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The most spectacular illuminated manuscripts were made for the French royal court and nobility. Some remain in pristine condition, possibly hardly ever opened.

Rose in Bloom (Annotated)

Other examples are very much less fine, well-thumbed, and sometimes annotated, showing how the text was read and interpreted throughout its history. The copy of the Roman de la rose owned by St John's dates from the fourteenth century and is bound with two other French texts. It is not one of the finest manuscripts, but it is well written in a round hand, and the text is neatly set out with decoration in red, blue and gold. It begins with an opening initial incorporating a man in bed and a rose tree, and has a small miniature of a forearm in a blue sleeve and an extended left hand, on a gold ground on a later folio.

The wear on the pages and occasional annotations suggest that it is a book that has been used and read with interest. Roman de la rose.

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Some of the blunders and omissions which disfigure Ithaca especially are lamentable. Which of the four manuscript versions, or the four previously published versions, each inaccurate in a different way, does Kidd propose to publish in his edition? This idea follows naturally from recent advances in editorial theory. No book is the work of the author alone. There is always an input from advisers, copyreaders, designers, printers, and so on.

Such an edition will inevitably upset academics and others who have become familiar with earlier editions.


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It is precisely the surface changes in the new edition that have provoked the greatest hostility. From as early as a few months after publication it was admitted by Joyce that they did not work out as planned.

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Every subsequent edition has varied the size and darkness of the type but, in my view, each attempt failed to eliminate the chief problem: the inserts as printed appear as titles of distinct vignettes of text. He evidently made a mistake in copying, confusing two entries, because a the Sunda Trench is in the Indian Ocean, and b the Marianne Trench, the deepest known, is in the Pacific.


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Choices must invariably be made in any serious edition. But there is a strong element of intolerance in the Joyce world. Any intimation that the master may have been less than perfect, may not have been fully in control of his texts, may not have been a very good book designer, or that some of the typographical effects in the first edition have become dated and need revision is instantly repudiated. This makes editing Joyce especially hazardous.

Before I began work I spoke to a great many people about Ulysses. Almost without exception they had given up reading the book after a few episodes. This is the unpalatable truth at the heart of Joyce studies. In the postcopyright era, there is surely room for an edition that remakes Ulysses as of our own time, reinvigorates and lightens it and eliminates as far as possible obstacles to the free flow of the text.

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One cannot recreate the past. One can however try to recreate the excitement, the unprecedentedness, and the modernity of the first publication. Many readers have confirmed that they can now read the book with greater ease and enhanced enjoyment.


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Ultimately, for Ulysses , that is what really matters. Danis Rose and I agree on the penny chocolate, but little else, it seems. Molly is not mentioned in my account of the budget and enters the review only later when I object to Mr.

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Rose strewing a thousand apostrophes, hyphens, capitals, and italics throughout her bedroom monologue. In order to rescue Stephen, Bloom sets off from the Holles Street maternity hospital on a train to Nighttown. With similar literalism, Mr. Moreover, Stephen was about to be fleeced by the shrewd Bella.

Only thirty pages after pocketing the crubeen and trotter does he arrive at the brothel of Mrs.

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Cohen, the Circe stand-in. Most Joyceans accept the literary logic. There is a plausible explanation, and like much of Ulysses , the budget will, no matter how we edit it, ring untrue to some reader somewhere.