338 Reviews appreciationof women is consistentwith Abraham'sdiscussionof fetishism;the psychosis of jealousy that preoccupies Oppenheim may be seen in Bloom's obsession with Molly's sexuality;Sadger'sframingof the 'performance'of public urinationis parallelledin the garden denouement of Stephen and Bloom. Kimball is comfortable with this interplaybetween therapyand fiction:she points out that in the early days of psychoanalysis,therapistslooked for illustrationsof their theories in literature , placing faith in the representationsof the charactersthey found. While she never psychoanalysesJoyce'scharactersherself,the key to the intriguing'interplay' Kimball charts is her ability to connect people who never were to ideas that were, at best, contentious at the time of these characters'appearance. A lamentable motif in recent books aboutJoyce is to hold Finnegans Wakeapart from his otherwritings.This approachnever ringstrue as a reasonnot to discusshis last work;one cannot accept Kimball'sassertionhere that the treatmentof psychoanalysisin the Wake is fundamentallydifferentfrom that in his early fiction because its ideas had passed into the common idiom by the 1930s. As JoyceandtheEarly Freudians is organized aroundJoyce's most vivid characters,there may be a compelling reason to stop short of reading the Wake's shadowy Earwicker,even though he does live his life in a dream. But to suggest that his author, a man who drew without discriminationon all elements of high and low culture,was doing anything differentin parodyingpsychoanalysisin the Wake than he was by earlierjuxtaposing Sigmund Freud with Leopold Bloom is to discredit modern literature's most catholic imagination. UNIVERSITYOF LETHBRIDGE,ALBERTA CRAIG MONK Modernism and Music:An Anthology of Sources. Ed. with a commentary by DANIEL ALBRIGHT.Chicago and London: University of Chicago Press. 2004. xiii + 428 pp. $75 (pbk $30). ISBN:0-226-01266-2 (pbk 0-226-01267-0). BeckettandAesthetics.By DANIELALBRIGHT. Cambridge, New York, and Melbourne: Cambridge University Press. 2003. vii + 179 pp. ?40; $60. ISBN: 0-52I-82908-9. Following Quantum Poetics: Yeats, Pound, Eliot,andtheScience ofModernism (Cambridge, I997) and Untwisting theSerpent: Modernism inMusic,Literature, andother Arts(Chicago, 2000), here are two more enjoyable and learned works from the prolific pen of Daniel Albright.Albright'srate of productivityis partlyexplained by an admirable consistency of subject. Inevitably there is some overlap, but such moments (for example, the doubled extended extract from Ernst Krenek's I937 essay 'What is Called the New Music, and Why?' (M&M, pp. 330-36; B&A, pp. 20-21)) are invariably suggestive points of intersection highlighting marginal figures. A further justificationfor such repetitionsis that readersinterestedin Modernism andMusicare not necessarilythose drawn to Beckett andAesthetics -though taken together these works make a strong case for their mutual significanceand interrelation. In Modernism andMusic,Albrightassignsthe full flushof Modernismto the period I890-I9IO, identifying1894in particularas a watershedyear in the historyof music (Debussy'sPrelude a I'apres-midi d'unfaune,Strauss'sTill Eulenspiegel). He is, however, perfectlyjustified in including earlier, hugely influentialworks such as Nietzsche's TheBirthof Tragedy (1872),Wagner'sBeethoven (1870),and Baudelaire'sLesfleurs dumal (1857)in his scope. While these may also be found in Bojan Bujic'santhologyMusic 338 Reviews appreciationof women is consistentwith Abraham'sdiscussionof fetishism;the psychosis of jealousy that preoccupies Oppenheim may be seen in Bloom's obsession with Molly's sexuality;Sadger'sframingof the 'performance'of public urinationis parallelledin the garden denouement of Stephen and Bloom. Kimball is comfortable with this interplaybetween therapyand fiction:she points out that in the early days of psychoanalysis,therapistslooked for illustrationsof their theories in literature , placing faith in the representationsof the charactersthey found. While she never psychoanalysesJoyce'scharactersherself,the key to the intriguing'interplay' Kimball charts is her ability to connect people who never were to ideas that were, at best, contentious at the time of these characters'appearance. A lamentable motif in recent books aboutJoyce is to hold Finnegans Wakeapart from his otherwritings.This approachnever ringstrue as a reasonnot to discusshis last work;one cannot accept Kimball'sassertionhere that the treatmentof psychoanalysisin the Wake is fundamentallydifferentfrom that in his early fiction because its ideas had passed into the common idiom by the 1930s. As JoyceandtheEarly Freudians is organized aroundJoyce's most vivid characters,there may be a compelling reason to stop short of reading the Wake's shadowy Earwicker,even though he does live his life in a dream. But...