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- Publisher
- Edinburgh University Press
- Copyright
- © Edinburgh University Press 2012
- Subject
- Articles; Film, Media and Cultural Studies
- ISSN
- 2041-1022
- eISSN
- 1753-8629
- DOI
- 10.3366/mod.2012.0037
- Publisher site
- See Article on Publisher Site
Abstract
Enda Duffy He merely gives proper weight to those intangibles of culture which, because they are not easily pinned down in words, are often passed over. The way that people live in their bodies. The way they move their hands. The way they walk. The way they smile or frown [. . . ] The way they touch each other; how the hand lingers; the feel of the fingers J. M. Coetzee, Elizabeth Costello I am caught in this burning scene James Joyce, Ulysses, `Aeolus'1 This is an essay about how James Joyce played with fire. In a recent book on Finnegans Wake, in which the author, George Gibson, sets out to prove that Joyce is indebted in his final work to the ancient Irish stories about the High Kings at Tara, he dwells on how important Ireland's greatest historical story of fire matters to Joyce.2 This story tells of how St. Patrick, on the eve of Easter in 432 AD, on the Hill of Slane in County Meath, lit the pascal fire and thus announced the arrival of Christianity to Ireland. This fire, seen through the darkness from his fortress on Tara, angered the high King, who
Journal
Modernist Cultures – Edinburgh University Press
Published: Oct 1, 2012