James Joyce, Leo Taxil, blasphemy, Baphomet, Ulysses, Paris

Ep. 39 – C’est le pigeon, Joseph.

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La Vie de Jésus, by Léo Taxil

Stephen Dedalus learns the value of gentlemanly blasphemy in this episode of Blooms & Barnacles. Our hero evades the nets of his oppressors while recalling a conversation with a friend in Paris. Topics include the changing face of Ringsend, the Pigeonhouse, Stephen’s epiphanies and the Epiphany, Dermot speaking French, what Jules Michelet doesn’t know about women, absinthe, the elaborate blasphemies of Leo Taxil’s pornographic pope period, Baphomet, the freemasons, and the greatest trick ever played on the Catholic Church (that might be overstating it, but it’s a fun story).

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Ulysses, Proteus, Stephen Dedalus, James Joyce

Ep. 38 – Pico della Mirandola like.

 

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Giovanni Pico della Mirandola

This episode of Blooms & Barnacles takes an esoteric twist as we continue deeper into “Proteus”, Ulysses‘ third episode. Topics include: why Dermot is not impressed with the Library of Alexandria, the length of a mahamanvantara, what the heck a mahamanvantara is, Joyce’s youthful rage put into poetry, Joyce’s youthful interest in theosophy, Pico della Mirandola’s desire to speak to angels, Renaissance magic, hermeticism, , correspondences in Ulysses, and why Dermot thinks Neil de Grasse Tyson is wrong.

Continue reading “Ep. 38 – Pico della Mirandola like.”

James Joyce, Proteus, Ulysses, Eucharist, Catholicism, Last Supper

Ep. 37 – Who is this Dan Occam fellow, anyway?

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William of Ockham

Dermot and Kelly tickle your brain with Stephen Dedalus’ thoughts on the Eucharist, William of Occam, hypostasis, consubstantiation, transubstantiation… we’ve got it all! Other major philosophical queries discussed include: How can so much bread and wine all become Christ’s body and blood. Does Stephen really understand hypostasis.When does soup become soup? Is it immoral to impersonate a priest as long as you don’t hear someone’s confession?

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Who Was the Real Leopold Bloom?

Yes. Only a foreigner would do. The Jews were foreigners in Dublin at that time. There was no hostility towards them. But contempt, the contempt that people always show towards the unknown. – James Joyce

This post is a part of an occasional series on the real people behind the characters in Ulysses.


Where to begin piecing together the jigsaw puzzle of Leopold Bloom’s inception? Like most of the characters in the Joycean canon, Bloom was inspired by real people and events from Joyce’s life. Unlike a character like Buck Mulligan, however, there is no single, definitive inspiration for Bloom. Such a literary puzzle leaves the curious amongst us to hunt down clues and tidbits.

Let’s start by considering Blooms’ defining characteristics.

Leopold Bloom lives in a house on 7 Eccles St. on Dublin’s north side. He works as an ad canvasser for the Freeman’s Journal, a nationalist newspaper. He has an unfaithful wife, a maturing teen daughter, and a son who died in infancy. He loves organ meats. He’s ethnically Hungarian on his father’s side. He’s tepidly Jewish. He has a moustache. He’s awkward and nebbish on the outside but insightful and witty in his internal monologue. He’s our Dubliner-Everyman-Odysseus, the consummate outsider living in his hometown. 

Finding a single person in Joyce’s life that meets all these prerequisites is difficult. Instead, one begins to realize that Bloom is actually a Frankenstein’s monster of moustachioed Jewish men that Joyce knew throughout his life. The list I’ve compiled is by no means comprehensive, but I have tried to include the major inspirations for these definitive qualities of Leopold Bloom. The sum total of their parts is a truly singular, Hellenic-Hebraic-Hibernian hero.

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Ep. 36 – The Complex Life of Lucia Joyce- (w/Linus Ignatius & Llewie Nuñez)

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Linus as James Joyce and Llewie as Lucia Joyce

Linus Ignatius and Llewie Nuñez starred in the play Lucia Mad as James and Lucia Joyce, respectively, back in their university days. They drop by the podcast for a deep dive into the complex and tragic life of James Joyce’s daughter Lucia. We discuss how they prepared to portray the Joyces on-stage, Lucia’s genius as an artist, her struggle with mental illness, the stigma she faced within the Joyce family, her influence on Finnegans Wake and the relationship between Joyce and his daughter.

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James Joyce, Ulysses, Calypso, Leopold Bloom

Ulysses & The Odyssey: Calypso

“… I found that for [Joyce] human character was best displayed – I had almost said entirely displayed – in the commonest acts of life. How a man eats his egg will give a better clue to his differentiation than how he goes forth to war… Cutting bread displays character better than cutting throats.”  – Frank Budgen

Part of an occasional series on the Homeric parallels in James Joyce’s Ulysses.

The Odyssey: Book 5

The gods are having a council. The nymph Calypso has imprisoned Odysseus on her island, Ogygia, and Athena persuades Zeus to intervene. Hermes the messenger is sent to Calypso, delivering Zeus’ message to release Odysseus or else. Calypso wanted to make Odysseus her immortal lover, but he was not interested. While on the island, he was forced to spend nights with Calypso and then spent the days weeping on the beach. Calypso lets Odysseus go, but not before reminding him that she’s way hotter than his wife. Odysseus builds a raft and sails away. Poseidon is not impressed, though, and sends thunderstorms to destroy Odysseus and his raft. After more divine intervention, Odysseus makes it to land.


Is it just me, or is it incredibly satisfying when, after finishing those last few pages of “Proteus,” you turn the page and it says “II” in giant Roman numerals? If you’re feeling a pronounced sense of accomplishment, feel free to raise your fists aloft like Rocky. You deserve it. Maybe stop for ice cream on the way home tonight.

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Calypso calling heaven and earth to witness her sincere affection to Ulysses, Angelica Kauffmann, 18th c.

Here in “Calypso,” the fourth episode of Ulysses, we finally meet our hero, Mr. Leopold Bloom, namesake of Bloomsday and our Odysseus stand-in. Like his son Telemachus, the reader spends the first three episodes of Ulysses searching for their own lost Odysseus, and here he is! Though Joyce’s novel runs parallel to Homer’s epic, the characters and situations are not always direct correlations. Rather, they are sideways versions of Homer’s archetypes. When we meet Odysseus in The Odyssey, he is languishing on the island of Ogygia where he is held captive by the nymph Calypso. Mr. Bloom is also languishing, but more subtly. Rather than weeping on a beach, he is preparing breakfast for his household. While Odysseus’ emotions are powerful and effusive, Bloom represses and evades his frustration as best he can.

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Stephen Dedalus, W.B. Yeats, The Tables of the Law, James Joyce, Ulysses

Ep. 35 – The Hundredheaded Rabble

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Joachim of Fiore

Join Kelly and Dermot for a story about James Joyce’s youthful rebellion against the literary establishment of Dublin, his obsession with the apocalyptic predictions of a 12th century monk, a tale of psychic horror by W.B. Yeats, Jonathan Swift and Dublin’s oldest public library. It’s a jam-packed episode! The paragraph discussed in this episode can be found on p. 39-40 of the 1990 Vintage International edition of Ulysses.

Bonus: Dermot interviews Kelly about completing her blog series about “Proteus.” Check out those blog posts here.

Double Bonus: The difference between Elisha and Elijah from Chuck Knows Church.

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Decoding Dedalus: God Becomes Featherbed Mountain

This is a post in a series called Decoding Dedalus where I take a passage of Ulysses and  break it down line by line.

The line below comes from “Proteus,” the third episode of Ulysses. It appears on page p. 50 in my copy (1990 Vintage International). We’ll be looking at the line that begins “God becomes…” and ends “…featherbed mountain.”

God becomes man becomes fish becomes barnacle goose becomes featherbed mountain. 

This sentence is a riddle for us, Stephen’s phantom students.

Early in “Proteus,” Stephen thinks, “Signature of all things I am here to read,” and as the episode closes, Stephen is still deciphering these signatures. All of the items in this list are, at least theoretically, signs that might appear to Stephen on the seashore. The question is, can we (or Stephen) interpret these signs? This sentence shows a progression of concepts shifting and metamorphosing into one another, staying true to the slippery, protean nature of the shore. Where does the land end and the sea begin? It’s all a matter of perspective depending on ever-changing and overlapping forms – the sand, the water, the tides that join them, all existing on a continuum, nacheinander and nebeneinander. 

How does God transform into a featherbed mountain, anyway?

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Ep. 34 – Translating Finnegans Wake into Japanese (w/ Kenji Hayakawa)

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Kelly and Dermot are joined by translator Kenji Hayakawa to discuss the gargantuan task of translating Finnegans Wake into Japanese.  We discuss Naoki Yanase’s translation of Joyce’s classic novel into Japanese, creating special software Japanese characters to tackle Joyce’s various coinages, why Japanese is an ideal language in which to read Finnegans Wake, why only translators truly understand Finnegans Wake, the sadism of Finnegans Wake, the influence of Harriet Shaw Weaver, and how Finnegans Wake is the antidote to book club hierarchies.

No need to speak Japanese or have read Finnegans Wake!

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Decoding Dedalus: Full Fathom Five

I haven’t let this young man off very lightly, have I? Many writers have written about themselves. I wonder if any one of them has been as candid as I have? – James Joyce to Frank Budgen

This is a post in a series called Decoding Dedalus where I take a passage of Ulysses and  break it down line by line.

The passage below comes from “Proteus,” the third episode of Ulysses. It appears on page p. 50 in my copy (1990 Vintage International). We’ll be looking at the passage that begins “Five fathoms…” and ends “We enjoyed ourselves immensely.”


Before we leave the shores of Sandymount at the end of “Proteus,” we should dive into one last motif just a bit deeper. We’ve previously focused on drowning in relation to the death of Stephen’s mother and as a manifestation of Stephen’s hydrophobia, but at the end of the episode, the image of a drowned man in Dublin Bay resurfaces once more. As we’ll see, Stephen fear of drowning extends beyond his memories of his mother coughing up bowls of green phlegm.

Moving his focus from the sand, stones and seaweed on Sandymount Strand, Stephen begins to contemplate the waters of Dublin Bay. He has attempted to categorize and order the scattered people, creatures and detritus of the shore through Berkeleyan idealism and the fixed language of heraldry, but the sea is still a wild place, shifting and protean. The sea contains mysteries yet untamed, the ninth wave out from land a portal to the otherworld. It is not confined to the restrictions of solid forms like those found on the shore. It is a place of possibility, and ultimately, change.

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