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Ulysses, by James Joyce
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The complete and unabridged text, corrected and entirely reset, with the original foreword by the author.
- Sales Rank: #1098013 in Books
- Published on: 1946
- Number of items: 1
- Binding: Hardcover
Most helpful customer reviews
1168 of 1241 people found the following review helpful.
Okay. Is it really worth it?
By A Customer
Ulysses is one of those big, mad bellwethers of a book that X will tell you is the biggest, best, most important blah blah blah and Y will tell you is a load of badly written tripe. Neither X nor Y tend to notice that the book consciously encourages both responses...but, well, I'll get back to the academic riffing in a minute.
I first tried to read Ulysses aged about 14 (I was an annoying little boy that way) and didn't get very far. The first three chapters are set in and around the mind of Stephen Dedalus, one of the most ridiculously clever and over-educated characters ever conceived, as he takes breakfast with some friends, teaches in a school some miles south of Dublin and walks along a beach. Along the way, his mind ruminates on subjects as diverse as 16th century underworld slang, his dead mother, and something he calls "the ineluctable modality of the visible" which I'm still struggling with. But he's a curiously ambiguous character, this Stephen; he fancies himself as a poet and rebel but when, on the beach, he picks his nose, he has a quick look around to see that nobody's watching before he smears the snot on a rock. (Joyce likes to poke fun at pretension this way - although he doesn't suggest that Stephen's ideas or rebel stance are completely hollow, either.)
The 14-year-old me didn't get that far. I gave up. It wasn't until I was 19 or so that I got as far as chapter four and encountered a Mr. Bloom, pottering around the kitchen making breakfast, that I started to get a grip. Bloom is one of the most likeable characters in fiction. He's a quiet, rather shy, oddly intelligent advertising salesman married to a voluptuous siren of a wife, Molly. Either you're prepared to go the distance with Bloom, or else cast the book aside with a hollow oath, because he's about to spend the entire day walking around Dublin. Nothing will happen except that a man will be buried, a baby will get born, and Bloom will help Stephen when the latter gets into a drunken fracas with some British soldiers. (Ireland was still part of the Union in 1904, and Dublin was a garrison town. Many non-Irish readers concentrate on Joyce's innovation or wit or technical whatever, but Joyce is extremely historically aware, and Ulysses, like all his other books, is riddled with the traces of English domination. These add to the book, rather than diminish it.)
Readers who like those clanky, tinpot contraptions known as "plots" may get a tad frustrated. Leaving aside Joyce's gifts for parody (a _tad_ too indulged, in my opinion), the, if you like, human interest in Ulysses is in the details of the to-ing and fro-ing between the characters. A quite banal conversation turns out to have all sorts of fascinating undercurrents; Bloom, who is Jewish and therefore even more of an outsider than Stephen, is extremely good at detecting the hints and shifts in the tones of the people he meets. He keeps running into two things that cause him particular discomfort: anti-Semitic remarks, and reminders that his wife is about to sleep with another man.
Ulysses is about language, but that makes it sound like it's some godawful lumbering doorstop written by an English professor. (John Barth, come on down!) It doesn't feel abstract at all; it's full of sights (the band of old sweat inside Bloom's hat), smells (restaurants, horse urine, flowers) and especially sounds (cats, printing presses, trams). I can't think of any other book which transports you so completely to a different place and time. (It might've helped that I grew up in Dublin and knew most of the places that Joyce is writing about.) Borges described Joyce's prose style, at least in the earlier half of the book, as "strong and delicate" and that's a good description.
As the day wears on, the book starts to rumble at the foundations and it lurches with increasing unpredictability from style to style. Joyce is making a point about language; that things are altered by the manner in which we describe them. This can get a bit wearisome after a while, but when it works well - as in the chapter where the doings of a young girl on a beach are narrated in the style of a girl's magazine story - it can be very funny and rather touching. The book closes with a mighty tour de force as Molly Bloom sits up and thinks about her life and her curious husband.
Okay, that's the beginner's guide. My personal opinion? It's the best Irish book, a constant wonder, irritation and delight to read, and a stunning effort of imagination and intelligence by the most significant and most lavishly talented Irish writer. 20th and 21st century Irish culture is unthinkable without it. I'm grateful that it's there. What else is to be said?
86 of 89 people found the following review helpful.
Pricey but worth it
By A Customer
This is a wonderfully crafted book -- the physical object, that is, and not just the text. (Because if you're willing to pay this much for a copy of "Ulysses" you obviously take that for granted.) The volume is larger in size than typical hardcover books today, meaning that the type is a decent readable size and the margins are generous (for the note jotting fiends among us). Great care has clearly been taken in the choice of paper and the sewn binding, which allows the book to lay flat during reading and insures years of re-reading. Although there is no dustjacket the cover is made of very durable material; various cover protectors can be found to stand in or, for the really paranoid, a slipcase can be made or found. It should be added that the text is presented as originally published, so there are no notes or glosses to help the first-time or casual reader; neither are the episodes keyed to any of the line numberings found in other editions. However, those wishing to refer to notes would be best off buying one of the helpful readers' companions by Gifford or Blamires anyway. In relation to other available editions, this one occupies a vast middle ground between the throwaway mass-market paperbacks on the one hand and the out-of-reach collectors' editions on the other. The book's durability and elegant though understated presentation should prove most attractive to those readers who intend to read the text again and again, whether for pleasure or for study. In short, this volume is a keeper.
219 of 237 people found the following review helpful.
The Best Book of All Time?
By james
I have frequently heard Ulysses proclaimed the best book ever written, but I could never understand why. I purchased this edition of the novel three years ago, and since then it sat on my shelf, a mighty 900 page undertaking that I kept putting off. I was reluctant to read it, for I have often heard how difficult it was to get through. Finally, I have read it, and though I believe it presumptuous to call any one book "the best book of all time", I certainly believe that Ulysses could claim that title. First off, it is not a difficult read. If you could get through A Portrait of the Artist as a Young Man, you can get through Ulysses. I heartily recommend this edition because of the brilliant introduction by Declan Kibard. Before I read Ulysses, I could not understand how this could be the best book of all time. According to my understanding, it was a novel detailing, in 900 pages, one day in the life of a Jewish Irishman, Leopold Bloom. A totally unremarkable day at that. After reading Kibard's introduction, I was fiercely eager to begin the novel. In his introduction, totally some 70 pages, Kibard answers the precise question I had: Why would this book be called the best of all time? This book is never boring, and is actually a quite enjoyable read. It is arranged in 18 chapters, and to me, the most astounding aspect of this piece of literature is the fact that every chapter is written in a different style. Joyce wanted to show that "originality" in terms of style was merely a new arrangement of previous styles, and so shows his brilliance as a writer by changing his technique and method completely in each chapter. It is indeed difficult to believe they were written by the same person. The styles are listed as: Narrative (Young), Catechism (Personal), Monologue (Male), Narrative (Mature), Narcissism, Incubism, Enthymemic, Peristaltic, Dialectic, Labyrinth, Fuga per canonem, Gigantism, Tumescence detumescence, Embryonic development, Hallucination, Narrative (Old), Catechism (Impersonal), Monologue (Female). Some chapters, such as the Cyclops, done in Gigantism, are deliciously satirical and overdone, while others, such as the Lotus-eaters, are sharp and direct. Though Joyce is often called a "stream of consciousness writer", only a few chapters are the truly chaotic stream of consciousness, such as the Oxen of the Sun, the Proteus, and the Sirens. The culmination of absurdity and abstraction occurs in the massive Circe chapter, a play styled as a hallucination in the brothels of Dublin. This novel is nearly impossible to take in with just one reading, and I will be reading it again shortly. On this note, I would say that I heartily recommend reading Ulysses straight through in its original form, rather than labouring under the weight of the hefty annotated edition. A true masterpiece, one of the best books I've ever read, and yes, quite possibly the best book ever written.
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