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Abstract
This article analyzes the naked performativity of Burgess’s use of Joyce in his two volumes of autobiography, showing how a Bloomian template of anxiety is both utilized and undercut. The article re-reads the revolt against Joyce at the climax as a pantomime-esque parade of instability, thus inviting contemplation on how creative traumas might be considered as that which stabilize, rather than disrupt, the autobiographical self as text.
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Notes
1 Burgess, Earthly Powers, 520.
2 Ibid., 521.
3 Bloom, The Western Canon, 416.
4 Bloom, Anxiety of Influence, 14.
5 Stinson, “The Gratitude for Influence,” 19.
6 Ibid., 18.
7 Bloom, The Anxiety of Influence, 15; Bloom, “Introduction,” 1.
8 Ricks, Allusion to the Poets, 6.
9 Mowat, “Joyce’s Contemporary,” 180.
10 Burgess, Earthly Powers, 45.
11 Burgess, Little Wilson and Big God, 5.
12 Marcus, Auto/Biographical Discourse, 5.
13 Saunders, Self Impression, 89.
14 Burgess, “Joyce as Novelist,” 17.
15 Sturrock, The Language of Autobiography, 287.
16 Burgess, “Irish Facts,” 446.
17 Unpublished MS, thought to be written in 1980, is kept in International Anthony Burgess Foundation Archives.
18 Joyce, A Portrait of the Artist as a Young Man, 208.
19 Sisson, “The Art and Illusion of Spiritual Autobiography,” 104.
20 Tambling, Confession, vii.
21 Burgess, Little Wilson and Big God, vii–viii.
22 Ibid., 7.
23 Ibid., 7.
24 Joyce, Ulysses, 20.
25 Burgess, Little Wilson and Big God, 8.
26 Joyce, Ulysses, 20.
27 Freud, Interpretation of Dreams, 173.
28 Heidegger, “The Origin of the Work of Art,” 1.
29 Burgess, Little Wilson and Big God, 21.
30 Ibid., 21.
31 Ibid., 192.
32 Burgess, Flame into Being, 3.
33 Burgess, “Joyce as Centenarian,” 277.
34 Joyce, A Portrait of the Artist as a Young Man, 171.
35 Joyce, Stephen Hero, 123.
36 Joyce, A Portrait of the Artist as a Young Man, 68.
37 Bloom, A Map of Misreading, 39.
38 Harbus, “Written Autobiography as a Source of Influence on Autobiographical Memory,” 128.
39 Saunders, Self Impression, Life-Writing, Autobiographies, & the Forms of Modern Literature, 90.
40 Burgess, Earthly Powers, 45.
41 Ibid.
42 Joyce, Stephen Hero, 34.
43 Joyce, Ulysses, 541.
44 Freud, Group Psychology and the Analysis of the Ego, 61.
45 Harold Bloom, The Anatomy of Influence, 5.
46 Burgess, Here Comes Everybody, 83.
47 Burgess, Little Wilson and Big God, 154.
48 Biswell, The Real Life of Anthony Burgess, 32.
49 Bloom, The Anxiety of Influence, xxvii.
50 Ibid., xvi.
51 Burgess, “Newlysses,” The Guardian, 19 June 1986, 21.
52 Burgess, “Major Triads,” The Guardian, 24 February 1972, 14.
53 Burgess, You’ve Had Your Time, 10–11.
54 Bloom, The Anxiety of Influence, 65.
55 Burgess, Ernest Hemingway and His World, 86.
56 Stinson, “The Gratitude for Influence,” 40.
57 Marcus, Auto/Biographical Discourses, 12–13.
58 Mijolla, Autobiographical Quests, 11.
59 Burgess, You’ve Had Your Time, 223.
60 Ibid., 202.
61 Man, “Autobiography as Defacement,” 930.
62 Burgess, Here Comes Everybody, 17.
63 Freud, Group Psychology and the Analysis of the Ego, 61.
64 Burgess, You’ve Had Your Time, 373.
65 Ibid., 373.
66 Ibid., 373.
67 Burgess, “Novel,” 73. The unedited typescript is held at the International Anthony Burgess Foundation archives.
68 Burgess, You’ve Had Your Time, 373.
69 Ibid., 373.
70 Ibid., 345.
71 Riesthuis, “This, That and the Other,” 185.
72 Borch-Jacobsen, “The Oedipus Problem in Freud and Lacan,” 267–268.
73 Burgess, You’ve Had Your Time, 374.
74 Burgess, “Creator of Oolisseez,” 32.
75 You’ve Had Your Time, 374.
76 Ibid., 374.
77 Ibid., 374.
78 Said, On Late Style, 114.
79 Ibid., 7.
80 Burgess, Here Comes Everybody, 86.
81 Quoted in Sam Coale, Anthony Burgess, 197.
82 Burgess, “Multiplying the Many-Minded,” 177.
83 Burgess, “Irish Facts,” 447.
84 Burgess, Little Wilson and Big God, 21.
85 Sigmund Freud, The Interpretation of Dreams, 148.
86 Burgess, You’ve Had Your Time, 86.
87 Freud, “Remembering, Repeating, and Working Through,” 394.
88 Biswell, The Real Life of Anthony Burgess; Lewis, Anthony Burgess.
89 Burrow, “Not Quite Nasty.”
90 Lejeune, “Little Wilson and Big Rousseau?,” 50.
91 Ibid., 46.
92 Ibid., 50.
93 O’Brien, “Pantomime,” 105.
94 Pascal, Design and Truth in Autobiography, 195.
95 Ibid., 61.
96 O’Brien, “Pantomime,” 105.
97 Ibid., 104.
98 Ibid., 104.
99 Burrow, “Not Quite Nasty.”
100 Bloom, The Anatomy of Influence, 335.
101 Ibid., 31.
102 Stinson, “Nothing Like the Sun,” 146.
103 Burgess, Earthly Powers, 1.
104 Cullinan, “Anthony Burgess.”
105 Ibid., 146.
106 O’Brien, “Pantomime,” 103.
107 Bloom The Anxiety of Influence, xiii.
108 Ibid., xvi.
109 Bloom, Shakespeare, xviii.
110 Woods, “Misreading Harold Bloom.”
111 Bloom, The Anxiety of Influence, xi.
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Elliott Mills
Elliott Mills completed his PhD on Brian O’Nolan as a Government of Ireland Postgraduate Scholar at Trinity College Dublin under the supervision of Dr Tom Walker and Dr Sam Slote. He has delivered papers at several conferences including the British Association for Modernist Studies, the European Federation of Associations and Centres of Irish Studies, and the International Association for the Study of Irish Literature. His chapter “Origin, Iterability and Violence in The Third Policeman” was published in Flann O’Brien: Gallows Humour through Cork University Press in 2020. He recently guest co-edited a special issue of The Parish Review: Journal of Flann O’Brien Studies and is currently co-editing a book of collected essays titled Irish Writers and State Bureaucracy.