institution that can live up to the ambition of Joyce and the incredible literary achievements of the twentieth and early twenty-first centuries.

JJQ: You have a background as a composer, how do you think this affects your work as a museum director?

O’Connor: That’s a great question – in the most obvious of ways, it will always mean a particular interest (just as Joyce had) in music and the other arts. More importantly, I am an arts practitioner and approach every task as such: I am always thinking about the audience, what experience I want them to have, what the outcome will be. Starting at the end and figuring out how to get there, and being open to the whole thing changing is the way my artistic practice works also. I think my background enables me to speak to other artists in language they appreciate; I envisage the Centre partnering a lot with artists from other media as well as literature.

JJQ: Is there any particular work of art, or individual artist, which has had an outsized impact on your life or the way in which you see the world? Why do you think that work or author been particularly influential?

O’Connor: I am an omnivore so this is difficult question. I would say the work and teaching of my mentor, Kevin Volans, entirely altered the course of how I see the world through music. Joyce’s Dubliners had a major effect on me as something that seemed to channel the whole psychology of Dublin – for me, more so than Ulysses which I think is a work that ages with you as you yourself become part of the fabric of the city. I read a lot of poetry – my favourite poets right now are Jo Shapcott, Don Paterson and Frederick Seidel, master craftspeople and molten human beings. Things knock me for six all the time – as far as the potential of language goes, Lydia Davis, Ted Hughes and WB Yeats still amaze me. More recently, Claire Louise Bennett’s Pond is an incredible piece of work. One of the best pieces of theatre I have seen in recent years was Olwen Fouére’s performance of Beckett’s Lessness, it was short but I wished it went on all day.

JJQ: Previously you were quoted as saying that the ambition of Ulysses Centre is: “to engage visitors with the creative spirit at the core of our society.” Could you provide more detail about what you mean by the creative spirit of Ireland?

O’Connor: The fiddler Martin Hayes had a great description of why his music sounds the way it does. He suggested you “drive to East Clare, don’t even get out of your car, and stop to have a look at the way the earth doesn’t quite absorb the water properly.” He was joking a little – I think as an island there is so much that makes us unique, and even our weather plays a role in our creativity. Nearly every aspect of our history, geography, geology, and economics have conspired to produce great writers and artists. Reading is a huge part of the culture here, from a very young age, and I think the Irish have an instinctively collaborative spirit. We like to make things and get things made. It’s a characteristic of our culture that has shone through the recent, dark recession, and one the government is now keen to significantly support through the Creative Ireland initiative. I hope the Ulysses Centre will play a strong role in promoting creativity in general, particularly among younger generations.

JJQ: Joyce obviously has a bit of a cult following, why do you think that Joyce’s works continue to strike a chord with readers almost a century after their initial composition?

O’Connor: Joyce created exceptional art that operates on whatever level his reader is comfortable with. To me he feels like Mozart – you can listen to the basic tunes and enjoy the lightness, the comedy, or you can dig down as far as you want and never find the bottom. He remains cutting edge and at the same time far more accessible than most people realise.

There is also the voodoo of place, the psychogeography of Joyce – he will be read forever by Dubliners because we recognise the invisible familiarity of our city in his work. And he legitimises the quotidien, the everyday, the experiences that unite us all. If Dublin has an essence that stretches slowly backward and forward over time, Joyce captured it. I suspect if a Viking couple read Joyce they would recognise their city and themselves in his work.

JJQ: Museums provide a unique opportunity to collect and synthesize scholarship with artifacts while simultaneously appealing to the public at large. How do you think the Ulysses Centre will balance catering to Joyceans, or academics in general, and the public at large?

O’Connor: I firmly believe you cannot produce something for all audiences in the same space at the same time without creating a lowest common denominator. What museums can do is appeal to all audiences at different times, in different spaces, with different offerings. The main exhibitions and programming will have huge appeal for Joyceans and academics, as will the research and library component of the Centre, but there is also the goal of sharing Irish literature with everyone else, not just keeping it for ourselves. The Centre will have a huge responsibility to bring Irish writing to the broader public – for example, engaging 10,000 school kids every year with Joyce is a big priority, especially when he is no longer on the Irish school curriculum.

JJQ: Why do you think Ireland was such a hot bed for revolutionary literature throughout the 20th and into 21st century?

O’Connor: If I were to boil it down into one sentence, I would suggest that the promise and idealism of revolution gave way to a highly institutionalised and, in every sense, impoverished society – one which writing, amongst all the art forms, was well-placed to reflect. Not to be over-reductive, but while the aesthetic revolutions of European visual art were occupying many of our painters, our writers were slowly delineating the quiet horrors of a repressed society. Declan Kiberd’s recently published After Ireland is an exemplary look at this very subject.

JJQ: One of the most important functions of any museum is their public outreach. Can you give us a brief sense of how the Ulysses Centre plans on engaging with the public?

O’Connor: On one level, the core exhibition and collection will be a fantastic entry point into the subject, particularly for visitors to the city. Engaging young children through a dynamic and progressive education programme will be a priority, as will developing mentoring and creative opportunities for young teens/adults as they move from being readers to becoming writers, and commissioning new work from adult writers. We also plan on bringing artists from other art forms in to the Centre to engage with our literary subject matter. Additionally, we will have a significant digital broadcasting programme to reach audiences around the world. And, importantly, we will emphasize creating a community and social life around the Centre through talks, interviews, concerts, and social events. I guarantee that the Centre will have fantastic members’ parties!

JJQ: Is there a current void among Dublin’s museums or in the larger Irish culture that you think the Ulysses Centre can, or should, fill?

O’Connor: I think the literary offering of the city is vast: from the activity of the The James Joyce Centre on North Great George’s Street, exhibitions in the National Library, the UNESCO City of Literature team, Poetry Ireland, the Irish Writers Centre, the Dublin Writers Museum, the International Dublin Literary Award, our many literature festivals, the list is huge. What we have not had until now is a centre of sufficient size and investment with the capability and capacity to have an international impact and act as a focal point for our literary heritage, while also striving to meet the challenge of engaging the public at a much larger and international scale. When people visit Dublin they know it is a literary city; we will make it much easier for them to understand why that is so, and to discover the many exciting locations that render Dublin a unique city of words.

JJQ: Why do you think the present moment is a good time to begin this project?

O’Connor: Something we have spoken about on this project is the importance of the book in Irish society and history, the book as an object of change. And today, more than ever in the last century, the book and written word occupies a tremendous position of importance in society. The demise of writing was prematurely exaggerated during the digital dawn: readership and book sales continue to increase, and here in Ireland there is a renaissance of new Irish writing and publishing houses. In a globalised society where truth is under attack every day, we can find truth not just through reading but through critical reading, through teaching how to read. As you touched on earlier, writing to power is at the centre of our literary heritage – we have a major opportunity with this Centre to positively contribute to and to amplify a culture of engaged reading and writing.

JJQ: Are there any specific plans for exhibits on Joyce that you’d be willing, or able, to share with us?

O’Connor: Too many to list! But to give away a little: there will be cutting-edge interactive art installations on language and the sounds of Joyce’s texts, placing him in the context of Irish writing before and after, helping the visitor find their place in the riverrun of language; priceless items from Joyce’s own collections and those of significant private collectors; personal items that will allow us to look directly at Joyce’s compositional processes, as well as exhibitions on publishing in the State around the time of Joyce; specially commissioned films and readings, and a very, very special edition of Ulysses itself. The Centre will be a treasure trove for Joyce enthusiasts, and one we hope will firmly acknowledge the contribution Joyce made to the world’s literary landscape.

This interview was conducted in November 2017 by Alexander W. Barchet.

* On January 1 the museum’s named was changed to the Museum of Literature Ireland (or MoLI)—a new yet still distinctly Joycean moniker.

Volume 53.1-2


“Forging New Paths”: A Report on “Irish Modernisms: Gaps, Conjectures, Possibilities,” University of Vienna, 29 September-1 October 2016
Daniel Curran

“Academic Trekkies”: A Report on “Diasporic Joyce,” The International North American James Joyce Conference, Toronto, Canada, 21-25 June 2017 
Layne M. Farmen

“Shortest Way Home”: A Report on the Dublin James Joyce Summer School, Dublin, Ireland, 2-8 July 2017
Kurt McGee

Regarding the Joyce Word Dictionary 
Natasha R. Chenier and James O’Sullivan


“Deeply and Suddenly Touched”: Homoerotics in James Joyce’s Exiles
Ellen McWhorter

Exiles and the Limits of Egoism
John McGuigan

Death and the Limits of Epiphany: Wordsworth’s Spots of Time and Joyce’s Epiphanies of Death
Sangam MacDuff

Narrative Arrangements in Superposition and the Critique of Nationalism in “Cyclops”
Robert Colson

Closer to Consciousness: Waking as the Žižekian Event in Finnegans Wake
Michael Frazer


William S. Brockman


Invisible Dublin: “The Coin” and “The Vigil”
Beth Sherman


Simply Joyce, by Margot Norris
Morris Beja

Joyce’s Creative Process and the Construction of Characters in Ulysses“: Becoming the Blooms, by Luca Crispi
Michael Groden

“Exiles”: A Critical Edition, edited by A. Nicholas Fargnoli and Michael Patrick Gillespie
Valérie Bénéjam

James Joyce’s “Work in Progess”: Pre-Book Publications of Finnegans Wake” Fragments, by Dirk Van Hulle
Tim Conley

Joycean Legacies, edited by Martha C. Carpentier
Erin Hollis

“Ulysses” Explained: How Homer, Dante, and Shakespeare Inform Joyce’s Modernist Vision, by David Weir
Laura Pelaschiar

Ireland’s Exiled Children: America and the Easter Rising, by Robert Schmuhl 
Claire A. Culleton

James Joyce, Urban Planning, and Irish Modernism: Dublins of the Future, by Liam Lanigan 
Michael Rubenstein




JJQ Welcomes Two New Board Members

The James Joyce Quarterly is delighted to welcome two new members to its international Editorial Advisory Board: Dr. John Nash and Dr. Jolanta Wawrzycka. Both are distinguished experts in the field and will bring to the board some new expertise in established and emerging areas like translation, reception studies, and literary history.

Nash currently teaches at Durham University in the U.K., where he has worked since 2006, having previously worked at Trinity College Dublin for a decade. He is author of James Joyce and the Act of Reception (Cambridge 2006), editor of Joyce’s Audiences (Rodopi 2002) and James Joyce in the Nineteenth Century (Cambridge 2013) in addition to several essays and articles on Joyce. He has a particular interest in relationships between literature and British-Irish relations and has written on Virginia Woolf in this regard as well as Joyce.


Wawrzycka is Professor of English at Radford University in Virginia. She has lectured at Joyce schools in Dublin and Trieste, attended over a dozen Zurich James Joyce Foundation workshops, and currently serves as a Trustee of the International James Joyce Foundation. She co-edited Gender in Joyce (UFP, 1997), Portals of Recovery, (Bulzoni 2017), and James Joyce’s Silences (Bloomsbury 2018), guest-edited translation issues of JJQ (2010) and Scientia Traductionis (2010; 2012), and edited Reading Joycean Temporalities (Brill 2018). She has also translated Roman Ingarden, Czesław Miłosz, W.B. Yeats, and Joyce’s Chamber Music.

For over fifty years, the JJQ has been the international journal of record for Joyce studies and its editorial board assures that only the strongest and most innovative work makes it into the journal pages. These advisors, furthermore, help identify and cultivate new research that helps lead us ever deeper in the surprises, pleasures, and complexities of one of the world’s most influential writers.

Call For Papers: The 26th Annual James Joyce Symposium

Between 11 and 16 June 2018, the University of Antwerp’s Centre for Manuscript Genetics will host the 26th International James Joyce Symposium in the city that Joyce and his family visited in the summer of 1926. Belgium is small, so much so that all of the sites Joyce toured that year (Ostend, Bruges, Ghent, Brussels and, most importantly, Waterloo) are within a 100-kilometre radius of the conference venue.

In his earliest prose writings, James Joyce described himself as an artist. His brother Stanislaus’s diary and Richard Ellmann’s 1959 biography reinforced this image of Joyce as the lone and dedicated creator who was prepared to give up everything for his art. We interpret the title of this conference as both an objective and a subjective genitive – from Joyce’s aesthetic or artistry to pictures of Cork in cork frames – and as a reminder of Joyce’s long afterlife in the creative arts. We want to explore the role of art as a socially constructed commodity in Joyce’s work as well as trace his fortunes in the fine art and rare book marketplace; we invite studies of the ways in which Joyce crafted his oeuvre, in the wake of The Art of James Joyce, A. Walton Litz’s pioneering study of the creation of  Ulysses  and Finnegans Wake; and we are also interested in contributions that, creatively or critically, address the impact of Joyce’s artistic persona and work on other artists, in various forms and different mediums. Given the increased visibility of the digital humanities in Joyce studies and the proliferation of multimedia responses to his work, we also encourage contributions that do not necessarily conform to the traditional scholarly paper.

The symposium invites proposals for individual papers and fully-formed panels and multimedia/digital exhibitions. Participants are limited to one paper and one non-paper panel appearance (e.g. as panel chair or respondent). Please keep in mind that all participants must be members in good standing of the International James Joyce Foundation: non-members or members whose registration has lapsed will not be scheduled.

To propose an individual contribution, please submit a 250-word abstract that includes the speaker’s name and academic affiliation (if applicable) alongside the paper or project title. To propose a panel, the panel chair should submit a 500-word abstract on the panel as a whole that includes the namesacademic affiliations, and email addresses of all participants; the title of the panel as well as the titles of each individual contribution; and the name and affiliation of the panel chair and respondent (if any). Please note that panels should have a maximum of four speakers. The panel chair may also give a paper – but please note that in this case it is customary for the panel chair to be scheduled last. Please note any date restrictions for individual panelists.

The deadline for paper or panel proposals will be 2 February 2018, Joyce’s birthday. Proposals can be sent to joyce2018@uantwerpen.be. For more information on the conference, please visit uahost.uantwerpen.be/joyce2018.

Clever, Very: Matthew Hayward

For this “Clever, Very” interview, Matthew Hayward spoke with us about his scholarship regarding the way in which Joyce collected information on commerce in his article, “‘Knowing Damn All About Banking Business’: Re-opening James Joyce’s ‘Notes on Business and Commerce’” which appears in the latest issue of the JJQ (52.3). Dr. Matthew Hayward is currently a Lecturer in Literature at the University of the South Pacific. 

James Joyce Quarterly: Your article, “‘Knowing Damn All About Banking Business’: Re-opening James Joyce’s ‘Notes on Business and Commerce’” relates to how Joyce found information on commerce and the ways he implemented it into his writings. Many of your past writings have also focused on aspects of advertising and business in Joyce’s work. Why does Joyce’s use of commercial culture and advertising strike you as particularly deserving of study and what motivated you to examine Joyce’s “Notes on Business and Commerce?”

Matthew Hayward: Consumerism is the biggest social shift of the modern period, and Ulysses is the first major novel to really reflect this shift. Critics have been saying this (with varying degrees of approval) since the 1920s, and there was of course a lot written on the subject in the 80s and 90s—so much that the subject seems exhausted. But I think we are still coming to terms with the complexity of Joyce’s representation. In particular, as critics in Ireland have been pointing out for some time, and as Andrew Gibson has argued so forcefully, the specifically Irish context of Joyce’s representation has been largely overlooked in international Joyce criticism, and this makes all the difference.

The more historically oriented work that we are seeing at the moment is helping us to appreciate the cultural specificity of Joyce’s work—not just in relation to consumerism, but for all the material contexts that he drew so carefully into his work. At the same time, this might restore what is most generally relevant in Joyce’s engagement with consumer culture. Joyce depicts an early consumerist economy whose center of production lies largely elsewhere, and in this respect he predicts the experience of many other societies in the late twentieth and early twenty-first centuries.

My motivation for reopening the ‘Notes on Business and Commerce’ was initially just to verify a few of the claims made by Mark Osteen in his early discussion of the ‘Advertising’ section in The Economy of ‘Ulysses’. In transcribing the notes—with a little help from my friend Ronan Crowley, now at the Centre for Manuscript Genetics at the University of Antwerp—I started to see some disparities between the received dating and the material itself. This led me into a hunt for the sources of each of the eight sections, and along the way I started to see that Joyce had made more use of these notes in Ulysses than had been recognized.

JJQ: One of the parts of your article which I found particularly interesting was your analysis of the method which Joyce employed while annotating his source material. What do you think we should take away from the consistency, or inconsistency, of Joyce’s research method?

MH: These notes hold a peculiar place in Joyce’s archival record, as they don’t seem to have been taken for the purposes of his fiction. This might be why they seem comparatively systematic. I understand from my genetic guru, Luca Crispi, that Joyce was generally not interested in comprehensively recording information from his sources, preferring to flick through with an eye for interesting turns of phrase. But as I say in the article, even in the ‘Notes on Business and Commerce’ Joyce follows a somewhat erratic method, skipping back and forth within his sources until he covers them fully. I gather that this restlessness is typical of Joyce’s method of annotation, so in that respect the notes are consistently inconsistent.

JJQ: Why do you think genetic criticism of Joyce’s notebooks and source material has continued to be so fruitful for scholars?

MH: To begin with, there is just so much to do. Merely transcribing and tracing the ‘Notes on Business and Commerce’ was several years of night shifts, and this is material that has been publicly available for forty years, with a few of the sources lying in plain sight online. Especially with the discovery of the NLI Manuscripts, there is just an incredible amount of material, and there is no telling how this will continue to change the way in which we think about Joyce’s creative process, as Luca’s recent book, Becoming the Blooms, shows. The fact that much of this material is freely available online, and that other contemporary material is being digitalized apace, means that much of this work can be done without the need for expensive research trips. So the ideal reader with the ideal insomnia can make amazing discoveries from her bedroom.

There is something very addictive about genetic work, whether that is in the study of Joyce’s adaptation of his notes and drafts in the various stages of composition, or in the tracing of sources. For me, it is fascinating in itself just looking under the hood and seeing how Joyce worked, and genetic scholarship has a practical and material basis that is very appealing to a certain type of critic. The greatest genetic scholars—Mike Groden, Walton Litz, Luca, Dirk Van Hulle, and others—are able to extrapolate from this material in ways that change how we read the texts themselves. But even for those of us with more modest gifts, I think that this kind of legwork will be valuable to Joyce scholarship, providing a sounder material basis for the interpretation of the author’s work.

JJQ: How do you see the future of criticism relating to Joyce’s use of commercial language developing?

MH: Would this be the time to mention that I’m working on a monograph on the subject, provisionally entitled Joyce in Business? Though since I live and work 10,000 miles from Dublin, this might take a while. But with the other more historically oriented work that is being done at the moment, I hope it will lead to a better understanding of the way in which Joyce’s writing relates to the material contexts within which he lived and worked. From there—who can say? As I’ve said before, I don’t see this kind of historical research as an end in itself, but more as the groundwork upon which more imaginative scholars can build.

This interview was conducted by Alex Barchet via email September 7-22, 2017.

Joyce in 100 Objects: How to Enjoy Ulysses

In 1920, Ulysses was effectively banned from publication in the United States when a New York court held that the serialized version then appearing in The Little Review was obscene.  For the next thirteen years, the book remained in limbo, until another New York court finally ruled it a piece of literature that was unlikely to corrupt the nation’s moral standards.  The plaintiff in that case was Bennett Cerf, the founder of Random House books.  He rushed from the courthouse to the printshop in order to produce what became the first legally published edition of Ulysses in the U.S.

The book already enjoyed the caché of scandal, but Cerf was nevertheless worried that despite all the fuss, readers would find it obscure or confusing–especially those who knew little of 1904 Dublin.  He thus prepared a variety of supplements and guides as part of an ambitious advertising plan.  These materials included How to Enjoy James Joyce’s Great Novel Ulysses, which included an overview and summary of the episodes, a map of Joyce’s beloved city, a handy list of main characters, and a few choice quotes from critics to assure dubious readers of the book’s merits.  This was one of the first guides to a novel that has now elicited hundreds of books aiming to teach us how to better enjoy Joyce’s masterpiece.

Front Cover of "How to Enjoy James Joyce's Ulysses"

The “Ulysses” Contest: A Creative Writing Competition

The “Ulysses” Contest:

A Creative Writing Competition Sponsored by the James Joyce Quarterly


In September 1906, James Joyce finished work on “Grace,” one of the very last stories he drafted for what would become Dubliners.  He then wrote to his brother Stanislaus that he was toying with an idea for one more tale.  This was not the collection’s now famous closing story, “The Dead,” but was instead a piece intriguingly titled “Ulysses.”  It would be based on a real Dubliner named Alfred H. Hunter, who was rumored to be Jewish and whose wife—variously named Margaret, Marian, or Marion—was allegedly cheating on him.  Joyce actively pressed his sources for information about Hunter and his family, but wrote to Stanislaus in 1907 that the story “never got any forrader than the title.”  No documentary evidence of such a story has been found.

The Challenge

The James Joyce Quarterly has decided that this gap in the record needs to be imaginatively filled.  We thus welcome submissions of short stories titled “Ulysses.” Entries must be set in turn-of-the-century Dublin and written in the style of the other pieces from Dubliners. Submissions should be no longer than 7,000 words in length. Only one contribution from an author will be considered. Entries should be submitted online and must be received no later than February 2, 2018. We welcome entries from around the world, but will only consider submissions in English.

The Prize

A panel of judges will select the top three stories, each of which will be published in the James Joyce Quarterly.  A winner will be selected to receive a prize of $500 for helping us imagine a way to fill this hole in the Joyce canon.  Please direct all inquiries to jjq-claims@utulsa.edu.

Volume 52.3-4


The Energy of Modernity: The 2016 Boston Joyce Forum, Boston College, 12 November 2016
Fabrizio Ciccione


“Knowing Damn All About Banking Business”: Reopening James Joyce’s “Notes on Business and Commerce”
Matthew Hayward

“On Lifting the Lid of the Desk”: The Empty Spaces and Certain Circumstances of “A Painful Case”
Tim Cook

The “unfettered freedom” of “flying bats”: The Inoperative Community in James Joyce’s “A Portrait of the Artist as a Young Man
Pilar Villar-Argáiz

“Unfallen but About to Fall”: The Influence of Byron’s “Cain” on Joyce’s “A Portrait of the Artist as a Young Man
Elizabeth Fredericks

The “Indecent Postures” of Island Cricket: James Joyce’s “A Portrait of the Artist as a Young Man” and Joseph O’Neill’s “Netherland”
Maria McGarrity

Private Property, Public Interest: Bloom’s Ecological Fantasy in “Ithaca”
William J. Kupinse

A Bloom Without a Flower, or How to Read “Lotus Eaters”
Anna M. Finn

Sifted Science: James Joyce’s Reference to George Albert Wentworth and George Anthony Hill’s “A Textbook of Physics
Yi Jean Chow


William S. Brockman


The Picture Odyssey of Ben Bloom Elijah
Jonathan Morse

An Early Manuscript of “Tutto è Sciolto”
David Spurr

Spectral Grandfather
Andrew Borson


Penelope Says
Robert Berry


Joyce Smithy: A Curated Review of Joyce in Visual Art, Music, and Performance
Ollie Evans, Christa-Maria Lerm Hayes, and Derek Pyle


Modernism and Homer: The Odysseys of H.D., James Joyce, Osip Mandelstam, and Ezra Pound, by Leah Culligan Flack
Kent Emerson

Virgil and Joyce: Nationalism and Imperialism in the “Aeneid andUlysses,” by Randall J. Pogorzelski
R. J. Schork

Israelites in Erin: Exodus, Revolution, & the Irish Revival, by Abby Bender
Marilyn Reizbaum

Irish Cosmopolitanism: Location and Dislocation in James Joyce, Elizabeth Bowen, and Samuel Beckett, by Nels Pearson
Allan Hepburn

Writing Modern Ireland, edited by Catherine E. Paul
Martha C. Carpentier

Romanian Joyce: From Hostility to Hospitality, by Arleen Ionescu
Ágota Márton

Finnegans Wake Libro Terzo, Capitoli 1 e 2 (Finnegans Wake III, 1-2), by James Joyce, translated and edited by Enrico Terrinoni and Fabio Pedone 
Franca Ruggieri



Marc A Mamigonian and John Turner




Sneak Peak: 52.3-4 Cover and Table of Contents

We’re excited to announce that we are making great progress on our next double-issue, volume 53 issue 3-4!  To whet your appetite, here is a preview of the cover and the table of contents.

A portrait of an old man in traditional-looking religious uniform
This issue’s cover features a portrait of John Alexander Dowie, a Scottish evangelist and faith healer who is the subject of Jonathan Morse’s note “The Picture Odyssey of Ben Bloom Elijah”.





Announcement: Ulysses Recovered Book Cover Contest Winners

For the last several months, the James Joyce Quarterly, Booksmart Tulsa, and the Guthrie Green have been holding the Ulysses Recovered Book Cover contest, in which we invited artists to design new covers for the book we celebrate each year on Bloomsday.

We are proud to kick off Bloomsday by announcing our two winners!  Both winners will have their selected submissions shown in a public exhibition as part of Tulsa’s Bloomsday celebration; additionally, they’ll receive a cash prize have their works featured as covers of forthcoming issues of the James Joyce Quarterly.

1st Prize:  Heather Ryan Kelley

At the top of the image, rectangular swatches of blue watercolor form a background behind the word Ulysses in white text. Below is a pastel colored pot with an ornate logo for G. W. Plumtree Home Potted Meats, above which floats overlapping lines of random letters that appear to come from a typewriter. Below the pot are the words James Joyce in front of green and brown watercolor squares.
1st Place submission by Heather Ryan Kelley

Our first prize winner is Heather Ryan Kelley, whose cover features G. W. Plumtree’s Home Potted Meats, a product that is mentioned several times throughout Ulysses.

2nd Place:  Antje Hubold

On a black backround, the word Ulysses is arranged in white letters so that it mimics a man's face that is reminiscent to a mustachioed James Joyce. The face is tilted so that the eyes are touching the top right corner and the chin takes up the bottom left corner. End image description
2nd Place submission by Antje Hubold

Our second place prize goes to Antje Hubold, who has made a topographic portrait of James Joyce using the novel’s title.

A hearty congratulations to both of our winners!