The New Yorker, 2010, photo of Caraid O’Brien, who performs Molly Bloom’s Soliloquy every Bloomsday. http://www.newyorker.com/books/page-turner/1000-words-molly-bloom
Your afternoon / evening moment of beauty: the “Penelope” episode of “Ulysses”, aka Molly Bloom’s Soliloquy.
Bliss out, friends.
So of course I make my return to blogging on Bloomsday.
For those who don’t know what “Bloomsday” is: June 16, 1904, the date on which the story of James Joyce’s “Ulysses” takes place, starting with plump Buck Mulligan having his morning shave and ending with Molly Bloom’s mind unfolding in wonderful, ecstatic language. In between, the main protagonists—Stephen Daedalus and Leopold Bloom—crisscross Dublin, missing each other, until near the end they come together, our 20th century Odysseus and Telemachus.
In high school I read “Dubliners” and “A Portrait of the Artist as a Young Man”. I held off on “Ulysses” until I took a seminar at UCLA. And then, I was hooked.
Think you’re escaping and run into yourself. Longest way round is the shortest way home.
“Ulysses” is nothing short of life. The life of people. The life of a city. The life of a nation. The life of history. There had been nothing in the Western canon like it before it, and, aside from “A la recherche du temps perdu”, nothing like it since. (“Gravity’s Rainbow” comes close, but Joyce still pips Pynchon.) It is a meditation on history, destiny, the lies we tell ourselves, the lies we tell each other. It is a story of outsiders in a world made up of outsiders. (Even the people who think they are of the elect are in fact as exiled as the rest of us.) It is a story about finding your way home, or at least finding the beginning of the path towards home. It is a love story: of a love for humanity, and of a love for that other person without whom you cannot live. Its comedy is of the sort found in just living life. Its tragedy is of the same type. Continue reading “Bloomsday”