Product Description <br/><br/>Censored when it appeared in 1922 and praised and imitated ever since,<br/>Ulysses continues to yield riches to a new generation of critics. In<br/>Paperspace, Patrick McGee uses the Lacanian model of the unconscious to show how<br/>Ulysses baffles and defeats certain axioms of traditional literary criticism, such as the assumption that the meaning of an author's fiction can be reduced to his conscious beliefs and intentions. Described by Shari Benstock as "the first feminist reading of<br/>Ulysses,"<br/>Paperspace goes further than any other book to date [1988] in the application of postmodern critical theory to a close reading of the novel.<br/><br/> Review <br/><br/>"Not since Colin McCabe's<br/>James Joyce and the Revolution of the Word (1978) have we had such a strong presentation of Joyce's stylistic techniques as serving the cause of social progress....<br/>Paperspace gives us a new and deep understanding of how style, personality, and society work together in Joyce, and it provides a sharp image of Joyce as feminist and radical."<br/>--Sheldon Brivic,<br/>James Joyce Quarterly<br/><br/>"<br/>Paperspace is an extended, postmodernist investigation into the various ideologies that lay concealed behind or beneath or above the style of<br/>Ulysses. By 'postmodernist,' I mean simply to call attention to those continental thinkers such as Derrida, Lacan, Deleuze, or Barthes who provide both a context for McGee's study--one that might be summed up as "the indeterminacy of meaning"--and a springboard for his radical extension of their ideas.... The result is revisionism with a vengeance."<br/>--Sanford Pinsker,<br/>English Literature in Transition, 1880-1920<br/><br/>"It is a commendably ambitious book, one that needs supporting, not least because of the relative weakness of Anglo-American feminist theory in addressing the problem of the subject and in catching up with Joyce therefore."<br/>--David Pierce,<br/>James Joyce Literary Supplement<br/><br/>"Using Theodor Adorno's assertion that the 'unresolved antagonisms of reality reappear in art in the guise of immanent problems of artistic form,' McGee charts those problems of artistic form--going chronologically through each segment of Ulysses--showing how Joyce 'engage[s] the symbolic subversively ... in such a way that [the styles'] ideological functions become visible.' Without going into the specifics of McGee's argument here, I will only observe that his efforts have brought the issues of feminist criticism of Joyce full circle--to an end which is also a ricorso. For he has seen that women's struggle to enter the critical field of Joyce studies is one with the more general 'burden' of women struggling against 'Western male-centered civilization,' which is itself 'one with the struggle against class domination and racism.' This is a rather heavy burden of insight in itself, but the point is that the unresolved antagonisms of feminist criticism have entered into the subject of criticism where the nature of power, the nature of authority, and authority's ability to silence and repress become themselves the subject. It seems somehow fitting to end this review with the work of a man who, in undertaking a feminist project, finds himself, like Joyce, 'always already' there."<br/>--Carol Schloss,<br/>Modern Fiction Studies<br/><br/>"The attraction of<br/>Paperspace over any of the other Joyce studies that I have already mentioned lies in McGee's obvious fluency with a range of contemporary theoretical approaches and in his willingness to eschew predictable methodology in favor of imaginative combinations of diverse approaches."<br/>--Michael Patrick Gillespie,<br/>Studies in the Novel<br/><br/>"Patrick McGee's<br/>Paperspace represents one of the most coherent and challenging attempts to achieve a chronological poststructuralist reading of<br/>Ulysses."<br/>--Geert Lernout,<br/>James Joyce Literary Supplement <br/><br/>"This is often a brilliant book: McGee at his best writes with Flaubertian speed through the classes of terminology necessary to make his rich close readings work."<br/>Terrence Doody,<br/>NOVEL