Project MUSE®: James Joyce Quarterly - Latest Articles
https://muse.jhu.edu/journal/372
Project MUSE®: Latest articles in James Joyce Quarterly.daily12026-05-19T00:00:00-05:00text/htmlen-USVol. 44 (2006) through current issueLatest Articles: James Joyce QuarterlyTWOProject MUSE®James Joyce Quarterly1938-60360021-4183Latest articles in James Joyce Quarterly. Feed provided by Project MUSE®Plenty of Preprosperousness
https://muse.jhu.edu/article/978552
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This special issue of the James Joyce Quarterly—Women’s Issues— has been a long time in the making. It is the brainchild of our inveterate Managing Editor, Carol Kealiher, who thought about organizing it quite a few years ago. Now is the time to bring it out, and we are honored that Vicki Mahaffey has guest-edited the cluster of articles we present to you this quarter. The idea is to shine a light on women in Joyce’s life and work and, moreover, to showcase the crucial work of women scholars and their experiences in the world of Joyce studies. The lineup of authors consists of Katherine Ebury, Maud Ellmann, Cleo Hanaway-Oakley, Clare Hutton, Carol Kealiher, Casey Lawrence, Vicki Mahaffey, Annalisa Mastronardi, Vike
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallPlenty of Preprosperousness2025-12-23text/htmlen-USPlenty of Preprosperousness2025-12-232025TWOProject MUSE®34452026-05-19T00:00:00-05:002025-12-23The 2025 Bloomsday Report: Foreword to the Past, A Review of The United States vs. Ulysses: A Play
https://muse.jhu.edu/article/978553
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—It’s fireworks. . . .And then a rocket sprang and bang shot blind blank and O! then the Roman candle burst and it was like a sigh of O! . . . in raptures and it gushed out of it a stream of rain gold hair threads and they shed and ah! they were all green dewy stars falling with golden, O so lovely, O, soft, sweet, soft!Then all melted away dewily in the grey air: all was silent. Ah!. . . .My fireworks. Up like a rocket, down like a stick.1Mr. Joyce is not teaching early Egyptian perversions nor inventing new ones. Girls lean back everywhere, showing lace and silk stockings; wear low-cut sleeveless blouses, breathless bathing suits; men think thoughts and have emotions about these things everywhere—seldom as
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallThe 2025 Bloomsday Report: Foreword to the Past, A Review of The United States vs. Ulysses: A Play2025-12-23text/htmlen-USThe 2025 Bloomsday Report: Foreword to the Past, A Review of The United States vs. Ulysses: A Play2025-12-232025TWOProject MUSE®456912026-05-19T00:00:00-05:002025-12-23“Paris, Past and Present”: A Report on “Joyce in Paris,” Irish Embassy, Paris, 14–16 June 2025
https://muse.jhu.edu/article/978554
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For the 2025 Bloomsweekend and then through the day that is in it, a few dozen Joyce scholars—and others insisting they were not— descended upon Paris’s Irish embassy, a few steps from the Champs Élysées and Arc de Triomphe. The “Joyce in Paris” colloquium, organized by Patrick Mullen and Joe Nugent technically as an extension of the Northeastern University study-abroad program, with sponsorship by the embassy, Boston College, Sorbonne Nouvelle, and Stony Brook University, was inspired by the keynote speaker, Vicki Mahaffey, and specifically her 2024 book The Joyce of Everyday Life.1 Accordingly, it focused on ideas of Joyce and the everyday, and on Paris’s role in Joyce’s career. Members of an eclectic group, from
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmall“Paris, Past and Present”: A Report on “Joyce in Paris,” Irish Embassy, Paris, 14–16 June 20252025-12-23text/htmlen-US“Paris, Past and Present”: A Report on “Joyce in Paris,” Irish Embassy, Paris, 14–16 June 20252025-12-232025TWOProject MUSE®104332026-05-19T00:00:00-05:002025-12-23Remembering Michael J. O’Shea (1955–2024)
https://muse.jhu.edu/article/978555
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Michael O’Shea died 6 October 2024, after a long illness following a stroke. Many Joyceans will remember him in some capacity or other: a former student of Father Robert Boyle and Zack Bowen (among others), Michael wrote James Joyce and Heraldry (1986); he was co-organizer (along with Tim Martin) of the excellent 1989 James Joyce Conference in Philadelphia; he taught for years at Drexel University in Philadelphia, then later at Newberry College in South Carolina where he served as English Department Chair and as Editor of Studies in Short Fiction; and he was a former Trustee of the International James Joyce Foundation.For years, Michael was a fixture at James Joyce symposia and conferences—along with his former
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallRemembering Michael J. O’Shea (1955–2024)2025-12-23text/htmlen-USRemembering Michael J. O’Shea (1955–2024)2025-12-232025TWOProject MUSE®70792026-05-19T00:00:00-05:002025-12-23Roland McHugh
https://muse.jhu.edu/article/978556
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Roland McHugh, who died on 9 October 2025, will be remembered as one of the most consequential and helpful explainers of Finnegans Wake, through his groundbreaking studies of notebook chronology and of the sigla (which were scarcely known before his book on them), and above all through his Annotations to “Finnegans Wake.” Although many forms of annotation can now be found online, Roland’s brilliant conception—a series of panoptic star-charts mapping every opening of FW—still offers the perfect model for absorbing the data clusters and nebulae.Most of the details of his life can be found in his The “Wake” Experience. This idiosyncratic but absorbing scholarly memoir caused some consternation when it first appeared
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallRoland McHugh2025-12-23text/htmlen-USRoland McHugh2025-12-232025TWOProject MUSE®49572026-05-19T00:00:00-05:002025-12-23Women’s Issues
https://muse.jhu.edu/article/978557
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What better way to address “Women’s Issues” than through a special issue of the James Joyce Quarterly that explores Joyce’s interest in them? Of course, women’s issues are always men’s issues as well, and (less expectedly) readers’ issues. The recent, public polarization of the community of Joyce scholars over allegations of sexual harassment at conferences and summer schools has brought these concerns once more to the forefront of our discipline. The idea behind this special issue, the brainchild of Carol Kealiher, is not only to re-examine Joyce’s treatment of women in his fiction and its implications, but also to acknowledge the many contributions women have made to Joyce criticism, which Kealiher details in the
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallWomen’s Issues2025-12-23text/htmlen-USWomen’s Issues2025-12-232025TWOProject MUSE®326472026-05-19T00:00:00-05:002025-12-23The Androgynous Mouth
https://muse.jhu.edu/article/978558
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After over forty-five years of close acquaintance with his corpus, I no longer regard James Joyce as a male writer. I should probably say that I do not think of him as a female writer either. Joyce the writer was neither male nor female, which is to say that he learned to imaginatively inhabit the entire range of gendered subject positions, just as he could be both nationalist and unionist, gentile and Jew, gay and straight, black/brown and white. A subject position, of course, doesn’t account for differences among individuals: it designates the way a given category has been defined socially and historically.1 Part of the challenge of human development is to appreciate the interdependence of such categories. The
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallThe Androgynous Mouth2025-12-23text/htmlen-USThe Androgynous Mouth2025-12-232025TWOProject MUSE®662602026-05-19T00:00:00-05:002025-12-23Missed Encounters
https://muse.jhu.edu/article/978559
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“There are different kinds of silences” in Dubliners, Jean-Michel Rabaté observes in a landmark essay on Joyce’s gnomic and gnomonic stories.1 There are also different kinds of missed encounters in these narratives. The volume begins with the boynarrator’s missed encounter with the dying priest in “The Sisters,” followed by his failure to arrive in time for the bazaar in “Araby.” In both of these stories, the boy arrives too late for the anticipated meeting: the priest is dead, the bazaar is over, and the narrator is left empty-handed, having missed the chance to buy a love-token for Mangan’s sister—an anticipated meeting also destined to be missed. By contrast, Eveline does arrive in time to elope with Frank but
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallMissed Encounters2025-12-23text/htmlen-USMissed Encounters2025-12-232025TWOProject MUSE®1096442026-05-19T00:00:00-05:002025-12-23James Joyce’s Encounter with Sexual Harassment
https://muse.jhu.edu/article/978560
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These are the facts as we know them—In the mid-1890s, at a time when James Joyce excelled as a student at Belvedere College, he and his younger brother Stanislaus planned a day of rebellion. Playing truant from school, they set out from their home on North Richmond Street, seeking to explore the strand along the way to the Pigeon House. Their adventure took a turn, however, when they were approached by a man whose words and actions veered in a sexual direction. The exchange lingered in both brothers’ memories long after the encounter. As an adult, Stanislaus would call the man “an elderly pederast,” writing that, at first, the brothers thought him to be a “juggins” (a simpleton) or an “escaped madman”; they quickly
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallJames Joyce’s Encounter with Sexual Harassment2025-12-23text/htmlen-USJames Joyce’s Encounter with Sexual Harassment2025-12-232025TWOProject MUSE®1198792026-05-19T00:00:00-05:002025-12-23“—because Gerty MacDowell was ...”: Disability, Womanhood, and Identification in “Nausicaa”
https://muse.jhu.edu/article/978561
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“But who was Gerty?” (U 13.78). There is no easy answer to this question, though many scholars have provided a response. According to Angela Lea Nemecek, the “almost universal failure to read Gerty comprehensively arises from a failure to see her as not merely disabled, or merely female, but as a disabled woman.”1 In this essay, I had intended to follow Nemecek’s lead, to analyze representations of disabled womanhood in Ulysses, with a focus on Gerty MacDowell. But the more I reread “Nausicaa,” the more I began to question the extent to which Gerty can or should be labeled as “disabled” and, perhaps more importantly, who gets to assign that label. I am particularly interested in the absence of the word “disabled”
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmall“—because Gerty MacDowell was ...”: Disability, Womanhood, and Identification in “Nausicaa”2025-12-23text/htmlen-US“—because Gerty MacDowell was ...”: Disability, Womanhood, and Identification in “Nausicaa”2025-12-232025TWOProject MUSE®976312026-05-19T00:00:00-05:002025-12-23Mary Morrissy’s Penelope Unbound: Nora Barnacle Without James Joyce
https://muse.jhu.edu/article/978562
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The work of James Joyce has consistently captured the attention of scholars and readers worldwide. Recently, a specific focus has emerged on his life, particularly on those individuals in close proximity to him. In her latest play Joyce’s Women, brought to the Abbey Theatre by Conall Morrison in 2022, Edna O’Brien portrayed her “ultimate hero” through the perspectives of the women who played pivotal roles throughout his lifetime, including his mother Mary Jane Murray, his wife Nora Barnacle, his mistress Marthe Fleischmann, his patron Harriet Shaw Weaver, and his daughter Lucia.1 Nora has particularly taken center stage in Ireland over the last two years with her life as the subject of two works of fiction: Nuala
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallMary Morrissy’s Penelope Unbound: Nora Barnacle Without James Joyce2025-12-23text/htmlen-USMary Morrissy’s Penelope Unbound: Nora Barnacle Without James Joyce2025-12-232025TWOProject MUSE®498422026-05-19T00:00:00-05:002025-12-23“I. Want. You. To.”: Ulysses and Ventriloquized Sexual Consent
https://muse.jhu.edu/article/978563
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The last word of Ulysses [is] yes. It is supposed to be said by a woman. The most curious part of the whole affair is that people believe a woman says it because a man writes it.In the years since the #MeToo hashtag brought sexual harassment into the forefront of public consciousness in 2017,2 the definition of consent has become contested ground in law, linguistics, ethics, and other academic fields. During the writing of this essay, a series of newspaper articles about a crisis of misconduct within Joyce studies has raised questions about what in Joyce’s texts might create (or exacerbate) a hostile environment for young women entering our field, with a particular focus on sexual harassment and consent. For
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmall“I. Want. You. To.”: Ulysses and Ventriloquized Sexual Consent2025-12-23text/htmlen-US“I. Want. You. To.”: Ulysses and Ventriloquized Sexual Consent2025-12-232025TWOProject MUSE®1005152026-05-19T00:00:00-05:002025-12-23On Misogyny in the Critical Reception of Molly Bloom
https://muse.jhu.edu/article/978564
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In preparing this essay, I have been conscious of being indebted to several waves of feminist scholarship, most notably that of Kathleen McCormick, Vicki Mahaffey, Marian Eide, Christine Froula, Katherine Mullin, Casey Lawrence, and Julie McCormick Weng. I have also been asking myself with more difficulty to what extent I am, as a critic, indebted to and shaped by several generations of patriarchal misogynist scholarship—which has a much longer history, dating back to 1922. I have thus also been wondering to what extent I should give these male critics voice in my essay through citation. This study is appearing in a special “Women’s Issue” of the JJQ, but since my aim is a critical history and my focus is on
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallOn Misogyny in the Critical Reception of Molly Bloom2025-12-23text/htmlen-USOn Misogyny in the Critical Reception of Molly Bloom2025-12-232025TWOProject MUSE®747612026-05-19T00:00:00-05:002025-12-23On Female Solidarity in Joyce (Studies)
https://muse.jhu.edu/article/978565
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James Joyce’s works generate narrative momentum and interpretative opportunities by describing damaged, unfulfilling, at times abusive relations. As Aarthi Vadde states, “[h]omosocial hostilities, broken bonds, and derailed friendships lie at the core of Ulysses.”1 Companionship, solidarity, and intimacy might be imagined, desired, and nostalgically evoked by his characters, but Joyce’s texts consistently return them to emotional states that force them to acknowledge the “negative sociability of everyday life,” according to Vadde (76). The homosocial bias of the world captured in Joyce’s texts makes it especially difficult for female characters to establish and sustain supportive relationships.2 Spotlighting the
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallOn Female Solidarity in Joyce (Studies)2025-12-23text/htmlen-USOn Female Solidarity in Joyce (Studies)2025-12-232025TWOProject MUSE®796322026-05-19T00:00:00-05:002025-12-23Networks of Association and Intimacy: The Letters of Harriet Shaw Weaver to Sylvia Beach
https://muse.jhu.edu/article/978566
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At different moments in her long life, Harriet Shaw Weaver (1876–1961) was James Joyce’s editor, publisher, financial patron and unofficial literary agent. Five years older than Joyce, she outlived him by more than twenty years, and was also significantly involved in managing his affairs posthumously (see Figure 1). This included her roles as executor of his estate and as guardian to Lucia Joyce (1907–1982), his daughter who was cared for in nursing homes in England and Wales from March 1951 onwards.1 Weaver is the subject of a lengthy biography and several articles, but remains an enigmatic figure.2 She was demure, private, and self-effacing by nature and never wrote a memoir. Thus it is hard to get a sense of her
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallNetworks of Association and Intimacy: The Letters of Harriet Shaw Weaver to Sylvia Beach2025-12-23text/htmlen-USNetworks of Association and Intimacy: The Letters of Harriet Shaw Weaver to Sylvia Beach2025-12-232025TWOProject MUSE®1541642026-05-19T00:00:00-05:002025-12-23Women Authors and the JJQ
https://muse.jhu.edu/article/978567
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Several years ago, I needed to go through some of the earliest JJQ issues, extending back to our founding in 1963, to try to find an obscure reference and had to check quite a few essays and notes. It became a fascinating problem—where was that quotation? As I read and then scanned in something of a hurry, I realized that there were familiar names among the authors. Some had continued to write for the journal, and they enhanced their distinguished careers by contributing to the JJQ with critical texts, discursive notes, and the occasional irritable letter to the editor. But—almost all of them were men. This turned into a puzzling search as I sought women’s writing through years of publications. There appeared a few
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallWomen Authors and the JJQ2025-12-23text/htmlen-USWomen Authors and the JJQ2025-12-232025TWOProject MUSE®109752026-05-19T00:00:00-05:002025-12-23Current JJ Checklist (151)
https://muse.jhu.edu/article/978568
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The entire retrospective James Joyce Checklist, available online, not only compiles citations from earlier issues of JJQ but provides extensive coverage of editions of the works, translations, criticism, and research dating back to Joyce’s lifetime. This resource is available at: <https://norman.hrc.utexas.edu/jamesjoycechecklist>.Thanks to our recent contributors to the current checklist: Sabrina Alonso, Alison Armstrong, Massimo Bacigalupo, Ronan Crowley, Michael Cunningham, Richard Gerber, Jonathan Goldman, James Maynard, Patrick O’Neill, Friedhelm Rathjen, and Fritz Senn. Please send contributions or suggestions to your bibliographer at
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallCurrent JJ Checklist (151)2025-12-23text/htmlen-USCurrent JJ Checklist (151)2025-12-232025TWOProject MUSE®1265282026-05-19T00:00:00-05:002025-12-23Modernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature by Sarah Davison (review)
https://muse.jhu.edu/article/978570
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Although only the last fifty pages of the book deal directly with Joyce’s works, Modernist Parody is an important study that all Joyceans should read. Sarah Davison shows how parody played a central role in the first half of the twentieth century, when modernist authors tried to “make it new”1 and not just among the people directly involved: she points out that one of the first instances of the use of the word “modernist” appeared in a parodic article in Vanity Fair.2 Modernist authors were parodied regularly in the popular press, but at the same time, they parodied each other and even themselves.The book opens with a quotation from Friedrich Nietzsche’s Beyond Good and Evil to the effect that, at the end of the
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallModernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature by Sarah Davison (review)2025-12-23text/htmlen-USModernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature by Sarah Davison (review)2025-12-232025TWOProject MUSE®233142026-05-19T00:00:00-05:002025-12-23Collected Epiphanies of James Joyce: A Critical Edition by Sangam MacDuff, Angus McFadzean, and Morris Beja (review)
https://muse.jhu.edu/article/978571
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In Stephen Hero, Stephen defines epiphany as “a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or in a memorable phase of the mind itself”; “it was for the man of letters,” he says, “to record these epiphanies with extreme care, seeing that they themselves are the most delicate and evanescent of moments.”1 Stephen contemplates “collecting many such moments together in a book of epiphanies” (211). Joyce worked on such a book, composing at least forty epiphanies between 1901 and 1904. His epiphanies are of two types: dramatic and lyrical.2 The dramatic epiphanies record scenes, as in a play, that Joyce likely witnessed or participated in; the lyrical epiphanies are narrative and
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallCollected Epiphanies of James Joyce: A Critical Edition by Sangam MacDuff, Angus McFadzean, and Morris Beja (review)2025-12-23text/htmlen-USCollected Epiphanies of James Joyce: A Critical Edition by Sangam MacDuff, Angus McFadzean, and Morris Beja (review)2025-12-232025TWOProject MUSE®189862026-05-19T00:00:00-05:002025-12-23Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review by Holly A. Baggett (review)
https://muse.jhu.edu/article/978572
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In 1995, Jayne E. Marek noted that previous studies of Margaret C. Anderson, Jane Heap, and their widely influential periodical, the Little Review, tended to stereotype the editors because they were women while also minimizing them as mere foils for Ezra Pound, who served for a while as the magazine’s Foreign Editor.1 It has been nearly twenty years since Marek made this observation, but now Holly A. Baggett’s critical biography, Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review, offers a fulsome and richly detailed corrective to such earlier, dismissive studies. Surprisingly— considering Anderson and Heap’s centrality to the development of multiple strains of global modernism—Baggett’s book
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallMaking No Compromise: Margaret Anderson, Jane Heap, and the Little Review by Holly A. Baggett (review)2025-12-23text/htmlen-USMaking No Compromise: Margaret Anderson, Jane Heap, and the Little Review by Holly A. Baggett (review)2025-12-232025TWOProject MUSE®131582026-05-19T00:00:00-05:002025-12-23The Paris Bookseller by Kerri Maher (review)
https://muse.jhu.edu/article/978573
<p></p>
In 1959, Sylvia Beach published her memoir, Shakespeare and Company, chronicling the twenty-year history of her legendary Paris bookstore and the 1922 publication of James Joyce’s Ulysses.1 The story of her bookstore and lending library’s operations between 1919 and 1941 is by now well known; Noel Riley Fitch’s Sylvia Beach and the Lost Generation: A History of Literary Paris in the Twenties and Thirties and, more recently, Princeton University’s Shakespeare and Company Project have contributed to the wealth of public knowledge about Beach’s activities as a publisher, bookseller, and one of the most influential literary figures in interwar Paris.2 Kerri Maher’s The Paris Bookseller draws upon these sources to
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallThe Paris Bookseller by Kerri Maher (review)2025-12-23text/htmlen-USThe Paris Bookseller by Kerri Maher (review)2025-12-232025TWOProject MUSE®179692026-05-19T00:00:00-05:002025-12-23Genetic Joyce: Manuscripts and the Dynamics of Creation by Daniel Ferrer (review)
https://muse.jhu.edu/article/978574
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Daniel Ferrer’s study, Genetic Joyce: Manuscripts and the Dynamics of Creation, lays bare its own genesis. Its references and acknowledgements show the debt it owes to Ferrer’s broader career and the changing landscape he has witnessed and enjoyed regarding the accessibility of Joycean manuscripts, notebooks, and drafts. The culmination of work “tried out” (xiii) as early as 1985, this book may look at first blush like an endpoint, but it represents a starting point for scholars of genetic criticism and of Joyce. A strength of the study is the breadth and synthesis of readings across James Joyce’s oeuvre. Ferrer skillfully integrates his discussion of the origins of Ulysses and Finnegans Wake providing points of
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallGenetic Joyce: Manuscripts and the Dynamics of Creation by Daniel Ferrer (review)2025-12-23text/htmlen-USGenetic Joyce: Manuscripts and the Dynamics of Creation by Daniel Ferrer (review)2025-12-232025TWOProject MUSE®184412026-05-19T00:00:00-05:002025-12-23The John Joyce Interview, Revisited
https://muse.jhu.edu/article/978908
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The following sports notice is from The Irish Times (20 June 1876), page 6:The return match between the two Bowling Clubs of our city came off on Saturday evening, at the Victoria Bowling Green (Mr. Broadbent’s) Chapelizod. In the result, the victory lay with the “parent club,” as they won on their own green by 38 points, thus making a net win on the match of 3 points, and reversing the result on the Dollymount Green, where the Dollymount Club won by 35. To this result, which was only secured after a hard fight by the visitors, a large share was contributed by Messrs. O’Brien and J. J. Joyce, of the Chapelizod Club, they having beaten their respective opponents by the very respectable score of 11 to 2. Very great
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/372/image/coversmallThe John Joyce Interview, Revisited2025-12-23text/htmlen-USThe John Joyce Interview, Revisited2025-12-232025TWOProject MUSE®147972026-05-19T00:00:00-05:002025-12-23