By Cóilín Owens
Joyce's "After the Race" is a likely easy story, traditionally unloved via critics. but whilst magnified and dismantled, the tale yields outstanding political, philosophic, and ethical intricacy.
In earlier than sunrise, Cóilín Owens indicates that "After the Race" is way greater than a narrative approximately Dublin on the time of the 1903 Gordon Bennett Cup Race: actually, it's a microcosm of a few of the problems such a lot primary to Joycean scholarship.
These concerns contain large-scale ancient concerns--in this situation, radical nationalism and the centennial of Robert Emmet's uprising. Owens additionally explains the transitority and native matters mirrored in Joyce's language, association, and silences. He lines Joyce's narrative strategy to classical, French, and Irish traditions. also, "After the Race" displays Joyce's inner clash among emotional allegiance to Christian orthodoxy and modern highbrow skepticism.
If the dawning of Joyce's singular strength, variety, subtlety, and studying might be pointed out in a likely user-friendly textual content like "After the Race," this examine implicitly contends that any Dubliners tale may be mined to bare the intertextual richness, linguistic subtlety, parodic brilliance, and cultural poignancy of Joyce's artwork. Owens’s meticulous paintings will stimulate readers to discover Joyce's tales with an identical scrutiny as a way to understand and savour how Joyce writes.
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Extra resources for Before Daybreak: "After the Race" and the Origins of Joyce's Art (The Florida James Joyce Series)
It was not until the next morning, July 3, that the final placings were officially announced (London Times, July 4, 8). In declaring the results—that the winning car was German and the French were second and third, Joyce’s narrator is both inaccurate and premature. 10) because their three cars finished second, third, and fourth, which earned them the team prize, the Montagu Trophy. 13–14, 8) is not of congratulation for their success in the race, as the narrator implies, but from political sympathies originating in French support for the United Irishmen, a theme of the previous five years’ centennial commemorations.
By 1916, as an established ear, nose, and throat surgeon, Gogarty was able to demand a hundred guineas for an operation, whereas Joyce, with Dubliners and A Portrait in print, was still scrabbling for students in Trieste. This historicization shows, further, that Joyce seemed to realize, but disdain, the capitalist wisdom in the investment in the automobile industry: there was, indeed, serious money to be made from cars in Ireland, as elsewhere in Europe and America at the time. Arthur Griffith’s and Joyce’s articulation of an anticolonial political critique of the Gordon Bennett Cup Race was, nonetheless, an early step in that direction.
It is within these contexts that we move to look at Joyce’s interview with the French racing driver and his consequent story. Fournier Interview The first Irish publication to promote the Gordon Bennett Cup Race was the Irish Times. The semiofficial organ of the Anglo-Irish establishment, its readership would have included almost every motorcar owner of the time. Thanks to the good offices of one Matthew O’Hara, a friend of John Stanislaus on the newspaper staff (JJII 119, 127), the editors contacted James Joyce in Paris about a New York Herald–style interview with Henri Fournier, one of the prospective French drivers.