Dubliners


Dubliners is a collection of fifteen short stories by James Joyce, first published in 1914. They form a naturalistic depiction of Irish middle class life in and around Dublin in the early years of the 20th century.
The stories were written when Irish nationalism was at its peak, and a search for a national identity and purpose was raging; at a crossroads of history and culture, Ireland was jolted by various converging ideas and influences. They centre on Joyce's idea of an epiphany: a moment where a character experiences a life-changing self-understanding or illumination, and the idea of paralysis where Joyce felt Irish nationalism stagnated cultural progression, placing Dublin at the heart of this regressive movement. Many of the characters in Dubliners later appear in minor roles in Joyce's novel Ulysses. The initial stories in the collection are narrated by child protagonists, and as the stories continue, they deal with the lives and concerns of progressively older people. This is in line with Joyce's tripartite division of the collection into childhood, adolescence and maturity.

Publication history

Between 1905, when Joyce first sent a manuscript to a publisher, and 1914, when the book was finally published, Joyce submitted the book 18 times to a total of 15 publishers. The London house of Grant Richards agreed to publish it in 1905. Its printer, however, refused to set one of the stories, and Richards then began to press Joyce to remove a number of other passages that he claimed the printer also refused to set. Joyce protested, but eventually did agree to some of the requested changes. Richards eventually backed out of the deal. Joyce thereupon resubmitted the manuscript to other publishers, and about three years later he found a willing candidate in Maunsel & Roberts of Dublin. Yet, a similar controversy developed and Maunsel too refused to publish it, even threatening to sue Joyce for printing costs already incurred. Joyce offered to pay the printing costs himself if the sheets were turned over to him and he was allowed to complete the job elsewhere and distribute the book, but when Joyce arrived at the printers they refused to surrender the sheets. They burned them the next day. Joyce managed to save one copy, which he obtained "by ruse". He then returned to submitting the manuscript to other publishers, and in 1914 Grant Richards once again agreed to publish the book, using the page proofs saved from Maunsel as copy.

The stories

When discussing Joyce's Dubliners, there are two types of critics that are often at the forefront of the conversation: the "Realists" and the "Symbolists". The Realists view Dubliners as the most simple of Joyce's works, which often causes them to disregard the revolutionary nature of the work. The symbolists instead neglect the rebellious meanings behind Joyce's symbols. While some choose only one side to argue, others believe that Dubliners completely defies any form of characterization. Without any clear evidence of thematic unity, logic of plot, or closure, Joyce prevents any conclusive critical analysis. As Sonja Bašić argues, the book "should be seen not just as a realist/naturalist masterpiece, but as a significant stepping- stone integrated into the modernist structure of Joyce's mature work."
It has been argued that the narrators in Dubliners rarely mediate, which means that there are limited descriptions of their thoughts and emotions, a practice said to accompany narratorial invisibility where the narrator sees instead of tells. While some point to Joyce's use of free indirect discourse as a way to understand his characters, he often obscures the reliability of his characters in a way that would make any kind of analysis very difficult. As Richard Ellmann has argued, "Joyce claims importance by claiming nothing" His characters' personalities can only be observed because they are not explicitly told.
The collection progresses chronologically, beginning with stories of youth and progressing in age to culminate in The Dead.
Emphasis is laid upon the specific geographic details of Dublin, for example, road names and buildings feature extensively.

Media adaptations