| Abstrakt: |
(Joyce, I Finnegans Wake i , 608.1-11) Like all the previous references to HCE's indiscretion there's a combination of two women (here a play on Nice and niece, referring to daughter Issy) and three men - indeed, the numerical arrangement is the only constant feature amid the gossip, calumny, testimony, interview, reenactment, film and trial (full of the "unfacts" of a "notional gullery") by which we receive secondhand knowledge of this event (Joyce, I Finnegans Wake i , 57.16-21). Comes to seem like a description of I Finnegans Wake i itself (19.08); as with Ilya Kabokov's "The Man Who Never Threw Anything Away", who sees the world as "a boundless dump with no ends or borders, an inexhaustible, diverse sea of garbage" and is paralyzed into keeping every scrap of paper: "We have lost the border between garbage and non-garbage space."[39] While Lewis saw only artistic profligacy in Joyce's practice of likewise collecting scraps of obscure jotted notes, for Joyce it was a serious ethic - he was "quite content to go down to posterity as a scissors and paste man." But unlike the sea as symbol of creative restlessness for Lewis - who in his final dismissal of Joyce writes, "I am for the physical world" - the sea, as all nature, for Joyce is always already ideologically structured and cannot provide a naturalist escape from nationally-aligned systems of signification (Lewis, I Time i , 113). [Extracted from the article] |
