Raising the Wind You are now holding the largest issue of the JJQ yet produced, its contents having swollen to encompass—or consume—an entire volume. This is, on the one hand, a clear testament to the wealth of new scholarship on Joyce which continues to emerge from both new and established critics. Such girth also embodies our long-planned attempt to accelerate the journal’s publication schedule and thus finally bring into alignment the date appearing on the spine with the actual calendar. This volume will, in fact, be followed early next year by another substantive one which should finally dispose of this odd publishing parallax in which we have been lodged for nearly a decade. In addition, this will also prepare the JJQ for its anticipated entry into the digital age: beginning in 2007, readers with access to MUSE at their institutions will at last be able to read and search full-text digital editions of the Quarterly. The need to join MUSE became most clearly evident to me this summer when, in preparation for my paper at the Budapest symposium, I managed to assemble a large amount of material on Joyce and the Great Famine from a diverse array of digitized journals. The fact that the rich holdings of the JJQ could not be accessed in this way suggests that by confining ourselves stubbornly to print we are, in fact, limiting both the reach and the influence of the journal and thus need to position ourselves more aggressively within the rapidly changing world of scholarly communication. The JJQ will, of course, continue to circulate primarily as a print journal, and individual subscribers will see no noticeable changes. Unfortunately, those who read the journal at large research institutions will likely find that the institutional print subscription will be dropped, though I urge you to protest this decision, should it be taken. In an era of increasingly tight and even declining library budgets, unfortunately, it has become almost a matter of general policy to eliminate print subscriptions when electronic versions become available. Individual subscribers, should they wish, will also be able to purchase digital access to the journal, though we hope that most of you will continue your regular subscriptions. We are making this move to MUSE after careful consideration and in the firm belief that this will expand considerably our international readership and thus continue to generate new and innovative scholarship on Joyce. Even as the journal itself begins to move cautiously into the digital era, this issue begins by first looking back to the “new media” of the early twentieth century: film and photography. The four essays which constitute the special section on “Joyce and Film” each employ a distinct set of optics to expose the ways in which the technologies of “mechanical reproduction” structure Ulysses. The section begins with Louise E. J. Hornby’s “Visual Clockwork: Photographic Time and the Instant in ‘Proteus,’” a fascinating examination of what she calls the “modernist aesthetics of the clock.” Arguing that the measurement and objectification of mathematical time deeply structure Ulysses, Hornby links this mode of temporality to the photographic image, which, in turn, allows Joyce to create “an account of vision and time . . . that rescripts knowledge and aesthetics in objective terms,” thereby charting “a territory for the intersection of visual aesthetics, knowledge, and mathematical arrangement.” This essay on photographic temporality is followed by a pair of theoretical mediations on Ulysses and the work of early film critics. In “Montage Joyce: Sergei Eisenstein, Dziga Vertov, and ‘Wandering Rocks,’” Thomas W. Sheehan argues that Joyce’s intensely cinematic representation of the city is linked to a particularly experimental strain of filmmaking focused on the spatiotemporal disjunctions created in the cutting room. Focusing on the work of Vertov, Sheehan argues that Joyce shares with the creator of The Man with a Movie Camera an inherently anarchic desire first to create and then destroy narrative and visual frames. Distinct from Eisenstein’s theory of montage, which sought always to control and direct the reactions of its audience, Sheehan argues that Joyce and Vertov both seek to liberate their audiences by constantly exposing the operations of the representational apparatus itself. Daniel Shea, too, in “‘Do They Snapshot Those Girls or Is It All a Fake?’: Walter Benjamin, Film, and ‘Nausicaa,’” examines Joyce’s self-conscious engagement with the cinematic apparatus as a site of narrative experimentation. For Shea, however, the cinema deeply complicates the play of gazes between Gerty MacDowell and Bloom that has for so long shaped our critical readings of “Nausicaa.” Rather than attempting to locate a controlling agency in either character, Shea instead uses Benjamin’s theory of the aura to contend that the filmic gaze structuring the episode is deeply dehumanizing for both Gerty and Bloom. As a consequence, Joyce moves to counter these effects “by locating Bloom’s heroic nature firmly within his ability to embrace multiple perspectives” and thereby turn away from the Cyclops-like gaze of the camera. This special section on film concludes with a fascinating essay by Philip Sicker, “Evenings at the Volta: Cinematic Afterimages in Joyce.” The result of substantive research in numerous archives, this piece attempts to provide the fullest account possible of the films Joyce himself might have screened at the short-lived Volta movie theater he opened in 1909. Ranging across a wide variety of movies including historical dramas, comedies, and trick films, Sicker both provides a survey of these rich texts and links them to key narrative elements throughout Joyce’s work. The result is a commanding study of the multiform ways in which Joyce directly appropriated early-century cinema in his work. Of particular interest for scholars seeking to work in a similar vein is the closing appendix, which lists the titles and locations of the surviving twenty-two films originally shown at the Volta. This constellation of work on cinema is followed by a rich array of essays and notes beginning with the remarkable “Senn-sus,” a line-by-line index to all of Friz Senn’s commentary on Ulysses. Prepared by Wm. Paul Meahan in collaboration with Michael Groden, it is a unique resource that will provide generations of scholars access to some of the most lively, inventive, and seminal critical work on this remarkable book. The only argument against publishing this index is that it will become almost immediately outdated as Fritz continues to teach us new ways to read Ulysses. The “Senn-sus” is followed by a collection of three essays that draw on postcolonial theory and historiography to reconsider the distinctly Irish contexts for Joyce’s narrative experiments. The first of these, Allan Hepburn’s “A Portrait of the Artist as a Young Man and Poverty,” looks to the material representation of impoverished life in colonial Dublin. Arguing that “poverty—not possession of material goods—animates modernist representation,” Hepburn offers an incisive new reading of the text that complicates and expands a metropolitan conception of modernity structured around desire, consumption, and the aesthetics of the flâneur. In the next essay, Saikat Majumdar turns from the commodity to the increasingly problematic status of the object itself. In “A Pebblehard Soap: Objecthood, Banality, and Refusal in Ulysses,” he argues that the resistance of material objects “constitutes a disruption of imperial historicism and is one of the most significant sites where Joyce’s modernist and anticolonialist projects converge.” In the ephemera of Ulysses—and particularly in that ever-troublesome soap—Majumdar persuasively contends that we encounter deeply structured sites of interpretive resistance that cannot be reduced to controlling imperial discourses. Instead, they remain pointedly silent, offering but eternally deferring the promise of epiphanic revelation. Moving from the smallest details to the larger structure of the text, Brian Richardson encourages us to think carefully about the various theories and discourses of aesthetic evaluation which pervade Joyce’s work. In “Ulysses and the Value of Literary Value: Verbal Art and Colonial Resistance,” he argues that aesthetic and political values are densely and deliberately interconnected throughout the text. Finding new resources for cultural and ethical resistance within obscenities, advertising, and other bits of Dublin argot, Richardson concludes that the text challenges us “to do nothing less than to formulate a notion of aesthetic value that can embrace all forms of discourse.” The articles in this issue conclude with two lively and provocative essays on the infinite densities of language in Finnegans Wake. The first of these, Kristen L. Olson’s “The Plurabilities of ‘Parole’: Giordano Bruno and the Cyclical Trope of Language in Finnegans Wake,” argues that in reading the text we “engage the principle of continual regeneration that is Joyce’s primary subject.” Through a carefully contextualized reading of the word “parole” and its various deformations and iterations in the Wake, Olson attempts to recover the importance of Bruno’s theory of circularity as an ethical and historical interpretive paradigm. In “Printing the Dragon’s Bite: Joyce’s Poetic History of Thoth, Cadmus, and Gutenberg in Finnegans Wake,” Moshe Gold turns from Joyce’s interest in the richness of orality to the mysticism of print. In a densely argued essay that ranges across a dazzling array of texts, Gold contends that Joyce “conjoins bloody histories of writing, parenting, and husbandry to show us how myths of printing and mechanics of printing intersect one another in often damaging and uncontrollable ways.” The result is a fascinating study that returns us not simply to the language of the Wake but to the very ink-soaked pages of the book itself. This rich collection of essays is followed by an equally compelling collection of notes ranging across a wide array of topics. Friedhelm Rathjen and Andreas Weigel, for example, resolve the riddle of a letter Joyce did not write yet willingly signed in support of the architect Adolf Loos. Thomas Ware puzzles over the role of hands in A Portrait, finding a compelling connection to Eve in Paradise Lost. And finally, William Sayers explores a startling intertextual connection between Joyce and James Stephens. These notes are then followed by thirteen reviews of books in three languages, including new translations of Ulysses into French and German. This rich volume may seem more like an annual than a quarterly, but by publishing it we will at last be able to return the JJQ to its more regular size and periodicity. News and Notes The Joyce world was abuzz this summer with word that Carol Shloss launched a lawsuit against the Joyce Estate in the United States District Court in San Francisco. Nearly simultaneously, Stephen Joyce himself was the subject this summer of a Bloomsday profile in the New Yorker entitled “The Injustice Collector” (16 June 2006), which provides a rich history of the Estate’s various feuds with scholars as well as its aggressive defense of the family’s privacy and intellectual property. The lawsuit, which is discussed in the New Yorker piece, arises directly from a digital edition of Shloss’s Lucia Joyce: To Dance in the "Wake" in which all of the material removed from the print edition at the behest of the Estate has been restored. Access to this text remains closed and protected by password, but it provides Shloss with grounds to challenge preemptively the Estate’s claims of copyright infringement. Shloss is pursuing the suit with the support of the Stanford Law School Cyberlaw Clinic and Center for Internet and Society and counts among her attorneys Lawrence Lessig, David Olson, and former JJQ editor Bob Spoo. In her complaint, Shloss not only seeks permission to publish the portions of her original text that had been suppressed, but also asks the court to find that the Joyce Estate has systematically abused its copyrights by unfairly withholding materials from publication and improperly representing the extent of its rights. As a result, the potential consequences of this suit extend far beyond the limits of the Lucia biography and go to the heart of both the “fair use” exemption to copyright as well as the past actions and behavior of the Joyce Estate and its agents. We should all, therefore, be watching these proceedings with care and interest, since it promises to have a significant impact not only on Joyce studies but on all of us who work with copyrighted materials. It may take years for a final decision to be reached, and I will keep you apprised of events as they develop. In the meantime, the International James Joyce Foundation has now published on its website a useful document entitled “James Joyce: Copyright, Fair Use, and Permissions FAQ.” An excerpted version has appeared in the Newestlatter, and a complete version will appear in the next issue of the JJQ. This useful study of intellectual-property issues was prepared by the IJJF’s Factfinding Panel on the Politics and Practices of the Joyce Estate, a commission chaired by Paul Saint-Amour and staffed by Michael Groden, Robert Spoo, and Carol Shloss. All those interested in Joyce—including not only scholars but event organizers, artists, and musicians—will benefit from this clearly articulated description of the current laws governing Joyce’s texts as well as the limits of fair use and information on obtaining permissions. This report, of course, is in no way endorsed or supported by the Joyce Estate and instead seeks only to provide guidelines for those attempting to understand the competing rights and obligations at play. We need not, of course, feel entirely overwhelmed by the continuing debate over copyright; after all, the work of Joyce scholarship continues apace, and in the wake of the Bloomsday centennial it has even been showing some healthy signs of growth. I am first delighted to announce the addition of Anne Fogarty to our editorial board. Professor Fogarty is already known to many of you as a tireless conference organizer, the President-elect of the IJJF, the General Editor of the Irish University Review, and the author of a dazzling array of articles on topics in Joyce and Irish studies. This fall, however, she was appointed as the inaugural Professor of James Joyce Studies and Director of the UCD Research Centre for James Joyce Studies. We look forward to her insight as a reader for the JJQ and will watch with interest the development of the new research center she now heads. Joyce studies has gained not only an institutional home at the heart of Dublin, but reclaimed a more public and sentimental one now that the James Joyce Centre at 35 North Great Georges Street has been reopened. The Centre closed late last year for financial reasons, but has now been reconstituted with substantive funding from the Department of Arts, Sport, and Tourism and under the acting directorship of Laura Barnes. Robert Nicholson, a member of the new board and Curator of the James Joyce Museum, sends along the following details: “Four of the previous directors—David Norris, Ken Monaghan, Michael Darcy, and myself—remain. The new chairman is Brendan O’Donoghue, former director of the National Library of Ireland, and there are representatives from Dublin Tourism and Dublin City Council as well as Terence Killeen from the ranks of the Joyceans. Laura Barnes, who was appointed Interim Director of the James Joyce Centre by the board, has assembled a new staff and has revamped the Centre, which resumed operations in June. The new look includes a Parisian-style café and a display using the installations from the National Library’s exhibition on Joyce and Ulysses. Although the Centre cancelled its Bloomsday events this year due to the state funeral of former Taoiseach Charles J. Haughey, it has been steadily reestablishing its activities, and a dazzling array of lectures is planned for the winter months.” For information on the newly revitalized Centre, please visit the website at <www.jamesjoyce.ie> where, among other things, you can subscribe to an electronic newsletter. Those wishing to visit the new Joyce Centre might find their way to Dublin by signing on for this summer’s planned NEH Summer Seminar for College and University Teachers on Ulysses, running from 25 June–3 August 2007. Entitled “James Joyce’s Ulysses: Texts and Contexts” and headed by Professor Kevin J. H. Dettmar, it will bring a group of teachers and scholars to Dublin for just over a month to study Ulysses intensively with all the resources of Joyce’s native city ready to hand. Entry into the seminars is competitive, and fellows receive not only tuition but a $4,200 grant to cover travel and living expenses. For additional details including application materials, please visit the NEH website at <http://www.neh.gov/projects/siuniversity.html>. I have also learned from Rosa Maria Bollettieri Bosinelli that in May the James Joyce Italian Foundation, JJIF, was founded under the auspices of the International James Joyce Foundation and the Zurich James Joyce Foundation. Its Board of Trustees is headed by Rosa Maria Bollettieri Bosinelli and includes Franca Ruggieri, Carla Marengo Vaglio, Paola Pugliatti, and Romana Zacchi as well as honorary trustees Umberto Eco, Giorgio Melchiori, and Luigi Schenoni. According to the organization’s charter, it seeks to promote Joyce studies in Italy and elsewhere by developing a series of lectures, seminars, meetings, and conferences. For a modest fee, new members will receive a free copy of Giorgio Melchiori’s Joyce’s Feast of Languages (no. 4 of the series Joyce Studies in Italy), as well as a subscription to the Foundation’s newsletter. Details can be obtained by sending an email to <joyce.foundation@uniroma3.it>. As the JJQ swells to publish the increasingly diverse work on Joyce, we are delighted to learn that the Joyce Studies Annual will shortly be revived under the joint editorship of Moshe Gold and Philip Sicker. Now published by the Fordham University Press, JSA invites “scholarly essays on all aspects of Joyce’s work from a wide range of theoretical perspectives” and will continue to publish “lengthy essays of thirty to fifty pages, but will not be restricted to such expansive studies.” The first volume will appear early next year. Manuscripts and inquiries should be directed to Joyce Studies Annual, Department of English, Fordham University, Bronx, NY 10458. Email inquiries can be addressed either to Gold (mgold@fordham.edu) or Sicker (sicker@fordham.edu). We are delighted too that, like Tim Finnegan, the JSA has staggered back to life, and we raise our glasses of porter in celebration. Sadly, from the news of resurrection, I have now to turn this column again to more solemn duties by announcing the deaths of two members of our community: Willard Potts and Chester Anderson. Both men shaped in vital ways our study of Joyce as both scholars and critics. Anderson, of course, is now perhaps best remembered as the editor of the most widely used edition of A Portrait of the Artist as a Young Man. In addition, he published James Joyce and His World, the Word Index to James Joyce’s “Stephen Hero,” and a number of critical essays in collections and journals. He died at the age of 82 after a long and successful career as a teacher and scholar at the University of Minnesota. If Anderson taught us to read Joyce’s texts, then Willard Potts helped us better understand Joyce’s distinctly Irish and colonial contexts. He not only edited the immensely useful Portraits of the Artist in Exile: Recollections of James Joyce by Europeans but was more recently the author of Joyce and the Two Irelands. He was closely connected to the earliest generations of Joyce critics, including Adaline Glasheen and Maria Jolas and through his publications in the JJQ and elsewhere helped to embed Joyce’s writing in Irish politics. During his career at Oregon State University, he became an admired teacher and colleague while remaining actively engaged with the Western Regional Conference for Irish Studies. Deprived of the scholarship and insight of these two men, we are collectively diminished. On a somewhat happier note, I am pleased to announce a passing of a rather different kind. Just as this issue was going to press, I learned that Karen Lawrence, a distinguished scholar and member of our editorial board, is leaving her post as Dean of the School of Humanities at Irvine to become the tenth President of Sarah Lawrence College in New York. While I suspect this means that we will for some time be deprived of her always penetrating work, we nevertheless wish her the best. I also want to send both my congratulations and thanks on behalf of the journal to our tireless and indefatigable bibliographer, Bill Brockman. This issue marks his fifteenth year of collaboration with us. During that time, the Checklist has grown considerably in depth and complexity, becoming ever more international in scope. This is, to my mind, one of the most valuable resources the journal offers, and if you find a moment, please thank Bill for his continuing efforts. Finally, I want to close by reminding you that the 2007 North American James Joyce Conference will be held at the University of Texas at Austin from 13-17 June 2007. Information about the conference is freshly available on the web at <http://www.utexas.edu/cola/depts/english/conferences/joyce> and includes information about plenary speakers and a whole raft of other exciting events. The deadline for paper and panel proposals is 1 March 2007. I look forward to seeing many of you either at the conference or in what will almost certainly prove to be a crowded reading room in the Ransom Center. Sean Latham University of Tulsa