You Won't Believe This Incredible Art Edition Of James Joyce's Ulysses

by Stephen J. Gertz

James Joyce completed his novel, Ulysses, on October 30, 1921. Ninety years later, on October 30, 2011, Charlene Matthews, the Los Angeles-based book artist and bookbinder recently the subject of a profile in Studios magazine, began work on an extraordinary edition of the book, based upon Sylvia Beach's true first edition with all its typos included.

Two years later, on October 30, 2013, she completed it: the entire text of Ulysses - all of its approximately 265,000 words in eighteen episodes - transcribed by hand onto thirty-eight seven-foot tall, two-inch diameter poles: Ulysses as a landscape to physically move through; the novel as literary grove, Ulysses as trees of of life with language as fragrant, hallucinatory bark, and trunks reaching toward the sky.

Each pole has sixteen 'cels' comprised of four pages, a total of sixty-four pages per pole.  The first cel has the first line in it and then Matthews measured down 9" and wrote that line in the next cel and so on, with the last cel containing the last line on the pole. The whole totals thirty-eight poles.

I talked to Charlene Matthews about the piece, which I've observed in progress since she began. Our interview follows.

SJG: This project involved an extraordinary amount of work and time. What inspired you to begin?

CM: I had to do a sculptural piece for an art show Doug Harvey was doing at the Shoshanna Wayne Gallery.  So I wrote a J.G.Ballard short story (Say Goodbye to the Wind) on a pole I had in the back yard for years  which I hate to say was not very good.  I liked how it looked and I liked the idea of taking the words out of the book and putting them onto an object, I stayed with the pole.  I went through my book collection and found Ulysses.  Nothing else would do but IT, and I had never read it.

Key to the poles.

SJG: Did you have any idea when you began just how all-consuming it would turn-out to become?

CM: I knew the project would take me a while, I researched poles and pens and jumped in. As problems occurred I solved them, like how to write and turn the pole smoothly, how to write without twisting my back, how to exercise my hands to keep them from cramping, how to sand the pole just so to accommodate smooth writing.  The eventual  get-up I rigged was pretty amusing. I also began mapping the characters' movements on my walls.

All typos included, as well as flaws in the medium.

SJG: What is the over-riding theme here? What was/is your intent? In short (from a philistine perspective), what's the point?

CM: Initially I envisioned just a large group of poles standing around with writing on them.  But as I was writing, I had visions of the poles being exhibited in many ways, I am going to publish a small edition book of these drawings this year.  Some of them are pretty basic, most are pretty out there ( Irish Jig Dancers, energy windmills, mirrors etc.).

Also, as I was writing my eyes would look at my process and get memorized in the patterns made by the black pen letters on the wood grain, the letters moving around, the grain going up and down. I saw pictures of faces, and animals and odd formations.

The point?  I wanted to make something beautiful.  That is how I chose to spend my time at night.  I did have some very personal reasons for doing this, but they are moot.  It really is just my most current book art project.

Basically the book is all about sex.  I have A LOT to say about this.

SJG: It seems that the process must have in some way paralleled Bloom's journey, his a walk through Dublin, yours a walk through Joyce. Anything to that?

CM: It definitely felt like I was having a love affair with Joyce. 

SJG: You've read the book, a work of art in and of itself. You've turned it into a work of art in another medium. How has it changed your perspective on the book?

CM: As I was absorbing the story, I was also observing his style, and method of storytelling. I understood what was going on in his head as a story teller, writer and artist.  What he was trying to achieve in his Modernism.  This is when I knew that the book had more than a plot line, it had a picture line, the movements of everyone if they could be seen over head would draw out symbols/pictures.  As I was taking the words off the page, I was in this fourth dimension with Joyce.

Draft schematic plan for exhibition.

SJG: And for the viewer/reader, what is it you expect or hope from them? What do you want people to take away from the experience?

CM: What I want people to take away from seeing the poles is the magic of the hand written word, the beauty of handwriting.  The beauty of a handmade object only they can create, by hand writing.

SJG: Are you looking for or have you found an exhibition space for the piece? Any interest yet from galleries?

CM: I am talking to people about exhibiting them, and welcome any inquiries. Depending on the space will depend on how to show them.  Either anchored to the floor or hanging from the ceiling. All can be done.

Pole #38, with last line.

SJG: You said that "basically the book is all about sex.  I have A LOT to say about this." You can't declare that and not pay it off.

CM: Spoiler Alert! It covers every angle of human sexuality. One interesting point about the Ulysses obscenity trial in America is that the case was won the day after Prohibition was lifted.

•  •  •

The case was won on December 6, 1933. Prohibition ended on December 5, 1933 when the 21st Amendment to the U.S. Constitution repealing the 18th Amendment was ratified.

"...And what is cheese? Corpse of milk" - James Joyce, Ulysses . 

And what is Charlene Matthews' Ulysses? Copse of novel.

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Images courtesy of Charlene Matthews, with our thanks.
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A Bookshelf Made by FDR, Woodworker

by Stephen J. Gertz

A homemade, portable wooden bookshelf made by Franklin Delano Roosevelt, 32d President of the United States, in 1925 will be auctioned at Boomsbury-NY, on Wednesday, December 8, 2010. It is estimated at $3,500 - $4,500.

Made for Marguerite A. LeHand ("Missy"), FDR's companion, personal secretary, and hostess in Eleanor's absence, and carved with her initials and, below, his - "FDR 1925" - it was, apparently, a practical gift for her while the two traveled together during most of 1925, a small (50.5H x 49.5W x 19.5D cm), convenient, on-the-go bookcase. Roosevelt and Missy spent long hours on trains, traveling between Hyde Park, Manhattan,  Warm Springs, and his houseboat in Florida.

FDR had been a hobbyist woodworker in childhood. In 1921, when he contracted polio and remained at Hyde Park, the family estate in Duchess County, New York, to recover, he returned to it to fruitfully pass the time and cope with the physical challenges of his infirmity. Eleven years later an article appearing in Craftsman magazine in 1932, stated "Mrs. Roosevelt is not the only woodworking fan in her family.  Her husband, Governor Franklin Delano Roosevelt, follows it as his hobby to give him relaxation from his strenuous days in the state house at Albany, New York."

Bloomsbury, in their catalog note, hesitates to declare it as definitively FDR's creation: "this piece was made by FDR or perhaps a local craftsman in Hyde Park."

But there were no skilled craftsmen in Hyde Park; it was a farming community with, perhaps, a handyman for repairs and light projects. There was, however, one skilled woodworker close to Eleanor Roosevelt, Nancy Cross.

In 1925,  Eleanor, Marion Dickerman, and Cross built Val-Kill, a stone cottage on the Roosevelt property that the three shared. A furniture designer as well as a woodworker, Cross made all the furnishings, each of which was monogrammed EMN - the ladies' initials. 

This bookshelf, however, was not wrought with the fine woodworking skill that Cross possessed. And it is highly unlikely that FDR would commission a local to create what was a gift to a close companion with their initials carved into it; there's an intimacy to it that strongly suggests that this was strictly between the two of them. And, significantly,  this bookshelf is small and simple enough that it would not have been an unwieldy endeavor for one  confined to a wheelchair; he could have easily made it, and with much free time at his disposal and his own skill,  why would he not? Those carved initials? If the bookshelf had been commissioned by  FDR the builder would have wrought them with greater skill; they are fairly crude.

Yet the possibility exists that it was made by another and only signed by FDR.

The last piece of strong, circumstantial evidence that FDR indeed made this bookshelf himself, I believe, nails it. During 1925, Eleanor, Nancy Cross and Marion Dickerson established a woodworking shop at Val-Kill to employ the local farmers and teach thier children a craft after the harvest and before Spring. The women had to recruit skilled craftsmen from around the country and Europe as teachers and builders: there were none in the area. In 1926, the woodworking shop at Val-Kill became Val-Kill Industries, creating and selling furniture in the Early American style. FDR had a complete woodworking shop at his disposal.

Provenance on the bookcase is solid: the former property of Anna K. McGowan, Hyde Park, NY; Edgar McGowan was caretaker of the Roosevelt family estate at Campobello Island. It seems likely that they were related to one another.

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Images courtesy of Bloomsbury.
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