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Peter O'Brien is an artist, a visionary, and a life-long Joycean, with the energy to not only dream up one major Finnegans Wake-centric artistic offshoot, but is busy scheming about how to top it. We first became aware of Peter as a brilliant artist, using “letterism” to artistically annotate the pages of Finnegans Wake. Exhibited around the world and widely published, most would be satisfied with that: but not Peter, who is now pouring his unmatched attention into a new opera despite (by his own admission) knowing little about music. Join us on this fascinatingly palimpsestuous discussion that touches on the nature of genius, memorisation, Glenn Gould, Virgil, nudity, and Wagner, and shows us that you may think you can be finished with the Wake, but it's never really finished with you. This week's chatters: Peter O'Brien, Toby Malone, TJ Young Contextual Notes Peter's Wake-inspired art: https://www.peterobrienart.com/about.html Limited edition Wake prints: https://www.peterobrienart.com/store/c2/LOFWFW_-_LIMITED_EDITION.html Peter's Globe and Mail article on his art: https://tpob.me/wp-content/uploads/2019/04/obrien-on-lofwfw-in-globe-and-mail-5.pdf O'Brien, P. (2018). Drawing Upon Finnegans Wake. Art/Research/International:/A/Transdisciplinary/Journal, 3(2), 196–215. https://doi.org/10.18432/ari29381 Pitch deck for Plurabelle: https://tpob.me/wp-content/uploads/2023/11/p-l-u-r-a-b-e-l-l-e-pitch-27-oct-2023.pdf For early drops, community and show notes, join us at our free Patreon, at patreon.com/wakepod, or check out our Linktree, at https://linktr.ee/wake.pod. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!
Break out Mr. Tunney the grocer's Christmas almanac, clear your schedule for Edwin Hamilton's Christmas pantaloonade and the Christmas pantomime Sinbad the Sailor, it's time for a twelfth night feast dance with the Morkan Sisters, with the chrism for the christmass: in other words, it's the WAKE Christmas episode! As we take a break on the reading for the holiday period, Toby spends a little bit of time considering how James Joyce approached Christmas in all four of his major works, through the eyes of wistful schoolboys, red-faced drunken uncles, dreamers and roamers, with quaintly underwhelming gifts, half-hearted sobriety pledges, and epiphanies on mortality. Happy holidays from everyone at WAKE: we hope you get your holly and ivy for him and for Christmas! This week's chatters: Toby Malone References Peter Chrisp: https://peterchrisp.blogspot.com/2022/12/james-joyces-christmas-eve-1904.html Mark Wallace: https://thevictoriansage.wordpress.com/2023/12/21/james-joyce-at-christmas-the-dead-1913/ For early drops, community and show notes, join us at our free Patreon, at patreon.com/wakepod, or check out our Linktree, at https://linktr.ee/wake.pod. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!
Under a full moon and with a pint of Guinness in hand, WAKE welcomes our very first Dublin-based reader, as correctly-accented Sarah Kane joins Toby and TJ to kick off Chapter 3.3. Sarah tells us all about participating in Bloomsday as a neophyte Joycean (“a lifeguard that can't swim”), slips into a Joyce fugue state regardless of best laid plans, and reminds us that a cold read is really just what the kids nowadays call Rawdogging. With the glorious Irishness of it all to bring us through, we discuss Joyce reading groups, Sweny's Pharmacy, Anthony Burgess, and, in a bombshell twist none of you saw coming, TJ's authentic Irish heritage. This week's readers: Sarah Kane, Toby Malone, TJ Young Progress: 496 pages complete, 132 pages to go; 78.98% read. For early drops, community and show notes, join us at our free Patreon, at patreon.com/wakepod, or check out our Linktree, at https://linktr.ee/wake.pod. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!
This week we break things down to the quark level to bring you mythical love stories (featuring a king named Mark), ghost-written historical romances, interminable sentences, and Joycean numerology. Jackie Mahoney joins the team and expertly weaves their way through questions of whether chapter 2.4 is about Tristan and Isolde, or if it's more about about the four perverts leering at them from the dock, and we finish up with a rousing consideration of Joyce as Beyoncé, the author as God, squelchy onomatopoeia, and, inevitably, the music of Evanescence. Trigger warning: descriptions of bodily noises. (Apologies for the sound quality on Toby's mic, it's an ongoing problem that will be fixed) This week's readers: Jackie Mahoney, TJ Young, Toby Malone Progress: 399 pages complete, 229 pages to go; 63.54% read. For early drops, community and show notes, join us at our free Patreon, at patreon.com/wakepod, or check out our Linktree, at https://linktr.ee/wake.pod. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!
Notes and Links to Chris Knapp's Work For Episode 255, Pete welcomes Chris Knapp, and the two discuss, among other topics, a fascination with Elena Ferrante, James Joyce, and other dynamic writers, the interplay between journalism and fiction writing, seeds for his debut novel, the significance of its title, the drawbacks and benefits of writing about such recent times, and salient themes and issues in his novel like colonialism, marital alienation and connection, ennui, and the creep of dystopian mores. Christopher Knapp's work has appeared in print in the Paris Review and the New England Review, and online at Granta and n+1, among others. He's been a work-study scholar at the Bread Loaf Writers' Conference, and earned an MFA in Creative Writing at the University of Virginia. His novel, States of Emergency, was published on September 3 by Unnamed Press. He lives in Paris with my wife, and teaches in the journalism program at the Sorbonne. Buy States of Emergency Chris Knapp's Website At about 2:50, Chris talks about what it's been like in the run-up to publication At about 4:00, Chris describes his early literary life and battles with spoilers At about 7:10, Pete and Chris discuss and cite the greatness of Faulkner and Joyce's work At about 9:30, Pete highlights a wonderfully Joycean sentence (one of many) from Chris' novel At about 10:25, Chris shouts out inspiring and thrilling writers, including Rachel Cusk, Don DeLillo, and Sebald, and Elena Ferrante At about 14:10, The two discuss Paris and Naples and prices and experiences At about 16:30, Chris responds to Pete's questions about the interplay between his journalistic background and his fiction writing At about 19:45, Pete and Chris reflect on the interesting ways in which the book's narrator functions in the book and connects to At about 21:15, Chris speaks about seeds for his novel At about 22:20, The two discuss Chris deciding to start the book with a heat wave and political and cultural At about 24;45, Chris talks about the fertility procedures that run throughout much of the book and the way waiting relates At about 27:00, Chris delineates between hope and optimism and how these two qualities characterize the narrator and his wife Ella At about 29:20, The two discuss ideas of sympathy and empathy and comfort and shared pain At about 31:50, Chris responds to Pete's questions about the narrator's writing and charting his and Ella's experiences At about 32:45, Chris reflects on the narrator's writing and the way that Ella sees him and his writing; he references Raven Leilani and writing on grief At about 34:45, The two discuss the ways in which French colonialism and racism is seen (or not) in the book and in the world At about 36:40, Pete highlights the dark humor of the book, and Chris expands on some of the humor and how it flows for him At about 39:35, The two discuss the “carnality” of a climatic scene in Ella and the narrator's relationship At about 42:20, Chris charts the importance of a getaway for Ella in Skopje At about 44:20, Pete cites a period of separation between the two main characters and asks Chris about the significance of the book's title At about 49:00, Chris responds to Pete's questions about the drawbacks and benefits and vagaries of perspective in the novel At about 55:25, Chris reflects on narrative and its connections to history and to the novel At about 57:00, Pete compliments two anecdotes/scenes from the book, compares Ella's story of the French and Algerians to Wolff's “In the Garden of the North American Martyrs,” and Chris expands on the views of the narrator's family At about 1:02:50, Chris gives contact information, book purchasing info, and social media info At about 1:04:20, Chris talks about what he's working on and wants to write about in the future You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode. I am very excited about having one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review. Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode features segments from conversations with Deesha Philyaw, Luis Alberto Urrea, Chris Stuck, and more, as they reflect on chill-inducing writing and writers that have inspired their own work. This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 256 with Andrew Maraniss, a New York Times-bestselling author of narrative nonfiction. His first book, Strong Inside, about Perry Wallace, the first African-American basketball player in the SEC, won the 2015 Lillian Smith Book Award. Andrew recently launched a series of early chapter books for young readers, BEYOND THE GAME: Athletes Change the World, which highlights athletes who have done meaningful work outside of sports to help other people. The episode will air on October 1. Lastly, please go to ceasefiretoday.com, which features 10+ actions to help bring about Ceasefire in Gaza.
1) The maths of culture / the culture of maths Where math meshes with literature and the theories of Gödel mesh with the imaginings of Joyce 2) Good and Bad at Maths Italian mathematical philosopher and Joycean, Piergiorgio Odifreddi on why numbers never click for some people 17/06/16
Reflections on fatherhood, and literary Dublin's first Joycean jaunt, with Patricia Joyce Oliver, Rory Gleeson, Donal Fallon, Ann Breslin and Oliver Sears
Reflections on fatherhood, and literary Dublin's first Joycean jaunt, with Patricia Joyce Oliver, Rory Gleeson, Donal Fallon, Ann Breslin and Oliver Sears
Reflections on fatherhood, and literary Dublin's first Joycean jaunt, with Patricia Joyce Oliver, Rory Gleeson, Donal Fallon, Ann Breslin and Oliver Sears
I say a fond farewell to French pop star Françoise Hardy, who died this week at age 80. She was such a beautiful woman and was one of the main cover girls in Europe in the early 1960s. It's also Bloomsday on Sunday, so I've added a couple of Joycean references. Also featured new music from the July issue of Songlines magazine, and there were a load of new releases from all over the world on top of that. I added as many as possible! Also concert previews (Teddy Thompson on Sunday at The Rogue Folk Club, Missy Raines on Monday at the Anza Club, plus festival previews and a few tracks from Shooglenifty, too.) Oh, and a couple of tunes from Cape Breton fiddler Ashley MacIsaac, who performs in Coquitlam today at Scotfest.
“Speaking about me. What did he say? What did he say? What did he say about me? Don't ask.”Topics in this episode include a rumor about Stephen, Professor Magennis, Æ the mastermystic, drama within Dublin's occult circles, how Æ helped James Joyce get published, the opal hush poets, Joycean tarot cards, D.P. Moran and The Leader, the horror of a truly clever nickname, mocking bad poetry, the Opal Hush cocktail, Pamela Colman Smith, Helena Blavatsky's old bag of tricks, theosophy, an American professor's visit to Dublin, Joyce's debut in the Dublin literary scene, microcosm and macrocosm, Mr Justice Fitzgibbon, more Tim Healy and Joyce's ability to hold a lifelong grudge.Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.On the Blog:Decoding Dedalus: The Opal Hush Poets — Blooms & BarnaclesBlooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube
You are cordially invited to attend a Not Quite Write dinner party, and short stories are on the menu! Gather ‘round the table as we feast upon James Joyce's ‘The Dead', served with a generous side of religion, politics, past loves, and Joycean epiphanies. Plus, with the January 2024 Not Quite Write Prize for Flash Fiction almost at hand, your judges serve up their advice for how to claim the cash. If Ed can get a word in edgewise, he'll explain why the anti-prompt is “a challenge, not a licence”, and as for dessert? Well, that's a “grey matter”. Bon appétit! Connect with us at https://notquitewritepodcast.com Register for the Not Quite Write Prize at https://notquitewritepodcast.com/prize
Belfast author and old pal of the pod Stuart Bailie joins us to remember the lost captain of the good ship Pogues and we touch on Shane's “feral” early life and the character he constructed to keep the world at bay; his place in the Irish literary pantheon, his intelligence worn lightly and Joycean use of language; the night they drank the proceeds from Fairytale Of New York; why the band's St Patrick's Day shows were three-day events and a magnet for lost Celtic souls, and how they became good by stealth but were so divisive in Ireland. This alongside other savoury and invigorating ingredients in this week's rock and roll hot-pot, among them … … David's five most-played tracks on Spotify in 2023. … real or imaginary Xmas singles? De La Soul's Millie Pulled A Pistol On Santa? Sonic Youth's Santa Doesn't Cop Out On Dope? Ol' Dirty Bastard's Santa's In The Clan? …. … the life and exceptional times of John Mayall, 90, and the people who passed through his blues academy. … why Spinal Tap might be best left alone.…and the song Randy Newman wrote about missing his ex-wife plus a tremulous joint recitation of Simon Smith & the Amazing Dancing Bear.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Belfast author and old pal of the pod Stuart Bailie joins us to remember the lost captain of the good ship Pogues and we touch on Shane's “feral” early life and the character he constructed to keep the world at bay; his place in the Irish literary pantheon, his intelligence worn lightly and Joycean use of language; the night they drank the proceeds from Fairytale Of New York; why the band's St Patrick's Day shows were three-day events and a magnet for lost Celtic souls, and how they became good by stealth but were so divisive in Ireland. This alongside other savoury and invigorating ingredients in this week's rock and roll hot-pot, among them … … David's five most-played tracks on Spotify in 2023. … real or imaginary Xmas singles? De La Soul's Millie Pulled A Pistol On Santa? Sonic Youth's Santa Doesn't Cop Out On Dope? Ol' Dirty Bastard's Santa's In The Clan? …. … the life and exceptional times of John Mayall, 90, and the people who passed through his blues academy. … why Spinal Tap might be best left alone.…and the song Randy Newman wrote about missing his ex-wife plus a tremulous joint recitation of Simon Smith & the Amazing Dancing Bear.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Belfast author and old pal of the pod Stuart Bailie joins us to remember the lost captain of the good ship Pogues and we touch on Shane's “feral” early life and the character he constructed to keep the world at bay; his place in the Irish literary pantheon, his intelligence worn lightly and Joycean use of language; the night they drank the proceeds from Fairytale Of New York; why the band's St Patrick's Day shows were three-day events and a magnet for lost Celtic souls, and how they became good by stealth but were so divisive in Ireland. This alongside other savoury and invigorating ingredients in this week's rock and roll hot-pot, among them … … David's five most-played tracks on Spotify in 2023. … real or imaginary Xmas singles? De La Soul's Millie Pulled A Pistol On Santa? Sonic Youth's Santa Doesn't Cop Out On Dope? Ol' Dirty Bastard's Santa's In The Clan? …. … the life and exceptional times of John Mayall, 90, and the people who passed through his blues academy. … why Spinal Tap might be best left alone.…and the song Randy Newman wrote about missing his ex-wife plus a tremulous joint recitation of Simon Smith & the Amazing Dancing Bear.Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Welcome to Year 3 of the South Side Sox Soxivus Celebration! We kick off the festivities by looking within, to discover what it is about this team that holds our fandom. (Our companion piece to this podcast is available to read, featuring some writers not appearing on this podcast.) Brian kicks things off, with a Joycean paean about the tragic sensibility of fandom, inextricable from romantic optimism. If you haven't read The Dubliners, that means in part that he's surprised the White Sox still matter to him — but they do Chrystal is sunk too deep into baseball, writing 135 game stories a year, and is left with little choice Dante and Tommy both speak of the hope of personal history Malachi still feels that no one entity, even the owner of the team, can take his Sox fandom from him Brett, honestly, has lost the passion for the team, but not for South Side Sox Father Soxivus previews our coming events, which include a live program on December 10, the Airing of Grievances; December 17 (Feats of Strength); and December 22, Soxivus Miracles A quick speed round toward the end asks whether there is anything that could ever happen to cause any of us to completely lose our Sox fandom Chrystal's crack research indicates that, yes, we are all members of the White Sox cult, and also coins a solid pocket schedule theme for 2024 ... White Sox: Please Be Mediocre And sorry, Papa Jones, Dante still ain't crossing over to the north side Learn more about your ad choices. Visit megaphone.fm/adchoices
In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit podcastchoices.com/adchoices
In 1995, Seamus Heaney was awarded the Nobel Prize in Literature. During his speech, he explained that the adequacy of lyric poetry spoke to the “‘temple inside our hearing' which the passage of the poem calls into being. It is an adequacy deriving from what Mandelstam called ‘the steadfastness of speech articulation,' from the resolution and independence which the entirely realized poem sponsors. It has as much to do with the energy released by linguistic fission and fusion, with the buoyancy generated by cadence and tone and rhyme and stanza, as it has to do with the poem's concerns or the poet's truthfulness. In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself. And it is the unappeasable pursuit of this note, a note tuned to its most extreme in Emily Dickinson and Paul Celan and orchestrated to its most opulent in John Keats, it is this which keeps the poet's ear straining to hear the totally persuasive voice behind all the other informing voices.” Ten years after his death, we continue to strain with Heaney to hear that pluralizing voice of radiant truth. “Seamus Heaney's Afterlives” is the subject of an upcoming conference held at Boston College between November 16th, 17th, and 18th, 2023. The four keynote lectures, along with interviews with contemporary poets influenced by Heaney, have been published in the latest issue of the Éire-Ireland: An Interdisciplinary Journal of Irish Studies. I am excited to speak with the organizer of this conference, Joseph Nugent, and the co-editor of Éire-Ireland, Vera Kreilkamp, about Heaney's continuing relevance, the conference, the special issue of the journal. Joseph Nugent is Professor of English at Boston College. Joe is the creator of the iPhone app, JoyceWays: Ulysses for You, and the website, The Dubliners Bookshelf. His teaching includes courses on the digital humanities, Joyce, and Irish studies, and he has written the eBook Digital Dubliners, as well as articles on manliness and representations of the Irish saint Colmcill and olfactory domestic identity in rural Ireland. Vera Kreilkamp is Professor of Irish Studies at Boston College. Vera is the co-editor of Éire-Ireland, and is the author of The Anglo-Irish Novel and the Big House (Syracuse University Press, 1998) and the museum catalogs Éireland (2003), Rural Ireland: The Inside Story (2012) and The Arts and Crafts Movement: Making It Irish (2016). Note: Around the 28-minute mark, I quote from Fintan O'Toole's commemoration of Seamus Heaney, originally published in the New York Review of Books, but the quotation did not record clearly. Here are the uncorrupted lines from O'Toole's article: “Poetry is language held taut by being stretched between the poles of competing desires. In Heaney's work, the tensions extend in many directions: the Wordsworthian Romantic at odds with the Joycean realist; the atheist in search of the miraculous; the world-ranging cosmopolitan with his little patch of remembered earth; the lover of the archaic who cannot escape the urgency of contemporary history.” John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry
All aboard for the heart of the Hibernian metropolis!Topics in this episode include HEADLINES, trams, Nelson's Pillar, The GPO, the mythic kingdom of Aeolia, post boxes, Joyce's portrayal of his uncle John “Red” Murray, excessive piety, reformed atheists, Ruttledge the ghost, Davy Stephens the king's courier, the creeping threat of native advertising, William Brayden's neck, lungs and the rhythm of breathing, Mario the Tenor, Martha, croziers, the rivalries of bishops, and who will save the circulation of the Freeman's Journal.Stayed tuned to the end for a short talk between Kelly and Antony Farrell of Lilliput Press. For more information on Lilliput Press or to peruse their Joycean selections, please visit their website here.Support us on Patreon to access episodes early, bonus content, and a video version of our podcast.Blooms & Barnacles Social Media:Facebook | Twitter | InstagramSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | YouTube
James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
James Joyce's Ulysses is filled with all sorts of references that can get in the way of many of its readers. Annotations to James Joyce's Ulysses (Oxford UP, 2022), with over 12,000 individual annotations (and more than double the word count of Ulysses itself), explains these references and allusions in a clear and compact manner and is designed to be accessible to novices and scholars alike. The annotations cover the full range of information referenced in Ulysses: a vast array of literary allusions, such as Shakespeare, Aristotle, Dante, Aquinas, slang from various eras and areas, foreign language words and phrases, Hiberno-English expressions, Catholic ritual and theology, Irish histories, Theosophy, Freemasonry, cricket, astronomy, fashion, boxing, heraldry, the symbolism of tattoos, horse racing, advertising slogans, nursery rhymes, superstitions, music-hall songs, references to Dublin topography precise enough for a city directory, and much more besides. The annotations reflect the latest scholarship and have been thoroughly reviewed by an international team of experts. They are designed to be accessible to first-time readers and college students and will also serve as a resource for Joycean specialists. The volume includes contemporaneous maps of Dublin to illustrate the cityscape's relevance to Joyce's novel. Unlike previous volumes of annotations, almost every note includes documentation about sources. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter.
This December—six months after saying goodbye—Bloomcast is back for a Holiday Special! Join Alice, Lex and Adam as they answer your questions, play games, tease each other, drink (tea, whiskey, Gimber) and leap off Forty Foot and into Ulysses one more (one last?) time…*Bloomcast is a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Friends of Shakespeare and Company read Ulysses by James Joyce
This December—six months after saying goodbye—Bloomcast is back for a Holiday Special! Join Alice, Lex and Adam as they answer your questions, play games, tease each other, drink (tea, whiskey, Gimber) and leap off Forty Foot and into Ulysses one more (one last?) time…*Bloomcast is a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. Hosted on Acast. See acast.com/privacy for more information.
Liam Lanigan joins us to talk about trams in Ulysses. Liam is an assistant professor of English at Governors State University in South Chicago. Liam is the author of a 2014 monograph, James Joyce, Urban Planning and Modernism and an essay in the recent Routledge Companion to Literary Urban Studies. Eric dragged Liam onto the show to nerd out at Wendy and Shinjini about trams, the form of Dublin-specific public transit that features prominently throughout Ulysses. We discuss Joycean community, the localized individual experience of reading Ulysses in terms of where you're from, and the history of Dublin's tramways, all before even getting into the text itself. We try to find optimism about public transit and are ultimately driven to other texts, including perhaps an iconic movie musical to celebrate the communitarian, posthuman potential of the tram. Libations: Wendy: Just on the cusp of being off wine (insert Amanda Walgrove video link) Liam: Juicy Jorts (hazy pale ale), Maplewood Brewery, Chicago Shinjini: not good tea (“I'm not going to get into that.”) Eric: Sun Glow Intensely Fruited Sour Ale (sour), Creature Comforts, Athens, GA See our website and contact us on Twitter or at tipsyturvyulysses@gmail.com. Theme song: “Come on Over” by Scalcairn, via Blue Dot Sessions Special thanks to Carin Goldberg, whose cover design for the Gabler edition of Ulysses inspired our logo.
Today on the show, Sinéad felt sorry for King Charles who cannot seem to find a suitable pen to write with, could Richard Daly of Irish Pens have a pen fit for a king? Pop rock group Horizon who met through Music generation Louth debut at Vantastival this weekend, they joined Sinéad in studio plus the Meath publisher opening a 200 year old Joycean building for culture night. Hosted on Acast. See acast.com/privacy for more information.
Shownotes: Follow Dr. Vegara's twitter here, check out his website, and don't forget to pick up a copy of his new book, All Future Plunges to the Past: James Joyce in Russian Literature. This week, Matt and Cameron are joined by Dr. José Vergara to talk about - drum roll please - two books: Envy by Yuri Olesha as well as All Future Plunges to the Past: James Joyce in Russian Literature by Dr. Vergara. We had a wonderful chance to go over the plot of a neurotic would-be clerk in Envy, while also getting to look at the work through the lens of Joycean influence. Get your Jameson, get envious of the New Soviet Man, and tune in! Major themes: Cheap but nutritious sausage, Ophelia the destroyer, Soviet ambivalence 06:19 - Fool that I am, I got this wrong. It's a 35-kopek sausage. The music used in this episode was “soviet march,” by Toasted Tomatoes. You can find more of their work on Bandcamp and Youtube. Follow us on Instagram, check out our website, if you're so inclined, check out our Patreon!
Welcome to the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.For episode 005, Wayne Ashley interviews Nick Fortugno, co-founder of the New York-based game studio Playmatics and designer of numerous digital and non-digital projects, including board games, collectible card games, large-scale social games, and theater.INTRODUCTION AND ROLEPLAYINGHey Nick, thanks for joining us. I'm really excited to dig into some of your background, ideas, projects, and particularly your alternative vision for a future of theater. I see you as a catalyst, a kind of cultural interlocutor making links across different forms of knowledge and practice, and the work you've done really attests to this. You've designed video and board games as well as outdoor public games. You're the co-founder of Playmatics, a New York game studio and the lead designer on many theater works, including Frankenstein AI and The Raven. And of course, one of the lead creators of the blockbuster mobile game Diner Dash. But first I want to go back a bit. Your cousin introduced you to roleplaying when you were quite young and you ran your first game of Dungeons and Dragons at six years old. Is it too much to assume that roleplaying is one of the most critical activities for you, if not a central organizing practice leaking into everything you do? Give us a sense of how roleplaying has activated much of your thinking and practice.Nick Fortugno: I think a central organizing principle is like a good way of thinking about it. It doesn't inform all of my work in a literal sense, but it's the heart of how I think about aesthetics. In Dungeons and Dragons, essentially what you do is you tell stories with other people and you use a rule system to adjudicate disagreement. You have a lot of “I hit you”—“no you didn't” stuff in roleplaying so you need rules to deal with that. When you're storytelling in that system and you're the person responsible for making the story, you don't story-tell the way you do in other forms where you have an idea of the story in your head and you're figuring out how to implement it in a way that will affect the audience. Instead, the players or the protagonists are interacting with you and they're changing it constantly. And so you don't know where the story is going. You have ideas of where you could go, you have ideas of what you might want to happen, but you're really in this collaborative process. And so this idea of improvising and using systems to generate things and being responsive to the interactions of other people is very much at the heart of my work. It's how I teach, how I think about storytelling centrally, and it informs a lot of my aesthetics. So yeah I would not be the person I was today if my cousin Joey didn't teach me D&D (Dungeons and Dragons) in Glen Ellyn, Illinois.DESIGN THINKINGYou're also a prolific researcher, not only of games, but of literature, theme parks, new technologies, and performance. I'm thinking about a previous discussion we had where in one breath you mentioned cultural forms that most people would never bring together in the same conversation. The list is long, but indulge me here: the British theater company Gob Squad, Galaxy's Edge at Disneyland, Harry Potter hotel, the theater collective The Wooster Group, the blockbuster event Sleep No More, the novels of Joyce and Pynchon, Evermore Park in Utah, and the epic video game Elden Ring. This cluster excites me because it's how we think as well, across these kinds of groupings. You also use this concept of affordances to enable you to think systematically across all these activities. Can you say more about that?NF: Affordance is a concept from design thinking, Donald Norman really popularized it. It's the idea that a form has features about it that lead to certain kinds of use. There are things that are intuitive in a way, or natural in a way, that come from a form. If I put a handle in a certain place, you hold the handle and that changes your use of the device. That idea that the forms start speaking to certain kinds of use cases is very central to thinking about interactive design. Because when you're a designer in those spaces you make the affordances. You don't tell users what to do. You give them something and you have them do it. That's why it's interactive. It's not like a roller coaster where I strap myself in and I just ride the rails that were put out in front of me. It's more like a theme park where there's just a bunch of stuff. But I don't go wandering off into the most boring part of the theme park. I go towards the lights, I go towards the sound, I go towards the interactive things. The design of those things that attract me, the things that challenge me, the obstacles and the rewards, all of that stuff moves me around in those spaces. This is central to the way I think about my practice.LITERATURE, PLAY AND AMBIGUITYYou have a BA in graduate study and literature. In our previous conversation, you noted an overlapping relationship between post-war American literature and the kinds of interactive narratives found in gaming. Do I have that right?In our other podcasts I've been really interested in what brings disparate people to these emerging hybrid media spaces. They come from film, dance, theater, visual art, and gaming. I think you're the first person in our podcast series making connections between Pynchon and James Joyce with interactive gaming structures. I'm curious about how you came to make these connections.NF: When I got interested in literature I was drawn to postwar postmodernist approaches to writing, like I'm thinking fifties, sixties, and seventies. But really you could stretch it from a Borgesian and Joycean and Steinean space up through the modern day. There's still authors like Ali Smith doing stuff like this. But when you look at like things like Pynchon and Nabokov in particular, their works start becoming a little bit obsessed with interpretation. Interpretation becomes the center of the novel. The novels become games about interpretations. There are other authors in that space who are really breaking down the sense of what you're supposed to consume from the story because they are, in a meta way, thinking about the fact that you're interpreting them. Whether it's Crying of Lot 49 asking you to think about what communication systems are and then challenging you on how we interpret conspiracies. And that's also all over Foucault's Pendulum. Or a book like Lolita, which is basically laughing in your face about your attempts to understand it. Or Pale Fire for that matter, which I think is an even deeper experiment. What you see over and over again is this idea that the novel is a game that the reader is playing with the novelist. It's not a puzzle. You're not going to get the answer out of it. That's not the point. And certainly postmodern poetry and people like Asbury would argue that if you got one meaning out of a poem, you didn't really read the poem anyway. The work becomes something that you as the audience have some ownership of because it is open to you and because it's an ambiguous object that you have to work with. That's what got me. I was already, just from roleplaying, very used to the idea that I participate in stories and that they come from this relationship with me and the text.So I don't like talking about interactive narrative. I think that's a bad phrase because I I'm always interacting with story. That's not new, what's new is the types of affordances of interaction that I get from stories, and what the possibilities for changing those stories are, and how much the story is a fixed thing that I encounter, and how much the story is flexible to my input. To me, the literature study was partly just giving me an outlet for stories and a place where stories can actually be quite experimental because when you just write it's cheap to make crazy worlds. It's the same amount of ink to write a crazy world as it is to write a realistic one. You can go very far with literature in a way that would be harder to do in film because you have to shoot all that stuff. The drive of novels from the modernist period on has been a drive towards more and more stylistic experimentation and that has been really engaging to me because you start seeing it as almost a formal thing. You can look at it like a structure and then you can see that the structure is doing something. Joyce's Ulysses is an excellent example of that. Each chapter is written stylistically and formally different. There are chapters that are dialogues, there are chapters where the stream of consciousness changes radically, there are chapters that drift, and that's part of the narrative. If you go back to the Oulipo experimentation that Calvino and other French and Italian authors were doing, they were literally creating that whole idea of branching trees. You start to see that there are patterns of structures of story that we can start to establish.That's the approach I take to this question of rhetoric. Exploration is a set of tropes, and branching is a set of tropes. It's similar, whether you're branching in a YouTube video or branching in a choose your own adventure, or branching in a game like Until Dawn. The branching is similar, it has similar tropes. So we can look at it structurally and say, well, what does the structure do? How do the choices in the design of the structure change things independent of content. And then what is the intersection between the content and the structure?DYNAMIC STRUCTURES AND GAMESIt's interesting to note how the strategies found in avant-garde and experimental literature have leaked into, or have become one of the dominant ways of constructing narrative within popular culture, video games, and even marketing. What was on the periphery has, in a sense, moved to the center and become part of the entertainment industry.NF: I think so because as you start moving into more dynamic and particularly digitally dynamic work it starts to have to be structural. Although that spills back into the analog, especially as internet of things (IOT) becomes very reduced in size and cost and technology starts coming back into the real world. You start seeing this there too.I'm riffing a lot on arguments in a book called Expressive Processing by Noah Wardrip-Fruin. If I make a piece of work that changes with every user and produces a different outcome, then the output of that work is not really an analysis of that work. If the work has a hundred thousand possibilities, one possibility is such a small segment of what it could be. That it gives me information as a user, but I can't really critique the work from that perspective. I have to look at the structure because it's procedural, it's not predetermined. And I think as we start moving into works that are like that, and since computers enable us to do that, that's what computers are good at is that kind of dynamic procedural, then we start to see that structural analysis and system design become more and more important. As it does, and we see the affordances that has, we can start pulling those affordances into other forms where we see similar audience relationships. So I don't think: does theater need this? Does film need this? Does installation need this? No, It doesn't need it. You can make good art without it, and obviously we have made thousands of years of good art without it, but the possibilities of the art change when you start seeing those things. That's why I think it's starting to permeate. Digital games are a very big industry and there's been a lot of really interesting storytelling in them. I don't think all people who study this stuff know that because it's locked a bit behind barriers of picking up a PlayStation 4 controller and trying to get through it. Shadow of Colossus, for example, is one of the most important digital works ever made. But not many people experience it because it's a really hard digital game. And it has to be hard. That's part of its aesthetic. But I think that the people who have bridged this are starting to see that you can inherit things from those forms into these other spaces. That's just changing the way we think and then you start to see work in the world that is just more procedural. Work that does just become more dynamic in its nature. Then you end up with stuff like LARP (Live action role-playing) where, you can't make LARP the way you make theater because I don't know what the players are gonna do. So my scripts in LARP can't be like a theater script, it doesn't make sense. I need a structure that will support 40 people running around doing random things.PARTICIPATORY EXPERIENCES DRIVEN BY TECHNOLOGYThis brings me to theater, particularly two participatory theatrical installations that you co-created. First, Frankenstein AI: a monster made by many which was an AI powered immersive experience that premiered at the 2018 Sundance Film Festival. And The Raven, which was performed as part of the Lincoln Center's New York Film Festival in 2019. Tell us what audiences might have experienced when they participated in Frankenstein AI and what was the genesis of that work?NF: Frankenstein AI has had a couple of different forms. Its original form was a small audience immersive experience where you came into a room and you interacted with another audience member at a surface computer that was like built into a table. It was formulated as an artificial intelligence asking you questions about what it was like to be human and you're sort of marking values on the table using a physical computing device that looked like an ouija board. That information was sent to an actual AI that was in a cloud which was used as the seed to determine a mood that the AI had. And then when you finished that exercise, you were brought into a room that was mapped with projections and IOT procedurally played drums and you would have a chance to talk to the artificial intelligence. The artificial intelligence would generate a question and then it would be delivered in text to speech to the audience in the room. And then the audience in the room would direct the docent to type a question into a typewriter and that would be sent back to the AI. This was all formulated where there's this AI that's been created, it has escaped into the internet and it is trying to understand what it is and what humanity is. And it's using the narrative of Frankenstein as this thing that was created that doesn't understand its role as a seed to understand where it's going. The whole thing was essentially a meditation on two things. One is this question of what is AI and what should we be worried about AI? These were the conversations that I had with Lance Weiler and Rachel Eve Ginsburg who were the co-creators of that project. My big argument was that everyone worries about Terminator, but what we should really be worried about is Kafka. AI is not a monster that takes us over. AI is a thing that doesn't understand us and then just acts procedurally in ways we don't understand.This is around the time that Microsoft had released an AI that became wildly racist and we were thinking about what it meant that we're teaching AI and how could we make a piece that gets people to reflect on the idea that we're engaged with artificial intelligence in the world? We are training it and we are going to teach the AI what it does. So if that's the case, what is our responsibility? The whole piece was kind of a meditation on that process. I did the creative technology design on that and some of the interactive narrative design of the sequencing of it. I'm very proud of that piece personally, because it was the first piece of creative technology that I ever actually showed in an exhibit. I worked on the technology that connected all of devices. So it meant that when the AI changed mood, the projections changed, and the drums changed and it pulled the AI's response and then fed that into the speech to text and delivered it into the room. So I basically did the technology that connected the surface tables to the AI, to the projectors, and to the drums. This was a topic of research I've had for a long time about how technology could be used to create these like kind of seamless connections between things. You didn't see anything happen, you just asked a question and suddenly the projections and drums changed. I call that seamless technology—technology that doesn't have clear lines where it connects. I think that could be a kind of magic and that was important to me. What did you learn from producing Frankenstein AI that changed your approaches when you then began to develop The Raven? How does The Raven work as an experience that grew from or built upon your previous work?NF: The Raven was an immersive performance where we allowed an audience into The American Irish Historical Society where they experienced a magically real story of Edgar Allan Poe's The Raven. The center of the technology of the piece was that every user had a lantern that they carried around with them. The lantern was an IOT device that was reading beacons in the space and connected to a central system. The audience also had a set of headphones that were playing audio for them. So most of the audio that was present in the piece came from the headset that was being played based on where they were and based on a character they picked at the beginning of the piece. Everyone was sort of playing a performer in the piece. The performer Ava Lee Scott, who was playing Poe and co-wrote the piece, was moving through the space as Poe meditating with these characters. But you, as the audience, were one of the people that Poe knew from his life or his creations. What Lance Weiler and I carried from Frankenstein AI was this idea that we could create a central technology system that was guiding all these users without having to have actors on top of those users moving them around. And that the storytelling could really be based on their decisions, because it was in part based on where you went and what you encountered. The other thing that Frankenstein AI taught me, in a real sense, was that these technologies could be stable. The work had a server system, that's how it ran, it was a server that was running on a small piece of technology called the Raspberry Pi. We turned it on and on the first day when we were running it we just didn't turn it off. We wanted to see if it would stay up overnight. And then we didn't turn it off for two full weeks. It just ran nonstop for two weeks and it never broke. We never had to restart it. So that taught me these things can be made battle ready. We brought a similar kind of technology to The Raven. There were obviously different technical constraints to The Raven and there were different bugs we were facing, but we went through a similar process of creating a central system that guided the narrative. If we do that right and we have the right affordances to connect to the audience that can take the place of a bunch of docents, a bunch of rules, a bunch of structures, and people can just explore. Then through that exploration they can find story. I should say that we worked with pretty robust technologies on that project. We were in partnership with Microsoft and we were using pretty heavy Azure servers and things like that, but it was not for heavy lifting stuff. It was for reliability of the delivery of the material. And then we built this gigantic XML file that was the branching script of the entire piece so that we knew where people were. We could time lights and sound cues and things like that.THE LIMITS OF THEATERWhat I find compelling about both of these projects is their capacity to posit alternative models for theater's future. They either directly or implicitly suggest that theater needs to be remediated or fixed. For the purposes of this discussion, can I make that assertion?NF: Yeah, I will also defend traditional theater, but… [laughs]That's good [laughs], but what is it about certain kinds of theater that need to be remediated and how are your explorations accomplishing this? I'm very careful to say alternative models and I'm not asking you to generalize. I think from our audience's perspective, people are going to ask: what's wrong with the kind of theater that I do? And why do I need these other systems? Why do I need to even consider these technologies? All these kinds of questions are implied, for better or worse, in the kind of work that you're proposing and the kind of exciting research that you're carrying out.NF: First of all, there's just aesthetic possibilities that are very hard to create in a linear format like theater. Guilt is hard to create in an audience. Triumph is hard to create in an audience because they don't do anything. You can get to shame, but there's types of shame you can't get to. So there's aesthetics that become possible just when someone is culpable and when someone has the ability to achieve. That becomes kind of interesting. Games have lots of emotions attached to victory and failure that can be leveraged in all sorts of interesting and weird ways. There are pieces like The Privilege of Escape, which was an escape room that was a meditation on systemic bias. That's an interesting example of a piece where the designer was trying to use the affordances of games to demonstrate a problem in the world. And games typically do that. There's just pure emotions that are inaccessible to linear media. I think because there aren't affordances for the audience to access them, despite the diversity of emotions that these forms can create. The second possibility is, it's a question of how you want to engage with your audience. As an artist, I don't really like telling people stories, that doesn't really engage me.You're the second person we've interviewed who has talked disparagingly about stories and storytelling. Say more about that.NF: I don't mind being blunt about this. I'm not that interested in my biology. I'm not that interested in my history. I don't find those things that interesting. I don't think I have a vision of storytelling that's so powerful that some muse came to me uniquely and now the word of heaven is coming through my body or something. And this isn't to knock people who do that, there are geniuses who make that work, but that's not how I create and that's not what I do. What I want is to play with you. I want to be able to engage with you and you know, catch the ball you throw and throw it back. And this isn't altruistic just to be really clear, I mean I like doing that with people, but it's also really fun to catch a bunch of balls coming at you in crazy directions and keep the whole thing on track. There's an artistry to that. That's what running an RPG is, it's like throwing track in front of a moving train. So I think that's really powerful and you get things that you would never get otherwise. Similarly, if you jam you get something that you would never get when you compose. The improvisation and the participation of other people leads you to create something new and you can do that with audiences. And you can do that with audiences in ways that don't make crappy, thin, gray, over-democratized work. Because I'm not saying that's not a problem, if you just let everybody come in and cook in the kitchen then you get no food or you get bland food or inedible stuff. Structures make it possible for people to participate in ways that are meaningful, but controlled, that fit within the aesthetic. So people understand what kinds of creations are possible in this space. And that is a whole set of techniques that then allows audiences to come in completely ignorant of what you're doing and then tell a story that they helped make that is still in the aesthetic you wanted. There's a magic to that that I think is really powerful. It opens up whole new kinds of forms and it's a different way of engaging with the world for the audience and I think that's powerful because we haven't really seen it before. There are some experiences like that, but they tend to be very high demand on the creativity or they tend to be gate-kept or they're high skill-based. And what immersive theater can do that I think is unique and independent of digital games and LARPs, is that they can be approachable. I can show up and not really know much and still participate. And I think that's a space that's really powerful. And then the third beat that I just have to mention all the time is that tickets are very expensive to these things. They charge a lot of money to get people into those things. I think that there's opportunity, from a business perspective, if you can figure out the scaling. You're seeing pieces like Particle Ink in Las Vegas which is a piece with projection mapping and dance where they're starting to figure out how to grow the audiences in ways that don't hurt the piece. You start looking at genuine business models for keeping those things up. What are other business models that can keep dancers, actors, and set designers involved? Because none of those people are going away in immersive theater, we need all of those people. We need them the same way we need them in other forms. It's a parallel skill if not an identical skill right. So we're not telling actors they're out of work. We had actors in The Raven, the actor was the center of The Raven in a lot of ways, but the actor was supplemented by all of these other things to create a new form where people can explore and make choices and feel directly engaged.NEW FORMS OF PEDAGOGYGiven this technologically seamless environment within which performance might take place, do you see the training of actors taking a different path? Or different ways for how writers produce scripts? Do we need new kinds of training for scenographers, sound and lighting designers that will accommodate and respond to these ideas and new approaches to performance? NF: Well acting, for example, in these kinds of cases, has a lot more improvisation in it. It's much more deeply based in that kind of improvisation, but it's also a lot about vulnerability. This is something that I'm just going to riff off of a writer and actor that I know Char Simpson would talk about. Char was part of the Blackout Haunted House for many years and talks very much about how they created vulnerability and that the creation of vulnerability was really important. That becomes a different way of thinking about acting. But also the idea that an audience member might ask you your favorite color and you need an answer that seems natural. That's a more roleplaying kind of acting than I think some actors are trained in, of course some actors are good at that. You don't know what's going to happen so you can't write a script the way you would normally write a script. It has to have some variation in it. You have to think about it more like story, like world building. I think directing changes because I don't know when we're gonna hit a specific moment or I don't know what perspective I'm gonna be coming from in a specific moment. So I have to think differently about that too. And you see that in digital games which will sometimes have cut scenes that are very film-like, but they'll also have scenes where users can walk around and watch what's happening. Which is why when we talk about VR we talk more about immersive theater because the viewpoint is not singular, it is a multiple viewpoint environment. So I'm thinking about it more from that perspective. Theater in the round is also relevant here. Again, that's not a new form, but it solved this problem. So maybe VR should look at theater in the round and then learn some lessons for how you keep an audience's attention in a broad space. And in fact, we're getting that big, we could think about station-based theater where people are really just drifting over a whole plaza and engaged in an experience. Are these forms going to change acting, writing, directing and set design? Sure, of course they are because the affordances of the audience are going be different and that's going to lead to different outputs. But it's not like we made up all this stuff just because the technology came along. We had happenings, we had station-based theater, we had rituals.I'm thinking about the Ramlila which I participated in India many decades ago in Varanasi. This is a month-long event that is played out over the entire city in which the inhabitants take on all the various roles. The city performs and becomes an immersive ritual and religious space. So there are absolutely precedences that are centuries old that we can draw upon. I'm thinking about how the pedagogical needs of theater will continue to change in response to these new forms that are becoming more and more central to our lives.NF: Yeah I teach immersive and dynamic narrative and I teach it in the way that we've been talking about. I teach it in this very broad, cut-across-media way. Media does not matter for the purpose of the class, that's not what it's about. It's about the tropes that the media use and how those things relate. And then you see this in disciplines like narratology where people are really coming at narrative from lots of different directions and trying to figure out how stories get told.Another point that's just very important to me is in the intersection of these forms. Because you're not going to get immersive theater from theater alone. There's a bunch of pieces that theater doesn't really know about like interaction design and a sort of multiple viewpoint about the pacing for that kind of stuff. Games understand that, but games don't understand what theater's good at. Games don't understand how you create scenes or understand how you create dramatic power, and games don't understand the value of liveness, frankly. Some of that we can get from LARPs, but LARPs aren't theater either. So it really is in the intersection of all of these fields.I think more of this is happening. You're seeing escape rooms get more theatrical. I think it's too slow, like way too slow. We could have gotten to where we are five years ago and we could be five years ahead of where we are right now. But you're starting to see some of that thinking happen. You're starting to see immersive pieces that are bringing some game elements into them. You can have conversations with people about VR where you talk about digital games and they don't scoff. This focuses again on the ideas of interaction and affordance and how those relate to storytelling that changes the orbit of everything. And then the skills that people have been learning, like the acting, writing, directing, set design, costuming, they all have a place. They're all going to be there, they're just going to circle around a different sun. And that sun is this audience member who can change what you do. That's different.Nick, thanks for all of the conversations we've had. I look forward to working with you. I think you're a really important thinker and maker, and your experiments and research bring a lot of insight into the future of performance.NF: Thank you, I appreciate that there are people like you that are thinking about these problems and working in these problems. Like with your own wonderful work and that podcasts like this exist to have these conversations. I look forward to a really bright future because there's other people like you in it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In this (almost) final episode, recorded live on Bloomsday at the American Library in Paris, Alice, Lex and Adam reflect on their Joycean odyssey and answer such frivolous questions as “If you had to live in one of the episodes for eternity, which would it be?” and “Which line from the book would you like tattooed on your forearm?”We will record one final episode dedicated to listener questions. If you have anything you'd like us to reflect upon, please send your questions to: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux.Photo by Silvia Regonelli See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
In this special episode Alice, Lex and Adam geek out with the man who—Joyce aside—has probably been cited more than any other in our podcast: Professor Declan Kiberd. Professor Kiberd is the author of Ulysses and Us: The Art of Everyday Living, as well as the introduction to the Penguin Classics official partner edition.Buy Ulysses and Us: https://shakespeareandcompany.com/I/9780571242559/ulysses-and-us-the-art-of-everyday-living*In Ulysses and Us, Declan Kiberd argues that James Joyce's Ulysses offers a humane vision of a more tolerant and decent life under the dreadful pressures of the modern world. As much a guide to contemporary life as it is virtuoso work of literary criticism, Ulysses and Us offers revolutionary insights to the scholar and the first-time reader alike. Leopold Bloom, the half-Jewish Irishman who is the hero of James Joyce's Ulysses, teaches the young Stephen Dedalus (modelled on Joyce himself) how he can grow and mature as an artist and an adult human being. Bloom has learned to live with contradictions, with anxiety and sexual jealousy, and with the rudeness and racism of the people he encounters in the city streets, and in his apparently banal way sees deeper than any of them. He embodies an intensely ordinary kind of wisdom, Kiberd argues, and in this way offers us a model for living well, in the tradition of the literature upon which Joyce drew in writing Ulysses, such as Homer, Dante and the Bible.Declan Kiberd is the author of Inventing Ireland: The Literature of the Modern Nation, which won the Irish Times Prize in 1995. It is one of the most influential works on Irish culture published in the last twenty years. His Irish Classics came out in 2000 and won the prestigious Lannan Prize in the USA. He is the Professor of Anglo-Irish Literature at University College Dublin and is a widely respected broadcaster, critic and reviewer.*A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode nine, Alice, Lex and Adam finish reading Ulysses... Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com *Special thanks to Geoff Hewitt for saving this episode's audio! A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. * Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-company SUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURES All episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections. Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandco In addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit. * Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/home Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.
In this special bonus episode Lex Paulson speaks with Daniel Mulhall, author of Ulysses: A Reader's Odyssey and Ireland's ambassador to the USA.Buy Ulysses: A Reader's Odyssey here: https://shakespeareandcompany.com/I/9781848408296/ulysses-a-readers-odyssey*Marking the centenary of Ireland's – and possibly the world's – most famous novel, this joyful introductory guide opens up Ulysses to a whole new readership, offering insight into the literary, historical and cultural elements at play in James Joyce's masterwork.Both eloquent and erudite, this book is an initiation into the wonders of Joyce's writing and of the world that inspired it, written by Daniel Mulhall, Ireland's ambassador to the United States and an advocate for Irish literature around the world.One hundred years on from that novel's first publication, Ulysses: A Reader's Odyssey takes us on a journey through one of the twentieth century's greatest works of fiction. Exploring the eighteen chapters of the novel and using the famous structuring principle of Homer's Odyssey as our guide, Daniel Mulhall releases Ulysses from its reputation of impenetrability, and shows us the pleasure it can offer us as readers.*Daniel Mulhall was born in Waterford. He has spent more than 40 years in Ireland's diplomatic service, and is currently Ireland's ambassador in the United States. He has written and lectured around the world on the subject of Irish literature, and in particular the work of James Joyce, and has worked tirelessly throughout his career to further the impact and reach of Irish writing around the world. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode eight, Adam helps us understand the strained, clumsy style of Eumaeus and investigates Bloom's double-entry accounting; Alice alerts us to the one-eyedness of narrative and makes the case for the democratisation of art; while Lex praises the mood of Eumeaus and the innovation of universal basic income. In this episode, the fearless trio follow money, water and manufactured meat tins, as well as Stephen and Bloom, who finally spend a little time together. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com. A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy.Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. See acast.com/privacy for privacy and opt-out information.
The Sisters follows the journey of a young boy dealing with the death of the local priest with whom he had developed a close personal relationship, however in true Joycean fashion, not all is as it initially seems either in the relationship between the boy and priest or the exact circumstances of the priest's life and death.#gotjoyceRead The Sisters Online:https://www.gutenberg.org/files/2814/2814-h/2814-h.htm#chap01Intro Music:https://commons.wikimedia.org/wiki/File:GalwaySession1.ogg
Set in a maternity hospital, “Oxen” parodies the development of English prose. A celebration of maternity or a rival creative feat? Joyce called it the most difficult episode “to interpret and to execute”; we talk about the shortcuts he took in composing it and its unexpected humor. Joining us are Greg Harradine, composer in the Scottish Borders, Emmet O'Cuana, Dublin writer living in Australia, and Chrissy Van Mierlo, Museum director at Loughborough Bellfoundry, UK, and recovering Joycean.
Friends of Shakespeare and Company read Ulysses by James Joyce
Bloomcast | Episode 7 | Circe Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode seven, after staggering through an attempt to summarise Joyce's unstagable play, Lex unpicks the influences at work in this episode, Alice considers the impact of Freud on Joyce, and Adam finally tries to get to grips with the figure of the Arranger. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. * Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-company SUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURES All episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections. Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandco In addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit. * Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/home Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode six, they discuss the obscenity trial that got Ulysses banned from the US for more than a decade, whether Joyce is a genius or a show-off (spoiler alert: he's both), animal consciousness (again!), and—ahem!—fun things you can do with your hands . . . Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. See acast.com/privacy for privacy and opt-out information.
In the first very special episode of tipsyturvy Ulysses, Eric, Wendy, and Shinjini set aside the next episode of Ulysses in favor of a Joycean digression. Eric introduces Wendy and Shinjini to some of his favorite allusions to and imitations of “Calypso”—specifically, a passage from Zoë Wicomb's David's Story (2000) and a response to a short story assignment from a class in which Eric taught Ulysses. (If Joyce has any serious competition in Eric's heart, it's Zoë Wicomb.) Recommended Resources: Eric's article on Ulysses intertexts: “Tupperware and Flowerville: Consumerism, identity politics, and intertextuality in David's Story and Ulysses” The novels of Zoë Wicomb, especially David's Story and Playing in the Light Wicomb's essay about “coloured” identity and immediately post-apartheid politics in South Africa: “Shame and identity in the case of the coloured in South Africa” A great essay about the history of “coloured” identity in South Africa during and after apartheid: Mohamed Adhikari, “Hope, Fear, Shame, Frustration: Continuity and Change in the Expression of Coloured Identity in White Supremacist South Africa, 1910-1994” Eric's style imitation assignment Theme song: “Come on Over” by Scalcairn, via Blue Dot Sessions Special thanks to Carin Goldberg, whose cover design for the Gabler edition inspired our logo, and Caroline Smith, who allowed us to read and discuss her excellent short story. Eric recently discussed Ulysses as a guest on the library research podcast Lost in the Stacks with future tipsyturvy Ulysses guest Charlie Bennett as part of their ongoing series "How to Read a Book."
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode five, Lex regales the group with song as he unpicks the musicality of the Sirens episode, Alice ponders the relationship between music and alcohol, and Adam makes the case for Bloom and Chaplin's Tramp being long-lost siblings. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com Links: Adam Savage's YouTube channel: https://www.youtube.com/watch?v=bC11DSFBbzgTerence Killeen presents Sirens: https://youtu.be/nnFw-haE2n4 A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. * Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-company SUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURES All episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections. Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandco In addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit. * Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/home Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode four they begin by responding to a listener's request to cast the Ulysses movie, then head to the Irish National Library to dissect Stephen's Hamlet lecture and discuss whether you can separate the art from the artist, before returning to the streets of early-20th-century Dublin to question why Joyce might have considered it a “hostile environment”. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Pages 211 - 217 │Lestrygonians, part IV│Read by Lauren ElkinLauren Elkin is the author of No. 91/92: Notes on a Parisian Commute (Semiotext(e)/Les Fugitives) and Flâneuse: Women Walk the City (Chatto), which was a New York Times Notable Book of 2017, a Radio 4 Book of the Week, and a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay. She is also the UK translator of Simone de Beauvoir's recently discovered novel The Inseparables. As a former theatre nerd she is delighted for the chance to chew up some Joycean scenery, even if there actually isn't any because this is an audio book.Buy No. 91/92: Notes on a Parisian Commute: https://shakespeareandcompany.com/I/9781838014186/no-9192-notes-on-a-parisian-commutewww.laurenelkin.comFollow on Twitter: https://twitter.com/laurenelkinFollow on Instagram: https://www.instagram.com/lauren_elkin_*Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-companySUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/Photo of Lauren Elkin by Marianne Katser See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode three in they skip through main plot points of Aeolus and Lestrygonians, ask what these chapters might reveal about Joyce's views on technology, discuss the role of rhetoric in shaping the novel, and turn to a Leonard Cohen for help in understanding the formal innovation that appears in these pages.Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com The Ulysses guides they refer to include:Kiberd, Ulysses and Us: https://shakespeareandcompany.com/I/9780571242559/ulysses-and-us-the-art-of-everyday-livingHastings, The Guide to James Joyce's Ulysses: https://shakespeareandcompany.com/d/9781421443492/the-guide-to-james-joyces-ulyssesKilleen, Ulysses Unbound: https://shakespeareandcompany.com/I/9780141999760/ulysses-unbound-a-readers-companion-to-james-joyces-ulyssesGilbert, James Joyce's Ulysses: A StudyBlamires, The New Bloomsday Book A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux. See acast.com/privacy for privacy and opt-out information.
In episode 198 UNP founder and curator Grant Scott is in his shed reflecting on a considered response to the podcast and hearing from Jim Mortram about #PhotoPrintDay. Plus this week photographer Alen MacWeeney on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Born in Dublin in 1939, Alen MacWeeney became a press photographer for a local newspaper in 1952. One of his earliest bodies of work was of the semi-nomadic Irish travellers, images that were also turned into a movie, broadcast on RTÉ and BBC 4, and included in Itinérances, 28th Festival Cinéma d'Alès, which MacWeeney co-directed. MacWeeney left Ireland and moved to New York in 1961 to assist Richard Avedon. His work was getting noticed, resulting in them being shown in the Museum Of Modern Art. After working on glamorous shoots for influential titles such as Vogue and Harper's Bazaar in Paris and New York City, MacWeeney had become disenchanted with the highly stylised nature and limitations of studio photography, and was becoming more interested and influenced by the work of documentary photographers such as Robert Frank and he returned to Ireland in late 1962. He then began an extensive career in commercial and editorial photography. His personal work from the mid-1960s capture the misty streets and cozy pubs of Dublin with Joycean affection. There are also sprawling country landscape views with flocks of sheep and ancient cairns. MacWeeney's best-known work from this period is his series and book Travellers: Tinkers No More. At a time when this centuries-old itinerant culture shifted from horse-drawn conveyance to motor-hauled caravans, the he explored their makeshift camps with his camera and tape recorder. His work is included in the collections of the Museum of Fine Arts Houston, the Museum of Modern Art, New York and the Art Institute of Chicago. MacWeeney's photographs have appeared internationally in magazines and books: among them, The New Yorker, The New York Times Magazine, Esquire, G.Q., Life, The World of Interiors, American Photographer, and Aperture, amongst many others. His work has been published books including: Irish Walls; & Ireland, Stone Walls and Fabled Landscapes, Bloomsbury Reflections, Charleston: A Bloomsbury House and Garden, The Home of the Surrealists, Spaces for Silence, Irish Travellers, Tinkers No More, Once Upon a Time in Tallaght, and, Under the Influence. MacWeeney's archive resides at Cork University and he lives in New York and Sag Harbor, with annual travels to Ireland. www.alenmacweeney.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). Grant's book What Does Photography Mean to You? including 89 photographers who have contributed to the A Photographic Life podcast is on sale now £9.99 https://bluecoatpress.co.uk/product/what-does-photography-mean-to-you/ © Grant Scott 2022
Friends of Shakespeare and Company read Ulysses by James Joyce
Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. In episode two, your hosts provide zippy overviews of Calypso, Lotus Eaters and Hades; respond to listener comments, discuss the centenary; and mull over the arrival of Leopold Bloom (Who is he? Why do we follow him to the outhouse?), animal consciousness, reincarnation, and the point of interior monologue. Guided by Kevin Birmingham, Montaigne, Aristotle, Samuel Beckett, Homer, William James, and (as ever) Frank Budgen, they reflect too on how trauma lives within us, what Bloom can teach us about life and death, and the difference between fictional and historical narratives. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.
Friends of Shakespeare and Company read Ulysses by James Joyce
Bloomcast │Episode 1│Telemachus, Nestor, and Proteus Welcome to Bloomcast, a ten-part plunge into James Joyce's Ulysses presented by Adam Biles, Alice McCrum, and Lex Paulson, live from Shakespeare and Company bookshop in Paris. Join them as they muddle through this radical, sublime, and often misunderstood novel first published one hundred years ago, in 1922. Voilà! Here is episode one, in which they discuss: the reasons to read Ulysses (and how not to); Joyce's ambitions, gifts, and wiles; the historical, cultural, and biographical context of the novel; the women that brought his epic to life; as well as the first three episodes of the novel,, featuring Stephen Dedalus, Buck Mulligan, William Shakespeare, Leo Taxil, and the most famous nose-picking in Western literature. Please share your thoughts on the book and anything you'd like to hear us discuss: ulysses@shakespeareandcompany.com A student of environmental policy at Sciences Po-Paris, Alice McCrum runs programming at the American Library in Paris. In between fits of Joycean nerdery, Dr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco. An adopted Parisian, he teaches at Sciences Po-Paris and writes on the past and future of democracy. Adam Biles is Literary Director at Shakespeare and Company, Paris. He is the author of the novel Feeding Time, available in French as Défense de nourrir les vieux.*SUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Spotify here: https://anchor.fm/sandcoSubscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSHear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.
Transcript here: https://otter.ai/u/SAYxnj1Va5RQSZVcWZy_VBwqCgQ This episode, we speak with José Vergara, author of All Future Plunges to the Past: James Joyce in Russian Literature. José Vergara is Assistant Professor of Russian at Bryn Mawr College. His teaching interests cover a wide variety of topics: Russian language, prison literature, Chernobyl, Russian Novel (of the classical and experimental varieties), and contemporary Russian culture and society. We spoke to José about what inspired him to study James Joyce's influence on Russian writers, the five major Russian authors he studied, and the Joycean themes he found in their work. If you'd like to read Jose's new book please use the promo code 09POD to save 30 percent. If you live in the UK use the discount code CSANNOUNCE and visit the website combinedacademic.co.uk.
All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment. José Vergara is Assistant Professor of Russian at Bryn Mawr College. Learn more about your ad choices. Visit megaphone.fm/adchoices
All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment. José Vergara is Assistant Professor of Russian at Bryn Mawr College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment. José Vergara is Assistant Professor of Russian at Bryn Mawr College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment. José Vergara is Assistant Professor of Russian at Bryn Mawr College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment. José Vergara is Assistant Professor of Russian at Bryn Mawr College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
All Future Plunges to the Past: James Joyce in Russian Literature (Cornell UP, 2021) explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or translations, of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment. José Vergara is Assistant Professor of Russian at Bryn Mawr College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies
Woot woot! Enter the hero--Daenerys Targaryen! Welcome to GoTTalkPod! Game of Thrones/A Song of Ice and Fire Book discussion and analysis. Dany One is everything that the preceding chapters are not. In this chapter, Robert is the usurper, Viserys is the rightful king; children have no parents and no home; slavery is illegal but it nevertheless exists; all the traditional signifiers of power and authority are absent. The only sense in which anything in the series is familiar and has been seen before is Viserys appears to be just another "lost boy" in the same vein as Waymar Royce and Theon Greyjoy. Another source of continuity is that we've been setting up for this chapter throughout the early potion of the book. George has been priming the Joycean pump in prior chapters, and here it finally pays off. The point-of-view structure, maturity, usurpation, parallax and indeed, metempsychosis are all evident here. The early action of the chapter also tracks the structure of the first chapter of James Joyce's Ulysses. In this episode, we discuss how those themes are expressed in Dany One. For a more detailed discussion of Joyce's influence on the Song of Ice and Fire, please do give a listen to the Bloomsday special episode. Note that these re-read episodes are always spoiler free, while the special Bloomsday episode does contain major spoilers. ***The chapter-by-chapter reading will be spoiler free unless otherwise indicated.*** Please do interact with the show. You can reach GoTTalkPod through the voice message feature on Spotify. As appropriate, your comments may be included or addressed in future pods. Get in! Get involved! --- Send in a voice message: https://anchor.fm/glen-reed/message
1) The maths of culture / the culture of maths Where math meshes with literature and the theories of Gödel mesh with the imaginings of Joyce 2) Good and Bad at Maths Italian mathematical philosopher and Joycean, Piergiorgio Odifreddi on why numbers never click for some people 17/06/16 p.s. Happy birthday professor! And thanks for your lessons. --- Send in a voice message: https://podcasters.spotify.com/pod/show/vito-rodolfo-albano7/message
Welcome to GoTTalkPod! Game of Thrones/A Song of Ice and Fire Book discussion and analysis. Catelyn One occupies an important location in the physical and emotional geography of the book, sandwiched as it is between Bran One and Dany One. The series is about kids maturing, and we can't talk about kids without mothers, so Cat's role here is to provide the motherly presence that has been lacking in the first few chapters, and that will be so obviously and desperately needed in the following Dany chapter. This chapter also delves deep into the history of Starks, the Weirwood and Winterfell, as well as the various magical and mythical creatures in the series. We focus on the symbolism and possible Biblical and literary associations of Winterfell, Ice, the Stark words "Winter is coming," and finally on the significance and associations of the name Cersei, with a stopover in Pedantry Corner. We argue that the chapter primes the Joycean pump for the rest of the book and series. Cat One begins with a reference to Riverrun--the first word of Finnegan's Wake--and ends with a reference to Cersei, the title of the longest and perhaps most disturbing episode in Joyce's Ulysses. And then there's the small matter of the point-of-view structure, which Joyce popularized. We discuss these issues and more in the Bloomsday special episode, so please do go there for a deeper dive into Joyce's influence on the Song of Ice and Fire. Note that in contrast to these re-read episodes, which are always spoiler free, the special episodes do contain major spoilers. ***The chapter-by-chapter reading will be spoiler free unless otherwise indicated.*** Please do interact with the show. You can reach GoTTalkPod through the voice message feature on Spotify. As appropriate, your comments may be included or addressed in future pods. Get in! Get involved! --- Send in a voice message: https://anchor.fm/glen-reed/message
Exploring “Nestor,” the second episode of Ulysses, we think about teaching as farce and learning as historical trauma and collaboration. We listen to a conversation between students at Caffè Strada, Berkeley, and we talk with three guests: Garvan Corkery, a lawyer from Cork, Ireland; Robert Spoo, Chapman Professor of Law at the University of Tulsa; and Jeffrey Nishimura, Chair of English at Los Angeles City College. Along the way, we talk about Jewish migration to Cork and Joycean reading groups in Los Angeles.
James Joyce’s Finnegans Wake doesn’t work like other novels. It has lines like: “What clashes here of wills gen wonts, oystrygods gaggin fishy-gods!” In some ways, this makes the book almost impossible to read. H.G. Wells told Joyce, “You have turned your back on common men — on their elementary needs … What is the result? Vast riddles.” The Wake doesn’t have to be difficult, though; you don’t have to read it as a collection of unsolvable riddles. In Finnegan and Friends, we don’t regard the Wake as something to decode completely. Instead, we find in the book a well of inspiration for endless exploration. When you accept that you can’t perfectly decipher this thing, you set yourself free to notice rather than solve, and you’ll start to notice a lot. You’ll notice, for one thing, that Finnegans Wake deals with basic, shared, elemental experiences—of dreams, of water, of private chitchat. And it does all this in its own dreamy, fluid language. As Samuel Beckett wrote, of Joyce and the Wake: “His writing is not about something. It is that something itself.” Finnegans Wake also consoles. It’s the book of death giving way to life, of a fall that generates rebirth. The story, as much as it has one, draws connections between figures associated with a fall: the central, disgraced character HCE; Humpty Dumpty; and Finnegan (from the Irish song “Finnegan’s Wake,” about a guy who falls, is presumed dead, then turns out to be fine). There’s nothing total about such falling in this book, no complete catastrophe. The fall leads us into something much weirder. Here’s a sample from the Wake itself: The fall (bababadalgharaghtakamminarronnkonnbronntonner-ronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk!) of a once wallstrait oldparr is retaled early in bed and later on life down through all christian minstrelsy. The great fall of the offwall entailed at such short notice the pftjschute of Finnegan, erse solid man, that the humptyhillhead of humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes: and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since devlinsfirst loved livvy. In collapse and decline we find hints of rebirth to some ancient glory—the return of the ancient Irish heroism of Finn MacCool. (“Hohohoho, Mister Finn, you're going to be Mister Finnagain!”) So we’re reading a book of sadness that leads to joy, of hazy connections that exist beyond gloom, beyond logic, and sometimes just at the level of sound (between Finnegan and Finn, again), all of which intimates the promise of life that never never makes perfect sense. Notice, too, that the title of the Wake lacks an apostrophe. You can read the title as an encouraging command, urging all Finnegans, all of us fallen and struggling people, to wake up into free-floating consciousness within our routine, elemental experiences. Episodes of Finnegan and Friends will trace this waking through one elemental experience at a time—of water, of dreams, of language—and each will be accompanied by notes like this one, on Joyce’s novel and on a related, Joycean life adventure. Learn more about your ad choices. Visit megaphone.fm/adchoices
In our last episode, we discussed people from James Joyce’s life who influenced the creation of Leopold Bloom. However, we left one question unanswered - why were none of these men from Dublin? Didn’t Joyce know any Jewish people in Dublin? Vincent Altman O’Connor’s research into this very question and the biography of his grandfather Albert Altman may very well be the answer to this riddle.Topics discussed in this episode include Glasnevin’s many Joycean connections, the story of Albert Altman as a successful salt merchant and politician, Altman’s connection to the Invincibles, how Altman became an Irish Nationalist, the very many details from Altman family history that appear in Ulysses, a refutation of idea that Joyce didn’t know any Jewish people in Dublin, why Joyce may have had to conceal the identity of the “real” Leopold Bloom, why it is worth exploring real world parallels to the characters of Ulysses, Joyce as a political writer, the possibility that “Leopold Bloom” really did give Arthur Griffith the idea for Sinn Fein, Joycean misconceptions about Arthur Griffith, and coded psychotropographic allusions.Sweny's Patreon helps keep this marvelous Dublin landmark alive. Please subscribe!On the Blog:Who Was the Real Leopold Bloom? Social Media:Facebook | TwitterSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | Stitcher
They both lived in a Martello Tower, sure, but what else do James Joyce and Bono have in common?We take a short break from analyzing Ulysses to take a look at one of Joyce’s early poems - “The Holy Office.” If you love 100+ year old gossip, strap in! This one gets dishy. Topics include the significance of the year 1904 in James Joyce’s life, the Irish Literary Revival, a young Joyce’s penchant for writing angry poetry, Joyce’s desire for artistic Truth rather than mere aesthetics, why you should care about “The Holy Office” and how it will further your understanding of Ulysses, The Goblin - Joyce’s unrealized literary magazine, Joycean trash talk, the laxative qualities of Joyce’s writing, how the Irish Literary revival actually reinforced Victorian class structure and cultural mores, Cheddar Goblin, and why Joyce saw himself as the Aquinas of Dublin.Sweny's Patreon helps keep this marvelous Dublin landmark alive. Please subscribe!On the Blog:James Joyce’s Poetic RageSocial Media:Facebook | TwitterSubscribe to Blooms & Barnacles:Apple Podcasts | Spotify | Stitcher
At the close of a year that has turned our lives upside down Panti Bliss hosts a special edition of Pantisocracy exploring what gives us solace and comfort and what inspires us to find the light, even in darkness. On Christmas Eve, by the fireside of a Joycean living room, she brings together a gathering of conversation and song. With her, at the James Joyce Centre in Dublin’s inner city, are singer and songwriter Maija Sofia, actor Aaron Monaghan, traditional singer Muireann Nic Amhlaoibh and her husband folklorist Billy Mag Fhloinn. pantisocracy.ie/s5e8/ for more
In The Panti Monologue Panti Bliss shares her up and down experience of lockdown 1 and 2 in Ireland during 2020 and how a new 'spirit animal' called Crayon got her up, and out of bed, when she hit a pandemic slump. At the close of a year that has turned our lives upside down Panti Bliss hosts a special edition of Pantisocracy exploring what gives us solace and comfort and what inspires us to find the light, even in darkness. On Christmas Eve, by the fireside of a Joycean living room, she brings together a gathering of conversation and song. With her, at the James Joyce Centre in Dublin’s inner city, are singer and songwriter Maija Sofia, actor Aaron Monaghan, traditional singer Muireann Nic Amhlaoibh and her husband folklorist Billy Mag Fhloinn. http://pantisocracy.ie/s5e8/ for more Read the monologue: https://docs.google.com/document/d/1nnuz6scTWcD2yo-udVIeZ7Phzi3YqidXJOdEaVRNazE/edit?usp=sharing
A Gringo Like Me - Ennio Morricone (1963) From the film Duello nel Texas, also known as Gunfight at Red Sands and Gringo. Featuring the voice of Peter Tevis. Tevis was credited with singing the theme song of the animated television series Underdog in the 1960s. In the 1970s, Tevis ran a record label called Pet Records, based in Burbank, California. The label released records designed to train pet birds to talk as well as other pet training records. Brainstorm - Lovin' Is Really My Game (1977) Canned Heat (feat. Little Richard) - Rockin' With The King (1972) Diesel - Sausalito Summernight (Live) A guilty pleasure for me, much in the vein of "Moonlight Feels Right" by Starbuck. The original song came out in 1979. This is a slick live version, replete with guests, but I still like it. Quincy Jones - Do It-To It! (feat. Little Richard) (1972) From the movie "$". What was LR doing in the '70s? Trying to carve out a living with new, flaccid original material or guesting on other people's records. Fighting the strong tide of easy money that contemporaries like Jerry Lee, Bill Haley, Chuck Berry, etc. were grabbing. GARDEN PARTY INDEED!!! AMIRITE?!? Ennio Morricone - An Eye for an Eye (1965) From the film "For a Few Dollars More", Part 2 of the "Dollars Trilogy". In 2012, that guy on the cover would talk to a chair in front of millions. Ennio Morricone - Angel Face (1965) Taken from the 1965 movie 'Una Pistola Per Ringo' directed by Duccio Tessari. This and the previous were sung by Maurizio Graf. Ennio Morricone - Un Ami (1973) From the film "Revolver", starring Oliver Reed, who was Ann-Margret's husband in 1975's "The Who's Tommy". Ennio Morricone - Nana (1982) I like this song. Isaac Hayes - Good Love 6-9969 (1971) Before the hyper-meta revival of his career as "Chef" on South Park, Isaac Hayes, boys and girls, was sort of a Barry White/Ronald Isley (reinvented) prototype, releasing long, slow grooves of a sexual nature, covering songs like 'Walk On By" by Bacharach/David, but at about 4 times longer and slower than the original to make his fucking point. His biggest hit was "Shaft", for which he won an Oscar, he co-wrote "Soul Man" for Sam and Dave, as well as "Hold On, I'm Coming". He paid his dues. While inferior to Sam Cooke, Stevie Wonder, and Curtis Mayfield, his place in popular culture was well-assured even before he sang "Chocolate Salty Balls". Having said that, after listening to some of his discography from the later '70s, I'm pretty sure he could have recorded THAT as a b-side and no one would have batted an eye. Helen Reddy - Ladychain (1975) Here is where it gets serendipitously strange. I watched "Lolita". It was ok. But I wanted to see some of James Mason's other later work. Which led me to "The Yin and the Yang of Mr. Go" from 1970. it was directed by Burgess Meredith, of "Rocky" fame. He was "The Penguin" in the campier '60s TV version of Batman. "James Mason is a Chinese-Mexican crime lord whose weapon of choice is a spear gun. Burgess Meredith is his Chinese acupuncturist/bodyguard. Jeff Bridges is a novelist of Joycean vision turning rough-trade tricks on the side." But I wanted to know who wrote these crazy songs. One of which I ripped from the opening scene on YouTube and present here in shabby audio, since, obviously, there's no soundtrack. A Marcia Waldorf wrote the lyrics. Did she sing them, too? She doesn't recall, as I immediately found her email address and wrote to her, and she replied!! She told me all sorts of tales that I will not share here, but she DID write a song that appeared on this Helen Reddy LP, and it was written about Duane Allman. And it's VERY obscure. But no more obscure than her own solo albums (there were 2) of which I play a few later on, for you. Isaac Hayes Movement - Disco Connection (1975) Isaac Hayes - Feel Like Makin' Love (1975) Isaac Hayes - Walk On By (1971) Isaac Hayes - Zeke the Freak (1978) Little Richard - Thomasine (1972) Lucifer's Friend - Toxic Shadows (1970) I just can't get enough of these Les Humphries Singer projects! This was John Lawton, who sang LHS hits like "Mama Loo" and "Sing Sang Song", and then he joined Uriah Heep and he still rocks out today with what I can only call a hair plug fiasco. Marcia Waldorf - Memoranda (1975) This is one of those times where everyone listening to this show, I can PROMISE you, has never heard a setlist that even resembles this! Quincy Jones - Money Is (feat. Little Richard) (1972) From the soundtrack to the movie "$". Quincy Jones - Bridge Over Troubled Water (1970) Quincy Jones is the father of Rashida Jones. When you look at the video for the song "We Are The World" with Lionel Richie and Mike Jackson, that older man waving a baton around, exhorting all those singers to sing their guts out for all those African warlords is Quincy Jones! When you hear that funky flute music that Austin Powers is dancing around to, that, also, is Quincy Jones! Quincy Jones - Summer In The City (1973) Quincy Jones - The Dude (1981) Sue Lyon - Lolita Ya Ya (1962) This was an example of a studio trying everything to manufacture a star, including deflowering her via a powerful movie producer. She acted in a few other things, and she wasn't bad. For my purposes, I only care about her recorded history, which consisted of one single. I suggest doing research on Sue Lyon. She was a tragic figure that didn't die soon enough, for lack of a better term. Sue Lyon - Turn Off the Moon (1962) Marcia Waldorf (?) - The Yin and the Yang (1970) - Intro with Burgess Meredith and James Mason. Waldorf Travers - Night Blindness (1979) @DarrellNutt can you make my drums sound like this? According to Marcia, this album was not released in the US. Rupert Holmes - Why Am I Walking Without You (1974) This is the same guy that would take over the sophisticated white record buyer's soul with "Escape (The Piña Colada Song)" not 5 years later. But before that, he struggled with this project and that, and...this, from the movie "Wet Rainbow", a pornographic film starring Georgina Spelvin and Harry Reems (both from "The Devil In Miss Jones", Georgina was a hooker in the first "Police Academy" movie) which by all accounts was actually a good movie. When you're a young songwriter, every opportunity is the right one. See? I just exposed you to a porno. Get right with your god, sicko. I will soon do a whole show on Rupert and Christopher Cross. But his stuff was pretty tightly controlled, so maybe not him. Ennio Morricone - The Ballad Of Hank McCain (1969) Mego - Fonzie Commercial Spot (1976)
Mr. Patrick Hastings has read James Joyce's Ulysses upwards of twenty times, and he plans to continue to read the novel every day for the rest of his life. Aren't you curious why? In Episode #7 of the Path to Follow (PTF) Podcast, Jake and Patrick discuss the brilliance of James Joyce. Patrick shares a very exciting announcement, discusses how he became a Joycean, details his experiences in Dublin, and explains the captivating essence of Ulysses. Anyone who has attempted to read Ulysses knows the novel is far from a summer beach read. It's one of the most important and difficult books ever written. And who better to explain its significance than lifelong Joycean, Gilman English Department Chair, teacher, coach, and author: Mr. Patrick Hastings. Enjoy! // Please follow @pathtofollowpod on YouTube, Twitter, PodBean, and IG. // A special shout out to Cesare Ciccanti, the technology guru.
In this Joycean epic we encounter mathematics, birthday wishes, a lost fortune, and a trying test of will. By 'will' I mean memory. It's a test of memory.
The word pandemic – from the Greek πάνδημος – means that which belongs to all people and so works as a kind of plural to the word everyman. Indeed, the Covid-19 pandemic is universal in that it touches everyone, yet it is also singular, each country, indeed, each person experiences it differently. Likewise, Ulysses is the great novel of the universal made individual, as embodied by the book's protagonist, the ‘everyman' Leopold Bloom. In this webinar, four leading Joycean scholars will discuss what Joyce's Ulysses can say about the current crisis. Speakers : Valérie Bénéjam is Maîtresse de Conférences in English Literature and a member of the L'AMo (L'Antique et le Moderne) research group at the University of Nantes (France). She has written many articles about Joyce. Catherine Flynn is Associate Professor of English at UC Berkeley where she works on Irish modernist literature and culture in a European avant-garde context and on critical theory. John McCourt is Professor of English at the University of Macerata. He is a specialist in Joyce Studies and in nineteenth and twentieth century Irish literature. Sam Slote is Associate Professor at Trinity College Dublin. He is the author of Joyce's Nietzschean Ethics (Palgrave, 2013) and is the co-editor, with Luca Crispi, of How Joyce Wrote ‘Finnegans Wake' (Wisconsin, 2007).
Joycean music with a new Pomes Penyeach song cycle, Danielle Child on how participatory art sometimes forgets about the participants, Aisling Kelliher on Instagram's charismatic flora and Jeanne Van Heeswijk on how art can save our cities
Dermot and Kelly get an insider's view of the Sandycove Martello Tower - the Omphalos of Dublin itself! Maggie Fitzgerald, James Holohan and Andrew Basquille give Blooms & Barnacles a tour of all the museum's nooks and crannies. Discussions include the Joycean historical items on display in the museum, the history of the tower, what really went down the night Joyce stormed out of the museum, how to get a milk can up a ladder, the work of maintaining a Joycean landmark, an original song by Andrew, and why exactly a museum in Dublin is flying the Munster flag. A special thanks to Michael Steen. Sweny's Patreon helps keep a marvelous Dublin landmark alive. Please subscribe! Visit Sandycove! James Joyce Tower & Museum Fitzgerald's of Sandycove - cosy pub with Ulysses-themed stained glass and the world's largest Finnegans Wake reading club Blooms & Barnacles Social Media: Facebook|Twitter Subscribe to Blooms & Barnacles: iTunes| Google Play Music| Stitcher Music Noir - S Strong & Boogie Belgique Calm Seashore - No Copyright Sound Effects - Audio Library
And we're off! It's episode 1 entitled "Those Who Have the Fuel Shall Rule!" Yeeeeaaaaah!!!! Find us on twitter @bethevee
This week’s episode is a rollicking Joycean trip around the world from Morocco to Buffalo, focusing on why great artists like James Joyce and great business people are the same sorts, generating commercial and intellectual energy through curiosity and their own skin in the game; in addition, why openness, tolerance and liberalism, are the key to a dynamic economy. Plus Hemingway, Bloom, the Erie Canal and the Ice Age! Hope you enjoy! See acast.com/privacy for privacy and opt-out information.
Speaker – Alan Friedman Scholars tend to label Samuel Beckett’s early career negatively as either his “Joyce years” or his “Surrealist period,” maintaining that Joyce’s writings had a detrimental effect on Beckett’s initial works and that Surrealism was only a minor influence. But both were critical models for Beckett. He mined his powerful predecessors for […]
Kelly and Dermot sit down with P.J. Murphy and Jack Walsh, two volunteers who are keeping the legacy of Sweny's Pharmacy alive. Sweny's, of course, is the location where Leopold Bloom bought his lemon soap. We talk the history of Sweny's, their Joyce connection and the challenges of preserving Joycean landmarks in 21st century Dublin. P.J. even shares a song at the end. Sweny's on the Internet: Website | Facebook | Twitter Subscribe to Sweny's Patreon to give a monthly donation. Subscribe to Blooms and Barnacles: iTunes | Google Play Music | Stitcher Visit Blooms & Barnacles' YouTube page for video of the interview. Music Noir - S Strong & Boogie Belgique
Rambling is fun af... Joycean. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Jane Harper discusses her enviable transition from journalist to bestselling novelist. Also, Emily Maguire on how we can relate to problematic literary heroes like Graham Greene, and Paul Lynch on the "Joycean epiphany" that inspired him to become a novelist.
It's the Strange Wolves podcast Christmas special! As always, if you are under 18, go away. If you don't, Santa won't come next year. In this festive outing, Vinny, Tom, Marcus and John are joined by um, the guy who uploads the podcasts, Barry Commins. 'Hogan's Top 3' is a Joycean stream of nonsense. Something to do with commentators' shortcomings? Who knows? The movie review this month is another JCVD film, The Quest. In a major news scoop, Vinny reveals that Kabib's dad told him that Conor McGregor will fight Tyrone Woodley next. The two recent shows, UFC 206 and Fight Night 22 are up for review, with podcast favourite Paige Van Zant suffering a defeat to Michelle 'The Karate Hottie' Watterson. Max 'Blessed' Holloway vs Anthony Pettis lost some of its lustre due to 'Showtime' failing to make weight. Donald Cerrone vs Matt Brown gets general approval. John's personal beef with Nage Shortcutt means he was happy to see him finished by Mickey Gall. The UFC's end of year show, UFC 207, is fast approaching and gets the full preview treatment here. Will Ronda Rousey return as her old dominant self, or will her big knockout and long absence allow Nunez to blow through her? Dominant champion Dominick Cruz fights Cody Garbrandt in the co-main event. Will 'No Love' have the tools to dethrone the champ? American Kickboxing Academy derails another show, and John questions their training techniques. Are the full armour sparring rounds really necessary? In the early 2017 preview, the question is posed again: Does anyone care about Tito Ortiz vs Chael Sonnen? Also, BJ Penn's continuing existence matter? Jon Jones Watch returns with a new jingle, which triggers an extended discussion on the wide variety of types of metal music (again!). #BlackMetalMatters As for Jones, are his brags really an admission of a medical problem? More importantly, what sort of music does he like? Marcus entertains with an MMA themed rendition of 'The 12 days of Christmas'. #ILoveYouJayGesus Signing off, the guys give their MMA predictions for 2017, and Vinny shares an intimate story about Joe Dolan. Contact us on Facebook: https://www.facebook.com/thestrangewolvespodcast/ or Twitter: https://twitter.com/StrangeWolves #KevinsShitMatters
Frank discusses Joycean phrases including "Pin it Down" along with actor Kevin Spacey.
Actors Morgan Crowley, Muiris Crowley and Aileen Mythen star in our festive production of James Joyce's The Dead. They took some time out after opening night to chat about the play. Hear about how they brought the Joycean characters to life, what it's like to make an Abbey Theatre debut and the musical side of this dramatisation. The Dead, by James Joyce, in a dramatisation by Frank McGuinness, runs on the Abbey stage from 5 December to 19 January. Tickets are available at www.abbeytheatre.ie/whats_on/event/the-dead
Peter heads to the National Botanic Gardens for an unusual Joycean experience featuring a special new breed of #tulip & interviews the Dutch ambassador and other special guests. Music by the Bluetones. Thanks to sponsors GreenSax.ie #gardening #dublin more info and show notes www.sodshow.com
Libby Purves is joined by Hans Klok, Adrian Jackson, Sabrina Jean, Mary M Talbot and Dave Kelly. Illusionist Hans Klok, reputedly 'the fastest magician in the world', has been performing magic since he was ten years old. He recently played shows at Caesar's Palace, Las Vegas, where Pamela Anderson was his glamorous assistant. He brings his homage to Harry Houdini, The Houdini Experience, to London. The show combines daredevil stunts, illusions and tricks. The Houdini Experience is at the Sadler's Wells Peacock Theatre. Adrian Jackson is a writer and director, who set up the theatre company 'Cardboard Citizens'. His latest play 'A Few Man Fridays' tells the story of how the British Government evicted 2000 islanders from the Chagos islands in the Indian Ocean during the cold war to make way for a US military base. Sabrina Jean's family were part of that community who eventually settled in the UK. She is secretary of the UK Chagos Support Association. A Few Man Fridays is at London's Riverside Studios. Scholar Mary M Talbot's latest book 'Dotter of her Father's Eyes' is part biography and part personal history which contrasts two coming of age narratives; that of Lucia, the daughter of James Joyce, and that of the author herself who is the daughter of an eminent Joycean scholar. Dotter of her Father's Eyes by Mary M Talbot with illustrations by Bryan Talbot is published by Jonathan Cape. Dave Kelly lost his sight fifteen years ago to a rare eye condition, retinitis pigmentosa. After two years of struggling to adjust to his condition, he was inspired to set up his own charity, Daisy UK. The charity runs sports sessions for the disabled, including blind football and wheelchair basketball. The project will use funding from Sport Relief to run one day sports courses for young people, both disabled and able bodied, and their carers. Producer: Paula McGinley.
Transcript -- A discussion about how Joyce’s environment in Ireland inspired his work.
A discussion about how Joyce’s environment in Ireland inspired his work.
In Stephen's musings on history, real and potential, Frank finds a recurring Joycean theme.
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