Miroslaw Balka, a, e, i, o, u, 1998
Michael Rogers, Beehive for Molly Bloom, 2002
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Miroslaw Balka, a, e, i, o, u, 1998
Michael Rogers, Beehive for Molly Bloom, 2002

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Robert Motherwell, Ulysses, tailpiece, 1988
David James, Post-Modern/Postmodernism

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Richard Kearney
David Foster Wallaceâs copy of Finnegans Wake, by James Joyce.Â

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Joyce could not have written Molly Bloomâs soliloquy . . . if he had not somehow found a way in art, if not in life, to recognize the distinct otherness of the loved one.
Maurice Beebe, âUlyssesâ, 187
In his 1996 essay âUlysses and the Twentieth Centuryâ (which appears in Morettiâs Modern Epic: The Two World System from Goethe to GarcĂa MĂĄrquez), Franco Moretti also speaks of âa first Ulysses . . . and a second Ulysses, with equally distinctive featuresâ (183). He expands this, though, by theorizing that âthere is even a third Ulysses, albeit far more indistinct than the other two,â that occupies âthe zone of transition from one to the other â when Joyce is abandoning his first great technique (but does not yet know it), and is seeking his second (but has not found yet it)â (183).
James Joyce once claimed himself to be âthe foolish author of a wise bookâ (Ellmann 471),Â
What we have been calling boredom is not Joyceâs failure, then, but rather his success.
Frederic Jameson, âUlyssesâ, 187

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Joyce never actually âfinishedâ 'Ulysses'. Rather, since he was determined that it should be published on his fortieth birthday, February 2, 1922, he had to stop writing it.
Michael Groden, 13
If we insist on reading the sequence of styles [in "Ulysses"] as a transition, we will have to confront the awkward fact that the sequence ends not with its most radically avant-garde (or postmodernist) chapter but with a chapter [âPenelopeâ] which regresses to the modernist ânarrative normâ of the first half.
Brian McHale, Postmodernist Fiction, 55