Finnegans Wake

by James Joyce

Book Overview

Having done the longest day in literature with his monumental Ulysses, James Joyce set himself even greater challenges for his next book -- the night.

"A nocturnal state...That is what I want to convey: what goes on in a dream, during a dream." The work, which would exhaust two decades of his life and the odd resources of some sixty languages, culminated in the 1939 publication of Joyce's final and most revolutionary masterpiece,...

• Format: Paperback
• Language: English
• ISBN: 0141181265
• ISBN13: 9780141181264
• Release Date: December 1999
• Publisher: Penguin Classics
• Length: 672 Pages
• Weight: 1.37 lbs.
• Dimensions: 1.4" x 5.5" x 8.4"
• Age Range: 18 years and up
• Grade Range: Grade 12 and higher

Customer Reviews

5 stars.

5 stars. Of course.

The philological scourge of our language

"Finnegans Wake" is a novel for people who are tired of reading novels. The chapter summaries in the table of contents, and not the body of the novel itself, give evidence of a plot, which concerns the dream-consciousness of a man whose initials H.C.E. recur as an acronym at various points in the text and whose wife Anna Livia Plurabelle, sons Shem (the Penman) and Shaun (the Postman), and daughter Issy figure prominently among many other exotic and unexpected characters. However, the presentation is so nebulous and abstract that the novel resembles nothing else in literature, although the style looks deceptively easy to imitate. Upon first looking at the pages of "Finnegans Wake," one inevitably must wonder what it's supposed to be. My explanation of it is an extension of my theory about "Ulysses," which is that "Ulysses" was Joyce's effort to write a novel that used every single existing word in the English language, or at least as many as he could. (Among its 400,000 words, "Ulysses" certainly has a much broader lexicon than any other novel of comparable length.) Having exhausted all the possibilities of English in "Ulysses," he had only one recourse for his next project, which was to create an entirely new language as a pastiche of all the existing ones; the result is "Finnegans Wake." The language in "Finnegans Wake" is a continuum of puns, portmanteaus, disfigured words, anagrams, and rare scraps of straightforward prose. What Joyce does is exploit the way words look and sound in order to associate them with remote, unrelated ideas. For example, his phrase "Olives, beets, kimmells, dollies" may sound familiar to those who happen to know that the first four letters of the Hebrew alphabet are aleph, bet, gimel, daled. "Psing a psalm of psexpeans, apocryphul of rhyme" recalls a nursery rhyme that may reside quietly in your most dormant memory cells, while "Where it is nobler in the main to supper than the boys and errors of outrager's virtue" sounds like a drunk auditioning for the role of Hamlet. Imaginary adjectives that pertain to letters of the English alphabet are employed to describe Dublin as a city "with a deltic origin and a nuinous end." "Finnegans Wake" is the ultimate in esoterica, and what you get out of it depends largely on your store of knowledge, so that upon completion, with a mutual wink at Joyce, you congratulate yourself for being so clever. The text is supposed to reflect a dream or a dreamlike state, an imperfect rendering of hazily remembered pictures and thoughts, but it also evokes the multivocal babble one might hear in a crowded Irish pub, multiple rolling streams of lilting brogue-laden speech combining into a sort of rhythmic cacophony, a variegated procession of verbal images ranging from the mundane to the fantastical. It cannot be read in any conventional manner of reading prose; each sentence has a melody, and the words must be vocalized in the mind to hear the verbal music. It can be maddenin

Don't read this book

I've just reached the end ... or is it the beginning? It's taken me six months, with Anthony Burgess' 'Here Comes Everybody' providing a basic and unsatisfactory commentary on this nightmare of a book. I can't really recommend anybody to read this unless you know exactly what you're letting yourself in for ... unlike Ulysses, which I believe everybody should attempt at some point in their lives. So why have I given it 5 stars? Because it simply had to be written.Without the Wake, twentieth century fiction would have been simply an extension of the nineteenth century. This book is what sets us apart. Don't believe the people who tell you it's a joke - a genius like Joyce doesn't spend 15 years, resign himself to penury when a "Ulysses Lite" could have made him a rich man, and ultimately ruin his eyesight all for nothing more than the literary equivalent of a whoopee cushion. There are deep things here, it's just that they're buried so deep that it's mostly not worth the effort of mining them. But again, I've given it 5 stars because this book is like a nail bomb in a library (shhhhh!) - it destroyed everyone's perception of what could ever constitute literature. If the Wake can be created, anything is possible. The Wake gave the green light to everyone's wildest imaginings and bizarre method of telling it - after all, whatever you write it won't be as difficult or as slow or as mad or as painful as this work.Don't let anybody tell you that there is an easy way into this book. Whichever way you approach it, however many primers and explanations you read, nothing will prepare you for 650 pages of dense dream-imagery written in polyglottal puns through which you grasp at anything that makes the slightest sense (and I mean slightest). The basic story of a publican dreaming over the repercussions of being caught urinating in a public park by two soldiers and then being accused of indecent exposure is by the by and of little import, because it is so thoroughly buried beneath hundreds of layers of Irish, oedipal and religious history, myth and gossip and the minutiae of everyday life transfigured by dream, that it would be easy to miss (and if you did, it wouldn't be a problem anyway - this is hardly narrative-driven). There are moments of comedy, but they're few and far between. The publican becomes the man-myth-mountain Finnegan, who represents Ireland, his forgiving and defending wife becomes Anna Livia Plurabella, the river Liffy and mother nature herself - reading the book is a battle that's impossible to win and you ultimately simply surrender yourself to the flow, the cycle of life which, like water taken from the sea to clouds to rain to rivers to sea to clouds .... takes you from the end to flow back to the beginning without even a full stop to halt things. I wondered whether it would make more sense the second time round, then decided that I didn't really care to find out.So, be glad that you don't have to read this book, but you should all def

Six points and a plea.

To answer a few points made by other reviewers:1) Yes, some people have finished this book. I have, and so have several people I know.2) Some people enjoy this book. (see above).3) It isn't just self-indulgence by academics. For example: a Professor of English Literature at Oxford University has said that it's not worth reading. Lots of academics have. These are people who 'know everything' for a job. Can you imagine how much FW annoys them?4) It's hard. Yes, that's right, hard. But hard can be fun. Just like sex. (FW does take longer though).5) The reason why lovers of Joyce sound so passionate about it is that they genuinely feel that way. For real. Imagine you'd fallen in love and noone around you had a clue what it felt like. You'd want to shake them and tell them. 6) It makes sense. To fully understand it (if that's possible) would take generations of study. But i) If you're reading for pleasure, not ego kicks, surely how much you get out matters more than what proportion of the book's meaning you can lay claim to, ii) like life, reading FW is made up of lots of small pleasures and ii) Lighten up!! It's funny! Anyway, when was the last time you 'fully' understood a book? It's easy to see why the great majority of people would decide that they had other priorities. I respect that opinion. But please don't fling insults at a book that some of us love. Yes, love. Reading FW was a high-point of my life. Emotion and excitement: anger, frustration, joy, humour, delight, even boredom. Deep relationships are difficult. They hurt. And they make us more alive.

"I have read this book and want to review it"

The Wake is reviewed by so many people who haven't read it! How can anyone familiar with Joseph Campbell's Wings of Art or Skeleton Key, or even John Bishop's Joyce's Book of the Dark, suggest that the Wake is not great art? The greatest novelist of the twentieth century did not spend seventeen of his most creative years on a prank. Joyce had a flair for foreign languages, regarded Catholicism as "a beautiful lie", had at his disposal the collective wisdom of East and West, was *extremely* well read, gifted in music, delighted in wordplay, extensively researched the psychology of sleep, and was notoriously autobiographical in his literary productions. Joyce describes a night's dream in both biographical (Freudian) and archetypal (Jungian) terms: Brother against brother conflict, inevitable haunting guilt ("this municipal sin business"), raging lust percolating through "the fury and the mire of human veins", chrysalis-like psychological dependence on (temporal and ecclesiastical) authority, ultimate redemption through love, inevitable death. These motifs characterize both human history and tomorrow morning's news. And so, the Wake is *our* dream: Each of us is the poor harried protagonist Humphrey Chimpden Earwicker, subjected to the cold patrician ridicule of the Four Customers and Twelve Jurymen and burdened by guilt and the misplaced faith of our personal and collective innocence. Those with little patience for Joyce's presentation are not willing to reassess what a book should convey or else lack a herculean desire for wordplay. In defence of detractors, knowledge of at least one foreign language probably helps, as does general knowledge of comparative religion and mythology, Vico's historical cycles, Nietzsche's eternal recurrence, alchemy, Biblical tales, children's games, the history of English literature, etc. Perhaps the greatest obstacle to approaching the Wake is that many readers come in bad faith, unwilling to believe that an order is there, hidden in the obscure labyrinth of protean wordplay. If you want to turn the lead of the Wake into gold, then you must be a modern-day alchemist. And do not expect to complete the Great Work without much meditation and effort.