Table Of Content= i 4 es sy —— es [tenet I 4 ts bes = ES 4 Ss ao eae a ——] = = Sy mes: sl ps4 cS SS <m>oan —— | mz exe st BSS Ss exa| ros ea | ae <5 4 fe = ast eras: = = seo, eee eSars esse sw aS =——
EDITED BY
Ulysses — unquestionably one of the greatest novels in the
English language and the text most expressive of the psyche
of modern man and woman ~ tells the sadly comic story of
Leopold Bloom, a good man led by love, attempting to
come to terms with loss: the deaths of his son and of his
father, the departure of his daughter from home, the
passing of his youth and the adultery of his wife. Joyce
meticulously recreates the place and time — Dublin, 16 June
1904 — in which Bloom, in the midst of the vicissitudes of
an otherwise nondescript day, contemplates the void of
uncertainty where we all stand.
First published in Paris in 1922 by an amateur publisher,
Ulysses as a text has been dogged from the first by a string of
bad, indifferent, or misguided ‘definitive’ editions.
Now at last, seventy-five years after its first publication,
Picador is proud to present a completely redesigned and
comprehensively edited text of James Joyce’s masterpiece:
a Ulysses for our time.
Danis Rose’s editing is informed by a radical new appraisal
of the history of Joyce’s writing of Ulysses and of the
documents which constitute the manuscript of the book.
By combining the better features of current theories of
text-editing, previously assumed to be incompatible, he has
removed a plethora of small, yet not insignificant,
obstructions between writer and reader that have hitherto
marred the enjoyment of this most human and
extraordinary of novels.
£20.00
WILY SSeS
Digitized by the Internet Archive
in 2022
https://archive.org/details/UlyssesPicador1997_c
James Joyce
VEPs
Edited by Danis Rose
PICADOR
ag
Originally published 1922 by Shakespeare and Company, Paris
First published in Great Britain 1922 by the Egoist Press, London
First published in Great Britain in an unlimited edition 1937 by the Bodley Head, London
This completely revised edition first published 1997 by Picador
an imprint of Macmillan Publishers Ltd
25 Eccleston Place, London SW1W 9NF
and Basingstoke
Associated companies throughout the world
ISBN 0 330 35229 6
A special hardback edition is also available from The Lilliput Press,
62-63 Sitric Road, Dublin 7, Ireland
Original copyright James Joyce 1922
This edition, Preface, Introduction, Ulysses chronology, and all editorial matter
copyright © Danis Rose 1997
The right of Danis Rose to be identified as the
editor of this edition has been asserted by him in accordance
with the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this publication may be
reproduced, stored in or introduced into a retrieval system, or
transmitted, in any form, or by any means (electronic, mechanical,
photocopying, recording or otherwise) without the prior written
permission of the publisher. Any person who does any unauthorized
act in relation to this publication may be liable to criminal
prosecution and civil claims for damages.
135798642
A CIP catalogue record for this book is available from
the British Library
Typeset in 9.5pt Poppl Pontifex by SetSystem, Saffron Walden
Printed and bound in Great Britain by
Mackays of Chatham plc, Chatham, Kent
Preface
This is the most beautiful thing we'll ever have. We'll print it if it’s the
last effort of our lives.
— Margaret Anderson, editor of the Little Review, on receiving ‘Proteus’*
Ulysses — unquestionably one of the most outstanding novels in the
English language and the text most expressive of the psyche of modern
man and woman - tells the sadly comic story of Leopold Bloom, a good
man led by love, attempting to come to terms with loss: the deaths of his
son and of his father, the departure of his daughter from home, the
passing of his youth and the adultery of his wife Marion (called Molly).
Prefaced to this tale is another story, that of a sombre and intense young
man, Stephen Dedalus, an aspiring writer bogged down in the stasis of
Dublin life, in mourning for his mother and with little hope for the future.
The paths of these two men cross, briefly join, and then part. Stephen
Dedalus walks into eternity along the lane at the rear of Eccles Street, and
Leopold Bloom lays himself down to sleep beside his wife (his head by
her feet, his feet by her head) on the recently desecrated marital bed.
Even today, seventy-five years after its first publication, the history of
the genesis of James Joyce’s Ulysses is known only to a small minority of
specialist scholars and to few if any general readers. While the novel is
rightly esteemed by readers and scholars alike as a masterpiece, it is often
viewed as a single cohesive work and its composition as the unfolding of
a master plan. Joyce himself is principally responsible for this latter view.
Very late in the day, in September 1920, he prepared just such a master
plan - the so-called Linati Schema - in which he listed against each
episode its Homeric correspondence, its time, its colour, its persons, its
technic, its sense, its organ and its symbol. All terribly complicated, of
course, of limited use to the reader and misleading with regard to the
manner in which Ulysses was really constructed. Only recently, after
prodigious effort by Joyce scholars (A. Walton Litz, Philip Herring, Myron
Schwartzman, Michael Groden, Rodney Wilson Owen, Hans Walter Gabler,
* Richard Ellmann, James Joyce (Oxford: Oxford University Press, 1982), 421.
John O'Hanlon and the present writer, among others), has the true story
of the writing of the book become known. Ulysses comprises no fewer
than three sequentially related works all called ‘Ulysses’: an unwritten but
conceptualized short story for Dubliners, a partly written sequel to A
Portrait of the Artist as a Young Man and, finally, the narrative whose
central character is Leopold Bloom. In this sense, the genesis of Ulysses
resembles those of both A Portrait of the Artist as a Young Man and
Finnegans Wake, which are to similar degrees nonlinear and composite
creations.
In the Introduction, following a short account of the rationale of the
Reader’s Edition, I tell - briefly but for the first time — the story of Ulysses,
its place in Joyce’s biography, its composition, and the changing texts in
which the narrative is embodied. This will allow the new reader (and
indeed many an old one) to form a clear understanding of the whole saga.
James Joyce’s Ulysses is quintessentially a work of literary art. Accord-
ingly, the overriding criterion applied in creating this edition has been to
maximize the pleasure of the reader. To this, the scholarship informing
the edition — the initial preparation of the isotext and the worksheet-
tagged text, the detection and elimination of textual faults and errors,
small and large, the copyreading and other acts — must perforce remain
secondary and subservient. To the best of my ability I have endeavoured
to use the tools of scholarship to the greater ends of clarifying the sense
and the sound of the individual sentences and freeing up the flow and
the pace of the text as a whole. The Reader’s Edition is presented to the
reader as an integrated edition of a work of literary art and it is on these
terms, primarily aesthetic, that it steps forth to be judged.
Dublin,
21 April 1997
