Home: The Prison Paradise of Memory

Samantha Reynolds INS 489 Dr. Mark Kehren

Thesis submitted in partial fulfillment of the requirements of the degree of international studies.

During the spring semester of 2012, I participated in a study abroad program in Dublin, Ireland. Over the course of four months, eleven American students acclimated and immersed ourselves in the Irish culture. However, there was one American in particular (me) who could never quite adjust to her surroundings. In four months one would think that I could find my way around Dublin with my eyes closed. That wasnt the case, though. I got lost just as easily at the end of Month Three as I did at the end of Day One. However, though I always got lost trying to get from Point A to Point B, I never had an issue finding my way back to Point A. I always knew the direction of home. One day while walking through City Center, my roommate tested me and asked in what direction was St. Stephens Green. I couldnt tell her. But then she asked in what direction was our apartment (three train stations outside of the city). My inner compass had no problem pointing due home. Flummoxed, my roommate shook her head hopelessly and said, Samantha, you have the directional capabilities of a homing pigeon. Though her declaration scarred my self-esteem deeply and irrevocably, there was some truth to what my roommate said. Whenever I am away from a place I consider home my natural inclination is to return to that place. I am not a person who is fully at ease unless surrounded by the Familiar. As such, this quirk of mine ignited questions about the broader meaning of home and what significance it has on the human psyche. These questions then became all the more intriguing when considering individuals whose separation from the homeland is drastic. For instance, migrants often leave their homelands with no definite plan for return. Unlike me, who was separated from her country of origin for a few short months, these individuals are away from

everything that is familiar for yearsif not permanently. How important, then, is home to these individuals? This is an important question especially when considering it in the modern context. Over the last century, the world has seen an exponential increase in global migration. For various reasons, people are leaving their homelands and settling or roaming through foreign countries and cultures. In fact, this nomadic nation is 20 million citizens larger than the population of Brazil.1 Despite this emerging culture of transnationalism, many migrants still maintain a strong attachment to the homelandeither through physical contact with people back in the country of origin or through nostalgic memories. Though these may not seem like grand observations on the surface, they do beg a deeper question, chiefly when considering nations fraught with violence or economic uncertainty. Even with the tumultuous political situations many individuals migrate away from, the diaspora of those nations still maintain an identity and an affinity with the homeland. The question then becomes, what is the hold home has on the human psychology? I believe this hold is intrinsica tendency that cannot be evaded. Thusly, my hypothesis for this project is that the human has an inborn desire to want to return home as exemplified by this projects case study: Irish author, James Joyce (1882-1941). Although Joyce exiled himself from Ireland, he could write about no other place as the call of the homeland was so great in his imagination. As such, Joyce made several psychical returns home, revisiting Dublin vicariously through the characters in his books. 2 Therefore, passages from Joyces works will help demonstrate and contextualize how the writer remained in Ireland while living in

1 2

"Country Comparison :: Population Ellmann, 349

France and ultimately bring the discussion of home into a broader context. Firstly, though, one must understand a little of the writers life story. Joyce left Ireland for France in 1904, at the age of 22. He felt artistically and socially oppressed by the ultra-pious and incredibly poor culture of Ireland and thus sent himself into exile. Joyce spent the greater part of his adult life in continental Europe and yet would (or could not) set his stories in any other place but Dublin. Furthermore, Joyce recreated Dublin in his books with topographical detail. Therefore, if Joyce felt such a strong attachment to his home, why would he leave in the first place? And was he so critical of Ireland in his writings? Thus, the following study will answer these and the greater research questions, and ultimately come to a conclusion about the power of home on the imagination.

Geographic Imagination: Background and Framework Joyces detailed renderings of Dublin as well as his opinions of Irish society make up the elements of his geographic imagination. The term geographic imagination refers in this case to Joyces psychical return home. Social scientist and geographer, Doreen Massey, defines geographic imagination in the broader sense follows: It is probably now well accepted, though it is still important to argue, that a lot of our "geography" is in the mind. That is to say we carry around with us mental images of the world, of the country in which we live (all those images of the North/South divide), of the street next doorAll of us carry such images, they may sometimes be in conflict or even be the cause of conflict, and digging these things up and talking about them is one good way in beginning to examine what it means to think geographically.3 Masseys definition of geographic imagination is concurrent not only to the study of James Joyce but of many other migrant stories as well. One such example of this can be found in the literary essay, The Neurologists Notebook: The Landscape of His Dreams, in which
3

Valuing Places - Geographical Imaginations

neurologist Oliver Sacks, relays the biography of memory artist Franco Magnanis turbulent relationship with his childhood home of Pontito, Italy. The artist grew up in the small Tuscan village between the 1930s and 1940s. However, when Magnani was ten, Nazis infiltrated the village and sent most of the residents into exile. Magnani spent the next decade travelling from one place to another until finally settling in San Francisco as a cook. Due to his displacement and abrupt separation from Pontito, Magnani suffered psychological trauma which manifested itself in temporal lobe epilepsy. As a side effect of this condition, Magnani began experiencing detailed hallucinations of his Tuscan home. These episodes, which lasted throughout Magnanis life, incited an obsession within the man to recreate his homeland on the canvas. The depictions were so accurate that one could compare a photograph of the town to the paintings, and every detail would be intact. Thus Magnani returned to his homeland via his geographic imagination and his art.much like Joyce. Another example of how the geographic imagination of home informs a migrants perspectives is in the article, My own little Morocco at home. In this article, musicologist Carolyn Landau chronicles the transnational journey of Moroccan national, Mohamed, through the evolution of his musical tastes. Mohamed spent the early part of his childhood living in a rural town in Morocco where he became accustomed to listening to his mother sing the folksongs of the region.4 Then when Mohamed was a teenager the family moved to the bustling, Arabized city of Fez. Here, instead of Berber, Mohamed heard popular music from other North African (specifically Egyptian) artists. Though he was ambivalent about this new sound, one thing Mohamed was certain of was that this was not his music.5 However Mohamed was able to

4 5

Landau, 40 Landau, 40

adapt to urban life due to the (Berber) cultural and musical references he continued to enjoy at home.6 Music further helped Mohamed adapt when he moved from Fez to Paris, at which time he connected with other North African migrants through their love of rathe music Mohamed heard in Fez. From Paris Mohamed journeyed to London, the cultural hub of Europe. During this time, YouTube entered the social media scene, which allowed Mohamed to access a watershed of Moroccan and North African music, free of charge and conveniently. Furthermore, YouTube allowed Mohamed to dialogue with other ra fans, connect with family members back in Fez, and discuss videos of Berber music. Therefore, it was in London that Mohamed fully realized the effects music had on his sense of home and cultural identity while separated from Morocco. Like Joyce, Magnani and Mohamed thought geographically and as a result the concept of home was always present and vivid in their imaginations. However, the difference between Joyce is that he struggled with an ambivalence towards Irelandpraising it and disdaining it all at once. To put it in a contemporary context, the relationship between Joyce and Ireland was much like that of jilted lovers. Though Ireland treated Joyce badly (or at least a portion of the culture did), the relationship was still significant enough that he could never quite divorce himself from his first love. In a romantic relationship one attaches nostalgia to memories of the lover. The same is true for homeland ties and geographic imagination. Nostalgia encapsulates the concept of home, as best exemplified by Magnani. The painter refused to visit his beloved Pontito for more than two decades after his exile, afraid that the return would be the end of the Pontito memory.7 Magnani knew that once he returned to his

6 7

Landau, 40 Sacks, 62

home, the utopia he had so thoroughly cultivated in his mind and on canvas would shatter once he faced reality. This sense of home as a place in the mind is a point essayist Pico Iyer upholds in his lecture entitled Where is Home? During his talk, Iyer states: Home has less to do with a piece of soil and more to do with a piece of soul.8 Joyce certainly carried Dublin in his soul during his exile, never quite able to rid himself of his nostalgia for Ireland. However, unlike Magnani and Mohamed, Joyces nostalgia never romanticized or celebrated his homeland. Rather, the writers geographic imagination laid bare the flaws and hypocrisies of Irish society9, augmented the potential for progress and culture Ireland possessed, and refashioned Dublin with architectural accuracy on the page. An example of the authors refashioning appears in his seminal work, Ulysses. Joyce describes Dublin in the tone of a native, attentive to and knowledgeable of his city: What parallel courses did Bloom and Stephen follow returning? Starting united both at normal walking pace from Beresford place they followed in the order named Lower and Middle Gardiner streets and Mountjoy square, west: then, at reduced pace, each bearing left, Gardiner's place by an inadvertence as far as the farther corner of Temple street: then, at reduced pace with interruptions of halt, bearing right, Temple street, north, as far as Hardwicke place. Approaching, disparate, at relaxed walking pace they crossed both the circus before George's church diametrically, the chord in any circle being less than the arc which it subtends" (17.1-10). 10 It has often been said that one could draw a map of Dublin simply by reading the works of Joyce, and in fact this was the authors aim. Joyce became obsessed with representing the physical sites of Dublin as accurately as possible. This obsession for exactness went so far that Joyce admitted in a letter to Bertrand Russell that it would be possible to rebuild the entire city,
8 9

Iyer While Joyce recreated Dublin with meticulous care in his writings, Irish authority figures were often villanized as the author felt these authorities (which will be discussed in greater depth later on) were the cause for Irelands backward culture. 10 Walking Ulysses; the above passage from Chapter 17, Ithaca, demonstrates the success Joyce had in representing his city. This passage is one of many that are included in a walking tour of Dublin themed around the locations described in Ulysses.

brick by brick, using Ulysses. Though God alone knows why anyone would want to. The place is a shithole.11 Obviously the last line of the quotation hints at the writers ambivalence (and even disgust) towards his country of origin. However, Joyce also had a passion for Ireland that could never be fully eradicated from his mind. For instance, there is a particular passage in Ulysses which exemplifies Joyces unyielding affinity for his homeland: Her antiquity in preceding and surviving, succeeding tellurian generations: her nocturnal predominance: her satellitic dependence: her luminary reflection: her constancy under all her phases, rising and setting by her appointed times, waxing and waning: the forced invariability of her aspect: her indeterminate response to inaffirmative interrogation: her potency over effluent and refluent waters: her power to enamour, to mortify, to invest with beauty, to render insane, to incite to and aid delinquency: the tranquil inscrutability of her visage: the terribility of her isolated dominant resplendent propinquity: her omens of tempest and of calm: the stimulation of her light, her motion and her presence: the admonition of her craters, her arid seas, her silence: her splendour, when visible: her attraction, when invisible. Though the quotation refers to the character Molly Bloom, many of the qualities attributed to her could also apply to Ireland. First, consider the following line, replacing her with Ireland: Irelands power to enamour, to mortify, to invest with beauty, to render insane, to incite and to aid delinquency. Such a quotation demonstrates Joyces fluctuating opinion of his homeland. Ireland is known for its beauty, however if one were to look beyond the picturesque, the poverty and the oppression of Joyces era certainly would possess a mortifying quality. To further reinforce that this quote is covertly about Ireland rather than Molly, the description of the woman suddenly becomes naturalistic: the admonition of her craters, her arid seas, her silence. Although it is a tradition within literature to associate women and nature (due to Eve being the mother of all life in the book of Genesis), Ireland is often poetically depicted as
11

Dublin Psychogeographical Society

a woman. Therefore, this is yet another detail that muddies the waters as to whether narrator is describing a lover, or Joyce is calling to Ireland. Finally, the last important consideration for the Ulysses passage is final line: her splendour, when visible: her attraction, when invisible. Though Joyces connection to his homeland was fractured and resistant, he felt a pull towards Ireland as well as a vocation to protect and defend the country against those who threatened its progress. The protectionist attachment to the homeland (as demonstrated by Joyce) is a phenomenon addressed in the study, Exploring Attachment to the Homeland and Its Association with Heritage Culture Identification, by development psychologists, Ferenczi and Marshall. In this study the researchers discovered that a keystone of nation attachment is the personification of nations as attachment figures, parallel to family and specifically, to parents.12 In other words, ones nation of origin becomes like a parent figure, molding and shaping the individuals identity. This statement is certainly not without grounds, considering nations of origin are often referred to as motherlands carrying with them a wombed connotation. For instance, the researchers cite several examples in which cultures view their nations as a third or overarching parent. Consequently, the researchers suggest that if a person considers the homeland as a mother-figure it is more understandable why individuals resort to drastic measures [of] defense protecting the country. 13 Like he felt towards his own mother, Joyce pitied Ireland, seeing it as a victim of its authorities. Therefore, while Joyce did not take up a gun in the name of Irish nationalism, he used his writings as a means of defending the waning integrity of twentieth century Ireland. In

12 13

Ferenczi, Marshall, 2 Ferenczi, Marshall, 3

fact, Joyce once said, I am not despondent. I shall try myself against the powers of the world. And though I seem to have been driven out of my country here as a misbeliever, I have found no man yet with a faith like mine.14 It was not Ireland Joyce ultimately rejected but rather the powers who dominated the people. The writer sought to defend Ireland in his writings from the priests of the Roman Catholic Church, the functionaries of the Imperial British state, and extremists of the Irish National Revival.15

Joyce and the Church: The first and preeminent of these powers was the Church. This over the other two authorities was the primary reason Joyce left Ireland. In his novel, A Portrait of the Artist as a Young Man, the protagonist, Stephen Dedalus, parrots Joyces rejection of the Church in a dream the character has of hell: A field of stiff weeds and thistles and tufted nettle-bunches. Thick among the tufts of rank stiff growth lay battered canisters and clots and coils of solid excrement. A faint marsh light struggling upwards from all the ordure through the bristling grey green weeds. An evil small, faint and foul as the light, curled upwards sluggishly out of the canisters from the stale crusted dung. / Creatures were in the field; one, three, six: creatures were moving in the field, hither and thither. Goatish creatures with human faces.16 Stephens dream of hell comes shortly after the Jesuit priests coerce him into living a holier life. The character thus realizes the only way he can rectify the sins hes committed he must re-devote himself to the Church or suffer the punishment of hell. Stephens reaction to the Jesuits insistence upon holiness was not uncommon among the Irish people during the early twentieth century. Through threats of hell and stringent moral codes, Church authorities cowed the Irish into subservient parishioners. Church officials played
14 15

The World of James Joyce Ibid 16 Joyce, 158

upon the peoples sensibilities and thus incited a simultaneous fear and veneration of the institution. Furthermore, not only was this emphasis on living a holy life aggressive, it was pervasive. Catholicism became a major component to the Irish cultural identity, and thus a symbol of the homeland for the people, as well as their detriment. Joyce brings out this strong connection between Ireland and the Church in Stephens vision of hell. The setting of the dream is particularly significant. For many, the typical image of the underworld, as rendered in so many religious paintings and writings, is that of fire and brimstone. The landscape of these representations is rocky and arid, with ugly creatures crawling along the face of jagged rocks. But for Stephen, hell is pastoral with goat-like creatures roaming the fields. The description is similar to the stereotypical countryside of Ireland with open pastures and grazing sheep. Through this image, then, Joyce criticizes the Catholic Church for its abuse of power which mired Ireland in a hell-like, theocratic reality. Consequently, it is no wonder why the Church was the driving reason Joyce left Ireland. As Mary Douglas writes in her article, The Idea of a Home: A Kind of Space17 there appears to be an underlying element of home that incites a person to leave. Douglas attempts to explain this phenomenon when she argues that home offers structure and discipline, but when one of these components is out of balance, chaos within the home ensues. In twentieth century Ireland, the source of structure and discipline was the Church which helped facilitate public monitoring and a high degree of visibility.18 Douglas argues that public monitoring and visibility is acceptable to a degree, and even inevitable. However, if there is a blatant lack of privacy or security it causes anxiety within an

17

The Douglas article is used to support the research of involuntary exiles/diasporas and those groups connection to home. The article is not used, however, to support the research of migrants who leave the country of origin voluntarily. 18 Douglas,8

individual and thus instigates the person to find refuge outside the home. In the case of Joyce, the Church was pervasive in the lives of the Irish, present everywhere from the bedroom to the boardroom. As such, there was a marked lack of privacy.

Joyce and Politics: As a consequence of the Churchs abusive powers, Joyce went from priest-like devotion to secular agnostic in the short span of his Jesuit education. In the end, Joyce left for France, no longer able to tolerate the Churchs skewed morality. According to Ellmann, this rejection of the Church led [Joyce] to quarrel with his mother and by extension with his motherland, in which he saw a secret collusion of Catholic and British authorities threatening hell or jail.19 The Catholic Church and British Rule often worked hand-in-hand to subdue the Irish though neither authority would likely admit to the alliance. However, to Joyce the connections were clear. The writer identifies this give-and-take relationship between Imperial authorities and Church officials in the essay, An Island of Saints and Sages in which Joyce writes: "[England] persecuted the Roman Church when it was rebellious and stopped when it became an effective instrument of subjugation.20 In short, while the powers which lorded over the Irish people manipulated the populous, they also manipulated each other. In fact, later in the essay Joyce accuses England of being the reason the Church gained so much power over the Irish in the first place, stating: The truth is that the English government increased the moral value of Catholicism when they banished it.21 In a way, one religious persecution incited another the English persecuted the Catholics thereby giving the Catholics

19 20

Ellmann, The Politics of Joyce Joyce, An Island of Saints and Sages 21 Ibid

reason to rebel; however, through this rebellion the Catholics gave an unnecessary amount of power to the Church which in return oppressed its own people. What is most striking about An Island of Saints and Sages is that Joyce openly comes to the defense of his homeland. This is significant because, according to Lynne Bongiovanni, Ph.D., English professor at Mount St. Vincent College, Joyce walked a tightrope between his own keen interest in Irish politicsand his desire to become a respected European author, free from the nationalism and cultural specificity disdained by the ideals of High Modernism.22 Due to this desire to be considered a modernist writer, it is understandable why Joyce never directly addressed events such as the Easter Rising of 1916 or other nationalist rebellions. However, this lack of commentary in his novels reveals less about [Joyces] own private political position than his strong desire to present himself in the role of international exile.23 However, as Ferenczi and Marshall stated in their study, when a place is so deeply engrained within a person, the natural reaction is to defend the place against outside threats. For Joyce, Ireland was so much a part of his consciousness that he could not feign indifference. A similar reaction to home and political unrest is discussed in Johanne Devlin Trews article, Reluctant Diasporas of Northern Ireland: Migrant Narratives of Home, Conflict, Difference, in which she studied the mass emigration from Northern Ireland in the 1970s. This emigration was largely a result of the violence between home rule parties, such as Sinn Fein, and loyalists to the British crown. For many of these individuals the migration experience triggered their sense of a distinct Northern Irish identity and home. In other words, only after the Northern Irish left their homes did they adopt a cultural identity affiliated with home. The same can be said of Joyce. While

22 23

"James Joyce," Journal of Empire Studies Ibid

living in Dublin, Joyce felt pressured by both the government and the Church to remain a poor, blindly-pious Irishman who was easily directed. As such, Joyce had no choice but to resist this aspect of home and reject his culture for the sake of a more universal society. The irony of Joyces writings, though, is that while he desired to be considered a modernist writer (a sect of artists who prejudiced universalism over their own cultures), Joyce could never remove his imagination from Ireland. However, while living away from Ireland Joyce could more acutely recognize the abuses the Irish suffered and as a result he adopted a stronger Irish identity. According to James T. Farrell in his New York Times article, Joyce and His First Self-Portrait: It is at least arguable that Joyce was a kind of inverted nationalistthat the nationalism which he rejects runs through him like a central thread. Simply put, while Joyce rejected any formal attempts to reclaim the Irish culture he could not divorce himself from his own affinity to and identification with Ireland. In fact, the promotion of Irishness was a popular rebellion in answer to Englands oppression. Later in his article, Farrell writes, Ireland set up as a counter to England an idea of her own culture. Through culture, she would show that she was a nation. However, as Joyce saw it, attempts to reclaim this culture only reinforced the countrys backwards ways.

Joyce and the Revival: The final power Joyce sought to undermine in his writings was that of the Irish National Revival, whose whole existence revolved around reclaiming Irish culture. As stated previously, Joyce grew up in a time when the British Empire had the singular ambition to suppress and eradicate Irish culture (circa 1900). In answer to the suppression, then, a handful of Irelands literati banded together to reignite the nations sense of nationalism. This movement, fueled by

the campaigning and writings of poet W.B. Yeats and playwright Lady Augusta Gregory24, manifested itself into the Abbey Theatre. Later to become the National Theater of Ireland, the Abbeys primary aim was to augment Irish identity through the retelling of ancient heroic legends in books.25 However, Joyce believed Ireland was falsely portrayed and romanticized by this revival. Specifically, the Revival sought to renew Irish mythology and folklore. However, the majority of these stories were set in quintessential Ireland (the countryside) and glorified the quintessential Irishman (the peasant). Therefore, Joyce saw the Revival as yet another force that tried to fossilize Ireland in its past and ignore the countrys potential for progress. Furthermore, it didnt help matters that Yeats and Gregory came from wealthy, Anglo-Irish backgrounds. They were out of touch with the common citizen whereas Joyce had an intimate understanding of the plight of the poor Irish Catholics. As such, the author believed that, Life we must accept as we see it before our eyes, men and women as we meet them in the real world, not as we apprehend them in the world of fairy.26 In other words, while people like Gregory and Yeats strove to celebrate and augment the peasant culture of Ireland, Joyce endeavored to represent the true identity of the country: destitute, abandoned, but hopeful. Consequently, Joyce publicly refuted Gregory and Yeats attempts at revitalizing the Irish culture in his essay, The Day of Rabblement in which he writes, The Irish Literary Theatre must now be considered the property of the rabblement of the most belated race in Europe. 27

24

However, it is important to note that both Yeats and Gregory were Anglo Irish, meaning they were of the Protestant, upper class minority. Yeats especially was known for romanticizing Ireland (particularly the West) in his poetry. 25 "Irish literary renaissance" 26 The World of James Joyce 27 Doherty, "The Day of the Rabblement by James Joyce

Joyce saw the potential Dublin had in becoming a true European city, displaying the finest of art, literature and theater. However, because of the efforts of the Irish Revival, Joyce believed Ireland was cemented in its provincial myths and West Coast peasantry. As such, Joyce wrote in Rabblement that, A nation which never advanced so far as a miracle-play affords no literary model to the artist, and he must look abroad. Summarily, if influencers such as Gregory and Yeats continued to promote a backwards Ireland, true art could not flourish within the confines of the culture. Consequently, Joyce left his home in order to write freely about his home. Such works included (in painful detail) the true poverty of Irelandthe miserable slums of Dublin, the back-breaking labor of the countryside, and the oppressive Church. An example of Joyces expository approach to defending his home is found in the dreary descriptions of Dubliners. In this novel, the writer sets the story in the drab parts of the city which Joyce knew so intimately. The stories portrayed people who were victims, brutalized and repressed.28 Joyce and the Irish Revivalists agreed upon the fact that change lied with the impoverished majority of the country. Joyce even wrote in Ulysses that the movements which work revolutions in the world are born out of the dreams and visions in a peasant's heart. (171) However, unlike the Revivalists, Joyce endeavored to make those dreams a reality through tough love and scathing observations of Ireland. These criticisms strove to promote progress by identifying the flaws. According to Stanislaus Joyce, Joyce believed that circumstances of birth, talent and character had made him its interpreter. 29 The writer saw the possibility of Dublin becoming a sophisticated European city, but he also saw the authorities of Ireland suppressing every attempt at modernization and development. Therefore, in order demonstrate Dublins potential to the world, he had to remove

28 29

The World of James Joyce James Joyce: A Concise Biography

himself from the city. This separation allowed Joyce creative distance in order to observe and internalize the abuses his homeland suffered.30 As a result of this distance, Joyce realized that the Revivalists refused to see Dublin in its modernity. Instead, they paid more attention to the empty forms of the past than to the life of the living city.31

Significance for the modern context: While Joyce presents scholars with an interesting lens into homeland attachment, the fact that he lived nearly 70 years ago brings into question the relevancy of this particular case study. How does the enigmatic life of James Joyce relate to the modern context of homeland ties? As stated earlier, the world has seen a surge in global migrations over the last few decades with 220 million people living away from their countries of origin. Therefore, 220 million people are recreating their homeland in their host societies. This is important to note because that very fact (if my argument is supported) is the definition of transnationalism: the blurring of boarders and convergence of cultures. As such, if scholars can understand what part home plays in a migrants perspective, then deeper and more meaningful dialogues can be conducted among individuals of varying backgrounds.

Conclusion: Consequently, because Joyces geographic imagination remained in Dublin, his works promoted a sense of truth and relevancy about Ireland that is applicable to many developing countries. Instead of trying to reinforce the past, Joyce endeavored to present readers with the

30 31

James Joyce: A Concise Biography The World of James Joyce

reality and the potential Ireland possessed. Accordingly, though he resisted the designation in the beginning, his books would be Irish. He would lay bare Dublin life. He would imply what a new Ireland might be like.32 This new Ireland would be a secular society, free from the damnations of the Church; an independent society free from the oppression of England; and a forward-looking society which embraced progress, world cultures, and a diversity of art. Though Joyce spent the better part of his life in self-imposed exile, in a sense, he never truly left Ireland. His geographic imagination recreated the homeland on the page and his desire to return home made those renderings all the more accurate and poignant. Therefore, in the study of homeland ties, Joyce presents scholars with an enigmatic example of how ones home can in one sense be the prison one seeks to escape, the place one escapes to, and always the place one returns.

32

The World of James Joyce

Works Cited: "Country Comparison :: Population." The World Factbook. Central Intelligence Agency, July 2013. Web. 28 Nov. 2013. Doherty, Niall. "The Day of the Rabblement by James Joyce." Disrupting the Rabblement. Word Press, n.d. Web. 10 Dec. 2013. Douglas, Mary. "The Idea of a Home: A Kind of Space." Social Research 58.1 (91): 287-307. Academic Search Complete. Web. 11 Sept. 2013. Dublin Psychogeographical Society: Bloomsday Special #3." Web log post. Irish Left Review. N.p., 18 June 2010. Web. 29 Nov. 2013. Ellmann, Richard. James Joyce. New York: Oxford UP, 1982. Print. Ferenczi, Nelli, and Tara Marshall. "Exploring Attachment to the "Homeland" and Its Association with Heritage Culture Identification." PLoS ONE 8.1 (2013): 1-17. Academic Search Complete. Web. 11 Sept. 2013. "Geographical Association." Valuing Places - Geographical Imaginations. Geographical Association, n.d. Web. 27 Nov. 2013. "Irish literary renaissance." Encyclopaedia Britannica. Encyclopaedia Britannica Online. Encyclopdia Britannica Inc., 2013. Web. 29 Nov. 2013. Iyer, Pico. Where is Home? TEDTalks, 17 July 2013 2007. Web. 30 Nov. 2013. Joyce, James, and Herbert Gorman. A Portrait of the Artist as a Young Man. New York: Modern Library, 1928. Print. Joyce, James. "An Island of Saints and Sages." Andromeda. Rutgers, n.d. Web. 10 Dec. 2013. Joyce, James, and J. I. M. Stewart. Dubliners. London [etc.: Penguin, 2012. Print.

Joyce, James, Morris Leopold Ernst, and John Munro Woolsey. Ulysses. New York: Random House, 1946. Print. James Joyce: A Concise Biography. Dir. Malcolm Hossick. Academy Media. Films on Demand: Digital Educational Video, 2006. Web. 29 Nov. 2013. "James Joyce." Web log post. Journal of Empire Studies: The Topics of the Cycle of Empire, East and West. N.p., July 2011. Web. 29 Nov. 2013. O'Brien, Edna. "James Joyce." The New York Times Online. New York Times, 1999. Web. 29 Nov. 2013. Trew, Johanne Devlin. "Reluctant Diasporas of Northern Ireland: Migrant Narratives of Home, Conflict, Difference." Journal of Ethnic and Migration Studies 36.4 (2010): 541-60. Academic Search Complete. Web. 11 Sept. 2013. "Walking Ulysses." Joyce's Dublin Today. Boston College, n.d. Web. 30 Nov. 2013. The World of James Joyce. Dir. Sen Mrdha. Perf. T.P. McKenna, John Kavanagh. Academy Media. Films on Demand: Digital Educational Video, 1986. Web. 29 Nov. 2013.