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Joyce as Stephen Dedalus after he has discovered art, the progressive libertine who rejected theology in favor of biology. Such a representation, which essentially turns Joyce into a version of Lawrence, has disturbing implications when viewed in the light of contemporary feminist theory: it makes Joyce a pornographer, as Susan Griffin defines the term in Pornography and Silence, who even in his rebellion still presupposes a division between spiritual and camal knowledge. The Joyce of this portrait is as different from the Joyce who dominates the second half of Brown's book as Icarus is from Daedalus. The Joyce of the second portrait challenges and encompasses everything, playing on the oppositions between body and spirit, men and women, in order to undermine and comprehend them in a dynamic appreciation of the wholeness and emptiness of any created system. Brown's most interesting and original contributions are directed towards our understanding of the second Joyce, the books that shaped him and the works that most directly reflect him: the last half of Ulysses and Finnegans Wake. Had Joyce and Sexuality begun with the vision of Joyce with which it ends, its argument would have been more convincingly revisionary. As it stands, though it reproduces some of the contradictions characteristic of contemporary Joyce criticism, it also helps to inaugurate a new phase of that criticism. Brown's book has begun to challenge the justice of what might be called phUosophical apartheid: the systemic segregation of body from spirit, women from men, critic from author, and word from world. When viewed through the strong lenses of the mature Joyce, such divisions, far from being absolute, are arbitrarily stilled frames which, in isolation, seriously misrepresent the evermoving reel of human—and verbal—relations. Vicki Mahaffey University of Pennsylvania BRIEFER MENTION The Conradian: Journal of the Joseph Conrad Society (U.K.). Vol. 10:1 (May 1985), University of Hull. This issue marks the journal's tenth anniversary and contains six articles and several reviews. Of interest for those who wish to keep up on recent Conrad scholarship is Owen Knowles' "The Year's Work in Conrad Studies, 1984: A Survey of Periodical Literature" (pp. 50-58). Draper, R. P. Lyric Tragedy. New York: St. Martin's Press, 1985. $25.00 Draper argues that in lyric tragedy the concern is not so much with action and character but with feeling. The protagonist becomes the poet; the cause of misery is converted through the poem to one of pleasure, at best a catharsis. The introduction states his case in full. ELT readers might then wish to focus on chapters V (Hardy: Illusion and Reality), VII (D. H. Lawrence: Tragedy as Creative Crisis), and VIII (Wilfred Owen: Distance and Immediacy). 232 Grosskurth, PhyUis. Havelock Ellis: A Biography. Washington Square, New York: New York Univ. Press, 1985. Paper $14.95 There is now a more reasonably priced edition of Grosskurth's biography of Ellis, which you may want to add to your library. Seiden, Raman. A Reader's Guide to Contemporary Literary Theory. Lexington: Univ. of Kentucky Press, 1985. Cloth $17.00 Paper $7.00 Seiden's introduction, which surveys the main theories that have developed in Europe and the United States, is foUowed by six chapters. I. Russian Formalism; U. Marxist Theories; UI. StracturaUst Theories; IV. PostStructuraUst Theories; V. Reader-Oriented Theories; VI. Feminist Criticism. The major proponents in each category are covered in an accessible fashion. This makes a good starting point for graduate students who want to have a readable overview of critical theories. Seven Plays by Sean O'Casey, Selected with an Introduction and Notes by Ronald Ayling. New York: St. Martin's Press, $32.50 Ayling presents plays from various stages of O'Casey's career. Three plays are at at the center of the anthology: The Shadow of a Gunman, Juno and the Pay cock, and The Plough and the Stars. Ayling defines them as O'Casey's "Tragicomic trilogy of Anglo-Irish conflict and civil war in Ireland." The Silver Tassie depicts the playwright's anti-war sentiments, Red Roses for Me his autobiographical vein, and Cock-a-Doodle Dandy and The Bishop's Bonfire his satirical nature. The plays are annotated...


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