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on April 25, 2016
Challenging to read. But a good story
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on December 9, 2015
Joyce, man of Letters, fluent in Languages, Traveler in circles high and low and places near and far, Scholar of knowledge, Prophet to Mankind.

Joyce's Ulysses (is the story of a young man) whose framework is Homer's Odyssey: a tale of Modern-day Odysseus' personal existential/sexual quest overcoming his psychological internal travails (not Odysseus' external travails) affirming humanity (the fundamental family unit: the father, mother, son, and daughter). Joyce's FINNEGANS WAKE (is the story of a mature man) whose framework is Giambattista Vico's "La Scienza Nuova's" 4 stages of history (cyclic): theocratic to aristocratic to democratic to chaos (followed by Joyce's God "thunderclap") which ends chaos and restarts the world again with theocracy.

Both FINNEGANS WAKE (FW) and Ulysses are situated in Dublin (Ireland) and though both books were written on the European continent, Joyce memorializes his birth home. FW is Joyce's continuation of Ulysses on a grander scale: Bloom becomes All-Men (HCE) and Dublin becomes the World. Joyce's Ulysses (Bloom) is an energetic man hopping out of bed, plunging into the Dublin day, waging battles real and unreal, exhausted by controversy and rejuvenated by love (Molly). Joyce's FINNEGANS WAKE is man (HCE) ever-living, man of all wisdom, man of all compassion, man of all understanding, man of all time - Joyce's FW protagonist is Finnegan, who (re)incarnates to HCE, who will (re)incarnate to Shem and Shaun.

Reading FW is entering the "mind of James Joyce", who for two decades assembled his masterpiece - the mind of Joyce is the "library of mankind" he has reordered dictionaries, encyclopedias, and volumes of knowledge to reveal a mandala of Mankind's thoughts, conscious and unconscious, a revelation. FW is a volume to be Read and Read again for 10,000 years.

*4) FW ends "book IV" (Vico's chaos) with a half sentence "A away a lone a last a loved a long the" - the first words of FW is the second half of the sentence "riverrun,...".

1) The first chapter of FW's "book I" (Vico's theocratic) describes 1) Finnegan's passing (pedantic fall), Joyce's God "thunderclap" restarting "book I" from ending "book IV" and 2) the transition from Finnegan (as protagonist) to HCE. The first 4 chapters of "book I" introduces readers to the father (protagonist HCE, and his many syncretic "names" and "attitudes") and the second 4 chapters of "book I" are devoted to the mother (HCE's wife ALP, and her many syncretic "names" and "attitudes"). Finnegan represents the archaeological "past", the place held by forefathers - forefathers with the wisdom of the history of all men and times. Finnegan passes his baton (his place in the fabric of the universe) to HCE now present in time with his particular past. The parents (HCE & ALP) are the "present anchored by their particular pasts" in FW.

After 4 billion years of biological evolution, Here we are!, well, Where are we?, and, Where did we come from?; Our individual particular consciousness has been inherited from the past (a temporal space in an expanding consciousness), and, Biological evolution has divided us by sex (which induces Social evolution) to procreate offspring to fill our temporal consciousness when we expire:

- A Dublin wake for Finnegan (who passes, the past), the spurned Prankquean (complement of male invader), and the disembarking of Humphrey Chimpden Earwicker (HCE, the present) and family. HCE's history, his shameful voyeuristic encounter in Phoenix Park (sexual trysts), his consequential undoing and its memorialized retelling "The Ballad of Persse O'Reilly". HCE is arrested (for late night disturbances at his tavern/home, unable to enter his front door just like Bloom in Ulysses), tried (HCE's Dzogchen Buddhist stance) and jailed (for his own innocent protection from the public). HCE is resurrected from a metaphorical coffin (just like Bloom's underworld excursion in Ulysses ch Hades) and a revealing letter is introduced. Letter revealed from his wife Anna Livia Plurabelle (ALP, HCE's Muse), written by his son Shem (Joyce), appropriated by his twin brother Shaun is discussed. Analysis of the ALP letter and the informing parable of "The Mookse, the Gripes and Nuvoletta" (Shaun/space, Shem/time, Iseult). Shem's artistic nature as an enlightened "revealer", who shares ALP's attitudes and reveals her letter(s). Two washerwoman gossip over ALP & HCE, ALP is HCE's soulmate (his better half and defender), and ALP's quashing of rumors of HCE.

2) FW's "book II" (Vico's aristocratic) devotes itself to HCE & ALP's children: Shaun (extrovert, man of the world - like Sartre's BEING in "Being and Nothingness") carrier of the letter, Shem (introvert, artist - Sartre's NOTHINGNESS) revealer of the letter, and Iseult (daughter). The children are the "present future" of FW.

Biological and Social evolution engenders parental responsibilities, to successful offspring, to continue and expand consciousness:

- Shaun (Chuff), Shem (Glugg) and Iseult play (children's world) in front of the family tavern/home challenging games parodying their parent's lives. Shaun (Kev), Shem (Dolph), and Iseult ridicule their dated orthodox lessons and arrogant ossified professor (the past, adult world), Dolph's sexual revelations antagonize a perplexed Kev who blackens Dolph's eye, Issy self-reflects and writes letters, the children will move past their parents to their own individual intellectual lives. HCE & ALP's children grow up (the present) in a raucous Feast of eating, drinking, storytelling, and a "free and open discussion of ideas" in the family tavern (HCE's ship) interrupted by "media announcements", HCE's defends himself with a self-deprecating apologia and latter his drunken collapse after the close. MaMaLuJo (ever-present local social Dharma), HCE asleep on the floor dreams of his (children's collegiate future) transferred romantic love, the tale of the interrelationships between King Mark/HCE, Tristram/Shem (and Shaun/Morholt) and the two Iseults (Queen ALP wife/mother and Princess daughter).

3) FW's "book III" (Vico's democratic) devotes itself to "what will be of" HCE & ALP's children's - the baton will be passed on (again) from HCE & ALP to: Shaun, Shem and Iseult (daughter). The children's "influences upon the world" is the "future generation" (presently unknowable) of FW.

Our offspring will inherit and evolve their Own individual particular temporal consciousness within their local (social Dharma, MaMaLuJo) community despite our efforts, our thoughts, our hopes, our dreams:

- HCE rises from the tavern floor to go upstairs to bed with ALP, he dreams of (his desired children's future adulthood) Shaun's unfolding career (carrier of the letter) promulgating its contents from his child's ship (a barrel) and a prophetic Aesop's fable "The Ant, the Grasshopper, and the girls" (Shaun/space, Shem/time, the girls), Shaun's initial debacle. HCE dreams of a (more realistic future) mature Shaun's (second coming, Juan) adulthood of sermonizing (the letter) before his daughter Iseult and her 28 playmates, Issy moves to womanhood and Shem (Dave) is designated as Shaun's paraclete. HCE dreams of his life's enduring "sins of the father" (contents of the letter, on his children's future) on Shaun's (Yawn, he too will recede into the archaeological past) life examined and prosecuted for the imperfect beliefs he inherited and promulgates (letters) by Four Old Inquisitors (MaMaLuJo, and Brain Trusters a higher authority), HCE is innocent, his life virtuous. HCE's dreamtime breaks, the interrupting nightmare cry of Shem (Jerry, who intrudes/interrupts his parent's sexuality), once Shem is comforted, HCE & ALP return to bed for late-night intercourse unsuccessful spiritually (transactional, condom male orgasm, female orgasm) and a nap.

*4) FW ends "book IV" (Vico's chaos) with HCE & ALP's lovemaking dissolution dream - awaiting Joyce's God "thunderclap" at the beginning of FW's "book I". A supposition may be made that Joycean Nirvana is attained by HCE (via Dzogchen Trekchö) and ALP (via Dzogchen Tögal) - realizing the heart of enlightenment in the present moment, transcending all defilements and fixations (beyond all dualistic polarities) so that their rainbow bodies are realized, unification with the Unmanifest (creation, incarnate conception) and Reincarnation (the baton has been passed on again) - Danis Rose and John O’Hanlon 2010/12 edition reveals the 4 stages of Trekchö and 4 visions of Tögal.

Should we Aspire? Aspire to what? To that which manifested consciousness:

- The night has passed, the morning arises, and all dissolves to restart again... The converging 4 stages of Trekchö and 4 visions of Tögal: "Saint Kevin" (Christ/Krisha), "Berkely and Patrick" (Unmanifest / spititual vs Manifest / deities/idols), "The Revered Letter" (FINNEGANS WAKE / Joyce's Tibetan bardos), and finally ALP (& HCE's) Nirvana (Creation, Incarnate conception and Reincarnation).

The shameful voyeuristic encounter in Phoenix Park ("book I ch 2", "The Ballad of Persse O'Reilly") is Bloom’s major transgressions against his marriage bed (Ulysses ch Nausicaa) with Gerty McDowell (and other sexual trysts) who revealed herself to Bloom "she leaned back and the garters were blue to match on account of the transparent . . . she leaned back ever so far...she let him and she saw that he saw...because he couldn’t resists the sight of the wondrous revealment...looking and he kept on looking, looking...a sigh of o! and everyone cried O! O! in raptures..."(366-67), Bloom acknowledges “Still it was a kind of language between us.”(372) and "look and suggest and let you see and see more and defy you if you’re a man to see that and, like a sneeze coming; legs...Wonder how is she feeling in that region... (373-4). Joyce acknowledges that the "revealment" has activated Bloom. That which cannot be "recorded" (physical occurrences: sights, sounds, tastes, smells, touch... in time and space) are Mankind's "unrecorded human thoughts and dreams". Joyce established in Ulysses "his revelations" of mankind's hitherto unrecorded conscious and unconscious "thoughts and dreams".

The Letter is all-letters, the "writings of all mankind" (including Joyce's body of work - the "thoughts and dreams" of all Mankind), but most importantly the disunited fragmented Western truths (book II ch 2) of human consciousness, HCE's Apologia (by ALP), and FW (Joyce's Tibetan bardos, the "Truths that have as yet to reach Mankind"). Joyce has a "historically traditional revelation" of the relationship between the sexes: "women activate men" (Gerty McDowell, Molly, ALP, etc.), men provide content, and women are the Muses (and repositories) of Mankind's "thoughts and dreams, history and gossip". Consequently, "the letter" is within ALP's repository: she is the Muse of past letter(s), HCE's Apologia, and FINNEGANS WAKE (Joyce's Tibetan bardos) - just as Picasso' women were his Muses. (Men) Joyce (and Shem) don't create letters they "reveal letters" from Mankind's collective consciousness (and unconsciousness).

Evolution of Everyman: every man will aspire to godhood during their lifetime, as Icarus flew too close to the sun, every man will aspire to dominate their profession (Joyce in writing FW) or dominate the world of men (Egyptian pharaohs, Roman emperors, Russian tsars, etc.) yet they will fall, taken down by someone, "how Buckley shot the Russian General". The children: Shaun, Shem and Iseult will evolve (in book II) from children's games parodying their parents; to youngsters studying their forefather's past lessons; to adults participating in the "rustle bustle" of present life, aspiring to their own godhood (as HCE has), yet they too will experience the fall (dismembered by those around them); after the fall (but before the end/restart) they will dream of what might have been (not their current life) but when they were young, and when love was young.

Imparted Dream gifts: HCE dreams of how he may influence his children's loves (book II ch 4); HCE dreams of how his children's future may be an extension of his life (book III ch 1); HCE dreams of how his children's future may be influenced by his parenting (book III ch 2); HCE dreams of how he has prepared his children to defend themselves from their family inheritances, ALP (his soulmate) is invited into his dream (to defend him) as is his cherished Iseult (book III ch 3); HCE (& ALP) lovemaking dissolution dream of the past dissolving and the new day arising (book IV).

If Joyce intended "HCE day" similar to "Bloomsday" (roughly 24 hrs): FW starts in "book I ch 3" with HCE arrested in front of his tavern/home, like Bloom unable to enter his front door (but HCE does not enter his home through the back door) - instead HCE is arrested for disturbances in hours before dawn. Then "book I ch 4" HCE's conscious/awake or unconscious/dream psychological travails of past guilts (underworld coffin, Ulysses ch Hades) while incarcerated in early hours of morning. Followed by "book I ch 2" HCE walks home through Phoenix Park accosted for the time of day (12 noon) which threatens (real/unreal memories, Ulysses ch Nausicaa) his innocent well-being. These 3 chapters in FW are Joyce's major rework to incorporate Vico's revelation of restart / recirculation into FW - Joyce rewrites 3 chapters of Ulysses: When He is denied Her front door, He is in Hell (on earth), when released (from Hell) His odyssey to Her begins again (with His ever-present accompanying internal travails) for She always knows when He is worthy of Her acceptance (their Paradise).

Then "book I ch 1" Finnegan's afternoon wake at HCE's tavern. Inside HCE's tavern (his ship) his patrons talk about his family, truthful (letters, Norwegian Captain and the Tailor's Daughter) and fabricated stories (book I:5-8 and book II:3); while the children (Shaun, Shem and Iseult) are in and out of the family tavern/home all day taking their lessons (book II:2) and playing about with their friends (book II:1); HCE, as proprietor, defends himself with a self-deprecating speech before his drunken collapse late night (book II:3). HCE dreams on his tavern floor (book II:4); then dreams in his bed (book III:1-3); before intercourse with his wife ALP (book III:4). HCE & ALP's lovemaking dissolution dream (book IV) to awaken to a new day, a supposition may be made that Joycean Nirvana is attained by HCE unification with the Unmanifest (creation, incarnate conception) and Reincarnation (the baton has been passed on again), awaiting Joyce's God "thunderclap" at the beginning of FW's "book I".

Joycean Nirvana lies on the surface of FW's text (mandala, available to all) - excavating below the surface of the text reveals the arguments that support the Nirvana (present granular mindfulness) and refutes all institutional/religious dogma and authoritarian oppression (Wellington Museum's militarism expressed as instrument of people or oppression by rulers). Joyce reveals what may be Dzogchen "Father Tantras" or "Maha Yoga" (in book I, ch 1-4); Dzogchen "Mother Tantras" or "Anu Yoga" (in book I, ch 5-8); while identifying Shem as receptive to "Ati Yoga" or Non-Dual Tantras (Tiberiast Duplex, in book I, ch 6); the answer to the Riddle(s) the "Tiberiast Duplex" is Shem (Joyce) who is the Enlightened One. A supposition may be made that: the Children learn in "book II" Dzogchen Semde (Mind/Time Series) self-knowledge (awareness) and Dzogchen Longde (Space Series) evolution-knowledge (primordial wisdom, rigpa); and that HCE intends (dreams) in "book III" to impart Dzogchen Mannagde (Secret Instruction Series) Self-Liberation-knowledge to his Children.

What does it all Mean: Joyce's gift to Mankind is that Life recirculates. Unlike Joyce's Ulysses (based on Homer's Odyssey) life does not end with woman (in Molly's bed): night passes, the morning arises, and all dissolves to recirculate and restart again - some actors leave the stage and are replaced / (re)incarnated by a "younger version of their former self". Joyce changes from Ulysses by using Giambattista Vico's framework of recirculation for FINNEGANS WAKE - Finnegan (re)incarnates to HCE, as Shaun (most like HCE) will largely be a (re)incarnation of HCE, Shem (most like ALP) will (re)incarnate some of HCE but also some of ALP, and Iseult will largely be a (re)incarnation of ALP - however, Iseult will choose a man much like HCE (who is (re)incarnated through his daughter) as Shaun will choose a woman much like ALP - while Shem may become the next Joyce. FW is the "thoughts and dreams, history and gossip" of all Mankind.

FW is aural (oral) history like Homer's Odessey and Celtic folktales - when one pronounces (phonology) FW's words (aloud) there are more languages than just English; also, when one reads (morphology) FW's words almost all the words are "portmanteaus / neologisms" which gives each of FW's "polysynthetic words" many meanings (impermanence, Heisenberg uncertainty), each FW sentence dozens of possible messages, each FW paragraph hundreds of possible readings, Joyce's rendering of a more expansive English language and multiplicating universal book with coalescing syncretic themes/stories (that responds to each reader's inquiries). Joyce schooled in Christian Jesuit metaphysics (pushed down into the mindfulness of human consciousness) breathes in the spirit of expansive Celtic (Irish) community tavern life where man's stories of life are told. Tavern life teaches the evolution of Joyce's ten God "thunderclaps" (one hundred lettered words) pushing man's evolution forward from cave man's tales to modern tv media tales. Inside the tavern man learns of the purely human (animal) fall, taken down by another human(s) - like animal taken down on the African savanna. A granular reading of FW can render FW as an updated John Milton's Paradise Lost (regurgitated knowledge from the tree, to affirm man's damnation); however, Charles Darwin's The Origin of Species was published in 1859 and Joyce in FW book II clearly walks Shaun, Shem and Iseult through their earthly evolutionary lifetime travails, our mortality is a consequence of Life's evolution. Every page of FW speaks to man's evolution (unconscious biological, conscious social, aspirational personal) and to Life recirculating (West meets Dzogchen East a "meeting of metaphysical minds") that binds humanity together into the future. Dzogchen (beyond all dualistic polarities) the heart of human consciousness - Joyce's underlying (subcutaneous) arguments refute the "Western curse of metaphysical/mythological damnation", the curse does not exist in the Eastern mind. Like "counting the number of angels on the head of a pin" (Aquinas 1270) Joyce provides a granular reading of FW as a "defense against all Western adversity" for our conscious and unconscious Western travails. HCE's angst is caused by his community that imposes a Western curse (damnation) upon him that man is not guilty of. To experience Joycean Nirvana, a defense against this man-made guilt is required - for as Zoroaster revealed cosmogonic dualism, evil is mixed with good in man's everyday (universal) travails (even the Dalai Lama must defend Nirvana rigorously from the most populous authoritarian state in human history).

Joyce's FW celebrates the Joys of Christian (Krishna, Shem) diversity of humanity (expansiveness of human consciousness, Gnostic Norwegian Captain, Archdruid), Brahma (Finnegan, HCE, Shaun, etc...), Divine Women (ALP, Iseult, etc...), his family - and the Sufferings of the inescapable "evil" of Shiva (Buckley), the debilitating harmful sterile intrusive authoritarian institutionalizing damnation (MaMaLuJo, St. Patrick) by Augustine, the manufactured clerical corruption identified by Luther (since 367 AD) and the burdens of "survival of the fittest" anxiety (modern commerce) met with a Dzogchen Buddhist stance. The (innocent infant) Norwegian Captain (Krishna, HCE), occasionally defensive (Shiva, HCE), though concretized (Brahma, HCE) by community family life (MaMaLuJo) - through spirits (drink) HCE can access his spirituality (dreams) and through spiritual (cutting through) love-making with ALP (direct approach) can access (their Krishnas) unification with the Unmanifest. Joyce was a Prophet who consumed Man's conscious and unconscious "thoughts and dreams, history and gossip", efforts and failings - to reveal the joys and sufferings of Mankind.

Hermes Trismegistus reveals in the Corpus Hermeticum the Unmanifest to his son Tat; however, Maha-Visnu's unlimited universes (sometimes manifest and sometimes unmanifest) predates Western revelations by centuries. Unmanifest "spiritual" God (Visnu) is omniscient compassionate eternal. Manifest universes consist of Equilibrium (Visnu), Creation (Brahma) and Destruction (Shiva) - Shiva is a ''temporal manifestation of Visnu'' whose destructions are manifest and cannot interact with the Unmanifest. Zoroaster revealed Cosmogonic dualism where inescapeable manifest "evil" (Shiva) is mixed with good (Visnu and Brahma). The 39th Festal Letter 367 AD expunged Unmanifest spirituality from Christ's message (Nag Hammadi manuscripts, spiritual revelations beyond the orthodox cannon). Doctrines of Augustine: dogmas of original sin, infant damnation and predestination were brought to Ireland by St Patrick, consequently extinguishing Unmanifest spirituality, sentient's place in the fabric of the temporal universe (preexistence and reincarnation). All Manifest gods are deities/idols (creations of man) - only the Umanifest (untouched by man) is affirmative by definition (our universe's reality: its matter, its laws & consciousness manifest). Joyce returns Mankind to the path to the Unmanifest.

Joyce's FW message: Christian/Buddhist omniscient compassion (Christ/Krisha) is eternally joyful and recirculating. Affirmative family (HCE/Bramha, ALP/Divine woman & children) existentiality: life's biological evolution (sex), modern survival (money), constraining community (Dharma, social evolution) are constantly assaulted by inescapable "aggressive insidious vile" corrupt soul(less/sucking) ossified demonic antipathetic attacks. Joycean Nirvana is attained via the Christian/Buddhist affirmative middle way, "beyond polar opposites" the path of Christ/Buddha.

JCB
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on December 9, 2015
Joyce, man of Letters, fluent in Languages, Traveler in circles high and low and places near and far, Scholar of knowledge, Prophet to Mankind.

Joyce's Ulysses (is the story of a young man) whose framework is Homer's Odyssey: a tale of Modern-day Odysseus' personal existential/sexual quest overcoming his psychological internal travails (not Odysseus' external travails) affirming humanity (the fundamental family unit: the father, mother, son, and daughter). Joyce's FINNEGANS WAKE (is the story of a mature man) whose framework is Giambattista Vico's "La Scienza Nuova's" 4 stages of history (cyclic): theocratic to aristocratic to democratic to chaos (followed by Joyce's God "thunderclap") which ends chaos and restarts the world again with theocracy.

Both FINNEGANS WAKE (FW) and Ulysses are situated in Dublin (Ireland) and though both books were written on the European continent, Joyce memorializes his birth home. FW is Joyce's continuation of Ulysses on a grander scale: Bloom becomes all-men (HCE) and Dublin becomes the World. Joyce's Ulysses (Bloom) is an energetic man hopping out of bed, plunging into the Dublin day, waging battles real and unreal, exhausted by controversy and rejuvenated by love (Molly). Joyce's FINNEGANS WAKE (HCE) is man ever-living, man of all wisdom, man of all compassion, man of all understanding, man of all time - Joyce's FW protagonist is Finnegan, who (re)incarnates to HCE, who will (re)incarnate to Shem and Shaun.

Reading FW is entering the "mind of James Joyce", who for two decades labored on his masterwork - the mind of Joyce is the "library of mankind" he has reordered dictionaries, encyclopedias, and volumes of knowledge to reveal Mankind's thoughts, conscious and unconscious, in his masterwork. FW is a volume to be Read and Read again for 10,000 years.

*4) FW ends "book IV" (Vico's chaos) with a half sentence "A away a lone a last a loved a long the" - the first words of FW is the second half of the sentence "riverrun,...".

1) The first chapter of FW's "book I" (Vico's theocratic) describes 1) Finnegan's fall, Joyce's God "thunderclap" restarting "book I" from ending "book IV" and 2) the transition from Finnegan (as protagonist) to HCE. The first 4 chapters of "book I" introduces readers to the protagonist HCE (and his many "names" and "attitudes") and the second 4 chapters of "book I" are devoted to HCE's wife ALP (and her many "names" and "attitudes"). Finnegan represents the "past", the place held by forefathers - forefathers with the wisdom of the history of all men and times. Finnegan passes his baton (his place in the fabric of the universe) to HCE now present in time with his particular past. The parents (HCE & ALP) are the "present anchored by their particular pasts" in FW.

- A Dublin wake for Finnegan (who falls, the past) and introduction of Humphrey Chimpden Earwicker (HCE, the present). HCE's past and his shameful voyeuristic encounter in Phoenix Park (that may or may not have happened) and its memorialized retelling "The Ballad of Persse O'Reilly". HCE is arrested (for late night disturbances at his tavern/home, unable to enter his front door just like Bloom in Ulysses), tried and jailed (for his own innocent protection from the public). HCE is resurrected from a metaphorical coffin (just like Bloom's underworld excursion in Ulysses ch Hades) and a revealing letter is introduced. Letter revealed from his wife Anna Livia Plurabelle (ALP, HCE's Muse), written by his son Shem (Joyce), appropriated by his twin brother Shaun is discussed. Analysis of the ALP letter and the informing parable of "The Mookse and The Gripes"(Shaun, Shem). Shem's nature, who shares ALP's attitudes. Two washerwoman gossip over ALP & HCE, and ALP's quashing of rumors of HCE.

2) FW's "book II" (Vico's aristocratic) devotes itself to HCE & ALP's children: Shaun (extrovert, man of the world - like Sartre's BEING in "Being and Nothingness"), Shem (introvert, artist - Sartre's NOTHINGNESS) and Iseult (daughter). The children are the "present future" of FW.

- Shaun (Chuff), Shem (Glugg) and Iseult play (children's world) in front of the family tavern/home games parodying their parents. Shaun (Kev), Shem (Dolph) and Iseult study their lessons (the past, adult world), Dolph antagonizes Kev who blackens Dolph's eye. HCE & ALP's children grow up (the present) in a raucous Feast of eating, drinking, storytelling, and a "free and open discussion of ideas" in the family (HCE) tavern, HCE's defends himself with a self-deprecating speech and latter his drunken collapse after the close. HCE asleep on the floor dreams of (his children's future) love, the tale of King Mark, Tristram and Iseult.

3) FW's "book III" (Vico's democratic) devotes itself to "what will be of" HCE & ALP's children's - the baton will be passed on (again) from HCE & ALP to: Shaun, Shem and Iseult (daughter). The children's "influences upon the world" is the "future generation" (presently unknowable) of FW.

- HCE rises from the tavern floor to go upstairs to bed with ALP, he dreams of (his desired) children's future and a prophetic Aesop's fable "The Ant and the Grasshopper" (Shaun, Shem). HCE dreams (of a more realistic future) of Shaun (Juan) sermonizing before his daughter Iseult and her 28 playmates and designates Shem (Dave) as Shaun's paraclete. HCE dreams (of his life's impact on his children's future) of Shaun's (Yawn) inherited "sins of the father" prosecuted by Four Old Inquisitors (MaMaLuJo). HCE's dreamtime breaks at the nightmare cry of Shem (Jerry, who is not forgotten by his father in "book III"), once Shem is comforted, HCE & ALP return to bed for late-night lovemaking (unsuccessful spiritually) and a nap.

*4) FW ends "book IV" (Vico's chaos) with HCE & ALP's dissolution - awaiting Joyce's God "thunderclap" at the beginning of FW's "book I". A supposition may be made that Joycean Nirvana is attained by HCE (via Dzogchen Trekchö) and ALP (via Dzogchen Tögal) - realizing the heart of enlightenment in the present moment, transcending all defilements and fixations (beyond all dualistic polarities) so that their rainbow bodies are realized, unification with the Unmanifest (creation, incarnate conception) and Reincarnation (the baton has been passed on again).

- The night has passed, the morning arises, and all dissolves to restart again...

The shameful voyeuristic encounter in Phoenix Park ("book I ch 2", "The Ballad of Persse O'Reilly") is Bloom's major transgressions against his marriage bed (Ulysses ch Nausicaa) with Gerty McDowell who revealed herself to Bloom "she leaned back and the garters were blue to match on account of the transparent . . . she leaned back ever so far...she let him and she saw that he saw...because he couldn't resists the sight of the wondrous revealment...looking and he kept on looking, looking...a sigh of o! and everyone cried O! O! in raptures..."(366-67), Bloom acknowledges 'Still it was a kind of language between us.'(372) and "look and suggest and let you see and see more and defy you if you're a man to see that and, like a sneeze coming; legs...Wonder how is she feeling in that region... (373-4). Joyce acknowledges that the "revealment" has activated Bloom. That which cannot be "recorded" (physical occurrences: sights, sounds, tastes, smells, touch... in time and space) are Mankind's "unrecorded human thoughts and dreams". Joyce established in Ulysses "his revelations" of mankind's hitherto unrecorded conscious and unconscious "thoughts and dreams".

The Letter is all-letters, the "writings of all mankind", as well as, Joyce's body of work (Ulysses, FINNEGANS WAKE) - the "thoughts and dreams" of all Mankind. Joyce has a "historically traditional revelation" of the relationship between the sexes: "women activate men" (Gerty McDowell, Molly, ALP, etc.), men provide content, and women are the Muses (and repositories) of Mankind's "thoughts and dreams, history and gossip". Consequently, "the letter" is within ALP's repository and she is the Muse of the letter(s) - just as Picasso' women were his Muses. (Men) Joyce (and Shem) don't create letters they "reveal letters" from Mankind's collective consciousness (and unconsciousness).

Evolution of Everyman: every man will aspire to godhood during their lifetime, as Icarus flew too close to the sun, every man will aspire to dominate their profession (Joyce in writing FW) or dominate the world of men (Egyptian pharaohs, Roman emperors, Russian tsars, etc.) yet they will fall, taken down by someone, "how Buckley shot the Russian General". The children: Shaun, Shem and Iseult will evolve (in book II) from children's games parodying their parents; to youngsters studying their forefather's past lessons; to adults participating in the "rustle bustle" of present life, aspiring to their own godhood (as HCE has), yet they too will experience the fall (dismembered by those around them); after the fall (but before the end/restart) they will dream of what might have been (not their current life) but when they were young, and when love was young.

Dreams: HCE dreams of how he may influence his children's loves (book II ch 4); HCE dreams of how his children's future may be an extension of his life (book III ch 1); HCE dreams of how his children's future may be influenced by his parenting (book III ch 2); HCE dreams of how he has prepared his children to defend themselves from their family inheritances (book III ch 3); HCE (& ALP) dream of the past dissolving and the new day arising (book IV).

Possible Timeline, if Joyce intended "HCE day" similar to "Bloomsday" (roughly 24 hrs)': HCE arrested in front of his tavern/home (unable to enter his front door, like Bloom in Ulysses) for disturbances in hours before dawn (I:3); HCE's conscious/awake or unconscious/dream psychological travails of past guilts (underworld coffin, Ulysses ch Hades) while incarcerated in the early hours of morning (I:4); HCE walks home through Phoenix Park accosted for the time of day (12 noon) which threatens (real/unreal memories, Ulysses ch Nausicaa) his innocent well-being (I:2). Finnegan's afternoon wake at HCE's tavern (1:1); inside HCE's tavern his patrons talk about his family, truthful (letters) and fabricated stories (I:5-8 and II:3); while the children (Shaun, Shem and Iseult) are in and out of the family tavern/home all day taking their lessons (II:2) and playing about with their friends (II:1); HCE, as proprietor, defends himself with a self-deprecating speech before his drunken late night collapse (II:3). HCE dreams on his tavern floor (II:4); then dreams in his bed (III:1-3); before lovemaking with his wife ALP (III:4); and HCE & ALP's dissolution dream (IV) to awaken to a new day.

Joycean Nirvana lies on the surface of FW's text (mandala, available to all) - excavating below the surface of the text reveals the arguments that support the Nirvana (present mindfulness) and refutes all institutional dogma and authoritarian oppression. Joyce reveals what may be Dzogchen "Father Tantras" or "Maha Yoga" (in book I, ch 1-4); Dzogchen "Mother Tantras" or "Anu Yoga" (in book I, ch 5-8); while identifying Shem as receptive to "Ati Yoga" or Non-Dual Tantras (Tiberiast Duplex, in book I, ch 6); the answer to the Riddle(s) the "Tiberiast Duplex" is Shem (Joyce) who is the Enlightened One. A supposition may be made that: the Children learn in "book II" Dzogchen Semde (Mind Series) self-knowledge (awareness) and Dzogchen Longde (Space Series) evolution-knowledge (primordial wisdom, rigpa); and that HCE intends (dreams) in "book III" to impart Dzogchen Mannagde (Secret Instruction Series) Self-Liberation-knowledge to his Children.

What does it all Mean: Joyce's gift to Mankind is that Life recirculates. Unlike Joyce's Ulysses (based on Homer's Odyssey) life does not end with woman (in Molly's bed): night passes, the morning arises, and all dissolves to recirculate and restart again - some actors leave the stage and are replaced / (re)incarnated by a "younger version of their former self". Joyce changes from Ulysses by using Giambattista Vico's framework of recirculation for FINNEGANS WAKE - Finnegan (re)incarnates to HCE, as Shaun (most like HCE) will largely be a (re)incarnation of HCE, Shem (most like ALP) will (re)incarnate some of HCE but also some of ALP, and Iseult will largely be a (re)incarnation of ALP - however, Iseult will choose a man much like HCE (who is (re)incarnated through his daughter) as Shaun will choose a woman much like ALP - while Shem may become the next Joyce. FW is the "thoughts and dreams, history and gossip" of all Mankind.

FW is aural (oral) history like Homer's Odessey and Celtic folktales - when one pronounces (phonology) FW's words (aloud) there are more languages than just English; also, when one reads (morphology) FW's words almost all the words are "portmanteaus / neologisms" which gives each of FW's "polysynthetic words" many meanings (impermanence, Heisenberg uncertainty), each FW sentence dozens of possible messages, each FW paragraph hundreds of possible readings, Joyce's rendering of a more expansive English language and multiplicating universal book with coalescing syncretic themes/stories (that responds to each reader's inquiries). Joyce schooled in Christian Jesuit metaphysics (pushed down into the mindfulness of human consciousness) breathes in the spirit of expansive Celtic (Irish) community tavern life where man's stories of life are told. Tavern life teaches the evolution of Joyce's ten God "thunderclaps" (one hundred lettered words) pushing man's evolution forward from cave man's tales to modern tv media tales. Inside the tavern man learns of the purely human (animal) fall, taken down by another human(s) - like animal taken down on the African savanna. A granular reading of FW can render FW as an updated John Milton's Paradise Lost (regurgitated knowledge from the tree, to affirm man's damnation); however, Charles Darwin's The Origin of Species was published in 1859 and Joyce in FW book II clearly walks Shaun, Shem and Iseult through their earthly evolutionary lifetime travails, our mortality is a consequence of Life's evolution. Every page of FW speaks to man's evolution and to Life recirculating (West meets Dzogchen East a "meeting of metaphysical minds") that binds humanity together into the future. Dzogchen (beyond all dualistic polarities) the heart of human consciousness - Joyce's underlying (subcutaneous) arguments refute the "Western curse of metaphysical/mythological damnation", the curse does not exist in the Eastern mind. Like "counting the number of angels on the head of a pin" (Aquinas 1270) Joyce provides a granular reading of FW as a "defense against all Western adversity" for our conscious and unconscious Western travails. HCE's angst is caused by his community that imposes a Western curse (damnation) upon him that man is not guilty of. To experience Joycean Nirvana, a defense against this man-made guilt is required - for as Zoroaster revealed cosmogonic dualism, evil is mixed with good in man's everyday (universal) travails (even the Dalai Lama must defend Nirvana rigorously from the most populous authoritarian state in human history).

Joyce's FW celebrates the (Joys of) Christian (Krishna, Shem) diversity of humanity (expansiveness of human consciousness, Gnostic Norwegian Captain, Archdruid), Brahma (Finnegan, HCE, Shaun, etc...), Divine Women (ALP, Iseult, etc...), his family - (and the Sufferings of) the inescapable "evil" of Shiva (Buckley), the debilitating harmful sterile authoritarian institutionalizing damnation (MaMaLuJo, St. Patrick) by Augustine, the manufactured clerical corruption identified by Luther (since 367 AD) and the burdens of "survival of the fittest" anxiety (modern commerce) met with a Dzogchen Buddhist stance. The (innocent infant) Norwegian Captain (Krishna, HCE), occasionally defensive (Shiva, HCE), though concretized (Brahma, HCE) by community family life (MaMaLuJo) - through spirits (drink) HCE can access his spirituality (dreams) and through spiritual (cutting through) love-making with ALP (direct approach) can access (their Krishnas) unification with the Unmanifest. Joyce was a Prophet who consumed Man's conscious and unconscious "thoughts and dreams, history and gossip", efforts and failings - to reveal the joys and sufferings of Mankind.

JCB
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on July 4, 2005
i haven't yet finished my first read through of this book, but even now i think it's fair to say that this is an amazing piece of work. i just want to reiterate what a couple of people have said. firstly this is not literature, as such, it shares far more with music than it does with literature, and secondly, it should be read as you would listen to music, letting it wash over you, not trying to control any of it, not trying to realize what is happening. you should realize that after a while things will make sense, and even if the book never makes sense to you entirely it doesn't matter. to view this book as beautiful nonsense does no disservice to it, i think, because it is definitely the ultimate in beautiful nonsense if that's the way you want to see it.
and really, if you're going to write this off as gibberish, realize the man spent 17 years of his life perfecting this book. he went blind while writing it. his daughter was put into a mental asylum and europe was in the begining throes of world war II and still he wrote this book. more work has been lovingly poured into these pages than most writers put into their entire career. if you don't like it, fine, but calling this book gibberish is doing a huge disservice to the author and only making yourself look stupid. just say you don't like it, that's all you need to say.
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on January 26, 2005
You will probably consider this novel to be difficult. I agree with anybody who thinks so. It is very difficult. It certainly is hard to grasp, but once you get into it, that is it. James Joyce stretched the language and brought the book to a far higher form of writing that is uncommon around. Uncommon in the sense that you have to get into it to love it. For easier, compelling reads, I recommend the works of Janvier Tisi.
Also recommended: Disciples of Fortune, Parsifial Mosaic
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on January 21, 2005
You will probably consider this novel to be difficult. I agree with anybody who thinks so. It is very difficult. It certainly is hard to grasp, but once you get into it, that is it. James Joyce stretched the language and brought the book to a far higher form of writing that is uncommon around. Uncommon in the sense that you have to get into it to love it. For easier, compelling reads, (...)
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on June 15, 2004
Hep the noodle went the proprietor, laugh, crafting laughing, spinning face on touchtop of oats and wheat in the grange. But for the crosshatch eyebrow, then sanctify, in barrels, who glossface knows no nose.
Whepped, whipped, on a turnip stitch, when she smiled and flung her hair back, wet; drip; drip; drip, and a breeze cool and encumbered with hopefake. The stigmata of her hands, blood drain.
If he takes her by the hair hair hair, stands - doesn't the cistern fill with wet, circumspect? - and he sets aloft the dregs of her, to douse with cleanse, polyandry from the morn and the eve. And doesn't this fit the swellick twofold or more?
It is felicitous to devour julienne upon petit four, more, and he told her with pettifoggery to her cool laughter. Not eat; twain, grelch, grolsh. Into the phaeton, all singsong, all along, wretches and fables, choking on guilt and profane, and she was away. Back to hideabinds he skulks. Over.
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on May 19, 2004
The phrase that I've used to entitle this review is from Hegel, "Wut des Verstehens." It refers to the human drive to want to understand everything---and the irritation that human beings feel when something slips from their intellectual grasp.
FINNEGANS WAKE is a ceaseless flow of language... It has neither beginning nor end... It is without sentences... Perhaps it doesn't even enfold words...
Give up the attempt to understand FINNEGANS WAKE. Glide along its multitudinous surfaces. Bask in its language. Read it silently. Read it aloud.
Read without trying to understand any of it.
The reviews that surround this one may be used by a future scholar who would like to track down the misreception of FINNEGANS WAKE in the United States in the early twenty-first century. Again and again, Joyce is lambasted for not common-parlying. The apostles of commonsense want to hear only what they think that they already know. When a writer comes along and says something in a new way, they balk and coil.
This is not a book to be understood. It is a book of darkness, of ciphers, of dreams.
I will leave you with a brief excerpt from FINNEGANS WAKE, Part III. It is a description of hellos:
"...after their howareyous at all with those of their dollybegs (and where's Agatha's lamb? and how are Bernadetta's columbillas? and Juliennaw's tubberbunnies?..."
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on April 2, 2004
I could take in a dump in a fancy looking box and some of you people would probably label it as "The greatest singularization of Drama, Vision, Madness and Awe ever conceived of".
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on March 23, 2004
"This is the book that never ends it goes on and on my friends. Some people started reading it not knowing what it was and they will continue reading it because this is the book that never ends..." (based on the song the never ends)
If you are a person who like to read the ending first please do with this book. Read the ending or at least the last sentence. The book opens with the last half of the sentence that closes the book. Just as I jokingly changed the song lyrics from song to book, this book does not really end. It is a cycle that repeats and does not really have a begin point. Open the book any where at begin.
Since it is a book that does not end, I have read the pages twice through, but truely I have never finished reading it.
The book has a flow which as printed text stays the same but each reading through is different. It is a simple plot as given in the summeries, but also one of great complex. It is a book to be spoken, not one to read in silence. The way to read this work is to simply hear it. If you do not understand, simply keep listening. As a child I was told, if you do not know a word look it up. In this book, skip the looking up and keep the flow alive. At some point you will enter the flow of the words.
The book remind me of the Lord of the Rings. Both authors create an multilayered and deep reality. Both authors like to play with language. LORTR is adventure styled after the sagas of spoken by the winter fires old and creates a myth saga in a dream like world. FW is styled to be spoken by a winter fire and interweaves myth with the conscious and the unconscious struggles of modern life in a dreamlike world. The LORTR is easy to follow, but the reminding ends for FW is not easy to follow. Yet how can flowing struggle of conscious and unconscious be easy to follow?
It can be said half joking "that reading FW is like the withdrawl off Paxel or any of its class of drug. You risk part of your sanity as you struggle with the conscious and unconscious flow of life."
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