Read more
Zusatztext “In Dubliners ! Joyce’s first attempt to register in language and fictive form the protean complexities of the ‘reality of experience!’ he learns the paradoxical lesson that only through the most rigorous economy! only by concentrating on the minutest of particulars! can he have any hope of engaging with the immensity of the world.”–from the Introduction “Joyce renews our apprehension of reality! strengthens our sympathy with our fellow creatures! and leaves us in awe before the mystery of created things.” – Atlantic Monthly “It is in the prose of Dubliners that we first hear the authentic rhythms of Joyce the poet… Dubliners is! in a very real sense! the foundation of Joyce’s art. In shaping its stories! he developed that mastery of naturalistic detail and symbolic design which is the hallmark of his mature fiction.” –Robert Scholes and A. Walton Litz! authors of Dubliners: Text and Criticism With an Introduction by John Kelly Informationen zum Autor James Joyce (1882–1941), an Irish poet and novelist, was one of the most celebrated writers of the twentieth century. His works include Ulysses , Finnegans Wake , and A Portrait of the Artist as a Young Man . Colum McCann (foreword) is the author of the National Book Award–winning novel Let the Great World Spin and of TransAtlantic . Born in Dublin, Ireland, he now lives in New York City. Terence Brown (introduction and notes) is an emeritus fellow of Trinity College Dublin. Roman Muradov (cover illustrator) has done illustrations for an array of clients, including The New Yorker , The New York Times , Vogue , NPR, and Dark Horse Comics. He lives in San Francisco. Klappentext This Vintage Classics edition of James Joyce's groundbreaking story collection has been authoritatively edited by scholars Hans Walter Gabler and Walter Hettche and includes a chronology, bibliography, and afterword by John S. Kelly. Also included in a special appendix are the original versions of three of the stories as well as Joyce's long-suppressed preface to Dubliners. With the fifteen stories in Dubliners Joyce reinvented the art of fiction, using a scrupulous, deadpan realism to convey truths that were at once blasphemous and sacramental. Whether writing about the death of a fallen priest ("The Sisters"), the petty sexual and fiscal machinations of "Two Gallants," or of the Christmas party at which an uprooted intellectual discovers just how little he really knows about his wife ("The Dead"), Joyce takes narrative art to places it had never been before. Leseprobe THE SISTERS There was no hope for him this time: it was the third stroke. Night after night I had passed the house (it was vacation time) and studied the lighted square of window: and night after night I had found it lighted in the same way, faintly and evenly. If he was dead, I thought, I would see the reflection of candles on the darkened blind for I knew that two candles must be set at the head of a corpse. He had often said to me: "I am not long for this world," and I had thought his words idle. Now I knew they were true. Every night as I gazed up at the window I said softly to myself the word paralysis . It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work. Old Cotter was sitting at the fire, smoking, when I came downstairs to supper. While my aunt was ladling out my stirabout he said, as if returning to some former remark of his: "No, I wouldn't say he was exactly . . . but there was something queer . . . there was something uncanny about him. I'll tell yo...
