No More Learning

Literary Allusions in Finnegans Wake 27
relationship, correlated only through fuzzy position-on-the- page approximations. . . That is the worst thing that McHugh can do: for no respectable dictionary can go for a one-to-one correlation. . . except the good-for-nothing parlez-vous's you buy at any airport tobacconist in order to learn a micro-smattering of Italian on board a flight to one or another Joyce Congress in Venice. . .
This present Dictionary I am dealing with here puts no space limits whatever on the correlation between the FW item and its corresponding gloss: ideally, one FW entry can and should take dozens of pages in order to spectralize everything properly in common student parlance. Particularly so, for the benefit of the
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areas of the world which have been hardest hit by the catastrophic totalitarianism imposed for half a century or more by the Western World's notorious former(? ) ally, who temporarily called themselves Soviet! ( Incidentally, in Swedish, Sovjet is a noun, and can function as the name of the then country. . . ) Or by any other name that would sound as sweet!
Joyce's is the Higgs boson, and we'll eventually 'capture' it, but the preparatory work is enormous, much underestimated by Clive Hart in his correct and global statement. . . The MonteCarlo 1990 Joyce Convention that I had organised with the substantial assistance and advice of Clive Hart himself never contributed an iota towards that goal. For media sensationalism focused
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C. George Sandulescu, Editor.
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everybody's eyes on Lady Brenda Maddox's just-out biography of Nora Joyce, who knew even less than an iota about what her dear husband was out and after in Finnegans Wake. . . or even in Ulysses for that matter.
? ? ?
One last point, perhaps the most important of them all: the present series of lexicographic expansions of FW is totally different from all the previous ones, in that in contradistinction to trying to give an answer to the question "What does this item mean? ", it focuses on the giving an answer to the far more
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fundamental, and far more subtle, question "WHY? ", as broken down into the following sample questions:
"Why is this item phrased that way? ",
"What is the reason behind this formulation? ",
"What is the justification behind this particular distortion from 'normality'(a term that you often find in Clive Hart's discussion of his own motifs) ? "
"WHY does Joyce focus on Deviation from Normality, for 17 solid years? "
"WHY is the Deviation so massive? "
"Why is the Story so hidden, so flimsy, and why is it so pretextual for something else? "
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C. George Sandulescu, Editor.
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Please view this Lexicon--the whole of it--as a sort of Turing machine, in the 1957 Chomsky sense of Syntactic Structures, chapter 3, and start theorising from there about the 'Unified Field. ' Buy we still have a long way to go before the machine is ready, willing, and able to function properly.
? ? ?
Clive Hart declares in Spain as late as 1982, on page 249, of the James Joyce Madrid Actas: "Behind every utterance of FW there lies, word for word, an utterance in plain English". . .
this being formulated by him as Principle Number Two!
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That kind of fundamental question cannot possibly be answered the straightforward way: that very fact accounts for the great number of volumes of the present James Joyce Lexicography Series. . . And there are more volumes to come. . . Continental Europe and the rest of the world, outside the United States, and Ireland, needs them badly.
MidSummer Night 2012 in MonteCarlo
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C. George Sandulescu, Editor.
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C. George Sandulescu
? ? ? ? ? ? ? Introducing the Manchester Musician,
or
"Burgess--At Home and Abroad".
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C. George Sandulescu, Editor.
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? ? ? ? ? ? I have not re-read his writings for quite a while, though I keep watching A Clockwork Orange on television as often as I can. In fact, today, in order to write this, I do not want to read him at all --for it is my personal recollections of the man that I want to put across. . . not the scholarly assessments, which might in themselves be quite considerable. . .
It so happens that he is one of the rare bright minds that I have known well, and from very close quarters. Just because, it seems, we both enjoyed each other's company. Neither of us had had any friends in Monaco, and both of us were only
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stubbornly frequenting English-speaking circles only. (That automatically included Princess Grace Kelly, of course. )
French Television only showed one English-language film a week, on a Sunday early afternoon at the time (it was just before 1980! ), and the London air connection was only one flight a day, also in mid-afternoon. In exchange, Riviera Radio, transmitting in English from Italy, had far greater freedom of expression, during the weekends in particular.
So, both Burgess and I were only left with the English Books and the English Gossip. . .
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C. George Sandulescu, Editor.