Hi all, and apologies for the delay in posting again.
We met last Wednesday to read from 007.20 to 013.04, delving primarily into the history of the United Kingdom (and of Ireland) in the Wellingdone "museyroom". ("Mind your hats goan in!")
Aside from Wellington's "big white harse", a little bit the body, and a little bit his horse Copenhagen (thanks Jamie for this titbit), there remains, I believe, a bit of a conflict in this section. The conflict is in the multitude of settings that the reader is supposed to anticipate here: So, aside from the museum itself, the text also inhabits the dream of HCE, hence the "tip"ing at the window, the tapping of a tree branch against a window.
The martial allusions that Joyce pursues are more clear: from World War One references to the Battle of Philippi in 42 BC. The breadth of Joyce's allusions calls to mind another question for me though: if Joyce is not merely examining British (and Irish) martial history, then the museum is a much more extended space than we may have anticipated.
Aside from these questions, we liked the rhythm that Joyce produces on p. 8, both from ll. 11-14, in which he begins from a simple(ish) statement, then growing more complicated, before returning to some simplicity at the end, perhaps at odds to the counting of 010.32-34.
ALP's appearance (dreamed or otherwise) was our final focus of the reading. Lachlan explained the image of ALP as hen, pecking away at the scrap heap, in hindsight approximating the "tip" that Joyce repeats throughout the museum section. The lightning and thunder of p. 11 suggest a precursor to the fall of HCE that we're all anticipating; a fall that may perhaps be repeated eternally if a phrase such as "to steal out historic presents from the past postpropheticals" (011.30-31) is as significant as it appears.
Of course, there's not only cyclical views of history on show, but biblical allusions as well, as Noah's flood is made reference to shortly after. And finally we're left with the (despairing) exclamation "So This Is Dyoublong?", not just encapsulating some disappointment at the provincial nature of Dublin, but also asking do we belong?
As always comments are most welcome! I'd love some additions to my free association rambling!
A number of other notices:
Miri is doing a short performance as part of the UNSW postgrad symposium—a piece on Anna Livia, including excerpts from the Wake. On at the Dance Studio, Webster Building, 6:45, Friday 9 September.
A colleague, and potential reading group member, Chris Eagle, will be presenting a paper on the Wake to the Writing and Society Research Group on Wednesday the 28th of September from 11 to 12:30 in room 1.1.119, just down the corridor from where we meet.
Also, you may have seen a review of a new Joyce biography by Gordon Bowker, in Review. Not very positive—I'll stick with Ellmann for the time being! Review HERE.
We're reading from 013.05 to 021.04, meeting Wednesday 7 September at 1. Hope to see you there!
Tuesday 30 August 2011
Friday 12 August 2011
003.01 to 007.19 (!?!)
Greetings! I'm here to report on the first meeting of our Finnegans Wake reading group.
I must admit I found the whole process rather confronting. In my reading of the Wake in preparation I'd been keeping some pretty extensive notes, and was convinced that I'd built a pretty compelling take on the novel that put Nietzsche's concept of eternal return front and centre, albeit a reading that was based on a couple of introductory essays, and 16 pages of the actual text itself!
But...that's not really how it goes. The group reading allows (and promotes) a much more multifocal reading of the text. So, so much for my absolute interpretation.
I think I (we) learnt two things today. The first was that the Wake sounds great when you read it aloud. Even better than when you're reading it in your head. Lou was adamant before the meeting that reading it aloud pushes you into an Irish brogue, and Miri showed us that very effectively in what was definitely the highlight of the readings we heard. I also have a feeling, although I'll need to give this some more thought that the portmanteau words operate differently when they're spoken as opposed to when they're read. There's something in there about the operation of metaphor, and perhaps even the metaphoric nature of language, but I'll leave that for another time.
The other thing that was quickly obvious is that a knowledge of the narrative of the Wake may be quite important for reading the text. I was maintaining a (probably) naive view that I would hold out, and glean the narrative from the text. Our two most experienced campaigners were adamant, however, that recourse to the narrative is crucial in understanding the text. For a text that has simultaneously so many, and so few handholds, I daresay they're right.
Anyway, much more to learn, that's for sure. Next time (1 pm Wednesday 24 August) we'll reading from 007.20 to 013.04 (or thereabouts). Let me know your thoughts by signing up and commenting.
Hope to see you all next time! JG
Oh and have a listen to this. Dropkick Murphy's are always relevant!
I must admit I found the whole process rather confronting. In my reading of the Wake in preparation I'd been keeping some pretty extensive notes, and was convinced that I'd built a pretty compelling take on the novel that put Nietzsche's concept of eternal return front and centre, albeit a reading that was based on a couple of introductory essays, and 16 pages of the actual text itself!
But...that's not really how it goes. The group reading allows (and promotes) a much more multifocal reading of the text. So, so much for my absolute interpretation.
I think I (we) learnt two things today. The first was that the Wake sounds great when you read it aloud. Even better than when you're reading it in your head. Lou was adamant before the meeting that reading it aloud pushes you into an Irish brogue, and Miri showed us that very effectively in what was definitely the highlight of the readings we heard. I also have a feeling, although I'll need to give this some more thought that the portmanteau words operate differently when they're spoken as opposed to when they're read. There's something in there about the operation of metaphor, and perhaps even the metaphoric nature of language, but I'll leave that for another time.
The other thing that was quickly obvious is that a knowledge of the narrative of the Wake may be quite important for reading the text. I was maintaining a (probably) naive view that I would hold out, and glean the narrative from the text. Our two most experienced campaigners were adamant, however, that recourse to the narrative is crucial in understanding the text. For a text that has simultaneously so many, and so few handholds, I daresay they're right.
Anyway, much more to learn, that's for sure. Next time (1 pm Wednesday 24 August) we'll reading from 007.20 to 013.04 (or thereabouts). Let me know your thoughts by signing up and commenting.
Hope to see you all next time! JG
Oh and have a listen to this. Dropkick Murphy's are always relevant!
Tuesday 9 August 2011
No More Rumbling!
After much organisational to-ing and fro-ing, we begin the reading group tomorrow.
We are meeting at 1 pm, 10 August at UWS Bankstown, in the Writing and Society Research Group's new meeting room 1.1.131.
We're biting off more than we can chew—seven pages of the Wake. We're reading from 003.01 to 010.24. (Three digit page number, followed by two digit line number) I dare say the last word may feel very appropriate!
After our meeting I'll post a summary of what was discussed, and some of my thoughts on the section, for those playing at home.
JG
We are meeting at 1 pm, 10 August at UWS Bankstown, in the Writing and Society Research Group's new meeting room 1.1.131.
We're biting off more than we can chew—seven pages of the Wake. We're reading from 003.01 to 010.24. (Three digit page number, followed by two digit line number) I dare say the last word may feel very appropriate!
After our meeting I'll post a summary of what was discussed, and some of my thoughts on the section, for those playing at home.
JG
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