NORA publishes here in Ireland on the 10th April with New Island Books and I have some events/readings coming up to celebrate the book. We have two launch events planned, one each for Dublin and Galway. More below:
26th March, 8pm GMT: American writer Jillian Cantor and I will be discussing bio-fiction, to celebrate the publication of her novel Half Life about Marie Curie. In association with Poisoned Pen Bookstore, Arizona. More here.
9th April, 7pm: Launch online in Dublin on 9th April in association with MOLI. Interview with Katherine McSharyy of the National Library of Ireland. Register here.
11th April – essay about Nora Barnacle on Sunday Miscellany. 9am to 10am on RTÉ Radio 1.
Drew Gallagher has reviewed NORA for the Free Lance-Star in Fredericksburg, Virginia. Big thanks to him. I pasted the whole text below as GDPR blocks the link to those of us in Europe.
Book review: ‘Nora’ a serene, worthy addition to Joyce canon By DREW GALLAGHER FOR THE FREE LANCE–STAR Jan 9, 2021
What author Nuala O’Connor attempts in her novel “Nora” may be considered sacrilege by some. What she achieves is serene.
“Nora” is a literary biography of Nora Barnacle Joyce, the lover and wife of Irish author James Joyce and the inspiration for Molly Bloom in Joyce’s masterpiece “Ulysses.” Where the sacrilege might come in is in O’Connor’s first chapter, where she describes the first date of Nora and James in graphic and satisfying detail. To attempt to re-create the date that birthed its own holiday, Bloomsday, and was the impetus for what many consider to be the greatest novel of all time with the most salacious soliloquy of all-time is a fool’s errand, and for those who worship at the Joycean altar a form of heresy. And at the risk of upsetting the Joyceans further, I defy them to read the first chapter of “Nora” and not be enraptured and more than a little titillated.
O’Connor’s mastery is not limited to the first chapter, and she is able to tug emotion from the novel’s closing chapters where, in truth, there should be none. As with all literary biographies, we already know how the story ends, and it is unrealistic to want a biographical novel on the life of James Joyce to not end with his death, but when his sudden demise arrives, it is gut-wrenching through Nora’s loving eyes and leaves the reader staggered.
Nora and James are one of the great couples in literature, and this is underscored when Hemingway makes an appearance in Paris and quickly discards a wife for a new beau. The Joyces are not without trials and temptations, because before he was James Joyce, he was nothing more than a gifted writer trying to earn enough money from teaching to allow him to write on the side. Nora is jealous of James’ fondness for some of his students, but it is the statuesque Nora whose suitors, including James’ brother Stannie, are more direct in their intentions.
Following James’ peripatetic life through Europe and in search of money and drink can get tedious, but O’Connor elevates the reader above the mundane, which was the normal for the Joyces until the publication of “A Portrait of a Writer As a Young Man.” Ultimately, “Ulysses” freed them from having to stiff landlords for rent and opened them to Parisian society without concerns for food or dress. For the prodigal son of Ireland, Joyce spent most of his life elsewhere.
As with any work on Joyce, the ultimate question is whether or not “Nora” is a worthy addition to the Joyce canon. As Molly Bloom, the flower of the mountain, would say, “Yes.”
The Boston Globe has reviewed my novel NORA today and it’s a good one, calling it ‘an exhaustive and often wildly engaging’. You can read it here. I’ve also pasted the full review text below.
Historical fiction reimagines the love between Joyce and his lifelong companion
By Clea Simon Globe Correspondent, December 17, 2020, 5:00 p.m.
Nora Barnacle may not have been an artist, but she had a genius for living that made her indispensable to her partner, James Joyce. One of the greatest writers of the 20th century, Joyce honored Barnacle, his lifelong companion and mother of his two children, by setting his masterwork “Ulysses” on June 16, 1904, the day they first “walked out together.” But as Irish writer Nuala O’Connor tells it in an exhaustive and often wildly engaging fictionalized biography, the full story of the Galway gal who traipsed after James as he wrote, drank, and intermittently worked his way across Europe is a tale of its own.
In “Nora: A Love Story of Nora and James Joyce,” O’Connor presents the young chambermaid as lusty and full of life when she meets the writer — who has returned to his hometown Dublin after a brief sojourn as a medical student in Paris — in the spring of 1904. O’Connor’s Barnacle narrates her impressions of that famous date — a.k.a. “Bloomsday” — with the kind of stream-of-consciousness impressions that would distinguish Joyce’s great works; her language is earthy and vivid. “The river smells like a pisspot spilling its muck into the sea,” she remarks, as the two stroll along the Liffey. Moments later, “our two mouths crash together and it’s all swollen tongues and drippy spit,” beginning the graphic sexual encounter that Joyce would later recall “made me a man,” related in a mix of slang and endearments that establishes Barnacle’s personality.
Her distinctive language is certainly evocative of her lover’s. But whether O’Connor is suggesting that Barnacle inspired Joyce, as some scholars argue, or the writer simply channeled a particular Irish sensibility, the author leaves to the reader. With a knowing wink, the author has Barnacle — who had little formal education — talking about her own discomfort with writing. “[W]ords don’t slide off my pen the way they do for him,” she says. Despite the Joycean phrasings, she seems to be saying that her role is to be his muse.Get HomeFront in your inboxThe Weekender is temporarily HomeFront, your guide to the best ways to stay entertained at home any day of the week.Sign Up
“To Jim, I am Ireland,” she says. More to the point, perhaps, her lover says, “‘you are syllable, word, sentence, phrase. You’re fat vowels and shushing sibilants.’ ‘Nora,’ Jim says, ‘you are story.’”
In some ways, the book’s opening scenes, drawn largely from O’Connor’s Granta magazine short story “Gooseen,” capture the relationship — the title is Joyce’s pet name for Barnacle — at its peak. “Gooseen,” which won the UK’s 2018 Short Fiction Prize, presents the new romance as all lust and promise, with the consequences yet to come. In the ensuing and frankly overlong novel, O’Connor explores those consequences, and her protagonist’s increasingly conflicted connection to the man she loves.
Things are not all downhill. But early on, there are intimations that life with Joyce will not be easy. He drinks and is plagued with the eye troubles — most likely glaucoma — that will leave him nearly blind. He is also unfaithful. And although O’Connor’s novel doesn’t pick up on the recent studies that suggest Joyce’s health problems stem from untreated syphilis, his infidelity as well as his rampant alcoholism and profligate spending make Barnacle miserable. While she seems to never doubt his calling, the family is often in financial straits, and she ends up taking in laundry to cover their bills. “I’m beginning to wonder if mine isn’t a blighted wifehood,” she laments.
Depicting her protagonist as fundamentally conventional at heart, O’Connor has Barnacle frequently lamenting their unmarried state. Joyce disdained the Catholic Church, but Barnacle, in this retelling, comes to regret their unsanctioned life together, worrying constantly about exposure as the two move around Europe and she bears first George and then the ill-fated Lucia. For all her confidence in Joyce’s genius, she also recoils from his open depiction of sexuality. She is embarrassed by “bawdy Molly” Bloom and is appalled by the notorious episode in which Leopold Bloom spies on young Gerty MacDowell. “Why Jim has to put such sleazy little scenes in his novel I don’t know.”
Even as Joyce’s literary star rises, the tensions remain, as publication only means more money for Joyce to squander or drink away. And as their children mature, their idiosyncrasies — notably George’s romance with an older woman and Lucia’s mental illness — add to Barnacle’s woes. O’Connor chronicles nearly every move as well as the numerous publishing setbacks and hospitalizations — first Joyce’s and then their daughter’s, for what would eventually be diagnosed as schizophrenia — through Barnacle’s reactions. While these struggles are believably depicted, they recur with a sameness that makes this lengthy work read even longer than it is. The book holds true to its namesake’s life, but the overall effect is numbing. This is a novel, after all, not a comprehensive biography.
Ultimately, it is also — as the subtitle says — a love story. For all her complaints, Barnacle and Joyce did seem to have a rare and lasting connection, and for all its flaws, O’Connor’s book makes this relationship palpable. In her depiction, Barnacle says it best: “Jim is Jim, and Nora is Nora, and we know that despite any upsets and troubles we’ve had, we’re as strong as steel together.”
O’Connor (Becoming Belle) expands on her Granta award-winning short story, “Gooseen” in this poignant, comprehensive portrait of Nora Barnacle as a young woman, mother, and literary inspiration for the Molly Bloom character in Ulysses. Nora and James Joyce’s inseparable attachment begins in Dublin on June 16, 1904 (forever remembered as Bloomsday for the setting of Joyce’s masterpiece) and stretches to 1951. Narrated in Nora’s robust voice and carried by details saturated in filth, such as a walk along the Liffey river that “smells like a pisspot spilling its muck into the sea,” the narrative traces Nora and Joyce’s nomadic life from Ireland to Trieste, Zurich, London, Rome, and Paris, and details their constant money worries, health concerns, struggles with two difficult children, and emotional despair. Despite their personal and professional achievements, and a circle of friends that includes Sylvia Beach, the Guggenheim sisters, Samuel Beckett, Ezra Pound, and other literati, the couple suffers loneliness and “mutual melancholy.” An inscription on a bracelet that Joyce gives Nora underscores their commitment to one another: “love is unhappy when love is away.” O’Connor’s admirable accomplishment adds to the abundant Joyceana with a moving examination of an unforgettable family. (Jan.)