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Joyce & Betrayal pp 1–36Cite as

Palgrave Macmillan

Introduction

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Abstract

This chapter offers a broad critical history of Joycean betrayal, setting out the standard critical model as offering an “unsatisfying recurrence” in which Joyce’s interest in betrayal is “pathologized” as an “obsession.” Betrayal is defined in terms that Joyce would recognize and Joyce’s interest in betrayal is depicted as specifically an interest in a certain form of narrative or dramatic structure.

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Notes

  1. 1.

    James Fairhall, James Joyce and the Question of History (Cambridge: Cambridge University Press, 1995), 43. (Fairhall 1995)

  2. 2.

    William York Tindall, A Reader’s Guide to James Joyce (Syracuse: Syracuse University Press, 1995), 25. (First published in 1959 by the Noonday Press). (Tindall 1995)

  3. 3.

    Neil R. Davison, James Joyce, “Ulysses,” and the Construction of Jewish Identity: Culture, Biography, and “the Jew” in Modernist Europe (Cambridge: Cambridge University Press, 1996), 39. Italics mine. (Davison 1996)

  4. 4.

    Tindall, Reader’s Guide, 119.

  5. 5.

    Davison, Jewish Identity, 47. Seamus Deane, notably, has also described Joyce’s interest in betrayal as an “obsession.” See, for example, Seamus Deane, “Joyce the Irishman” in Cambridge Companion to James Joyce ed. Derek Attridge (Cambridge: Cambridge University Press, 2004). (Deane 2004)

  6. 6.

    Most notable is Hélène Cixous, The Exile of James Joyce (London: Calder Books, 1980). (Cixous 1980)

  7. 7.

    Andrew Gibson, James Joyce (London: Reaktion Books, 2006). (Gibson 2006)

  8. 8.

    For a discussion of Wells’s comments on Joyce’s “cloacal obsession,” see: Patrick Parrinder, James Joyce (Cambridge: Cambridge University Press, 1984). (Parrinder 1984)

  9. 9.

    H. G. Wells, review of A Portrait of the Artist as a Young Man by James Joyce, New Republic, 10 March 1917. The review can be read online at: http://www.james-joyce-music.com/wells031017.html. (Wells 1917)

  10. 10.

    Steven Connor, James Joyce (London: Northcote House, 1996). (Connor 1996)

  11. 11.

    Lee Spinks, James Joyce: A Critical Guide (Edinburgh: University of Edinburgh Press, 2009). (Spinks 2009)

  12. 12.

    Morris Beja, James Joyce: A Literary Life (Columbus: University of Ohio Press, 1992). (Beja 1992)

  13. 13.

    Sydney Bolt, A Preface to James Joyce (London: Routledge, 2000). (Bolt 2000)

  14. 14.

    Stan Gebler Davies, James Joyce: A Portrait of the Artist (London: HarperCollins, 1975). (Davies 1975)

  15. 15.

    Mitzi M. Brunsdale, James Joyce: A Study of the Short Fiction (New York: Twayne Publishers, 1993). (Brunsdale 1993)

  16. 16.

    Richard Ellmann, The Consciousness of Joyce (Oxford: Oxford University Press, 1977). (Ellmann 1977)

  17. 17.

    Richard Ellmann, Ulysses on the Liffey (Oxford: Oxford University Press, 1972). (Ellman 1972)

  18. 18.

    Bernard Benstock, The Undiscovered Country (New York: Barnes and Noble, 1978). (Benstock 1978)

  19. 19.

    Sheldon Brivic, Joyce’s Waking Women: Introduction to “Finnegans Wake” (Madison, WI: University of Wisconsin Press, 1995). (Sheldon 1995)

  20. 20.

    Lucia Boldrini, Joyce, Dante, and the Poetics of Literary Relations: Language and Meaning in “Finnegans Wake” (Cambridge: Cambridge University Press, 2009). (Boldrini 2009)

  21. 21.

    Joseph Valente, James Joyce and the Problem of Justice: Negotiating Sexual and Colonial Difference (Cambridge: Cambridge University Press, 1995). (Valente 1995)

  22. 22.

    Sean P. Murphy, James Joyce and Victims: Reading the Logic of Exclusion (Madison, NJ: Fairleigh University Press, 2003). (Murphy 2003)

  23. 23.

    Kristina Mendecino and Betiel Wasihun, eds, Playing False: Representations of Betrayal (Frankfurt am Main: Peter Lang, 2013). (Mendecino and Wasihun 2013)

  24. 24.

    Zack Bowen, Musical Allusions in the Works of James Joyce (Buffalo: State University of New York, 1974). (Bowen 1974)

  25. 25.

    Len Platt, James Joyce: Texts and Contexts (London: Continuum, 2011). (Platt 2011)

  26. 26.

    Richard Ellmann, James Joyce (Oxford: Oxford University Press, 1982). First published 1959. (Ellmann 1982)

  27. 27.

    Most notably, Ellmann, The Consciousness of Joyce and Ellmann, Ulysses on the Liffey.

  28. 28.

    Eric Bulson, Cambridge Introduction to James Joyce (Cambridge: Cambridge University Press, 2006). See particularly pages 22–31. (Bulson 2006)

  29. 29.

    Roy Gottfried, Joyce’s Misbelief (Tallahassee: University of Florida Press, 2008), 28–9. (Gottfried 2008)

  30. 30.

    Michael Seidel, James Joyce: A Short Introduction (London: Wiley-Blackwell, 2002), 7–9, 24. (Seidel 2002)

  31. 31.

    More recently, Matthew Campbell and Jefferson Holdridge have each contributed an excellent piece to Marc C. Conner’s The Poetry of James Joyce Reconsidered (Conner 2012). Campbell’s account of the “invocation of betrayal” at the heart of Joyce’s collection of poems, Chamber Music, teases out the complex “range of models” that lie behind it—resisting the temptation to convert a complex piece of literary production into a simple biographical event—while establishing the way Joyce uses these narratives of betrayal to establish his lyric as “unconsortable.” Holdridge makes a connection between betrayal, the individual, the family, and society that bears some resemblances to the stresses I place on betrayal in several chapters of this book. I do not think it a coincidence that a book devoted to “reconsidering” an overlooked area of Joyce’s writing—Holdridge’s question “why the poetry?” could equally be asked of betrayal—should also include an overdue reconsideration of how betrayal operates in Joyce’s writing. Whereas a study of Portrait or Ulysses feels the weight of a century’s criticism bearing down upon it, it tends to be in discussions of Joyce’s “lesser works” that we find the most interesting and suggestive discussion.

  32. 32.

    Andrew Gibson, The Strong Spirit: History, Politics and Aesthetics in the Writings of James Joyce, 1898–1913 (Oxford: Oxford University Press, 2013), 92. (Gibson 2013)

  33. 33.

    Seidel, Joyce: A Short Introduction, 7.

  34. 34.

    W. H. Auden, “In Memory of W. B. Yeats.”

  35. 35.

    These two lines are taken from Joyce’s “Gas from a Burner,” written in response to the destruction of the printed sheets for Dubliners. Joyce, PSW, 103.

  36. 36.

    Joyce, P, 202–3.

  37. 37.

    See Dominic Manganiello, Joyce’s Politics (London: Routledge, 1980), 8. (Manganiello 1980). “The Parnell crisis was the pivot from which Joyce viewed the rest of Irish history.”

  38. 38.

    I use the word “figure” here carefully to suggest Parnell as a public persona, a conglomeration of tropic features.

  39. 39.

    Joseph Valente, “‘Neither fish nor flesh’ or How ‘Cyclops’ Stages the Double-Bind of Irish Manhood,” in Semicolonial Joyce, ed. Derek Attridge and Marjorie Howes (Cambridge: Cambridge University Press, 2000), 96–127. (Valente 2000)

  40. 40.

    Joseph Valente, The Myth of Manliness in Irish National Culture, 1880–1922 (Chicago: Chicago University Press, 2011). (Valente 2011)

  41. 41.

    Anne Fogarty, “Parnellism and the Politics of Memory: Revisiting ‘Ivy Day in the Committee Room,’” in “Our Mixed Racings”: Joyce, Ireland, and Britain, ed. Andrew Gibson and Len Platt (Gainesville: University Press of Florida, 2006), 202–238. (Fogarty 2006)

  42. 42.

    Matt Bevis, The Art of Eloquence: Byron, Dickens, Tennyson, Joyce (Oxford: Oxford University Press, 2007). (Bevis 2007)

  43. 43.

    In addition to Utell, see Christopher Devault, Joyce’s Love Stories (Farnham: Ashgate, 2013) (Devault 2013) and Marian Eide, Ethical Joyce (Cambridge: Cambridge University Press, 2002) (Eide 2002). Both Utell and Devault build on Eide’s far more successful attempt to read Joyce’s writing with reference to a Levinasian language of ethics.

  44. 44.

    Janine Utell, James Joyce and the Revolt of Love: Marriage, Adultery, Desire (London: Palgrave Macmillan, 2010), 19. Italics mine. (Utell 2010)

  45. 45.

    Seamus Deane, Introduction to Finnegans Wake, by James Joyce (Harmondsworth: Penguin, 1992), xlii. (Deane 1992)

  46. 46.

    Deane, FW, xlii.

  47. 47.

    The narrator-protagonist of “An Encounter” “delay[s] a few moments” “lest [he] should betray [his] agitation” (D, 20); “Little Chandler” in “Little Cloud” is “aware that he had betrayed himself,” having revealed the deeper meaning behind his suggestion that Gallaher, “will put his head in the sack…like everyone else if he finds the right girl” (D, 76).

  48. 48.

    “[T]hey turned on him to betray him and rend him like rats” (P, 34); “Didn’t the bishops of Ireland betray us in the time of the union” (P, 38); “Can you say with certainty by whom the soul of your race was bartered and its elect betrayed…?” (P, 193).

  49. 49.

    “[H]er gay betrayer” (U, 1.405); “of lost leaders, the betrayed, wild escapes” (U, 3.243); “And what, though murdered and betrayed” (U, 9.1036); “the Williamites…betrayed us” (U, 12.267); “misappropriation of public money, betrayal of public trust” (U, 17.2184).

  50. 50.

    These figures are correct to the best of my knowledge. I’ve done my best to catalogue every use of the word, but it is possible one or two have evaded me.

  51. 51.

    And Homer and Shakespeare most prominently.

  52. 52.

    As well as Under Western Eyes, Nostromo, The Secret Agent, and a number of his short stories take up the theme quite openly.

  53. 53.

    “Betray. A great word. What is betrayal? They talk of a man betraying his country, his friends, his sweetheart? There must be a moral bond first. All a man can betray is his conscience.” Joseph Conrad, Under Western Eyes (Harmondsworth: Penguin, 1957), 38–9. (Conrad 1957)

  54. 54.

    Conrad, Under Western Eyes, 29, 121, 91.

  55. 55.

    For a discussion of Conrad and betrayal, see, in particular, Robert Hampson, Joseph Conrad : Betrayal and Identity (London: Palgrave Macmillan, 1992) (Hampson 1992). While these authors are obviously quite different, this book attempts to do many of the things Hampson’s book does: place betrayal at the centre of an author’s writing practice, tie it into a conception of identity in relation to culture and community, and understand that author’s approach as developing over time.

  56. 56.

    One might compare this to his use of the word “faith” in Portrait. This was a word rich in meaning for Joyce—one need only think of his claim to Lady Gregory that he had “found no man yet with a faith like mine”—and of fundamental relevance to betrayal. After all, it is usually faith that is betrayed. Yet in Portrait, Joyce uses the word 12 times, ten of which directly refer to the Catholic Church as “the faith.” The other two are merely colloquial uses by Mr Casey and Temple that carry a potent ironic charge: 35, 108, 141, 148, 165, 188, 190, 282, 226, 249, 38, 229. Joyce actively makes use of the ironic potential of this word’s various uses, playing Stephen’s “faith” in Catholicism off against his growing faith in himself. Similarly, his mother’s “faith” is seen to be misplaced, in that it moves further towards the church as Stephen moves further towards Europe and his personal destiny.

  57. 57.

    Stanislaus Joyce, My Brother’s Keeper (Oxford: Oxford University Press, 2003), 168. (Joyce 2003)

  58. 58.

    John Wyse Jackson and Peter Costello, John Stanislaus Joyce: The Voluminous Life and Genius of James Joyce’s Father (London: Fourth Estate, 1998), 171. (Jackson and Costello 1998)

  59. 59.

    Jackson and Costello, John Stanislaus Joyce, 124.

  60. 60.

    Jackson and Costello, John Stanislaus Joyce, 134.

  61. 61.

    Jackson and Costello, John Stanislaus Joyce, 141.

  62. 62.

    Deane, FW, 522.34.

  63. 63.

    His absurd treatment of Padraic Colum is one good example of how such rivalry led Joyce to behave, but it also shows how much nicer he could be once the heat of competition died down. See, for example: Ellmann, JJ, 134–5.

  64. 64.

    See, for example, Ellmann, JJ, 317, 436–8, 546–50.

  65. 65.

    Harry Levin, “The Artist (1941),” “Dubliners” and “A Portrait of the Artist as a Young Man”: A Casebook, ed. Morris Beja (London: Macmillan, 1973), 83. (Levin 1973)

  66. 66.

    Stanislaus Joyce, Dublin Diary, ed. George Harris Healey (Ithaca, NY: Cornell University Press, 1973), 18–19. (Joyce 1973)

  67. 67.

    Ellmann, JJ, 138. I’ve paraphrased and quoted from Ellmann’s account, which was, I presume, taken from Stanislaus’s own memory of events.

  68. 68.

    Ellmann, JJ, 138.

  69. 69.

    This is true of his more “standard” fiction-writing—Stephen Hero, Portrait, Exiles, Ulysses in particular. Stanislaus is thinking mainly of Joyce’s epiphanies, which, since they are self-consciously transcriptions of the artist’s perceiving consciousness, are rigorous accounts of Joyce’s own mind. But he is also talking about elements of Joyce’s early stories (which would go into Dubliners).

  70. 70.

    Ellmann places the date of composition of this play as “the summer of 1900.” At any rate, it was complete enough for Joyce to send it to William Archer at the end of August, 1900. The quotation above comes from Joyce’s dedication to the play, which reads: “To / My own Soul I / dedicate the first / true work of my life.” Ellmann gives a summary of the play, including Archer’s response, in JJ, 77–80.

  71. 71.

    A Walton Litz suggests that Joyce produced “at least seventy-one” epiphanies between 1901 and early 1904: PSW, 157.

  72. 72.

    As with so many things, this process breaks down in Finnegans Wake. But even the most ambitious sections of Ulysses maintain a reliance on the general principles Joyce alludes to here.

  73. 73.

    Mark Wollaeger, “Between Stephen and Jim: Portraits of Joyce as a Young Man,” in James Joyce’s “A Portrait of the Artist as a Young Man”: A Casebook, ed. Mark Wollaeger (Oxford: Oxford University Press, 2003). (Wollaeger 2003)

  74. 74.

    Wollaeger, “Between Stephen and Jim,” 344.

  75. 75.

    For Levin’s basic approach to “Stephen/Joyce” see “What was Modernism,” The Massachusetts Review 1.4 (1960): 609–30. (Levin 1960)

  76. 76.

    Or, at least, as autobiography, which, though not quite the same thing carried with it many of the same features. See for example Robert H. Deming’s discussion of the emergence of an “autobiographical school” of Joyce criticism, in: Deming, James Joyce: The Critical Heritage, vol. 1, 1901–27 (London: Routledge, 1987), 10–11. See also pages 50, 80, 89–91, 93, 95, 98, 100, 102, 105, and 112 for varied examples of this critical tendency. I will discuss some of these examples in Chapter 3. (Deming 1987)

  77. 77.

    This doesn’t nearly get to the end of the issue of confession in Joyce’s writing, which is a rich and as yet perhaps understudied area. John Nash provides a sophisticated reading of the way that Joyce investigates and deconstructs the confessional relationship in his fiction, particularly as regards the confessional potential encoded within autobiographical fiction and its relation to censorship and surveillance. See, particularly, “Surveillance: Education, Confession, and the Politics of Reception,” in John Nash, James Joyce and the Act of Reception: Reading, Ireland, Modernism (Cambridge: Cambridge University Press, 2010), 62–97 (Nash 2010). David Cotter has suggested that Joyce “used confession as vengeance,” mimicking the Catholic urge to “reveal all” by exposing Ireland’s obscenity to itself. Cotter’s desire to hold onto the idea that Joyce is himself confessing through his fiction is problematic—as is his suggestion that Joyce uses his fiction to “confess” (Cotter’s word) his own “masochistic masturbatory fantasies”—but the image of Joyce imitating confession as a way to undermine it is suggestive. David Cotter, James Joyce and the Perverse Ideal (London: Routledge, 2003) (Cotter 2003). John Paul Riquelme has provided a fairly exhaustive reading of the role confession plays within the narrative of Portrait: John Paul Riquelme, “Desire, Freedom, and Confessional Culture in A Portrait of the Artist as a Young Man,” in A Companion to James Joyce, ed. Richard Brown (London: Wiley-Blackwell, 2011), 34–53 (Riquelme 2011). Several contributors to Joseph Valente’s Quare Joyce (Michigan: University of Michigan Press, 1998) (Valente 1998) also address confession as a feature of Joyce’s texts.

  78. 78.

    Weldon Thornton, Allusions in Ulysses: An Annotated List (Chapel Hill: University of North Carolina Press, 1961) (Thornton 1961) does not index betrayal, but one finds any number of references within the text. This is true also of Don Gifford, “Ulysses” Annotated (Los Angeles: University of California Press, 1992) (Gifford, “Ulysses” 1992) and Don Gifford, Joyce Annotated (Los Angeles: University of California Press, 1992). (Gifford, Joyce Annotated 1992)

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    James Alexander Fraser

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Fraser, J.A. (2016). Introduction. In: Joyce & Betrayal. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-59588-1_1

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