Episode 11

A Sloppy Mythology

Featuring Philip Kitcher

Audio episode · 15 min

Philip Kitcher on Ulysses

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The carriage stops at the cemetery gate, and four short sentences do the stopping. Philip Kitcher opens the second half of Hades, the sixth episode of James Joyce's Ulysses, by reading them aloud and showing why a word nobody uses, felly, is the only one that would do. Then he walks behind Paddy Dignam's coffin with Leopold Bloom and asks why Bloom is here at all. The answer involves money, a widow, and what the men around him assume about Jews. Inside the chapel, with the priest working through the Latin, Kitcher makes his case for what Bloom believes, and what he is willing to go through the motions for.

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Read Deeper

O, I So Want to Be a Mother: The Man Who Gives Birth in Joyce and Shelley


Both novels put a man in labor. Philip Kitcher's Joyce makes him the book's tenderest wish; Charlotte Gordon's Shelley makes him its original sin.

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No Voltaire: Joyce's Priest, Voltaire's Pangloss, and Two Ways of Not Asking


Philip Kitcher calls the Jesuit who blesses a barge of turf a second Pangloss; Salman Rushdie's Voltaire fought Jesuits all his life. One drowned ship each.

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Why Is the Funeral in Ulysses So Funny? Comedy and Death in Joyce's Hades


Ulysses is funny on purpose, Kitcher argues: in Hades, comedy and death share a carriage, and laughter keeps Joyce's seriousness honest.

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The Interior Monologue: How Joyce Puts You Inside Stephen, Bloom, and Molly


The interior monologue is the engine of Ulysses, Kitcher argues: language attuned to each character, opening Stephen, Bloom, and Molly to the reader.

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The Dead and the Yes: Joyce's Two Endings in Mercy


For Banville and Kitcher, 'The Dead' and Molly's 'yes' are the same turn: Joyce ending both Dublin books in mercy, holding the living and the dead together.

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Dublin as a City of the Mind


Kitcher and Banville converge on Joyce's Dublin as a city of the mind: Banville's paralyzed Dubliners, and Kitcher's Bloom, the man who chose freedom.

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Antisemitism and Belonging in Ulysses: Whose Country Is It?


Kitcher names the antisemitism around Bloom and its engine, 'Boys' Club Morality': Dublin excludes its most decent man for the very virtues it lacks.

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