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Seller's Description:
Good. Size: 8vo-over 7¾"-9¾" tall; No slant no creases, text unmarked, some soiling on edges of text block, no damp stains but moisture exposure evident from slight waviness at bottom of pages, no age toning, gift inscription first page, Good overall a reading copy, stated fifteenth printing (1974).
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Seller's Description:
New York. 1969. May 1969. Viking Press. Reprinted Viking Compass Paperback Edition. Good in Worn Wrappers. 0670000450. Included Is Pamphlet Corrections Of Misprints In Finnegans Wake. Faber & Faber. 1945. paperback. keywords: Literature Ireland Joyce Ireland Literature. FROM THE PUBLISHER-Having completed work on Ulysses, Joyce was so exhausted that he did not write a line of prose for a year. On 10 March 1923 he informed a patron, Harriet Weaver: ‘Yesterday I wrote two pages-the first I have since the final Yes of Ulysses. Having found a pen, with some difficulty I copied them out in a large handwriting on a double sheet of foolscap so that I could read them. Il lupo perde il pelo ma non il vizio, the Italians say. 'The wolf may lose his skin but not his vice' or 'the leopard cannot change his spots. '‘ Thus was born a text that became known, first, as Work in Progress and later Finnegans Wake. By 1926 Joyce had completed the first two parts of the book. In that year, he met Eugene and Maria Jolas who offered to serialise the book in their magazine transition. For the next few years, Joyce worked rapidly on the new book, but in the 1930s, progress slowed considerably. This was due to a number of factors, including the death of his father in 1931, concern over the mental health of his daughter Lucia and his own health problems, including failing eyesight. Much of the work was done with the assistance of younger admirers, including Samuel Beckett. For some years, Joyce nursed the eccentric plan of turning over the book to his friend James Stephens to complete, on the grounds that Stephens was born in the same hospital as Joyce exactly one week later, and shared the first name of both Joyce and of Joyce's fictional alter-ego, an example of Joyce's superstitions. Reaction to the work was mixed, including negative comment from early supporters of Joyce's work, such as Pound and the author's brother, Stanislaus Joyce. To counteract this hostile reception, a book of essays by supporters of the new work, including Beckett, William Carlos Williams and others was organised and published in 1929 under the title Our Exagmination Round His Factification for Incamination of Work in Progress. At his 57th birthday party at the Jolases' home, Joyce revealed the final title of the work and Finnegans Wake was published in book form on 4 May 1939. Later, further negative comments surfaced from doctor and author Hervey Cleckley, who questioned the significance others had placed on the work. In his book, The Mask of Sanity, Cleckley refers to Finnegans Wake as ‘a 628-page collection of erudite gibberish indistinguishable to most people from the familiar word salad produced by hebephrenic patients on the back wards of any state hospital. ' Joyce's method of stream of consciousness, literary allusions and free dream associations was pushed to the limit in Finnegans Wake, which abandoned all conventions of plot and character construction and is written in a peculiar and obscure language, based mainly on complex multi-level puns. This approach is similar to, but far more extensive than that used by Lewis Carroll in Jabberwocky. This has led many readers and critics to apply Joyce's oft-quoted description in the Wake of Ulysses as his ‘usylessly unreadable Blue Book of Eccles' to the Wake itself. However, readers have been able to reach a consensus about the central cast of characters and general plot. Much of the wordplay in the book stems from the use of multilingual puns which draw on a wide range of languages. The role played by Beckett and other assistants included collating words from these languages on cards for Joyce to use and, as Joyce's eyesight worsened, of writing the text from the author's dictation. The view of history propounded in this text is very strongly influenced by Giambattista Vico, and the metaphysics of Giordano Bruno of Nola are important to the interplay of the ‘characters. ' Vico propounded...
