Lucia Joyce: To Dance in the Wake FROM THE PUBLISHER
"Most accounts of James Joyce's family portray Lucia Joyce as the mad daughter of a man of genius, a difficult burden. But in this important new book, Carol Loeb Shloss reveals a different, more dramatic truth: Lucia's father not only loved her but shared with her a deep creative bond. His daughter, Joyce wrote, had a mind "as clear and as unsparing as the lightning."" "Born at a pauper's hospital in Trieste in 1907, educated haphazardly in Italy, Switzerland, and Paris as her penniless father pursued his art, Lucia was determined to strike out on her own. She chose dance as her medium, pursuing her studies in an art form very different from the literary ones celebrated in the Joyce circle and emerging, to Joyce's amazement, as a harbinger of modern expressive dance in Paris. He described her then as a wild, beautiful, "fantastic being" who spoke to "a curious abbreviated language of her own" that he instinctively understood - for in fact it was his as well. The family's only reader of Joyce's work, Lucia was a child of the imaginative realms her father created. Even after emotional turmoil wreaked havoc with her and she was hospitalized in the 1930s, Joyce saw in her a life lived in tandem with his own." Though most of the documents about Lucia have been destroyed, Shloss has painstakingly reconstructed the poignant complexities of her life - and with them a vital episode in the early history of psychiatry, for in Joyce's efforts to help his daughter he sought out Europe's most advanced doctors, including Jung. Lucia emerges in Shloss's account as a gifted, if thwarted, artist in her own right, a child who became her father's tragic muse.
SYNOPSIS
Born at a pauper's hospital in Trieste in 1907, modern dancer Lucia Joyce (the daughter of novelist James Joyce) led an often-turbulent artistic life. She was hospitalized in the 1930s following a mental breakdown from which she never recovered. In this biography, Shloss (English, Stanford U.) reconstructs the complexities of this brilliant and troubled woman's life and makes a case for recognizing Lucia as her father's primary muse. Annotation ©2004 Book News, Inc., Portland, OR
FROM THE CRITICS
Publishers Weekly
The author of this groundbreaking new study of the life of Lucia Joyce (1907-1982), the daughter of James Joyce, shares an artistic sensibility with her subject that gives her a special insight for viewing Lucia's life. The origin of Lucia's mental breakdown, Shloss speculates, was her family's decision that she must give up her promising and fulfilling career in modern dance, an art form that Shloss explores with deep empathy. Lucia, she shows, was an artist, "who worked with a fervor and vision comparable to Joyce's own." Deprived of the creative expression that gave her life meaning, yanked from one country to another by her perpetually penurious father and buffeted by a series of emotional crises-her abandonment by several men she loved, including Samuel Beckett and Alexander Calder-Lucia's volatile and sometimes violent behavior resulted in her lifelong incarceration in mental institutions. Shloss further speculates that Joyce came to understand his role in his daughter's mental illness, and that he tried until his untimely death to reunite Lucia with her family-even though his wife, Nora, would not allow Lucia in her home and Giorgio, Lucia's untalented, parasitical brother, insisted that Lucia remain behind institutional bars. Shloss's assiduous research has turned up numerous facts about Lucia's medical and psychiatric history that contradict what other biographers have said; she takes issue with Richard Ellmann, Jane Lidderdale and Brenda Maddox for accepting versions of Lucia's life from unreliable sources. She criticizes Ellmann in particular for deviating from the historical method in his decision to trust the words of Maria Jolas, a family friend whose version of events was colored by her dislike of Lucia. Shloss's research reveals information about the various psychiatrists (including Jung) who used Lucia as human guinea pig to test psychological and physiological theories, all later disproved; it makes painful reading. Even more provocatively, Shloss states that Lucia was her father's muse, that she was aware of her role and that she was both proprietary of her place in her father's creativity and resentful that she was forced to abandon her own attempts at artistic expression. In Shloss's cogent analysis, the character of Anna Livia Plurabelle in Finnegans Wake reflected Joyce's steadfast love for and festering guilt about his daughter, who he truly believed was a genius in her own right. Deeply and intuitively familiar with Joyce's work, Shloss speculates that Finnegans Wake is "an elaborate coded mystery of an actual family." Since most of Lucia's letters have been destroyed, as Shloss acknowledges, she has been forced to imagine Lucia through the eyes of those who knew her and from her medical records. Because it is speculative in many areas where no direct material survives, this study will surely arouse debate, as Shloss admits. Because it is so astutely reasoned, however, it will surely stand as a vivid testament to Lucia's talents as a creative artist, as well as a corrective to the ways that the facts of her life have been hidden and distorted by earlier Joyce scholars. Agent, Tina Bennett, Janklow and Nesbit. (Dec.) Copyright 2003 Reed Business Information.
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