A Quote by Evan Dando
For me, it's all about The Dubliners by James Joyce. I love The Dead.
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I read James Joyce's short story 'The Dead,' and I love that movie for many reasons. It was the last film I made with my father, and it's emotional for me as well as a movie I'm proud of.
I really love James Joyce, Dubliners and other work. And I was interested in the way the dash was used in English topography - in his work particularly - and I realized there was no compulsion to use those ugly dot-dot curlicues all over the place to designate dialogue. I began to look around, and found writers who could make transitions quite clear by the language itself. I'm a bit of a maverick now. I'm always trying to push the medium.
A friend came to visit James Joyce one day and found the great man sprawled across his writing desk in a posture of utter despair. James, what’s wrong?' the friend asked. 'Is it the work?' Joyce indicated assent without even raising his head to look at his friend. Of course it was the work; isn’t it always? How many words did you get today?' the friend pursued. Joyce (still in despair, still sprawled facedown on his desk): 'Seven.' Seven? But James… that’s good, at least for you.' Yes,' Joyce said, finally looking up. 'I suppose it is… but I don’t know what order they go in!
The variety within Mann's fiction is impressive and fascinating. But Joyce is even more various and many-sided. He begins his career with a wonderful sequence of bleak studies about the ways in which human lives can go awry - in my view, Dubliners is underrated.
Genius still means to me, in my Russian fastidiousness and pride of phrase, a unique dazzling gift. The gift of James Joyce, and not the talent of Henry James.
I'm a postmodern commentator, and so, in a cheeky parallel to James Joyce or James Kelman, I get to places, verbally, that are a little unusual - when I talk about Jocky Wilson and end up sounding like a Jackson Pollock of the commentary box.
In 'Open City,' there is a passage that any reader of Joyce will immediately recognise as a very close, formal analogue of one the stories in 'Dubliners.' That is because a novel is also a literary conversation.
The censors have always had a field day with James Joyce, specifically with 'Ulysses,' but also with his other writings. The conventional wisdom is that this is because of sexually explicit passages (and there certainly are those). I have always thought that what the critics hated and feared about Joyce is his cry for human freedom.
James Joyce buried himself in his great work. _Finnegan's Wake_ is his monument and his tombstone. A dead end.
James Joyce: His writing is not about something. It is the thing itself.
Try imagining James Joyce not writing about being a Catholic.
Chuck Norris doesn't need to understand the work of James Joyce; James Joyce needs to understand the work of Chuck Norris.
James Joyce wrote the definitive work about Dublin while he was living in Switzerland. We're all where we come from. We all have our roots.
I would quite like to do something on Ireland about the culture, James Joyce, Yeats, persuade Seamus Heaney to have a chat and do some cooking.
To live with the work and the letters of James Joyce was an enormous privilege and a daunting education. Yes, I came to admire Joyce even more because he never ceased working, those words and the transubstantiation of words obsessed him. He was a broken man at the end of his life, unaware that Ulysses would be the number one book of the twentieth century and, for that matter, the twenty-first.
James Joyce actually is rewarding you in all of these incredible ways.
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