By Cóilín Owens
Joyce's "After the Race" is a likely uncomplicated story, traditionally unloved by way of critics. but whilst magnified and dismantled, the tale yields excellent political, philosophic, and ethical intricacy.
In ahead of 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 relevant to Joycean scholarship.
These concerns contain large-scale historic concerns--in this example, radical nationalism and the centennial of Robert Emmet's uprising. Owens additionally explains the transitority and native concerns mirrored in Joyce's language, association, and silences. He strains 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 could be pointed out in a probably common textual content like "After the Race," this learn implicitly contends that any Dubliners tale may be mined to bare the intertextual richness, linguistic subtlety, parodic brilliance, and cultural poignancy of Joyce's paintings. Owens’s meticulous paintings will stimulate readers to discover Joyce's tales with an analogous scrutiny on the way to understand and enjoy 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)
2 In a vain effort to swim against the rising tide of fashionable car driving, a London newspaper ridiculed this “new French sporting craze” (cited by Lynch, Triumph, 21). In 1901 there were about 130 manufacturers in France alone—mainly in Paris itself—that dominated the early trade. The largest market for cars in France was among wealthy Parisians, whose acquisitive imaginations the manufacturers stimulated through the advertising device of the auto show. Between 1902 and 1907 France produced more cars than all other European countries combined, and since its output far exceeded its domestic demand, French manufacturers made a concerted effort to develop overseas markets.
An association of antimotorists in Paris cabled King Edward VII, begging him to use his influence to stop the race (Montagu, 76). 1). A Scottish paper complained that “It necessitates a great waste of petrol,” while one Cathcart Watson (MP for Orkney and Shetland) complained in June 1903: “A few people claim the right to drive the public off the roads. Harmless men, women, and children, dogs and cattle, have all got to fly for their lives at the bidding of these slaughtering, stinking engines of iniquity” (cited by Montagu, 59).
Only five finished (Lynch tabulates the results [Triumph, 171]). None of the American entrants survived past the fifth lap, and two of the British vehicles got no further than the first, Charles Jarrott’s Napier ending up in a ditch to be looted by onlookers. Jenatzy was the first home, confirmed race winner ahead of the three blue cars driven by Rene de Knyff, Henry Farman, Fernand Gabriel, and the green car driven by the fatigued Edge (who was later disqualified). ” (Lynch, Triumph, 118). The Red Devil—skidding into bends and accelerating out of them—had lived up to his fearsome reputation.
Before Daybreak: "After the Race" and the Origins of Joyce's Art (The Florida James Joyce Series) by Cóilín Owens