Teaching Notes: Transatlantic Modernism

This spring I taught a new graduate course at Lehigh on Transatlantic Modernism. 

As a bit of back-story: Several Ph.D. students I have worked with in recent years have expressed interest in defining their Modernism reading and teaching fields along transatlantic lines, but neither my colleague Seth Moglen (who does American modernism and the Harlem Renaissance) nor I (generally w/ British modernism and postcolonial literature) had looked closely at the historical premises of this. Nor had anyone taught a course with a specifically transatlantic focus.

That resistance to Transatlanticism in English literary studies comes from some deep-seated professional biases. Transnational research projects have become increasingly encouraged and common in literary studies in recent years, but generally speaking regional and period grounding has remained pretty much constant: for the purposes of the academic job market, you are still either an Americanist or a British literature person. One incidental goal of teaching this particular course was to test out whether a transatlantic approach to the writing of this period is in fact intellectually coherent -- rather than simply convenient for students aiming to pitch themselves broadly.

So my query going into this course was: does the "transatlantic" designation -- equal parts British and American -- actually fit modernism as I would like to see it defined? Many readers will be familiar with the transatlantic careers of major American figures such as Ezra Pound, Gertrude Stein, Ernest Hemingway, T.S. Eliot, H.D. (Hilda Doolittle), and Nella Larsen. Here I wanted to cross-reference these American writers' approaches to England and Europe against several key British writers who ended up as expatriates in the United States, most prominently D.H. Lawrence, Mina Loy, and W.H. Auden. The hypothesis is that modernism unfolded in the 1910s and 20s as a singular, transnational literary movement not seriously hampered by the vast distance between the two ends of the Atlantic Ocean.

The conceptual hypothesis might have major pedagogical implications: is it perhaps time for English literary studies to dispense with the traditional segregation of "British" and "American" writing from this period? Despite the major changes in literary methodology that have occurred over the past few decades – the rise of new modes of literary theory, and new sensitivity to issues of social justice and gendered and racial inclusiveness – for the most part, American and British literatures are today thought of and taught as separate from one another. While a certain amount of overlap is acknowledged (writers like T.S. Eliot are generally taught in courses on both British and American modernism), the idea that modernism in English might have been effectively a single event occurring nearly simultaneously on both sides of the Atlantic hasn’t really hit home yet.

As I was designing the course, I was especially interested in focusing on the social networks, friendships and literary magazines that linked the various writers to one another. Who travelled where, when? What was everyone reading? In many cases writers who were living in Paris or London published their work in American journals. An American magazine called Little Review, for instance, was the first to publish Joyce’s Ulysses; it was also the defendant in the first obscenity trial against the novel. Similarly, the American magazine Others was the first to publish the provocative early poems of British writer Mina Loy.

I have been interested in whether it's possible that the changing dynamics of transatlantic travel and communication may have played a role in helping modernism play out as it did. Since the advent of faster and larger steamships starting in the 1870s and 80s, transatlantic travel had become considerably more common and manageable. Henry Adams has a great line about boarding a new transatlantic steamer called the Teutonic (on the Cunard / White Star Line) in 1892:

The voyage was less trying than I expected. The ship was so big and so fast, and relatively so comfortable, that as I lay in my stateroom and looked out of my windows on the storm, I felt a little wonder whether this world were the same that I lived in thirty years ago. In all my wanderings this is the first time I have had the sensation. All the rest of the world seems more or less what it was, and Europe is less changed than any of the rest; but the big Atlantic steamer is a whacker. (Henry Adams, cited in Stephen Fox, Transatlantic: Samuel Cunard, Isambard Brunel, and the Great Atlantic Steamships)

By the 1910s, of course, with the advent of the HMS Mauretania and the HMS Lusitania, the experience was even better and faster than it was in 1892. One cannot help but think that the fact that it took less than a week to cross the Atlantic in person -- not to mention the ease of circulating and disseminating both magazines and books -- may have had ripple effects, and helped to allow new aesthetic styles and ideas to proliferate with new speed in the early 1910s in particular. Could the HMS Mauretania been one of the hidden historical "whackers" that helped put transatlantic modernism in motion? (One might also mention the role of transatlantic telegraph cables, though by the 1910s these were nothing new.)


(More after the break.)

New Course Idea: Writing For the Internet

I am trying to put together a new course, called "Writing For the Internet." The idea would be to teach it in Spring 2013. I haven't done anything quite like this, and I am curious to hear feedback from readers, as well as any personal experiences from others who have taught courses along these lines. 

New Course Idea: "Writing For the Internet" 

In their future professional lives our students will likely do more and more writing in an internet context. Their paths may be different – some may be involved in journalism, others in creative work, and quite a few may fall into writing for the internet as an accidental part of jobs that may be technically focused on something else. Many of the conventions of the traditional “5 paragraph” paper assignment will remain important in this new world: students will continue to need to know how to establish a sense of topic and put forward a thesis, and how to offer evidentiary support for that thesis. But in some ways the internet is a very different environment, with its own context-specific writing conventions.

In part this proposed course will be structured as a conventional writing course. But unlike traditional writing courses that stress a divide between creative, personal, journalistic, and expository work, here students will be encouraged to do work that might blur the line between those different modes of writing. There will be an emphasis on rhetorical persuasion and argument, and revision will play an important part in the writing process -- but we are adding a focus on audience and readership, as well as the mode of publication.

Here are a few premises of the course: 

1. Writers on the internet have to think about how to grab and hold the attention of casual readers as well as how to integrate links and images into their work.  

• These used to be thought of in the context of publishing, but increasingly, with self-publishing venues proliferating and a number of media organizations requiring elements of web production as well as the drafting of text, it may be that publishing and writing are no longer truly separable.

• Another issue is length and attention-span with internet readers. While the hyper-compression of Twitter leads to arguments sometimes conducted in non-ideal situations, even writing formats
  that aren’t length-restricted have to deal with internet readers’ attention spans. 

• As a result, people writing on the internet,
even as non-journalists, have to learn some of the basics of journalistic writing – how to find a catchy but telling title, how to use text boxes to present overviews or pull quotes (along the lines of what you see in newspapers), and how to manipulate images (this is of course especially important in new image-centric writing formats like Tumblr). Writing on the internet one also does things that are very much frowned upon in conventional essay-writing, such as using bold face and italics for emphasis.

• The course I’m thinking of will likely use examples of people using new writing modes really effectively. Lately I’ve been particularly impressed by the way the novelist Teju Cole has been using Twitter to make complex kinds of arguments, often in serial & connected Tweets. These are then compiled by professional journalists. Teju was recently interviewed on NPR regarding his innovative Tweeting. The larger point is to show that while these new forms may have certain conventions that participants are expected to follow, in fact inventive writers might find ways to push the envelope of what can be accomplished using the formats like Twitter or Facebook. (See: http://bit.ly/JFyVN5)

• Another issue is of course the self-promotion element of writing on the internet.  Traditional writing and publishing maintained a pretty strict division between the labor of writing and publicity and attention. But increasingly writers on the internet find their own audiences and create their own markets – and use success in getting attention as a segue to formal (and paid) publication. Besides simply “announcing” oneself, one can use strategies such as semantic tagging and metadata to maximize search engine attention (not quite the same as Search Engine Optimization, but we’ll probably read some background material on what that is in this unit as well – especially since it’s become such an important part of how sites like the Huffington Post earn their money).

•  I may ask students to start a series of blogs on topics that they choose (perhaps in groups of 2 or 3), or I may try and all ask them to write on a given topic of general interest. (One option might indeed be to write about and comment on issues in the news involving writing on the internet – there are always stories out about something Twitter is doing, something Facebook is doing, etc. Not to mention issues like the recent lawsuit (now dismissed) against the Huffington Post, initiated by a group of disgruntled bloggers.)

2. Writers on the internet have to navigate complex issues related to citation, borrowing, and sharing. The standard distinction between blockquotes and short citations, the approach to footnoting, and the construction of Bibliographies can follow a very different pattern on the internet. As in other classes that entail (or at least, allow) some measure of research online, students have to learn to evaluate the reliability and accuracy of materials they find on the web. They also have to learn to produce their own, authoritative seeming materials.

3. Above all, the internet is an environment where writers have to learn how to actively seek out and find their readers, through social networking sites, blogs, forums, and Twitter. The reader is not simply "there" as a captive audience anymore.

4. One component of this course will entail classifying the forms of online writing, including email, blogs and message boards, formal journalism, wikis, and scholarly publications. Students will learn the conventions of the different online writing genres and learn to contribute to them on their own. Students will contribute to a course blog engaging with current events, and author or significantly edit a Wiki around a chosen topic or area of knowledge.

5. We'll also have a component entailing a more conceptual consideration of issues such as the ethics of online writing and the boundary between private and public. What is it fair to share about the people we know in real life? How to effectively navigate privacy controls to choose the right forums for particular kinds of sharing in the evolving social networking internet landscape? Here, too, there has been much discussion in recent months. One bit of required reading for this unit would have to be Ian Parker's essay in the New Yorker about Dharun Ravi and Tyler Clementi. The issue of privacy in social networks was one of the key issues in that case.

UPDATE: 


From friends on Facebook, I've received tips regarding using the work of Edward Tufte, Cathy Davidson, and Clay Shirky in this course. These all seem like great suggestions.

Update on "After the Wars"

Several friends on Facebook had further suggestions for the "After the Wars" course I mentioned in my blog post yesterday. Here are some of the suggestions I received:

George Orwell, Burmese Days
Graham Greene, The Quiet American 
William Somerset Maugham's short stories set in Malaysia and Borneo
Amos Tutuola, My Life in the Bush of Ghosts
Chimamanda Ngozi Adichie, Half of a Yellow Sun
Ngugi, A Grain of Wheat, Petals of Blood, or The River Between
J.M. Coetzee, Waiting for the Barbarians
Andre Malraux, Antimemoirs
Nuruddin Farah, Gifts or Maps

Barbara Kingsolver, The Poisonwood Bible

One friend wrote a very long comment, which I'll reproduce part of here, since it is full of good ideas:

Ngugi is a shocking omission as well imo, A Grain of Wheat and Petals of Blood are the classic novels about anti-colonialism and the Mau Mau as part of Kenyan nationalist consciousness but there is also the very powerful The River Between which covers the clash of cultures brought about by globalisation (in its earlier incarnation) through the symbolic issue of FGM.

 Similarly, South African fiction is important; I would perhaps junk some of the less challenging and well-known works like The English Patient and go with something like Coetzee's Waiting for the Barbarians -- very apt if you are thinking of the Afghanistan wars in my opinion.

New Course in the works: After the Wars--Literature of Globalization

I'm teaching a new course in spring 2011 called "After the Wars: Literature of Globalization." I got the idea after re-reading Kim during the summer, while the Obama administration was waging an aggressive--but seemingly still doomed--campaign to finally try and dislodge the Taliban. It seemed hard not to think of connections between the British campaigns in Afghanistan (which are in some ways alluded to in Kipling's novel) and the current American war there.

It's hard to escape the fact that modern wars accelerate the process of globalization, moving large numbers of soldiers and others to different parts of the world, often provoking complex new social and economic realities in the process.

At the same time, one must accept that modern, global wars do not truly encourage unrestricted cross-cultural encounters. If anything, they can lead societies that may seem relatively open at one point to reinforce their political borders. 9/11 is a case in point here, not so much as a moment when "everything changed" (that kind of rhetoric comes to seem ever more misplaced as the years go by), but rather as a moment at which the euphoria of globalization in the 1990s suddenly changed course. If the 1990s was the decade during which we saw many more people celebrating -- and sometimes resisting -- the idea of globalization, the 2000s seemed to be a decade during which a new anti-globalization ethos came into being, not just in the United States, but in Europe as well.

A question one has to consider in thinking about globalization is: how much of this really new? To what extent is the contemporary experience of globalization different from or similar to the wave of  that began during the peak years of European Imperialism (1870-1945), itself an era of innumerable wars? One could also focus more narrowly on just World War II, an event led to widespread displacement, migration, and political realignment. How did globalization during and immediately after World War II differ from the era that began in the early 1990s?

Another key question is the role of war: how do large wars, involving the migration of thousands or millions of individuals, impact the movement of people, ideas, cultures, and technology? Is it possible that with continued globalization leading to ever larger populations of displaced and immigrant groups, we might see a decline in the conventional idea of 'national' identity, and the emergence of a new concept of global belonging?

If you were teaching this course, what books might you assign? (The only strict parameters I have are: 1) 1870-present moment; 2) something to do with war and globalization.)

After the jump, a preliminary syllabus.

Fall Teaching: "Global English" and "Converts and Rebels"

This post is partly inspired by Tim Burke's recent post, asking why more web-oriented academics don't post drafts of their syllabi on their blogs or websites.

I'm teaching two undergraduate-oriented classes this fall. One is called "Global English," and it's a senior "capstone" course, while the other is a more general, upper-level course called "Converts and Rebels: Debating Religion in Modern British Literature."

1. "Converts and Rebels" (English 395)

Here is the course description for "Converts and Rebels":

Though the modern period was generally a time when religious institutions were in decline, several major British writers from the early twentieth century had intense religious conversion experiences, leaving an impact on the literature of the period as a whole. These conversions, many of which involved Roman Catholicism, were seen as controversial by mainstream English society. Analogously, and just as importantly, several important writers found themselves falling out of religious faith in dramatic fashion, suggesting that the period as a whole was one of intense religious ferment. Is it possible to view religious conversion as a "subversive" activity? How might religious conversion relate to the aesthetics and ideological premises of literary modernism, which is so central to our understanding of this period? Writers whose work and lives will be explored in this course include T.S. Eliot (poems), James Joyce ("Portrait of the Artist"), Oscar Wilde ("Salome"), John Henry Newman ("Loss and Gain"), Salman Rushdie ("The Satanic Verses"), W.H. Auden, Evelyn Waugh ("Brideshead Revisited"), Graham Greene ("End of the Affair"), and Iris Murdoch ("The Bell").

In this course, I'll be building on ideas related to my first book ("Literary Secularism"), and using James Wood's "Broken Estate" as a conceptual jumping off point.

In terms of period, I decided to start with a little material based in the Victorian period. Though he's not talked about very much outside of Catholic circles, it seems to me like John Henry Newman is a key figure -- someone who had influence on quite a number of writers who converted to Catholicism, or thought about it.

I have been debating whether to bring in people who converted out of minority faith traditions to Christianity. Benjamin Disraeli seems like an obvious figure to consider, though in his case he never appeared to be especially passionate in his Anglicanism. As far as I know, he never directly addressed his personal experience of conversion, though some of his novels are clearly about figures who might be described as "crypto-Jews" (I'm using the term along lines described by Michael Ragussis). I'll also be using Ellis Hanson's "Decadence and Catholicism" to help triangulate some of the interesting questions about sexuality and religious conversion (especially Catholic conversion) circulating in the fin de siecle.

I decided against assigning C.S. Lewis for this course, though I may use a few short passages from "Surprised by Joy," and I will certainly mention his conversion experience as an important one. I haven't found his non-fiction writing related to his conversion interesting enough to have something to say about it in a classroom.

I was strongly tempted to assign The Golden Compass by Philip Pullman, but decided against it at the last minute. If I do a version of this course again, I might do both The Lion, the Witch, and the Wardrobe, and The Golden Compass -- thinking of the latter as a kind of refutation of the former.

This is a new course for me. Though I know a fair amount twentieth-century writers like Graham Greene, Salman Rushdie, Evelyn Waugh, and Iris Murdoch, Victorian figures like Newman are a bit of a stretch. I'm open to suggestions for biographical and critical sources that might be relevant -- as well as primary texts or authors readers would recommend for a course like this.

2. "Global English" (English 290/Senior Seminar)

Here is the course description for this course:

The English language has traveled, and found a home in many parts of the world that were formerly colonized by Great Britain, especially Ireland, Scotland, India, Africa, and the Caribbean. With the rise of English as a literary language in those areas has come a new slate of anxieties and questions. Some writers have noted the uncomfortable fact that English seems to be tied to the history of colonial domination; it is the 'master's' language, and should be rejected. Others (like Joyce) have expressed their discomfort with English, but have nevertheless written in English with affection. It need not be an either/or proposition, and this course will aim to explore the global embrace, not without its anxieties, of English as a literary language. Along the way, a few critical terms and concepts related to linguistics will be introduced (i.e., slang, dialect, creole, patois, acrolect, and basolect, to name just a few). Authors will include a mix of short and long works by James Joyce, Arundhati Roy ("God of Small Things"), Irvine Welsh ("Trainspotting"), Chimamanda Ngozi Adichie ("Purple Hibiscus"), Amitav Ghosh ("Sea of Poppies"), Brian Friel ("Translations"), G.V. Desani ("All About H. Hatterr"), Ngugi Wa Thiong'o, J.M. Synge ("Playboy of the Western World"), and Ken Saro-Wiwa ("Sozaboy").

The reading list could be much longer than it is; indeed, one could easily have a whole semester's worth of material just based on language questions in any of the particular national literatures that will be at issue here -- including Ireland, Anglophone West Africa, the Caribbean, and India, respectively. I decided to make the approach of the course comparative because the overlap between different national experiences of "Englishness" seems like it might be interesting to a broad group of students. I was also tempted by Junot Diaz's "Brief, Wondrous Life of Oscar Wao," though in the end bringing in the Dominican diasporic experience seemed to a bit too far afield. (Again, perhaps next time.)

We'll be using scholarship by David Crystal ("English as a Global Language"), and also Dohra Ahmed's anthology, "Rotten English." I would be grateful for any suggestions on criticism or theory here as well.

Teaching Notes: "Ulysses"

[Below is a modified version of a wrap-up lecture I used in an undergraduate class last week, closing out our unit on Ulysses. The class is titled "James Joyce and Modern Ireland," and it is aimed at senior English majors.]

When I was an undergraduate at Cornell, I took a class on Ulysses with a senior Joyce scholar who, in a pretty egregious example of a pedagogical faux pas, "required" us to buy two of his own books on Joyce and modernism from the bookstore. He also told us, via the course description, that he expected us to read A Portrait of the Artist as a Young Man before the beginning of the term, which none of us ended up doing. I bought both of the professor's books and never read them (recently, I finally threw them out). I also didn’t read Portrait of the Artist until around the time of my Ph.D exams several years later; my loss, for waiting so long.

Though my reading of Joyce was a revelatory and entrancing experience that fall, the class itself was somewhat of a disaster. For one thing, the in-class dynamic was quite tense, particularly around questions of gender in Joyce’s novel. As a rather radicalized, “politically correct” college student of the early 1990s, I was offended by Stephen Dedalus’ tortured relationship to women, a problem my professor wasn’t interested in (I didn't have the tools to see that Joyce disagreed with Stephen as well). I was also bored by Joyce’s “mythic method,” and didn’t really know what to make of the dense grid of literary allusions and parodies in the novel. Early on, I got into some heated arguments with the professor in class, and then retreated into defiant (Stephen Dedalus-like) silence as the semester continued. By the end of the term, I had silently vowed that Ulysses was not going to be my “thing”; I ended up writing my senior thesis the following year on Salman Rushdie, and worked with another professor, who had taught me, brilliantly and engagingly, Borges, Barthes, and Octavia Butler.

Fifteen years later, the roles are reversed. Is it possible to do Ulysses with undergraduates, and get it right? That is to say, without boring them and overwhelming them with an endless proliferation of mythology, religion, and authorial hagiography? (The people who come to heap praise on James Joyce may not realize that they are in fact unwittingly burying him: Death of the Author by deification. Or should I say, deifecation?)

Just as one joins one’s second rock band to show up the first, when you start to teach as a college professor, you often hope to correct what you think your own professors got wrong, while also preserving, if possible, what they got right. My goal this fall was, first of all, to try and teach Joyce in such a way that my students would enjoy him on their own terms, and be organically (rather than academically) interested in his works. Doing that requires inserting just the right amount of background, including 1) a sense of the trajectory of Joyce’s career, 2) sufficient explanation of Joyce’s relationship to Irish nationalism and the British Empire, and 3) some background on Joyce's relationship to contemporaneous aesthetic modernism in Europe in the 1910s. We started with Chamber Music, Dubliners, Portrait of the Artist, and (briefly) Pomes Penyeach, and we’ll be closing out the term in the next couple of weeks with a small dose of Finnegans Wake (where I am admittedly utterly dependent on Joseph Campbell). I have also been encouraging my students to engage, head-on, the questions about Stephen Dedalus’ seeming hatred of women, and anxiety about women’s bodies, while also adequately identifying and embracing Bloom as a “womanly man,” as well as Molly Bloom’s position of control (if not dominance) in their marriage.

My most direct reversal of the way I was first taught Ulysses was my choice to directly underline and foreground Joyce’s use of the body in the novel, with as much directness as I could muster without embarrassing either my students or myself. So: yes to nose-picking, defecation, urination, masturbation, voyeurism, exhibitionism, menstruation, decaying corpses, sado-masochistic play, cannibalism, drunkenness, and fat. Yes, yes, yes.

To give a specific example. As an undergraduate I remember getting “shushed” by my professor in the first weeks of the term, after he lectured us about the end of "Proteus." The professor had a great deal to say about the literary, philosophical, and theological allusions in the following passage:

Come. I thirst. Clouding over. No black clouds anywhere, are there? Thunderstorm. Allbright he falls, proud lightning of the intellect, Lucifer, dico, qui nescit occasum. No. My cockle hat and staff and his my sandal shoon. Where? To evening lands. Evening will find itself.

He took the hilt of his ashplant, lunging with it softly, dallying still. Yes, evening will find itself in me, without me. All days make their end. By the way next when is it Tuesday will be the longest day. Of all the glad new year, mother, the rum tum tiddledy tum. Lawn Tennyson, gentleman poet. Già. For the old hag with the yellow teeth. And Monsieur Drumont, gentleman journalist. Già. My teeth are very bad. Why, I wonder. Feel. That one is going too. Shells. Ought I go to a dentist, I wonder, with that money? That one. This. Toothless Kinch, the superman. Why is that, I wonder, or does it mean something perhaps?

Ah yes: Lucifer, Tennyson, the Nietzschean superman – all topics I knew next to nothing about at the time. The professor also found the Christian imagery at the very end of the episode (the “threemaster”) especially important. He was, however, completely uninterested in the part in between, where Stephen picks his nose:

My handkerchief. He threw it. I remember. Did I not take it up?

His hand groped vainly in his pockets. No, I didn't. Better buy one.

He laid the dry snot picked from his nostril on a ledge of rock, carefully. For the rest let look who will.

I, on the other hand, couldn’t get away from it. Huh -- Is he really picking his nose? It was the first time I had ever seen an acknowledgment of this “shameful” bodily act in print. Can’t we read Stephen’s picking his nose as a kind of satirical counterpoint to the weighty literary and theological allusions that surround this event? My professor’s answer: no. No nose-picking, not in this class.

Fifteen years later, here I am: students, what do you make of the fact that Stephen Dedalus, near the end of this dense cerebral episode on the nature of sensory perception, Aristotle and Aquinas, urinates into the ocean, and picks his nose? What do you make of the fact that Leopold Bloom wakes up with the thought of the “inner organs of beasts and fowls,” cooks a pork kidney for his wife, and then goes to the privy to defecate?

In my own approach to Joyce’s novel, I have drastically downplayed the “mythic method” and the framework of reference to The Odyssey. The Greek epic shapes the novel mainly negatively, and we don’t need to say that much about it (in my view, the most interesting use of The Odysseyin Joyce's book are actually the lyrical riffs on Homer's style, not so much the specific plot parallels). In The Odyssey, when Odysseus returns home after his 17 years abroad, the suitors who had attempted to woo Penelope in his absence are all slaughtered. In Ulysses, by contrast, Bloom decides against violence, confrontation, and divorce (leaving open the possibility of exposing the affair using some machination, and perhaps through that, making Boylan go away). Instead, he kisses his wife on the rump when he finally enters the bedroom, makes up some stories about what he did with his day, and then, before going to sleep, asks for breakfast in bed the next morning.

Bloom’s actions and travels during the day parallel Odysseus’, but represent a modern consciousness and an urban, cosmopolitan sensibility. Instead of killing the Cyclops (“Citizen”), Bloom merely tells him off. (Richard Ellmann suggests that the cigar he holds throughout episode 12 is the blunted modern echo of the spear Odysseus uses to blind the one eye of the Cyclops in Homer’s epic.) By reversing the pattern in this way, Joyce was making a point about what is intellectually interesting and important to people who live in the 20^th century. Like Virginia Woolf, he’s especially preoccupied with what goes on in a complex individual’s mind, especially as that person deals with complex problems (“My wife is cheating on me. What do I do? This young man, who has not been particularly nice to me, looks like he could use a hand. How do I handle it?”).

That said, Bloom is still somewhat heroic in some key ways; he doesn’t just roll over and accept what life seems to have in store for him. For one thing, he’s constantly hustling to make and sell ads – even though the novel ends without him having made the sale on the Keyes ad he had been thinking about in the early episodes. He responds to direct insults when he hears them. He is incredibly generous throughout the day – as he gives money several times to help those in need, and most importantly, when he helps Stephen Dedalus survive a series of encounters with treacherous “frenemies” like Buck Mulligan, as well as the dangers of the red-light district of Dublin (“night-town”) in Episode 15.

Bloom grosses some people out, and indeed, we have to acknowledge that his tastes are pretty idiosyncratic and peculiar. He has a thing for women’s drawers, and buttocks. He really likes the “inner organs of fish and fowls,” which are not widely eaten today (except perhaps by Anthony Bourdain), and takes special pleasure in kidney, because of the faint tang of urine. In a novel full of incapacitated alcoholics, he doesn’t drink much, though he does savor a glass of wine in Episode 8. He seems to know a little bit about a thousand things, including biology, astronomy, philosophy, literature, and religion – though sometimes he misremembers what he thinks he knows.

That said, Joyce’s point seems to be that Bloom’s idiosyncrasies don’t make him extraordinary, but a normal, modern man. What’s extraordinary is the degree to which he seems to be able to be self-conscious about his particular tastes. (Molly has her own unusual tastes, as we see in Episode 18.) It might be that for suburban Americans at the beginning of the 21^st century, the intensity and directness of life in Joyce’s Dublin seem a bit too extreme. Most American cities no longer have “red light” districts, as prostitution is now a different kind of business; most Americans do not buy fresh meat at a butcher shop, and as a result are at somewhat of a distance from the process by which meat is produced (we don’t see the blood). And of course, you will never see a group of medical students getting drunk on their off hours at the maternity ward today (perhaps that’s for the better!). And those are just three examples. Does the fact that most of us live more contained, sanitized lives mean that we are somewhat less interesting people than Leopold or Molly Bloom? Perhaps, though even in the “Purell” version of life, odd, unpredictable, and very physical things still happen – though perhaps not quite as often. (You encounter fewer people when you’re driving a car instead of walking, and there’s less room for random or impulsive choices, like Bloom’s sudden decision to spend a few minutes in a church early in the novel.)

Of course, the most overwhelming part of the novel is Joyce’s endless stylistic improvisation. Every chapter is slightly different, stylistically and thematically. Starting around Episode 7, the stylistic inventions become quite obtrusive, sometimes reaching such an extreme (Episode 14) that the text itself becomes impossible to read without constant reference to annotations (or, let’s be honest, a certain amount of skipping and skimming).

We could dismiss this as virtuosity run amuck – Joyce had too many ideas, and too much access to information he could pour into his book. Some readers, like Virginia Woolf, have thrown up their hands over the years at this aspect of Joyce’s writing, finding it irritating, self-indulgent, and boring.

That said, the hyper-inclusiveness of Ulysses can also be defended, as a particular facet of modern life. We do have access to tons of information – things are constantly entering our minds, getting processed, and then getting spat out. Advertising, popular music, television images, and the news, are all fodder for our brains, and if we were to give a true portrait of what goes through an average urban person’s mind over the course of an average day, it would probably include a fair amount of that disposable material.

[And here, a hint for students writing papers on the novel] The encyclopedic quality of Joyce’s novel does pose somewhat of a problem for people who write about Ulysses. There is simply too much there, too many examples, too many variations on the major themes. The best essays on Ulysses tend to take a narrow theme as a focus, and use the development of that theme as a way of finding an angle or a reading of the novel. A classic structure is to take a theme that interests you, and show how it develops in three stages (possibly, amongst the novel’s three major characters). For instance, if you were interested in cooking and food, you could take a look at the food that is cooked at Martello Tower in Episode 1 (where Stephen does not eat), one or more of the episodes involving Bloom eating through the middle part of the novel, and finally Molly’s own references to food and eating at the end. The goal, of course, is to find an argument that shows some sort of movement or growing awareness relating to food, as described through these three glimpses into Joyce’s characters’ minds.