Other editions of book Ulysses

Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed. A yellow dressinggown, ungirdled, was sustained gently behind him on the mild morning air. He held the bowl aloft and intoned: —Introibo ad altare Dei. Halted, he peered down the dark winding stairs and called out coarsely: —Come up, Kinch! Come up, you fearful jesuit! Solemnly he came forward and mounted the round gunrest. He faced about and blessed gravely thrice the tower, the surrounding land and the awaking mountains. Then, catching sight of Stephen Dedalus, he bent towards him and made rapid crosses in the air, gurgling in his throat and shaking his head. Stephen Dedalus, displeased and sleepy, leaned his arms on the top of the staircase and looked coldly at the shaking gurgling face that blessed him, equine in its length, and at the light untonsured hair, grained and hued like pale oak. Buck Mulligan peeped an instant under the mirror and then covered the bowl smartly. —Back to barracks! he said sternly. He added in a preacher's tone: —For this, O dearly beloved, is the genuine Christine: body and soul and blood and ouns. Slow music, please. Shut your eyes, gents. One moment. A little trouble about those white corpuscles. Silence, all. He peered sideways up and gave a long slow whistle of call, then paused awhile in rapt attention, his even white teeth glistening here and there with gold points. Chrysostomos. Two strong shrill whistles answered through the calm. —Thanks, old chap, he cried briskly. That will do nicely. Switch off the current, will you? He skipped off the gunrest and looked gravely at his watcher, gathering about his legs the loose folds of his gown. The plump shadowed face and sullen oval jowl recalled a prelate, patron of arts in the middle ages. A pleasant smile broke quietly over his lips. —The mockery of it! he said gaily. Your absurd name, an ancient Greek! He pointed his finger in friendly jest and went over to the parapet, laughing to himself. Stephen Dedalus stepped up, followed him wearily halfway and sat down on the edge of the gunrest, watching him still as he propped his mirror on the parapet, dipped the brush in the bowl and lathered cheeks and neck.

Banned in the United States and United Kingdom throughout the 1920s, Ulysses turned conventional ideas of the novel inside out with its bold new form, style and theme. Deeply rooted in the Greek myth of the hero of the Trojan War, Joyce bases his novel on Ulysses or Odysseus, who is doomed to voyage for ten years before returning home to Ithaca. Joyce had been deeply influenced by the Iliad and the Odyssey, which he had read from Charles Lamb's adaptations as a child. In fact, he considered him the epitome of the heroic ideal and constantly thought of giving the myth a new dimension in modern literature.However, the reader must be cautioned that it is not an easy book to read. It was also burdened by a strange and complicated publication history. Joyce's original handwritten manuscript was typed by a number of less than competent typists who made a series of grammatical and spelling errors, leading to great confusion. It went through 18 different versions, each of which was full of more and more mistakes. Attempts to “correct” the text were being made as late as 2010 but the appeal of the book lies in its overall theme and in its rich symbolism.Ulysses is divided into 18 chapters, or episodes, each one referring to a Homeric character or episode in the Greek myth. Though Joyce did not originally title the chapters, he did refer to them by such names in private letters to his friends. He also gave them obscure titles from his researches in French translations of the Homeric sagas. World’s Classics Deluxe EditionThe deluxe edition of this World Classic is collected from the Guardiand's and the Telegraph's "the 100 greatest novels of all time" list. iBoo Press House uses state-of-the-art technology to digitally reconstruct the work. We preserve the original format whilst repairing imperfections present in the aged copy. All titles are unabridged (100% Original content), designed with a nice cover, quality paper and a large font that’s easy to read.

Banned in the United States and United Kingdom throughout the 1920s, Ulysses turned conventional ideas of the novel inside out with its bold new form, style and theme. Deeply rooted in the Greek myth of the hero of the Trojan War, Joyce bases his novel on Ulysses or Odysseus, who is doomed to voyage for ten years before returning home to Ithaca. Joyce had been deeply influenced by the Iliad and the Odyssey, which he had read from Charles Lamb's adaptations as a child. In fact, he considered him the epitome of the heroic ideal and constantly thought of giving the myth a new dimension in modern literature.However, the reader must be cautioned that it is not an easy book to read. It was also burdened by a strange and complicated publication history. Joyce's original handwritten manuscript was typed by a number of less than competent typists who made a series of grammatical and spelling errors, leading to great confusion. It went through 18 different versions, each of which was full of more and more mistakes. Attempts to “correct” the text were being made as late as 2010 but the appeal of the book lies in its overall theme and in its rich symbolism.Ulysses is divided into 18 chapters, or episodes, each one referring to a Homeric character or episode in the Greek myth. Though Joyce did not originally title the chapters, he did refer to them by such names in private letters to his friends. He also gave them obscure titles from his researches in French translations of the Homeric sagas. This World Classic is collected from the Guardiand's and the Telegraph's "the 100 greatest novels of all time" list. iBoo Press House uses state-of-the-art technology to digitally reconstruct the work. We preserve the original format whilst repairing imperfections present in the aged copy. All titles are unabridged (100% Original content), designed with a nice cover, quality paper and a large font that’s easy to read.

Ulysses (1922) by James Joyce is one of two of the greatest works of fiction of the twentieth century (the second being the multi-volume In Search of Lost time by Marcel Proust). Its greatness is only exceeded by the number of readers who have shied away from attempting to read this monumental achievement, because of its reputation for extreme difficulty. This is unfortunate. Although a few of the eighteen episodes that comprise the book are difficult, much of the book, by far the greater portion, is readily accessible. Modernism was laced with at least one conservative streak: Its proponents endorsed the notion of looking backward to the classics so as to bring the unalloyed gold of their content forward, to make them new in association with the stylistic innovations of post-World War I Europe. Joyce based his story of Leopold Bloom, an advertisement canvasser in Dublin, and Stephen Daedalus, the artist as a young man, on Homer’s Odyssey. In episodes spanning one day in Dublin, June 16, 1904, and corresponding to eighteen episodes of the Greek Classic, Ulysses (the Latin translation of the name Odysseus) is filled with references and allusions employed to create a meta-novel in which the interior thoughts of Bloom, Daedalus and Bloom’s wife, Molly, are set down to describe their subjective as well as a narrator’s objective view of reality. Each of the eighteen episodes use a different and individualized style sufficient to set forth an encyclopedia of the writer’s vast knowledge, focused primarily on an Irishman’s point of view regarding the state of Irish as well as English literature from Beowulf to Modernism. (Summary by Michael Hogan)

The young poet Stephen has been recalled from Paris to Dublin to be at his mother’s deathbed. But he refuses her dying wishes: to kneel and pray for her. Now, holed up in his Martello tower outside the city walls, he has to suffer the taunts of Buck Mulligan by day and, by night, the vision of ‘her eyes, shaking out of death to shake and bend my soul.’ Timelessly evocative, Ulysses is far more than the story of Stephen Dedalus’ journey through Dublin. It is a huge, rich portrayal of human life. In this magnificent, highly accessible, part reading part dramatisation - which includes the famous Molly Bloom soliloquy - the power and truth of Joyce’s vision is as potent as ever. Ulysses stars Stephen Rea and Sinead Cusack, with an introduction by Seamus Heaney.

Joyce's experimental masterpiece set a new standard for modernist fiction, pushing the English language past all previous thresholds in its quest to capture a day in the life of an Everyman in turn-of-the-century Dublin. Obliquely borrowing characters and situations from Homer's Odyssey, Joyce takes us on an internal odyssey along the current of thoughts, impressions, and experiences that make up an average day. As his characters stroll, eat, ruminate, and argue through the streets of Dublin, Joyce's stream-of-consciousness narrative artfully weaves events, emotions, and memories in a free flow of imagery and associations. Full of literary references, parody, and uncensored vulgarity, Ulysses has been considered controversial and challenging but always brilliant and rewarding.