Finnegans Wake Takes off in China

Joyce’s ‘Finnegans Wake’ Takes Off in China

…Here in China, the first four pages of Chapter 9, “Scylla and Charybdis,” are read by Dai Congrong in Shanghai (there will also be a reading in Beijing) — though the translator of Joyce’s most difficult work, “Finnegans Wake,” says her contribution was prerecorded earlier this month. “I just sat down and read the book and someone recorded and also videoed it,” she said by telephone from Shanghai, where she is an associate professor of Comparative Literature at Fudan University.

Ms. Dai, 42, says there’s a real fascination with Joyce in China, as people search for new ways to express themselves in a fast-changing society.
A Joyce specialist who wrote her Ph.D. on the Irish author, Ms. Dai began translating “Finnegans Wake” in 2006. In December, she has published Book One (of four) of what is widely recognized as Joyce’s most difficult work, in a joint effort by Shanghai VI Horae Publishers, a private company, and Shanghai People’s Publishing House, a state-run company.
“I’m still working on Book Two. The progress is very slow,” she said. “You can’t translate ‘Finnegans Wake’ quickly, because I have to give footnotes for everything.”
The first, iconic sentence (“riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs”) takes up three lines in Chinese but requires 17 lines of footnotes. The challenge began with the very first word: “riverrun.”

“I have to explain every word, as well as the cultural background and the alternative meanings,” she said.
“For example ‘riverrun’ could be ‘the river ran,’ and ‘reverend,’ and the German word ‘Erinnerung,’ ” or memory. “Because this book is about the meaning of memory and time, and why. So even the first word in the book you have to explain.”

“About 8 out of 10 of the words I have to write footnotes,” she said.

But the book’s mind-boggling complexity — native English speakers struggle with it and many have wondered if it was Joyce’s joke — doesn’t explain its popularity in China, where the first print run of 8,000 copies sold out within two months. Some have pointed to the way Joyce exploded hierarchy and meaning by tearing up language itself in the text when it was first published in 1939. It took 73 years to reach China in Chinese, but its message has appeal here today.

Once lost now found James Joyce to see daylight

James Joyce’s ‘last undiscovered’ collection to be published

Ten ‘epiclets’ written after Ulysses in 1923, have been published together for the first time, causing a rift among scholars as to how they fit in to the Joyce canon

“Penned by Joyce in 1923, and described by the author as “epiclets”, the pieces range from vignettes or sketches to more substantial short stories or fables, said Ithys Press, which publishes the work as Finn’s Hotel this weekend – just in time for Bloomsday, the annual global celebration on 16 June of Joyce’s masterpiece, Ulysses.–

Steve Fly Biography From IronMan Records

Steven James Pratt a.k.a Fly Agaric 23 (Steve Fly) Biography

March 7, 2013 by

Born April 15th 1976 in Wordsley, England, and grew up as a competitive swimmer into his teens when he came across Jazz music, speed Metal, hip-hop, drum and bass, and playing drums in a school band. This led to Steven developing his drumming and DJ skills over the next 20 years.
Steve Fly’s first ‘live’ gig was drumming with ‘Surgery’ at Thorns School in 1991, and went on to play with local Stourbridge garage punk band ‘Indigo Jane’ at such venues as J.B’s Dudley, The ‘Source’, ‘The Mitre’ in Stourbridge, and support for Babylon Zoo and Fret Blanket in Kidderminster.
In 1993 Steven briefly played with Kinver based band ‘Taxi’ and recorded and album together and supported vocalist ‘Sam Brown’ at the Robin Hood R n’B club. In 1994 Steve played drums for a short time with the Birmingham based ‘live’ drum & bass band ‘Plutonik’, featuring vocalist Chrissy Van Dyke.
In 1994 fly bought his first pair of turntables, and was instantly attracted to scratching and spinning vinyl, and began buying and playing a mixture of old Jazz, new electronica, drum & bass, break-beats and other soul/funk/jazz oddities. This led to him playing records with local DJ crew’s ‘Lowlife’ and ‘Lifted’ (94-2001) and by 1998 starting a successful ‘soul/jazz/funk/breaks’ night in and around Stourbridge called ‘Pass the peas’.  Other gigs included dj slots with Craig Fields and the ‘Nazareth’ DJ crew,  and gigs at the Q-club Birmingham, Wolverhampton, Dudley, Wales, and the Glastonbury festival 2000.
In 1998 Fly Agaric was billed with Fuzz Townsend on the bill for Graffiti Bastards 2, an art and music exhibition featuring and produced by CHU. This collaboration led to fly travelling up to York, and Finsbury Park studio’s to record a ‘live’ drum track for the first full album from UK left-field hip-hop crew New Flesh. (Part2, Toastie Taylor, Juice Aleem, DJ Weston) The resulting track ‘Quantum Mechanix’ turned out to be fly’s first release, launched in 1999 on Big Dada Records 0013, and stands as a testament to alternative UK hip hop at the turn of the millennium.

Continue reading “Steve Fly Biography From IronMan Records”

Liffissippi River to Joyce’s Poundland

…and when the mode of the
music changes
                           the walls of the
                                    city shake

     a perspective from relative place
                  humbled individual to their part
in universe and other

single individuated mind
                                      in time
gathering tales and knick knacks
               of history into a trick bag

do you feel melody and riddim’
in verse
       word sound image sandwiches
attention to source
                   to _____ and just story

word jazz s c r a b l e m and
recontext’ of everything
                   in John Coltrane and
James Joyce

              Pound’s eccentricity flows
to American in Europe, Joyce’s concentricity
                                       circulates the planet

two sides of a new shiny coin
                                    ideograms on side a
                         hologrammic prose on the flip

two torrential rivers of ink
                         bleeding shared currents

Joyce’s Be-Bop and
                             Pound’s symphonic compositions
cut and mixed together

Homeric history and Ulysses
                       in a conch shell sunset
                                  and a Dublin street fight

the inner
Joyce and the
                     Pound dynastic index
                         Irish American tell all tales

The Cantos awake
                         a wake Cantos:
                 a dream/nightmare from
which I am trying to awake

                sleepwalking giants leave
                       footprints in the mud
trackers reverse the prints
                                      into beasts

explicit Cantos give us facts
              weights and measures, the dates
places, names and flames to wit

                     implicit Finnegan offers us
truer ficts, rubber inches,
           neurological realism and the funnies

…like J.C’s Ballads versus
                                                   Stellar Regions
              it’s a whole different thing
                                       consistent in its genius

                  ‘FW is psycho-archaeology
        Dr Wilson said.
             ‘no mystery about the Cantos,
Pound said.
                                             they are the tale of
                        the tribe

–Steve Fly
Amsterdam, 9th June, 2013

The Believer interview with Alan Moore

(Believer Magazine) BLVR: Is magic’s most authentic expression through the creative imagination?

(Alan Moore) AM: Actually, art and magic are pretty much synonymous. I would imagine that this all goes back to the phenomenon of representation, when, in our primordial past, some genius or other actually flirted upon the winning formula of “This means that.” Whether “this” was a voice or “that” was a mark upon a dry wall or “that” was a guttural sound, it was that moment of representation. That actually transformed us from what we were into what we would be. It gave us the possibility, all of a sudden, of language. And when you have language, you can describe pictorially or verbally the strange and mystifying world that you see around you, and it’s probably not long before you also realize that, hey, you can just make stuff up. The central art of enchantment is weaving a web of words around somebody. And we would’ve noticed very early on that the words we are listening to alter our consciousness, and using the way they can transform it, take it to places we’ve never dreamed of, places that don’t exist.

When that enchantment is the creation of gods and the creation of mythology, or the kind in the practice of magic, what I believe one is essentially doing is creating metafictions. It’s creating fictions that are so complex and so self-referential that for all practical intents and purposes they almost seem to be alive. That would be one of my definitions of what a god might be. It is a concept that has become so complex, sophisticated, and so self-referential that it appears to be aware of itself. We can’t say that it definitely is aware of itself, but then again we can’t really say that about even our fellow human beings.–

Alan Moore reads from ‘Masks of the Illuminati’ by Robert Anton Wilson