Bøker av James Joyce

No había esperanza esta vez: era la tercera embolia. Noche tras noche pasaba yo por la casa (eran las vacaciones) y estudiaba el alumbrado cuadro de la ventana: y noche tras noche lo veía iluminado del mismo modo débil y parejo. Si hubiera muerto, pensaba yo, vería el reflejo de las velas en las oscuras persianas, ya que sabía que se deben colocar dos cirios a la cabecera del muerto. A menudo él me decía: «No me queda mucho en este mundo», y yo pensaba que hablaba por hablar. Ahora supe que decía la verdad. Cada noche al levantar la vista y contemplar la ventana me repetía a mí mismo en voz baja la palabra «parálisis». Siempre me sonaba extraña en los oídos, como la palabra gnomón en Euclides y la simonía del «catecismo». Pero ahora me sonó a cosa mala y llena de pecado. Me dio miedo y, sin embargo, ansiaba observar de cerca su trabajo maligno.

Solemne, el gordo Buck Mulligan avanzó desde la salida de la escalera, llevando un cuenco de espuma de jabón, y encima, cruzados, un espejo y una navaja. La suave brisa de la mañana le sostenía levemente en alto, detrás de él, la bata amarilla, desceñida. Elevó en el aire el cuenco y entonó:¿Introibo ad altare Dei.Deteniéndose, escudriñó hacia lo hondo de la oscura escalera de caracol y gritó con aspereza:¿¡Sube acá, Kinch! ¡Sube, cobarde jesuita!Avanzó con solemnidad y subió a la redonda plataforma de tiro. Gravemente, se fue dando la vuelta y bendiciendo tres veces la torre, los campos de alrededor y las montañas que se despertaban. Luego, al ver a Stephen Dedalus, se inclinó hacia él y trazó rápidas cruces en el aire, gorgoteando con la garganta y sacudiendo la cabeza. Stephen Dedalus, molesto y soñoliento, apoyó los brazos en el remate de la escalera y miró fríamente aquella cara sacudida y gorgoteante que le bendecía, caballuna en su longitud, y aquel claro pelo intonso, veteado y coloreado como roble pálido. Buck Mulligan atisbó un momento por debajo del espejo y luego tapó el cuenco con viveza. ¿¡Vuelta al cuartel! ¿dijo severamente. Y añadió, en tono de predicador: ¿Porque esto, oh amados carísimos, es lo genuinamente cristino: cuerpo y alma y sangre y llagas. Música lenta, por favor. Cierren los ojos, caballeros. Un momento. Hay algo que no marcha en estos glóbulos blancos. Silencio, todos.

Often considered the greatest collection of short stories in the English language, Dubliners is the vivid portrayal of the people of "dear dirty Dublin" at the beginning of the twentieth century. In fifteen subtly interlinked stories that move from childhood to maturity and a reckoning with death, Joyce provides nuanced accounts of the lives, language, loves, and losses of the inhabitants of his native city. In these moving stories Joyce invents some literary techniques that have forever transformed storytelling and the shape of the novel. A detailed foreword to this authoritative edition highlights the depth of Joyce's understanding of humanity and how Dubliners foreshadows his later experimental writing in Ulysses and Finnegans Wake. This Warbler Classics edition includes an afterword by M. Keith Booker and a detailed biographical timeline.

Les quinze nouvelles de ce recueil, construites autour de Dublin, au plutôt des , nous montrent des personnes ternes menant des vies qui ne le sont pas moins, non exemptes de violence, de bassesse ni de vulgarité, dans une ville paralysée et paralysante, en 1914. Chaque nouvelle est contruite en fonction d'une «épiphanie», toujours exprimée dans la dernière phrase, qui décrit une soudaine prise de conscience de l'«âme» de quelque chose, la mise en évidence de l'absurde, la manifestation sentencieuse du fait que l'ordre social est intangible, et que, sauf à tomber dans la déchéance ou le ridicule, mieux vaut prendre conscience que la vie est ailleurs...

James Joyce's book of poems titled Chamber Music was released by Elkin Mathews in May 1907. There were originally thirty-four love poems in the anthology, but two more were added before it was published ("All day I hear the noise of waters" and "I hear an army charging upon the land"). Although it is widely believed that the title refers to the sound of urine tinkling in a chamber pot, this is a later Joycean embellishment that gives an earthiness to a title that was initially proposed by his brother Stanislaus and that Joyce (by the time of publication) had come to dislike: "The reason I dislike Chamber Music as a title is that it is too complacent," he admitted to Arthur Symons in 1906. "I would prefer a title that criticized the work while avoiding outright trashing it." Chamber Music's poetry isn't at all racy or evocative of the sound of tinkling urine, in fact. The poems were well-received by critics despite poor sales (less than half of the original print run of 500 had been sold in the first year).

Finnegans Wake is one of the most difficult works of fiction in the Western canon.There are four Parts or Books and seventeen chapters total in Finnegans Wake. The chapters lack titles, and while Joyce didn't offer potential chapter titles as he had for Ulysses, he did give titles to several portions that were published separately. Part 1: Dublin hod carrier "Finnegan," Joyce's central figure, perishes after falling from a ladder while building a wall. HCE's wife ALP accuses him of being a scam after having her son Shem transcribe a letter about him and give it to another son Shaun. Part 2: The primary protagonists are Shem, Shaun, and Issy, who are banished from their home by their parents after they misjudged the color of a girl's eyes based on their "gaze work." HCE is a Norwegian Captain who, via his marriage to a tailor's daughter, became domesticated. Part 3: The Four Masters' Ass describes how he believed he had heard and seen Shaun the Post's ghost while he was "falling asleep." Part 4: The book is written as a collection of short stories, and it opens with a plea for daybreak. The river Liffey, represented by ALP, flows into the ocean at dawn to mark the end of Part IV.

Dubliners, a collection of James Joyce's fifteen short stories, was first published in 1914. It provides a realistic portrayal of Irish middle-class life in Dublin and the surrounding area in the early 20th century. When the stories were written, Irish nationalism was at its peak, and there was a huge desire for a sense of national identity and mission. Standing at a nexus of history and culture, Ireland was being jolted by numerous converging ideas and forces. They focus on the paralysis theme and Joyce's concept of an epiphany, which is a character's transformational self-understanding or illumination (Joyce felt Irish nationalism stagnated cultural progression, placing Dublin at the heart of a regressive movement). Following Joyce's categorization of the collection into childhood, adolescence, maturity, and public life, the following stories are written in the third person and deal with the lives and concerns of progressively older individuals. The first three stories in the book are narrated by children. Many of the Dubliner's characters later made cameos in Ulysses by James Joyce.

The first novel of Irish author James Joyce is titled A Portrait of the Artist As A Young Man. Stephen Dedalus describes his early years in a voice that is not his own yet is sensitive to his sentiments, using vocabulary that evolves as he does. Stephen is coming to grips with the world, and the reader experiences his worries and confusion with him. Word gets throughout Clongowes Wood College that some guys have been caught "smuggling."When Stephen's father incurs debt, the family vacates their comfortable suburban house and moves to Dublin. Stephen is aware that he won't be going back to Clongowes.The boys in Stephen's class are taken on a religious retreat while the author indulges in sensuous pleasures. Stephen gives the passages on pride, guilt, retribution, and the Four Last Things particular attention (death, judgment, Hell, and Heaven).Both his mother and father criticize him for returning to the Church. He concludes that Ireland's limitations prevent him from expressing himself as an artist fully. He declares his links to his home country before leaving for his self-imposed exile.

Joyce's brilliantly vivid portrait of Dublin, introduced by Colm Toibin

Ulysses and Finnegans Wake are usually found in most lists of the great classics of the twentieth century. But, as Burgess points out in his introduction: ''they are highly idiosyncratic books and ''difficult'' books, admired more often than read, when read, rarely read through to the end, when read through to the end, not often fully, or even partially, understood. This is of course especially true of Finnegans Wake. ...This present reduction of Finnegans Wake to the length of an ordinary novel-garnished with an introduction and a running commentary is my own attempt to bring a great masterpiece to a larger audience...'' (the reduction is to that of about 1/3 of its original length). It took Joyce 17 years to create this extraordinary book (and his final work), written in Paris after the publication of Ulysses. It is written not so much in English as in a language which combines, very often as puns, English with several other languages. Burgess was a huge admirer of Joyce''s work

This volume combines two of novelist and lyric poet James Joyce's poetry books -- Chamber Music (1907), and Pomes Penyeach (1927), featuring a collection of 49 poems -- plus "The Holy Office" and "Gas from a Burner."

The novel traces the religious and intellectual awakening of young Stephen Dedalus. Stephen questions and rebels against the Catholic and Irish conventions under which he has grown, culminating in his self-exile from Ireland to Europe.