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The End of the F***ing World
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The End of the F***ing World
Intertitle from the premiere episode
Genre
Dark comedy
Comedy-drama
Based on
The End of the Fucking World
by Charles S. Forsman
Written by
Charlie Covell
Directed by
Jonathan Entwistle
Lucy Tcherniak
Starring
Alex Lawther
Jessica Barden
Gemma Whelan
Wunmi Mosaku
Steve Oram
Christine Bottomley
Navin Chowdhry
Barry Ward
Composer(s)
Graham Coxon
Country of origin
United Kingdom
Original language(s)
English
No. of series
1
No. of episodes
8 (list of episodes)
Production
Executive producer(s)
Ed Macdonald
Murray Ferguson
Andy Baker
Petra Fried
Dominic Buchanan
Jonathan Entwistle
Producer(s)
Kate Ogborn
Cinematography
Justin Brown
Ben Fordesman
Running time
19–22 minutes
Production company(s)
Clerkenwell Films
Dominic Buchanan Productions
Release
Original network
Channel 4
All 4
Picture format
1080i
Audio format
Stereo
Original release
24 October 2017 (2017-10-24)
External links
Website
The End of the F***ing World is a British dark comedy-drama television programme, based on a graphic novel of the same name by Charles Forsman. The eight-part programme premiered its first episode on Channel 4 in the United Kingdom on 24 October 2017, after which all eight episodes were released on All 4. It was released by Netflix internationally on 5 January 2018. The programme jointly follows James (Alex Lawther), a 17-year-old who believes himself to be a psychopath, and Alyssa (Jessica Barden), a rebellious classmate who sees in James a chance to escape from her tumultuous home life.
The show is based on Forsman's mini-comics The End of the Fucking World, which were collected into a book in 2013. Series creator Jonathan Entwistle contacted him about making a film, and a short was made in 2014. Instead, an eight-part serial was commissioned, with filming beginning in April 2017. It was written by Charlie Covell, and episodes were directed by Entwistle and Lucy Tcherniak. A second series has not been announced, though Entwistle, Covell and Lawther have all commented on the possibility of one.
The programme has been met with critical acclaim, and has been praised for its writing, execution and subject matter, as well as for Lawther and Barden's performances.
Contents
[hide]
1 Premise
2 Cast and characters
2.1 Main
2.2 Guest
3 Episodes
4 Production
4.1 Development
4.2 Filming
4.3 Potential continuation
5 Release
6 Reception
6.1 Critical response
7 References
8 External links
Premise[edit]
James is a 17-year-old who believes he is a psychopath. He kills animals as a hobby, but grows bored of the practice. He decides he wants to try killing a human. He settles on Alyssa, a mouthy, rebellious 17-year-old classmate with issues of her own. She proposes they run away together, hoping for an adventure away from her turbulent home-life, and James agrees with the intention of finding an opportunity to kill her. They embark on a road trip across England, and begin to develop a relationship after a series of mishaps.
Cast and characters[edit]
Main[edit]
Alex Lawther as James, a 17-year-old who believes he is a psychopath; the disturbed love interest of Alyssa.[1] Jack Veal portrays a young James.
Jessica Barden as Alyssa, a rebellious teenage girl. Initially James' intended victim but later his love interest.[1] Holly Beechey portrays a young Alyssa.
Gemma Whelan as DC Eunice Noon, Darego's police partner.
Wunmi Mosaku as DC Teri Darego, Noon's stern police partner.
Steve Oram as Phil, James' caring father.
Christine Bottomley as Gwen, Alyssa's mother.
Navin Chowdhry as Tony, Alyssa's abusive stepfather.
Barry Ward as Leslie Foley, Alyssa's estranged drug-dealing father.
Guest[edit]
Kierston Wareing as Debbie, Leslie's ex-girlfriend with whom he has a child.
Geoff Bell as Martin, a family man and creep who gives Alyssa and James a ride.
Alex Sawyer as Topher, a young man Alyssa meets and attempts to engage in sexual activity with.
Jonathan Aris as Dr. Clive Koch, an author, professor, serial killer and James' first human victim.
Eileen Davies as Flora, Clive's mother.
Earl Cave as Frodo, a miserable petrol station employee.
Felicity Montagu as the manager of the petrol station.
Alex Beckett as Jonno, one of Leslie's buyers.
Leon Annor as Emil, an imposing store security guard whom Alyssa is caught by.
Matt King as DC Eddie Onslow.
Kelly Harrison as James' dead mother.
Zerina Imsirovic as Alyssa's baby-stepsister.
Episodes[edit]
No.
Episode
Directed by
Written by
Original release date
1
Episode 1 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)[a]
James is a 17-year-old who believes he is a psychopath, having once intentionally burned his hand in a deep fryer in order to feel something, and has been killing animals since he was 8 years old. At school, he encounters Alyssa, a rebellious new schoolmate and decides that he will kill her next. He gets closer to her by feigning romantic interest and the two start dating. When Alyssa asks James to perform cunnilingus on her the next day, he begins preparing his knife and working out how he will kill her. However she arrives late as she was stuck at a party at her house where her stepfather tells her how it will be better if she just left. After this incident, she reaches James's home later than planned, and blurts out her desire to leave town with or without him and asks if he is in, wanting him to say yes. Resolving that he could kill her later, he accepts and steals his father Phil's car and punches him in the face, something he has always wanted to do.
2
Episode 2 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)
With their newfound freedom, Alyssa and James go play laser tag but end up having to dine and dash at a restaurant after realising they have spent all their money. After crashing their car, they hitchhike in the van of Martin, a middle-aged man who Alyssa does not take kindly to. While in the toilets of the restaurant they have stopped at for food, Martin follows James and asks about his burnt hand, before smelling it and putting it on his crotch; James is submissive, despite being disgusted by it. Alyssa sees this and blackmails Martin into giving her his wallet. After booking a hotel room, Alyssa goes to the bathroom and cries, while James waits with his knife by the door, hesitantly. He does not try to kill her. Alyssa calls home and her stepfather Tony answers. He denies her request to speak to her mother, Gwen, implying his dominance over her mother. Alyssa asks James whether he wants her or just goes along with her; he replies that he wants her. She decides to go see her biological father, Leslie, who she has not seen since she was 8 years old and James agrees to join her.
3
Episode 3 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)
After leaving the hotel, Alyssa argues against buying train tickets to her father's house, internally fearing that he will not recognise or welcome her. The duo break into the spacious and empty house of author Clive Koch. Later that day, Alyssa attempts to give James a blowjob but leaves, angrily, when a picture of Koch puts him off. During her walk, Alyssa meets Topher and brings him to the house, vindictively announcing to James that she will have sex with Topher. Distraught, he looks around the house and finds Polaroids and a camcorder with footage of victims, revealing Koch to be a serial rapist. Meanwhile, Alyssa becomes disinterested in Topher and stops before intercourse. Topher leaves angrily. While Alyssa is asleep, James tries to kill her, but he cannot because he knows he is falling in love with her. Koch returns home and suspecting a break-in, arms himself; James hides under the bed. When Koch questions Alyssa upon finding her in bed, she lies and says she is alone. Koch becomes malevolent, attempting to rape her. James stabs him in the neck with a knife, killing Koch, and saving Alyssa.
4
Episode 4 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)
After unsuccessfully trying to move Koch's body out of the bedroom, James and Alyssa meticulously clean the house to remove evidence of their stay. James shows Alyssa the Polaroids and footage proving that Koch might have hurt her, and they resolve to leave the evidence by his body. James hides the knife in the pool drain. When she questions him about the knife, he does not answer. Koch's mother, Flora, arrives at the house and discovers his body; she destroys the Polaroids but not the footage. The police, led by detective constables Eunice Noon and Teri Darego, investigate and later question Topher where he reveals Alyssa's and James's identity and presence at the house. They decide to put out a request for sightings or crimes "involving two teenagers" while putting Alyssa and James on the Missing Persons list. Despite James's attempts, Alyssa becomes distrustful of him and deserts him. He begins to realise the increasing influence of his emotions. Paying a group of teenagers to beat him up, he also realises his growing interest in her. James decides to report a murder to police, coming to the realization that he is not in fact a psychopath.
5
Episode 5 Jonathan Entwistle & Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
At the police station, James changes his mind about reporting Koch's murder and instead describes his mother's suicide as the "murder" he was referring to. In a flashback, his mother, Vanessa, killed herself in front of him eleven years before by driving her car into a pond. Thinking of Alyssa, James leaves the police station and returns to the cafe. Meanwhile, Phil is questioned by Noon and Darego about James, as well as informed about his car. He also confirms the inclusion of Alyssa. They also question Tony, who is rather nonchalant and self-absorbed, before moving to Gwen about Alyssa. Concurrently, Alyssa is caught by Emil, a security officer, while attempting to shoplift clean underwear, but is eventually let go. She returns to the cafe to find James waiting. Although without money, both reconcile and decide to go to Leslie. Meanwhile, investigators find James's knife at Koch's house.
6
Episode 6 Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
James hotwires a car and the duo begin making their way to Alyssa's father's house. They stop at a petrol station after running low on fuel. When Jocelyn, the petrol station manager, begins suspecting that they stole the car and have no money, James fakes carrying a gun to lock her in the toilet with the help of Jocelyn's co-worker, Frodo. However, when he wants to join, they wait until he is distracted to dash. Noon and Donaghue question Flora again about Clive, this time with years-old accusations of sexual assault against him. She rejects the allegations as lies and insists that the two leave. On their way to Leslie's, Alyssa calls Gwen and tells her that she will never return home. At the police station, Flora gives Noon the camcorder, having a change of heart. When Noon raises the possibility that the killing was in self-defence, Darego says that this would result in a count of manslaughter instead. After finding Leslie has moved out of his previous home, James and Alyssa eventually make it to his coastside mobile home.
7
Episode 7 Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
James gives Alyssa and Leslie space while they reconcile with each other. Leslie is revealed to be a drug dealer, as well as a non-conforming individual himself. Meanwhile, Tony, Gwen and Phil are emotionally shaken after being shown CCTV footage of the petrol station robbery. Both Darego and Noon plan for the police to stakeout Leslie's former residence, assuming that both have not arrived. On the drive to Leslie's former residence, it becomes clear that Darego's law-abiding morality and stubbornness are clashing against Noon's open-minded and sympathetic morals. As Alyssa and Leslie reconnect at a nearby bar, James begins feeling distant to Alyssa. At Leslie's former residence, Debbie denies seeing the duo or knowing Leslie's whereabouts to Noon and Darego. She goes to the bar to demand support for their illegitimate son, Milton. When questioned by Alyssa, Leslie takes off in his truck, running over a dog in the process. Although he has killed many animals before, James is unable to euthanise it with a rock; Alyssa does it instead. Bitter, Debbie reveals to Noon Leslie's location, later, and she drives there without Darego. Leslie sees a news report about Alyssa and James on the television.
8
Episode 8 Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
James and Alyssa bury the dog at the beach, then passionately and sincerely make out. At dawn, ruminating about their current situation, they decide to take the boat owned by Leslie and leave the country. When they ask Leslie for the boat keys, he reveals to them his knowledge of their crime then secretly calls 999 and tries to induce their confession. James deduces this and confesses while taking the blame upon himself. Noon, listening in, arrives at the scene and tries to convince both to be willingly arrested for manslaughter while Leslie tries to convince Alyssa to let James be arrested instead. Alyssa asks Noon if she were to go with her idea, would James and her still be together. When Noon tells that that would be unlikely, Alyssa knocks her out with Leslie's shotgun, takes his boat keys and runs to the boat with James, only to find that the tide had gone out. With the police armed response unit closing in, James knocks Alyssa down with the gun in an attempt to take all the blame and runs across the beach. In a voiceover, James claims that he's realized what people mean to each other. A gunshot is heard as the episode then fades to black.
Jump up ^ The first episode had a special premiere on Channel 4 alongside its release on All 4 with the rest of the programme.[2]
Production[edit]
Development[edit]
The series was based on the work of the same name by Charles Forsman. Originally self-published as a series of mini-comics, the series was published as a graphic novel by Fantagraphics Books in 2013. It was republished in hardback in 2017, in anticipation of the television series.[3]
While Forsman was publishing the mini-comics, Jonathan Entwistle contacted him about adapting it to a visual format – the original idea was to make an American film, and later a web series was considered. A film was pitched to Film4, and Entwistle was given funding for a short.[4] Made in 2014,[5] it featured some cast and crew who continued their roles for the television series. Entwistle directed and Dominic Buchanan was producer;[6] Jessica Barden played Alyssa. However, instead of Alex Lawther, James was played by Craig Roberts.[7]
Though the short was well-received, no production companies wanted to invest in the idea as a full-length film.[4] Entwistle and Buchanan decided to make a television series with Clerkenwell Films, and then Channel 4 and Netflix became involved. Forsman had no official role in the show's production, wanting to continue working on his comics, though Entwistle would regularly consult him and keep him updated.[8]
The programme's plot differs from that of Forsman's comics. In print, the children kill a satanist serial killer, whose wife was a police officer; instead the television series features police officers Eunice Noon and Teri Darego, and does not show the serial killer to be a satanist.[9] Another major difference is the ending of the graphic novel: the satanist police officer chases after James, and the two begin to attack each other, while police try to break up the fight. There is then a gunshot. In the final scene, Alyssa's mother talks about her daughter being safe from James, while Alyssa is seen carving the name "JAMES" into her arm. Some critics interpreted this to mean that James was dead,[9] but Forsman sees the ending as ambiguous.[8]
Filming[edit]
The first series began filming in April 2017 and concluded a few weeks before the show's release in October 2017. Though filmed in England, the programme has an American tone to it; Entwistle was inspired by Twin Peaks and Fargo. Episodes were filmed largely in suburban areas and across Surrey, with locations such as Woking, Bracknell and Longcross Studios. Entwistle uses mostly close-up shots, particularly in early episodes where most frames feature only one character. He uses this for deadpan humour, by moving from face to face to get shots of characters' reactions.[4]
The series is set in the present day, but Entwistle aimed to make it feel like it could have been set "any time from 1988 to 2006". Additionally, diners have a 1970s-style design, and the soundtrack features songs from the 1950s, 60s and 70s, along with original music from Graham Coxon, the founding member of Blur. Entwistle describes Coxon's scores as "guitar-based suburban noir", and notes that more of his music is used in later episodes for the police officers.[4]
Potential continuation[edit]
The first series covered the entirety of the storyline in Forsman's original comics.[10] On 25 January 2018, Jonathan Entwistle spoke of the potential for a second series. He confirmed that "We're exploring and we're seeing what we can do to expand the world and see where we get to." Entwistle then went on to say that Netflix was enthusiastic about a second series of the show if one could be conceived.[11] Writer Charlie Covell said "I think there are a number of stories we could tell" and that she would "love to write more".[12] Actor Alex Lawther stated in an interview that he would be "very excited" for a second series, as it would give Covell "a chance to explore something from her imagination".[10]
Release[edit]
The eight-part programme premiered its first episode on Channel 4 in the United Kingdom on 24 October 2017, after which all eight episodes were released on All 4.[2] The End of the F***ing World was exclusively released by Netflix internationally on 5 January 2018.[13] On that weekend, sales of the graphic novel rose considerably, with Fantagraphics Books selling out of the current print run according to Forsman.[8]
Reception[edit]
Critical response[edit]
The End of the F***ing World' currently holds an approval rating of 97% on review aggregator website Rotten Tomatoes based on 32 reviews, with an average rating of 8.21/10. The site's consensus states, "Misanthropy and humor blend perfectly in this romantically nihilistic show that proves that falling in love can feel like The End of the F***ing World."[14] Metacritic, which uses a weighted average, assigned a score of 81 out of 100, based on 11 critics, indicating "universal acclaim".[15][16]
Reviewer Daniel Fienberg of The Hollywood Reporter lauded the programme's writing, characters, and soundtrack, as well as praising the performances of Alex Lawther and Jessica Barden, calling it a "pitch-black, eight-episode comedy gem of a U.K. import."[17] Kelly Lawler of USA Today called it "batty fun," also praising Lawther and Barden's performances while praising the programme's surreal concept and execution.[18]
References[edit]
^ Jump up to: a b "E4 and Netflix cast Black Mirror's Alex Lawther in dark teen thriller The End of the F***ing World". Digital Spy. 24 September 2016. Retrieved 24 September 2016.
^ Jump up to: a b "The End of the F***ing World press pack". Channel 4. 11 October 2017. Retrieved 15 January 2018.
Jump up ^ "The End of The F***ing World – Reprinted!". Fantagraphics Books. Retrieved 13 February 2018.
^ Jump up to: a b c d Steven, Rachael (6 November 2017). "Making The End of the F***ing World" . Creative Review. Retrieved 13 February 2018.
Jump up ^ "It's the End Of The F***ing World for E4". Chortle. 24 April 2017. Retrieved 13 February 2018.
Jump up ^ Lockett, Dee (12 January 2018). "The End of the F***ing World Star Jessica Barden on Paying Homage to the Pulp Fiction Dance". Vulture. Retrieved 13 February 2018.
Jump up ^ McCreesh, Louise (8 January 2018). "Did you know that The End of the F***ing World on Netflix is based on a short film?". Digital Spy. Retrieved 13 February 2018.
^ Jump up to: a b c Riesman, Abraham (23 January 2018). "The End of the F***ing World's Charles Forsman on His Indie Comic Turning Into a Netflix Hit". Vulture. Retrieved 13 February 2018.
^ Jump up to: a b Sandwell, Ian (9 January 2018). "The End of the F***ing World had a darker alternate ending in the original comic". Digital Spy. Retrieved 13 February 2018.
^ Jump up to: a b Houghton, Rianne (11 January 2018). "The End of the F***ing World season 2 IS possible, says star Alex Lawther". Digital Spy. Retrieved 14 February 2018.
Jump up ^ Foutch, Haleigh (20 January 2018). "'The End of the F***ing World' Creator on Season 2 Conversations and Expanding the Story". Collider. Retrieved 13 February 2018.
Jump up ^ Miller, Julie (26 January 2018). "The End of the F***king World's Alyssa May Be the Best Teen Heroine of 2018". Vanity Fair. Retrieved 14 February 2018.
Jump up ^ Joest, Mick (2 January 2018). "The End Of The F***ing World Trailer: First Look At Netflix's New Dark Comedy". CinemaBlend. Retrieved 15 January 2018.
Jump up ^ "The End of the F**ing World: Series 1". Rotten Tomatoes. Retrieved 23 January 2018.
Jump up ^ "The End of the F***ing World", Metacritic, retrieved 6 January 2018
Jump up ^ Lynch, John (9 January 2018). "Critics are in love with a new Netflix show that its CEO calls the 'most engaging addictive original' in a long time". Business Insider. Retrieved 9 January 2018.
Jump up ^ Fienberg, Daniel (5 January 2018). "'The End of the F***ing World' review". The Hollywood Reporter. Retrieved 5 January 2018.
Jump up ^ Lawler, Kelly (4 January 2018). "Review: Why Netflix's 'The End of the ... World' is batty fun". USA Today. Retrieved 5 January 2018.
External links[edit]
The End of the F***ing World on IMDb
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Birmingham tornado of 2005
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Birmingham tornado of 2005
Damage caused by the Birmingham tornado
Type
Tornado event
Duration
28 July 2005 (2005-07-28)
Lowest pressure
50 mb (1.476 inHg)
Lowest temperature
45
Tornadoes confirmed
2
Max rating1
F2/ EF 3 tornado
Duration of tornado outbreak2
8 minutes
Highest winds
137 mph (Birchwood Road, Balsall Heath
Total fatalities
0 fatalities, 19 injuries
1Most severe tornado damage; see Fujita scale
2Time from first tornado to last tornado
The Birmingham tornado of 2005 was one of the strongest tornadoes recorded in the United Kingdom in nearly 30 years, occurring on 28 July 2005 in the suburbs of Birmingham. It formed on a day when strong tornadoes were expected to develop across the Midlands and eastern England. The tornado struck at approximately 2.30pm BST in the Sparkbrook area of the city, also affecting King's Heath, Moseley and Balsall Heath as it carved 7 kilometre-long path through the city. Its main effects were felt in the Ladypool Road which bore the brunt of the damage. Ladypool Primary School was extensively damaged and lost its distinctive Martin & Chamberlain tower. The adjacent St Agatha's Church also suffered some damage. Christ Church (consecrated 1867), on the corner of Dolobran Road and Grantham Road in Sparkbrook was also damaged and has now been demolished.[1][2]
The Met Office and TORRO (The Tornado and Storm Research Organisation) has estimated that the tornado had a general T4 rating on the TORRO scale with a short spell as a T5/6 tornado, which would mean wind speeds between 93 and 145 mph (150 and 233 km/h), equivalent to an F2 on the Fujita scale Or EF3 on the enhanced fujita scale
There were no fatalities, although there were approximately 19 injuries, three of which were reported to be serious. The tornado uprooted an estimated 1000 trees, removed the roofs of buildings, picked up and deposited cars and caused other damage during its short existence. The total cost of damage has been put at £40 million, making it the most costly tornado in British history.
While the United Kingdom has more reported tornadoes, relative to its land area, than any other country excluding the Netherlands, the vast majority are weak. The strongest recorded tornado in the country struck Portsmouth on 14 December 1810 with a T8 (F4) rating and a top wind speed of 213 to 240 mph (343 to 386 km/h).
Contents
1 Second tornado
2 Earlier tornadoes
3 See also
4 References
5 External links
Second tornado[edit]
Three months later, strong winds and driving rain brought a second tornado, which hit less than 1 mile (1.6 kilometres) away from the original twister. The Met Office said there were winds of up to 80 mph (130 km/h) and it was strong enough to rip the roof off a corner house. Following this came widespread flooding across the region which brought havoc to Birmingham.
Earlier tornadoes[edit]
A tornado struck the city in 1931, killing one woman and severely damaging several houses.[3] On 23 November 1981, during a record-breaking nationwide tornado outbreak, two tornadoes touched down within the Birmingham city limits – in Erdington and Selly Oak – with six tornadoes touching down within the boundaries of the wider West Midlands county.[4]
See also[edit]
List of tornadoes and tornado outbreaks
List of European tornadoes and tornado outbreaks
Climate of the United Kingdom
1981 United Kingdom tornado outbreak
References[edit]
Jump up ^ Indymedia UK - After the tornado: "market forces" force demolition of Sparkbrook Church
Jump up ^ Ecclesiastical Law Society Archived 2006-12-11 at the Wayback Machine.
Jump up ^ "BIRMINGHAM STRUCK BY A TORNADO! - British Pathe". 1931. Retrieved 11 November 2011.
Jump up ^ http://www.eswd.eu/cgi-bin/eswd.cgi
External links[edit]
BBC Birmingham Site
BBC Birmingham - Pictures by the public
Birmingham City Council tornado page
The Balti Triangle Back in Business (photos)
Forward - Birmingham City Council newspaper
ITN News report on the Birmingham tornado https://www.youtube.com/watch?v=iPtdu6zLh8E
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A Portrait of the Artist as a Young Man
From Wikipedia, the free encyclopedia
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For the 1977 film adaptation, see A Portrait of the Artist as a Young Man (film).
A Portrait of the Artist as a Young Man
Front cover of the first edition, published by B. W. Huebsch in 1916
Author
James Joyce
Language
English
Genre
Novel
Published
29 December 1916
A Portrait of the Artist as a Young Man is the first novel by Irish writer James Joyce. A Künstlerroman in a modernist style, it traces the religious and intellectual awakening of young Stephen Dedalus, a fictional alter ego of Joyce and an allusion to Daedalus, the consummate craftsman of Greek mythology. Stephen questions and rebels against the Catholic and Irish conventions under which he has grown, culminating in his self-exile from Ireland to Europe. The work uses techniques that Joyce developed more fully in Ulysses (1922) and Finnegans Wake (1939).
A Portrait began life in 1904 as Stephen Hero—a projected 63-chapter autobiographical novel in a realistic style. After 25 chapters, Joyce abandoned Stephen Hero in 1907 and set to reworking its themes and protagonist into a condensed five-chapter novel, dispensing with strict realism and making extensive use of free indirect speech that allows the reader to peer into Stephen's developing consciousness. American modernist poet Ezra Pound had the novel serialised in the English literary magazine The Egoist in 1914 and 1915, and published as a book in 1916 by B. W. Huebsch of New York. The publication of A Portrait and the short story collection Dubliners (1914) earned Joyce a place at the forefront of literary modernism.
Contents
[hide]
1 Background
2 Composition
3 Publication history
4 Major characters
5 Synopsis
6 Style
7 Analysis
7.1 Autobiography
8 Reception
9 Adaptations
10 Notes
11 References
11.1 Works cited
12 Further reading
13 External links
Background[edit]
James Joyce in 1915
Born into a middle-class family in Dublin, Ireland, James Joyce (1882–1941) excelled as a student, graduating from University College, Dublin, in 1902. He moved to Paris to study medicine, but soon gave it up. He returned to Ireland at his family's request as his mother was dying of cancer. Despite her pleas, the impious Joyce and his brother Stanislaus refused to make confession or take communion, and when she passed into a coma they refused to kneel and pray for her.[1] After a stretch of failed attempts to get published and launch his own newspaper, Joyce then took jobs teaching, singing and reviewing books, while drinking heavily.[1]
Joyce made his first attempt at a novel, Stephen Hero, in early 1904.[1] That June he saw Nora Barnacle for the first time walking along Nassau Street.[1] Their first date was on June 16, the same date that his novel "Ulysses" takes place.[1] Almost immediately, Joyce and Nora were infatuated with each other and they bonded over their shared disapproval of Ireland and the Church.[1] Nora and Joyce eloped to continental Europe, first staying in Zürich before settling for ten years in Trieste (then in Austria-Hungary), where he taught English. In March 1905, Joyce was transferred to the Berlitz School In Trieste, presumably because of threats of spies in Austria.[1] There Nora gave birth to their children, George in 1905 and Lucia in 1907, and Joyce wrote fiction, signing some of his early essays and stories "Stephen Daedalus". The short stories he wrote made up the collection Dubliners (1914), which took about eight years to be published due to its controversial nature.[1] While waiting on Dubliners to be published, Joyce reworked the core themes of the novel Stephen Hero he had begun in Ireland in 1904 and abandoned in 1907 into A Portrait, published in 1916, a year after he had moved back to Zürich in the midst of the First World War.[1]
Composition[edit]
Et ignotas animum dimittit in artes.
("And he turned his mind to unknown arts.")
—  Ovid, Epigraph to A Portrait of the Artist as a Young Man[2]
James Joyce in 1915
At the request of its editors, Joyce submitted a work of philosophical fiction entitled "A Portrait of the Artist" to the Irish literary magazine Dana on 7 January 1904.[3] Dana's editor, W. K. Magee, rejected it, telling Joyce, "I can't print what I can't understand."[4] On his 22nd birthday, 2 February 1904, Joyce began a realist autobiographical novel, Stephen Hero, which incorporated aspects of the aesthetic philosophy expounded in A Portrait.[5] He worked on the book until mid-1905 and brought the manuscript with him when he moved to Trieste that year. Though his main attention turned to the stories that made up Dubliners, Joyce continued work on Stephen Hero. At 914 manuscript pages, Joyce considered the book about half-finished, having completed 25 of its 63 intended chapters.[6] In September 1907, however, he abandoned this work, and began a complete revision of the text and its structure, producing what became A Portrait of the Artist as a Young Man.[7] By 1909 the work had taken shape and Joyce showed some of the draft chapters to Ettore Schmitz, one of his language students, as an exercise. Schmitz, himself a respected writer, was impressed and with his encouragement Joyce continued work on the book.
In 1911 Joyce flew into a fit of rage over the continued refusals by publishers to print Dubliners and threw the manuscript of Portrait into the fire. It was saved by a "family fire brigade" including his sister Eileen.[6][7][a] Chamber Music, a book of Joyce's poems, was published in 1907.[8]
Joyce showed, in his own words, "a scrupulous meanness" in his use of materials for the novel.[9] He recycled the two earlier attempts at explaining his aesthetics and youth, A Portrait of the Artist and Stephen Hero, as well as his notebooks from Trieste concerning the philosophy of Thomas Aquinas; they all came together in five carefully paced chapters.[10]
Stephen Hero is written from the point of view of an omniscient third-person narrator, but in Portrait Joyce adopts the free indirect style, a change that reflects the moving of the narrative centre of consciousness firmly and uniquely onto Stephen. Persons and events take their significance from Stephen, and are perceived from his point of view.[11] Characters and places are no longer mentioned simply because the young Joyce had known them. Salient details are carefully chosen and fitted into the aesthetic pattern of the novel.[11]
Publication history[edit]
Ezra Pound had A Portrait brought into print.
In 1913 the Irish poet W. B. Yeats recommended Joyce's work to the avant-garde American poet Ezra Pound, who was assembling an anthology of verse. Pound wrote to Joyce,[12] and in 1914 Joyce submitted the first chapter of the unfinished Portrait to Pound, who was so taken with it that he pressed to have the work serialised in the London literary magazine The Egoist. Joyce hurried to complete the novel,[3] and it appeared in The Egoist in twenty-five instalments from 2 February 1914 to 1 September 1915.[13]
There was difficulty finding a British publisher for the finished novel, so Pound arranged for its publication by an American publishing house, B. W. Huebsch, which issued it on 29 December 1916.[3] The Egoist Press republished it in the United Kingdom on 12 February 1917 and Jonathan Cape took over its publication in 1924. In 1964 Viking Press issued a corrected version overseen by Chester Anderson. Garland released a "copy text" edition by Hans Walter Gabler in 1993.[13]
Major characters[edit]
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Stephen Dedalus – The main character of A Portrait of the Artist as a Young Man. Growing up, Stephen goes through long phases of hedonism and deep religiosity. He eventually adopts a philosophy of aestheticism, greatly valuing beauty and art. Stephen is essentially Joyce's alter ego, and many of the events of Stephen's life mirror events from Joyce's own youth.[14] His surname is taken from the ancient Greek mythical figure Daedalus, who also engaged in a struggle for autonomy.
Simon Dedalus – Stephen's father, an impoverished former medical student with a strong sense of Irish nationalism. Sentimental about his past, Simon Dedalus frequently reminisces about his youth.[14] Loosely based on Joyce's own father and their relationship.
Mary Dedalus – Stephen's mother who is very religious and often argues with Stephen about attending services.[14]
Emma Clery – Stephen's beloved, the young girl to whom he is fiercely attracted over the course of many years. Stephen constructs Emma as an ideal of femininity, even though (or because) he does not know her well.[14]
Charles Stewart Parnell – An Irish political leader who is not an actual character in the novel, but whose death influences many of its characters. Parnell had powerfully led the Irish Parliamentary Party until he was driven out of public life after his affair with a married woman was exposed.
Cranly – Stephen's best friend at university, in whom he confides some of his thoughts and feelings. In this sense Cranly represents a secular confessor for Stephen. Eventually Cranly begins to encourage Stephen to conform to the wishes of his family and to try harder to fit in with his peers, advice that Stephen fiercely resents. Towards the conclusion of the novel he bears witness to Stephen's exposition of his aesthetic philosophy. It is partly due to Cranly that Stephen decides to leave, after witnessing Cranly's budding (and reciprocated) romantic interest in Emma.[14]
Dante (Mrs. Riordan) – The governess of the Dedalus children. She is very intense and a dedicated Catholic.[14]
Lynch – Stephen's friend from university who has a rather dry personality.[14]
Synopsis[edit]
Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ...
His father told him that story: his father looked at him through a glass: he had a hairy face.
He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt.
—  James Joyce, Opening to A Portrait of the Artist as a Young Man
The childhood of Stephen Dedalus is recounted using vocabulary that changes as he grows, in a voice not his own but sensitive to his feelings. The reader experiences Stephen's fears and bewilderment as he comes to terms with the world[15] in a series of disjointed episodes.[16] Stephen attends the Jesuit-run Clongowes Wood College, where the apprehensive, intellectually gifted boy suffers the ridicule of his classmates while he learns the schoolboy codes of behaviour. While he cannot grasp their significance, at a Christmas dinner he is witness to the social, political and religious tensions in Ireland involving Charles Stewart Parnell, which drive wedges between members of his family, leaving Stephen with doubts over which social institutions he can place his faith in.[17] Back at Clongowes, word spreads that a number of older boys have been caught "smugging"; discipline is tightened, and the Jesuits increase use of corporal punishment. Stephen is strapped when one of his instructors believes he has broken his glasses to avoid studying, but, prodded by his classmates, Stephen works up the courage to complain to the rector, Father Conmee, who assures him there will be no such recurrence, leaving Stephen with a sense of triumph.[18]
Stephen's father gets into debt and the family leaves its pleasant suburban home to live in Dublin. Stephen realises that he will not return to Clongowes. However, thanks to a scholarship obtained for him by Father Conmee, Stephen is able to attend Belvedere College, where he excels academically and becomes a class leader.[19] Stephen squanders a large cash prize from school, and begins to see prostitutes, as distance grows between him and his drunken father.[20]
Stephen Dedalus has an aesthetic epiphany along Dollymount Strand.
As Stephen abandons himself to sensual pleasures, his class is taken on a religious retreat, where the boys sit through sermons.[21] Stephen pays special attention to those on pride, guilt, punishment and the Four Last Things (death, judgement, Hell, and Heaven). He feels that the words of the sermon, describing horrific eternal punishment in hell, are directed at himself and, overwhelmed, comes to desire forgiveness. Overjoyed at his return to the Church, he devotes himself to acts of ascetic repentance, though they soon devolve to mere acts of routine, as his thoughts turn elsewhere. His devotion comes to the attention of the Jesuits, and they encourage him to consider entering the priesthood.[22] Stephen takes time to consider, but has a crisis of faith because of the conflict between his spiritual beliefs and his aesthetic ambitions. Along Dollymount Strand he spots a girl wading, and has an epiphany in which he is overcome with the desire to find a way to express her beauty in his writing.[23]
As a student at University College, Dublin, Stephen grows increasingly wary of the institutions around him: Church, school, politics and family. In the midst of the disintegration of his family's fortunes his father berates him and his mother urges him to return to the Church.[24] An increasingly dry, humourless Stephen explains his alienation from the Church and the aesthetic theory he has developed to his friends, who find that they cannot accept either of them.[25] Stephen concludes that Ireland is too restricted to allow him to express himself fully as an artist, so he decides that he will have to leave. He sets his mind on self-imposed exile, but not without declaring in his diary his ties to his homeland:[26]
... I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.
Style[edit]
This section needs expansion. You can help by adding to it. (November 2013)
The novel mixes third-person narrative with free indirect speech, which allows both identification with and distance from Stephen. The narrator refrains from judgement. The omniscient narrator of the earlier Stephen Hero informs the reader as Stephen sets out to write "some pages of sorry verse," while Portrait gives only Stephen's attempts, leaving the evaluation to the reader.[27]
The novel is written primarily as a third-person narrative with minimal dialogue until the final chapter. This chapter includes dialogue-intensive scenes alternately involving Stephen, Davin and Cranly. An example of such a scene is the one in which Stephen posits his complex Thomist aesthetic theory in an extended dialogue. Joyce employs first-person narration for Stephen's diary entries in the concluding pages of the novel, perhaps to suggest that Stephen has finally found his own voice and no longer needs to absorb the stories of others.[28] Joyce fully employs the free indirect style to demonstrate Stephen's intellectual development from his childhood, through his education, to his increasing independence and ultimate exile from Ireland as a young man. The style of the work progresses through each of its five chapters, as the complexity of language and Stephen's ability to comprehend the world around him both gradually increase.[29] The book's opening pages communicate Stephen's first stirrings of consciousness when he is a child. Throughout the work language is used to describe indirectly the state of mind of the protagonist and the subjective effect of the events of his life.[30]
The writing style is notable also for Joyce's omission of quotation marks: he indicates dialogue by beginning a paragraph with a dash, as is commonly used in French, Spanish or Russian publications.
Analysis[edit]
This section needs expansion. You can help by adding to it. (November 2013)
According to the literary scholar Hugh Kenner, "every theme in the entire life-work of James Joyce is stated on the first two pages of the Portrait".[31] The highly condensed recounting of young Stephen's growing consciousness "enact[s] the entire action [of the novel] in microcosm. An Aristotelian catalogue of senses, faculties, and mental activities is counterpointed against the unfolding of the infant conscience",[32] and themes that run through Joyce's later novels find expression there.[33]
The myth of Daedalus and Icarus has parallels in the structure of the novel, and gives Stephen his surname.
The epigraph quotes from Ovid's Metamorphoses: the inventor Daedalus, who has built a labyrinth to imprison the Minotaur, and his son Icarus who are forbidden to leave the Island of Crete by its King, Minos. Daedalus, "turning his mind to unknown arts", fashions wings of birds' feathers and wax with which he and his son flee their island prison. Icarus flies so close to the sun that the wax on his pair melts and he plummets into the sea. To A. Nicholas Fargnoli and Michael Patrick Gillespie the epigraph parallels the heights and depths that end and begin each chapter, and can be seen to proclaim the interpretive freedom of the text.[2]
A Portrait belongs to the genre of Künstlerroman, a story of artistic development, of which A Portrait is the primary example in English.[34]
Autobiography[edit]
Stephen Hero is a directly autobiographical novel, including people and events because Joyce had personally experienced them. In contrast, in A Portrait Joyce refines his approach by selectively drawing on life events and reflecting them through the consciousness of Stephen Dedalus, a fictional character.[29]
Reception[edit]
This section needs expansion. You can help by adding to it. (November 2013)
A Portrait won Joyce a reputation for his literary skills, as well as a patron, Harriet Shaw Weaver, the business manager of The Egoist.[3]
In 1917 H. G. Wells wrote that "one believes in Stephen Dedalus as one believes in few characters in fiction," while warning readers of Joyce's "cloacal obsession," his insistence on the portrayal of bodily functions that Victorian morality had banished from print.[35]
Adaptations[edit]
A film version adapted for the screen by Judith Rascoe and directed by Joseph Strick was released in 1977. It features Bosco Hogan as Stephen Dedalus and T. P. McKenna as Simon Dedalus. John Gielgud plays Father Arnall, the priest whose lengthy sermon on Hell terrifies the teenage Stephen.[36]
The first stage version was produced by Léonie Scott-Matthews at Pentameters Theatre in 2012 using an adaptation by Tom Neill.[37]
Hugh Leonard's stage work Stephen D is an adaptation of A Portrait of the Artist as a Young Man and Stephen Hero. It was first produced at the Gate Theatre during the Dublin Theatre Festival of 1962.[38]
As of 2017 computer scientists and literature scholars at University College Dublin, Ireland are in a collaboration to create the multimedia version this work, by charting the social networks of characters in the novel. Animations in the multimedia editions express the relation of every character in the chapter to the others.[39]
Notes[edit]
Jump up ^ The story is sometimes erroneously repeated as involving Stephen Hero and Joyce's common-law wife, Nora Barnacle. The error was first publicised by Joyce's patron Sylvia Beach in 1935, and was included in Herbert Gorman's biography James Joyce (1939).[7]
References[edit]
^ Jump up to: a b c d e f g h i Bowker, Gordan (2011). James Joyce: A New Biography. 18 West 18th Street, New York, NY 10011: Farrar, Straus and Giroux. p. 219. ISBN 978-0-374-17872-7.
^ Jump up to: a b Fargnoli & Gillespie 2006, pp. 136–137.
^ Jump up to: a b c d Fargnoli & Gillespie 2006, p. 134.
Jump up ^ Fargnoli & Gillespie 2006, pp. 134–135.
Jump up ^ Fargnoli & Gillespie 2006, p. 154.
^ Jump up to: a b Bulson (2006:47)
^ Jump up to: a b c Fargnoli & Gillespie 2006, p. 155.
Jump up ^ Read 1967, p. 2.
Jump up ^ Johnson (2000:222)
Jump up ^ Johnson (2000:xviii)
^ Jump up to: a b Johnson (2000:xvii)
Jump up ^ Read 1967, p. 1.
^ Jump up to: a b Herbert 2009, p. 7.
^ Jump up to: a b c d e f g Joyce, James (1916). A Portrait of the Artist as a Young Man. New York, NY: B. W. Huebsch.
Jump up ^ Fargnoli & Gillespie 2006, p. 137.
Jump up ^ Fargnoli & Gillespie 2006, p. 136.
Jump up ^ Fargnoli & Gillespie 2006, p. 138.
Jump up ^ Fargnoli & Gillespie 2006, pp. 138–139.
Jump up ^ Fargnoli & Gillespie 2006, p. 139.
Jump up ^ Fargnoli & Gillespie 2006, pp. 139–140.
Jump up ^ Fargnoli & Gillespie 2006, p. 140.
Jump up ^ Fargnoli & Gillespie 2006, p. 141.
Jump up ^ Fargnoli & Gillespie 2006, pp. 141–142.
Jump up ^ Fargnoli & Gillespie 2006, p. 142.
Jump up ^ Fargnoli & Gillespie 2006, pp. 142—143.
Jump up ^ Fargnoli & Gillespie 2006, p. 143.
Jump up ^ Belanger 2001, p. xviii.
Jump up ^ Bulson (2006:51)
^ Jump up to: a b Bulson (2006:50)
Jump up ^ Pericles Lewis. "A Portrait of the Artist as a Young Man" (PDF). Cambridge Introduction to Modernism. Retrieved 8 May 2012.
Jump up ^ Kenner 1948, p. 365.
Jump up ^ Kenner 1948, p. 362.
Jump up ^ Kenner 1948, pp. 363–363.
Jump up ^ Bulson (2006:49)
Jump up ^ Wollaeger 2003, p. 4.
Jump up ^ A Portrait of the Artist as a Young Man on IMDb
Jump up ^ "A Portrait of the Artist as a Young Man - Pentameters". London Theatre Guide. Retrieved 2016-12-24.
Jump up ^ Irish Playography, Stephen D by Hugh Leonard [1] retrieved 7 July 2013
Jump up ^ "A Digital Portrayal of James Joyce's 'Portrait'". Retrieved 7 January 2017.
Works cited[edit]
Belanger, Jacqueline (2001). "Introduction". A Portrait of the Artist as a Young Man. Wordsworth Editions. pp. i–xxxii. ISBN 978-1-85326-006-3.
Bulson, Eric (2006). "3". The Cambridge Introduction to James Joyce. Cambridge University Press. pp. 47–62. ISBN 0-521-84037-6.
Fargnoli, A. Nicholas; Gillespie, Michael Patrick (2006). Critical Companion to James Joyce: A Literary Reference to His Life and Work. Infobase Publishing. ISBN 978-1-4381-0848-3.
Herbert, Stacey (2009). "Composition and publishing history of the major works: an overview". In McCourt, John. James Joyce in Context. Cambridge University Press. pp. 3–16. ISBN 978-0-521-88662-8.
Johnson, Jeri (2000). "Introduction". A Portrait of the Artist as a Young Man. Oxford world's classics. Oxford University Press. ISBN 0-19-283998-5.
Kenner, Hugh (Summer 1948). "The 'Portrait' in Perspective". 10 (3). Kenyon College. pp. 361–381. JSTOR 4332957.
Read, Forrest, ed. (1967). Pound/Joyce; the Letters of Ezra Pound to James Joyce: With Pound's Essays on Joyce. New Directions Publishing. ISBN 978-0-8112-0159-9.
Wollaeger, Mark A. (2003). James Joyce's A Portrait of the Artist as a Young Man: A Casebook. Oxford University Press. ISBN 978-0-19-515076-6.
Further reading[edit]
Attridge, Derek, ed. The Cambridge Companion to James Joyce, 2nd edition, Cambridge UP, 2004. ISBN 0-521-54553-6.
Bloom, Harold. James Joyce's A Portrait of the Artist as a Young Man. New York: Chelsea House, 1988. ISBN 1-55546-020-8.
Brady, Philip and James F. Carens, eds. Critical Essays on James Joyce's A Portrait of the Artist as a Young Man. New York: G. K. Hall, 1998. ISBN 978-0-7838-0035-6.
Doherty, Gerald. Pathologies of Desire: The Vicissitudes of the Self in James Joyce's A Portrait of the Artist as a Young Man. New York: Peter Lang, 2008. ISBN 978-0-8204-9735-8.
Empric, Julienne H. The Woman in the Portrait: The Transforming Female in James Joyce's A Portrait of the Artist as a Young Man. San Bernardino, CA: Borgo Press, 1997. ISBN 978-0-89370-193-2.
Epstein, Edmund L. The Ordeal of Stephen Dedalus: The Conflict of Generations in James Joyce's A Portrait of the Artist as a Young Man. Carbondale: Southern Illinois UP, 1971. ISBN 978-0-8093-0485-1 .
Harkness, Marguerite. Portrait of the Artist as a Young Man: Voices of the Text. Boston: Twayne, 1989. ISBN 978-0-8057-8125-0.
Jaillant, Lise. "Blurring the Boundaries: Fourteen Great Detective Stories and Joyce’s A Portrait of the Artist as a Young Man in the Modern Library Series." James Joyce Quarterly 50.3 (2013): 767-95.
Morris, William E. and Clifford A. Nault, eds. Portraits of an Artist: A Casebook on James Joyce's Portrait. New York: Odyssey, 1962.
Rickard, John S. "A Portrait of the Animal as a Young Artist: Animality, Instinct, and Cognition in Joyce’s Early Prose." Humanities 6.3 (2017): 56.
Seed, David. James Joyce's A Portrait of the Artist as a Young Man. New York: St. Martin's Press, 1992. ISBN 978-0-312-08426-4.
Staley, Thomas F. and Bernard Benstock, ed. Approaches to Joyce's Portrait: Ten Essays. Pittsburgh: University of Pittsburgh Press, 1976. ISBN 978-0-82-293331-1.
Thornton, Weldon. The Antimodernism of Joyce's A Portrait of the Artist as a Young Man. Syracuse, NY: Syracuse UP, 1994. ISBN 978-0-8156-2587-2.
Tindall, William York (1995). A Reader's Guide to James Joyce. Syracuse University Press. ISBN 978-0-8156-0320-7.
Wollaeger, Mark A., ed. James Joyce's A Portrait of the Artist as a Young Man: A Casebook. Oxford and New York: Oxford UP, 2003. ISBN 978-0-19-515075-9.
Yoshida, Hiromi. Joyce & Jung: The "Four Stages of Eroticism" in A Portrait of the Artist as a Young Man. New York: Peter Lang, 2007. ISBN 978-0-8204-6913-3.
External links[edit]
Wikisource has the text of the novel:
A Portrait of the Artist as a Young Man
Wikiquote has quotations related to: A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man at Project Gutenberg
Hypertextual, self-referential version based on the Project Gutenberg edition, from an Imperial College London website
Digitized copy of the first edition from Internet Archive
A Portrait of the Artist as a Young Man public domain audiobook at LibriVox
Study guide from SparkNotes
Map of A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man at the British Library
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VIAF: 182255878
LCCN: n80161103
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