Flanagan is the daughter of Rosanna (née McGuirk) and Terence Niall Flanagan, an Irish Army officer and Communist who had fought in the International Brigade in the Spanish Civil War against General Francisco Franco. Although her parents are not Irish speakers, they want Fionnula and her four siblings to learn the Irish language, thus she grows up speaking English and Irish fluently. She is educated in Switzerland and England. She trains extensively at the Abbey Theatre in Dublin and travels throughout Europe before settling in Los Angeles, California in early 1968.
Flanagan comes to prominence in Ireland in 1965 as a result of her role as Máire in the Telefís Éireann production of the Irish language play An Triail, for which she receives the Jacob’s Award in Dublin for her “outstanding performance.” With her portrayal of Gerty McDowell in the 1967 film version of Ulysses, she establishes herself as one of the foremost interpreters of James Joyce. She makes her Broadway debut in 1968 in Brian Friel‘s Lovers, then appears in The Incomparable Max (1971) and such Joycean theatrical projects as Ulysses in Nighttown and James Joyce’s Women (1977-1979), a one-woman show written by Flanagan and directed for the stage by Burgess Meredith. It is subsequently filmed in 1983, with Flanagan both producing and playing all six main female roles.
The Censorship of Publications Act is passed on July 16, 1929. The laws enacted by the Censorship of Publications Act, 1929 are introduced in an era of political isolationism and cultural and economic protectionism. Ireland’s culture is very moral and religious. Catholicism, the religion of 93% of the population, is the fundamental philosophy behind the censorship laws.
A main aim of the new legislation is to prevent the introduction of unwholesome foreign influences like materialism, consumerism and immorality from abroad. Specifically, this means works that are considered to be indecent or obscene, newspapers whose content relies too much on crime, and works that promote the “unnatural” prevention of conception or that advocate abortion. Irish writers who are found offensive are officially regarded as agents of decadence and social disintegration who are striking at the roots of family life and moral decency. For example, Father P.J. Gannon thinks that the Act is “but a simple measure of moral hygiene, forced upon the Irish public by a veritable spate of filth never surpassed.” He thinks that all literature must provide “noble ground for noble emotion.” PresidentÉamon de Valera feels that the arts in Ireland are to be encouraged when they observe the “holiest traditions,” but should be censored when they fail to live up to this ideal.
Although the new laws are typical of censorship laws in many other countries in the 1920s and 1930s, they are implemented with an eagerness which gradually alienates and embitters many Irish writers. It causes some writers to leave the country. The author Mervyn Wall explains that during the 1930s there is “a general intolerant attitude to writing, painting and sculpture. These were thought dangerous, likely to corrupt faith and morals…One encountered frequently among ordinary people bitter hostility to writers…Obscurantism had settled on the country like a fog, so of course anyone who had eyes to see and the heart to feel, was rebellious.”
The Academy of Letters established by William Butler Yeats attempts to fight censorship with solidarity among writers, but it achieves little in this field. The fight against literary censorship is fought mainly by isolated figures. Seán Ó Faoláin, perhaps the most vociferous critic of the censorship laws, writes, “Our Censorship…tries to keep the mind in a state of perpetual adolescence in the midst of all the influences that must, in spite of it, pour in from the adult world.”
Joyce is born on February 2, 1882, in the wealthy Rathgar suburb of Dublin. The family is initially well off as Dublin merchants with bloodlines that connected them to old Irish nobility in the country. James’ father, John Stanislaus Joyce, is a fierce Irish Catholic patriot and his political and religious influences are most evident in Joyce’s two key works A Portrait of the Artist as a Young Man (1916) and Ulysses (1922).
The Joyce family is repeatedly forced to move to more modest residences due to their steadily diminishing wealth and income. John Joyce’s habitual unemployment as well as his drinking and spending habits make it difficult for the Joyces to retain their social standing. As a young man, Joyce is sent away to the renowned Clongowes Wood College in County Kildare in 1888, a Jesuit institution regarded as the best preparatory school in Ireland. The Clongowes school figures prominently in Joyce’s work, specifically in the story of his recurring character Stephen Dedalus. Joyce earns high marks both at the Clongowes School and at Belvedere College in Dublin where he continues his education. At this point in his life, it seems evident that Joyce is to enter the priesthood, a decision that would please his parents. However, as Joyce makes contact with various members of the Irish Literary Renaissance, his interest in the priesthood wanes. Joyce becomes increasingly critical of Ireland and its conservative elements, especially the Church.
Against his mother’s wishes, Joyce leaves Ireland in 1902 to pursue a medical education in Paris and does not return until the following year upon receiving news of his mother’s debilitation and imminent death. After burying his mother, Joyce continues to stay in Ireland, working as a schoolteacher at a boys’ school, another autobiographical detail that recurs in the story of Stephen Dedalus. After barely spending a year in Dublin, Joyce returns to the Continent, drifting in and out of medical school in Paris before taking up residence in Zurich. It is during this period that Joyce begins writing professionally.
In 1905, Joyce completes a collection of eight stories entitled Dubliners, although it is not actually printed until 1913. During these frustrating and impoverished years, Joyce heavily relies upon the emotional support of Nora Barnacle, his unmarried Irish lover, as well as the financial support of his younger brother, Stanislaus Joyce. Both Nora and Stanislaus remain as protective, supporting figures for the duration of Joyce’s life. During the eight years between Dubliners‘ completion and publication, Joyce and Barnacle have two children, a son named Giorgio, and a daughter named Lucia.
Joyce’s next major work, A Portrait of the Artist as a Young Man, appears in serialized form in 1914 and 1915. Joyce is “discovered” by Ezra Pound and the complete text is printed in New York City in 1916, and in London in 1917. It is with the assistance of Pound, a prominent literary figure of the time, that Joyce comes into contact with Harriet Shaw Weaver, who serves as both editor and patron while Joyce writes Ulysses.
When Ulysses is published in Paris in 1922, many immediately hail the work as genius. With his inventive narrative style and engagement with multiple philosophical themes, Joyce has established himself as a leading Modernist. The novel charts the passage of one day, June 16, 1904, as depicted in the life of an Irish Jew named Leopold Bloom, who plays the role of a Ulysses by wandering through the streets of Dublin. Despite the fact that Joyce is writing in self-imposed exile, living in Paris, Zurich, and Trieste while writing Ulysses, the novel is noted for the incredible amount of accuracy and detail regarding the physical and geographical features of Dublin.
Similar in theme to Joyce’s previous works, Ulysses examines the relationship between the modern man and his myth and history, focusing on contemporary questions of Irish political and cultural independence, the effects of organized religion on the soul, and the cultural and moral decay produced by economic development and heightened urbanization. While Joyce is writing it, there is serious doubt as to whether Ulysses will be completed. Midway through his writing, Joyce undergoes the first of eleven eye operations to salvage his ever-worsening eyesight. At one point, a disappointed Joyce casts the bulk of his manuscript into the fire, but Nora Barnacle immediately rescues it.
While Ulysses is hailed by some, the novel is banned in both the United Kingdom and the United States on obscenity charges. It is not until 1934 that Random House wins a court battle that grants permission to print and distribute Ulysses in the United States. The novel is legalized in Britain two years later.
By this time, Joyce is approaching the end of his public career and has concluded work on his final novel, Finnegan’s Wake (1939). Considered to be far more baffling and convoluted than Ulysses, Finnegan’s Wake is a critical failure. At the outbreak of World War II, Joyce remains in Paris until he is forced to move, first to Vichy, and then to Switzerland. On January 13, 1941, Joyce dies of a stomach ulcer at the age of 58 and is buried in Zurich’s Fluntern Cemetery.
seamus dubhghaill 