This and That

There are dozens collections of New Yorker cartoons available, and all of the will serve you well enough if you need a fix of that particular and unique brand of humor. A new collection, however, promises something a little different, the rejected cartoons: “Some were too racy, rude or rowdy. Some are too politically incorrect or too weird. A few are probably too dumb.” Those are the words of Matthew Diffee, New Yorker cartoonist and editor of the The Rejection Collection: Cartoons You Never Saw, and Never Will See, in The New Yorker. In a brief piece about the book in the LA Times Diffee writes: So most of our stuff gets rejected; and sure, some of the rejected cartoons are pretty bad and deserve to be hidden forever. But there are always a few gems that are missed, and believe me, we remember them. So I decided to collect the best rejects from a number of my friends and colleagues – all regular New Yorker cartoonists, but all of whom, like me, have nine out of 10 of their submissions rejected.I might have to check this one out.

When I was growing up, there were few books on my parents’ bookshelves and most of those were in Greek or French, with a smattering of volumes from the Time-Life series (the ones on jazz and opera). But among the very small handful of books in English, there was one with a thick spine of military green and one word printed in a thin, elongated font: Ulysses. When I was about ten, I first took the book down from the shelf. I’d been raised on my father’s bedtime stories from The Odyssey and a family-cultivated belief that the heroes of ancient Greece were my ancestors. I flipped to the first page, but I couldn’t make anything of it at all. That first sentence looked like normal English. It had no words I didn’t recognize. But something about it was off (was “Buck” someone’s name or a noun? And what was a “Stately plump”?). And as I moved on deeper into that first page, I became more confused.

I don’t remember now whether I paged through to the other sections I would come to know as “Laestrygonians,” “Oxen of the Sun,” or “Circe”. If I had, I would most certainly have had even more reason to do what I did then, at age ten: put the book back, shaking my head and vowing to try again in a few months. For years afterwards, I would pull Ulysses off the shelf every few months or so, start reading, become confused, and replace the book, deciding that I was still not ready to understand it.

The funny thing is that the only reason my father owned the book in the first place was that he belonged to the Book of the Month Club and he had chosen this particular tome, instead of his usual crime novels, thinking it was about the Greek hero. Which it is, in a way, but not in the way my father expected. So that made two of us who couldn’t understand Joyce’s masterpiece. My father’s Greco-chauvinistic book-buying was as far as he got into Joyce’s oeuvre. But I eventually went on to study Joyce in college and graduate school, and to spend one summer reading every page of Finnegans Wake, watching the words flicker into meaning every now and then as I prepared to write my dissertation.

For many years, June 16, Bloomsday, found me in cities ranging from Monte Carlo to Milwaukee, at the annual Joyce conferences that were my scholarly bread and butter. The conferences spanned several days, and depending on the calendar each year, it wasn’t always possible to set the keynote address on the 16th itself. This meant that, for all the intense focus on Ulysses and Joyce’s other works during the days around Bloomsday, the day of Ulysses’ narrative often got lost in the more general hubbub of the conference. Someone would invariably exclaim, while in line at the cash bar or to see that year’s Derrida protégé, “It’s the 16th!” and the rest of us would beam with pleasure for a moment.

I never happened to be at a Joyce conference in one of Joyce’s home cities—Dublin, Trieste, or Zurich. Mine were Copenhagen, Venice, Philadelphia, Milwaukee, Monte Carlo, a nice mixture of the exotic and the mundane (no offense to Philadelphia or Milwaukee, but Venice they’re not). Monte Carlo is where I missed the sighting of Princess Caroline, but did witness one of the most memorable scholarly Joyce spats of the 90s, over the publication of a new edition of the sacred tome. But the geography never mattered. Even if we weren’t in Dublin where people dressed as Leopold and Molly, Stephen Dedalus, and Buck Mulligan decorated the streets, we brought the world of Ulysses to, say, the Tivoli, or the Grand Canal, or the Art Museum and the Rocky statue. We clambered into a gondola making jokes about Gertie MacDowell’s exposed drawers, and we circled the Tivoli Ferris wheel over and over, commenting on Joyce’s confirmation that there is nothing new under the sun.

Does this mean that Ulysses has a universal reach and a universal appeal? That it applies to all of us everywhere and anywhere? Well, ok. But who makes jokes about James Joyce in the real world, anyway? I mean, you had to be there. But most people aren’t, and with good reason.

The Joyce conferences were, in a way, the wrong way to celebrate Bloomsday, since they required you to be surrounded by people with rarefied intellectual concerns. We were all Stephens then, with not enough of us taking Leopold’s approach to life, mixing rumination and delight. So this Bloomsday, I’ll open one of my copies of Ulysses and I’ll start out with stately plump Buck Mulligan. I’ll touch down briefly in the melodious bar of “Sirens,” and I’ll let Molly’s long sentence carry me from Gibraltar to Dublin to Howth and to that lovely final affirmation that could be in any city at all. And I’ll think of my father, whose loyalty to his country and his culture opened the door for his daughter to enter into a new world.