James Joyce And Paul L L On The Story Of A Friendship Revisited

James Joyce spent the last decade of his life in Paris, struggling to finish his great final work Finnegans Wake amidst personal and financial hardship and just as Europe was being engulfed by the rising tide of fascism. Bringing together new archival discoveries and personal accounts, this book explores one of the central relationships of his final years: that with his friend, confidant and adviser Paul L. Léon. Providing first-hand accounts of Joyce's Paris circle – which included Samuel Beckett and Vladimir Nabokov – the book makes available again the text of Lucie (Léon) Noel's personal memoir of the relationship between her husband and the Irish writer (published as James Joyce and Paul L. Léon: The Story of Friendship in 1950), including his valiant rescue of Joyce's Paris archives from occupying Nazi forces. The book also collects for the first time Leon's clandestine letters to his wife from August to December 1941, chronicling his desperate state of body and mind while interned in Drancy, France's main Nazi transit camp, and then in Compiègne, just before he was deported to Auschwitz-Birkenau. Joyce died suddenly on 13 January 1941 in Zurich and Léon was murdered by the Nazis on 4 April 1942 in Silesia. Annotated throughout with contextual commentary by Luca Crispi and Mary Gallagher, this is an essential resource for scholars of James Joyce and of the literary culture of Paris in the 1930s and first years of World War II in France.

James Joyce spent the last decade of his life in Paris, struggling to finish his great final work Finnegans Wake amidst personal and financial hardship and just as Europe was being engulfed by the rising tide of fascism. Bringing together new archival discoveries and personal accounts, this book explores one of the central relationships of his final years: that with his friend, confidant and adviser Paul L. Léon. Providing first-hand accounts of Joyce's Paris circle – which included Samuel Beckett and Vladimir Nabokov – the book makes available again the text of Lucie (Léon) Noel's personal memoir of the relationship between her husband and the Irish writer (published as James Joyce and Paul L. Léon: The Story of Friendship in 1950), including his valiant rescue of Joyce's Paris archives from occupying Nazi forces. The book also collects for the first time Leon's clandestine letters to his wife from August to December 1941, chronicling his desperate state of body and mind while interned in Drancy, France's main Nazi transit camp, and then in Compiègne, just before he was deported to Auschwitz- Birkenau. Joyce died suddenly on 13 January 1941 in Zurich and Léon was murdered by the Nazis on 4 April 1942 in Silesia. Annotated throughout with contextual commentary by Luca Crispi and Mary Gallagher, this is an essential resource for scholars of James Joyce and of the literary culture of Paris in the 1930s and first years of World War II in France.

Providing a broad, definitive account of how the 'archival turn' in humanities scholarship has shaped modernist studies, this book also functions as an ongoing 'practitioner's toolkit' (including useful bibliographical resources) and a guide to avenues for future work. Archival work in modernist studies has revolutionised the discipline in the past two decades, fuelled by innovative and ambitious scholarly editing projects and a growing interest in fresh types of archival sources and evidence that can re-contextualise modernist writing. Several theoretical trends have prompted this development, including the focus on compositional process within genetic manuscript studies, the emphasis on book history, little magazines, and wider publishing contexts, and the emphasis on new material evidence and global and 'non-canonical' authors and networks within the 'New Modernist Studies'. This book provides a guide to the variety of new archival research that will point to fresh avenues and connect the methodologies and resources being developed across modernist studies. Offering a variety of single-author case studies on recent archival developments and editing projects, including Samuel Beckett, Hart Crane, H.D., James Joyce, Dorothy Richardson, May Sinclair and Virginia Woolf, it also offers a range of thematic essays that examine an array of underused sources as well as the challenges facing archival researchers of modernism

In the spring of 1914, a group of students at the Slade School of Art have gathered for a life-drawing class. Paul Tarrant is easily distracted by an intriguing fellow student, Elinor Brooke, but watches from afar when a well-known painter catches her eye. After World War I begins, Paul tends to the dying soldiers from the front line as a Belgian Red Cross volunteer, but the longer he remains, the greater the distance between him and home becomes. By the time he returns, Paul must confront not only the overwhelming, perhaps impossible challenge of how to express all that he has seen and experienced, but also the fact that life, and love, will never be the same for him again.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. In the last decade there has been a proliferation of landscape writing in Britain and Ireland, often referred to as 'The New Nature Writing'. Rooted in the work of an older generation of environment-focused authors and activists, this new form is both stylistically innovative and mindful of ecology and conservation practice. The New Nature Writing: Rethinking the Literature of Place connects these two generations to show that the contemporary energy around the cultures of landscape and place is the outcome of a long-standing relationship between environmentalism and the arts. Drawing on original interviews with authors, archival research, and scholarly work in the fields of literary geographies, ecocriticism and archipelagic criticism, the book covers the work of such writers as Robert Macfarlane, Richard Mabey, Tim Robinson and Alice Oswald. Examining the ways in which these authors have engaged with a wide range of different environments, from the edgelands to island spaces, Jos Smith reveals how they recreate a resourceful and dynamic sense of localism in rebellion against the homogenising growth of “clone town Britain.”

The Modernist God State seeks to overturn the traditional secularization approach to intellectual and political history and to replace it with a fuller understanding of the religious basis of modernist political movements. Lackey demonstrates that Christianity, instead of fading after the Enlightenment, actually increased its power by becoming embedded within the concept of what was considered the legitimate nation state, thus determining the political agendas of prominent political leaders from King Leopold II to Hitler. Lackey first argues that novelists can represent intellectual and political history in a way that no other intellectual can. Specifically, they can picture a subconscious ideology, which often conflicts with consciously held systems of belief, short-circuiting straight into political action, an idea articulated by E.M. Forster. Second, in contrast to many literary scholars who discuss Hitler and the Nazis without studying and quoting their texts, Lackey draws his conclusions from close readings of their writings. In doing so, he shows that one cannot understand the Nazis without taking into account the specific version of Christianity underwriting their political agenda.

After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf's late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf's cultural analysis during 1931-1941. By demonstrating that Woolf's late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.