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between liturgy and epic swallow up such distinctions and alternate starting points for thinking about the epic? My own research into the genre suggests that the existential bias outlined in Balsamo’s suggestive discussion of biography looks quite different when we treat historiography (the Bloom-Sinn Fein connection) or photography (Milly Bloom) as our touchstones. Is it possible that Joyce entertains different models of epic mimesis and brings different facets of the epic tradition into the foreground, in a manner analogous to his heterogeneous—“transaccidentated”—approaches to style? Perhaps a dramatization of just such a need to re-conceive the role of liturgy is at stake in Buck Mulligan’s mockery of the Mass in “Telemachus.” Balsamo’s studies will stir debate. There is every reason to expect that he has still more substantial contributions to make to our understanding of Joyce.

james joyce quarterly

&amp;quot;Ulysses&amp;quot; on Montmartre: An Earlier Ulysses in Another Nighttown, a French Shadow Play (1910), its Translation, and an Essay on its Relation to James Joyce's &amp;quot;Ulysses&amp;quot; (review)