(GJ) Cantos XX, XXI (p. 8, ll. 1-2, 10-17).

From Joyce’s Giacomo Joyce: Great bows on her slim bronze shoes: spurs of a pampered fowl. The lady goes apace, apace, apace ….. Pure and silence on the upland road: and hoofs. A girl on horseback. Hedda! Hedda Gabler!An Original Haiku: Hedda gallops forth./This the way the Lady rides/And fires her pistols./About Giacomo Joyce XX, XXI:Continue reading “(GJ) Cantos XX, XXI (p. 8, ll. 1-2, 10-17).”

(GJ) Canto XIX (p.7, ll. 24-28).

From Joyce’s Giacomo Joyce: A sparrow under the wheels of Juggernaut, shaking shaker of the earth. …. Aber das ist eine Schweinerei!  An Original Haiku: Schweinerei translates/ As “filth, mess, disgrace, scandal”/ But always whispered./ About Giacomo Joyce XIX:  The wheels of this canto turn on two axles. The second of these is an untranslatedContinue reading “(GJ) Canto XIX (p.7, ll. 24-28).”

(GJ) Canto XVIII (p.7, ll. 1-13).

From Joyce’s Giacomo Joyce: I hold the websoft edges of her gown and drawing them out to hook them I see through the opening of the black veil her lithe body sheathed in an orange shift. . An Original Haiku: Collins at arm’s length,/ Paled by Joyce’s raw, blushing,/ Confessional truth./ About Giacomo Joyce XVIII: SeparatedContinue reading “(GJ) Canto XVIII (p.7, ll. 1-13).”

(GJ) Canto XVII (p.6, ll. 20-27).

From Joyce’s Giacomo Joyce: Pimply Meissel brought me here. He is beyond those trees standing with covered head at the grave of his suicide wife,…. An Original Haiku: The word known to all,/ How could he write a LOVE song/ Without singing LOVE?? About Giacomo Joyce XVII:   Modernism, the label pinned to James Joyce’sContinue reading “(GJ) Canto XVII (p.6, ll. 20-27).”

(GJ) Canto XIV (p.5, l. 35).

From Joyce’s Giacomo Joyce: Long lewdly leering lips: dark-blooded molluscs  An Original Haiku: Her mollusk-like lips/ Like Venus’ conch from the foam/ “Lovely” scungilli?/  About Giacomo Joyce XIV: It is foolish to argue with James Joyce’s selection of a word. He sweated over prefixes, spellings, shades of interpretation, but his decision to describe his loveContinue reading “(GJ) Canto XIV (p.5, l. 35).”

(GJ) Canto XIII (p.5, l. 18).

From Joyce’s Giacomo Joyce: This heart is sore and sad. Crossed in love?  An Original Haiku: Too loved as a child/ He remained one when married/ Love-less-loving/ About Giacomo Joyce XIII: Joyce wrote with his best bent script, “the word known to all men.” Hasn’t every teen heart been “sore and sad,” believing itself “crossedContinue reading “(GJ) Canto XIII (p.5, l. 18).”

(GJ) Canto XII (p.5, ll. 1-10).

From Joyce’s Giacomo Joyce: Unde derivatur? Mia figlia ha una grandissima ammira- zione per if suo maestro inglese.  An Original Haiku: Stroll with Papa Popper/ Gather details of the prey/ Beware, Young Scholar./ About Giacomo Joyce XI: Leopoldo Popper innocently asks in which direction Joyce walks. Senor Popper is a trusting man. He shares thatContinue reading “(GJ) Canto XII (p.5, ll. 1-10).”

(GJ) Canto XI (p. 4, ll 16-20).

From Joyce’s Giacomo Joyce: Nay, nay, be not afraid! An Original Haiku: Though indicted/ Misogonistic James Joyce/ Births mighty Molly./ About Giacomo Joyce XI: Joyce’s polyamorous fantasies sprung from reading about the incestuous pharaohs, the Ottomans who bridged the West and the East, and the earliest Biblical Hebrews. The Orient influenced Ulysses’ underlying themes too, but inContinue reading “(GJ) Canto XI (p. 4, ll 16-20).”

(GJ) Canto X (p 4, ll 6-12).

From Joyce’s Giacomo Joyce: …the short skirt taut from the round knobs of the knees. A white flash: a flake, a snowflake: And when she next doth ride abroad/ May I be there to see! An Original Haiku: In Turko, Joyce “sees”/ the Invisibility/ needed to stalk her./  About Giacomo Joyce X: By the firstContinue reading “(GJ) Canto X (p 4, ll 6-12).”

(GJ) Canto V (p.2, ll.6-8).

From Joyce’s Giacomo Joyce: … rounded by the lathe of intermarriage and ripened in the forcing-house of the seclusion of her race. An Original Haiku: The “seclusion of her race”/ Blue-veined eyelids mark/ Yahweh’s treasured one./ About Giacomo Joyce V: In a footnote, Ellmann attaches isolation to the Irish water-girl of Portrait. The study of genetics duringContinue reading “(GJ) Canto V (p.2, ll.6-8).”