Lucia Joyce

"Whatever spark or gift I possess has been transmitted to Lucia and it has kindled a fire in her brain." —James Joyce, 1934 Most accounts of James Joyce's family portray Lucia Joyce as the mad daughter of a man of genius, a difficult burden. But in this important new book, Carol Loeb Shloss reveals a different, more dramatic truth: her father loved Lucia, and they shared a deep creative bond. Lucia was born in a pauper's hospital and educated haphazardly across Europe as her penniless father pursued his art. She wanted to strike out on her own and in her twenties emerged, to Joyce's amazement, as a harbinger of expressive modern dance in Paris. He described her then as a wild, beautiful, "fantastic being" whose mind was "as clear and as unsparing as the lightning." The family's only reader of Joyce, she was a child of the imaginative realms her father created, and even after emotional turmoil wrought havoc with her and she was hospitalized in the 1930s, he saw in her a life lived in tandem with his own. Though most of the documents about Lucia have been destroyed, Shloss painstakingly reconstructs the poignant complexities of her life—and with them a vital episode in the early history of psychiatry, for in Joyce's efforts to help her he sought the help of Europe's most advanced doctors, including Jung. In Lucia's world Shloss has also uncovered important material that deepens our understanding of Finnegans Wake, the book that redefined modern literature.

A GLOBE & MAIL RECOMMENDED SUMMER 2021 READ She is about thirty-three, speaks French fluently. . .[she ] is gay, sweet and ironic, but she has bursts of anger over nothing when she is confined to a straightjacket, writes James Joyce in one of the few surviving documents concerning his daughter. A gifted dancer, Beckett’s lover, an aspiring writer—what little we know about Lucia Joyce effectively ends with a diagnosis of schizophrenia and subsequent hospitalization: after her death, her nephew Stephen, executor of the Joyce estate, burned her letters and medical records, erasing her not only from her father’s legacy, but from her own existence in the world as well. To tell the story of a life redacted, Alex Pheby assumes not Lucia Joyce’s lost voice, but the perspectives of the men around her, layering a series of narratives about those on the edges of her life to create a portrait of the lost woman in silhouette. As much a critique of male violence and the long history of misogyny in women’s health, an in-absentia illustration of the fate of inconvenient women as the story of a single life, Lucia is an ethical and empathetic creative act and a moving in memoriam to a woman whose experiences we can only imagine.

“Abbs has found a gripping and little-known story at the heart of one of the 20th century’s most astonishing creative moments, researched it deeply, and brought the extraordinary Joyce family and their circle in 1920s Paris to richly-imagined life.”—Emma Darwin, bestselling author of A Secret Alchemy and The Mathematics of Love For readers who adored novels like The Paris Wife, Z, and Loving Frank, comes Annabel Abbs highly praised debut novel, where she spins the story of James Joyce’s fascinating, and tragic, daughter, Lucia. “When she reaches her full capacity for rhythmic dancing, James Joyce may yet be known as his daughter’s father . . .” The review in the Paris Times in November 1928 is rapturous in its praise of Lucia Joyce’s skill and artistry as a dancer. The family has made theirhome in Paris—where the latest ideas in art, music, and literature converge. Acolytes regularly visit the Joyce apartment to pay homage to Ireland’s exiled literary genius. Among them is a tall, thin young man named Samuel Beckett—a fellow Irish expat who idolizes Joyce and with whom Lucia becomes romantically involved. Lucia is both gifted and motivated, training tirelessly with some of the finest teachers in the world. Though her father delights in his daughter’s talent, she clashes with her mother, Nora. And as her relationship with Beckett sours, Lucia’s dreams unravel, as does her hope of a life beyond her father’s shadow. With Lucia’s behavior growing increasingly erratic, James Joyce sends her to pioneering psychoanalyst Carl Jung. Here, at last, she will tell her own story—a fascinating, heartbreaking account of thwarted ambition, passionate creativity, and the power of love to both inspire and destroy. The Joyce Girl creates a compelling and moving account of the real-life Joyce Girl, of unrealized dreams and rejection, and of the destructive love of a father.

Part personal history, part biography, Dotter of Her Father's Eyes contrasts two comingofage narratives: that of Lucia, the daughter of James Joyce, and that of author Mary Talbot, daughter of the eminent Joycean scholar James S. Atherton. Social expectations and gender politics, thwarted ambitions and personal tragedy are played out against two contrasting historical backgrounds, poignantly evoked by the atmospheric visual storytelling of awardwinning graphicnovel pioneer Bryan Talbot. Produced through an intense collaboration seldom seen between writers and artists, Dotter of Her Father's Eyes is smart, funny, and sadan essential addition to the evolving genre of graphic memoir. * Bryan Talbot is recognized worldwide as one of the true original voices in graphic fiction. * Bryan Talbot's Grandville Mon Amour was nominated for a 2011 Hugo Award.

A moving recreation of the tortured life of Lucia Joyce, the schizophrenic daughter of James Joyce, follows Lucia's struggle to survive despite the terrifying effects of this devastating mental illness.

The New York Times bestseller from the author of Watchmen and V for Vendetta finally appears in a one-volume paperback. Begging comparisons to Tolstoy and Joyce, this “magnificent, sprawling cosmic epic” (Guardian) by Alan Moore—the genre-defying, “groundbreaking, hairy genius of our generation” (NPR)—takes its place among the most notable works of contemporary English literature. In decaying Northampton, eternity loiters between housing projects. Among saints, kings, prostitutes, and derelicts, a timeline unravels: second-century fiends wait in urine-scented stairwells, delinquent specters undermine a century with tunnels, and in upstairs parlors, laborers with golden blood reduce fate to a snooker tournament. Through the labyrinthine streets and pages of Jerusalem tread ghosts singing hymns of wealth and poverty. They celebrate the English language, challenge mortality post-Einstein, and insist upon their slum as Blake’s eternal holy city in “Moore’s apotheosis, a fourth-dimensional symphony” (Entertainment Weekly). This “brilliant . . . monumentally ambitious” tale from the gutter is “a massive literary achievement for our time—and maybe for all times simultaneously” (Washington Post).

This volume presents a cultural criticism that analyzes the politics, art, fashion, and constructions of the body inscribed and transcribed in the Joycean text. The essays illustrate the dynamic interaction of art, culture, and criticism. They simultaneously explore the impact that Joyce's own culture, both high and low, had on his art, while assessing Joyce's reciprocal influence on our own contemporary culture. Following the paths of a long and pluralistic tradition of Joyce criticism, the new methodologies in this volume create, or culture, a new Joyce for the nineties.