"Don't you think there is a certain resemblance between the mystery of the Mass and what I am trying to do?...To give people some kind of intellectual pleasure or spiritual enjoyment by converting the bread of everyday life into something that has a permanent artistic life of its own."
-- James Joyce, in a letter to his brother
With these fifteen stories James Joyce reinvented the art of fiction, using a scrupulous, deadpan realism to convey truths that were at once blasphemous and sacramental. Whether writing about the death of a fallen priest ("The Sisters"), the petty sexual and fiscal machinations of "Two Gallants," or of the Christmas party at which an uprooted intellectual discovers just how little he really knows about his wife ("The Dead"), Joyce takes narrative places it had never been before.
The text of this edition has been newly edited by Hans Walter Gabler and Walter Hettche and is followed by a new afterword, chronology, and bibliography by John S. Kelly. Also included in a special appendix are the original versions of three stories as well as Joyce's long-suppressed Preface to Dubliners.
Praise for Dubliners…
“In Dubliners, Joyce’s first attempt to register in language and fictive form the protean complexities of the ‘reality of experience,’ he learns the paradoxical lesson that only through the most rigorous economy, only by concentrating on the minutest of particulars, can he have any hope of engaging with the immensity of the world.”–from the Introduction
“Joyce renews our apprehension of reality, strengthens our sympathy with our fellow creatures, and leaves us in awe before the mystery of created things.” –Atlantic Monthly
“It is in the prose of Dubliners that we first hear the authentic rhythms of Joyce the poet…Dubliners is, in a very real sense, the foundation of Joyce’s art. In shaping its stories, he developed that mastery of naturalistic detail and symbolic design which is the hallmark of his mature fiction.” –Robert Scholes and A. Walton Litz, authors of Dubliners: Text and Criticism
With an Introduction by John Kelly