A major scholarly collection of international research on the reception of James Joyce in Europe

TransLatin Joyce explores the circulation of James Joyce's work in the Ibero-American literary system. The essays address Joycean literary engagements in Spain, Portugal, Argentina, Mexico, and Cuba, using concepts from postcolonial translation studies, antimodernism, game theory, sound studies, deconstruction, and post-Euclidean physics.

Retranslating Joyce for the 21st Century offers multi-angled critical attention to recent retranslations of Joyce’s works into Italian, Portuguese, French, Dutch, Turkish, German, South Slavic and many other languages, and reflects the newest scholarly developments in Joyce and translation studies.

The Handbook systematically charts the trajectory of the English novel from its emergence as the foremost literary genre in the early twentieth century to its early twenty-first century status of eccentric eminence in new media environments. Systematic chapters address ̒The English Novel as a Distinctly Modern Genreʼ, ̒The Novel in the Economy’, ̒Genres’, ̒Gender’ (performativity, masculinities, feminism, queer), and ̒The Burden of Representationʼ (class and ethnicity). Extended contextualized close readings of more than twenty key texts from Joseph Conrad’s Heart of Darkness (1899) to Tom McCarthy’s Satin Island (2015) supplement the systematic approach and encourage future research by providing overviews of reception and theoretical perspectives.

All Future Plunges to the Past explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or "translations," of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment.