Raising the Wind The first thing you will notice about this issue of the James Joyce Quarterly is that it appears to have gone on a substantial diet, shedding a great deal of the bulk that has characterized its appearance over the last few years. Like all diets, this one has required us to forgo any number of temptations, including plump conference reports, lengthy book reviews, and the smorgasbord of critical articles in the backlog. The fat issues we have recently published, however, have drawn a number of complaints from both the overburdened editorial staff here at Tulsa and from subscribers who find themselves unable to complete what amounts to a book-length collection of essays before the new, equally weighty issue arrives. Thus, beginning with this issue, we will attempt to return the JJQ to the sleeker, more attractive, and ultimately healthier dimensions of a regular quarterly. This does not mean any kind of content will be cut; in fact, this issue contains a few new features that I hope you will find thought-provoking, informative, and entertaining. By adhering to a more regular publishing schedule, the JJQ will be able to clear its backlog in a relatively orderly fashion without merely piling essays one atop the other in a series of thick, ominous-looking issues. The work we publish here frankly deserves better than that. It may now take us a bit longer to clear the collection of essays awaiting publication, but in exchange each essay we do publish will receive the kind of close critical attention it deserves both from the editorial staff here and from the journal’s readers. I hope you will agree that by slimming the journal down, we have made it both a more pointed critical tool and a slightly less intimidating read. The issue opens with three essays dedicated to the biggest Joyce-related events of the last few years: the discovery of an array of previously unknown archival and manuscript materials. Sam Slote begins by offering his "Preliminary Comments on Two Newly Discovered Ulysses Manuscripts." He describes first the "Circe" manuscript that came to light in 2000 and was acquired by the National Library of Ireland, then the "Eumaeus" manuscript that was sold at auction the following year to a still anonymous buyer. Sam acted as a special consultant for Sotheby’s when the "Eumaeus" draft was sold and thus brings to this report a unique set of insights about this still somewhat mysterious text. Michael Groden and Daniel Ferrer—two of the most respected textual critics at work today—then offer a pair of fascinating essays guaranteed to raise your curiosity about the batch of Ulysses notebooks acquired by the National Library of Ireland this June. Groden and Ferrer are the only two scholars who have had access to this material to date, and they share here two preliminary yet penetrating evaluations of the manuscripts. Following up on his keynote address in Trieste, Groden engages in a detailed description of all of the notebooks in the collection, providing a brief speculative overview about what they contain. Ferrer, who assessed the collection before it left Paris, focuses narrowly on what may prove to be some of the most significant items in the archive: two early drafts of the "Sirens" episode. These very early texts, he suggests, allow us an unprecedented view into Joyce’s workshop, where we can witness what may have been "the main turning point in the history of Ulysses: the transition between Joyce’s early manner and his mature mode, what is probably the decisive step towards the formal complexity that made his work the paradigm of modernism." Ferrer’s conclusions here are, of course, tentative, but they point directly to the many new critical and interpretive avenues these notebooks will open for us. It is for this reason that I have asked Groden and Ferrer to co-edit a special issue of the JJQ that will draw together the first work done on these manuscript materials once they have been made available by the National Library. These critical assessments of recent manuscript acquisitions are followed by a collection of essays that all attempt to locate Joyce’s work at the intersection of a wide array of historical and contemporary debates. Mark Wollaeger’s "Joyce in the Postcolonial Tropics" meditates on the changing boundaries of postcolonial theoretical practice, using Ulysses as a test case for what he calls a "tropical" criticism that "self-consciously deploys metaphor as part of its practice." Zack Bowen’s "Millennial Bloom," which was originally delivered as a keynote address to the London Symposium in 2000, offers a typically lively reading of the millenarian impulses in a text that grants its protagonist "the necessary baptismal credentials to be the messiah to everybody." Finally, in "Sunny Jim," Gregory M. Downing examines the roles that the solar and fertility myths described by Friedrich Max Müller play in Ulysses, a work deeply interested in "the problem of whether people can bloom—mentally, fiscally, interpersonally, reproductively—despite various obstacles." In addition to these scholarly essays, this issue also inaugurates what I hope will be a continuing feature: a short selection of pieces on teaching Joyce and his works. Here the focus is on Finnegans Wake, and both Margot Norris and Paul Saint-Amour offer what I believe to be genuinely innovative approaches to teaching a text that even the most dedicated Joyce scholars often leave off of their syllabi. Norris shares a particularly successful strategy for teaching the "ALP" section of the Wake to undergraduates, explaining how she uses this relatively approachable chapter to invite students into complex discussions about the nature of meaning, communication, and textuality. Offering a much more ambitious agenda, Saint-Amour describes his attempts to teach the Wake as the core text in a course focusing on postmodern literature. While most of us would quail before the actual syllabus he uses, the texts and strategies he employs are so innovative that it may tempt many of us once again to bring the Wake into the classroom as something other than a mere bogey of textual density. These essays mark an important point of departure, and I hope to provide a regular section on Joycean pedagogy that will include the techniques used in narrowly focused seminars as well as in the broader survey and introductory courses taught in both high school and college classrooms. I encourage those of you who have particularly interesting or innovative ways of teaching Joyce to share them here in the pages of the JJQ. A quick glimpse at the table of contents for this issue reveals not only the addition of a section on pedagogy, but the mysteriously titled Sweets of Sin as well. An anonymous author has undertaken the intriguing task of writing the book that so occupies Bloom’s thoughts in Ulysses. It is, the author writes, a "bad book," and though my editorial instincts warned me against publishing such scandalously bad writing here I finally found myself unable to resist the Sweets of Sin. Short installments will appear regularly in each issue of the JJQ until the text is complete or the journal itself is seized and prosecuted for publishing such reprehensible material. The Ulysses Copyright and Eldred v. Ashcroft In my "Raising the Wind" that prefaced JJQ 38.1-2, I noted that the saga of the Ulysses copyright had taken another strange turn when the U. S. Supreme Court unexpectedly agreed to hear arguments in the case of Eldred v. Ashcroft. This lawsuit contends that the Sonny Bono Copyright Extension Act, which added an additional twenty years to copyright terms in the United States, is an unconstitutional abuse of the U. S. Constitution’s copyright clause and an infringement on the right to free speech. The plaintiff in the case, Eric Eldred, is the publisher of an on-line literary site that provides electronic versions of a variety of classic American novels and poems. Like many of us who are interested in the use of digital resources to enhance or extend literary study, Mr. Eldred furiously opposed the extension of copyright, charging that the new laws unfairly withhold works from the public domain where scholars, readers, and other writers and artists can make use of them. In my surprise at discovering that the Supreme Court had agreed to hear this case, however, I misstated the potential consequences of this decision for the much-debated Ulysses copyright. Robert Spoo, our resident expert in copyright law, wrote to me to clarify the facts of the case, and I have appended here his concise summary: If the Court were to overrule the Sonny Bono Act’s addition of 20 years to older works like Ulysses, the decision would have the following consequences for Ulysses: (1) U.S. copyright in the 1934 edition (assuming for argument’s sake that there is one) would be shortened from 95 years from publication to 75 years from publication, thus expiring at the end of 2009 rather than, as currently, the end of 2029. (2) U.S. copyright in the 1922 Paris edition (which was never secured in the United States, but which for complicated statutory reasons was restored here for a couple of years in the 1990s) expired at the end of 1997—a year before Bono was in force—at the end of its pre-Bono 75-year term. Thus, neither edition would be affected by a decision of the Court deeming the 20-year Bono extension unconstitutional (though, of course, both the 1934 and the 1961 Random House editions would have shorter terms than they currently do). If the Court finds in Eldred’s favor, then, the 1934 text of Ulysses will not immediately enter the public domain, but would do so in 2009—a date much more approachable for editors and presses than the current 2029 expiration. Oral arguments were made before the Court on 9 October 2002, and we should have news of a decision by the time the next edition of the JJQ appears. Digital Joyce Despite the continuing debates about copyright law and its potential to limit the work of on-line archivists, I have learned over the past few months of a number of projects that are attempting to bring Joyce studies into the digital age. Geert Lernout sends word that the new issue of Genetic Joyce Studies is now available on-line at: <http://ger-www.uia.ac.be/webger/ger/GJS/GJS0.html> Taking the time to type this rather unwieldy address into your web browser will prove richly rewarding since the latest issue of GJS celebrates the twenty-fifth anniversary of the James Joyce Archive. Insightful essays by all of the usual suspects—David Hayman, Fritz Senn, Hans Walter Gabler, Luca Crispi, R. J. Schork, and Bill Cadbury—remind us not only how important these archival materials are, but point the way forward to the new types of genetic and interpretive strategies that will be used as the documents procured by the National Library of Ireland become available for public use. The Antwerp Joyce Center has also announced an exciting new project: the creation of an electronic version of Joyce’s working library. This resource, which they describe as both open and collaborative, already contains a list of more than 1,000 books, including not only the titles in the Triestine library at the Harry Ransom Center and the "Personal Library" at the University of Buffalo, but a number of published and unpublished texts referred to in Joyce’s correspondence, notebooks, and other papers. Geert Lernout asks all Joyceans interested in the project to examine the current list for its accuracy and to submit new records as well. He can be reached by email at lernourt@uia.ua.ac.be or by post at James Joyce Center, UIA-GER, Universiteitsplein 1, B2610 Wilrijk, Belgium. I have also learned that the James Joyce Center in Prague has agreed to resurrect the once-defunct on-line journal, Hypermedia Joyce Studies. They have obtained the archives of past issues, which includes essays by Cheryl Herr, Fritz Senn, and Derek Attridge among many others, and are now soliciting new contributions. Details can be found on the journal’s homepage at: <http://www.geocities.com/ hypermedia_joyce> News and Notes Various far-flung correspondents have been sending me items of interest to Joyceans. For a few weeks in August, the correspondence columns of the Irish Times were filled with letters about the decision taken by the Irish Office of Public Works to move Joyce’s commemorative bench in Dublin from the pavement opposite Newman House to a new spot inside Stephen’s Green. John Wyse Jackson and Peter Costello both objected to this move, as did Irish Senator David Norris. "We specifically chose the [original] site," Senator Norris wrote, "to recognize Joyce’s repeated references to ‘St. Stephen’s—that is my Green’ as he called it in his early prose works and the fact that the occupants of the seat would look straight across at Newman’s University to the very windows from which the young Joyce gazed at the Green as a student." The bench had been erected during the 1977 International James Joyce Symposium in Dublin, and we will all have a chance to judge for ourselves the wisdom of this move when we descend on the city for the 2002 Symposium. I have also received notice of two more exhibitions of works inspired by Joyce and his writings. Carl Lennartson mounted a collection of his work entitled "Finnegans Wake: An Exhibition of Paintings, Drawings & Photographs" at the Touchstone Gallery in Washington D.C. from 9 October to 3 November, 2002. The show contains seventeen unique diptychs, each based on a chapter of the Wake. In addition, Heather Ryan Kelly, whose work graces the cover of this issue of the JJQ, will be exhibiting a collection of her work entitled "Phoenix Park" at the Hooks-Epstein Gallery in Houston from 9 November to 7 December 2002. In New York, the James Joyce Society has recently heard lectures from Chris Lombardi (on his attempt to novelize the life of Lucia Joyce), Michael Groden (on the new acquisitions by the National Library of Ireland), and Cóilín Owens (on corruption in "The Sisters"). In addition, on 5 December, Myra Russel presented a show by tenor Robert White and pianist Stephen Gosling at the Lincoln Center Music Library Auditorium. They performed various musical settings of Joyce’s Chamber Music poems. Finally, please recall that the deadline for the 2003 North American Joyce Conference is now fast-approaching. We have a number of paper proposals in hand, and it looks like a rather large group will be gathering here in Tulsa. I look forward to seeing as many of you as can make it in June. Sean Latham Editor