{"id":21418,"date":"2021-01-20T09:06:34","date_gmt":"2021-01-20T09:06:34","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?p=21418"},"modified":"2021-01-20T09:06:34","modified_gmt":"2021-01-20T09:06:34","slug":"james-joyces-ulysses-is-an-anti-stream-of-consciousness-novel","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/research-blog\/2021\/01\/20\/james-joyces-ulysses-is-an-anti-stream-of-consciousness-novel\/","title":{"rendered":"James Joyce\u2019s Ulysses is an anti-stream of consciousness novel"},"content":{"rendered":"

This year marks 80 years since the death of the great Irish writer James Joyce<\/a> (1882-1941). His most famous novel, Ulysses (1922), is one of those books, like Moby Dick or Infinite Jest, that more people begin than finish. The tome is widely believed to be a stream of consciousness novel and you could certainly be forgiven for thinking that if, like many, you only made it 100 pages or so in.<\/p>\n

I often advise against starting at the beginning of the novel. In the case of Ulysses<\/a>, you are thrown headfirst into the difficult stream of consciousness of Stephen Dedalus, a precocious 22-year-old writer. The fourth chapter<\/a>, instead, is a much more accessible opening. It too offers a stream of consciousness but an easier sort belonging to the novel\u2019s other main character, Leopold Bloom, a hapless but loveable 38-year-old advertising canvasser. On the day the novel is set, 16 June 1904, Stephen and Bloom strike up an unlikely friendship in Dublin. To read Bloom\u2019s thoughts is to be taken into a stream of sensations, trivia, and wonder.<\/p>\n

However, venture further and you\u2019ll discover that Ulysses morphs, becoming instead a great anti-stream of consciousness novel.<\/p>\n

\"\"<\/p>\n

Bergson\u2019s stream of consciousness<\/strong><\/h2>\n

For French philosopher Henri Bergson<\/a> (1859-1941), our stream of consciousness is our continuous sense of time, in which past, present and future merge. It is the fluid life at the heart of our identity. According to Bergson, these streams are at the centre of every object and every person.<\/p>\n

Bergson believed we can either\u00a0\u201canalyse\u201d or \u201cintuit\u201d<\/a>\u00a0things or people. When we \u201canalyse\u201d something, we remain outside its stream. We superimpose on its fluid life our own static symbols, like language. Using words means \u201cwe do not see the actual things themselves\u201d just \u201cthe labels attached to them\u201d.<\/p>\n

Another example is numbers. We impose minutes and hours on fluid life. For instance, you can \u201canalyse\u201d a day, breaking it into 24 hours. But to \u201cintuit\u201d it, to see it from within the stream, is to see that time is not so rigid or easily quantifiable \u2013 it moves slower when you\u2019re bored or faster when you\u2019re having fun.<\/p>\n

In our workaday lives, \u201canalysis\u201d is a necessary shortcut. We need words and numbers, labels and time, to get things done. Artists, according to Bergson, however, have the gift of intuition.<\/p>\n

For example, authors\u2019 imaginative use of language makes words a gateway to the streams at the heart of life, rather than distracting labels imposed upon it. Borrowing such ideas, literary critics posited<\/a> that the stream of consciousness novelist is one who can \u201cintuit\u201d the stream of consciousness of characters and so become them.<\/p>\n

Joyce tries for a moment, becomes his characters but soon gets bored with Stephen and Bloom\u2019s streams of consciousness. By the seventh<\/a> chapter, he begins a long firework display of other styles. Here on, Stephen and Bloom\u2019s streams of consciousness are elbowed out of the way by newspaper headlines<\/a>, expressionist drama<\/a> and even romantic fiction<\/a>. Or they\u2019re shushed by a scientific manual<\/a> or an encyclopedia<\/a> of English prose styles.<\/p>\n

Joyce fails to find the stream<\/strong><\/h2>\n

So Ulysses is a much less consistent stream of consciousness novel than many. But it\u2019s also an anti-stream of consciousness novel as Joyce comically demonstrates his and his characters\u2019 failure to intuit streams.<\/p>\n

Joyce enjoys showing us that people are mechanically absent-minded, often because language itself is a mechanism which gets in the way of our efforts to intuit fluid reality.<\/p>\n

For example, Stephen, though a creative writer, isn\u2019t at all intuitive. All he can see is the labels attached to things, albeit highly literary labels. When he sees a dog on the beach, his love of words conjures a horse, a hare, a calf, a bear, a wolf, a leopard, a panther and a stag. He can\u2019t focus on the dog.<\/p>\n

Bloom\u2019s mechanical behaviour is less literary (words) and more scientific (numbers). True, he is better at intuiting his cat than Stephen is the dog: \u201cWonder what I look like to her?\u201d he muses, trying to intuit himself into her stream of consciousness. But soon his mind turns to numbers: \u201cHeight of a tower? No, she can jump me.\u201d Here he reverts to analysis as he strains to make sense of their difference in height using his human scale, not the cat\u2019s.<\/p>\n

Just as Joyce\u2019s characters can\u2019t intuit streams of consciousness, nor can he. He knows that static literary words can\u2019t account for the fluidity of our interiors. Every time he reaches for a new style, in each new chapter, he acknowledges these failures and moves on with glee to the next.<\/p>\n

A stream of consciousness does dominate the last\u00a0chapter<\/a>. Here we tune into Bloom\u2019s wife Molly\u2019s stream and hear about her afternoon of sex with a colleague. Is this the stream we have been waiting for? Yes and no.<\/p>\n

Molly\u2019s thoughts do flow through past, present and future, uninterrupted and unpunctuated. But the Molly we get to know, while charismatic, is something of a static symbol herself, the stock character of the sexually frustrated wife. As we reflect on 80 years since Joyce\u2019s death, Ulysses reminds us that consciousness will always elude the novel but, really, that\u2019s where the fun lies.<\/p>\n

Dr John Scholar is a Lecturer in English Literature in the Department of English Literature.<\/p>\n

This article is republished from\u00a0The Conversation\u00a0<\/a>under a Creative Commons license.<\/p>\n","protected":false},"excerpt":{"rendered":"

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