Episode 18

Riddled with Factual Holes

Featuring Philip Kitcher

Audio episode · 15 min

Philip Kitcher on Ulysses

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A new star over Stratford, a room that has stopped objecting, and a young man who is now making it up as he goes. This is James Joyce's Scylla and Charybdis, the ninth episode of Ulysses, and Philip Kitcher has reached the moment where Stephen Dedalus's Shakespeare theory becomes pure performance. Kitcher checks the big finish against the astronomy and reads the few bitter lines Stephen keeps to himself. Then he follows Stephen out onto the library steps and asks what the Homeric title, a monster on one side and a whirlpool on the other, is really about. His answer is not the one Stephen fears.

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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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