by CLARE HUTTON
This article is devoted to objects that tell the story of women who supported James Joyce and the publication of his landmark novel, Ulysses (1922). They were previously on display in our exhibit, Women and the Making of Ulysses, curated by Dr Clare Hutton, author of Serial Encounters: Ulysses and the Little Review (Oxford University Press, 2019).
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#10: Page 709 of the final corrected page proofs of Ulysses (1922), James Joyce Collection, Harry Ransom Center
by CLARE HUTTON
This is the tenth article in a series devoted to objects that tell the story of women who supported author James Joyce and the publication of his landmark novel, Ulysses (1922). Learn more in the exhibition, Women and the Making of Joyce’s Ulysses, curated by Dr. Clare Hutton and on view through July 17, 2022. Subscribe to eNews to receive all the articles in this series.
Joyce was still adding to the text of the final eighteenth chapter of Ulysses less than two weeks before the first edition was published on 2 February 1922. This single page of proof reveals much about the complications of the process. Working in two colors of ink – red and black – Joyce has gone through the text at least twice in order to correct typographical errors, and insert new additions to the text. Notable errors that he catches include “as tone” corrected to “a stone” and “thatand” corrected to “that and”.
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#9: A single page from Helen Joyce’s “Portrait of the Artist by his Daughter-in-law,” begun in 1955. James Joyce Collection, Harry Ransom Center, 7.3
by CLARE HUTTON
This is the ninth article in a series devoted to objects that tell the story of women who supported author James Joyce and the publication of his landmark novel, Ulysses (1922). Learn more in the exhibition, Women and the Making of Joyce’s Ulysses, curated by Dr. Clare Hutton and on view through July 17, 2022. Subscribe to eNews to receive all the articles in this series.
In chapter 9 of Ulysses when Haines asks Buck Mulligan whether Stephen Dedalus has written anything “for your movement,” Mulligan responds with derision, saying that Dedalus is “going to write something in ten years.” Writing is something that can always be put off, and writers who commit to writing regularly and for publication are the exception not the rule. Writing is difficult, after all. Difficult, but necessary: particularly if you want certain things to be remembered.
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Detroit Publishing Company, Library of Congress Prints and Photographs Division
#8: Jefferson Market Court House, New York, Ca. 1905
by CLARE HUTTON
This is the eighth article in a series devoted to objects that tell the story of women who supported author James Joyce and the publication of his landmark novel, Ulysses (1922). Learn more in the exhibition, Women and the Making of Joyce’s Ulysses, curated by Dr. Clare Hutton and on view through July 17, 2022. Subscribe to eNews to receive all the articles in this series.
What was it like to be put on trial for the “crime” of publishing an instalment of Ulysses serially in The Little Review? It is difficult to get a detailed sense of this as a lived experience, or to know how to express that experience in visual terms. No transcript was made of the trial proceedings, and there was no written decision handed down. But this photograph of the Jefferson Market Police Court in New York’s Greenwich Village communicates something of the world in which Anderson and Heap found themselves moving when the case came to trial before three magistrates at the Court of Special Sessions in February 1921.
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#7: Letter from James Joyce to Ludmila Bloch Savitsky, June 20, 1921
by CLARE HUTTON
This is the seventh article in a series devoted to objects that tell the story of women who supported author James Joyce and the publication of his landmark novel, Ulysses (1922). Learn more in the exhibition, Women and the Making of Joyce’s Ulysses, curated by Dr. Clare Hutton and on view through July 17, 2022. Subscribe to eNews to receive all the articles in this series.
This is an unpublished letter in French from Joyce to Ludmila Bloch Savitsky (1881–1957) who did much to introduce Joyce to French literary circles by authoring the first French translation of A Portrait of the Artist as a Young Man (Dedalus: Portrait de l’artiste jeune par lui-même (Paris: La Sirène, 1924). Savitsky was an accomplished writer, critic, and translator who could work confidently between English, French, German, and Russian.
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Harry Ransom Center Book Collection
#6: James Joyce’s Ulysses (Published for the Egoist Press, London, by John Rodker, Paris,1922), inscribed by Joyce for Jane Heap
by CLARE HUTTON
This is the sixth article in a series devoted to objects that tell the story of women who supported author James Joyce and the publication of his landmark novel, Ulysses (1922). Learn more in the exhibition, Women and the Making of Joyce’s Ulysses, curated by Dr. Clare Hutton and on view through July 17, 2022. Subscribe to eNews to receive all the articles in this series.
Jane Heap worked tirelessly to ensure that Ulysses appeared regularly in The Little Review between March 1918 and December 1920. In New York, in February 1921, she stood trial alongside Margaret Anderson for the offence of publishing the final part of Ulysses, chapter 13 (“Nausicaa”). She was deemed guilty of publishing an “obscene” text, finger-printed, and fined $50. Joyce therefore had reason to inscribe this copy of Ulysses “in token of gratitude” on Heap’s first trip to Paris, and their first meeting in person, in 1923.
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