Posts Tagged ‘Carol Shloss’

Happy Bloomsday to James Joyce! We celebrate “a book in love with its own language.”

Tuesday, June 16th, 2020

Joyce scholar and friend (Photo: L.A. Cicero)

On this day in 1904, the young 24-year-old author James Joyce had his first date with Nora Barnacle. Now the day is fixed in literary history, and celebrated the world over as Bloomsday. How many other days do set aside to celebrate a single work of literature? I can’t think of any.

Certainly Joyce himself didn’t forget the day. He couldn’t: The single day forms the setting for his Ulysses, when Leopold Bloom takes a long rambling walk around Dublin on June 16.

Carol Shloss, author of Lucia Joyce: To Dance in the Wake, calls it “A rollicking book, in love with its own language, with ever word enjoined in the effort of living through everyday hardships with equanimity.” Her latest effort was published last year in a volume edited by Kim Devlin, Finnegans Wake Chapter by Chapter.

She has traveled the world sharing her work and meeting fellow Joyceans in Dublin, Joyce’s city, and in many others – but not today, in the COVID era. Today she will be celebrating via Zoom at the University of Buffalo, which has the world’s largest collection of Joyceana. (Irish novelist Colm Tóibín, who taught at Stanford, will be reading, too.) Carol adds that “Joyce’s deep humanity draws people from disparate parts of the world together even during the pandemic that keeps us physically apart.”

“…I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.” (Molly Bloom’s closing soliloquy, the last words of James Joyce’s Ulysses)


Wonder why art books cost so much lately?

Saturday, December 4th, 2010

How much for the lady in the window?

I hold in my hands  a slim, attractive book of a little over 100 pages.  The well- (but not lavishly) illustrated paperback costs 50 bucks.

The reason:  it includes art reproductions. No, I’m not talking about the cost of 4-color reproduction, special shiny paper, et cetera.  These images are reproduced on regular paper stock.

Over a quick dinner at the Stanford Faculty Club, the author told me that his small publisher had to fork out $25,000 in royalties to secure 30 images for a press run of 1,000 books.  That’s $25 per book for artwork, before you even factor in the costs of reproduction.  Nearly $1,000 per image.

Nor are we talking about spanking new artwork, fresh from SF-MOMA, or the need of starving artists to buy kitty litter for their cats.  These are all old paintings — some several thousand years old.  They are all in the public domain.

Basically, it’s the photo rights monopolies like Bridgman Art Library and the museums who own the paintings and charge though the nose. These controlling entities make using full color photos in books prohibitively expensive. Especially for books put out by the shoestring academic presses. You are paying for their images of the images — and no, you can’t go to the museum and take your own snap.

Our current copyright mess is not, of course, confined to images.  Words get pretty messy too.  For my own book, An Invisible Rope, which should be out within days, I had to pony up to more than four different organizations for rights to republish a small handful of poems, poems excerpts, and a few chunks of letters:  HarperCollins in the U.S., Penguin in the U.K., the Andrew Wylie Agency in New York, the Andrew Wylie Agency in London, and as a few others as well.  Andrew Wylie (nicknamed “the Jackal”) is, of course, notorious for his tough dealings and arrogance (no, I don’t know much about his latest electronic deals and can’t comment).  I have to say my dealings with the Wylie Agency — for three books now — have been unfailingly cordial, professional, and fair.  I have nothing but good things to say about Wylie.  Nevertheless, I was in some cases paying for translators to cite poems they themselves had translated.  In other cases, I was paying to cite iconic poems that are already all over the internet.


Our whole copyright law is screwy, and my own book (as well as my friend’s) demonstrates it.  (See Carol Shloss of James Joyce lawsuit saga fame for a true horror story — copyrights controlled by one whack job destroyed a generation of Joyce scholarship.) Copyright is not designed for heirs to control what scholars say about an artist or author — even though that’s how it’s been used by the Joyce Estate and the Ted Hughes/Sylvia Plath Estate, and others.  Nor should it be legalized extortion.  Rather, it is to protect the financial interest in an artists’ works.  So, say, on a Lescaux cave drawing or an Ptolemaic mural — whose interests are being protected?  My own limited use of poems will not damage anyone’s pockets — in fact, I sincerely hope it will increase interest in Czesław Miłosz‘s oeuvre.

However, this impoverished writer is feeling lucky, after a dinner with the author, that she only had to shell out several hundred bucks for permissions (though it came out of my own pocket, not my hardscrabble publisher’s).

Postscript on 12/5: More thoughts from the worldwide web:

The incomparable jazz scholar Ted Gioia wrote at Facebook:

Yes, this is all too true. In many instances, the person who has the rights to the images included in a book makes more money than the author.

And Blogger Art Durkee wrote over at Books Inq., where this post was linked:

I’ve been to several museums lately, and mostly they let you make non-flash photographs of their permanent collections, for personal or scholarly use. But they make you pay through the nose for any commercial use. It’s partly about control, yes, but it’s also partly about making money from their collection. It’s an interesting conundrum. The copyright control of the aspect is actually fairly open-ended, and perhaps more open to question than they would lead us to believe.

Why is this woman smiling? Carol Shloss, a year after the James Joyce lawsuit

Friday, October 29th, 2010

Why is this woman smiling? Click last year’s video to find out.

There is indeed life after lawsuit – although you may not believe it while the ordeal staggers on,  sucking the life out of everything around you.  Carol Shloss successfully slayed the notorious James Joyce Estate dragon last year.  So I had dinner with her last week to learn her latest ventures in her post-lawsuit life, and they are legion.

At the California Café, over gnocchi (for me), crab (for her), and a nice Ravenswood Zinfadel for both of us,  she told me she is negotiating a contract to edit The Collected Unpublished Letters of James Joyce for Oxford University Press. Asking for trouble?  Not likely.  The Joyce oeuvre at last lurches into public domain next year.

Carol is also busily working on Treason’s Child: Mary de Rachewiltz and the Real Estate of Ezra Pound The book will be the second volume of a projected trilogy.  (The first was the disputed 2003 Lucia Joyce: To Dance in the Wake about James Joyce’s daughter; the third will consider Anna Freud.)

Still smiling ... (Photo: L.A. Cicero)

That’s not all.  She’s also heading “The Stanford Finnegans Wake Visualization Project,” which involves computer graphing of 62 languages in the Wake.  She laid the groundwork for the project with a Modern Language Association presentation two years ago, and also spoke on “Geological Computer Tools in the Mapping of Joyce’s Texts” in Tours, France, about the same time.  With the project, she’s treating the layers of language in the book as if they were layers of the earth and its atmosphere.  I don’t quite understand  it … maybe it was the wine…

Meanwhile, at the Addison, Maine, cottage where she spent the summer and early fall, she also launched a project to teach some of the local disadvantaged kids via graphic novels.  We outline a little about how that works here. “In the university, graphic novels are trendy,” she said.  “In rural Maine, they help to overcome resistance to literacy for kids who can’t or don’t like to read.”

Worthwhile ventures, wonderful dinner. Life is good.  Especially over Zinfandel.