Dubliners [NOOK Book]

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Overview

Although only 24 when he signed his first publishing contract for Dubliners, Joyce already knew its worth: to alter it in any way would 'retard the course of civilisation in Ireland'. Each of the fifteen stories offers a glimpse of the lives of ordinary Dubliners - a death, an encounter, an opportunity not taken, a memory rekindled - and collectively paint a portrait of a nation. This edition is introduced and annotated by Jeri Johnson - who gives a witty and informative insight
into the context, meanings, and reception of Joyce's work. - ;'I regret to see that my book has turned out un fiasco solenne'

James Joyce's ...
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Overview

Although only 24 when he signed his first publishing contract for Dubliners, Joyce already knew its worth: to alter it in any way would 'retard the course of civilisation in Ireland'. Each of the fifteen stories offers a glimpse of the lives of ordinary Dubliners - a death, an encounter, an opportunity not taken, a memory rekindled - and collectively paint a portrait of a nation. This edition is introduced and annotated by Jeri Johnson - who gives a witty and informative insight
into the context, meanings, and reception of Joyce's work. - ;'I regret to see that my book has turned out un fiasco solenne'

James Joyce's disillusion with the publication of Dubliners in 1914 was the result of ten years battling with publishers, resisting their demands to remove swear words, real place names and much else, including two entire stories. Although only 24 when he signed his first publishing contract for the book, Joyce already knew its worth: to alter it in any way would 'retard the course of civilisation in Ireland'.

Joyce's aim was to tell the truth - to create a work of art that would reflect life in Ireland at the turn of the last century and by rejecting euphemism, reveal to the Irish the unromantic reality the recognition of which would lead to the spiritual liberation of the country. Each of the fifteen stories offers a glimpse of the lives of ordinary Dubliners - a death, an encounter, an opportunity not taken, a memory rekindled - and collectively they paint a portrait of a nation. -

Editorial Reviews

Bookpage
Even better than reading Joyce is having Joyce read to you, and the readers here are superb...
From The Critics
Caedmon has done a brilliant job in matching each story to a reader, resulting in fifteen readings as unique and personal as the stories themselves, each one glowing with individuality, color, and nuance.

Product Details

  • BN ID: 2940000714836
  • Publisher: Neeland Media
  • Sold by: Barnes & Noble
  • Format: eBook
  • Sales rank: 517,010
  • File size: 257 KB
  • Items ship to U.S, APO/FPO and U.S. Protectorate addresses.

Meet the Author

James Joyce
James Joyce
You know an author is powerful when his name becomes a literary adjective; and "Joycean" is regularly applied to the countless writers James Joyce has influenced as one of the 20th century's greatest writers. His flowing, sometimes musical, often challenging prose -- most famously in the epic Ulysses -- has provoked and inspired readers.

Biography

James Joyce was born in Dublin on February 2, 1882. He was the oldest of ten children in a family which, after brief prosperity, collapsed into poverty. Nonetheless, he was educated at the best Jesuit schools and then at University College, Dublin, where he gave proof of his extraordinary talent.

In 1902, following his graduation, he went to Paris, thinking he might attend medical school there, but he soon gave up attending lectures and devoted himself to writing poems and prose sketches, and formulating an "aesthetic system'." Recalled to Dublin in April 1903 because of the fatal illness of his mother, he circled slowly towards his literary career. During the summer of 1904 he met a young woman from Galway, Nora Barnacle, and persuaded her to go with him to the Continent, where he planned to teach English.The young couple spent a few months in Pola (now in Yugoslavia), then in 1905 moved to Trieste, where, except for seven months in Rome and three trips to Dublin, they lived until June 1915. They had two children, a son and a daughter. His first book, the poems of Chamber Music, was published in London in 1907, and Dubliners, a book of stories, in 1914. Italy's entrance into the First World War obliged Joyce to move to Zürich, where he remained until 1919. During this period he published A Portrait of the Artist as a Young Man (1916) and Exiles, a play (1918).

After a brief return to Trieste following the armistice, Joyce determined to move to Paris so as to arrange more easily for the publication of Ulysses, a book which he had been working on since 1914. It was, in fact, published on his birthday in Paris, in 1922, and brought him international fame. The same year he began work on Finnegan's Wake, and though much harassed by eye troubles, and deeply affected by his daughter's mental illness, he completed and published that book in 1939. After the outbreak of the Second World War, he went to live in Unoccupied France, then managed to secure permission in December 1940 to return to Zürich. Joyce died there six weeks later, on 13 January 1941, and was buried in the Fluntern Cemetery.

Author biography courtesy of Penguin Group (USA).

    1. Date of Birth:
      February 2, 1882
    2. Place of Birth:
      Dublin, Ireland
    1. Date of Death:
      January 13, 1941
    2. Place of Death:
      Zurich, Switzerland
    1. Education:
      B.A., University College, Dublin, 1902
    2. Website:

Read an Excerpt

The Sisters

There was no hope for him this time: it was the third stroke. Night after night I had passed the house (it was vacation time) and studied the lighted square of window: and night after night I had found it lighted in the same way, faintly and evenly. If he was dead, I thought, I would see the reflection of candles on the darkened blind for I knew that two candles must be set at the head of a corpse. He had often said to me: I am not long for this world, and I had thought his words idle. Now I knew they were true. Every night as I gazed up at the window I said softly to myself the word paralysis. It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work.

Old Cotter was sitting at the fire, smoking, when I came downstairs to supper. While my aunt was ladling out my stirabout he said, as if returning to some former remark of his:

— No, I wouldn't say he was exactly...but there was something queer...there was something uncanny about him. I'll tell you my opinion...

He began to puff at his pipe, no doubt arranging his opinion in his mind. Tiresome old fool! When we knew him first he used to be rather interesting, talking of faints and worms; but I soon grew tired of him and his endless stories about the distillery.

— I have my own theory about it, he said. I think it was one of those...peculiar cases...But it's hard to say....

He began to puff again at his pipe without giving us his theory. My uncle saw me staring and said to me:

— Well, so your old friend is gone, you'll be sorry to hear.

— Who? said I.

— Father Flynn.

— Is he dead?

— Mr Cotter here has just told us. He was passing by the house.

I knew that I was under observation so I continued eating as if the news had not interested me. My uncle explained to old Cotter.

— The youngster and he were great friends. The old chap taught him a great deal, mind you; and they say he had a great wish for him.

— God have mercy on his soul, said my aunt piously.

Old Cotter looked at me for a while. I felt that his little beady black eyes were examining me but I would not satisfy him by looking up from my plate. He returned to his pipe and finally spat rudely into the grate.

— I wouldn't like children of mine, he said, to have too much to say to a man like that.

— How do you mean, Mr Cotter? asked my aunt.

— What I mean is, said old Cotter, it's bad for children. My idea is: let a young lad run about and play with young lads of his own age and not be...Am I right, Jack?

— That's my principle, too, said my uncle. Let him learn to box his corner. That's what I'm always saying to that Rosicrucian there: take exercise. Why, when I was a nipper every morning of my life I had a cold bath, winter and summer. And that's what stands to me now. Education is all very fine and large....Mr Cotter might take a pick of that leg of mutton, he added to my aunt.

— No, no, not for me, said old Cotter.

My aunt brought the dish from the safe and laid it on the table.

— But why do you think it's not good for children, Mr Cotter? she asked.

— It's bad for children, said old Cotter, because their minds are so impressionable. When children see things like that, you know, it has an effect....

I crammed my mouth with stirabout for fear I might give utterance to my anger. Tiresome old red-nosed imbecile!

It was late when I fell asleep. Though I was angry with old Cotter for alluding to me as a child I puzzled my head to extract meaning from his unfinished sentences. In the dark of my room I imagined that I saw again the heavy grey face of the paralytic. I drew the blankets over my head and tried to think of Christmas. But the grey face still followed me. It murmured; and I understood that it desired to confess something. I felt my soul receding into some pleasant and vicious region; and there again I found it waiting for me. It began to confess to me in a murmuring voice and I wondered why it smiled continually and why the lips were so moist with spittle. But then I remembered that it had died of paralysis and I felt that I too was smiling feebly as if to absolve the simoniac of his sin.

The next morning after breakfast I went down to look at the little house in Great Britain Street. It was an unassuming shop, registered under the vague name of Drapery. The drapery consisted mainly of children's bootees and umbrellas; and on ordinary days a notice used to hang in the window, saying: Umbrellas Recovered. No notice was visible now for the shutters were up. A crape bouquet was tied to the door-knocker with ribbon. Two poor women and a telegram boy were reading the card pinned on the crape. I also approached and read:

July 1st, 1895

The Rev. James Flynn (formerly of

S. Catherine's Church, Meath Street),

aged sixty-five years.

R.I.P.


The reading of the card persuaded me that he was dead and I was disturbed to find myself at check. Had he not been dead I would have gone into the little dark room behind the shop to find him sitting in his arm-chair by the fire, nearly smothered in his great-coat. Perhaps my aunt would have given me a packet of High Toast for him and this present would have roused him from his stupefied doze. It was always I who emptied the packet into his black snuff-box for his hands trembled too much to allow him to do this without spilling half the snuff about the floor. Even as he raised his large trembling hand to his nose little clouds of smoke dribbled through his fingers over the front of his coat. It may have been these constant showers of snuff which gave his ancient priestly garments their green faded look for the red handkerchief, blackened, as it always was, with the snuff-stains of a week, with which he tried to brush away the fallen grains, was quite inefficacious.

I wished to go in and look at him but I had not the courage to knock. I walked away slowly along the sunny side of the street, reading all the theatrical advertisements in the shopwindows as I went. I found it strange that neither I nor the day seemed in a mourning mood and I felt even annoyed at discovering in myself a sensation of freedom as if I had been freed from something by his death. I wondered at this for, as my uncle had said the night before, he had taught me a great deal. He had studied in the Irish college in Rome and he had taught me to pronounce Latin properly. He had told me stories about the catacombs and about Napoleon Bonaparte, and he had explained to me the meaning of the different ceremonies of the Mass and of the different vestments worn by the priest. Sometimes he had amused himself by putting difficult questions to me, asking me what one should do in certain circumstances or whether such and such sins were mortal or venial or only imperfections. His questions showed me how complex and mysterious were certain institutions of the Church which I had always regarded as the simplest acts. The duties of the priest towards the Eucharist and towards the secrecy of the confessional seemed so grave to me that I wondered how anybody had ever found in himself the courage to undertake them; and I was not surprised when he told me that the fathers of the Church had written books as thick as the Post Office Directory and as closely printed as the law notices in the newspaper, elucidating all these intricate questions. Often when I thought of this I could make no answer or only a very foolish and halting one upon which he used to smile and nod his head twice or thrice. Sometimes he used to put me through the responses of the Mass which he had made me learn by heart; and, as I pattered, he used to smile pensively and nod his head, now and then pushing huge pinches of snuff up each nostril alternately. When he smiled he used to uncover his big discoloured teeth and let his tongue lie upon his lower lip — a habit which had made me feel uneasy in the beginning of our acquaintance before I knew him well.

As I walked along in the sun I remembered old Cotter's words and tried to remember what had happened afterwards in the dream. I remembered that I had noticed long velvet curtains and a swinging lamp of antique fashion. I felt that I had been very far away, in some land where the customs were strange — in Persia, I thought....But I could not remember the end of the dream.

In the evening my aunt took me with her to visit the house of mourning. It was after sunset; but the windowpanes of the houses that looked to the west reflected the tawny gold of a great bank of clouds. Nannie received us in the hall; and, as it would have been unseemly to have shouted at her, my aunt shook hands with her for all. The old woman pointed upwards interrogatively and, on my aunt's nodding, proceeded to toil up the narrow staircase before us, her bowed head being scarcely above the level of the banister-rail. At the first landing she stopped and beckoned us forward encouragingly towards the open door of the dead-room. My aunt went in and the old woman, seeing that I hesitated to enter, began to beckon to me again repeatedly with her hand.

I went in on tiptoe. The room through the lace end of the blind was suffused with dusky golden light amid which the candles looked like pale thin flames. He had been coffined. Nannie gave the lead and we three knelt down at the foot of the bed. I pretended to pray but I could not gather my thoughts because the old woman's mutterings distracted me. I noticed how clumsily her skirt was hooked at the back and how the heels of her cloth boots were trodden down all to one side. The fancy came to me that the old priest was smiling as he lay there in his coffin.

But no. When we rose and went up to the head of the bed I saw that he was not smiling. There he lay, solemn and copious, vested as for the altar, his large hands loosely retaining a chalice. His face was very truculent, grey and massive, with black cavernous nostrils and circled by a scanty white fur. There was a heavy odour in the room — the flowers.

We blessed ourselves and came away. In the little room downstairs we found Eliza seated in his arm-chair in state. I groped my way towards my usual chair in the corner while Nannie went to the sideboard and brought out a decanter of sherry and some wine-glasses. She set these on the table and invited us to take a little glass of wine. Then, at her sister's bidding, she poured out the sherry into the glasses and passed them to us. She pressed me to take some cream crackers also but I declined because I thought I would make too much noise eating them. She seemed to be somewhat disappointed at my refusal and went over quietly to the sofa where she sat down behind her sister. No one spoke: we all gazed at the empty fireplace.

My aunt waited until Eliza sighed and then said:

— Ah, well, he's gone to a better world.

Eliza sighed again and bowed her head in assent. My aunt fingered the stem of her wine-glass before sipping a little.

— Did he...peacefully? she asked.

— O, quite peacefully, ma'am, said Eliza. You couldn't tell when the breath went out of him. He had a beautiful death, God be praised.

— And everything...?

— Father O'Rourke was in with him a Tuesday and anointed him and prepared him and all.

— He knew then?

— He was quite resigned.

— He looks quite resigned, said my aunt.

— That's what the woman we had in to wash him said. She said he just looked as if he was asleep, he looked that peaceful and resigned. No one would think he'd make such a beautiful corpse.

— Yes, indeed, said my aunt.

She sipped a little more from her glass and said:

— Well, Miss Flynn, at any rate it must be a great comfort for you to know that you did all you could for him. You were both very kind to him, I must say.

Eliza smoothed her dress over her knees.

— Ah, poor James! she said. God knows we done all we could, as poor as we are — we wouldn't see him want anything while he was in it.

Nannie had leaned her head against the sofa-pillow and seemed about to fall asleep.

— There's poor Nannie, said Eliza, looking at her, she's wore out. All the work we had, she and me, getting in the woman to wash him and then laying him out and then the coffin and then arranging about the Mass in the chapel. Only for Father O'Rourke I don't know what we'd have done at all. It was him brought us all them flowers and them two candlesticks out of the chapel and wrote out the notice for the Freeman's General and took charge of all the papers for the cemetery and poor James's insurance.

— Wasn't that good of him? said my aunt.

Eliza closed her eyes and shook her head slowly.

— Ah, there's no friends like the old friends, she said, when all is said and done, no friends that a body can trust.

— Indeed, that's true, said my aunt. And I'm sure now that he's gone to his eternal reward he won't forget you and all your kindness to him.

— Ah, poor James! said Eliza. He was no great trouble to us. You wouldn't hear him in the house any more than now. Still, I know he's gone and all to that....

— It's when it's all over that you'll miss him, said my aunt.

— I know that, said Eliza. I won't be bringing him in his cup of beef-tea any more, nor you, ma'am, sending him his snuff. Ah, poor James!

She stopped, as if she were communing with the past and then said shrewdly:

— Mind you, I noticed there was something queer coming over him latterly. Whenever I'd bring in his soup to him there I'd find him with his breviary fallen to the floor, lying back in the chair and his mouth open.

She laid a finger against her nose and frowned: then she continued:

— But still and all he kept on saying that before the summer was over he'd go out for a drive one fine day just to see the old house again where we were all born down in Irishtown and take me and Nannie with him. If we could only get one of them new-fangled carriages that makes no noise that Father O'Rourke told him about — them with the rheumatic wheels — for the day cheap, he said, at Johnny Rush's over the way there and drive out the three of us together of a Sunday evening. He had his mind set on that....Poor James!

— The Lord have mercy on his soul! said my aunt.

Eliza took out her handkerchief and wiped her eyes with it. Then she put it back again in her pocket and gazed into the empty grate for some time without speaking.

— He was too scrupulous always, she said. The duties of the priesthood was too much for him. And then his life was, you might say, crossed.

— Yes, said my aunt. He was a disappointed man. You could see that.

A silence took possession of the little room and, under cover of it, I approached the table and tasted my sherry and then returned quietly to my chair in the corner. Eliza seemed to have fallen into a deep revery. We waited respectfully for her to break the silence: and after a long pause she said slowly:

— It was that chalice he broke....That was the beginning of it. Of course, they say it was all right, that it contained nothing, I mean. But still....They say it was the boy's fault. But poor James was so nervous, God be merciful to him!

— And was that it? said my aunt. I heard something....

Eliza nodded.

— That affected his mind, she said. After that he began to mope by himself, talking to no one and wandering about by himself. So one night he was wanted for to go on a call and they couldn't find him anywhere. They looked high up and low down; and still they couldn't see a sight of him anywhere. So then the clerk suggested to try the chapel. So then they got the keys and opened the chapel and the clerk and Father O'Rourke and another priest that was there brought in a light for to look for him....And what do you think but there he was, sitting up by himself in the dark in his confession-box, wide-awake and laughing-like softly to himself?

She stopped suddenly as if to listen. I too listened; but there was no sound in the house: and I knew that the old priest was lying still in his coffin as we had seen him, solemn and truculent in death, an idle chalice on his breast.

Eliza resumed:

— Wide-awake and laughing-like to himself....So then, of course, when they saw that, that made them think that there was something gone wrong with him....

Copyright © 1967 by the Estate of James Joyce

Table of Contents

Contents

Introduction

Chronology of James Joyce's Life and Work

Historical Context of Dubliners

Dubliners

The Sisters

An Encounter

Araby

Eveline

After the Race

Two Gallants

The Boarding House

A Little Cloud

Counterparts

Clay

A Painful Case

Ivy Day in the Committee Room

A Mother

Grace

The Dead

Notes

Interpretive Notes

Critical Excerpts

Questions for Discussion

Suggestions for the Interested Reader

Customer Reviews
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  • Anonymous

    Posted January 22, 2007

    Travel Freely Within Old Dublin

    Dublin at the turn of the nineteenth century is this book's source of inspiration. Joyce here captures a sense of sadness, a sense of folly, and a sense of unsatisfaction in this collection of short stories. Fourteen were intended by Joyce for The Dubliners, and in this Bantom Books Reprint, the lyrically written, but awkwardly structured 'The Dead' has been included (it reads in two seemingly incongruent parts). My notables include 'A Mother', 'A Little Cloud', and 'Counterparts'. 'The Dead' is hailed by the literati as a great piece, and the second half of the story captures the distance that can occur in a marriage, the effects of a perceived affair on a husband and a woman's longing for what could have been if she'd married differently. This collection of stories is compulsory for any James Joyce reader, as it is a sharp contrast in style to Finnegan's Wake or Ulysses. I find the value in it, if one wants to be absolutely immersed in a different time and place, and read some passionately painful, realistic stories. The morals of these stories can be interpreted open-endedly, like most great art, and at times may be too subtle for the modern reader. One drawback to this edition. Shame on Bantam for not presenting the punctuation as Joyce intended. He originally demarcates his changed in dialogue with dashes, rather than standard quotation mark indicators. What is the point of reading the book how the author did not intend it read? Read the book, but choose an edition true to the author's intent.

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted April 23, 2007

    The Best Collection of Short Stories

    Dubliners is a wonderful masterpiece that is insightful and cascades with beauty through its words splashed upon the pages. My personal favorite story is 'The Dead' which is Joyce's transition from his more simplistic writing into what will later become his stream of conciousness and deeply imbedded symbolism style of writing that we see in Ulysses. I recommend this to anyone. Some of the short stories are easier to read than others, but there shouldn't be any great trouble in any of them. Each story has its unique beauty and truth about the human race.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 13, 2005

    The Dubliners is a revelation into the dark side of human reasoning.

    The Dubliners is a revelation into the dark side of human reasoning. It¿s a smashing book, when you are done with it you understand why people do stupid things, drink excessively or gamble (the reasoning behind it). This book is a benchmark in literary competence that everyone should read. I love this book because it gives the perspective of the lower class of Dublin children skipping school, alcoholics exedra. James Joyce has exceeded the expectations for word choice of the finest writers. It is a book of short, stories each chapter gives a different perspective of the same day in Dublin. James Joyce also wrote the Odyssey which by many standards is the hardest book to understand (in English) and is legendary for its complexity. The Dubliners retains all the richness and word of the Odyssey but everyone can (should) understand.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 26, 2005

    A rich book

    This is the second James Joyce book I have read and it goes to reinforce the feeling I had after reading the first that that writer is a great storyteller. In fact, I consider James Joyce's Dubliners as one of the best collection of short stories ever put together. The settings are amazing and the rich and lively characters all combine with the incredible plots to add credence to the stories. Not only are they true to life in fitting with the atmosphere that one finds in Dublin, the stories are also hilarious, subtle, and inspirational and gripping. The pace of the stories is fast and the voices are rich.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 15, 2003

    a good place to start

    A GREAT book. If it were a good book it would show this dank, depressive, captivating and surreal world. Instead it emerses you in this world. Joyce's writing is so spontaneous. I despise being gushing but it is Joyce. The man is a genius. (I realise I should refer to him in the past tense but his writing seems to suspened his intellect and reality in time). He never resorts to the writing-by-numbers tecnique of presenting characters with a view to evoking sympathetic sentiments from the reader. Characters aren't pleasant so that you want to be their friend or unsuccesful/destructive/pathetic for the purpose of making the reader feel smug, successful and sensible. I can't recommend this book enough. It's an experience. One which you may find tiring and depressing but which is completely worthwhile. And compared to Finnegans Wake it's a walk in the park! Allows you to experience Joyce's writing without completely perplexing you (speaking from experience!)

    1 out of 1 people found this review helpful.

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  • Posted November 14, 2011

    A Must-Read Classic!

    I had to read this book for my AP Literature class, but I ended up buying my own copy to keep notes in..and also because I liked it so much. I loved the message that Joyce was trying to portray with this novel: Dublin (and society as a whole) was stuck in a never-ending circle, paralyzed if you will, of drinking, passionless love and lives, materialism, meaningless faith, etc. I had never read something quite like this before, and I loved the creative grouping of the chapters into a timeline type thing. My favorite chapter was Evelyn. All in all, it was a pretty good read.

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  • Posted June 28, 2011

    Terrible copy. Many mistakes

    I can overlook quite a few misspellings, but this has numbers in odd places, paragraph breaks in the middle of sentences, odd characters. Very distracting

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  • Posted January 14, 2011

    more from this reviewer

    Simple yet provocative

    This collection of short stories is written in a very straight forward, no frills way and yet evokes Joyce's sense of his own people, their lives in their fullness. It seems very understated and therefore more true. Excellent reading. The stories, characters, and their tragedy really stick with you. Profound.

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  • Anonymous

    Posted May 29, 2008

    An Unusual Read That Leaves the Reader to Come to His Own Conclusions

    In this famous collection of short stories, James Joyce gives us a glimpse into the Ireland of his time. The stories are well-written, and deal with themes concerning human nature. One problem that I found, however, is that he never clearly portrayed some of the character's deeds as either good or bad. I suppose he wanted the reader to make his own decision, but it left me wondering what Joyce's intent was. With all of this said, it is a book that many will enjoy, and one that supplys us with a relatively clear view of the past. ---Ryan Robledo, author of the Aelnathan

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 12, 2008

    Dubliners: Joyce's love for the people of Dublin

    James Joyce is one of the greatest authors of the 20th century. The stories in this collection reflect the way that Joyce saw his fellow countrymen. Many of the stories come from Joyce's own experiences and knowing this gives the reader an insight into the author's life as a boy and young man. This collection should be read before reading Joyce's other books as it will give the reader an introduction to his style of writing.

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  • Anonymous

    Posted August 11, 2006

    Good book

    This was an awesome book especially if you're interested in this sort of thing. While it is a great read and entertaining, it is also very very heavy and wordy.

    0 out of 2 people found this review helpful.

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  • Anonymous

    Posted August 7, 2005

    Interesting book, an acquired taste

    Some people say that Joyce is confusing or pointless. Well, the only people who would make that claim are either pompous fake intellectuals or fools. His books just cater to a different crowd. They are not written for people who wish to adorn their lives with 'Classic Literature' to make them feel cultured. 'Dubliners,' like so many other of Joyce's works, is a messy and cerebral novel. People who like having meanings and themes spelled out to them in capital letters will not understand the short stories. He expects that people will become intoxicated with the rhythm and flow of the language and not care about 'continuity' or 'a resolution to the conflict' in the stories. It's an unreasonable expectation for an author to have, but one that provides a deeper reading experience than most other 'intellectual' books. I'm giving it four stars because 'A Portrait Of The Artist As A Young Man' is better.

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  • Anonymous

    Posted July 31, 2005

    A rich book

    This is the second James Joyce book I have read and it goes to reinforce the feeling I had after reading the first that that writer is a great storyteller. In fact, I consider James Joyce's Dubliners as one of the best collection of short stories ever put together. The settings are amazing and the rich and lively characters all combine with the incredible plots to add credence to the stories. Not only are they true to life in fitting with the atmosphere that one finds in Dublin, the stories are also hilarious, subtle, and inspirational and gripping. The pace of the stories is fast and the voices are rich.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 13, 2005

    Dubliners is a waste of time

    Each story in this collection looks like it comes from a full novel, there is no direction and it becomes very confusing as you are expected to know the background before reading. This causes each story to be long winded, focusing on scenery as much as a full length epic, and it also ends each story before one can come to fully understand what is going on.

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  • Anonymous

    Posted February 26, 2003

    One of the world 's great story collections

    Reading these stories for the first time over forty years ago I had a sense of how beauty can be made of everyday life. I had a sense of that special kind of insight into the human heart which only great literature can give .I had a sense of writing as art and mastery. A whole world is created in these stories,and the image of Dublin and of Ireland which emerges is of a sombre and sad world uplifted by the longing to make it literature.

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  • Anonymous

    Posted July 24, 2001

    Outstanding for Anyone

    One needs to be Irish to grasp the full power of Joyce's book, The Dubliners, just as much as one needs to be Chinese to order chop suey. A tough, but wonderful read, it will educate those of all nationalities.

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  • Anonymous

    Posted January 17, 2001

    A Tough Read

    One has to be Irish to realize exactly which emotions Joyce is attempting to express in his short stories. All bleak, dreary, dank, filled with the quality that makes the Irish the people they are - the nourishment of hopelessness. The characters of Dublin are controlled with a spell that cannot be broken, simply because they love its misery and guilt.

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  • Anonymous

    Posted November 14, 2000

    Fine reading

    These stories would probably attract more attention than they do, save that Joyce's reputation lies mainly with his huge later work Ulysses now. But these sordid Dublin tales are well-crafted and meaningful, often subtle, and often touching and sad. Readers new to Joyce, especially, should probably read this first before attempting his more difficult work.

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  • Anonymous

    Posted August 18, 2000

    James Joyce new definition to writing.

    In this book of short stories, James Joyce brings new heights to the written word. His prose is delicate and yet full of meaning. I would recommend this book to anyone.

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  • Anonymous

    Posted February 22, 2010

    No text was provided for this review.

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