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Finnegans Wake (Classic, 20th-Century, Penguin) Paperback – December 1, 1999
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Having done the longest day in literature with his monumental Ulysses, James Joyce set himself even greater challenges for his next book — the night.
"A nocturnal state...That is what I want to convey: what goes on in a dream, during a dream." The work, which would exhaust two decades of his life and the odd resources of some sixty languages, culminated in the 1939 publication of Joyce's final and most revolutionary masterpiece, Finnegans Wake.
A story with no real beginning or end (it ends in the middle of a sentence and begins in the middle of the same sentence), this "book of Doublends Jined" is as remarkable for its prose as for its circular structure. Written in a fantantic dream language, forged from polyglot puns and portmanteau words, the Wake features some of Joyce's most brilliant inventive work. Sixty years after its original publication, it remains, in Anthony Burgess's words, "a great comic vision, one of the few books of the world that can make us laugh aloud on nearly every page."
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
- Print length672 pages
- LanguageEnglish
- PublisherPenguin Classics
- Publication dateDecember 1, 1999
- Dimensions5.55 x 1.53 x 8.36 inches
- ISBN-109780141181264
- ISBN-13978-0141181264
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Product details
- ASIN : 0141181265
- Publisher : Penguin Classics; Reissue edition (December 1, 1999)
- Language : English
- Paperback : 672 pages
- ISBN-10 : 9780141181264
- ISBN-13 : 978-0141181264
- Item Weight : 1.34 pounds
- Dimensions : 5.55 x 1.53 x 8.36 inches
- Best Sellers Rank: #91,642 in Books (See Top 100 in Books)
- #742 in Contemporary Literature & Fiction
- #2,823 in Classic Literature & Fiction
- #5,658 in Literary Fiction (Books)
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About the author

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet. He contributed to the modernist avant-garde and is regarded as one of the most influential and important authors of the 20th century.
Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he utilised. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, occasional journalism and his published letters.
Joyce was born in 41 Brighton Square, Rathgar, Dublin—about half a mile from his mother's birthplace in Terenure—into a middle-class family on the way down. A brilliant student, he excelled at the Jesuit schools Clongowes and Belvedere, despite the chaotic family life imposed by his father's alcoholism and unpredictable finances. He went on to attend University College Dublin.
In 1904, in his early twenties, Joyce emigrated permanently to continental Europe with his partner (and later wife) Nora Barnacle. They lived in Trieste, Paris and Zurich. Though most of his adult life was spent abroad, Joyce's fictional universe centres on Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there. Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses, he elucidated this preoccupation somewhat, saying, "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."
Bio from from Wikipedia, the free encyclopedia. Photo from Wikimedia Commons, the free media repository.
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Books, ultimately, are read for the quality of the ideas they express, and the quality of the style used to express them.
critics want to define artistic "quality". In any case, the "ideas" of FW have universal essence and are of an epic nature. Unfortunately, some reviewers want the transcendent nature of life to be clear, right in front of them, religion is what other people do and everything is just as it seems. Look, some great works of art do not speak to all, [Picasso's - la guerre] but make no mistake; this book is an incredible work of word art BUT does not reveal itself easily OR to everybody and that is exactly what Joyce wanted, he wanted a few sensitive and intelligent readers to experience an epiphany about the cycles of death, life, myth, history, love, war, hate, sex[lots of sex], "social marketing", male female, brother, sister, mother father- how these patterns of archetype forces affect us, this is another "reality", parallel to ours but in dark matter; [Unconscious and subconscious]. FW is not describing these forces but placing us in them by disorienting us, making the reader become part of a jumbled up night world of myth and universal cycles. How these forces of life affect us is a confusing book during the day [James Joyce's Ulysses] but at night they really go off [Finnegans Wake]. People, It doesn't get any more insightful than that.
Another reviewer, a Mr. T.Powerless, who wrote a review of the "FW Skeleton Key", - keeps asking:
What you think this book is trying to say in its 600+ pages of indeciperhable ramblings (and some proof would be nice)
How he can write a review of a book about the meaning of FW and still keep asking this questions is befuddling. His theory is that it is all just random letters [never mind the puns and historical stuff] and there is no meaning and that all the smart people have been fooled, except him. Finnegans Wake is 95% "deciphered" but something is lost in trying to put this art book in sound bites or one-sentence sayings. Take the phrase "reveiling the night". It is "saying" several things at once, each makes sense but it is also mixed up, obscure and in the mystery of the conjoining of mixed up words, is the art. There are straight forward ideas that can be expressed from FW: one of my favorites- how we should strive for things and concepts that uplift the spirit and these will pull us together, because they inspires us as one people, not on material stuff that separate us, but- really, so what, another "good" idea but silly in a way. Like the "ideas" of Hamlet: often puerile, but with Shakespeare's brilliance take on new life. And, when JJ writes the brilliant connotations are imbued in his art. The art is lost in my translations. Yes, but the critic keeps asking, its not clear and What does it MEAN, - but... what is meaning and is meaning always clear?? The hackneyed haiku: the sound of one hand clapping?- what does it mean? The meaning is a paradox or another question. all those things that do not have a sound when struck, but what does that mean? It is not about the meaning of life it is about the feeling of being alive. If you must have a meaning rather than another perspective, understanding or an epiphany: Warning: stop reading FW before you get mad. Clearly, T.Powerless kept reading, couldn't find what it was saying and became irritated.
However, FW, as a bit of a mixed up crossword puzzle, demands an explanation, a guide, patience, translations and a key. The best starting points are John Bishop's book and Joseph Campbell's " A Skeleton Key to FW". In other words, FW MUST ALSO BE STUDIED LIKE A TEXT BOOK, clues must be researched and an adventure game like quality to the mysteries and the possible solutions can be fun. yes, for some tracking down the sources and uses of JJ words and relating it to the essence of a sentence or chapter is part of the mystery. Others see The historical period of FW reflected in the work: pre World War II. Freud and Jung going at it, Picasso and Matisse going off, it was a heady time for all the western cultures. AND to top it off Joyce dies sudenly 6 months after the book is published in 1941!!! Although Joyce hated FW to be called surreal, FW is an abstract work of art and as such, like any great conceptual or complex philosophy [Nietzsche or Wittgenstein] or abstract art, is extremely personal and open to much interpretation. One can get several versions of exactly what is being "said" from the same passage; this really upsets the material minded and if you are not prepared for this kind of art or thought or are resistant to abstract art then, chances are, FW will be/ is gibberish to you. As The above reviewer states correctly: a good work must have great style, FW has a style of immense complexity and quality but NOT great clarity, intentionly.
FW is a huge Irish joke about the cycles of human life, art and thought. There is a twisted sense of humor in this Irish consciousness making a sad joke of life; the punch line is about the Devine Comedy of existence. FW is also an intentional riddle with several answers; the 60 different languages, puns, portmanteaus [the crossword part] with historical and mythical referances as well. the reader can wander and wonder about this book of life for hours or years. At times, like any fine work of abstract art: it reveals the artist and viewer more than the "reality" of the subject. No, FW can not be translated into another "language", no it was not written in the way other books are, The 4 books were not written in order and can be understood as independent sketches on different and recurring themes. Yes, joyce had a comprehensive and firm intention when he wrote it. If you start to dig and study the text the book becomes an obscure magic workbook about the recycled archetypical nights of human consciousness. However, unless you are a scholar, you must study the philology or it becomes drivel and unless you have an open mind and can embrace obscurity the work quickly becomes irritating. The sound of the words can be helpful and so some find that FW is often less abstract if read out loud. Like the Hindu vedas, which are songs or hymns, FW has a lyrical quality when read out loud too. In any case the puzzle must be solved in the dark as characters, stories, change, transmute; opposites are defined and then become one and need each other and then digress again. The simple "story" has been figured out, the references have exhaustedly been researched for the last 70 years and still there are mysteries to this work. Joyce intended this too and future generations will appreciate, miss understand and wonder, love/hate it, fight over and review this book!
No, not everything printed on paper is literature and not all words are found in a dictionary, not all communication is with words, from the dictionary, or for that matter verbal. So the one reviewer that says he doesn't dream in puns and his dreams are about "something" is confusing the description of a dream with the conjuring of the "reality" of a dream world, using language. the difference between going to the movies or describing the movie. Joyce is NOT trying to describe a dream; he is trying to put you in a dream cycle of life forces in motion. JJ is comunicating with strange english sounding words to make a language of dreams. Joyce's subconscious, night world is obscure, intentionally, like "real" dreams. This bothers people, just as their own dreams do. This night book has stages, like the night, but there is no meaning to the actual story or beginning or end, the individual dreams have "meanings" and there is a progression but, like reincarnation or purgatory, there is no end or beginning . How do you escape such a work of art? perhaps a third book about Nirvana or Paradise: a simple book, like the Paridiso of the Devine Comedy. Cambell thought this was in the works when JJ died.
I'm sure the greatest thing is NOT to listen or watch the defenders of FW. Although there are some fascinating works on the Wake and Dante, Vico, the Egyptian book of the dead, the book of Krells, Cabala, Christianity, Buddhism, Hinduism, Talmud and lots of dream consciousness-etc. My suggestion is to read or scan it, with JC's "Skeleton Key" or Tindall's so you can get a sense of what is being said, see which of the 4 books speaks to you and then start digging on your own, the best annotated guide is now on the internet, John Bishop's book is insightful. he also wrote the intro to the Penguin edition. Stop after a while, put it down, read some other stuff, pick it up later. I knew almost nothing of the philosopher Vico and had not read Dante. James Joyce was a true artistic personality and scholar and, as an eccentric, sardonic Irish scholar, he wanted to be obscure and drive all the other [Irish and non Irish] scholars nuts. NON SERVIAM I am slave to none- was the motto he lived by. This book is intentionally obscure and Joyce is known to have re written parts that were not obscure enough!! WHY? Again, dreams can have several meanings because the dreamer and the dream are one. the dreamer/reader must decide which meaning is pertinent to the story and to your own story and see if it fits. There is a subjective part to making something abstract and a subjective part to interpretation the art. Unfortunately, this vagueness plus the references and language threw the doors open to the cross winds of scholarly conjecture. At the end, however, Joyce is communicating something powerful, eternal [not about time] and wondrous but the reader/dreamer must be prepared to study, dig deep and interpret and sometimes just guess. A Warning label would say: it took him 15 years to write it. 1] There is no bottom 2] the journey is "reveiling". - if FW doesn't speak to you, that's cool; just don't say there is nothing there if you can't find or see it.
Ulysses closely follows the books of the Odyssey, so it is always clear which episode corresponds to what book. Finnegans Wake with its four Books and its first sentence that completes its last sentence does not have anything like the structure of 3 Greek tragedies. The imagery and language in Finnegans Wake are so diverting, and the things they reference so wide-ranging, I really couldn't see how the first two Books could be related to the first two plays as I struggled through them.
But FW's Book III has a much clearer correspondence with the scenes from the third play. It has three different inquests of the same character (Shawn, Jaun, Yawn) much as The Eumenides has Orestes' fate examined in three different settings. This did not spring into my mind until I started the third chapter with Yawn on the hill and thought of the Areopagus and the jury of Athenians, and then had a laugh looking back at the swarming school girls from St. Brides as stand-ins for the Furies in Athena's temple, with Jaun's lecture on proper behavior reminding me of Apollo's lame and blustery arguments against them. Shaun appearing out of the darkness and the voice that questions him in Chapelizod I hadn't recognized as particularly like the scene with the Pythia when I read it, but in retrospect his story, the Ondt and the Gracehoper, does highlight with those names the idea of someone looking for absolution as Orestes was in Delphi, and while the sort of involuntary way Shaun exits the scene is still puzzling me, I can see a parallel with Orestes' having to flee on. Also since the voice turns out to be his Sister Issy, a character who is more explicitly described as having become a nun later (in Chapter III.4) that makes her more Pythia-like back in Chapter III.1.
So for The Eumenides and much of FW Book III, I could find correlations that were playful and let the FW chapters stand on their own like the ones in Ulysses, while giving a reason for the particular sequence of the scenes and their different settings. Had I just missed similar correlations in the first books? Apparently so. I never saw any other clear parallels until I had finished the whole book.
In the very beginning of FW I could find passages that could be said to relate to lines from Aeschylus' watchman on the roof. Laboriously, I did look for these. Even the songs appeared where I'd expect them to, as the watchman speaks of singing to stay awake, but still there is no actual watchman in the beginning of FW. And the most bizarre, vivid and unforgettable image of all where Finnegan is laid out as a fish dinner has zero connection to any imagery at the start of the play. Only after a pass at reading the whole book did I see how (with a twist) I could relate the prologue of the Agamemnon to Finnegans Wake, but to all of the book, not just the first 13 pages.
The twist I can best describe as Joyce playing a fanciful game of "What if?". It's not just "what if the watchman fell?" setting up the story of Finnegan and his fall. And it's not just "what if he didn't stay awake?" although with that twist, Joyce could turn Aeschylus' wakeful watchman into his own book's sleeping listener "Earwicker" (Earwicker and Porter have an etymological and a functional connection to "watchman" respectively.) It's the most fanciful "What if?" of all, and it comes from the watchman's parting comment, "if the house could take voice." What if the building really could speak? If buildings are actually going to be able to speak and tell us what is going on, then we get the structure of Finnegans Wake that I struggled to make sense of: a book in which different places, from historic landmarks like Howth Castle to the Porters' four ordinary bedroom walls, give us the sights and sounds they have been witness to. I had always noticed and liked the voice of the river in the Anna Livia Plurabel chapters, but I hadn't really considered how the voices of other places and natural features were speaking throughout the book.
For my purposes, it is a lot simpler to match places and their storytelling task to the Oresteia's scenes than to cherry-pick through the text for passages that might. For instance, the old castle itself, not the four Old Masters plus Mute and Jute plus the Prankquean raconteur etc., makes the best parallel to the chorus of the old men of Argos. The old men remember the history of the beginning of the Trojan War; the castle remembers things it has seen and heard about its own history and the history of Dublin. Sometimes simply realizing it is a place that is speaking is really helpful to understanding what is going on. The idea that it's the walls' point of view in III.4 explains why we see the Porters' bedroom and their lovemaking four times from four different directions, and why we are sometimes looking into the room and sometimes out of it. I was completely confused by this, and even thinking the prurience was getting tiresome! Guessing that the domesticity of this chapter's setting paralleled the scene in the Eumenides where the Furies' roles are being redefined by Athena and scaled down to household and marriage concerns didn't help as much as understanding the walls themselves were defining what that chapter holds.
So, does it really help in reading FW, to have the Oresteia in mind? It certainly did not help generally with understanding the prose. For me it was helpful overall to think that, instead of Joyce purely rambling in a dreamscape, going from scene to scene in a stream-of-conscious way, he had a chain of references for the order of the scenes, a reason for why particular settings were chosen for particular chapters. How big an impact this has on anyone else is more or less up to each reader, because it is so difficult to spot that taking it into account is entirely optional. I started with my guess that FW was based on the Oresteia, but I wasn't always convinced, and I am not sure even yet that I will ever grasp how each chapter fits.
I have also come to think since finishing that the correspondence between FW and the Oresteia highlights a particular ontological reading of the Oresteia as much as the bare classic. In this reading the Agamemnon is considered Orestes' past and deals with what is known and thought about that past, The Libation Bearers is considered Orestes' movement toward his future and deals with him developing, and The Eumenides is Orestes' present, and deals with his relating to others around him and how he appears to them (how they judge him). Athena leading out a joyful procession at the very end is thought to be a moment of aspiration that makes a unity of this past, present and future. In FW Book IV we get the river reaching the sea, and I cannot begin to capture how that passage does it, but a sense of the unity of the whole book is definitely achieved.
The philosophy that inspired this reading of the Oresteia would have been contemporaneous with Joyce, but who knows if he bothered with it? And who knows if the correlations that I described are really the product of a deliberate effort to work from the Oresteia? Joyce doesn't seem to have ever told anyone that he was basing his last work on another classic, when he made no secret of it with Ulysses. It wouldn't have made sense to mention when he was publishing excerpts, but he was open about the other works he was incorporating into the Wake both before and after he published the whole thing, so I have to believe that even if he did incorporate a structure from the Oresteia, he wanted his last work to stand alone. Which it certainly does.
I have promised myself that I will reread it someday. But only if there is a group of us to share the journey. I couldn't have read it at all without the friends I read it with, and I wouldn't have missed sharing the experience with them for the world.
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Absintheminded? Absent, mind drifting? Forgetful? Drunk? Or just a joke, all things, or nothing. Dig deep or skim the surface.
Perhaps a sample is the best way of approaching the novel is to select a slice of this very rich exercise in linguistic experiment. At university in the 1960s I was encouraged to read 'at least a page' of Finnegan's Wake. If you are at all interested in what makes a novel you should try the same experiment. Hence : 'He dug in and dug out by the skill of his tilth for himself and all belonging to him and he sweated his crew beneath his auspice for the living and he urned his dread, that dragon volant, and he made louse for us and delivered us to boll weevils amain, that mighty liberator, Unfru-Chickds--Uru-Wukru and begad he did, our ancestor most worshipful till he thought of a better one in his windower's house with that blushmantle upon him from earsend to earsend.' Echoes of outmoded speech and current slang are stirred in together in this bizarre narrative. Puns and ponderable words stretch meanings into something thatat times verges on nonsense. A feast of fancy invites the reader to make a story of it all.
Personally I think the best approach is to read a few books about Finnegans Wake to try and find a way in. I would also suggest reading Finnegans Wake along with a book like William York Tindall's A Readers Guide to Finnegans Wake or Roland McHugh's Annotations to Finnegans Wake. I read Finnegans Wake with the Readers Guide, as Tindall's book is helpfully broken down into chapters that mirror the chapters of Finnegans Wake; so I was able to read a chapter of Finnegans Wake and then look at the corresponding chapter of the Readers Guide. If I want to re-read it I will probably by the Annotations and use that for my companion text.
Other than that I would suggest not getting fixated on having to understand everything you read. As I understand the book it would fail in its aims if you did. So if you don't understand something don't panic, let it wash over you and enjoy the book as best you can.
Die von James Joyce in diesem Buch verwendete Sprache ist natürlich einzigartig, schließlich kombinierte er Wörter neu, schuf komplette Neologismen und benutzte dutzende Sprachen, mitunter bis zu acht in einem Satz.
Einigen kann man sich fraglos darauf, dass sich FINNEGANS WAKE wie ein Trip oder ein Traum liest – Bilder entstehen und verschwinden wieder, Assoziationen und Visionen tauchen vor dem inneren Auge des Lesers auf. Ein linearer Lesefluss und ein lineares Leseverständnis wird man bei FINNEGANS WAKE vergeblich suchen.
Dennoch hat FINNEGANS WAKE eine ganz eigene Magie – und die zu diesem Buch erschienene Sekundärliteratur kündet ja auch davon, dass James Joyce hier keineswegs einfach vor sich hin geschriebene hat und einfach ein möglichst verrücktes Buch veröffentlichen wollte, sondern dass dem Buch eine mitunter sehr komplexe und filigrane Struktur innewohnt.
Meiner Ansicht nach muss man dieses Buch einfach für sich stehen lassen, und auch wenn der Vergleich hinkt erinnert mich FINNEGANS WAKE immer wieder an den Monolithen aus „2001“, eben auch ein enigmatisches Werk, welches sich gängigen vergleichen entzieht. Wer wirklich bereit ist, sich diesem Trip zustellen, sollte definitiv den Erwerb eines der zahlreichen hierzu erschienenen Sekundärwerkes in Erwägung ziehen, ohne kompetenten Reiseführer ist man in dem Labyrinth von FINNEGANS WAKE schnell verloren.









