Scandal Work: James Joyce, the New Journalism, and the Home Rule Newspaper Wars

Notes

227 N o t e s Introduction 1. A wealth of anecdotal evidence for Joyce’s interest in newspapers has been compiled by Herr, Joyce’s Anatomy of Culture; Donovan, “Dead Men’s News”; Rando, “Scandal,” chapter 2 in Modernist Fiction and News; and Collier, “‘Tell a Graphic Lie’: Ulysses, Reform, and Repression,” chapter 4 in Modernism on Fleet Street. Joyce’s countless notes on articles in both Irish and English newspapers in the nearly fifty notebooks he used in the writing of Finnegans Wake are well documented in “Finnegans Wake” Notebooks . See also Bixby, “Perversion and the Press”; Kershner, “Newspapers and Popu­ lar Culture” and The Culture of Joyce’s “Ulysses”; and Utell, James Joyce and the Revolt of Love. 2. For a detailed history of Dubliners’ production and publication, see Gabler, “A History of Curiosities.” For a discussion of Joyce’s early affinities to naturalism or realism in Dubliners, see Kelly, Our Joyce. 3. As Riquelme argues, the very character of Stephen Dedalus represents a melding of the figures of Oscar Wilde, the mythic Icarus, and Charles Stewart Parnell, which come together “to colour from the outset our sense of the issues and the risks for Stephen” (Cambridge Companion, 104). 4. See, for instance, Deane, “Joyce the Irishman,” especially 28–32. 5. All references to Ulysses and Finnegans Wake come from the editions listed in the bibliography. 6. See Fordham, Lots of Fun at Finnegans Wake, particularly the summary of the letter/scandal in the park issue (11–12). See also Rando, “Scandal ,” 55–56, and Brivic, “Reality as Fetish.” 7. For a recent, comprehensive review of the Parnell scandal’s significance in Joyce’s oeuvre, see the second chapter of Utell, James Joyce and the Revolt of Love. 8. See, especially, Valente’s introduction to Quare Joyce; Norris’s “A Walk on the Wild(e) Side”; and Levine’s “James Joyce, Tattoo Artist.” Dettmar ’s “Vacation, Vocation, Perversion” provides a particularly detailed explication of Portrait’s Clongowes smugging episode as it recapitulates the Dublin Castle and Cleveland Street scandals in miniature. 228 Notes to Pages 3–4 9. Rando’s Modernist Fiction and News is a welcome exception to the lack of research directly engaging Joyce’s relationship to scandal, affording an excellent chapter on the subject. Even the late-­ nineteenth-­ century’s paradigmatic sex scandal, W. T. Stead’s “The Maiden Tribute of Modern Babylon,” has been oddly unexplored in most Joyce criticism, with the two notable exceptions of Eckley’s Maiden Tribute and Mullin’s Joyce, Sexuality and Social Purity. 10. Joyce scholarship’s emphasis on Parnell and its concomitant minimization of Wilde may have originated with Joyce’s intensely homophobic brother, Stanislaus, who insisted on Parnell’s significance for Joyce (My Brother’s Keeper, 168). In Ellmann’s magisterial literary biography of Joyce (James Joyce), Parnell appears ten times, usually as an influence on Joyce’s writing, while Wilde merits five mentions, only one of which is contingently connected to Joyce’s writing. The seeming absence of Wilde in Joyce’s writing is especially pronounced in Ulysses criticism, as in Brown’s declaration that “the Wilde trial appears [in Ulysses] hardly at all; there is little more than a hint of it in ‘Eumaeus’” (Joyce and Sexuality, 81). More attention has been given to Wilde’s influence on Finnegans Wake, in studies such as Schork’s “Significant Names,” Conrad and Wadsworth’s “Joyce and the Irish Body Politic,” Slote’s “Wild(e) Thing,” and Crispi and Slote’s How Joyce Wrote “Finnegans Wake.” 11. The term “New Journalism,” central to the currently bourgeoning study of newspapers in Victorian and modernist studies, originated with Matthew Arnold, who used it pejoratively in 1887 specifically to describe the activist scandalmongering of W. T. Stead in the Pall Mall Gazette (Brake, Print in Transition, 216). 12. This claim can be found in Malone, “Sensational Stories, Endangered Bodies,” 1. 13. See Kaplan, Sodom on the Thames, 175, and Dellamora, Masculine Desire, 200. 14. Quoted in Eckley, Maiden Tribute, 58. 15. Dwan, The Great Community, 198. 16. The groundswell of scholarship on the New Journalism over the past twenty-­ five years includes Wiener, Papers for the Millions (1988); Walkowitz , City of Dreadful Delight (1992); Cohen, Talk on the Wilde Side (1993); Legg, Newspapers and Nationalism (1999); Brake, Print in Transition (2001) and “Government by Journalism” (2004); Collier, Modernism on Fleet Street (2006); Collier and Ardis, Transatlantic Print Culture (2008); Hampton, Visions of the Press (2004); Barnhurst and Nerone, The Form...