Tag Archives: finnegans wake

The New Finnegans Wake

Don Anderson in The Australian has a review of the “corrected” Finnegans Wake, sporting over 9,000 textual edits, supposedly to bring it more in line with Joyce’s wishes, although I can’t imagine how anyone would know at this point.

I have to say, of all the “difficult” books out there, this is one that I’d probably be the least ambitious to tackle, although it was fun to note Harold Bloom’s reverence for it in The Western Canon.

Though to get back to Anderson’s article, it would have been nice if, for all the noise Anderson makes about people who have erroneously written it “Finnegan’s Wake” over the years, someone (presumably the editor) didn’t make exactly that error in the title of the newspaper article.

Thus, in a river-obsessed text (“Life begins by the Liffey”) where the 1939 version reads “Such a loon waybashwards to row!”, the 2011 version has: “Such a loon werrabackwoods to row!” On p159 the 2011 edition deletes a comma — a “minor but crucial” emendation? Perhaps we might think of this deletion as an act of revenge for the countless number of occasions on which an apostrophe was added between the last two letters of the first word of Joyce’s title.

O’Brien claimed to “know from personal communication that the increasing incidence of that unfortunate apostrophe hastened Mr Joyce’s untimely demise”.


The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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