DUBLINERS | BY | JAMES JOYCE | [publisher’s device] | LONDON | GRANT RICHARDS LTD. | PUBLISHERS
 (57K)  (69K)

Contents: pp. [1–2], blank; p. [3], half-title; p. [4], [publisher’s advertisement]; p. [5], title-page; p. [6], PRINTED BY THE RIVERSIDE PRESS LIMITED | EDINBURGH, SCOTLAND | 1914 ; p. 7, Contents ; p. [8], blank; p. 9–278, text; pp. [279–80], blank. Published 15 June 1914; 1,250 sets of sheets printed, 746 copies bound; 3s. 6d.; bound in dark red cloth over boards, 19.7 x 13.4 cm.; stamped in gilt on front cover: DUBLINERS, and on spine: DUBLINERS | JAMES | JOYCE | GRANT | RICHARDS ; printed on cream-white laid paper, 19.2 x 12.4 cm., with cream-white wove endpapers. Issued in green paper dust-jacket, printed in black on front cover: DUBLINERS | By | JAMES JOYCE | 3/6, and on spine: DUBLIN | -ERS | JAMES | JOYCE | 3/6 | [ornament] | GRANT | RICHARDS | LIMITED , and on back: [advertisement for The Ragged Trousered Philanthropists]. [Slocum & Cahoon A8]

On 30 October 1904, James and Nora Joyce moved on to Pola, Austria, where Joyce had printed his satirical broadside aimed at Yeats and George Russell, The Holy Office. With the successful publication of his verses and short stories in periodicals, Joyce approached the London publisher Grant Richards on 15 October 1905 with a collection of stories he called Dubliners. Joyce composed these original twelve stories in less than a year and a half, but it would take him nearly ten years to get them published. Joyce signed and inscribed this copy of Dubliners : “To | an unknown and generous friend in | gratitude for a munificent | gift | James Joyce | Zurich: Switzerland | 26 March 1917.”
 

The New Freewoman, London (15 June–1 December 1913).
15 October 1913.
(86K)

The Egoist: An Individualist Review: formerly The New Freewoman, London (January 1914–December 1919). “A Portrait of the Artist as a Young Man,” (15 July 1914) Vol. 1: No. 14, pp. 273-74.
(81K)

Founded in 1911, Dora Marsden and Mary Gawthorpe’s paper, The Freewoman: A Weekly Feminist Review, was attacked for being immoral from the start. In time Marsden extended the review’s focus from suffrage to debates on wider social issues. By October 1912, Harriet Shaw Weaver rescued the review from financial ruin, for the first time; and by June 1913 it had to be reconstituted as The New Freewoman, with Weaver as the principal shareholder. The New Freewoman described its editorial mission as a “doctrine of philosophical individualism.” Rebecca West had contributed book reviews to The Freewoman and now became regular contributor to The New Freewoman and soon afterwards its assistant editor.

West introduced Ezra Pound, who was then the foreign correspondent for Poetry, to Marsden and Weaver, and he took the initiative in shaping the literary focus of the review. The list of contributors Pound brought to the review was formidable: Richard Aldington, H.D., Ford Madox Hueffer, F.S. Flint, and William Carlos Williams. Nonetheless, Pound’s ability, taste and character prompted West’s departure and the appointment of Aldington to the post of assistant editor. On 23 December 1913, The New Freewoman became the more famous The Egoist. Pound’s influence on the review was obvious as he continued to “discover” new writers and artists, just as subsequent assistant editors, Aldington, H.D. and T.S. Eliot would in turn. Although The Egoist could not pay their contributors, it gave some of the American poets European exposure. Most of the Imagists that appeared in The Egoist had already published their work for payment in Poetry. Pound contacted Joyce immediately with the prospect of getting A Portrait of the Artist as a Young Man serialized in The Egoist. In the second issue, 15 January 1914, Pound relayed Joyce’s account of Dubliners’ publishing difficulties, with the title “A Curious History,” and the third issue, which happened to appear on 2 February, contained the first installment of A Portrait. It ran serially in The Egoist in twenty-five installments from 2 February 1914–1 September 1915 (Vol. I, No. 3–Vol. II, No.9), except for Vol. I, Nos. 18–22 and Vol. II, No. 5.

Marsden remained editor of The Egoist for another six months, but then the responsibility fell to Weaver, who until then had been the review’s business manager. The Egoist maintained the exact physical layout of The Freewoman and The New Freewoman, which were more overtly political journals, even though more than half of its content now featured contemporary poetry and literature. From this perspective, The Egoist presented literature as a vehicle of social and political critique and change on par with its political, philosophical and economic commentary. By 1918, The Egoist had become a monthly review, and although Weaver reduced the number of pages by a fourth, she still had trouble issuing the magazine. Nonetheless, having successfully serialized A Portrait, Weaver ventured to publish Ulysses simultaneously with The Little Review (item 27).
 

A Portrait of the Artist | as a Young Man | BY | JAMES JOYCE | [publisher’s device] | NEW YORK | B. W. HUEBSCH | MCMXVI
(101K)

This copy is signed and inscribed on recto fly-leaf, from the publisher of the second edition to the publisher of the first: “Harriet Weaver | May 1917 | from B.W. Huebsch.” Weaver has laid in a copy of the “Extracts from some Press Notices of Portrait…” (item 20).
 

A Portrait of the Artist | as a Young Man | BY | JAMES JOYCE | THE EGOIST LTD. | OAKLEY HOUSE, BLOOMSBURY STREET, | LONDON
(91K)

Contents: p. [i], half-title; p. [ii], [within single-rule border, 6 x 3.2 cm.] BY THE SAME WRITER: | [rule] | CHAMBER MUSIC | (Elkin Mathews: London: 2/ ) | DUBLINERS | (B. W. Huebsch: New York: $1.50); p. [iii], title-page; p. [iv] COPYRIGHT, 1916, BY | B. W. HUEBSCH | PRINTED IN THE UNITED STATES OF AMERICA; p. 1–299, text; p. [300], blank. Published: 12 February 1917, with sheets printed for the 1916 Huebsch edition; number of copies not more than 750; 6s; bound in green cloth over boards, 18.8 x 13.2 cm.; stamped in blind on front cover: [within double ruled border, 18.3 x 11.5 cm.] A PORTRAIT OF THE ARTIST | AS A YOUNG MAN | [DASH] | JAMES JOYCE, and stamped in gilt on spine: [rule] | A | PORTRAIT OF | THE ARTIST | AS A YOUNG | MAN | [dash] | JAMES JOYCE | THE EGOIST LTD | [rule]; printed on cream-white wove paper, 18.6 x 12.5 cm. Issued in cream paper dust-jacket [missing from this copy]. [Slocum & Cahoon A12]

Joyce signed and inscribed this copy to his patron, whom he did not yet realize was also the publisher of this, the first English edition of A Portrait: “To | an unknown and | generous friend in | token of gratitude for | a munificent | gift | James Joyce | Zurich: Switzerland | 26 March 1917.” Weaver has laid in “Extracts from some Press Notices of Portrait…” (item 20).
 

Harriet Shaw Weaver was born in Frodsham, Cheshire, England in 1876. She was a socialist activist, suffragist, editor and publisher. Her patronage of Joyce, the artist and the man, began in 1914 and endured long after his death as Weaver acted as literary executrix and administrator of the Joyce Estate. Weaver passed away on 14 October 1961.
 

EXTRACTS FROM SOME PRESS NOTICES | OF | A Portrait of the Artist | as a Young Man | By JAMES JOYCE. | THE EGOIST PRESS : LONDON : 1916 : 23, Adelphi Terrace house, 2, Robert Street, W.C. 2. | Price 6/- net : by post, 6/4.
(19.3M)

Contents: pp. [1–4], text [36 press reviews]. One sheet cream-white wove paper, 21.8 x 27.9 cm., folded in half; printed by Leveridge & Co. (T.U.) Harlesden. N.W.

As a publisher and patron, Weaver subscribed to several news clipping agencies in Paris, London, and New York including Argus, Durrants, and Romieke & Curtis. By instructing the agencies to cut any article that mentioned Joyce’s name or works, Weaver built an impressive collection of contemporary critical opinion. It was a useful advertising resource then and is a scholarly one now. Joyce, Weaver, and Beach (and later Paul Léon) circulated these articles among themselves and among Joyce’s other friends and colleagues. To increase public interest in Joyce’s work in anticipation of Ulysses, they inserted this leaflet of reviews of the Egoist publication of A Portrait into the first order form for the Shakespeare and Company edition of Ulysses (item 30; figure 9). These English, American, French, Irish, Italian, German, Greek, Swiss, Dutch and Belgian reviews date from February 1917 to January 1918. Pound’s declaration heads the list: “James Joyce produces the nearest thing to Flaubertian prose that we have now in English.” This is Weaver’s copy laid in her Egoist Press edition of A Portrait of the Artist as a Young Man (item 18).
 

THE EGOIST PRESS | PUBLICATIONS | [double rule] | [list of publications]. 2 pp., publisher’s advertisement on printed white wove paper, 20.4 x 12.7 cm.
(8.6M)

Not only did Weaver publish Joyce, but her Egoist Press issued first editions of Tarr by Wyndham Lewis, Prufrock by T.S. Eliot, and Quia Pauper Amavi by Ezra Pound, all of which are advertised here. Though short-lived, The Egoist Press had a significant impact on modernist letters, and brought the works of H.D., Robert McAlmon, Dora Marsden, Richard Aldington, and Marianne Moore to the English public, often for the first time.
 

COLLECTION D’AUTEURS ÉTRANGERS | PUBLIÉE SOUS LA DIRECTION DE CHARLES DU BOS | JAMES JOYCE | GENS DE DUBLIN | Traduit de l’anglais par | YVA FERNANDEZ, HÉLÈNE DU PASQUIER | JACQUES-PAUL REYNAUD | Préface de VALERY LARBAUD | [publisher’s device] | PARIS | LIBRAIRIE
PLON | PLON-NOURRIT ET Cie, IMPREMEURS-ÉDITEURS | 8, RUE GARANCIÈRE - 6∞ | [rule] | Tous droits reserves.
(85K)

Contents: p. [1], blank; p. [2], colophon; p. [3], half-title; p. [4], copyright statement; p. [I]–XXXVI, preface; p. 1–319, text; p. [320], blank; p. 321, contents; p. [322], blank; p. [323], publisher’s statement. Published: 15 April 1926; 16 Francs; paperbound in cream-white, 18.5 x 12 cm.; printed in black and green on front cover: [title-page text] within decorative border, 17.3 x 10.8 cm.; and on spine: [decorative rule] | JAMES | JOYCE | [decorative rule] | GENS | DE | DUBLIN | [decorative rule] | [ornament] | [decorative rule] | PLON | NOURRIT ET Cie | ÉDITEURS | [decorative rule] | 1926 | [rule] | Edition | originale | Prix: 16 fr. | [decorative rule]. Issued in glassine wrapper.

In later years, Joyce insisted that the translations of his prose works had to follow the order in which they had been published originally: Dubliners, A Portrait and only then Ulysses. But the situation with the French translations was different. One of the first things Joyce did when he arrived in Paris was try to get A Portrait translated and published. La Sirène published Ludmila Bloch-Savitzky’s translation of that work on 22 March 1924, although the contract was signed almost four years earlier on 11 August 1920. Similarly, Joyce signed a contract with Librarie Plon in July 1923 for Dubliners but the publication of Gens de Dublin was delayed for almost four years. Nonetheless, just after the first edition of Ulysses appeared, several of Fernandez’s translations came out in Swiss and French journals: “Un Incident Régrettable” in Le Revue de Genève (March 1922) and “Un Petit Nuage” in Les Écrits Nouveaux (December 1922). As was also the case with Savitzky, the Joyce, Fernandez and Du Bos families were all friends. Joyce received only 1,250 Francs and just 5 copies of the Librarie Plon edition, one of which “Jacques le Joyeux” presented to Weaver several months later.
 

GIAMBATTISTA VICO | PRINCIPI | DI UNA | SCIENZA NUOVA | D’INTORNO ALLA COMUNE NATURA DELLE NAZIONI | SECONDO L’EDIZIONE DEL MDCCXXV | CON ANNESSA | L’AUTOBIOGRAFIA | [rule] | Prefazione e note di PIO VIAZZI | [publisher’s device] | MILANO | CASA EDITRICE SONZOGNO | 14 - Via Pasquirolo 14. 329 pp.
(51K)

Joyce signed and inscribed this copy of Vico’s treatise to Weaver when she visited him in Paris in the autumn of 1924: “ad | Harriet Weaver | questo libriccino in segno | di sua grande riconoscenza |James Joyce | Parigi | li [sic] 17 Sbre 1924.” In December, after Weaver had returned to Frodsham, she began to read the Scienza Nuova and soon received another gift from Joyce, a new edition of Victor Bérard’s L’Odyssée Poésie Homérique. Where Weaver may have found the Odyssey an aid to reading Ulysses, readers of “Work in Progress” and Finnegans Wake have found the allusion to Vico more obscure. Indeed Joyce claimed later that he did not pay undue attention to the theories of Vico (or those of Bruno, whose work Joyce had also recommended to Weaver).

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