A Bloomsday note

On the op-ed page of The New York Times today, Wes Davis remembers a Bell Telephone Company project of the 1950s called the Institute of Humanistic Studies for Executives, which sought to provide its employees with a broader cultural education that would make them better managers, able to respond to crises more thoughtfully. They read James Joyce’s novel Ulysses, too:

The capstone of the program, and its most controversial element, came in eight three-hour seminars devoted to Ulysses. The novel, published in 1922, had been banned as obscene in the United States until 1933 and its reputation for difficulty outlived the ban. The Bell students “found it a challenging, and often exasperating, experience,” Baltzell wrote.

But, prepared by months of reading that had ranged from the Bhagavad Gita to Babbitt, the men rose to the challenge, surprising themselves with the emotional and intellectual resources they brought to bear on Joyce’s novel. It was clear as the students cheered one another through their final reports that reading a book as challenging as Ulysses was both a liberating intellectual experience and a measure of how much they had been enriched by their time at the institute.

Not to last, alas. Though the Institute was judged a success, “Bell gradually withdrew its support after yet another positive assessment found that while executives came out of the program more confident and more intellectually engaged, they were also less interested in putting the company’s bottom line ahead of their commitments to their families and communities.”

So endeth the humanity in Humanistic Studies. The full text of Davis’ post is here. Happy Bloomsday.

Bloomsday on WBAI, and other reading

Writing to be read: James Joyce in 1926 (photo by Berenice Abbott)

Rhys Tranter alerts me to this year’s Radio Bloomsday, a live broadcast from the studios of New York’s WBAI next Wednesday, 16 June 2010. A 32-year WBAI tradition, this year’s reading of texts relating to James Joyce’s Ulysses will include performances by (according to the event’s blog here):

Jerry Stiller, Alec Baldwin, Paul Muldoon, Charles Busch, Paul Dooley, Marc Maron, Bob Odenkirk, John O’Callaghan, Jaason Simmons, Brian O’Doherty, Aaron Beall, Amy Stiller, T. Ryder Smith, James Kennedy, Emily Mitchell, Bob Dishy, Judy Graubart, Kate Valk, Jim Fletcher, Richard Maxwell, Tory Vasquez, Barbara Vann, Anna Goodman-Herrick,Tara Bahna-James, Mara McEwin, Zeroboy, Merideth Finn, Mac Barrett, Janet Coleman, David Dozer, Rosie Goldensohn, Barika Edwards and many more.

Listeners across the country and around the world will be able to hear the broadcast live through the WBAI Web site. It begins on 16 June at 7.00pm Eastern time and runs through 2.00am the following day.

This is in addition to the annual Symphony Space Bloomsday-on-Broadway event, which this year will focus on the parallels between the Joyce novel and Homer’s Odyssey, the epic poem which inspired Ulysses. Performers at the uptown Peter Jay Sharp Theatre include Stephen Colbert, Colum McCann, Marian Seldes, John Shea, Tony Roberts, Dana Ivey, Stephen Lang, Malachy McCourt, Fritz Weaver, Jonathan Hadary, Lois Smith, David Margulies, Cynthia Harris, Jefferson Mays, Harris Yulin, and Damian Woetzel.

All this speaking-aloud of a book meant to be read in silence (at least, that’s the way most of us read it, though it’s true that reading it aloud can be quite a thrill)! As opposed to those that aren’t, which are under discussion at the Guardian‘s “Noises Off” blog today, taking up where Alison and I left off here. Writes Chris Wilkinson:

Of course, to say that plays are literature does not mean that a critic should be able to ignore the production (as so many reviewers do with new plays). Neither does it mean that a play has to be conventionally literary — not every writer needs to have stage directions like the one at the end of August Wilson’s Joe Turner’s Come and Gone: “Having found his song of self-sufficiency, fully resurrected, cleansed and given breath … he is free to soar above the environs that pushed his spirit into terrifying contractions.”

Yet the fact that they exist as printed texts that can be read surely makes them literature by definition? And the value of reading scripts is self-evident in some of the most radical contemporary drama — you only have to look at how plays such as Sarah Kane’s 4.48 Psychosis or Martin Crimp’s Attempts On Her Life are laid out on the page in order to grasp this.