Cassandra Voices

Author: Neil Burns

  • David Foster Wallace’s Infinite Jest

    I have a mild neurosis, situated in Utopian wish-fulfillment, of the ideal that I often step in a prelapsarian coppice with slats of warm-light breaking the gentle canopy and then filtering on down through the trees to come to a swirling perceptible rest and thus luxuriating golden on the forest floor.

    The morning fontanelle, in its softwarm glade, peeping out, making way for noontide, and the ossified skull pivots towards Jupiter; my dumb-wondering skull swinging gallantly to the heavens, and then back again to the social world, where the overtly self-conscious auteur can record the very thing itself, Kantian logic. Which, is, seemingly, scant upon the ground these post-modern, non-ideological – apart from vast consumerism and neo-liberalist agenda(s) – days.

    Recently, I looped the meta-modernist, hyper-realist circle and reached for David Foster Wallace’s encyclopaedic, metadata novel, Infinite Jest (1996); I figured that while sedate prose is at the behest of book sellers, and publishers, means – and modes of production for the masses – I thought “To hell with this, give me a novel with shtick.” So employing a reposed epidural, I plugged into Foster Wallace’s acicular vein, man, and plunged the diviner right on into the other side.  And it is shtick all the way.

    Sigmund Freud.

    Civilized Sexuality

    In section two of Sigmund Freud’s Civilization and its Discontents (1930) on ‘Civilized’ Sexuality Morality and Modern Nervous Illness he opens up by drawing a distinction between the ‘natural’ – rampant? –  sexuality in the human, and the subservient, moral sexual behaviour in ‘civilized society,’ which delineates into sublimation, leading to one’s efforts being thrown wholly into Art and cultural activity.

    One could assert that David Foster Wallace, straddled the tumescent, guilt-ridden world of the former and then found his comfort, and solace, in the latter, where the rotating, tangible Gods are more within one’s reach if they exert themselves and actually get down to it and, libidinal energies aside, write.

    On social media, namely Twitter, a few people remarked that they had undertaken the David versus Goliath battle with Infinite Jest and retreated to safe passage, beaten some two hundred pages in. I suppose this may be permissible in others but not for anyone prepared to leave their comfort zone. So, with a slingshot in hand, I strapped on my leather sandals and headed out to the dusty milieu to grapple with the colossal swinging giant.

    The plot is tertiary to Wallace’s intellect and ego in flux. In fact it is pure vaudeville to the main circus, big-top act which is the intellect of Foster Wallace himself, and the pre-frontal cortex mythology which he conspires to create and then exudes, seemingly, so effortlessly.

    Did Foster Wallace write a capable work? That is down to the moral subjectivity of the reader, and relative comprehension of what literature is, and how far they are willing to travel to meet such a work.

    This is not a linear prose tale as we know it. What I deduced, and I have to be honest here, I skim-read some of the work, but what I was able to perceive was that a protean plot; a Joycean attempt at a quotidian epic; an idea enough to shake anyone in their cotton socks and rubber-soled plimsolls.

    David Foster Wallace.

    Nomenclature

    Foster Wallace’s reliance on nomenclature and acronyms are, well, trifling when you forget all the organisations he coins; we do know, for example, that O.N.A.N stands for Organization of North American Nations, a kind of dystopian superstate which is comprised of Mexico, the United States and Canada; and that the novel takes place during ‘The Year of the Depend Adult Undergarment’ Y.D.A.U.

    It opens with tennis. Wallace was a court man, he liked to court tennis, and he schlongs his racket into being more often than enough into this work.

    Primary locations include the Enfield Tennis Academy (‘ETA), Ennet House Drug and Alcohol Recovery House  and a mountain location outside of Tucson, Arizona.

    Many characters are students or faculty at the school or patients or else staff at the halfway house; there is a multi-part, philosophical conversation between a Quebec separatist and his US government contact, which occurs at the Arizona location.

    The claustrophobic, proposed cannabis-deal waiting scene, near the start of the novel, is very telling about Wallace’s, one assumes, own neurosis’s about the partaking of cannabis, and the whole surrounding miasma of paranoia; the distinctive middle class, sweaty-palmed, heart-thumping moment-by-moment judgements formulated in the expectant mind of what is going on there in the less-than-fictional, delusionary, environmental ‘transaction.’

    We find ourselves in his fastidiously tidy, and small, apartment with the narrator, the best kind of writing which Foster Wallace is known for, where he is at home with the foetal type of self-hatred and mild-drug use which enveloped his almost Jacobean, rebellious nature.

    As regards technology, he talks about ‘cartridges’, film and the goal of the Americanised society; a cartridge, the end game; senseless cartridge which when one watches they become a stupefied, quivering wreck in front of the flickering images never to rise again – a kind of reverse Lazarus  – dead-eyed and owned.

    In terms of characterisation, there is the guy who is mad about tennis and optics, who sticks his head in a microwave, only to be superseded by his prodigal, talented son. Then there is Orin Junior. Mental Health sufferer; Kate Gompert – whom I believe is Foster Wallace spliced with Orin; Demerol aficionado Don Gately; and the whole Incandenza family clan.

    Main Plot Themes

    There are four main plot themes to be mindful of: First, a fringe group of Quebecois radicals, the AFR, which plans a violent geopolitical coup, and is opposed by high-level US operatives. Next, various residents of the Boston area who reach ‘rock bottom’ with their substance abuse problems, and enter a residential drug and alcohol recovery program, where they progress in recovery through AA and NA. We also find students training and studying at an elite tennis academy run by James and Avril Incandenza, and Avril’s adopted brother Charles Tavis. Finally, the history of the Incandenza family unfolds, focusing on the youngest son, Hal.

    More peripherally we have the minutiae of Foster Wallace’s comprehension of U.S pharmacology drugs, available for those requiring a hit. The theme of Québecois separatism. The City-scapes, wherein the psychogeography of the narrative feels sterile, offering a mish-mash of flimsy, dilapidated rooms in recovery house, Ennet House and the Tennis Academy, Enfield. We also find a transvestite junkie, in the toilet squirting and paranoid about voiding of the bowels.

    Not an Easy Read

    Infinite Jest is not an easy novel to read. It is a half-empty, farmhouse grain-store of nine hundred and eighty-one pages, with additional footnotes, which Wallace could not crow-bar into the main text; you have to do a lot of the work yourself, which for the unattended, ephemeral mentality of the nowadays impatient-person may be a difficult concept to grasp.

    This is a work that should come with a complimentary Dictionary and Thesaurus. One assumes that to write this David Foster Wallace swept out The Urals with a dustpan and hand brush. The event itself is not too masterful but the brushstrokes of ingenuity and dedication to his Art, were – are.

    David Foster Wallace was a deck-side sailor who learned to bind his ropes tightly, then lash the rigging onto his work and raise it, creaking, up from the plumy depths, on up far into the azure, heady swirling heights, and this has to be applauded, the meridian of achievement in the literary field, for what Foster Wallace implemented was no easy feat – the writer, and the unyielding precipice of the empty page –  and then to storm in and fill it with some, any, kind of syllogistic meaning, wow, just wow.

    Is Infinite Jest a supercilious comment on American society? Of course, it is.

  • Review: Strumpet City

    Picture the scene: the small backyard of a tiny working-class pub in Belfast at around 8pm on a dark Autumn night. I am smoking with a friend, older by a few years, and with way more life experience, talking about books. A dim-light is ebbing away, further subdued by the frosted glass of the bar-door. He looks at me and says: ‘Strumpet City (James Plunkett‘s 1969 novel) is a good book’. I did not take the time to ask about the work as the conversation was rolling along, covering other novels about Ireland which we had both read, and were reading, or intended to read.

    Here were two talking heads, tongues loosened and wagging after a couple of pints. Yet somewhere in the back, ploughed, crow-lifting fields of my sub-conscious, the adjective ‘Strumpet’ and the noun ‘City’ lodged as an unlikely pairing; lighting a candle of intrigue that would burn inside my brain. A decade has sailed past since then.

    Cut to a month ago, and I am in my local library with the mad literary hunger on me – the reading hunger. This is where one desires material to satisfy personal taste and preference. For me this is for a well-written and narrated book. And not what I find so demoralising: one that bends down on one knee to the easily accessible, clichéd fountain whose water(s) flow tepidly, and which is, in the beginning, saccharine sweet but gives way to a brackish and unpalatable torpor.

    I pick the work up and thumb through its 549 pages. A novel of heft, requiring dedication it seems. I bring it to the desk, and steal away into a showery, sun-lit Wednesday evening with the novel safely stowed inside my bag.

    Strumpet City is an historical-led novel which sets out… well… this is a work which, ostensibly, is about the Dublin Lockout(s) of the early twentieth century, narrating fictional, and real, lives of the people involved, including the almost mythological Union leader, Jim Larkin (1874-1947), who James Plunkett previously worked for as his secretary.

    This is a novel of coal, ash, and soot. Of wasps amongst blackberries; of hunger and of greed; a novel of slum dwellings and collapsing dockside houses; a work which radiates a stench of unclean bodies and souls, in dire need of cleansing and thorough rituals of purification brought to task.

    There is an alcoholic priest who loses his mind due to the drink, whiskey, and on one occasion, topples a coffin off its trestles. It tips over, and the enclosed incumbent resident, due to the lid springing open, falls out, rolling on to the floor. The widowed wife, upon seeing this, screams and two priests soon come over, calm her down and take her away from the morbid scene. The priest, a Father Giffley (memorably played by Cyril Cusack in a memorable 1980 RTE adaptation), is found, soon thereafter, prostrate at the foot of the altar, face-down, unaware of the immoral chaos he has just created and is dozing away.

    There is Rashers Tierney, the almost toothless, romantic wanderer who is dirt poor but in the ownership of a rarefied wit and tongue which darts rebuttals in defiance of perceived, and real, attacks; with his mongrel, Rusty, and a penny-whistle in tow. Rashers, as my Belfast friend would have said, ‘Hasn’t a bar in his grate.’

    Father O’Connor is the moral authority in the book, a ‘sky pilot’ who turned his back on the riches of a diocese more becoming of his class. He finds his spiritual bedfellow in the form of Mrs. Bradshaw, the face of female humility; in contrast to the encompassing greed of her ideologue, capitalist husband. However, there is an artifice to O’Connor too, which yields a quavering hatred to his position as sitting tenure in the local, disenfranchised, Dublin district which he does acknowledge but does not run away from, which would be the coward’s option. No. He has staying commendable power and you feel for him.

    There is a terrible accident at a coal yard and you feel empathy for big Mulhall and the further poverty his family will suffer in its wake.

    There are wonderful characters, including Fitz, Hennessy and Mary, set against the backdrop of the 1913 Lockout; striking dockers; the stamping foot(s) of the law and the piercing, shrill whistles of authority. This novel, let me tell you, has a social-economic range, and has it in abundance.

    This is not a work to compare to the quotidian, creative deliciousness’ of Joyce’s Ulysses. On this, I have read a good few books, and have many, many more to grapple with, but having read some of Tolstoy, Turgenev, Chekov, and other Russian masters’ creations, this work here, Strumpet City, is, in my view, the Irish equivalent, and a masterpiece.

    Feature Image: Jim Larkin

  • Literature: Ireland’s Last Minotaur

    In Ireland, North and South, the Arts Sector, currently, is a sinecure. Those middle-class mentalities which dominate, and, indeed, hold most high profile positions, would argue vehemently against such – as they would see it – an offensive statement, but nevertheless I believe it to be a fair characterisation.

    ‘Stephen says bitterly, “It is the symbol of Irish Art. The cracked lookingglass of the servant.” This was Stephen Dedalus’s view in Joyce’s modernist magnum opus, Ulysses, and we find this idiom pre-settling into an ‘independent’ Republic as a statement on colonial subjugation, and a lack of confidence in the national character. And since that imperial rule withdrew, neoliberal, self-serving attitudes, have moved – and settled – in as they have done across the Western World.

    With the arrival of mass market production, relentless advertising and consumerism, which took over Irish sensibilities around twenty years ago, Ireland became no different to elsewhere.

    Up to €7 for a pint of ‘Stout’ in Temple Bar?! Dublin rents going through the roof, past the cloud-clapped ivory towers and beyond into the dazzling astral heights, for pure unadulterated profit. This is an Ireland I do not care to recognise anymore. Everything, including morality, is up for sale.

    With the internet, one can purchase the ‘lookingglass’ and have it in your hand the next day if one so wishes; but it will, inevitably, end up being tossed away, into landfill, soon thereafter. We live in ephemeral ‘throwaway’ times. Qualities like validity, truth and morality are diminished – and indeed ‘blend’ into ‘fiction-meets-truth’ in an Orwellian-era of ‘fake news’, outright lies and endless spin.

    Ireland enjoys intellects but only if they are not overtly clever, and don’t create a sense of inferiority. Does the cracked lookingglass serve as a basis for the national character or identity?

    Indoctrination and Subjugation

    A deep resonance of shame bubbles up from oppressiveness, whether it is indoctrination through the Catholic Church and a State which could not separate the two; and, in the wake of centuries of Viking, Norman, and indeed Anglo-Saxon, subjugation a deep hurt has not even been addressed. The need for a healing process in the collective psyche has not been considered by the remote heads of the post-modernist, mildly liberal, and increasingly secularised state.

    Ireland was banished, but she was not razed and buried; she would return. And return she did onto her fertile isle, on the edge of Western Europe – the land of milk and honey, so rich in potential and verdant imagination.

    It is true: I am in love with Ireland as landscape; and the mythical potency brings to mind an unconforming otherness – which espouses freedoms that rouse the romantic variant in a wanderer.

    There is, however, now the prescient, palpitating and unresolved issue of the published writer: the ego, which conflates on the surface area of their proposed brilliance, leading to the belief that they, and their literary output, rival, and even surpasses the authors of literary Classics. In effect, canonising their own brand – this is where we are.

    Let me add, that the Western World’s Canonical Works are up there for a reason, they are regarded as ‘the Classics’ and should be read and championed as such. A ‘Classic’ can be considered a strongly composed noteworthy book.

    Among the writers who are generally considered the most important in Western literature are: Homer, Aeschylus, Euripides, Virgil, Horace, Geoffrey Chaucer, Dante Alighieri, William Shakespeare, François Rabelais, Jean Racine, Molière, Miguel de Cervantes, Michel de Montaigne, John Milton, Samuel Johnson, Johann Wolfgang von Goethe, William Wordsworth, Jane Austen, Stendhal, Walt Whitman, Gustave Flaubert, Emily Dickinson, Honoré de Balzac, Charles Dickens, Herman Melville, George Eliot, Leo Tolstoy, Henrik Ibsen, Sigmund Freud, Fyodor Dostoyevsky, Marcel Proust, Thomas Mann, James Joyce, Virginia Woolf, Franz Kafka, William Faulkner, Jorge Luis Borges, Pablo Neruda, Albert Camus and Samuel Beckett.

    First Usage

    The first writer to use the term ‘classic’ was Aulus Gellius, a second century AD Roman writer who, in the miscellany Noctes Atticae (19, 8, 15), refers to a writer as a classicus scriptor, non proletarius (‘A distinguished, not a commonplace writer’). Such classification began with the Greeks’ ranking their cultural works, with the word canon (‘carpenter’s rule’).

    Moreover, early Christian Church Fathers used canon to rank the authoritative texts of the New Testament, preserving them, given the expense of vellum and papyrus and mechanical book reproduction. Thus, being placed in a canon ensured a book’s preservation as the best way to retain information about a civilization.

    Contemporarily, the Western canon defines the best of Western culture. In the ancient world, at the Alexandrian Library, scholars coined the Greek term Hoi enkrithentes (‘the admitted’, ‘the included’) to identify the writers in the canon.

    If you are a writer with a couple of books in print, and if you deride these works because you are so high upon your stamping, nose-blustering, mighty charger, due to being published, I am sorry, but this is out-and-out naïveté. It is emotional, inferior narcissism and ego-led savagery and in its way, denigrates the reputations of great writers of the past and their output.

    Recently, reading an interview in which a writer stated that they did not, or could not, raise a little interest towards Jack Kerouac’s Beat Classic, On the Road, equating the experience with hitting one’s head ‘with a plastic spoon.’ – a petulant and unworthy response.

    Infantilised Youth Culture

    Infantilization of culturally accepted ‘norms’ through Happy Meals’ language, ‘LOLs’, and other solipsistic accepted ‘bant’ has led us down this cul-de-sac. Snowflake is used as a pejorative term. Other ‘trendy’ Smartphone-induced abbreviated terms such as ‘Merch’ and ‘Bae’: are now the common argot of an infantilised youth culture that permeates mainstream discourse.

    Any perceived ‘criticism’ of these so called ‘established writers’ i.e., a writer who has a recent published book on the shelves, is meted out with condemnations and calls the gallows! In this solidarity, an insidious, irrational, emotionally-charged cabal is missing the point.

    The media in Ireland love to promote long established writers and their works, but they routinely forget the Garret-based writers who slog bravely away by a figurative candle over their ‘Art’.

    Please, fellow scribes, do not ‘Drown’ your ‘book’ like Prospero. Do not become disheartened because you are not alone. Your magic is your own and do not let it die because of the success of mediocre fare, which publishing houses choose to release.

    Irish publishers, like UK publishers, and American publishers, are greedy for a quick return on profit and this mantra only serves their deity, the golden calf of money. Forget this wide-eyed, commandeering for a few hedonisms, and continue on.

    Yeatsian Revival

    Simply because Ireland has a vibrant literary-cultural inheritance – which came to the fore especially during the Yeatsian Irish Literary Revival from the turn of the twentieth century – should not, ergo, give prominence to literary reputations simply on the assumption they are part of a great tradition. Extreme reverence is the death-knell of strongly composed literature, which is kept in its primordial place for lack of oxygen, dragging itself off to the literary hinterlands, to peer through fissures of granite rock – redundant.

    There are simply too many Creative Writing Courses being run in universities, which gladly take a student’s money – assuming they pay it up front and often – in order to place their ego on a pedestal; but the massive issue with this kind of fawning is that it misses the whole point of literature, which is to enjoy the simple immersive experience of reading something new, fresh, challenging that sets you upon the unknown territories of an adventure, knapsack in tow.

    In Brian Friel’s Philadelphia, Here I Come, the main protagonist, ‘Gar’ Gareth O’Donnell, has a public and private self, played by two actors. The mimetic structures of the ego, in the Irish Literary Art’s Scene(s) do not allow for any logical critique – this kind of thought is placed in emotional narcissism, firmly rooted in insecurity: the public image of oneself in a position of power and the private self behind pulled chintz curtains. Seemingly, the paradoxical self is difficult for the Irish mentality to examine closely.

    The Commentariat

    Who are the Irish commentariat on which these assertions are based? One does not have to look too far: remember when Roddy Doyle, a decent Dublin novelist, took a few naïve swipes at Joyce’s masterpiece:

    ‘Ulysses could have done with a good editor,’ Doyle told a stunned audience in New York gathered to celebrate the great man who is credited with inventing the modern novel.

    ‘You know people are always putting Ulysses in the top ten books ever written but I doubt that any of those people were really moved by it.’

    ‘I only read three pages of Finnegans Wake and it was a tragic waste of time,’ he added. ‘Dubliners was Joyce’s best work, but Ulysses was undeserving of reverence.”

    According to Richard Ellmann’s biography Joyce was once described as ‘A corner boy who spits in the Liffey.’ Jealously appears to lie behind denunciations such as Roddy Doyle’s.

    Working Class Writers

    The reality is that many aspiring Irish novelist are forced into work that prevents them from writing: no one doubts this, but many working class writers are living on the breadline; the cultural establishment response: ‘Ah, he’s grand’ desensitizes them to this struggle.

    They may console themselves, ‘Sure, he was rejected thirty-seven times.’ Well, Robert M. Pirsig’s Zen and the Art of Motorcycle Maintenance was rejected over a hundred times – so statistics have little relevance, especially considering a lot of agents don’t know their furnished onions from their hot potatoes? The author of Moby Dick, Herman Melville, died in abject poverty. Those who seek justification in ‘statistics’ lack in the cold reasoning of logic.

    The effete North – once a fertile ground for freedom of expression, and in around the harrowed fields of poetry, has been conquered by a small literary clique, who look out from their parapets, pouring scorn on anyone who dares to have the tenacity to write ‘good’ work – work which they see as threatening to their output.

    A few diminutive literary-based, artsy, types run pop-ups and suchlike, now and again, as an alternative to the mainstream, but some, most, fall like a bright star into the slopping wetness of the Lagan, or the Foyle, only to have their inner-core frazzled and inevitably extinguished – another avenue burnt-out.

    There will be those who will be quick to trot out, on horseback, with lances aloft, with ‘Ah, sure he has a chip on his shoulder,’ and other negative, quick-to-judge, comments. My riposte to this is: yes, I do have a chip, or rather the plural, ‘chips’, one on each shoulder, which helps balance me out. They will use the term ‘bitterness’, but ‘frustration’ is more apt. Ingratitude will be another conceited proclamation.

    Also, the Halo-Effect: this being the over-promotion of well-established writers, with no love left for the outsider, unknown writer. Ireland’s cultural media embargo on new and fresh writing is wan to say the least; anytime an important event comes along they wheel out figureheads. Michael Longley’s poem, ‘Ceasefire’ is often wheeled out upon a gurney; again to be speculated upon; again in times of conflict; but I can safely say Ulster Unionism, which Longley would identify himself with, would never get down upon their knees to kiss anyone’s hand except their aristocratic, they believe, betters.

    Ireland’s media has an infatuation with their well-established poets – poets who have been hanging around for thirty years –  waiting for them to come on stage to deliver homilies of breathy, dramatic words. A false panacea for ongoing violent times.

    The cult of literary reverence and priesthood in the Irish poetry scene is archaic, embarrassing, and non-progressive, and equates to the mystical sorcery in a Harry Potter inspired world of fakery. The ‘everyone wants to be famous’ and well-regarded, and thought highly of as a ‘writer’ is a trope which has simply gone too far.

    It is fine to have dreams and aspirations, but one has to put the hard work, through falling, in failure, by rejection, after derision, and in managing jealousy. One only has to look at the work which is coming out of university produced magazines to see this. Recently, I read a short story in an Irish newspaper, online edition, and I despaired. What I see is diaphanous clichéd fare time and time again.

    Given Up

    Not so long ago, I conversed with a very fine, and clever, female Irish poet who is not well known in Ireland. She told me that she has given up trying to have her work published in any Irish Arts-led magazines as her work is continually rejected.

    I have read her work, it is good, and all that I can summarise is that some of these Arts folk do not know what they are doing, but, or rather, what they really are doing is selecting the work of their chums and, indeed, the work of themselves, for publication.

    These are magazines which are supposed to have a fair-handed, even democratic, selection process for work which is submitted from the four tent-pegged corners of the island of Ireland. Nepotism is rife in the Irish Arts scene. If you are a friend of a friend, nudge-nudge, wink-wink, then you are ‘A-Okay, pal…I will get you published,’ literary merit notwithstanding.

    There are of course exceptions, with real talents. Colm Tóbín is up there with the alive Irish intelligentsia, as is John Banville, both are true novelists in the sense of sitting down to read, to learn, then to write their own work, in conformity with the traditional literary model, and they should be applauded for their due diligence. They have hauled long nets and reeled in empty lines for their patience and perseverance to their Art, to pay off in the end.

    What is to be done?

    Easy – read more books. Read the Classics. A good novel will lead you to a wood at dusk, whereupon you will find a finely woven thread of golden-silk, and, as night falls, slowly traverse the wood and feel, along with the golden-thread, a growing self-belief. That is the power of strong writing. Do not shy away from challenging yourself with any prejudicial assumptions around what a reading experience is, should, or could, be.

    Feature Image: Florine Stettheimer (1871–1944) Studio Party (Soirée).

  • The Literary ‘Outsider’ Novel

    Does an age of frenetic online activity afford time for literary masterpieces, especially Outsider Novels, transcending what is considered ‘normal’?

    He whose vision cannot cover
    History’s three thousand years
    Must in outer darkness hover
    Live within the day’s frontiers.  

    The above stanza is from a twelve-book, poetry collection by Johann Wolfgang von Goethe, which was inspired by the work of fourteen century, Persian poet, Hafez.

    Rather than take the above stanza as concrete, it is worth taking it as an allegorical device, and metaphor, for what this piece sets out to champion: the work of the literary Outsider.

    With various electronic devices such as, the laptop, smartphone, iPad, and media outlets like Netflix, YouTube and other broadcasters, vying for our attention(s) – and successfully so – one must enquire into whether serious, attentive reading means anything anymore?

    Has the modern age – the tempered, electronic milieu – filtered out literary tomes?

    The very idea of ‘The Outsider’ literary work may be unnerving in what is an age of tantamount addiction to a frenetic social media; what the writer Will Self refers to as ‘bidirectional media.’ The resulting anxiety disinclines us to engage with what many may deem ‘difficult’ books, or ‘heavy’ tomes. Knocking the bottom out of the known literary universe.

    It might be said in relation to reading such books: who has aeons of uninterrupted time? In response you might say that the pandemic and lockdowns have afforded us such time. Note: no banana breads were harmed in the writing of this piece.

    Critics sometimes venture towards difficult literary works from a canon such as that identified in Harold Bloom’s tautological, yet, feverish and impassioned, The Western Canon: The Books and School of the Ages. These are the works of literature which ebb in from the external to the field of the Literary Arts, and which Bloom eulogises in his reviews.

    In 1812 by the Russian artist Illarion Pryanishnikov.

    War and Peace

    Who has read Tolstoy’s big bangers? War and Peace anyone? History’s frontiers fought over during the Napoleonic Wars, backed up with sweeping pastoral symphonies; with a charge of Russian calvary sweeping through the narrative, backed with Tchaikovsky’s 1812 Overture. A silver Samovar dispensing tea in the officers’ mess, the colour of unearthed rubies; tea sweetened with a cube of sugar, held between the drinker’s teeth.

    Or Tolstoy’s more subdued asides, with bucolic scenes of bleating lambs; and navvies sitting down in a wooded glade to consume their lunches. While out there in high summer, in the protracted Russian steppe, brown bears nosey along through tall grass to hallowed fishing grounds. With a scurry of gnats flitting at their ears.

    Or what about Joycean punnery – the nightbabble of Finnegans Wake – or Beckettian gurglespeak?

    If the safe, go-to novel is a halfway-house where thoughts run easily along the neuron-led rafters; where sable-eared bats hang, unruffled, in the belfry; where a forgotten greenhouse with cracked panes of burping green glass dwells in the back garden of the mind, they are there serving as a concrete, model village. Known territories; safe catch-all neighbourhoods, which imbue the reading-self with tangibility.

    There has been a loss of faith in big difficult books due to less than attentive mindsets; and upon latching on this, Mediocrity Inc., sweeps in to garner easier-to-read works, which dominate book charts. What does this say about the demographics so enamoured by ease of access?

    Literary, like most paradoxes, operate through conflating, and contracting, obligations. They are in a constant state of flux. (Not helpful for the binary-seeking world of the definite article, which Mediocrity Inc., often seek out to nail to the masthead.)

    Satan Arousing the Rebel Angels, William Blake (1808)

    Self-Made

    When all the joy of writing is being sucked out of it by marketing mentalities, then things are in a bad way; they are, rather, Miltonesque: bleak; morally obtuse. Greed has taken over the minds of formerly, we hope, reasonable people.

    Quality dissipates in such trends.

    If you put your faith in the superficial, then the meaning of actual literature – that with substance – is diluted. Worship at the golden calf and you cannot expect your palpating thirst to be quenched.

    However, the brave, writing for themselves, writer(s) will always venture out towards a different plane to help buck these acclamatory, accepted trends. The strongly composed novel could be summed up as a transference of the quotidian whereby one’s will becomes the whole of the fictional law in an expansive, infinite world.

    Will Self is such a writer whose output is ‘challenging’. A writer, thinker, who goes it alone and does not yield to the Mediocrity Inc., whose plaintive, rebellious, immature cries rail that they know better, but which do not.

    Outsider Novel

    The stolid mentalities who often quip, “I couldn’t get into it”, say this, because, I believe, they are not prepared to challenge their perceptions of what the Outsider Novel means to them – an ungraspable leviathan which slips away into the listless fog.

    Five or six literary Outsider ‘heavy’ novels from the Western Literary Canon dominate and stand on the rostrum; representing the cornerstones of the literary house that encapsulate the Canon.

    Two have already been alluded to, and then there is: Laurence Sterne’s The Life and Opinions of Tristam Shandy, Gentleman. Bellicose in its exposition from conception to the screaming infant through to his uncle’s nose and to maturity.

    One of the first ‘Outsider’ works, it is inspired by the Rabelaisian, and inhabits the world of the absurd and the fabulist. There are long paragraphs on his Uncle’s Toby’s European adventures with his servant, Trim, and of course, reams of information on the prowess of his conk. It will have you amused if not bewildered at the thought of how he got away with publishing it in the 18th century.

    James Joyce’s Ulysses is a tome in tribute to the mimesis of life, and everything which Joyce termed ‘A shout in the street.’ It takes the epic towards modernism, and a rebirth of consciousness in the early-to-mid twentieth century. There are diegetic elements to the inner monologues of the characters and the streets of Dublin. You will find an urban mammoth with its quarry caught upon its wide tusks, braced with metal struts to keep the weight of the tome from falling.

    This is no Cuneiform script to procrastinate over, it is a layered, complex novel to be discovered. Through two main characters, Leopold Bloom, and Stephen Dedalus we find an unparalleled commentary on twenty-four-hours in Dublin on June 16th, 1904. That is the plot. Simple. Yet, all-encompassing. Tributaries, feeding into the literary infinity pools of the Liffey, and further afield.

    Hopefully readings of Ulysses will soon resume in Sweny’s Pharmacy.

    Gravity’s Rainbow and Infinite Jest

    Thomas Pynchon’s Gravity’s Rainbow is thronged – absolutely imbued – with a myriad of characters, and a talking lightbulb. Each copy of Gravity’s Rainbow should include its own Philharmonic Orchestra to play alongside the running-hare-prose. It is about the Second World War and V Rockets and their trajectory before falling to Earth on the places where a main character is having coitus.

    Sounds mad, right? Yes. Quite, but fantastical and industrious. The prow of this literary Gridiron, in a reading, a universal, Manhattan bearing down on the sugary pap and mulch which is dished out – and is not at all, nourishing.

    Launch of a V-2 rocket.

    David Foster Wallace’s Infinite Jest is totemic in its appreciation of Philip K. Dick’s The Man in the High Castle, with a nod to Don DeLillo, and John Dos Passos’s U.S.A trilogy, mainly, The 42nd Parallel.

    The plot of Infinite Jest is initially tertiary to Wallace’s intellect and ego in fluidity. The beginning is pure vaudeville to the main circus, big-top act which is the intellect of Foster Wallace himself and the prefrontal cortex mythology, which he conspired to create and then exuded, seemingly, so effortlessly. But did Foster Wallace write a capable work? Yes he did, but it is an apostrophic set of hymnals on tennis, drug addiction and geo-political set-ups.

    I looped the meta-modernist, hyper-realist circle and went along for the ride on David Foster Wallace’s encyclopaedic, metadata novel; figuring that while sedate prose is at the behest of book seller’s, and publishers – means and modes of production for the masses – I thought ‘To hell with this, give me a novel with shtick.’

    So, by means of reposed epidural, I plugged into Foster Wallace’s acicular vein, man, and plunged the diviner right on into the other side. And it is shtick all the way.

    Foster Wallace’s reliance on using nomenclature, acronyms are, well, trifling when you forget all the organisations he coins; we do know, for example, that O.N.A.N stands for Organization of North American Nations, a kind of dystopian superstate which is comprised of Mexico, the United States and Canada, and that the novel takes place during ‘The Year of the Depend Adult Undergarment’ Y.D.A.U. It opens with tennis. Wallace was a court man, he liked to court tennis and he schlongs his racket into being more often than enough in this work.

    This is not a linear prose tale as we know it.

    Transcendental Idealism

    These literary works fail to fall into the crushing jaws of a Western, ‘easy’ read sunset; they transcend the ‘normal’.

    The oddity of the largess of such peripatetic works are still revered by committed readers. Literature, and indeed, great literature was, and is, and will forever be, a magical portal which has the power to transport consciousness into another realm. Some works, some bigger, well-crafted works exist outside the normally accepted coda of what is regarded as ‘the novel,’ and do so by existing beyond the ‘day’s frontiers’, beyond paragraphs, in marginalia.

    And out there beyond the environs of ‘known-knowns’ lies the quotidian, infinite in its readiness to bypass the grassy verges of rhetoric, and up beyond ionosphere and stratosphere.

    On the y-axis of a line-graph in the evolutionary trajectory of the Outsider Novel, one could hope for, works which operate outside the perceived, ‘normative’ structures of the known, easy to digest novel. In a sense they occupy the strata of the strange, the unfamiliar; their tentacles reach into the dark nooks and cervices of the mind and bring lax grey-matter in there forward, and into pulsating, roving life.

    Kant’s house in Königsberg (now Kaliningrad).

    If one postulates further, and looks at Kant’s Transcendental Idealism in The Critique of Pure Reason, it can be said that space and time are merely formal features of how we perceive objects; not things in themselves, existing independently of ourselves, or properties or relations among them.

    Objects in space and time are said to be ‘appearances’, and Kant argues that we know nothing of substance about the things in themselves, of which they are appearances. He calls this doctrine (or set of doctrines) ‘transcendental idealism.’

    Ignorance along the lines of myopic conjecture about a novel one has not read, is the syphilitic chancre on the body of literature – based on appearances and perceived conjecture on what a novel is, without taking the trouble to read it. This is harmful, detracting from the creativity behind such a work.

    Literary Keys

    There are literary keys available to break those harder to ‘crack’ literary tomes. Those keys are in other books; yes, books which help you with books. Isn’t that what a dictionary is for, or a thesaurus for that matter?

    Take, again, Finnegans Wake, the indolent reader’s worst nightmare – they start by gambolling around in search of the missing apostrophe ignoring the entrée; and hell, they proclaim it to be the most difficult of books.

    In Christopher Marlowe’s adaptation on the stories of Faust, Doctor Faustus says, ‘Hell is just a frame of mind.’ The demonic Mephistopheles in Doctor Faustus does, however, imply a similar idea by saying that losing his place in heaven gives him experience of hell wherever he is:

    Why this is hell, nor am I out of it.
    Think’st thou that I who saw the face of God,
    And tasted the eternal joys of Heaven,
    Am not tormented with ten thousand hells,
    In being depriv’d of everlasting bliss?

    If one was to take the evolution of the novel, we could look at Sterne, Joyce then David Foster Wallace and who knows where the creative literary genre will head next?

    To Ducks, Newburyport by Lucy Ellmann?

    Maybe the form has hit its parabolic arc, and now needs to descend for a while from its illustrious meridian.

    Break the mould – escape the insular, self-created Hell and free yourself. Read as far and as wide as the splendid sun, and beyond.

    Feature Image: Marilyn Monroe reading Joyce’s Ulysses in 1955 by Eve Arnold.

  • Kafka’s Café

    Levi ‘Lev’ Driscoll, wrote the odd sentence or two when creativity revealed itself to him. This month, albeit at a snail’s pace, he’d immersed himself in Frank Herbert’s classic, Dune. How he relished reading the exploits of Paul Atreides and his mother Jessica, deep into the vast inhospitable desert on Planet Arrkais. Lev marvelled at how the novel’s plot had been devised to move the narrative forward – like the colossal sandworms burrowing at its centre, the sci-fi story tunnelled and lunged into a distant future, simply by devouring and expelling sand.

    At age forty-five, Lev’s daily garb consisted of jeans and a plain t-shirt. When he was in the mood, he donned Cherry Red Doc Martins, or might dye his lank auburn locks an astonishing Hulk Green. In younger days, he’d sported the facial accoutrement of two studs and a nose ring. A soul-patch still featured below his lower-lip. He listened to Wayne Shorter, Van Morrison, and The Blue Room Jazz Sessions. Some Punk. A recent listen was that band called Idles. Lev watched what he ate, adding pomegranate seeds and blueberries to his a.m. porridge. A breakfast which steeled him for the day.

    This morning’s thought had already been jotted down on a writing-pad, where he sat in the breakfast nook of his small Rathfarnham apartment, Good literary fiction is a desert citadel visited only a few times in one’s life. Breeching those stone walls brings with it a knowledge and invigorating power all of its own.

    Turning on the radio he heard writer Colm Tóbín, talking about Irish writers’ fathers and their lives, whereupon Lev thought, Jazyhus, yer man Colm Tóbín’s voice sounds like it went off to Grasse in France for an apprenticeship in perfumery. Like it rolled in a field of lavender and chamomile!

    Lev left his flat, caught the No.16 bus into town and went dandering about in Dublin city centre. He mooched for a few deals in Dunnes before deciding to walk the 8km home. It was late autumn and the sun was bright but the air very cold. Wind-raked dead leaves heaped at the sides of pavements with their muted browns, and October yellows.

    Quiet were the white swans of Portobello, and their amorous dalliances on the Grand Canal went unnoticed by busy Dubliners in the early afternoon sunshine. He walked south of the city centre, into Rathmines and regarded a church’s chiselled proclamation, SUB. INVOC. MARIE. IMMACULATE. REFUCII. PECCATORUM (of Mary Immaculate, Refuge of Sinners, or possibly “Shinners,” as the IRA once stored weapons and ammunition in its vaults during the War of Independence). A Neoclassical colonnade and four columns stood proud as the façade, sprouting fleur-de-lis, under a copper-covered dome. The original burnt down in a fire of 1920 where a new one sits in its place, peeping over the skyline, in a shade of aquamarine flaring with copper hues and an impressive, oxidised jade patina. Rumoured to be destined for Saint Petersburg’s Russian orthodoxy, the impressive architecture conjured places such as Rome, or indeed, Russia, thought Lev. Yet, it seemed like an opal set in granite.

    To get off the street, Lev didn’t even look up at the sign above its door before entering one Rathmines establishment. Without registering its high-windows, tables and chairs, or mute patrons within, what he wanted was a hot drink and to sit down. Maybe a freshly baked Danish, if there was one? And for some reason, at that moment, he mused about Vermeer’s chequered black & white tiled floor. Would it, he wondered, have been mopped, regularly? Also, he pictured Joseph Decker’s painting, Green Plums. Then Lev summoned from memory, some NASA photos he’d seen, of Jupiter’s meteoroid scarred moon, Europa.

    Inside the café, a Gaggia coffee machine operated at full steam. Out of it gurgled runnels of a dark, bubbling, black gold. At its side, feldspar porcelain espresso cups piggy-backed on top of each other along with small white matching saucers stacked and ready for dispensing. An alluring aroma of roasting coffee beans permeated the café where chatter was subdued. The high-fi-system played Handel’s Water Music, seemingly on a loop. Not a flat-screen television in sight, and a sign stated that it was forbidden to use smartphones. Plastic mother-in-law’s tongue sat sterile in plastic pots. Fake ferns and philodendrons were fixed with grey pebbles inside sable-coloured wooden borders. A glass cloche covered some raisin-studded scones nestled beside the cash-register up front.

    When his turn came to be served, Lev stepped forward and almost absentmindedly asked, “Can I have a cappuccino, please?”

    “Did you submit Form 1A?” enquired the lady behind the counter. A pair of lacquered chopsticks held her brown locks in place and she sported tortoise shell-coloured glasses. White shirt. Black apron, trousers, and shoes. Her elaborately embossed name tag said simply, “Server.”

    “No, I’m afraid I did not,” Lev was lost.

    Pink slips of paper were piled high in an in-tray before him, but he hadn’t noticed.

    “You still have to submit Form 1A.” She said glaring through her glasses at Lev.

    “I just want a coffee,” replied the writer, now sheepish. She sighed.

    Another customer stepped forward to order and Lev stood back a little, letting the other customer pay for and receive her green tea.

    “There’s your receipt, and here’s my receipt, for your receipt.” clarified the lady in the glasses, securing her own slips in the till. Thinking about writing, Lev conjectured, You have to keep a full-stop dancing on its tippy-toes. He then moved forward again. At this, the lady clucked her tongue.

    “I’m still waiting,” Lev reminded her. She looked at him again with an imbibing eye, imagining he was an outlier and hence, a troublemaker.

    “Which street do you live on?”

    “What does it matter which street I live on?” Lev began to show signs of incredulity.

    “Because, Sir,” she snapped, “We only serve some streets on Tuesdays and Wednesdays, and others on Mondays, Fridays and Saturdays. It’s all here in the rules,” She said, tapping a laminate posted at the till. And on it was a map depicting which streets were allowed to order coffee on what days. Lev found it all rather formal. Something about it didn’t sit well with his socialist perspective.

    “This is wile bad craic, Hey!” He uttered, entirely exasperated.

    “Now, you’ll have to fill out Form 1A. With adjuncts A1 and B1, Sir.”

    What fresh hell is this? Lev pondered.

    “Why?” was all he asked.

    “Because, Sir, you fail to follow protocol.”

    A speaker above the coffee-machine barked out, ‘More A32 Forms, immediately!’

    On the counter was a box of black ink Biro ballpoint pens, and a photocopier behind the counter ran pink slips of paper which were bakery warm to the touch.

    While all around him customers filled in their forms in quiet acceptance, he regarded the server in question and her carapace of harshness with a mixture of bemusement, anger and wonder. Was this Stalinist Russia or Thatcher’s Britain, where civil servants replaced all working roles with their applications and forms inhabiting long corridors to the sound of opening and closing doors behind which were row upon row of file cabinets filled with documents ranging from ordering a clothes peg, Form 2344ABX, to marriage vows, Forms 32 C & D. Entering here meant submission to an authoritative power and being controlled by it. Out in grey society, the faceless masses walked around with their heads drooped, proles going about their conforming lives. No individuality permitted. Conform through endless bureaucracy or go insane in the process. Few go insane. Most do conform. But, under no circumstances would Lev. He aimed for coconut shampoo, raspberries and cream, lemon-curd sandwiches, a three-day weekend with Habanero sauce. Peaking cream puffs and apple-turnovers. Falling popcorn, the fifth of November, and bonfire night. Dance music. Pubs. Freedom of choice. Not this, whatever this was.

    “May I have a scone with my cappuccino?’ asked Lev.

    “Oh, you want a fruit scone?’ She said with all the vigour of a congregating sloth at a sleepover in Connecticut. Lev sensed that his request was bothersome, but he would hold out to see how far this would go.

    “Please move over to the other line. This line is for people with slips. The other line is either for those who have not made their minds up yet, or Sabos like yourself. That’s short for Saboteurs around here,” she explained. Lev saw no other line, but he spied a stand which read “Sabos.”

    “Does this work the same way for a bacon sandwich?” he asked, arching an eyebrow.

    “To have a bacon sandwich, you’ll have to make an appointment.”

    “To have a freaking BLT?”

    “An appointment with the chef.” She stipulated.

    “Lemme get this right. To order a simple bacon sandwich, I have to make an appointment with the establishment’s cook?”

    “His title is Chef Martine, Sir,” said the server, adding, “And yes, that’s the rule. There are no exceptions to the rules. Not here. Would you like to make an appointment?”

    Stunned, Lev nodded his assent, as the server spoke into an intercom.

    “A Sabo requests an appointment, Chef Martine.”

    Lev stood for forty minutes before being ushered into a small yet neat stainless-steel kitchen where, with a square blade, the chef was decapitating a head of lettuce from its white neck. Luscious and wet, the green leaves fell open in that kind of surreal slow-motion Lev had only seen in advertisements on TV. This was the inner sanctum of scones and other closely held secrets. Chef Martine’s accent was fabulously French. “No. Get rid of dis, and dis, and dis. Out!” Pausing his pointing at which produce needed to be replaced or replenished, in less than a split second, he looked Lev up and down, before waving him away.

    “I have no time to…to…to deal with the likes of you, Monsieur!”

    Backing out to the café, again Lev attempted to ask for a drink and without the appropriate paperwork. He was denied. Lev wondered about the hivemind rolling over to authority. The weak-livered acceptance. Rising up, he steadied himself upon a table top and announced, “You! All of you!” Around twelve café patrons looked up from their flat-whites, green-teas and Americanos. “You have freedom of choice to come in and order a drink without having to fill in mundane forms!” No one dared to agree with his rebellious talk. “To spend your lives in cubicles fulfilling meaningless work just because it’s been set out for you, is a form of bondage and slavery! You in your Birkenstocks, reading gossip magazines full of middle-class morality and intolerance by the cart-load!”

    “SIR! Can you calm down?” called out the server, white face contorted in confusion, indignation and trembling with anger.

    “I WILL NOT CALM DOWN, you… COG! What kind of establishment is this place, anyway? What’s it called?”

    “Sir, you are in Kafka’s Café.”

    Something clicked and so he saw it all now. The endless bureaucratic processes. The strict adherence to these formalities. The authoritarian staff. The server’s clerkish comportment. He felt anger. Despair. Hopelessness. This was not just a comment on the establishment in question, but to a wider enslavement of human beings. Freedom of expression was viewed as distrustful and downright careless. Dangerous even. People like Lev were to be ridiculed and ignored. They were insane outliers who were not at all loyal to the state.

    “Okay, I’ve read The Trial. The Castle and this…This is circumvented madness towards a form of totalitarian rule. I just wanted a fucking coffee!” said Lev out loud.

    With a nod, the server sent a staff member out back to alert the relevant authorities. Stepping down from his table top pulpit, Lev sat quite still playing The Clash’s Rock the Casbah on his smartphone. Café personnel looked on and whispered at the bizarre behaviour of this madman. Lev did not hear a van screech up to the pavement outside. Nor did he notice as burly men in dark uniforms stormed in, until they grabbed hold of him. His phone was sent crashing to the floor, where its plastic housing cracked and scattered.

    Screaming “Poseidon! Poseidon!”* Lev was brought out into the street by a balaclava-clad, snatch-squad and dragged into the back of a waiting van. His demonstrations were soon silenced by its doors when they were slammed shut behind him, before the vehicle roared off and disappeared.

    The citizens in the café merely blinked as they began filling in their 1A forms again. The age of banality was long and continued unabated as, outside, a stroke of raindrops dashed the Dublin pavement, people filed along the streets where, once more, normality pervaded. The white floating petals of the swans’ feathers, the hue of hedge bindweed (Calystegia Sepium) drifted down the canal water’s surface and on into the diminishing autumn evening.

    *Poseidon is a piece of prose by Franz Kakfa.

    Featured Image: Egon Schiele, Self-Portrait with Physalis, 1912.

  • Aye, Dead On

    It is easy when we are in prosperity to give advice to the afflicted.
    Aeschylus

    Protestations against James Joyce’s ‘The Dead’ House on Usher’s Island being ear-marked for a hostel are rooted in cultural-bias and emotional-led egocentrism, and exhibit blatant hypocrisy among the denouncers. Artsy sentimentality can be the lesser evil, but it is still based on emotional, and, cultural biases.

    The Aeschylus quote above may seem naïve with society unsettled by the Covid-19 pandemic – anxiety heightened and spurred on by the populist mediocrity – but the reality is, these past twenty years, we have never had it so good, especially with plenty of food at our disposal, alongside acres of indoor comfort available from pulsating warm radiators, hot water galore, and lest we forget our electronic devices yielding Netflix.

    A festive analogy may be relevant here, the geese have gotten fat and inactive. Selfishness abounds. Narcissism and the age of the red-carpeted self are traits which are promoted rather than rationalised.

    A thought-tormented age

    This was perhaps anticipated in James Joyce’s short story ‘The Dead’ from Dubliners (1914), when the character of Gabriel Conroy says:

    But we are living in a sceptical and, if I may use the phrase, a thought-tormented age: and sometimes I fear that this new generation, educated or hypereducated as it is, well lack those qualities of humanity, of hospitality of kindly humour which belong to an older day.

    Regularly trudging past ‘The Dead House’ on the banks of the Liffey I have noted its square, flat Georgian edifice. Its jet-black door. Joyce describes it as ‘the dark, gaunt house’.

    Over the past few years, it has come to light that this building on Usher’s Island is set to become a tourist hostel. This has led to cries of ‘cultural vandalism,’ but why were the same journalists and commentators silent when the building sat derelict for years? Unused. Unravelling and falling apart at the seams.

    For a year, I sat in on Readings of Joyce’s Ulysses in Sweny’s Pharmacy on Lincoln Place, and did not encounter a single Irish writer of any standing. At the end of each session a wooden bowl was passed around to the attendees, who would dispense a few coins to help pay the rent. No rich, successful Dublin-based writers were coughing up dough to keep this cultural institution afloat.

    The reality is that Dublin-based, and Dublin-enthralled, writers do not admit to themselves that Dublin has been swallowed up by the capitalist project. They are simply in denial.

    The cultural embargo comes out in plaintive cries of ‘How dare they wreck our heritage?’ from behind computer screen in comfortable homes. Keyboard heroes. One and all. It has to be said that some are indolent and sly, with one eye on anything Joyce-related to enhance their own reputations and further book sales.

    I do wonder – the Diogenesian cynic may ask –  whether many of them have actually deigned to read much of Joyce’s work bar a few short stories from Dubliners? They may want to be associated with his masterpiece Ulysses but are they possessed by it?

    Do they want to recreate the Cabman’s shelter under Butt Bridge or Bella Cohen’s bordello down on the now gone Tyrone street?

    In ‘The Dead’ itself, Gabriel’s face colours when asked about his writing for the Daily Express, a Unionist newspaper, and is even labelled as a ‘West Briton’ by Miss Ivors. In Dublin parlance a ‘West Brit,’ or ‘Castle Catholic,’ remains someone who would have no home-spun patriotic scruples in dealing with the mother colony for purposes of profit; the comprador elite of an ex-colony.

    How many Irish-based writers now have English agents, English publishers? How many have made their careers in London? More power to them, but the wedge of Anglo-Irish relations should narrow at least somewhat in the near-future. Here is hoping. Better to work together than at difference.

    ‘the dark mutinous Shannon’

    There is a great irony contained in Gabriel’s epiphany as he observes snow falling from outside of his hotel window in the closing monologue. He does not mention the Liffey, but instead dwells on ‘the dark mutinous Shannon waves.’

    In his biography of Joyce Richard Ellmann states:

    The fine description: “It was falling on every part of the dark central plain, on the treeless bills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves,” is probably borrowed by Joyce from a famous simile in the twelfth book of the Iliad, which Thoreau translates: “The snowflakes fall thick and fast on a winter’s day. The winds are lulled, and the snow falls incessant, covering the tops of the mountains, and the hills, and the plains where the lotus-tree grows, and the cultivated fields, and they are falling by the inlets and shores of the foaming sea, but are silently dissolved by the waves.” But Homer was simply describing the thickness of the arrows in the battle of the Greeks and Trojans; and while Joyce seems to copy his topographical details, he uses the image here chiefly for a similar sense of crowding and quiet pressure. Where Homer speaks of the waves silently dissolving the snow, Joyce adds the final detail of “the mutinous Shannon waves” which suggests the “Furey” quality of the west. The snow that falls upon Gabriel, Gretta, and Michael Furey, upon the Misses Morkan, upon the dead singers and the living, is mutuality, a sense of their connection with each other, a sense that none has his being alone. The partygoers prefer dead singers to living ones, the wife prefers a dead lover to a live lover.

    There are the true Joyceans who love Joyce for his unrivalled creative genius and dedication to his Art and more power to their elbows. Kudos my fair-weathered literary friends.

    A Hostel for Creatives

    What about it keeping it as ‘The Dead House’ by way of a Hostel? Let creative folk add their work inside: paintings. Musings. Writings. Musical nights. Don’t let it become a shell. A phantom dedicated to Joyce Ltd. The Irish Tourist mentality to wring money and promotion out from every Joycean occasion. He would really have detested that.

    Joyce’s attitude towards his ‘fatherland’ are perhaps best encapsulated in a memorable speech of Stephen Daedalus from Portrait of an Artist:

    I will tell you what I will do and what I will not do. I will not serve that in which I no longer believe, whether it calls itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defense the only arms I allow myself to use — silence, exile, and cunning.

    There are plenty of Joyce tributes/buildings in the city, including, The James Joyce Centre, on North Great George’s Street, Davy Byrne’s on Duke Street, and Sweny’s Pharmacy, on Lincoln Place

    Dublin is a bustling city. A garrulous metropolis. Where many, many tourists flock. No doubt they will return. Let ‘The Dead House’ vibrate and echo some of that human activity; and wouldn’t it be great if funds were apportioned to update and renovate some of the sagging grey buildings of Usher’s Island on that stretch of the quays?

    As Mary Jane says in the story that the coffin, ‘is to remind them of their last end.’ An empty, dilapidated house is a soulless thing. A crypt, devoid of life.

    And as Gabriel says in his speech to the rapt attendees of the party on Usher’s Island, ‘Ladies and Gentlemen, it is not for the first time we have been gathered together under this hospitable roof, around this hospitable board.’

    And it wouldn’t be quite something to hand-over to the Land of the Living, salvaging something from the Land of The Dead?