The Dublin James Joyce Summer School, 2018:'Thirty Years On' Alberto Tondello There is always a slight thrill surrounding a 30th birthday celebration. Distinguished either by a momentary crisis or a sense of accomplishment, thirty years of existence mark a point of awareness, a particularly ripe time for a re-evaluation. This year, the Dublin James Joyce Summer School celebrated its 30th anniversary, as Joycean researchers and enthusiasts from around the world gathered once again for the first week of July. Following the practised, consolidated structure of alternating morning lectures, afternoon seminars, and a wide variety of social activities, this year's Summer School seemed to develop around the work of reassessment typical for a 30th birthday. The morning lectures, delivered at the James Joyce Centre by ten exceptional speakers, presented new readings and interpretations challenging what might be seen as well-established ideas on Joyce, his time, and his works. Anne Fogarty, director of the School and Chair of Joyce Studies at UCD, set off this enriching process of re-evaluation with her opening lecture on Monday morning. Focussing on the rise of a new wave of modernism, Fogarty brilliantly analysed works by Anne Enright, Mike McCormack, and Eimear McBride to assess Joyce's political, ethical, and stylistic effects on contemporary Irish writers. Offering an image particularly fitting in a Dublin untouched by rain and struck by an unprecedented heat-wave, Fogarty suggested that Irish writers are learning to write in the light, rather than in the shadow, of James Joyce. This positive approach creates, in turn, a new picture of Joyce as an artist as it defines the contours of a writer who can be an animating force rather than an impediment, and a source of continuous development, rather than the origin of obstructive anxieties. In line with this vision, the morning lectures circled around ideas of influence and collaboration, and revealed through an array of different approaches the [End Page 228] relational forces playing at the heart of the work of the artist and of the scholar alike. Michael Cronin used Herbert Marcuse as a theoretical springboard to revisit some passages from A Portrait of the Artist as a Young Man. Differentiating between sexuality and eros, Cronin attempted to revitalize the (erotic) energy at work in A Portrait, showing how the artist is animated not only by cerebral but also by bodily and affective forces. If Cronin ended his talk by considering subjectivity as necessarily relational, Peter Kuch centred his lecture on the many ways in which a marital relationship might be legally interrupted. Presenting some of the research he undertook for his book Irish Divorce/Joyce's 'Ulysses', Kuch depicted the intricacies surrounding Irish divorce between World War I and the 1930s. Drawing from Every Man's a Lawyer (a book Joyce owned), legal texts, and more than 1,500 divorce cases in English and Irish newspapers, Kuch analysed the possibility of divorce faced by Molly and Bloom in the light of historical, legal, and archival sources. Through a similar mix of textual and historical analysis, Fritz Senn took the term 'exile' in its wider possible sense to conduct a fascinating analysis of the linguistic and biographical exiles in Joyce's works. Only a scholar with Senn's degree of knowledge and insight could have moved with such ease from an examination of the real people whom Joyce included—exiled, as it were—in Ulysses, to a close reading of some of Joyce's 'lexical exiles' or, as he put it, 'lexiles'. In his engaging lecture, Senn highlighted the pleasures of reading Ulysses, showing Joyce's ability to make things foreign by constantly breaking down frameworks, by changing the register of his characters, and by modifying words to create new meanings. Digging into textual and biographical material, Elizabeth Bonapfel and Luca Crispi were particularly skilful in questioning the image of Joyce as a solitary genius, pointing out the personal and professional connections which supported his creative work. Pursuing her research on punctuation, Bonapfel reconstructed the compositional history of A Portrait, tracing the changes in the use of dashes from 1904 to its revised, second edition in 1917. Moving dexterously from punctuation, to the complexities of editing...