the last words of james joyce by michael bolerjack

7/30/2019 The Last Words of James Joyce by Michael Bolerjack

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The Last Words of James Joyce

Michael Bolerjack


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The Last Words of James Joyce 2012 Michael Bolerjack


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For Betty Lee Ligon,

who actually finished reading Finnegans Wake


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Table of Contents

The Yes

Finnegans Wake


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THE YES


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To be Tolled in fragments: To take back the

ringing yes from Derrida for Joyce, redeem it,

not as example but as the unexampled, theunprecedented, unique, unrepeatable Yes.

But, first the notes of the introduction leading

to the redemption of affirmation:

A BB C BB A

Absolute

Father

Son

Holy Spirit

Son

Father

Absolute

Deconstructing the deconstruction to fulfill the

deconstruction contrary to the truth of

contradiction without contradicting the truth


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Complete

Transcendent GODMediation church

God

Church

World

I

World

Church

God

Aaron parents and grandparents

Burl

Bo

Charlotte

Bo

BurlAaron

Law prophets writings prophets law


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Gospel/acts epistles revelation epistles

gospel/acts

Love faith hope insight hope faith love

The book contains the text not the text contains

the book

Zig zag

Mystical flower

Cross cross cross

Mystical flower

I am

He is

You are

I am

You are

He is

I am

Autobiography effracts


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Epic drama fiction drama epic

Eternal time spacing time eternal

Exterior circular open effraction circular

exterior

Myth drama critical fiction drama myth

Transcendent mediation immediate mediation

transcendent

Truth / truth of contradiction / contradiction /

contradiction of truth / truth

Nothing becoming being becoming nothing

Square circle effraction circle square

Necessity fantasyFreedom reality

Necessity fantasy, vicious circle, effraction by


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love and work

Making free real

Absolute act

Possibility which is not

Impossible which really is

+ -

-- ++

Act de

De of de act

How does de prevent de of de?

How does deconstruction keep from


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deconstructing itself?

It always already is deconstructedIt starts out deconstructed

Not with act

Divided origin

Immemorial origin

No actual origin

Post retro active projection changes the past

into de

De cannot be deconstructed from within

What of synthesis?

Making dialectic de

Making de dialectic

Nothing but

Must be effracted.


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Possibility of impossibility

Equals

Impossibility of possibility

How to contradict the contradiction?

All goes through the I

As if the truth never was

As if the Jews did not die

Both did and did not

Neither did nor did not

Remains.

The b/a/n/n [both and neither nor]

Eliminates the either/or

Dialectic both / and

Leads to deconstruction


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No choice.

Jump levels

Silence effracts

Accurate, he said

If you can say either this or that then there is

choice, free

And the b/a/n/n [both and neither nor] is

impossible

Choice destroys deconstruction

Deconstruction destroys choice

Total-talitarian

Either choice or non-choice

Must not choose non-choice

Choosing to choose, open


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Choosing not to choose, defer, is to allow de

Two cities meta/para

If we eliminate choice we eliminate our

freedom

Freedom is the thing itself, made impossible by

de

Possible made impossible, impossible made

possible [disaster]

Outside text is the context

If there is a context there is difference choice

freedom

If all context is already text then no either/or

If I am the context, in god-church-world, then I

effract it, I choose to beAgainst the text, I am the standard of measure,

I bind it, delimit the text

Explain it, not it me


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The reader is the way the text arrives.

Text to weave

If there are folds

There are implications

And explications

An either/or

Exemplify complication

Simplify complication

Supplicate

A fold is a fold of something

Examples

Case in point

Show

Embody


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Typical

Eximere- to take out-

Replication---

Reply, fold back, plaintiffs reply, echo, copy

Answer, reply, rejoinder.

Law suit, dialogue

Either plaintiff or defendant, choice

Redeem---

Re-emire, redeem, take back, not example, take

out

One steals by example or one is redeemed by

taking back to original

Either / or in replication---rejoinder reply or

copy, you choose, are free


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Law means contradiction e/o [either/or]

decision justice choice

Complication implication

Replication explication

Structure of plication

Either/or chooses one or other

b/a/n/n [both/and/neither/nor] chooses all

A-thesis before thesis, amoral before moral, no

good / evil t/f [true, false] impossible

Since complication only implications pli selon pli

Since has been illusion explication is only

illusion

Always plus one

Derrida seems to be bringing a unity into the

text by yes+yes affirmation in Joyce

Molly Blooms final statement:


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YES I SAID YES I WILL YES

Meanings of YES

1. Used as a function word to express assent or

agreement

2. Used as a function word to introduce

correction or contradiction of a negative

assertion or direction

3. Used as a function word to introduce a more

emphatic or ex-plicit phrase

4. Used as a function word to indicate

uncertainty or possible interest or attentiveness

5. Exclamation of jubilation

Yes

Said I

I WillYes

Perfect ringing of yes


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4 words

7 times12 letters

Perfect proof of Metasignification

Joyce knew the Ultrastructure well

Bloom asks Molly to choose

She chose

Decision, choice

An either him / or another

Free / the deconstruction cut off / by a decision

She does not defer but decides

Yes

She will

Desire inclination disposed a testament

To order to direct


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To choose

As well him as anotherI thought as well him as another

Indifference

And yet, yes.

Parse

Yes/I said yes I will/Yes.

Yes---three times

I said

I will 4 words

Again / the Ultrastructure

Yes three letters / will four / said four / I one,

numbers, numbers, mystical forms.

The final YES is the explication of all the rest

Penultimate yes is choiceAnte-penultimate is used to introduce a more

emphatic or explicit phrase

Penultimate emphatic agreement


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Ultimate the explicit, the explication still

ringing.

Yes: Janus at door looking back on the first

three fictions and forward to the Wake:

Dubliners said / Portrait will / Ulysses yeses I

effraction / Wake is effracted text after I:

Dubliners god / Portrait church / Ulysses world-

--Moral, rebellion, epic/simony, paralysis,

gnomon/yes is the bit making the rest a

gnomon---Text of god-church-world effracted

by I saying yes.---In order to complete the three

at step/decision, in order to arrive at four, in

order to reach the all in all at Wake. Everything

hinges on the Yes. It is dialectic that affirms and

cancels. What takes place after the YES is a

different order of things, meta / not para. Each

step by Joyce goes further, and is never parallel,

but at last fully meta. Beyond, the meta-novel,not anti-Anything but completely free, pure, the

joy felt after the act of faith: YES. Derridas

YES/YES does not quite catch it, as if there were


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always one more yes to be said. What ULYSSES

showed is that in making a final explicit YES,

one affirms as in an act of faith and makesoneself free, Molly made her decision, Joyce

his, and freed herself/ himself. It is the finality

of the Yes that is important, not the possible

indefinite addition. The final YES is more than

any of the four meanings given, it is a meta-

static-yes. It is final, but it structurally cannot

stop being said, at once final and infinite, but

never indefinite. It is not like a total count in the

making, plus one, but at once all numbers

combined, a symbol for God in a book both

profane and, yes, sacred.

I have shown the ringing of the YES, circular in

structure and as Ultrastructure,

But what of the b/a/n/n the

both/and/neither/nor?What of the banns? Of marriage. Wedding ring,

a banding, binding.


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The banns of Derrida impossibly bans the

wedding, anti-banns, It makes the

I DO

Impossible.

It makes the YES of decision impossible,

allowing only the meaning of a kind of

inattentiveness. Derridas YES is the opposite of

Joyces. It does not explicate, does not choose,

is not emphatic, neither does it assert the

contrary, but rather like a manager will murmur

to an employee yes, yes while never intending

action.

The last seven words of Molly recall her

decision to marry, wedding banns, that ban the

Derridean appropriation before-hand. Shechooses one, not all. Just Bloom. And re-affirms

her choice. Renewal. Of the Banns.


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To say this YES is always to choose the

faithfulness, though we have been unfaithful. It

is a kind of repentance, a YES that turns, thatbrings back, that redeems.

Derrida takes it out of context, examples it,

rejects the redemption, the supplicatory aspect

of the final Yes in Ulysses. That YES does not

replicate, does not implicate, and though it is in

a position to explicate does not, and is

supremely simple, not complicated.

The YES is a supplication. It does not

supplement itself, it prays. It is neither folded

nor unfolded, for it has never been enfolded. It

is a plea, not a pli. The YES simplifies the matter.

It is not pliable, but resolution itself, resolving

the work, and as much as you can bear, or hear,

in the context of your readership. But perhapsthat is the reply of yes implied by Derrida,

that when we hear Mollys YES we reply yes

again and again. Qui, qui. If that is the case he


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may be exonerated, but I believe his YES is too

complex and is like his messiah unable to affirm

because it cannot stop repeating itself. It wouldhave been better then to say a simple NO than

to endlessly entangle Joyces ACT in an endless

deferral.

In the end Derrida turns the YES into a YET.

Eventually, yes, yes, but not yet. Not never, just

not yet, not now, decision is impossible, too

much difference: hesitating at the altar:

Yet, I could not say, yet I will not, yet neither

nor will, not Yet. Yet I said Yet I will Yet. No one

can say YES to that. Say Yes to Yes itself, as

Derrida quotes Blanchot in Living On, but not

that. Joyce said in the Wake that PATIENCE is

the great thing. That means to wait. As you wait

repeat to yourself yes I must yes I will yes, I will

wait, right now I am waiting, not deferring, nothesitating, not passively waiting but affirming

the awaited. In that one may be able to arrive

at the hour the bridegroom comes. It is then we


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may make an exclamation of jubilation, that in

the modern world Molly Bloom was the first to

make, which now every sports fan makes whentheir team wins, YES! What was the giving of

assent or the making of an affirmation became

near the end of the world an act of the

expression of joy at the outcome.


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Finnegans

Wake


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The end of this book, which really does not end,

implies something that is there and not there at

the same, a kind of prayer. I have shown the

supplicatory aspect of the Yes at the end of

Ulysses and now would like to de-monstrate the

conclusion of the Wake as the perfection of this

prayer. The last lines of the book can be read so

many ways. Usually one says the final the is

referring to the opening riverrun, to circle

things back. I think it does this and something

else as well. Joyce proclaims that the keys to

are given. He has said Finn, again. He has said

Till thous-endsthee. Now I think that this ends

thee. The the of the end is to be said not asslack the, definite but open, but precisely

THEE. The Keys to. Given! Given to whom, but

to THEE. Not a way a lone a last a loved a long


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abut the, because you are it, I AM IT, we are

it, as the auditors of Prospero in the epilogue of

Shakespeares final act, his prayer forforgiveness. Given? Key? It is the forgiveness of

THEE.

to.

then.

endsthee. Lps {please}

long the []

long thee, he longs but for THEE, to then ends,

THEE.

Thou, ends, thee. It ends with us, we are the

one for whom and in whom the work arrives

and Joyce affirms not one definitely but all

infinitely. It is a way of saying YOU and YES at

once: the THEE. THEE I said THEE I Will THEE,

then you and I are in truth the arrival of the

text, that the secret is that it is we who hold thekeys, keys of Peter, keys of the see, to forgive, to

forgive all good thieves, whom writers to write

must be, saying, But softly, thee, remember me,


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till thou ends thee, that we never ending be, as

love does not end, for thee given, never ending,

thou art the key, the text is thee (se). The text isthese, thees, the signature effect is here comes

everybody, and all along HCE was THEE, was all

of us, it was written to you and you and you

and yes to thee.


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The Complete Apocalypse

End of the Church, The Thirty Years War, Volume 27

An Icon from an Evening in Glas and Apocalyptic WritingsAbysses 1: Two Witnesses

Covers

The Catholic Apocalypse

The Post Pontiff Church

Israel Ate Manna

Christchurch Destroyed

If He Crowned YouPraise

Timeline of the Antichrist

When I Look into Your Eyes

The Other Witness

The Four Last Things

Apostle is One Sent

The Treatise on LogicParadise Throne

Therese in Theory

An Icon for the Critics on Glas

An Icon from an Evening in Glas

Say that Jerusalem is

The Words of Joyce

Heidegger and LevinasPreface to the Apocalypse

Keys of the Abyss

Faith Creates Being

Search for the Absolute


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An Icon for the Church on the Mercy of God

A Limit on Infinity

Salted with Fire

All Saints DayPP

The Long Commentary

The Middle Commentary

The Epitome

God Church World

The 72

The SovereigntiesVocabulary of God

The Recrucifixion of Christ in the Modern World

Symbols

Yes Yet You Yen

Two Column Work Continued March 23, 2012

The Advent

Meaning and Experience, Part 1Stanzas for Marinela and The One Hundred Stanzas

The Virgin She Was the Whitest Winter

The Letter A

Michael Bolerjack: Bibliography of the Works of Michael

Bolerjack

Meaning and Experience, Part 2

Marginality: Fiction without Fiction, Part 1Marginality: Fiction without Fiction, Part 2

Meaning and Experience, Part 3

To Gather

Conclusion to the Arrival


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Speeches

Love and Death

Emmanuels Fiction

A Jacques Derrida EschatologyMeaning and Experience, Part 4

The Gift

The Philosophers

Grammatology

The Nietzschean Marriage

Dialectic and Deconstruction

Athens and JerusalemAlchemy

The Two Ways

Light

Qui Etre


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A TIME FOR EVERYTHING

The Complete Apocalypse

Of the Magisteries BeyondOf the Magisteries Beyond The Complete Apocalypse

The Just Shall Live By Faith

The Divine Congeries

Looking Ahead After The Complete Apocalypse

Variorum

Variorum 2

Rachel Weeping Her Children Part 1Rachel Weeping Her Children Part 1 Alternative Cover

Latter to the Romans November 27, 2012

The Complete Apocalypse As Revealed To Me Volume 1

The Complete Apocalypse As Revealed To Me Volume 2

The Complete Apocalypse in Outline

An Introduction to The Complete Apocalypse

In the Margins of The Complete ApocalypsePOEMS of The Complete Apocalypse

To Scatter the Power of the Holy People

Preparation for the Apocalypse

The Letter A

The Third Fiat Opening

PP by Michael Bolerjack

A Time For Everything Preface and First Four EpisodesParadise Throne and Preface to Paradise Throne

In the Days of Camus and Derrida

ANTI-READING

The Ideality of the Literary Object


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Meaning and Experience

Sub Tuum Praesidium

A Time For Everything Part 1 The Book of Signs

A Time For Everything Part 2 the Book of GloryFragments of the Second Witness

Therese in Theory

A Jacques Derrida Eschatology in Ruins

He Said I Thought Youd Fold

Speeches

An Icon from an Evening in Glas and Apocalyptic Writings

SeventeenShakespeare and Joyce

Catholic Economy and Ultrastructure

The Arrival

Dialectic and Deconstruction

Science and Religion

Preaching Deconstruction

Derridas DissertationTHE VIRGIN She Was The Whitest Winter

Michael Bolerjack In The Thirty Years War

Love and Death

Two Essays For Arrival

The Last Words of James Joyce

the last words of james joyce by michael bolerjack

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