finally, here we have a chapter that reads somedeal like a Less Unusual piece of novel writing, concerning "Shem the Penman", a shambling and brokedown character who is a writer and we understand to be a stand-in for Joyce.
The chapter starts out with very comical description of Shem and ends with his being regaled by a pair of clerics who run through his life from their point of view. (at least, this seems to be what is happening. Along the way we get descriptions of food, etc.
Here's some words for you:
bogoakgravy
foreconsciously
hailcannon
cherubcake
more later
Wednesday, June 14, 2017
Monday, June 12, 2017
June 12 - end of chapter 6, pages 161-168
Interestingly, a character "Margareen" is described, about which Joyce describes the composition of a piece of music, the composition method, etc. This women is quested over by the triumvirate of Burrus, Caseous and Antoninus - known to us from Julius Caesar but here rendered synonymously as butter and cheese and Antoninus. These three zip in and out of the text, unstick from time and perform various deeds throughout the Wake. In these pages, the final questions and answers of Chapter 6 are answered - the questions and answers equally dense and perambulatory. "Hm, what was the question again?" I feel myself asking over and over.
This segment continues the discussion of the Dime Cash problem, quite obtusely. I read that even Campbell et. al. have pondered this topic of this chapter unsuccessfully.
A typically dense passage from this section:
" Now, while I am not out now to be taken up as unintention-
ally recommending the Silkebjorg tyrondynamon machine for
the more economical helixtrolysis of these amboadipates until
I can find space to look into it myself a little more closely first
I shall go on with my decisions after haveing shown to you in
good time how both products of our social stomach (the excellent
Dr Burroman, I noticed by the way from his emended food
theory, has been carefully digesting the very wholesome criticism
I helped him to in my princeps edition is all so munch
to the cud) are mutuearly polarised the incompatability of any
delusional acting as ambivalent to the fixation of his pivotism. "
1. Note that this is one single, run-on sentence.
2. The parenthetical remark seems to pull us entirely away from
the sense of the sentence.
3. Dr Burroman, a version of Burrus (Brutus, butter, etc)
4. Check out the word "mutuearly": mutually / much early /
mutually early
5. Pivotism? Ability to stand your ground, yet be flexible in
response?
This segment continues the discussion of the Dime Cash problem, quite obtusely. I read that even Campbell et. al. have pondered this topic of this chapter unsuccessfully.
A typically dense passage from this section:
" Now, while I am not out now to be taken up as unintention-
ally recommending the Silkebjorg tyrondynamon machine for
the more economical helixtrolysis of these amboadipates until
I can find space to look into it myself a little more closely first
I shall go on with my decisions after haveing shown to you in
good time how both products of our social stomach (the excellent
Dr Burroman, I noticed by the way from his emended food
theory, has been carefully digesting the very wholesome criticism
I helped him to in my princeps edition is all so munch
to the cud) are mutuearly polarised the incompatability of any
delusional acting as ambivalent to the fixation of his pivotism. "
1. Note that this is one single, run-on sentence.
2. The parenthetical remark seems to pull us entirely away from
the sense of the sentence.
3. Dr Burroman, a version of Burrus (Brutus, butter, etc)
4. Check out the word "mutuearly": mutually / much early /
mutually early
5. Pivotism? Ability to stand your ground, yet be flexible in
response?
Sunday, June 11, 2017
June 11 - Chapter 6, pages 126-160
Suddenly, I am finding the text familiar enough for extended reading (at least 25 or more pages).
This is more a frame of mind than anything. I think I have finally caught up with the flow of things and rhythm of the stream of consciousness and the run-onned-ness of the sentences. I guess its just getting familar after a long break-in period (for my brain).
Chapter 6 is quite interesting, starting with a series of questions, the first being "Who?" Joyce goes on answering this question for 13 pages very humorously, before giving the ultimate answer, "Finn MacCool". This question and answer section is quite hilarious.
The chapter then veers off into an encounter (from translation) between the Mookse and the Gripes in which the discuss and argue on many things, not the least of which is the theory of relativity (the Dime Cash problem). The expands out circularly.
A couple more Joyce-words:
"Muddlecrass"
"Tellesphorously"
Suddenly, I am finding the text familiar enough for extended reading (at least 25 or more pages).
This is more a frame of mind than anything. I think I have finally caught up with the flow of things and rhythm of the stream of consciousness and the run-onned-ness of the sentences. I guess its just getting familar after a long break-in period (for my brain).
Chapter 6 is quite interesting, starting with a series of questions, the first being "Who?" Joyce goes on answering this question for 13 pages very humorously, before giving the ultimate answer, "Finn MacCool". This question and answer section is quite hilarious.
The chapter then veers off into an encounter (from translation) between the Mookse and the Gripes in which the discuss and argue on many things, not the least of which is the theory of relativity (the Dime Cash problem). The expands out circularly.
A couple more Joyce-words:
"Muddlecrass"
"Tellesphorously"
Wednesday, June 7, 2017
chapter 5 of book 1 - pages 116-126 "Letter Making"
I have to say - this section got to me a lot more than anything previously in the wake. It is highly comprehensible to me, I "get" the time jumps now and the actions of the characters in their separate timeframes. I have great confidence in the Wake going forward.
A couple of really nice words from this section:
chaosmos
bestteller
really, really cool. James, may I borrow these, please?
This section holds forth Very Entertainingly on lexicography, "letter-making", legibility, penmanship, writing materials, the history of printing and so on - throughout time. We have the introduction of the topic of "SIGNAS" M (and the pyramid character), the association of M to Earwhicker (the trilithon, or stonehenge sort of construct, but in typeface). We hear talk of the "truth letter", variant texts and the inherent inaccuracy of representation. I just really love this section - need to reread and reread.
Medieval book making and the Book of Kells are both discussed. Tristan and Iseult are mentioned, along with Romulus and Remus.
One particularly great image is of whispering words through a hole in your hat, such that when whispered in, the words may come back out in any order. This idea, for me, encapsulates the poet, the priest, the barroom tale teller and the magician. It also incorporates the "telephone" idea and the inaccuracy of all retold tales.
At the end of the chapter, we are introduced to "Shem the Penman".
A long section that blew my mind, from page 121 begins thus
"which paleographers call a leak in the thatch or the Aranman ingperwhis through the hole of his hat, indicating that the words which follow may be taken in any order desired,"
ALL HAIL THE WAKE!
A couple of really nice words from this section:
chaosmos
bestteller
really, really cool. James, may I borrow these, please?
This section holds forth Very Entertainingly on lexicography, "letter-making", legibility, penmanship, writing materials, the history of printing and so on - throughout time. We have the introduction of the topic of "SIGNAS" M (and the pyramid character), the association of M to Earwhicker (the trilithon, or stonehenge sort of construct, but in typeface). We hear talk of the "truth letter", variant texts and the inherent inaccuracy of representation. I just really love this section - need to reread and reread.
Medieval book making and the Book of Kells are both discussed. Tristan and Iseult are mentioned, along with Romulus and Remus.
One particularly great image is of whispering words through a hole in your hat, such that when whispered in, the words may come back out in any order. This idea, for me, encapsulates the poet, the priest, the barroom tale teller and the magician. It also incorporates the "telephone" idea and the inaccuracy of all retold tales.
At the end of the chapter, we are introduced to "Shem the Penman".
A long section that blew my mind, from page 121 begins thus
"which paleographers call a leak in the thatch or the Aranman ingperwhis through the hole of his hat, indicating that the words which follow may be taken in any order desired,"
ALL HAIL THE WAKE!
Monday, June 5, 2017
chapters 4 and 5, p. 93-117 - Days 12-15 (?)
(Parenthetical Apology: My blog maintenance has suffered in the last week from work (wine shop), babysitting, attendance at the Rutgers Writers Conference, reading in Chaucer (Parlement of Fowls) and so forth. My logging in terms of "Days" is losing accuracy. I may change the labeling to date of the post. However, the Wake continues to inform my waking and unwoken hours. It is an incredible phenomenon of lingual fluidity and a master-course in inventive poesy, sentence structure and composition. Each page calls upon me as a reader to be a creative interpreter, translator, philosopher, poet, linguist. Nearly ever sentence stuns, surprises, amazes and informs me. Each day my appreciation for Joyce as a consummate, passionate artist grows.)
The end of chapter 4 continues the discussion of the trial and failings of Humphrey, in vivid Dublinesque.
Entering chapter 5, we get a blast of detail about Anna Livia Plurabelle, the female side of the Humphrey Chimpden Earwicker story. Page 104 - Joyce writes;
"Her untitled mamafesta memorializing the Mosthighest has gone by many names in disjointed time"
He then gives us a dizzying, almost 4 pages of alternate names, titles and epithets for Anna Livia Plurabelle in an italicized list. This list does indeed swerve through disjointed time,, describing her over time and from many contexts.
On page 109, we get reintroduced to "the Letter" as an entity in the long riddle of the FW history - this is the letter that indicts Humphrey, along with many other manifestations.
On page 113, Joyce gives us another gigantic, wonderful compound word:
"Thingcrooklyexineverypasturesixdixlikencehimaroundhersthemaggerbykinkinkankanwithdownmindlookingated"
Let me pause and say how much Joyce is crushing it with touches like this. As I read along and I hit such a word and try to read it aloud, the following things happen:
1. its a sort of singing breath exercise to pronounce such a word.
2. its a sort of pronunciation puzzle, it takes many tries to even make your way through it, either
a. read silently or b. read aloud. It reminds me of a rock climbing sequence.
3. putting meaning to the word.
4. putting context to the word
5. Interpreting the word - is this another onomatopoeic approximation of thunder (like page 1)?
Pretty interesting, pretty complicated.
Also, there is the wonderful fragment from page 115 (for example):
"And it is surely a lesser ignorance to write a word with every consonant too few than to add all too many. The end? Say it with missiles then and thus arabesque the page. You have your cup of scalding Souchong, your taper's waxen drop, your cat's paw, the clove or coffinnail you chewed or champed as you worded it your lark in clear air. So why, pray, sign anything as long as everyword, letter, penstroke, paperspace is a perfect signature of its own?"
this is a wonderful passage on composition, letter writing, words and written art............perhaps
I am stunned anew on every page.
The end of chapter 4 continues the discussion of the trial and failings of Humphrey, in vivid Dublinesque.
Entering chapter 5, we get a blast of detail about Anna Livia Plurabelle, the female side of the Humphrey Chimpden Earwicker story. Page 104 - Joyce writes;
"Her untitled mamafesta memorializing the Mosthighest has gone by many names in disjointed time"
He then gives us a dizzying, almost 4 pages of alternate names, titles and epithets for Anna Livia Plurabelle in an italicized list. This list does indeed swerve through disjointed time,, describing her over time and from many contexts.
On page 109, we get reintroduced to "the Letter" as an entity in the long riddle of the FW history - this is the letter that indicts Humphrey, along with many other manifestations.
On page 113, Joyce gives us another gigantic, wonderful compound word:
"Thingcrooklyexineverypasturesixdixlikencehimaroundhersthemaggerbykinkinkankanwithdownmindlookingated"
Let me pause and say how much Joyce is crushing it with touches like this. As I read along and I hit such a word and try to read it aloud, the following things happen:
1. its a sort of singing breath exercise to pronounce such a word.
2. its a sort of pronunciation puzzle, it takes many tries to even make your way through it, either
a. read silently or b. read aloud. It reminds me of a rock climbing sequence.
3. putting meaning to the word.
4. putting context to the word
5. Interpreting the word - is this another onomatopoeic approximation of thunder (like page 1)?
Pretty interesting, pretty complicated.
Also, there is the wonderful fragment from page 115 (for example):
"And it is surely a lesser ignorance to write a word with every consonant too few than to add all too many. The end? Say it with missiles then and thus arabesque the page. You have your cup of scalding Souchong, your taper's waxen drop, your cat's paw, the clove or coffinnail you chewed or champed as you worded it your lark in clear air. So why, pray, sign anything as long as everyword, letter, penstroke, paperspace is a perfect signature of its own?"
this is a wonderful passage on composition, letter writing, words and written art............perhaps
I am stunned anew on every page.
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