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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British Library, Add Ms 57347(f166)
#5: Harriet Weaver’s account page for James Joyce Esq, 1923–1924
by CLARE HUTTON
This is the fifth 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 single typed page of figures reveals much about Joyce’s income. It is a record of regular amounts paid to Joyce by Harriet Weaver’s solicitors, Monro, Saw and Company, a firm based in London. In sum, it shows that Joyce owned investments to the value of £22,850 in June 1924, when the account was made up.
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Margaret Anderson and Jane Heap, eds., The Little Review, June 1918. Harry Ransom Center Book Collection.
# 2: The “American Number” of The Little Review, June 1918
by CLARE HUTTON
This is the second 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.
Acting as “Foreign Editor” for The Little Review, an avant-garde American periodical dedicated to the publication of Modernist literature and ideas, Ezra Pound encouraged Joyce to submit Ulysses for serial publication in the summer of 1917. Spurred by the promise of regular payment and the encouragement that his work would be published and appreciated, Joyce began to complete chapter typescripts in sequence and sent them to Pound in London for his approval and onward submission to The Little Review in New York.
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Image: Copy number 17 of the first edition of James Joyce’s Ulysses, signed by the author (Paris: Shakespeare and Company, 1922). Carlton Lake Collection, (PR 6019 O9 U4 1922, copy 3), Harry Ransom Center.
#1: Copy number 17 of the first edition of James Joyce’s Ulysses, signed by the author, 1922
by CLARE HUTTON
This is the first 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.
James Joyce’s Ulysses, published in Paris by Sylvia Beach on February 2, 1922, the occasion of Joyce’s 40th birthday, would have been a very different book had she not been so generous in her support. He had first considered writing a work called Ulysses in 1906, but struggled to make significant progress during the years of upheaval brought about by World War I, health problems, and financial difficulties. When the serialization of Ulysses in New York ground to a halt owing to legal proceedings against The Little Review during the autumn of 1920, Joyce told Beach that his “work will never come out now.” He had met her at a party a few days after his arrival in Paris in July that year. Joyce had quickly become a regular visitor to Shakespeare and Company, Beach’s English language lending library and bookshop, which functioned as a kind of salon and meeting place for writers and artists, conveniently positioned opposite “La Maison des Amis des Livres,” the bookshop owned by Beach’s lover, Adrienne Monnier.
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by CLARE HUTTON
Introduction by Gregory Curtis
Giving Ulysses to the World
February 2, 2022, will mark one hundred years since the publication of a book that changed literature forever. Irish novelist James Joyce’s pioneering modernist novel, Ulysses, was a labor to write and more so, perhaps, to publish.
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