In 1818, the Romantic poet Percy Bysshe Shelley published his classic poem “Ozymandias,” depicting the fallen statue of a once-powerful king whose inscription “Look on my works, ye mighty, and despair!” has long since crumbled into the desert. A hundred years later, a set of Modernist poets revisited the subject of ruins, injecting the poetic trope with some surprising new ideas. Professor Bill Hogan of Providence College joins Jacke for a look at the treatment of ruins in the poetry of H.D. (1886-1961), William Butler Yeats (1865-1939), Robert Frost (1874-1963), and Wallace Stevens (1879-1955).
In the early 1900s, demand for moving pictures was fierce and cinemas were springing up all over the world. After visiting Trieste, the writer James Joyce was determined to bring a cinema to Ireland, so after receiving the backing of his Italianfriends, he set up the Cinematograph Volta on Mary Street. It opened its doors on 20 December 1909. The opening night featured an eclectic program, with the comedy Devilled Crab, the mystery Bewitched Castle, La Pourponièrre, The First Paris Orphanage, and The Tragedy of Beatrice Cency.
Imagine the world where Joyce spent the rest of his life in Dublin running a picture house! I’m sure he could have kept writing, at least to some extent, but I’m not sure we’d have ever gotten Ulysses or Finnegan’s Wake.
In any case, he abandoned the project after seven months:
Joyce soon became disillusioned with the venture, as the cinema mainly showed films from Europe and Italy, which were largely shunned by Dubliners at the time. [Editor’s note: Maybe they should have tried showing the movies with female action stars that Radha Vatsal described.] After seven months, Joyce withdrew his involvement and the cinema was sold to the British Provincial Cinema Company. The cinema stayed open until 1919.
Here’s a beautiful tribute to the world of Joyce’s Volta and its successor, the Lyceum:
I had such a good time during this conversation with Vincent O’Neill I decided to make this James Joyce week! I’m not sure which part is my favorite, but it’s probably where he describes efforts to bring Finnegan’s Wake to the stage. Or the story about playing a gorilla. That’s hard to beat.
Vincent O’Neill hails from Sandycove, Dublin, where he grew up in the shadow of the tower made famous by the opening chapter of James Joyce’s Ulysses. After a childhood spent tracing the steps of Joyce’s characters, Vincent developed a love for the theatre, eventually becoming the co-founder and artistic director of the Irish Classical Theatre Company in Buffalo, New York. He joins Jacke Wilson for a discussion of James Joyce and the theatre, including a staging of Joyce’s play Exiles, the magic of Joyce’s language, and the long journey to bring an adaptation of Finnegan’s Wake to the stage.
What books are essential? Who has the authority to choose them, and what is their selection process? First, Jacke and Mike continue their look at the College Board’s 101 Books Recommended for College-Bound Readers. Then Jacke proposes a different method for determining which books are relevant in today’s world – and tests the results against the College Board’s efforts.
You can find a PDF of the College Board’s list at:
In 1964, the Oxford professor John Barrington Wain wrote: “…Romeo and Juliet is as perfectly achieved as anything in Shakespeare’s work. It is a flawless little jewel of a play. It has the clear, bright colours, the blend of freshness and formality, of an illuminated manuscript.”
First produced in 1594, The Tragedy of Romeo and Juliet became an immediate sensation, and the story of the star-crossed lovers has been a core part of Western civilization ever since. Why is the play so popular? What does it tell us about falling in love – and how does that differ from being in love? And what does any of this have to do with George Carlin?