EPSTEIN, EDMUND LLOYD. Guide through Finnegans Wake. The Florida James Joyce Series. Gainesville: University Press of Florida, 2009. Pp. xiii + 314. $29.95. With Guide through Finnegans Edmund Epstein given us a great handbook the for the novice and expert alike. The explicit goal of the namely to explicate the for the benefit of readers common and uncommon (2). This goal a large degree achieved--yet not without serious omissions of important aspects of the text (especially the linguistic aspect). Guide through Finnegans the result of Epstein's many decades spent working and living with the Wake; as a consequence, it impressively knowledgeable and erudite--yes, highly competent, reliable, and concise. Nonetheless, it maintains a light tone that quite engaging and sympathetic; and even though the style personal, it never idiosyncratic or private, but rather hospitable, patient, and modest. The author's clarity and enthusiasm is, indeed, enjoyable and recommendable. Epstein's point of departure, thematically speaking, that the has a profound human meaning. It about the centered line of the life of man and woman--the creation of the family and the shift of power when the children grow up (2). This not a controversial claim, but highly sympathetic--particularly when Epstein's appreciation of the humour of the added this. Epstein contests that Joyce's magnum opus is extremely funny ... and there indeed a laugh on every page of the Wake (1). It a great quality of Epstein's that this appreciation of the deeply human--as well as funny--aspects of the dictates his from cover cover. This furthermore, I think, mirrored in Epstein's recognition of the theme of love in the Wake: A complete act of love takes place in the blank space between the end and the beginning of the ... Every day, twice a day, forever, the great act of love, the embrace and withdrawal of Anna Livia and the ocean, acts out an eternal love affair in SPACE and TIME, in enumeration and narration, the two modes of presentation in Finnegans Wake (13-14). Epstein's cognizance of this theme also very much be prized as his assertion that the work not a narcissistic, sterile, and cerebral gesture of an absent author-divinity, but a funny, compassionate, and comic story of the follies, imperfections, and dignity of human beings. Epstein--the grand old man of Joyce criticism (the first generation of critics working after Joyce's death)--writes in continuation of the 'traditional' aids Joyce's book of the dark (Finnegans [1975 ed.] 251), such as, for example, Joseph Campbell and Henry Morton Robinson's Skeleton Key Finnegans (1944), William York Tindall's Reader's Guide Finnegans (1959), and John Gordon's Finnegans Wake: Plot Summary (1987). Perhaps, some degree, with the exception of Tindall's work, these books share the same tendency mollify the radicality of the text, which they 'domesticate' in order get a more traditional novel with identifiable plot, characters, and viewpoints that are be found behind the veil of the obscuring language. Epstein operates with the as being doubled in the sense that there first and foremost (1) a narrative line (belonging the realm of the traditional novel), which, however, clouded by and enveloped in (2) linguistic buffoonery and form-experimentation. What Epstein offers consequently a distillation of the proper narrative essence of the work that extracted from the opaque foil of the text. This clear, for example, from a passage like this: Despite the Wake's radical experimentation in language and form, it a giant hymn of praise the imperfect world of fallen human beings (3). In other words, in spite of its expression the offers a thematic content be enjoyed, if the reader--with the help of Epstein--manages look away from the linguistic blur. …
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