FW75 Programme 2014

A HUBBUB CAUSED IN JOYCEBOROUGH
CELEBRATING JAMES JOYCE’S COMIC
MASTERPIECE FINNEGANS WAKE

Buy a book in brown paper
From Faber & Faber
To see Annie Liffey trip, tumble and caper.
Sevensinns in her singthings,
Plurabelle on her prose,
Seashell ebb music wayriver she flows
James Joyce

FW 75: A HUBBUB CAUSED IN JOYCEBOROUGH
On May 4th 1939, Finnegans Wake, which was written largely in Paris, was
published in London. It was James Joyce’s last work, and within two years,
Joyce’s funeral would take place in Zurich.
75 years on, Finnegans Wake continues to occupy a literary category all its own,
characterised by its brilliant originality, florid erudition and perceived difficulty. Is it
about Dublin, or the future of humanity? Did it predict the internet? Did it send out
the first ever tweet? Is it about a Europe in crisis? Is it even written in English? Is it
the blueprint of a dream? Is it a glitch or a joke? Should we care?
On May 4th 2014, at the Phoenix Park Visitors Centre, Joyceborough launched an
exhibition and series of events – offline and on – intended to explore the hubbub of
people, objects, film, music, posters and photographs all some how implicated in the
commotion of the Wake. None of these explain the novel, well, not fully anyway!
Instead, the Hubbub is the start of a gathering, a place to talk and think and experience
“I am trying to give people some kind of
intellectual pleasure or spiritual
enjoyment by converting the
bread of everyday life into
something that has a
permanent artistic
life of its own...
for their mental,
moral, and
spiritual
uplift.”
“One great part of every human
existence is passed in a
state which cannot be
rendered sensible by
the use of wideawake
language,
cutanddry
grammar
and goahead
plot.”
"It is night.
It is dark.
You can hardly see.
You sense rather."
Humptydump Dublin squeaks through his norse,
Humptydump Dublin hath a horrible vorse
And with all his kinks english
Plus his irismanx brogues
Humptydump Dublin's grandada of all rogues.
Buy a book in brown paper
From Faber & Faber
To see Annie Liffey trip, tumble and caper.
Sevensinns in her singthings,
Plurabelle on her prose,
Seashell ebb music wayriver she flows
Graphic Poster: Natália Balladas of Printwell Design
1

the mastery and mystery of Finnegans Wake: its significance and influence in Dublin,
in Europe, and around the world: its beauty, its fun; its theatre; its chaos.
From film noir to Youtube, from the Parisian theatre to the streets of Dublin, from the
dawn of time to the dawn of Twitter, the hubbub caused in Joyceborough brings
adaptations, presentations, hesitations about Finnegans Wake and its creator – and will
continue to do so. It’s for amateurs, experts, newcomers, Dubliners, evreryone. The
Hubbub caused in Joyceborough is a standing invitation to join in and celebrate
Finnegans Wake.
BACkGROUND
James Joyce’s Dubliners was published 100 years ago in June 1914, Ulysses
appeared just eight years later, in February 1922 and in March 1923, we
know that Joyce had commenced the work in progress that would become
Finnegans Wake (FW) just 75 years ago on May 4th 1939.
The 25th anniversary of FW was marked by the publication of a set of
scholarly essays, Twelve and a Tilly. The contributors included Joyce’s friend
Frank Budgen, one of the original ‘exagminators’ of Work in Progress in 1929,
together with Frederick J. Hoffmann, Vivian Mercier, Fritz Senn, Robert F.
Glickner, James S. Atherton, J. Mitchell Morse, Nathan Halpar, Richard M.
kain, A. Walton Litz, David Hayman, and Jack P. Dalton. Padriac Colum,
Joyce's faithful friend, adds as a tilly his elegy written on the news of Joyce's
death in 1941.
The 50th anniversary of the publication of FW was marked by a rather
informal walk, in the Phoenix Park, followed by a social gathering in the
Mullingar House, Chapelizod. Mike Murphy’s Arts Show on RTE Radio 1,
produced by Seamus Hosey, did a broadcast which included contributions
from both former Lord Mayor Tomás Mac Giolla and Eamonn Mac Thomáis.
Out of these events came a stage production, The Wake with Paul O’Hanrahan
and Donal O’kelly – set design by Robert Ballagh – which played to acclaim
in venues that included Dublin’s Project Arts Centre, the Edinburgh Festival
where it won a Fringe First Award and at the 12th International James Joyce
Symposium in Monaco.
2

FW75, marking the 75th anniversary of The Wake, whch is presented by
JOYCEBOROUGH, began as a proposal for a day of activities to be part of
Phizzfest – the Phibsborough Community and Arts Festival.
What is presented, in marking FW75, is a programme of events, at Phoenix
Park Visitors Centre, Farmleigh, at Drumcondra, Phibsborough and
Rathmines public libraries; in the Crypt of Christchurch Cathedral – the
oldest built space in Dublin – and in the James Joyce Centre, North Great
George’s Street.
With the support of the Office of Public Works (Phoenix Park and Farmleigh)
and Dublin City Public Libraries and the Dublin UNESCO City of Literature
in particular, FW75 outgrew the original conception eventually bringing, for
the first time, a collaboration between the 7 world cities of literature. This
collaboration, consisted of filmed contributions from each of UNESO Cities
of Literature: Reykjavik, Iowa, Norwich, krakow, Melborne and Edinburgh,
and of course Dublin. Each city was provided with an extract from Chapter
1 of Finnegans Wake selected by Joyceborough.
Their responses to that that text will be see for the first time at the Phoenix
Park Visitors Centre on Wednesday 14 May 2014 at 3pm, introduced by the
very distinguished Dublin litterateur, Peter Sheridan.
RIVERRUN, adapted directed and performed by
Olwen Fouéré presents the voice of the river in
Finnegans Wake.
Produced by the Emergency Room and Galway Arts
Festival, the world premiere took place at the
Galway Arts Festival in 2013
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FW75 ExHIBITION
I am trying, Joyce wrote, … to give people some kind of intellectual pleasure or
spiritual enjoyment by converting the bread of everyday life into something that
has a permanent artistic life of its own... for their mental, moral,
and spiritual uplift.
A PROUDSEYE VIEW OF DUBLIN
Nicholas Proud, Bindon Blood Stoney and John Purser Griffith
The Bird’s Eye View of Dublin was created by Mr Brewer with the aid of a hot
air balloon tethered at Roe’s distillery, James’ Street, Mr Roe having recently
given generous support to the refurbishment of Christchurch Cathedral of
building of the Synod Hall. It is estimated that Roe’s gift to Christchurcch would
amount to over €20m in today’s terms. The Bird’s Eye View was created to show the
restored Christchurch as the jewel in a tiara comprising the other public buildings of
Dublin. The backdrop bears a remarkable resemblance to the opening lines of
Finnegans Wake:
Riverrun, past Eve an Adam’s, from swerve of shore to bend of bay, takes us
by a commodious vicus of recirculation, back past Howth Castle and Environs
Brewer even seems to have captured in his image the eternal (and thus Viconian) cycle
of aquaeus alluviation, evaporation, condensation and precipitation!
4

SOME EMINENT VICTORIANS
Dublin towards the end of the Nineteenth Century is captured in the Bird’s Eye View,
published by the London-based Graphic Newspaper in December 1890 when James
Joyce was nearly nine. In the Bird’s Eye view, the line of the river is clearly captured,
showing the influence on the city of three men in particular:
Nicholas Proud was the Secretary or Chief Executive
Officer of the Dublin Port & Docks Board. He was
appointed at its inception in 1867, when it replaced the old
Dublin Ballast Board (with its headquarters still in the
Ballast Office). He served until just two weeks before his
death in 1921. Both Bindon Blood Stoney and John Purser
Griffith were appointed Chief Engineer by the Secretary,
By Order, Nicholas Proud (FW12).
Hence when the clouds rolled by Jamey, a proudseye view is
enjoyable of our mounding’s mass (FW7-8)
Bindon Blood Stoney, Executive Engineer, to the Dublin
Ballast Board and, from 1867, Chief Engineer at Dublin
Port. He designed the quay walls at the River Liffey,
making it a deepwater port. He designed Grattan Bridge,
O'Connell Bridge, and the original Butt Bridge [replaced
in 1932]. He invented a diving bell, which can be seen to
this day on Sir John Rogerson’s Quay and the means to use
pre-cast concrete. His brother, the physicist George
Johnstone Stoney coined the term ‘electron’ for the
fundamental unit of electricity.
John Purser Griffith served a two-year apprenticeship
under Bindon Blood Stoney at the Dublin Port and Docks.
In 1871, he was appointed Dr. Stoney's assistant, becoming
the Chief Engineer in 1898. His achievements included
substantial rebuilding of the quays and the deepening the
approaches.
His North Quay extension involved the use of the great
concrete blocks, each containing more than 5,000 cubic feet
of masonry, weighing about 360 tons. These were built
above high-water level, and when sufficiently set were set
were lifted and transported by a floating shears crane and
deposited on a bed provided by steam dredging, and
levelled by men working in a diving bell. When he retired
in 1913, His son, John William Griffith, succeeded him. In
1936, he was awarded the honorary freedom of the city of
Dublin. He died on 21 October 1938.
5

FW75 AUDIO VISUAL MATERIALS
– Thaw! The last word in stolentelling! (424.35)
A range of audio visual materials associated with Finnegans Wake were collected from
across the world wide web and presented as a series of themed programmes during
the course of the exhibition. The theme for Week 1 was Sound. This programme
consisted of spoken word readings from Finnegans Wake with a special focus on the
sound artist John Cage. Week 2’s theme was Sight and consisted of visual
representations of Finnegans Wake including the 1967 film by Mary Ellen Bute and
special attention given to the media philosopher Marshall McLuhan. The theme for
Week 3 was the Mind, exploring aspects of the unconscious or hidden mind which
remains awake and active during sleep, with focus given to the Psychonaut Terrance
Mckenna.
Polish artist krzysztof Bartnicki also contributed to the hubbub and at the exhibition
by presenting a premiere of his Finnegans Wake “Family Fewd” media mashup.
THE WAkE ON STAGE
With the gracious co-operation of Louis Lentin, Robert Ballagh, Derek Speirs,
Olwen Fouéré and Jen Coppinger, material is presented on three stage
adaptations of Finnegans Wake:
• The Voice of Shem (1961) directed by
Louis Lentin
• The Wake (1989) devised by Paul
O’Hanrahan with Donal O’kelly.
The Wake evolved from Paul
O’Hanrahan’s earlier play based
on an adaptation of Book I of
Finnegans Wake entitled Nightfall
(Balloonatics Theatre Company,
1985).
• Riverrun (2013) devised, directed
and performed by Olwen Fouéré
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Bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk
The Fall (FW003)
Thingcrooklyexineverypasturesixdixlikencehimaroundhersthemaggerbykinkinkankanwithdownmindlookingated
Settlements (FW113)
CAFFIN-
HASSTEN-
Husstenhasstencaffincoffintussemtossemdamandamnacosaghcusaghhobixhatouxpeswchbechoscashlcarcarcaract
Cough/aviation, the automobile (FW414)
h u s k u r u n -
m i t g h u n d h u r t h r u m a t h u n a r -
Perkodhuskurunbarggruauyagokgorlayorgromgremmitghundhurthrumathunaradidillifaititillibumullunukkunun
Thunder (FW023)
Lukkedoerendunandurraskewdylooshoofermoyportertooryzooysphalnabortansporthaokansakroidverjkapakkapuk
Shut the door (FW257)
Ullhodturdenweirmudgaardgringnirurdrmolnirfenrirlukkilokkibaugimandodrrerinsurtkrinmgernrackinarockar
Norse gods/television (FW424)
Kl i k k a k l a k k a k l a s k a k l o p a t z k l a t s c h a b a t t a c r e p p y c r o t t y g r a d d a g h s e m m i h s a m m i h n o u i t h a p p l u d d y a p p l a d d y p k o n p k o t
Clap (FW044)
Bothallchoractorschumminaroundgansumuminarumdrumstrumtruminahumptadumpwaultopoofoolooderamaunsturnup
Telegraph & Radio (FW314)
Bladyughfoulmoecklenburgwhurawhorascortastrumpapornanennykocksapastippatappatupperstrippuckputtanach
Whore (FW090)
Pappappapparrassannuaragheallachnatullaghmonganmacmacmacwhackfalltherdebblenonthedubblandaddydoodled
Percussion/music, sight and sound (FW332)
Commissioned for the FW75 hubbub –
THE THUNDERWORDS IN SOUND AND VISION
The Thunderwords/hyperlinks
of Finnegans Wake
F
innegans Wake is punctuated by ten
100-lettered words, usually represented
as thunderclaps. They exemplify
the extremely complex, artificial language
of the Wake and are perhaps more easily
understood today as syncretistic, synaesthetic
hyperlinks. In the Wake, Joyce builds the
book’s language as he goes along and the
results are frequently, secularly, prophetic.
©2014
Each of the hyperlinks/thunderwords is
peppered with various words from a wide
variety of cultures throughout the ages
and they are, in a way, holographic, linking
their constituent elements, Internet-like,
in a way that overlapping new concepts
form on different viewings, sometimes even
contradicting a previously accepted meaning.
They’re also fun to say.
Bronn-
tonner-
bababadalg-
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haragh- tak-
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amminar- ronn-
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konN-
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||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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tuonn-
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ronnthunn-
Trovarr-
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hounawnskawnto -
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oh- ooh- oor-
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DEnen-
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
thurnuk
Perkod-
barggruauyagokgor-
uauya-
b a r g g r -
gokgorlayorgromgrem-
a d i d i l l i -
f a i t i t i l l i b u m u l l u n u k -
k u n u n
KLIKKAKLAKKAKLASKAKLOPATZKLATSCHABATTACREPPYCROTTYGRADDAGHSEMMIHSAMMIHNOUITHAPPLUDDYAPPLADDYPKONPKOT
––––––––
––––
–––––––––––––––
–––––––––––––––––– ––––––––
strump-
––––––––––––––––––––––
––––––––
kock-
––––––––
foul-
Bladyugh
moecklenburgwhura
whorascorta
apornanenny
sapastippatappa-
striptupper
puckputtanach
1
2
3
4
THINGCROOKLYEX-
INEVERYPASTURE-
SIXDIXLIKENCE-
HIMAROUNDHERS-
THEMAGGERBY-
KINKINKANKAN-
WITHDOWNMIND-
LOOKINGATED-
–––––––––––––
LUKKE DOE REN DUNAN
DURRAS KEW DYLOO SHOO
FERMOY PORTER TOO RY
ZOO YS PHALN ABORT
AN SPORT HAO KAN SAK
ROIDVERJ KAPAK KAPUK
–––––––––––––
Bothallchoractorschum-
mina- round- gan- sumu- minar- umdrum--------------------
strum----------------
trumina-------
hump-------------
ta--------------------
dump----------
waul- top- oof- oolooderamaunsturnup
PAP-
PAPPAPPAR-
RASSANNUARAGHEAL-
LACHNATULLAGHMON-
GANMACMACMACWHACK-
FALLTHERDEBBLENON-
THEDUBBLANDADDY-
DOODLED
5
6
7
8
Hussten-
COFFIN-
tossem-
DAMN-
tussem-
DAM-
AND-
ACOSaghcus-
HOBIX-
AGH-
HATOUXpeswch-
SCASHLbecho-
CAR-
CAR- caract
9
Ullhodturdenweirmudgaardgringnirurdrmolnirfenrirlukkilokkibaugimandodrrerinsurtkrinmgernrackinarockar
10
Thunderwords design
by Mark Scammell
www.theheterotopia.com
A recording of the ten ‘Thunderwords’ of Finnegans Wake was made by Rosi Leonard
and Jamie Hyland with members of the Dublin Youth Theatre. This is the audio
accompaniment to the visual presentation of the Thunderwords, designed by Mark
Scammell. These posters are available as a 12-card case in A5 format from Printwell
Design at €10 plus postage and packing (contact: printwell@mac.com).
7

01/05/2014 10:41 Page 1
THE BALLAD OF
PERSSE O’REILLY
Published for FW75 by Printwell
Design. The essential story of The Wake
condensed into a ballad and graphically
illustrated. Available as a small booklet
at €5 and as a set of 18 A5 cards for €10
plus postage and packing
(contact: printwell@mac.com).
AS SUNGBY
HOSTY
IN JAMES JOYCE’S
FINNEGANS WAKE (1939)
1
A PANOPLY OF JOYCEAN CHARACTERS
A panoply of Joycean characters was created by Dublin-born artist Roy
keegan in 1988 and produced in a limited edition of 50 to make FW50 in 1989.
8

Commissioned for the FW75 hubbub
ANARCHISM, GEOGRAPHY,
AND LOVE
Gerry kearns, Maynooth University
The challenge of cosmopolitanism remains:
What would it mean to be an Irish citizen of the world?
In 1907, for a talk to an adult education class
in Trieste, James Joyce chose the title, Ireland,
island of saints and scholars. He spoke about
the Irish national ego in all its excusable
delusion. Joyce understood that English
colonialism had twisted Irish understandings of
their own place and purpose, but he worried
about a celebration, in reaction, of either purity
or piety. The problem of purity was both
universal – What race, or what language […] can
boast of being pure today? – and local – to deny the
name of patriot to all those who are not of Irish stock
would be to deny it to almost all the heroes of the
modern movement. As for piety, he ejaculated: I
confess I do not see what good it does to fulminate
against the English tyranny while the Roman
tyranny occupies the place of the soul.
The first sketches that were later incorporated into Finnegans Wake were new
tales of some legendary Irish figures, but the nightscape of the novel as it
developed became as much geographical as historical. Among the books from
which Joyce spun his yarn, was a work of historical geography by a Russian
anarchist, Lev Il’ich Mechnikov [a.k.a. Leo or Léon Metchnikoff].
9

And what did Joyce find in Mechnikov’s book?
Well, in the first place he probably appreciated Metchnikov’s anti-racism.
From Reclus’s introduction to the book, Joyce noted ethnic island, reminding
him that Mechnikov was hostile to any form of racial chauvinism: Nothing
justifies anthropologists in claiming for their own ethnic group the privilege of being
either wholly or partly free from the influences of their surroundings. From the heart
of the book, Joyce made notes on Mechnikov’s demolition of any racism
based upon the colour of skin, the texture of hair, or the shape of skull: [N]o
one would dream of determining which race a dog or horse belong to on the basis of
their fur-coat. Joyce made a note for himself, change language / marry, where
Mechnikov observed that: races were divided, dispersed, mixed, and crossed in all
directions for thousands of centuries. Most of them abandoned their language for that
of their conquerors.
In Mechnikov, he also found a congenial philosophy of history. With his
distrust of linear explanations, Joyce had what we might perhaps call a
dialectical imagination, one which understands contradiction, repetition,
elaboration and synthesis as basic elements of historical change. He noted
Mare Tenebrarum / Atlantic 1400 after Reclus’s remark that Mechnikov
emphasized the ambivalence of geographical features, such that even the the
ocean, which now brings together all nations and makes them one through commerce
and ideas was once the domain of terror, the chaos from which evil spirits rise. Less
than five centuries ago the formidable Atlantic was called the ‘Sea of Darkness.’ A
further point about dialectics also comes from Reclus’s introduction. Joyce
noted spiral advance in response to Reclus’s suggestion that Mechnikov
believed that the progress of civilizations did not take place in a linear manner
from one group to another. The history of humanity has consisted of a succession of
spirals, incomplete and alternate developments, forward and backward steps,
incessant oscillations.
A third nugget, panned from the waters of Mechnikov, was the integration
of spatial scales; locality was stirred into universality. We find aspects of the
global in the local and through flow and ebb the parochial attachments find
new and wider expression. At many points, Finnegans Wake follows the
course of the Liffey through Dublin out into the Irish Sea. Joyce was surely
10

fascinated that Mechnikov made such a trajectory the basis of his view of
social progress and Joyce jotted for himself: river = synthesis. For Mechnikov,
civilizations that began as riverine societies, based on a hydraulic social
contract whereby people submitted to despotic rule as a way of securing the
collective security of irrigation works. Through their interaction around such
seas as the Mediterranean or the Indian Ocean, these river-based civilizations
broadened into more open societies, before embarking upon the universal
project of building world societies across oceans.
Finally, for Mechnikov the translation of the despotic riverine – to the
cosmopolitan oceanic-civilization was also about the submersion of hierarchy
and competition beneath egalitarianism and equality. The management of
vital fluids required nothing less than a new sentimental education.
In Finnegans Wake, as with Ulysses, Joyce takes leave of his reader in the voice
of a woman in pleasure. With Finnegans Wake, the waters of the Liffey lose
form amidst the wider spaces of the Irish Sea but we are promised The keys to
[…]. Heaven perhaps, as Anna Livia seems to assent, “Given!” And then she is A
way a lone a last a loved a long the, rippling a last love, in a little death. For social
anarchists, only mutuality and love were proper social bonds. For his part,
Lev Mechnikov ended his own book with a stark statement of the political
alternatives facing society: [L]a solidarité ou la mort (solidarity or death).
Bussoftlhee, mememormee! Till thousendsthee. Lps.
The keys to.Given! A way a lone a last a loved a long the
11
© printwell design 2014

FW75 PROGRAMME OF EVENTS
Sunday May 4th, 11.32am:
Official launch of 'FW75' with Robert Ballagh and Louis Lentin
at the Phoenix Park Visitors Centre until May 24th
Wednesday May 7th, 12.30pm:
Vincent Deane on FW and the Phoenix Park
at the Phoenix Park Visitors Centre
Thursday May 8th, 6.30pm:
Here Comes Everybody, the songs of FW
Café Chantant at Phibsborough Library
Wednesday May 14th, 12.30pm
Mapping Joyceborough with Gerard Meaney
at the Phoenix Park Visitors Centre
Thursday May 15th, 6.30pm:
Here Comes Everybody, the songs of FW
Café Chantant at Rathmines Library
Wednesday May 14th, 3.00pm
Seven films celebrating 75 years of FW
From the 7 UNESCO Cities of Literature: Reykjavik, Iowa, Norwich, Krakow, Melbourne, Edinburgh, Dublin
at the Phoenix Park Visitors Centre, introduced by Peter Sheridan
Tuesday May 20th
Visit of the Danish James Joyce Society
Wednesday May 21st, 7.00pm:
Dermot Bolger in conversation with Barry McGovern
Farmleigh. Farmleigh.ie
Thursday 22 May 12.30pm
Finnegans Wake as a Proudseye View of Dublin
With Oran Ryan
The Crypt of Christchurch Cathedral
Tuesday 20 May 2014
Visit of the Danish James Joyce Society
Thursday May 22nd, 6.30pm:
Here Comes Everybody, the songs of Finnegans Wake
Café Chantant at Drumcondra Library
Wednesday 28 May, 12.30 pm
Finnegans Wake and Dublin's new cultural quarter, Parnell Square
With Des Gunning at the James Joyce Centre
12

DEDICATION
Shane MacThomáis, Historian, Storyteller and Author.
Shane was a passionate Historian who took true pleasure from sharing
his knowledge, which at times seemed infinite. He was forever
learning, always chasing the fresh excitement that came with the
discovery of something he didn't know before. Shane treasured Dublin and
Ireland, it's present and it's past, and found unique and inspiring ways of
bringing that past into people's imaginations.
He favoured a warts and all history which allowed him to offer a true insight.
The ultimate communicator he could tell any story to it's full potential
weaving you through with emotion so you felt like you were there. Shane's
passion for history was infectious and he inspired many people to learn more,
offering support and time to anybody who wished it.
Shane worked for a number of years as Librarian in the James Joyce Centre.
He later came to Glasnevin Cemetery, bringing with him his knowledge and
love of James Joyce and his works.
13

He shared this knowledge through Joycean tours examining the many links
within the cemetery, in which the Hades chapter of Ulysses is set. Through
him Bloomsday in Glasnevin Cemetery has grown to a much beloved annual
event capturing the attention of more than just the avid reader of Joyce. He
created an opportunity for an experience, a glimpse of fiction and history.
This was just one of his many success stories during his fifteen years with
Glasnevin Cemetery, where he was pivotal in making it the accessible
National historical site it is today.
Eamonn MacThomáis, Shane's father, was a well known Dublin Historian,
remembered fondly for his RTE series Dublin: a Personal View, his guided
walking tours and many books. Eamonn was involved in the 50th
anniversary celebration of Finnegans Wake. Shane was greatly inspired by his
father, and as often before, Shane echoed his work by offering advice on this
FW75 exhibition. Although Shane followed in his father's footsteps, he was a
much loved Historian in his own right.
This quote from A Portrait of the Artist as a Young Man was one of Shane's
particular favourites:
I will tell you what I will do and what I will not do. I will not serve
that in which I no longer believe, whether it call itself my home, my
fatherland, or my church: and I will try to express myself in some mode
of life or art as freely as I can and as wholly as I can, using for my
defence the only arms I allow myself to use — silence, exile and
cunning.
~ James Joyce
Shane MacThomáis 1967-2014
14

ACkNOWLEDGEMENTS
Joyceborough would like to thank the
Office of Public Works/Phoenix Park for
their support of FW75, in particular
Margaret Gormley, Maurice Cleary,
Margaret Mc Guirk, and all the staff of
the Phoenix Park Visitors Centre.
We would also like to thank Jane Alger at
the Dublin UNESCO City of Literature and
Anne Marie kelly at Dublin City Public
Libraries. Special thanks to Phizzfest – the
Phibsborough Community Arts Festival for
the initial spark of inspiration.
Thanks to Farmleigh, Printwell Design,
Dandelion, MAPS, Tolka Area Partnership
and the James Joyce Centre; Tina Robinson,
Robert J Robinson, Robert Ballagh, Louis
Lentin, Vincent Deane, Dermot Bolger,
Barry McGovern, Peter Sheridan, Oran
Ryan, Cormac O'Hanrahan, Natália
Balladas, Mark Scammell, James Hyland,
Paul O’Hanrahan and Orlaith Ross at
Christchurch Cathedral for their support
and assistance.
Rosi Leonard,
Des Gunning,
Gerard Meaney
May the hubbub continue
www.joyceborough.org
Joyceborough also on Facebook and Twitter
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Print and Design: Printwell Design
The Factory, 17 Church Street East, North Wall, Docklands, Dublin 3
T: 01 855 0873 E: printwell@mac.com W: www.printwell.ie
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Humptydump Dublin squeaks through his norse,
Humptydump Dublin hath a horrible vorse
And with all his kinks english
Plus his irismanx brogues
Humptydump Dublin's grandada of all rogues.
James Joyce

This publication was jointly sponsored by:
17-21 Church Street East, North Wall, Docklands, D3
T: 01 855 0873 E: printwell@mac.com W: www.printwell.ie
This publication was edited, designed, layed-out and printed
by Printwell Design within 24 hours of receipt of text copy.
Are you ready to take the next practical step to getting a job?
Tolka Area Partnership has a wide range of services that will help you along
the road toward employment, education and training or starting your own business.
In 2013 our free services helped over 200 people start their own business,
221 individuals find work and 888 find their way back to education.
Call our Finglas (01 8361666) or Cabra office (01 8683806) to make an appointment
or visit www.tap.ie for more information.