Thursday, 26 October 2017 (9.154)

The group has startet a new episode, Scylla and Charybdis, and has advanced to: 

          “Lifted.” 

                    (Scylla and Charybdis U9.154)

Catherine Meyer sends a painting for this blog and writes:

This is going to be a very tough chapter and perhaps the most difficult one in the book. Odysseus is not the only one in danger when having to pass Scylla and Charybdis, but we in the reading group too have to watch out that we avoid the whirlpool and the six headed monster. That’s why we are most grateful to Fritz Senn, our host and tutor, who helps us to unravel the mysterious sentences.

I painted the title of the 9th chapter “Scylla and Charybdis” in gouache and watercolour.

Catherine Meyer © Zürich 2017

Thursday, 19 October 2017 (8.1150)

The reading group has advance to:

          “But somehow you can’t cotton on to them someway.”   

                    (Lestrygonians U8.1150)

Catherine Meyer, local artist and long-standing member of the reading groups, has sent in a painting inspired by last week's gathering. She writes:

We read an erotic paragraph, where Bloom thinks of his wife, Molly, and his first exciting adventure with at the top of the hill Ben Howth:

“Beauty: it curves: curves are beauty. Shapely goddesses. (...) Can see them library museum standing in the round hall, naked goddesses” (8.920–22).

Bloom thinks of Pygmalion and Galatea and wonders what she would say first at seeing him: “ Mortal” (8.924).  He goes on to think that Mortals have to eat. They stuff food into one hole and out behind (8.929). Then he wonders whether statues have one. 

My painting in pastels and ink shows Galatea as a statue, and in the background Bloom's memory of his wife Molly and her curves.

Catherine Meyer © Zürich 2017

Thursday, 12 October 2017 (8.866)

The last reading stopped half-way through the paragraph starting with “Mild fire” at:

          “Effect on the sexual.”

                    (Lestrygonians U8.866)

Thursday, 5 October 2017 (8.613)

The last reading stopped at:

          “Wants to sew on buttons for me. I must answer.”

                    (Lestrygonians U8.613)

Thursday, 28 September 2017 (8.405)

A note for those interested art inspired by Joyce's Ulysses: 

Catherine Meyer, Swiss artist and longstanding member of Fritz Senn's reading groups, is exhibiting her works in Zurich, Kronengalerie, Foschaugasse 3.

The schedule for the remaining days is:

Fri, 29.9.: 2 – 7 p.m.

Sat, 30.9.: 12 – 5 p.m.

Sun, 1.10.: 12 – 5 p.m.

The last reading reached:

          “Mackerel they called me”  

                    (Lestrygonians U8.405) 

Thursday, 21 September 2017 (8.169)

The last reading reached:

          “People looking after her.”  

                    (Lestrygonians U8.169) 

Thursday, 14 September 2017 (end of episode 7, "Aeolus")

The reading has reached the end of episode 7, “Aeolus”.

Thursday, 7 September 2017 (7.812)

The reading stopped before the headline:

          “IMPROMPTU”

                    (Aeolus U7.812)

Thursday, 31 August 2017 (7.558)

The last reading reached: 

          “But the Greek!” 

                    (Aeolus U7.558)

The next heading is: KYRIE ELEISON!

Thursday, 24 August 2017 (beginning of episode 7)

The group has started episode 7, “Aeolus”. 

[Exact page where the reading stopped unknown. Sorry about the present uncertainty. Will try to keep up better in future if possible.]

Thursday, 17 August 2017 (end of episode 6)

The reading group has reached the end of “Hades” and will start episode 7 (“Aeolus”), this coming Thursday, August 24.

Thursday, 27 July 2017 (6.612)

Please note that due to the annual Workshop there will be

no reading next Thursday, August 3rd.

The next reading, on August 10, will pick up again after: 

          “you're a doner.”

                    (Hades U6.612)

Thursday, 20 July 2017 (6.360)

The last reading stopped at:

          “Rattle his bones.”

                    (Hades U6.358)

Thursday, 13 July 2017 (6.84)

The last reading stopped at:

          “Learn German too.”  

                    (Hades U6.84) 

Thursday, 29 June 2017 [...]

Please note that there will be no reading of Ulysses next Thursday, 6 July.

No information available for the reading of June 29 (apologies). The blog entries will continue with the next reading on 13 July, when Fritz Senn is back from the Joyce Summer Schools in Trieste and Dublin.

Thursday, 22 June 2017 (5.240)

The last reading started episode 5 and got as fas as:

          “What does she say?”  

                    (Lotus Eaters U5.240) 

Thursday, 15 June 2017 (End of episode 4)

The group has reached the end of “Calypso”, episode 4.

Thursday, 8 June 2017 (4.342)

The last reading stopped at “transmigration of souls” (4.342). Catherine Meyer sends her rendering of a transmigration for this blog post. 

Catherine will be showing a selection of her Ulysses inspired works at the Zurich James Joyce Foundation on: 

6 – 30 June 2017

The Foundation is open 

Monday – Friday

10–17h

Admission is free. Drop in if you can and have some time to spare. Catherine's paintings and drawings are amazing!

Catherine Meyer © Zürich 2017

Thursday, 1 June 2017 (4.104)

The last reading stopped at: “homerule sun rising up in the northwest” (4.104). 

Catherine Meyer captures that look rather nicely: here's the drawing she sends for last week's reading.  

Catherine Meyer © Zürich 2017

Thursday, 25 May 2017 (3.452)

The last reading stopped at: 

          “All or not at all.” 

                    (Proteus U3.452)

Thursday, 18 May 2017 (3.244)

The group got to:

          “not here” 

                    (Proteus U3.244)

Please note that the group is meeting next Thursday, Ascension Day, 25 May 2017.

Catherine Meyer sends a painting for this page. As she says, “it captures the colours in this episode, yellow, bronze, violet, golden, shellcocoacoloured, primrose, white rose, blue”.

Catherine Meyer © Zürich 2017

Thursday, 11 May 2017 (3.84)

The reading stopped at: “brings Walter back” (3.84)

Catherine Meyer sends a painting for episode 2, “Nestor”, inspired by its closing line: 

“On his wise shoulders through the checkerwork of leaves the sun flung spangles, dancing coins.”

Catherine Meyer © Zürich 2017

Thursday, 4 may 2017 (2.386)

The last reading sopped at: “shrugging his shoulders.” (2.386)


Catherine sends her rendering of the “meatfaced woman” (2.312):

Catherine Meyer © Zürich 2015

Thursday, 27 April 2017 (2.228)

The reading has advanced to “greed and misery” (2.228).

Catherine Meyer sends a drawing of “ponderous buck”, as she calls it. We agree with her that it punctuates the end of episode 1 rather well.

Catherine Meyer © Zürich 2017

Thursday, 20 April 2017 (1.691)

The last reading nearly reached the end of episode 1, stopping at the “sagging loincloth” (1.691) 

Catherine Meyer captures some of the mood in her painting:

© Catherine Meyer

Thursday, 13 April 2017 (1.417)

The last reading stopped at: “look at that now, she said”  (1.417) 

Catherine Meyer illustrates it with this wonderful painting. Note the writing in mirror at the bottom of it, which she does using both hands – left and right writing at the same time.

Catherine Meyer

Thursday, 6 April 2017

A new round of Ulysses has just begun. Check this site to keep track of how far the group has read each week. The last reading stopped at “you dreadful bard” (1.134). 

The numbers in parentheses refer to the Hans Gabler edition. The first number indicates the chapter, the second the line on the page.

Catherine Meyer (local artist and long-standing member of the reading groups) has, sends a painting to illustrate the passage just read. We have the artist's permission to reproduce her works in this blog.

Catherine Meyer © Zürich, 2017

New reading group

A new round of Ulysses readings is starting on 

Thursday, April 6, 2017

Everybody is welcome to join.

To download flyer click link below:

https://drive.google.com/open?id=0Bwj7cJO4A0bAWGNORE5QLS1aNGc

Thursday, 30 March 2017

The group reached the end of Ulysses last week. A new round of the book is beginning on Thursday, 6 April 2017. Everyone is welcome – first-time readers and recidivists.

To conclude this round, Catherine Meyer, local artist and long-standing member of the reading groups, sends a last painting with these words:

The idea for my picture was to capture the various feelings, sentiments and instances of “yes” coming from Molly. The blue background reminds her of “O and the sea the sea” (18.1598), probably remembering Gibraltar as well as Howth and echoing Buck Mulligan’s exclamation “Thalatta! Thalatta!” earlier in the book (1.80).

As the episode “Penelope” has both, a sense of chaos and a strictly composed structure, I tried to do the same with the center of my painting. It looks chaotic but I composed it very carefully, going through many stages.

The famous closing words “yes I will Yes” frame the picture. To stress the optimism in these words about the unknown future of the Blooms I used vivid and lively colours.

Catherine Meyer © Zürich 2017

Thursday, 23 March 2017

The group is about to finish the book. Around two pages from the end of episode 18, the reading stopped at: “That ought to satisfy him” (18.1513)

Catherine Meyer, who has been illustrating each week with paintings and drawings inspired from the readings, sends another contribution with the following words.

It is very, very late at night and Molly’s mind is still circling around love: 

“all the amount of pleasure they get off a womans body“ (18.1380);

and Bloom embracing her only sometimes, whereas “of course a woman wants to be embraced 20 times a day almost to make her look young” (18.1408);

“I suppose its all the troubles we have makes us so snappy” (18.1459);

and “Im not like that” (18.1460), referring to her previous thoughts that “we are a dreadful lot of bitches” (18.1459) 

– which I took to depict in watercolours and gouache.

Catherine Meyer © Zürich 2017

Thursday, 16 March 2017

The last reading stopped at: “imagine paying 5/- in the preserved seats for that to see him” (18.1290)

Catherine Meyer sends a painting with the following words:

In my pile of older, sometimes abandoned drafts, I found a watercolour sketch of one of my models which I could use to depict a court-scene from the 1933 trial, where Judge John M. Woolsey ruled that Joyce’s novel Ulysses was not obscene and could lawfully be imported into the United States. His word, which became famous, were:

“I am quite aware that owing to some of its scenes Ulysses is a rather strong draught to ask some sensitive, though normal, person to take. But my considered opinion, after long reflection, is that whilst in many places the effect of Ulysses on the reader undoubtedly is somewhat emetic, nowhere does it tend to be an aphrodisiac.” (Richard Ellmann, James Joyce, p. 667)

In my picture I turned “the somewhat emetic” into “tends to be aphrodisiac”.

Catherine Meyer © Zürich 2017

Thursday, 7 March 2017

The last reading reached: “a great touchmenot too in her own way” (13.1037)

Catherine Meyer sends the following report and accompanying picture:

Molly's character does not seem be of everybody's liking. Her inner monologue circles around sex quite often and her attention keeps going back to that dominant topic. One reader observed that Homer's Penelope is the exact opposite and that she is faithful, while Molly is always thinking about her many amorous adventures, real or imaginary ones.

My Rock of Gibraltar is painted in various bright colours to echo Molly’s inner monologue.

Catherine Meyer © Zürich 2017

Thursday, 2 March 2017

The reading stopped at: “Id like a new fellow every year” (18.782)

Catherine Meyer, local artist and long-standing member of the reading groups at the Joyce Foundation, sends a drawing to illustrate a favourite passage. She writes:

The “nobleman named Don Miguel de la Flora” (18.773), who came up at the end of the reading, sparked the idea of dedicating a bouquet of flowers to “our” protagonist, Bloom. Bloom, flower, Virag, Flora – all of these words have accompanied us throughout the novel. “With muchibus thankibus” (7.780) to Bloom, who has entertained us every Thursday afternoon for more than two years.

Catherine Meyer © Zürich 2017

Thursday, 23 February 2017

The reading stopped at: “when was that 93” (18.555)

Catherine Meyer sends a painting to illustrate a passage from the last reading, which she describes as tricky and not all that easy to do in a group due to its intimacy and outspokenness (it mentions titties and thighs, a man's “two bags”, bodily actions etc.). For her picture she chose a description of Molly and Poldy discussing what kind of hat suits her, how much it costs and the advice he gives her while trying to buy one:

“if I went by his advices every blessed hat I put on does that suit me yes take that thats alright the one like a weddingcake standing up miles off my head he said suited me or the dishcover one coming down on my backside on pins and
needles” (18.520)

The title of the watercolour is “Molly and the dishcover wedding cake hat”.

Molly and the dishcover wedding cake hat by Catherine Meyer © Zürich 2017

Thursday, 16 February 2017

The last reading stopped at: “alone in the carriage that day going to Howth” (18.371)

Catherine Meyer sends a painting inspired by the passage just read and adds: 

While reading through these pages, the words “he was shaking like a jelly all over” (18.315) caught my eye and the description of wobbly, pink jelly looking at Molly’s orange petticoat animated my imagination. I wanted to paint a Molly who enjoys being renowned and highly coveted. She is voluptuous, lifting her orange petticoat and aware of how her sex appeal is making Bloom shake. She is also recalling how he once wrote her “that letter with all those words in it” (18.318). We don’t know them, but we can imagine them.

Catherine Meyer © Zürich 2017

Thursday, 9 February 2017

The Thursday group stopped at: “cutting her teeth too” (18.159)

Catherine Meyer sends another great painting to illustrate last week's reading, accompanied by the following comment:

Once again and now from Molly’s perspective we read about oysters and their supposed aphrodisiac effect: “he must have eaten oysters I think a few dozen” (18.149).

Having read about oysters in previous chapters, I found notes about them and sketches in my notebook and of course a reference to Fritz’s joke about a man asking, “What’s all this mystic about oysters? I had a dozen and only nine of them worked”.

In my painting two ostyers are open and one is closed – as the joke has it, not all of them work. The open ones stand for “being able” (to eat etc.), the closed ones stand for “not being able” (to eat, being inedible etc.)

 

I enjoyed painting the oysters and the oyster eyes. It is, according to my previous notes, a word that appears many times in the book and it has now received a tribute from my side.

Catherine Meyer © Zürich 2017

Thursday, 2 February 2017

The group has reached the end of episode 17, “Ithaca”.

Catherine Meyer was inspired by the final large dot at the end of the text and sends her amazing painting for this week's blog entry:

Catherine Meyer © Zürich 2017

Thursday, 26 January 2017

The reading stopped a few pages from the end of the chapter at: “the apathy of the stars” (17.2226).

Catherine has captured some of the reading in a painting. She writes: 

I tried to feel how words like envy, jealousy, abnegation and equanimity would reflect colours combined with a portrait of a nobody. This is how I see these different feelings worked into a portrait.

Catherine Meyer © 2017

Thursday, 19 January 2017

The group read down to: “the woolen mattress (biscuit section)” (17.2041)

Catherine Meyer takes the last lines of the reading as a lead for a watercolour: the idea that, when an iron is unavailable, one can still press trousers by folding them neatly and placing them lengthwise between two spring mattress. She writes:

My painting shows Bloom who enjoys the merits of an occupied bed, the female warmth and the trousers, which will be ironed in the morning.

Catherine Meyer © Zürich 2017

Thursday, 12 January 2017

The reading stopped soon after the description of the Wonderworker at, “a lady by origin” (17.1853).

The Wonderworker is described in more detail on http://www.jjon.org: It was a “small spade-shaped” device designed “for the insertion in the rectum, intended originally as a cure for hemorrhoids but later accepted for its talismanic properties in the treatment of all human ills” (http://www.jjon.org/joyce-s-environs/wonderworker, from Norman Lewis's autobiographyJackdaw Cake).

Thursday, 5 January 2017

The reading resumed again in the new year with some of “Ithaca's” long lists. The group was lively, the reading room packed and they progressed to: “all recalcitrant violators of domestic connubiality” (17.1633).

Catherine Meyer, Zurich artist and long-standing member of the reading groups, sends these visual contributions for the blog and writes:

For this painting I just had to choose a long list, describing either books or the interior or the exterior of Bloom’s imagined house. The result was a picture devoid of emotions but containing all the details mentioned in the list. Too boring. I made two other paintings with the same topic. I wasn’t successful and I didn’t like them.

So instead of going through the list again I said to myself, I have my own inspiration, and I made a watercolour depicting Bloom’s leisure activities.

Catherine Meyer © Zürich 2017

Catherine Meyer © Zürich 2017

Catherine Meyer © Zürich 2017

Thursday, 22 December 2016

The next reading will be on Thursday, 5 January 2017, resuming the “Ithaca” episode with the long list of books following the command “Catalogue these books” (17.1361).

Catherine Meyer sends a painting to render one of the scenes encountered during the last reading. She writes: 

For the first time I chose the topic of reunion (when Odysseus and Telemachos first meet again after 20 years) and of separation (of Bloom and Stephen) and painted the scene as an inverse relationship. I tried to capture a feeling of both joy and sadness and painted the white spot with a drive towards the interior and the green and orange surface with strokes leading horizontally out of the picture's margin.

Catherine Meyer © Zurich 2016