Author Archives: Matthew Leporati

He Lifts the Lifewand

…and the dumb speak.

Finnegans Wake is the closest I’ve ever seen to capturing on the page the very essence of what language is — in this book, arguably no one is speaking but language itself, to itself, unmasking the process by which language, the chattering river of the unconscious mind, produces selfhood.

The “quoiquoiquoiquoiquoiquoiquoq” that ends Chapter 7 is, presumably, the speaking of the dumb. The “dumb” are all those who are unable to speak, but the word might also denote people who are not all that intelligent. Yet even people who lack intellectual accomplishments still, in terms of the Wake, embody the same Eternal story. And so the artist allows them to speak, through him.

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Shun the Punman

“Shem is as short for Shemus as Jem is jokey for Jacob.”

Thus begins James Joyce’s parody of himself, which is an exploration of how “Shem the Penman” is a gross, smelly weirdo whom no one likes. 

Shem is one half of HCE, the introverted and artistic side of human nature. His brother, Shaun, is the extroverted and practical side.

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His Ombre Players

Finnegans Wake I.1 is a survey of the fallen world, a prelude to the novel. At the end, whiskey is spilled on the body of the fallen Finnegan, the All-Father. He begins to rise, but the mourners at his Wake hold him down and tell him to go back to sleep: the universe is predicated on his fall and death, the splitting open of the cosmic egg so that his many children, his dream selves, can live their lives. This entire concept is an analogy for the arising of individuality out of the flux of the universe, as we feel and fall.

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