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= 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