This is the story of an inquisitor in the Middle Ages, buried treasure in early modern Germany, and the fine art of necromancy.
The concept of magic maps uneasily onto premodern Christian Europe, where recipes for curing illness could consist of wearing an amulet as readily as drinking an herbal potion, or a person might perform magic spells calling on angels, not forces of darkness. Medieval and modern scholars, however, agree that some particular acts were inherently magical. Chief among these ritual types was nigromancia: the conjuration and command of demons.
Image of necromancer controlling demons, from British Library, Royal 6 e.vi f.396v.
Dominican inquisitor Nicholas Eymerich of Aragon (c.1320-1399) had ample experience reading and condemning necromantic texts. [1] Thus, he had plenty of material to reference in his multiple books condemning necromancy. In Directorium inquisitorum, he laid out an example ritual that invoked demons to demonstrate how sorcerers show “honor or veneration or worship” [2] to demons by:
drawing a circle in the earth, by placing a boy in the circle, by fixing a mirror, a sword, an amphora, or other small body before the boy, and with the necromancer himself holding a book, and reading, and invoking the demon.[3]
The reference to a necromancer and his reading aloud suggest this spell comes from the “underworld” of learned magic, transmitted among the daring elite through texts in Latin, Hebrew, Arabic, and Greek. The rest of the ritual, however, seems to involve little beyond mechanical skill. Eymerich gives no information on the spell’s origin or purpose. His intent is to argue that necromantic rituals inherently involve venerating demons, even if there is no overt act of veneration.
Nearly two centuries after Eymerich composed Directorium in 1376, a group of women went treasure-hunting in Augsburg. [4] As Regina Koch admitted to her interrogators, in May 1544 two women from Nuremberg had definitely not convinced her that there was a pot of money buried in her backyard, but she had allowed them to dig there anyway. One of the two women, along with at least two strange men, was outside during the digging.
Her interrogator’s unanswered questions to her, as reported by a scribe, suggest why they were so interested in these events:
10. Who called for this priest for this business, and where did he come from? 11. Did she not have burning wax or candles there? 12. Were these candles blessed, or were they just simple candles? And who provided them? 13. Did the priest and one of the women read out of a book in the hole, and make a cross, as well as say a blessing or a magic spell? 14. What was in the little pitcher that the woman had in the hole, and then gave back to the maid? [5]
The interrogator is clearly working from a base of earlier information. One of their other questions concerned which men had taken a bath with which women inside Koch’s house, so town gossip seems a likely source. Even so, the unanswered questions almost all involve activities that, taken alone, amount to standard Christian practice.
With the aid of other witnesses’ overlapping and conflicting testimony, however, a full story of the events in Koch’s backyard was constructed:
Sophia Voit and Otilia Wolkenstainer of Nuremberg brought a village priest, a young girl, and several men to Regina Koch Mauerin’s house, and Sophia Voit made a circle or ring, went around it with candles, then took a naked sword from a young man and marked a spot with it where they should dig. Afterward, she sat in the circle, stuck a cross or crucifix in the grass and lay a little cloth over it, and read out of a little book. The above-noted village priest also sat there and read from a little book, and both made crosses and magic signs. In sum, they were digging for treasure. [6]
This 1544 legal record recounts a previously unnoticed elaborate (and sometimes slightly confused) version of the spell Eymerich referenced in 1376. Furthermore, even if the clerk writing the summation had some familiarity with a text of learned magic and polished up witnesses’ testimony a bit, town gossip—street knowledge—played a major role in the compilation of events. The scribe was not merely substituting something he had once read in a book for the results of the interrogation.
The discovery of the near-mirror image of these two rituals across time, space, and environment raises questions about the transmission of magic that must remain frustratingly unanswered for now. It is worth, however, considering one last point from the legal record concerning Koch and the others:
In perpetrating this superstitious act, they seriously abused the name and word of God. [7]
The inquisitor had cared enough about this case to torture Koch for more information (she revealed nothing further!). But not a word was spoken about invoking or venerating demons—even in the full flame of witch hysteria. Nicholas Eymerich would not have been happy to hear about this conclusion—nor about Koch’s punishment of “a good talking to.”
In conclusion: Klaatu verata niktu, and happy All Hallows’ Eve! [8]
Cait Stevenson PhD in History University of Notre Dame
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[1] Michael Bailey, “From Sorcery to Witchcraft: Clerical Conceptions of Magic in the Later Middle Ages,” Speculum 76, no. 4 (2001): 971. This article drew my attention to Eymerich and the sample spell recounted below.
[2] Nicholas Eymerich, Directorium inquisitorum R. P. F. Nicolai Eymerici… (Rome, 1578), 836.
[3] Translated in Bailey, 972.
[4] The records concerning Regina Koch and buried treasure are translated by B. Ann Tlusty in Tlusty, ed. and trans., Augsburg during the Reformation Era: An Anthology of Sources (Hackett Publishing: 2012), 242-46, which introduced me to this case.
[5] Trans. Tlusty, 243.
[6] Trans. Tlusty, 245.
[7] Trans. Tlusty, 245.
[8] Army of Darkness, directed by Sam Raimi (1990; Universal Pictures).
In 2009, the military base at Fort Hood installed what can only be described as a bizarre sculpture. Sitting outside the headquarters building is a monumental equestrian statue of medieval European fantasy complete with all the expected trappings—chain mail, axe, helmet and a shield here emblazoned with the caltrop of the III Corps United States. As this imposing character looks down with red eyes from his muscled horse, one cannot help but wonder about the figure’s appropriateness within this space. Surely, the statue would better suit an event at Comic-Con than an Army Base.
“Phantom Rider” Statue outside III Corp Headquarters, Fort Hood Texas, 2009.
The sculpture renders Frank Frazetta’s “Death Dealer” a character originally painted in 1973. During his career Frazetta would become famous for creating the cover art for re-printings and pastiches of Robert E. Howard’s Conan the Cimmerian. The infamous, Western barbarian, who spends his time battling Oriental sorcerers and slaughtering black cannibals, played some role in inspiring the “Death Dealer” as suggested by this cover of “Conan the Conqueror” from 1967.
“The Death Dealer,” Frank Frazetta, 1973.Conan the Conqueror Cover, Frank Frazetta, 1967.
While the original painting obscures the phantom figure’s physical qualities, his weaponry and costume code him as white. The bearded axe and horned helmet recall popular iconography denoting “Viking”[ness], though as some scholars have demonstrated such helmets were largely products of the nineteenth century. Furthermore, his shield bears the reichsadler, the black heraldic eagle employed by the Holy Roman Emperor which has also been used for more contemporary and horrifying purposes.
Imperial Black Eagle associated with Henry VI from Codex Manesse (c. 1304).Nazi appropriation of the Imperial Black Eagle in their Reichsadler Symbol (1935-1945).
Admittedly, the visual elements alone do not convey the more problematic elements found in the Conan narratives. As the “Death Dealer” grew in popularity, even becoming adopted as the III Corp mascot in 1986, Frazetta joined author George Silke to create a backstory for his creation in 1987. The novel “Prisoner of the Horned Helmet” begins in a proto-European forest defended by “Gath of Baal” (our Death Dealer). The text, perhaps unsurprisingly, describes “Gath” as a “barbarian” who must defend his homeland from the invading Kitzaaks, a pseudo-Mongol Empire, and their collection of Eastern allies, including the naked and bloodthirsty “Feyan Dervishes.” The cover art here depicts a scene where our hero encounters desert-dwelling “nomads” who have been mutated into dog-faced beings by their continued use of drugs. Such tropes have connections to medieval Latin Christian polemical narrative of Muslims, frequently described as a “race of dogs” or in the case of the Nizari State at Alamut, engaged in the consumption of hashish as part of a perverted “Saracen” practice. Finally, as the “Death Dealer” raises the axe, the artist reveals those corded arms, his previously indeterminable “epidermal” (Heng, 181-184) whiteness is now made manifest.
Cover of “Prisoner of the Horned Helmet” (The Death Dealer II), Frank Frazetta, 1987.
Evidently, the “Death Dealer” suffers from what Helen Young has previously termed the “Habits of Whiteness” that pervade fantasy literature. As with Tolkien’s and Howard’s work, white bodies and imagined culture is central to this genre. While I do not presume intent on the commissioning of the Fort Hood statue, given the textual narrative, how do we approach this installation of white violence? In fairness, when the III Corps adopted the character they decided to utilize the more politically correct “Phantom Warrior,” perhaps not wishing to glorify “death.” Still, we cannot divorce this sculpture from its racial overtones because of the larger context of artistic and authorial intent. The Army’s own literature manages to perpetuate some of the problems with this imagery, stating that it “represents the heritage and symbol of America’s Armed Corps” and even connects the “Phantom Warrior’s” horse to those employed by William the Conqueror in 1066. Even when devoid of the textual contribution of Frazetta/Silke, the official narrative insists upon a European past.
By highlighting these issues, I do not mean to attack the Army’s history, though the question of “historical preservation” remains interesting to this conversation. In recent years some discourse has begun to question the public display of Confederate statuary and the naming of military bases for Confederate generals. Opponents of this movement have cried foul, stating that to do so would be to remove American “history.” Of course, these claims are groundless as many of the monuments and bases were erected or named during the early-twentieth century. Yet, even if this were not true, and the icons of Confederacy somehow held an indelible historical value, in what way does an 1980s sword & sorcery construction constitute the pith of American military memory?
Cover of “Prisoner of the Horned Helmet” (The Death Dealer II), Frank Frazetta, 1987.“Hood’s Texas Brigade” Monument, Austin TX, 1910.
As we continue to move beyond more obvious examples of racist imagery, perhaps new attention needs to be paid to seemingly neutral renderings which bear all the hallmarks of a white fantasy. Indeed, it is the subtle appellations which allows such narratives to endure. With the escalating number of white nationalist affiliations among military personnel, the public should consider “who does this Warrior speak to and what mythologies does he seek to reinforce?”
“Phantom Warrior” Statue, Fort Hood, 2009.
Tirumular (Drew) Narayanan PhD Student in Art History University of Wisconsin, Madison
Frank, Roberta. “The Invention of the Viking Horned Helmet.” International Scandinavian and Medieval Studies in memory of Gerd Wolfgang Weber (2000): 199-208.
Higgs Strickland, Debra. “Monstrosity and Race in the Late Middle Ages.” In The Ashgate Research Companion to Monsters and The Monstrous. Edited by Asa Simon Mittman with Peter J. Dendle, 365-386. New York: Routledge, 2016.
Heng, Geraldine. The Invention of Race in the European Middle Ages. Cambridge: Cambridge University Press, 2018.
Young, Helen. Race and Popular Fantasy Literature: Habits of Whiteness. New York: Routledge, 2016.
Umberto Eco famously described James Joyce’s FinnegansWake as “a node where the Middle Ages and the avante-garde meet” (xi). For Eco, Joyce’s obsession with order and architectonics had a medieval character, and the Wake frequently refers to the BookofKells as a kind of emblem of Irish modernism. A whole host of iconic medieval texts is put on display in the “museyroom” (8.09), or the museum that Joyce builds in order to warehouse all of human history. The surahs of the Koran echo in Joyce’s female protagonist, Anna Livia Plurabelle, who is described as “Annah the allmaziful” (104.01), and we move from here to the AnnalsoftheFourMasters towards universal theories of history like Giambattista Vico’s Scienza Nuova.
The Book of Kells, [Codex Cenannensis] Dublin, Trinity College Library, MS A. I., folio 292r.
However, the extent of Joyce’s research into the Scandinavian influences on Irish and British culture has been underappreciated until somewhat recently. Thanks to the work of genetic scholars like Daniel Ferrer, and others involved with the Genetic Joyce Studiesproject, we now have a fuller picture of the depth of the Irish author’s appreciation of the history of Dano-Norwegian conquest. The Wake creates a speculative cartography, drawing on the ways in which the Scandinavian incursions into the western European peninsula—“the penisolate war” (FW 3.06)—impacted the cultural geography of Ireland. Ireland becomes a microcosmic composite of diverse global histories of migration in the Wake, and the historiographical adage that the Vikings became ‘more Irish than the Irish themselves’ plays out in Joyce’s mosaic of native-settler miscegenation: a process of “Noirse made Earsy” (314.27), or Norse made Irish/Erse.
The imaginative topography traced by the Wake ‘spatchcocks’ the totality of global history onto the local map of Dublin and its environs. As Joyce uses the course of the river Liffey to delimit the world-historical synecdoche that is Dublin, he draws on writers like the nineteenth century historian Charles Halliday. Halliday’s work, The Scandinavian Kingdom of Dublin, identified the Norwegian settlement of Dyfflinarsky with the inland route that the Liffey takes from Dublin Bay to the ‘Salmon Leap’ in Leixlip. This archaic territorial map has several notable features of Scandinavian origin, and even as early on as Joyce’s A Portrait, we see the influence of Halliday in references to the existence of a thingmote—a primitive structure that survives at the centre of Joyce’s imaginary Dublin as a vestigial icon of lost ages of Scandinavian sovereignty.
Indeed, the structure of the thingmote has profound symbolic significance in the Wake, as its hump-like shape resonates within the moniker of the Wake’s quasi-Nordic protagonist: Humphrey Chimpden Earwicker (the ubiquitous HCE). An entire retinue of Scandinavian sovereigns populates the pages of Earwicker’s story, or his “Eyrawyggla saga” [48.16] (the comparison with the Icelandic Eyrbyggia Saga with Ireland was likely derived form A. Walsh’s 1922 history, Scandinavian Relations with Ireland during the Viking Period). The more familiar characters and incidents form the Poetic Edda crop up intermittently in Joyce’s novel (HCE assumes various forms of Odin’s name, and Yggdrasill and the hanged god theme lie behind the book’s recurrent theme of the scapegoat who is sacrificed). Indeed, from Thórodd, to Harald Bluetooth, to Sitric Silkenbeard—the Wake is heavily invested in bringing the expansionist networks of Norse hegemony into close proximity with more ‘Celtic’ accounts of the roots of Irish culture (indeed, the Tripartite Life of St. Patrick is a recurring nativist source, and the Wake returns frequently to St. “Peatrick” [3.10] as a satirical symbol of earthy, native identity).
While much of this historiographical overlaying of chronicles and pseudo-histories is designed to critique the ethno-purism of the Gaelic Revival’s celticization of history, it also speaks to the universal tendency of national cultures to ‘invent’ their own traditions—especially as this invention involves appropriating the histories of minority cultures. Norse references often displace the homely founder-narrative of Gaelic authenticity and rootedness in the Wake, and in Book Two, Chapter Three, for instance, HCE becomes a Norwegian sea-captain, who is naturalized as an Irish citizen through his marriage to Anna Livia. This episode recalls various incarnations of the invader/betrayer narrative that has defined Irish history, and the way in which he is domesticated and hybridized by the Celtic influence (becoming a “Scowegian” [16.06] and an “Eirewhigg” [175.17]), puts into question any assumptions about the uninterrupted purity of the Celtic lineage.
Finnegans Wake by James Joyce, Illustrated by John Vernon Lord (The Folio Society, 2014).
While Joyce introduces a Nordic element in order to desacralize Irish mono-culturalism, the Wake draws on a unique tendency within early twentieth-century historiography to complicate ethnic narratives by emphasizing the influence of peripheral, colonized cultures. Indeed, we can see how Joyce was actively searching for what could be called a counter-hegemonic chronicle of Norse-Irish history by looking at the complex array of notebooks and draft sheets for this chapter. These sources are often used by Joyce scholars to support their genetic claims about the gestation and composition of FinnegansWake. As Ian MacArthur and Viviana Braslasu point out, in his notebooks of 1926 (V.B.17) and 1936 (VI.B.37), Joyce was reading and annotating a book by the Norwegian historian Alexander Bugge. Here we find references to the “Danelagh” (or Danelaw), to Magnus Barefoot, and to a variety of other tid-bits of Dano-Norwegian provenance. Bugge’s A ContributiontotheHistoryoftheNorsemeninIreland would have been attractive to Joyce—the counter-hegemonic writer, who wished to challenge monolithic histories. The Norwegian historian’s work contains chapter titles like “The Royal Race of Dublin”—a study of the elite Scandinavian inflections of medieval Irish culture. While this Nordicization of Irish history might appear to smack of Norwegian chauvinism, it is also deeply invested in complicating the Norwegian narrative of cultural purity, as a micro Irish note is introduced into the macro-schema of Viking supremacy (Bugge had also won a Nansen Foundation in 1903 award for an essay on “How or to which extend have the Norse, and particularly the Norwegians, culture, way of living and society been influenced from the Western Countries [ie. Ireland and the British Isles]”.
On the negative side, we can also see how the “becoming-minor” of national historiography could enable more domineering cultures to include minority cultures within their assimilationist narratives of national superiority. The politics of Nordic historiography in the early twentieth century was fertile ground for exploring the ways in which historical revisionism was used to articulate a clearer national identity in times of crisis (Norway and Sweden were in an identity crisis after the dissolution of their union in 1905). However, Joyce’s habit is to ridicule every nation’s proclivity to co-opt the history of minority political subjects. While Ireland becomes a positive source of talkback to national chauvinism in the Norwegian context—complexifying the tapestry of Viking history—Great Britain had been more resistant to Irish charges of cultural appropriation.
As British Anglo-Saxonists articulated their own version of national history throughout the nineteenth century, Ireland often features in their revisionist schema as a minority partner only. Attempts to archive an autonomous Gaelic literature had many pitfalls during the period of British colonization, as incidents like the Ossian controversy demonstrated. In this way, the ‘Celtic note’ (as critics like David Lloyd have made clear), was always expressed within a clear hierarchy of colonizer/colonized, modern/primitive—primary history versus secondary account; the authentic ‘Angle’ versus the imitative ‘Celt’. The self-fashioning of British identity (which accelerates during the Victorian era) was thus tied up with an emergent field of medieval scholarship. This field provided an intellectual justification for jingoism, and Anglo-Saxonists would play a key role in subordinating problematic minority cultures to a master narrative of national (namely, ‘Anglo-‘) culture.
The problem of Scandinavian identity upsets this kind of national chauvinism in the Wake. It functions in a multivalent fashion—less as a distinct culture, or a clear form of geopolitical identity, so much as a repertoire of possible colonial subject-positions. Joyce dramatizes the reversibility of dyads like colonizer/colonized and settler/native, and identity becomes a negotiable and heterogeneous phenomenon, as it is written and rewritten in the cyclical drama of conquests and colonisations in the Wake.
Cover of Penguin Books edition of Finnegans Wake by James Joyce (1999).
The Wake cultivates a pervasive aura of Norse-ness in-order-to articulate the impure nature of Irish identity—which was defined by successive waves of conquest and occupation (from the Vikings, to the Normans, to the modern British state). As we encounter the bellicose reparteé of two Neanderthal men—Mutt and Jute—in the first chapter of the novel, Joyce challenges us to develop an ethno-critical kind of thought. As Mutt encounters Jute, the hybrid native meets the ambiguous colonizer/Jutlander, and here Joyce plays with and inverts the roles of native and invader, moving beyond Manichaean constructions of history. In so-doing, Joyce radicalizes and repurposes the hackneyed trope of the Vikings’ assimilation to native Gaelic culture, and while the latter become “more Irish than the Irish themselves”, we are left with the sense that the Irish ‘mutts’ become less like themselves by virtue of the same process.
To further this deconstruction of historical roles, the Battle of Clontarf becomes a teachable moment in the Wake, as it works to complicate the received Manichaean narrative that the foreign invader was somehow expelled by the resilient natives in 1014. As Joyce himself remarks:
Finally, the bloody victory of the usurper Brian Boru over the nordic hordes on the sand dunes outside the walls of Dublin put an end to the Scandinavian raids. The Scandinavians, however, did not leave the country, but were gradually assimilated into the community, a fact that we must keep in mind if we want to understand the curious character of the modern Irishman (CW 159-60).
Photo of James Joyce by Berenice Abbott (1928).
This is taken from a lecture that Joyce gave in Trieste on the topic of Irish identity in 1907, ironically entitled “Ireland, Island of Saints and Sages”. Here, the Wake’s vision of “miscegenations on miscegenations” (18.20) comes to the fore, as Ireland functions as what Thomas Hofheinz calls a “transparency”: a historiographical overlay of a diverse array of settler cultures. Joyce’s aim is to critique the homogenizing of identity that he saw at work in certain strands of Irish culture—from the church’s promulgation of a pan-Catholic, confessional culture, to what would seem like (from a modern vantage), rather chauvinistic references to a Gaelic “race” (we find this kind of language in Douglas Hyde’s The Necessity for De-Anglicizing Ireland, a talk given to the Irish National Literary Society, in 1892).
Rather than monumentalizing a supposedly stable monoculture, the Wake dwells on how history inevitably becomes a document of errors. We see an example of such “intermisunderstanding” (118.25), in the dialogue between Mutt and Jute in chapter One. The text that accompanies this bizarre piece of dialogue speaks of how the historian Tacitus has related a deceptive narrative of Hiberno-Germanic cultures: “as Taciturn pretells, our wrongstory shortener” (17.03). Here, the chronicle of history becomes a “taciturn” document—one that is unforthcoming; less of a clear and concise history, and more of a faulty chronicle, which is full of erroneous assumptions about foreign cultures. The inherent cultural relativism of a text like the Wake thus complexifies history, to the extent that it advances a hard historical relativism—challenging any attempt to devise a faithful account of the national past.
This lack of a definitive historical perspective is matched by the subversive interplay of Mutt and Jute, and they develop a sort of grudging complicity as they dialogue with each another (a sort of settler-colonial folie à deux, that upsets the rigid demarcation between settler and native). In their tenuous acts of civility towards one another, Mutt and Jute overturn any notion of a “pure” ethnic identity, as they come to represent the multifarious cultural exchanges that were involved in different phases of immigration and conquest. As they “swop hats and excheck a few strong verbs weak oach eather” (16.08), Mutt and Jute illuminate a history of linguistic cross-pollination, and the pair become a clownish, vaudeville duo, who deflate the grandiose pretensions of cultural chauvinisms that were becoming more prevalent during the composition of the Wake in the fascist 1930s. The latent violence of such exchanges is palpable, and Joyce effectively transplants the grander theatre of European tensions onto his own insular, Irish setting. The Wake constantly excavates and re-visits the histories of European violence. By domesticating and ironically reducing the gravity of this martial story of cultures (localizing it within in a remote enclave of the western European peninsula, like Ireland), he performs both a critique of epic jingoisms, and a de–sacrilization of the Hibernian insulasacra.
Finnegans Wake by James Joyce, Illustrated by John Vernon Lord (The Folio Society, 2014).
The specific mechanics of the interplay between Old Norse and Old English references that we find in Mutt and Jute will be detailed in our next blog. For now, it is worth noting how the political resonance of this cultural-linguistic patchwork begins to emerge. As Hofheinz has argued, Joyce’s engagement with historiography on Ireland’s Scandinavian roots is drawn from a scholarly tradition that was intimately bound up with both colonial antiquarianism, and the official outlets of English cultural production. Halliday, for example (whose Scandinavian Kingdom was clearly an influence on Joyce), was a historian commissioned by the Dublin Ballast Board—a municipal maritime body that had a quasi-governmental remit. As a member of the Royal Irish Academy in the mid-nineteenth century, Halliday joined the ranks of an academic organization whose history was inflected by a culture of colonial curatorship. The Academy was disproportionately patronized by the educated, Protestant elites of Ireland (one thinks of the Anglo-Irish novelist Maria Edgeworth and the statesman, Edmund Burke as notable members—critics of colonialism and slavery who could also be extremely paternalist in their attitude). It is thus impossible to separate the source-texts of Joyce’s Scandinavian fascination from the long history of official chronicles, and what was oftentimes an intense competition (between Irish and more ‘Anglo’-oriented intellectuals) for cultural legitimacy. The bellicose nature of historiographical debate—a veritable patchwork of cultural appropriations and revisionisms—is consequently encoded in the confrontational patois of Mutt and Jute. Here, also, Joyce uses the comic strip template of Mutt and Jeff to conjure a comic duo of primitive cavemen who are trying to muster the most rudimentary form of language competency. As they are excavated from some palaeolithic era like the Heidelberg Man (“our old Heidenburgh” [18.23]), these original hominids represent the historical extremes that founder-narratives of cultural legitimation will go to, and in the end they become little more than bungling diplomatic negotiators, engrossed in an awkward telephone conversation. Stay tuned for more on the archaeology and language archaism of this anti-colonial satire in our next blog post on the subject!
John Conlan, Ph.D. University of Notre Dame
Selected Bibliography:
Braslasu, Viviana-Mirela and Ian MacArthur. “NorsemeninIreland in Spree, Notebook VI.B.37”. Genetic Joyce Studies: 20.1 (2020).
Eco, Umberto. The Middle Ages of James Joyce: The Aesthetics of Chaosmos. MA: Harvard UP (1989).
Hofheinz, Thomas. Joyce and the Invention of Irish History: FinnegansWake in Context. Cambridge: Cambridge UP (1995).
Joyce, James. The Critical Writings of James Joyce. NY: Cornell UP (1989).
Finnegans Wake. London: Penguin (1999). Lloyd, David. Nationalism and Minor Literature: James Clarence Mangan and the emergence of Irish Cultural Nationalism. CA: University of California Press(1987).
