Raising the Wind This issue marks an uncommon event: the arrival of a new editor in the offices of the James Joyce Quarterly. For a journal that was begun nearly forty years ago in this city far removed from the Hibernian metropolis, such stability and longevity mean that those who have filled this office before me must have been doing something right. It seems therefore fitting to begin this inaugural "Raising the Wind" by looking back to that first thin, green issue of the journal. When Thomas Staley founded the JJQ in his garage in 1963, it was with the then "modestly conceived notion to draw Joyceans together." This has, of course, proven to be far from a modest task, but with the assistance of a dedicated editorial staff and an increasingly distinguished board of editorial advisors, I think it fair to say that the JJQ has met and even exceeded this goal. Bob Spoo shared this same "modest" notion when he assumed the editorship in 1989, and opened the pages of the JJQ to a growing body of theoretical and critical work. It is, of course, customary for a new editor to pay tribute and offer thanks to his predecessors; and this I gladly do. I am happy to report, in fact, that Bob has generously agreed to join the advisory board of the journal as a special copyrights editor, a position which will enable us to draw upon his valued expertise and dogged commitment in this area. Furthermore, with this issue of the journal, we will acknowledge one of our most long-standing debts by adding Tom Staley's name to the masthead as the founding editor of the JJQ. But the best testimony to my predecessors' intellectual energy and critical commitment is the JJQ itself, a journal which has become not only the flagship of international Joyce studies, but a gathering place for scholars, teachers, and enthusiasts alike to share their arguments and insights. In taking up the editorship of the JJQ, therefore, I find myself confronted with a task as simple as it is daunting-one which can no longer pretend to modesty. With a worldwide circulation of nearly 1,300, a considerable number of strong essays awaiting publication, and a steady stream of new work arriving regularly in our offices, I am confident that the JJQ will continue to publish the rigorously researched and provocative scholarship its readers have come to expect. The day-to-day management of the journal remains in the capable hands of Carol Kealiher, and its intellectual future looks bright. So this leaves me to meet that first and most important editorial charge: to draw Joyceans together. Before explaining how I might do this, however, a few works of introduction are in order. After doing my undergraduate work at Swarthmore College, I received my Ph.D. from Brown University in 2000 with the guidance and friendship of Robert Scholes-a Joyce scholar of considerable pedigree who always encouraged me to look beyond Joyce and see his works as intertextual sites of exchange rather than fixed and immutable idols. This critical perspective has shaped my book, "Am I a Snob?": Modernism and the Marketplace, which examines the figure of the snob in works by Joyce, Oscar Wilde, and Virginia Woolf as a site of authorial anxiety about the perceived split between highbrow and mass culture. Before my arrival in Tulsa, I was a research assistant professor in the department of Modern Culture and Media at Brown, serving as the managing editor of the Modernist Journals Project. This ongoing enterprise is creating fully-searchable online editions of early twentieth-century journals, and I continue to serve as an external editorial advisor to the project. In addition, I recently began a five-year term on the Modernist Studies Association's board of directors, where I am working to match my interests in digital technology to the scholarly renovation of cultural and aesthetic modernism. It should thus come as little surprise that among the first projects I intend to undertake at the JJQ is to expand significantly the website, which can be found at http://www.utulsa.edu/JJoyceQtrly. Though still in its earliest stages, the new site now provides information about recent and current issues of the journal, an electronic version of the indexes for past volumes, and a list of books received for review. These much-needed improvements have brought the site up to date, but even more promising are the links which are still under construction. With the assistance of a newly appointed digital editor and a generous grant from the Office of the Provost at the University of Tulsa, the JJQ will shortly begin creating a fully-searchable archive of past issues, beginning with that first volume issued in 1963. We plan to create additional resources for the Joycean community, including a calendar of events, an annotated index of other web resources, and abstracts of current and forthcoming articles. We will also make content available on the web which does not fit into the journal, including links to and reports about events, conferences, and meetings mentioned in the "News and Notes" sections below. Other items are in the works, and I strongly encourage you to visit the site, evaluate it, and offer frank suggestions for revision or expansion. Currently, we aim to unveil the first volumes of the JJQ archive, as well as an expanded version of our website, at this year's Joyce Symposium in Trieste. I intend to match this expansion into digital publication with a renewed commitment to the print version of the journal, and you can rest assured that the electronic portion of the JJQ will continue to supplement and not replace the paper object you now hold in your hands. With this end in mind (and with an additional grant from the Provost in pocket) we intend to get the JJQ's publishing schedule back in order. This double issue of the journal on Dublin and the Dubliners will be quickly followed by the long-delayed special issue, "Joyce and the Law," guest-edited by Bob Spoo and Joseph Valente. We will then publish another special issue guest-edited by Tim Martin on "Joyce and Opera," which will include top-notch scholarly work as well some fantastic visuals. Finally, just in time for the Trieste meeting in June 2002, we will publish a second double-issue on "Joyce and Trieste," guest-edited by John McCourt. These four issues will mark the return of the JJQ to a rigorously maintained quarterly publication schedule. The succession of three very large issues, however, does mean that what has already become a significant backlog of accepted essays will continue to grow, and I would ask contributors to be patient with us over the coming year. No one could now imagine "drawing Joyceans together" to be the "modest goal" Tom Staley set for the JJQ forty years ago. But as editor and critical fellow-traveler, I believe that the journal can continue to serve this role by expanding the kind of services it has always offered while recommitting itself to printing the best and most provocative essays on Joyce and his works. We remain a peer-reviewed journal, and most submissions will receive at least two readings before we reach a decision. In my short time here, it has already become clear to me that our board of editorial advisors take their work seriously, providing lengthy and detailed notes and comments on every piece submitted. It is precisely this level of commitment which will provide for the JJQ's future, and it is matched in the editorial offices as well. Carol, the other editors, and I think of the JJQ not simply as an academic journal, but as an intellectual ambassador which strives to bring together Joyce's diverse, multinational and multilingual readers as an intellectual community. In this task, we hope to emulate the examples of scholars who have done the same, including Thomas Staley, Robert Spoo, Murray Beja, Bernard and Shari Benstock, and Zack Bowen, among so many others. This is good company to keep, and I intend to maintain the JJQ's position at the often fractious and always receptive crossroads of the international Joyce community. *** In This Issue Though not solicited for a special issue, the essays gathered together here nevertheless share a common impulse: to treat the city of Dublin as a cultural and historical locus from which new and innovative readings of Dubliners can emerge. Helping to set the theoretical agenda for the volume, David Spurr assays the spatial quality of colonial power, tracing its complexities in a Foucaldian reading of Dublin's geography and architecture. Turning from questions of space to those of culture, James Buzard draws on a surprisingly fruitful re-reading of Bronislaw Malinowski's ethnographic work to examine the ways in which literary critics of the 1950s and 1960s procured their professional authority through the text of Dubliners. In a matched pair of essays on queerness in "A Painful Case," Margot Norris and Roberta Jackson scrutinize the "open closet" of homosexuality which has been so oddly elided in our assessments of James Duffy. Both relocate the painfulness of Duffy's case in the conflicted streams of sexual identification and alienation which emerge from his lament that "love between man and man is impossible because there must not be sexual intercourse and friendship between man and woman is impossible because there must be sexual intercourse." David Wright too attends to the secrets of various Dublin lives, though his essay veers away from sexual politics to examine instead the intertextual construction of characters like Emily Sinico who appear in both Dubliners and Ulysses. Subtlety gives way to physical violence in "Strongarming 'Grace,'" in which Scott Klein uncovers the operation of a distinctly urban brand of thuggery beneath the religious hypocrisy of the story. Essays by Jack Morgan and Gerard Quinn conclude the close readings of individual stories in this issue by teasing out the implications of two seemingly minor textual details in "The Dead." Enhancing Margot Norris's work on Pope Pius X's motu proprio banning women from church choirs, Morgan constructs a detailed history of the gender and sexual politics underwriting the Vatican decision to replace women like Julia Morkan with erotically-charged boys. Performing an equally deft bit of detective work, Quinn traces images of the Catholic tenebrae through "The Dead" to arrive at a suggestive re-reading of Gabriel Conroy's own mock-heroic passion play. The articles section concludes by shifting from Joyce's invented characters to the lives of two real Dubliners: James and Margaret Cousins. This biographical piece by Margie Waters and Paul Stephenson not only highlights their significant connections to Joyce, but helps reconstruct a Dublin far more politically and culturally complex than the one now condemned immemorially as a "center of paralysis." The shorter pieces in the "Notes" by Patrick Ledden, Leo Manglaviti and Fintan Lane also attend to the complexity of Joyce's Dublin, opening up new urban panoramas and correcting some significant historical and biographical errors. The section concludes with Jim LeBlanc's concise mediation on "Araby," in which he uses Joyce's text to probe the existential tension between childhood work and play. This issue closes with a dozen book reviews, including assessments of recent works by Vicki Mahaffey, Len Platt, and Karen Lawrence which reposition Joyce (with varying degrees of success) in the conflicted terrain of Irish culture and identity. In addition, there is a particularly interesting report on Nightmaze, a dramatization of Finnegans Wake produced and directed by Vincent O'Neill for the Irish Classical Theater Company in Buffalo, New York. *** News and Notes Summer is always a busy time for Joyceans, many of whom reserve at least a week or two to attend the annual conferences, workshops, and symposia. We have reports in this issue from John Gordon and Maria McGarrity on the North American James Joyce Conference, "Extreme Joyce-Reading on the Edge." Organized by John Bishop and running over the Fourth of July, participants expected a few fireworks. According to all reports, Adam Harvey's dramatic recitation of "Shem the Penman" from the Wake provided biggest and most memorable bang. I am pleased to note that the traditional Joyce birthday conference, while no longer in Miami, has simply moved up the Florida coast to Sarasota. It will run from 31 January to 2 February and will include two full days of panels, a banquet, and-best of all-a 120th birthday bash for the man himself. Brandon Kershner is in charge of the academic program, and invites abstracts by 1 November to be sent to: R. Brandon Kershner, Alumni Professor of English, University of Florida, Gainesville, FL 32611-7310. The onsite conference organizer is Joan Saunders who can be reached at 8187 Shadow Pine Way, Sarasota, Florida 34238. From 16 to 22 June the International James Joyce Foundation will host its eighteenth meeting in Trieste. Entitled "Mediterranean Joyce," the conference invites abstracts focusing on topics that can be connected to any aspect of the main theme, which is "Joyce's love for all things Mediterranean, from Gibraltar to Crete, from the Orient to the Adriatic Sea. Other possible ideas for papers include Joyce and the Politics of Europe (World War I, Empire, fascism, nationalism, postcolonialism); Joyce and the Art of Europe (Italo Svevo, Rilke, futurism, Eastern European literature); Biographical Joyce (Joyce the teacher, the journalist, the operagoer, the brother, the citydweller)." As always, the organizers note, papers on any Joycean topic are welcomed. Currently, the conference has rounded up more than the usual suspects to deliver keynote addresses, including Zack Bowen, Margot Norris, Thomas Staley, Carla Marengo Vaglio, and Slavoj Žižek. When more details about the conference emerge we will make note of them here and on the JJQ website. I have also had an interesting report from Basil Dillon-Malone on the Syracuse James Joyce Club's annual Bloomsday meeting. The group, now in its seventh year and eighty-eight members strong, broke up their fourteen-hour recitation of Ulysses by reading letters from well-wishers around the world. Among those sending letters of support were Seamus Heaney, Ulick O'Connor, Roger Ebert, and Andrew Greeley. The club anticipates adding to this list next year such celebrity Joyceans as Sean Connery, William F. Buckley, Leonard Cohen, Brendan Kennelly, Angelica Huston, Winona Ryder, Eavon Boland, and Martin Scorsese. In an event which raised eyebrows both in the Joyce world and beyond, Christie's auction house sold a copybook manuscript of the "Eumaeus" episode of Ulysses for a gavel price of £780,00 or about $975,000. According to various reports and the auction catalogue, the notebook is quite cluttered and represents one of the episode's "earliest, complete working drafts." There are three different colored inks, representing a series of revisions and additions to the base test. The catalogue dates the notebook to the period "between 10 October 1916 and February 1921, but probably chiefly 1919-1921." Though the buyer remains anonymous, we hope to publish in these pages a more detailed report on the state and importance of this exciting find. While on the subject of Joycean textual matters, I have received word that a new electronic journal will soon be published entitled Genetic Joyce Studies. An initiative of the Antwerp James Joyce Center, it will be published every six months under the editorial direction of Dirk Van Hulle and an editorial board of luminaries which includes Bill Cadbury, Luca Crispi, Daniel Ferrer, Hans Walter Gabler, Michael Groden, Geert Lernout, Jean-Michel Rabaté, Joe Schork, Fritz Senn, and Sam Slote. The homepage of this new enterprise can be found at http://www.uia.ac.be/webger/ger/joyce/joyce0.html. We welcome this sister publication and wish them the best of luck. Finally, we are pleased to note that the poetry and rare-books collection at the SUNY-Buffalo Library has recently announced the publication of the "Finnegans Wake" Notebook Edition. Described as "a fully integrated and cross-referenced edition of all the extant workbooks compiled by Joyce after the completion of Ulysses," it will be published in a series of fascicles which will eventually total fifty-five volumes. Edited by Vincent Deane, Daniel Ferrer, and Geert Lernout and published by Brepols, the first installment (to include VI.B10, B.3, and B.29) is scheduled to appear in November 2001. We will keep you apprised of this project's progress, and line up a reviewer for the first installment as soon as possible. With this promising news, I'll bring this first Raising the Wind to a close. I will make a point of traveling to as many Joyce conferences and events as possible in the near future, and I encourage all of you to seek me out and introduce yourselves. The JJQ's real strength, after all, lies not in its editorial offices but in the readers and contributors who continue to make this journal such a remarkable institution. Sean Latham University of Tulsa