addressalign-toparrow-leftarrow-rightbackbellblockcalendarcameraccwcheckchevron-downchevron-leftchevron-rightchevron-small-downchevron-small-leftchevron-small-rightchevron-small-upchevron-upcircle-with-checkcircle-with-crosscircle-with-pluscrossdots-three-verticaleditemptyheartexporteye-with-lineeyefacebookfolderfullheartglobegmailgooglegroupshelp-with-circleimageimagesinstagramFill 1linklocation-pinm-swarmSearchmailmessagesminusmoremuplabelShape 3 + Rectangle 1ShapeoutlookpersonJoin Group on CardStartprice-ribbonShapeShapeShapeShapeImported LayersImported LayersImported Layersshieldstartickettrashtriangle-downtriangle-uptwitteruserwarningyahoo

A Portrait of the Artist as a Young Man, Norton Critical Edition

James Joyce's classic work

Join or login to comment.

  • don

    Great stuff…Thanks

    August 9, 2014

  • Larry S.

    Great discussion, wonderful group Thanks

    1 · August 7, 2014

  • Larry S.

    Great book wouldn't miss it

    1 · August 5, 2014

  • A former member
    A former member

    Looking forward to meeting you all and discussing a classic

    1 · August 4, 2014

  • Larry S.

    wouldn't miss it

    August 2, 2014

  • Riley

    What a joy is this Norton Edition! Thank you, thank you!

    On page 361, I wondered what woman author's writing the lady Hélène Cixous argues is comparable to the first page of Joyce's "Young Man." Ms. Cixous argues that what a man or a woman would write about the Bildung (education) in Bildungsromans (Gilgamesh knock-offs) "is going to be determined particularly by sexual difference."

    The important half of Ms. Cixous' article the Norton editor cut out, but surely he hopes we would go find the rest of the article. I did that.

    Ms. Cixous cites a Brazilian author Clarice Lispector who wrote her Bildungsroman in Portuguese before she read or considered James Joyce. Ms. Lispector titled her Bildungsroman "Near to the Wild Heart."

    Does the title difference illustrate what Ms. Cixous argues about "sexual difference"?

    July 31, 2014

  • Riley

    [Beginning of "Near to the Wild Heart" by Clarice Lispector]

    Her father’s typewriter went CLACK-CLACK . . . CLACK-CLACK-CLACK . . . The clock awoke in dustless tin-dlen. The silence dragged out zzzzzz. What did the wardrobe say? clothes-clothes-clothes. No, no. Amidst the clock, the typewriter and the silence there was an ear listening, large, pink and dead. The three sounds were connected by the daylight and the squeaking of the tree’s little leaves rubbing against one another radiant.

    Leaning her forehead against the cold and shiny windowpane she gazed at the neighbor’s yard, at the big world of the hens-that-didn’t-know-they-were-going-to-die. And she could smell as if it were right beneath her nose the warm, hard-packed earth, so fragrant and dry, where she just knew, she just knew a worm or two was having a stretch before being eaten by the hen that the people were going to eat.

    There was a great, still moment, with nothing inside it. She dilated her eyes, waited. . . .

    July 31, 2014

  • Riley

    Surely Joyce knew what forgery is.

    Why did Joyce say at the end that he would use forgery to create the new conscience of his race? Why not use sex? Or the Eucharist?

    And since Dedalus knew the tundish vernacular of "the best English", why does Dedalus pretend he does not know the word that he used in school-- "funnel"? FUNICULUM FUNAMBULANS FUN. (V[masked])

    Furthermore, why does Dedalus pretend to "Damn the dean of studies and his funnel" for not laughing at Shakespeare's tundish for sex? DARK DEEDS DARKLY ANSWERED. (V[masked]

    July 19, 2014

  • Riley

    If you want to see the genuine Portrait of the Artist, please peruse the earlier draft which Joyce named "Stephen Hero"-- a much more certain, playful, and joyful artist than the phony craftsman Daedalus that "Stephen Hero" created for the Norton Edition. You can find the fragments of the earlier draft at the following link.

    "The monster in Stephen had lately taken to misbehaving himself and on the least provocation was ready for bloodshed. Almost every incident of the day was a goad for him and the intellect had great trouble keeping him within bounds."

    [Stephen Hero discovers the power of creating phony art from "meaningless words and phrases."]

    "In class, ... he would suddenly hear a command to begone, to be alone ... He would obey the command and wander ... until ... and then he would return home with a deliberate, unflagging step piecing together meaningless words and phrases with deliberate unflagging seriousness."

    July 17, 2014

  • Riley

    What impresses me is how completely phony Joyce is in portraying how every young man that Joyce knew intimately grew up! So maybe "Portrait of the Artist" is a pot-boiler written for what the publishers could sell.

    If you want to see how well Joyce knew himself as the young artist, you have only to look at the letters he wrote to express himself at the very time he was polishing the manuscript of the phony "Portrait of the Artist." You can sample "The Artist and Young Man that Joyce Actually Was" by perusing Joyce's letters at the following link.

    Here is an interesting Sotheby's brochure on one of Joyce's genuine "Portraits of the Artist" at the following link. The letter sold for $445,000 at Sotheby's in 2004.

    July 15, 2014

8 went

People in this
Meetup are also in:

Sign up

Meetup members, Log in

By clicking "Sign up" or "Sign up using Facebook", you confirm that you accept our Terms of Service & Privacy Policy