Shloss v. Sweeney et al

Filing 39

Declaration of David Olson in Support of 32 Memorandum in Opposition, filed byCarol Loeb Shloss. (Attachments: # 1 Exhibit A (Part 1)# 2 Exhibit A (Part 2)# 3 Exhibit A (Part 3)# 4 Exhibit A (Part 4)# 5 Exhibit B (Part 1)# 6 Exhibit B (Part 2)# 7 Exhibit B (Part 3)# 8 Exhibit B (Part 4)# 9 Exhibit B (Part 5)# 10 Exhibit B (Part 6)# 11 Exhibit B (Part 7)# 12 Exhibit C)(Related document(s) 32 ) (Falzone, Anthony) (Filed on 12/15/2006)

Lucia Joyce - Supplemental Material

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Shloss v. Sweeney et al

Home > Chapter 10 Sections > From The Notebook Observations

The Notebook Observations; the Early Drafts1

1935-36 VI.B.37.171 (facing left) VI.B.37.222 if (facing left) VI.B.37.236 VI.B.37 - back flyleaf verso VI.B.38.055 VI.B.38-096 VI.B.38.097 VI.B.38.100 VI.B.38.112 VI.B.38.124 (facing right) (facing left) VI.B.38.127 (facing left) VI.B.38.148 (facing left) VI.B.38.196 (facing left) VI.B.39.010 (facing left)

Dockets.Justia.com

Doc. 39 Att. 10

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The following discussion of James Joyce's Finnegans Wake notebook observations supplements the summary chapter about the Wake at the end of my published biography of Lucia Joyce (chapter 16). In this supplementary material, the "sigla" for the daughter figure from Joyce's notebooks forms a kind of additional infrastructure of the biography, arranged chronologically and placed next to the actual events of Lucia's life. They show what Joyce observed about Lucia as she grew and they indicate her consistent influence on the final text of Finnegans Wake. They also indicate the composite nature of the daughter figure in the Wake, as Joyce merges experiential observations with notes from other sources about adolescent girls emerging into womanhood, figures like Alice Liddell from Alice in Wonderland, Isa Bowman, "Peaches" Browning, Isolde from Tristan and Isolde, Edith Thompson from the Trial of Frederic Bywaters and Edith Thompson, Lot's daughters, and so forth. In the early notebooks, the daughter is indicated by the nickname "Is" or "Issy" or "Isabeale" or some variation of the name "Isolde." Later, she, like all of the other major characters, acquired a symbol, , which could also appear on its side, facing either left or right. When used in combination with the symbol , Joyce was usually referring to some aspect of the love triangle in Tristan and Isolde. As Joyce moved from observations of Lucia to the final construction of Finnegans Wake, he went through numerous drafts. Following these drafts lets us see, in a way that is rarely available to scholars, the transposition of life into art. As Joyce progressed from watching his adolescent daughter, he joined her, in his imagination, with the situation of other young women entering into life for the first time. He shows them learning about the nature of human intimacy, the anatomy of sex, the secrecy, suspicions and possibilities for betrayal that can accompany sex, and the complexities and ambiguities of human emotional attachments. Of particular interest to me, was Joyce's propensity to align Lucia with "triangles" and with close brother-sister relationships in history and literature. That is, one of his basic instincts led him to figure her as (for example) Isolde in the the story of Tristan, King Mark and Isolde, where, interestingly, the triangle is transposed to Shaun, Earwicker and Issy, that is, to the Wakean characters associated, in familial terms, with Giorgio, Joyce and Lucia. This triangular pattern and the brother-sister attachment pattern are insistent in Joyce's notebooks, in his drafts and in the final version of Finnegans Wake. The triangular pattern is also insistent in my biography of Lucia, as published, but, with the addition of this notebook and draft evidence, the assertion of these heavily weighted familial relationships is even more compelling than in the published version made available to scholars and reviewers. In fact, given the consistency of Joyce's evidence, a biographer would have been irresponsible to create a narrative without these emotional constellations. Here you will find an additional infrastructure for my biography, given in the form of citations from the notebooks, for scholars who are interested in tracing most of Joyce's observations of the Lucia/Issy character. Also included are several examples of the transformational use of such material that I did not include in the final version of the book; that is, in the published book, I used only material from Finnegans Wake and not the genetic material leading up to it, the material that shows Joyce's chronological observation of Lucia and his transformational use of it.

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Home | Chapter 11 Sections: 49 | 50

Supplemental material: Shloss' Deletions

49. "For a burning would is come to dance inane. Glamours hath moidered's lieb and herefore Coldours must leap no more."
(FW 250.16)

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50. "[i]n the form of mental or nervous malady she is subject to...the real trouble is not violence or incendiarism or hysterics or simulated suicide. These are hard to deal with but they prove that the person is still alive."
James Joyce to Michael Healy, 28 June 1935, Letters I, 373.

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Home > Chapter 11 Sections > Shloss' Deletions

These are quotations of my own language that were deleted before publication.

1.

"Harriet Weaver was evidently worried by the responsibility she had accepted for the welfare of Mr. Joyce's daughter. The previous descriptions of Lucia's potential violence made her even more nervous, and she had an anxious and inhibited disposition in less trying circumstances. She never knew how to measure Lucia's unruliness in relation to her own more cautious nature. Looking back, it is even harder to judge whether Lucia's actions were irresponsible or whether Harriet Weaver let her own anxiety get out of hand."

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Home | Chapter 12 Sections:51 | 52 | 53

Supplemental material: Shloss' Deletions | The Notebook Observations

51. "The pose of the daughter of the queen of the Emperour of Irelande."
(FW 157. 35-36)

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52. "Giorgio is well now, Helen very well, and their child tremendously well."
James Joyce to Lucia Joyce

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53. "Why do you consider Lucia's daily walks round Dublin so undesirable? She is after all a woman of twenty eight and walking is a good exercise."
James Joyce to Michael Healy, 28 June 1935, Letters I, 373.

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Home > Chapter 12 Sections > Shloss' Deletions

These are quotations of my own language that were deleted before publication.

1.

"She might speak, but, once certified, she could not compel belief."

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Home > Chapter 12 Sections > From The Notebook Observations

The Notebook Observations; the Early Drafts1

1935-36 VI.B.40.035 VI.B.40.036 VI.B.40.038 VI.B.40.051 VI.B.40.064 VI.B.40.146 VI.B.40.171 VI.B.40.188 VI.B.40.192 VI.B.40.199

(facing left) (facing left)/ (facing left)

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The following discussion of James Joyce's Finnegans Wake notebook observations supplements the summary chapter about the Wake at the end of my published biography of Lucia Joyce (chapter 16). In this supplementary material, the "sigla" for the daughter figure from Joyce's notebooks forms a kind of additional infrastructure of the biography, arranged chronologically and placed next to the actual events of Lucia's life. They show what Joyce observed about Lucia as she grew and they indicate her consistent influence on the final text of Finnegans Wake. They also indicate the composite nature of the daughter figure in the Wake, as Joyce merges experiential observations with notes from other sources about adolescent girls emerging into womanhood, figures like Alice Liddell from Alice in Wonderland, Isa Bowman, "Peaches" Browning, Isolde from Tristan and Isolde, Edith Thompson from the Trial of Frederic Bywaters and Edith Thompson, Lot's daughters, and so forth. In the early notebooks, the daughter is indicated by the nickname "Is" or "Issy" or "Isabeale" or some variation of the name "Isolde." Later, she, like all of the other major characters, acquired a symbol, , which could also appear on its side, facing either left or right. When used in combination with the symbol , Joyce was usually referring to some aspect of the love triangle in Tristan and Isolde. As Joyce moved from observations of Lucia to the final construction of Finnegans Wake, he went through numerous drafts. Following these drafts lets us see, in a way that is rarely available to scholars, the transposition of life into art. As Joyce progressed from watching his adolescent daughter, he joined her, in his imagination, with the situation of other young women entering into life for the first time. He shows them learning about the nature of human intimacy, the anatomy of sex, the secrecy, suspicions and possibilities for betrayal that can accompany sex, and the complexities and ambiguities of human emotional attachments. Of particular interest to me, was Joyce's propensity to align Lucia with "triangles" and with close brother-sister relationships in history and literature. That is, one of his basic instincts led him to figure her as (for example) Isolde in the the story of Tristan, King Mark and Isolde, where, interestingly, the triangle is transposed to Shaun, Earwicker and Issy, that is, to the Wakean characters associated, in familial terms, with Giorgio, Joyce and Lucia. This triangular pattern and the brother-sister attachment pattern are insistent in Joyce's notebooks, in his drafts and in the final version of Finnegans Wake. The triangular pattern is also insistent in my biography of Lucia, as published, but, with the addition of this notebook and draft evidence, the assertion of these heavily weighted familial relationships is even more compelling than in the published version made available to scholars and reviewers. In fact, given the consistency of Joyce's evidence, a biographer would have been irresponsible to create a narrative without these emotional constellations. Here you will find an additional infrastructure for my biography, given in the form of citations from the notebooks, for scholars who are interested in tracing most of Joyce's observations of the Lucia/Issy character. Also included are several examples of the transformational use of such material that I did not include in the final version of the book; that is, in the published book, I used only material from Finnegans Wake and not the genetic material leading up to it, the material that shows Joyce's chronological observation of Lucia and his transformational use of it.

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