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Unlike traditional historians, Boia doesn't just list facts; he analyzes Romania's condition throughout the ages and the events, ideologies and people that have made it what it is today, and at the same time, urges the reader to analyze them and to draw his or her own conclusions.
(I simply could not put down this book until I finished it.)
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My own professor, Dr. Richard Greene of the University of Toronto, had noted the prevalance of railing and fencing in the stories. There are, all over the place, imagery of rails and fences. Accordingly, says Greene, these imply constriction, entrapment. And, the characters are ones who want to 'escape' the difficulties of their lives. They want more money and a new place to live. In one story, "Eveline," the woman protagonist reflects on her abusive father. She wonders how things will change if she leaves to marry her boyfriend. Another story, "the encounter," has a pair of boys who retreat from school to an open field. They rely on their imagination, as the real world is to gross for them. Here, there are no physical restrictions. They have freedom. But they come across a perverted old man who reminds them again of the 'real world.' Also, the story "counterparts" deals with a father who loses his job and beats his son.
Now these stories are controversial. They are designed to shock us. They were meant to give the Irish "one good look at themselves " (Joyce). In due course, the book was denied publication for many years. The Irish resented the book.
The stories are easy to read. They have instances of humour, even. They have to do with the middle and lower classes of turn-of-the-century Ireland. We might call them 'labouring' classes. The reader will be interested to know how hard working people, who struglle, react to 'life.' Are the happy to be alive? Do they feel a sense of purpose? What is life to them? The existentialist, then, wants to know how the average working man tallies up 'life.'
I did not want to give the stories a full 5/5 because some of them were weaker than others. Some were boring, uneventful, and awkwardly narrated. Others, however, were emotional and blunt enough. Powerful relationships unfolded in only a few pages. They made me want to be there, in Ireland. After all, the tales convey a sense of culture.
The most famous of them, 'the Dead' involves a man who discovers that his wife may still be in love with a boy who died years ago. Of course, the story is of more than that, but I haven't the indecency to ruin things for you by telling anything more.
"Dubliners" stands as one of the Ur-texts of modernism, a startlingly original collection of stories set in turn-of-the-century Dublin that began the Joycean literary project. That project subsequently moved through the increasingly difficult, and characteristically modernist, iterations of "Portrait of the Artist as a Young Man," "Ulysses" and "Finnegan's Wake." Like those succeeding texts, the interested reader can find thousands of pages of commentary on "Dubliners," the study of Joyce's works being akin to a Talmudic undertaking, an undertaking that can, if one chooses, occupy an entire life.
Joyce once commented that the stories of "Dubliners" constitute a "chapter of moral history" that represents the "first step towards the spiritual liberation of [Ireland]." He also said, "I call the series 'Dubliners' to betray the soul of that hemiplegia or paralysis which many consider a city." The stories are, in other words, inherently critical (although also, at times, appreciative) of the Dublin life that Joyce abandoned, living and writing as an expatriate in Paris, Trieste, Rome, and Zurich for nearly the entirety of his adult life.
The stories operate on two levels. On one level, the stories are realistic narratives of every day life in Dublin. On another level, however, the stories are suffused with symbolism, with recurring, allusive images of spiritual, sexual and political meanings that mark a departure from nineteenth century literary realism and make "Dubliners" an enduring, and deservedly canonical, modernist narrative.
The first story, "Sisters," begins with a striking example of the tone of the stories in "Dubliners." A young boy stands, in the evening, looking up at the shadows flickering through the window of an upstairs room where a priest is dying:
"Every night as I gazed up at the window I said softly to myself the word 'paralysis'. It had always sounded strangely in my ears, like the word 'gnomon' in the Euclid and the word 'simony' in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work."
Thus, a vivid, realistic image appears in the reader's mind, but so does a collection of words that suggest meanings and themes that go far beyond the real, that capture physical and intellectual and religious undercurrents, the inner life of a young boy living in Dublin.
"Sisters" is a brilliant story, as is "The Dead" and nearly every other story in "Dubliners" (excluding, perhaps, one or two, the worst being "After the Race," a story that Joyce reluctantly included in the collection). Realistic in its narratives, richly allusive in its language and symbolism, "Dubliners" is one of a handful of story collections that truly deserves the label "classic" and should be read and studied by every serious reader.
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This is a wonderful Bible for people who are trying to make sense out of the Bible.
Thank you Dr. Scofield, Oxford Press and Philadelphia College of Bible.