The book weighs 5lbs and stands a foot tall in its black slipcase. It's black because Finnegans Wake is a night book. There's a bolt of lightning shooting down from the top left corner, standing for the 100 letter thunderclaps that blast their way through the book. In his introduction, Lord says that he was also thinking of Anna Livia Plurabelle, the personification of the river Liffey:
'As 'lightning' the image appears to go diagonally downwards towards the earth, representing the Fall. Alternatively, seen as a river, the tributaries go upwards and join together as a kind of resurrection.'
That quotation shows just what a lot of thought that Lord has put into his illustrations, and what a great interpreter of the Wake he is too. He's thinking like Joyce here!
Sliding the book out of its case reveals a night scene, with a full moon and clouds above an endless ocean - where the Liffey pours its water at the end of Finnegans Wake. Hovering above are Joyce's sigla - the symbols he used to indicate the characters. On the back there is also the constellation of the Great Bear, whose pattern is echoed in the arrangement of the sigla.
In his introduction, Lord talks about the many uses of the stars and clouds in the book:
'We have 'Nuctumbulumbumus', which suggests cumulonimbus thunderclouds and, at the same time (through the Latin ambulabamus), the notion of us ambling in the night.'
Here's the very first illustration - a general treatment of the nature of writing and Finnegans Wake as a 'nightmaze' and a 'jungle of woods.' Humpty Dumpty appears here and in several other illustrations.
The narrow strip at the bottom is a 'predella', something you find at the bottom of medieval altarpieces, like this one by Carlo Crivelli. Lord uses these predellas as a link between the illustrations.
Lord has picked eleven pivotal moments in the book to illustrate. The first one is the great Fall from the book's opening page. It's the fall of the hod carrier, Tim Finnegan, from his ladder in the comic ballad.
'One morning Tim was rather full.
His head felt heavy, which made him shake.
He fell from a ladder and he broke his skull
And they carried him home, his corpse to wake'
It's also the fall of the giant Finn MacCool, Adam, Humpty Dumpty, Parnell, Lucifer and all other falls through history, including Wall Street crashes. In the background, towers are being erected - the New York Woolworth building, the Tower of Babel and the Eiffel Tower.
'Oftwhile balbulous, mithre ahead, with goodly trowel in grasp and ivoroiled overalls which he habitacularly fondseed, like Haroun Childeric Eggeberth he would caligulate by multiplicab-les the alltitude and malltitude until he seesaw by neatlight of the liquor wheretwin twas born, his roundhead staple of other days to rise in undress maisonry upstanded (joygrantit!),a waalworth of a skyerscape of most eyeful hoyth entowerly, erigenating from next to nothing and celescalating the himals and all, hierarchitectitiptitoploftical, with a burning bush abob off its baubletop and with larrons o'toolers clittering up and tombles a'buckets clottering down.' 4.34-5.05
The giant Finn falls, forming the city of Dublin, with his 'humptyhillhead' at Howth and his feet in the Phoenix Park. That's Howth Castle in the predella at the bottom.
I particularly love this second illustration, which shows HCE's encounter with a cad in the Phoenix Park - an event which leads to his own fall and disgrace. On the left, the cad is greeting HCE in Gaelic.
Here's Lord's description of the illustration.
'
The predella at the bottom shows Oliver Cromwell, and Humpty Dumpty falling from the Magazine Wall in the Park - illustrations of the ballad mocking HCE on page 44.
The next illustration is of the hen, another version of ALP, scratching a teastained letter out of a midden, as described in Book One, Chapter Five.
Lord writes, '
This midden is a symbol, elaborated later, for the inhabited world in which men have left so many traces. The letter stands as a symbol for all attempts at written communication including all other letters, all the world's literature, the Book of Kells, all manuscripts, all the sacred books of the world, and also Finnegans Wake itself. One reason why The Book of Kells is included here is that it was once 'stolen by night...and found after a lapse of some months, concealed under sods' (Sullivan) The Books at the Wake p62-3
That's the Tunc page of the Book of Kells at the bottom.
Here's Lord's illustration of Joyce's fable of the Mookse and the Gripes, a retelling of Aesop's fable of the Fox and the Grapes. The Mookse and the Gripes are the rival twins, Shaun and Shem, and Space and Time. It's also a fable about Pope Adrian IV, the English pope who granted Ireland to King Henry II of England.
The challenge here is to depict the 'gripes' - Shem in the form of a bunch of grapes. Lord gives us straightforward grapes, but have a look at Ralph Ziegerman's solution here.
Nuvoletta is Issy, the daughter in Finnegans Wake.
For the next few I'll quote Lord's descriptions of them.
'
'
'
This is a wonderful illustration of my favourite chapter, Mamalujo, in which the ship-board lovemaking of Tristan and Isolde is witnessed by the four senile old men.
I laughed aloud when I spotted the four old men at the bottom.
Here's another of Joyce's fables, the Ondt and the Gracehoper, which is about Time and Space. The feckless grasshopper is Shem, Joyce and Time. The respectable ant is Shaun, Wyndham Lewis and Space. Time gets the last word:
Your feats end enormous, your volumes immense,
(May the Graces I hoped for sing your Ondtship song sense!),
Your genus its worldwide, your spacest sublime!
But, Holy Saltmartin, why can't you beat time? 419.5-8
(May the Graces I hoped for sing your Ondtship song sense!),
Your genus its worldwide, your spacest sublime!
But, Holy Saltmartin, why can't you beat time? 419.5-8
Here's Lord again:
'
Lord has a very controlled and orderly style - he's described his influences as Paul Klee and Victorian steel engravings. It's interesting to compare his approach with Clinton Cahill's looser Wake illustrations, for the James Joyce Centre, Dublin. Cahill has also given us the scene with Yawn and the Four Old Men (right).
These are two very different ways of representing the dream state. Lord's method reminds me of Hitchcock who, talking of the dream sequence in Spellbound, said he wanted to represent dreams not with the misty style usually favoured by Hollywood, but with hard edges and sharpness of daylight.
Cahill gives us the murky dreamscape.
For examples of other Wake illustrators, read PQ's excellent Finnegans, Wake! blog.
A lot of research has gone into these illustrations, as you can see from Lord's beautiful working notebooks, which the Folio Society have put on their website.
THE CORRECTED TEXT
The book uses Danis Rose and John O'Hanlon's 'Corrected Text', which has around 9,000 changes to the 1939 published version. Unlike all other editions of the Wake, it has different pagination, so it can't be used alongside critical resources, such as McHugh's Annotations or Fweet. But Rose and O'Hanlon write in the preface, 'It is not a replacement for the 1939 edition...but an alternative to it.'
My only objection to this version is that they've broken up the final chapter into separate sections. They argue that, 'Each sub-episode has an individual style, a beginning, and an end, whose poetry and poignancy can only be appreciated when they are set off, as they are in the 2010 edition.' But that's just as true of the opening chapter, which was meant to parallel the closing one. If Joyce had wanted it to set out in sections, he would have had it laid out like that.
Despite this, all Joyceans should get a copy of the Corrected Text. I can't think of any better way of buying it than with John Vernon Lord's wonderful illustrations.
Despite this, all Joyceans should get a copy of the Corrected Text. I can't think of any better way of buying it than with John Vernon Lord's wonderful illustrations.
Get FW2 as an etext, then the pagination doesn't matter and you can reformat it as you like. Overall, the corrections are priceless.
ReplyDeleteIf you get the Folio, you'll never dare annotate it.
The Ballad above is from FW1, isn't it? http://fwpages.blogspot.com/2013/10/the-ballads-music.html
Yes, they've reformatted the ballad. I used the first version because I'd already scanned it for another posting.
ReplyDeletehttp://peterchrisp.blogspot.co.uk/2013/10/a-walk-through-phoenix-park.html