Joe Gilmore: 823.JOY

James Joyce, Finnegans Wake, Faber and Faber, 1975

James Joyce, Anna Livia Plurabelle, Faber and Faber, 1930

James Joyce, Haveth Childers Everywhere, Faber and Faber, 1931

James Joyce, Two Tales of Shem and Shaun, Faber and Faber, 1932

James Joyce, Anna Livia Plurabelle, Faber and Faber Library Edition,
1997

James Joyce, Thomas E Connolly (Ed.), Joyce's Scribbledehobble: The 
Ur-Workbook for Finnegans Wake, Nortwestern University Press, 1961

Samuel Beckett, Marcel Brion, Frank Budgen, Stuart Gilbert, Eugene 

Jolas, Victor Llona, Robert McAlmon, Thomas McGreevy, Elliot Paul, 

John Rodker, Robert Sage, William Carlos Williams, Our Exagmination 

Round His Factification for Incamination of Work in Progress, Faber 

and Faber, 1972

Helmut Bonheim, A Lexicon of The German in Finnegans Wake, University 

of California Press, 1967

Colleen Jaurretche, The Sensual Philosophy: Joyce and the Aesthetics 

of Mysticism, The University of Wisconsin Press, 1997

Roland McHugh, The Sigla of Finnegans Wake, Edward Arnold 

(Publishers) Ltd, 1976

Adaline Glasheen, A Census of Finnegans Wake: An Index of the 

Characters and Their Roles, Northwestern University Press, 1956

William York Tindall, A Reader's Guide to Finnegans Wake, Thames and 

Hudson, 1969

Clive Hart, Structure and Motif in Finnegans Wake, Faber and Faber, 

1962

Frances M. Boldereff, Hermes to his Son Thoth: Being Joyce's Use of 

Giordano Bruno in Finnegans Wake, Classic Non-Fiction Library, 1968

Brendan O Hehir, A Gaelic Lexicon for Finnegans Wake, University of 

California Press, 1967

Vincent John Cheng, Shakespeare and Joyce: A Study of Finnegans Wake, 

Pennsylvania State University Press, 1984

Michael J. O'Shea, James Joyce and Heraldry, State University of New 

York Press, 1986

Barbara DiBernard, Alchemy and Finnegans Wake, State University of 

New York, 1980

Michael H. Begnal and Fritz Senn (eds.), A Conceptual Guide to 

Finnegans Wake, Pennsylvania State University Press, 1974

Joseph Majault, James Joyce, Pendragon House, 1971

David A. White, The Grand Continuum: Reflections on Joyce and 

Metaphysics, University of Pittsburgh Press, 1983

Susan Shaw Sailer, On the Void of to Be: Incoherence and Trope in 

Finnegans Wake, The University of Michigan Press, 1993

Luca Crispi and Sam Slote (eds.), How Joyce Wrote Finnegans Wake: A 

Chapter-by-Chapter Genetic Guide, University of Wisconsin Press, 2007

James Joyce, Finnegans Wake (back cover), Faber and Faber, 1975

"It may seem that Ulysses violates the techniques of the novel beyond all limit, but Finnegans Wake takes language beyond any boundary of communicability. It may seem that Ulysses represents the most arduous attempt to give physiognomy to chaos, but Finnegans Wake defines itself as Chaosmos and Microchasm and constitutes the most terrifying document of formal instability and semantic ambiguity that we possess." — Umberto Eco, The Open Work (1962)

Qubik: http://www.qubik.com 
void(): http://www.qubik.com/zr/

Percy Grainger: free music experiments and studio portraits

During the 1950s Percy Grainger, together with his physicist friend Burnett Cross, invented bizarre looking sound-making contraptions from parts butchered from reed organs and other assorted instruments together with electrical componentry, bits of old timber and many yards of string. He gave these musical machines wonderful names like “Free Music Tone Tool” or “Kangaroo Pouch” machine and experimented with them to make what he called Free Music. For many years Grainger had been writing and talking about the possibilities of making music that was not tied to western culture’s conventions of pitch and rhythm. He tried to make music that was effectively ‘beatless’ and where pitch changed seamlessly, like a whistling wind or the rise and fall of a siren. The raw sounds of Grainger’s Free Music experiments anticipated the coming age of electronic music. 




Burnett Cross (1914-1996), New York Cross-Grainger Free Music experiment: Gliding tomes on whistle, notes on recorders, produced by holes and slits cut in paper rolls, February 1950 Silver gelatin print Grainger Museum collection, University of Melbourne.

Burnett Cross (1914-1996), New York Cross-Grainger Free Music experiment: “Sea Song” Sketch, three solovoxes, played by pianola roll, 1950 Silver gelatin print. Grainger Museum collection, University of Melbourne.

Burnett Cross (1914-1996), New York Ella Grainger, seated at her writing desk in the living room at home in White Plains, contemplates the “Kangaroo Pouch” Free Music machine, mid 1950s Silver gelatin print. Grainger Museum collection, University of Melbourne.

Burnett Cross (1914-1996), New York Percy and Ella Grainger with the “Free Music Tone-Tool”, August 1951 Silver gelatin print. Grainger Museum collection, University of Melbourne. The “Free Music Tone Tool” used an air pressure system worked by a vacuum cleaner.

Unknown photographer , New York Percy Grainger and Burnett Cross demonstrating a Free Music experiment, February 1950 Silver gelatin print. Grainger Museum collection, University of Melbourne. This machine uses an organ pipe to create gliding tones. The holes are cut or drilled at one-third of a half-tone apart, and the pitch is controlled by rolling perforated paper over the pipe.

Ruskin Studios, Melbourne Publicity portrait of Percy Grainger, 1926 Silver gelatin print. Grainger Museum collection, University of Melbourne. Grainger often performed live-to-air recitals during his concert tours. Ruskin Studios produced a series of promotional images for ABC Radio 3LO during Grainger's 1926 tour of Australia and New Zealand.

Unknown photographer Publicity portrait of Percy Grainger, c. 1935 Silver gelatin print. Grainger Museum collection, University of Melbourne.

Unknown photographer Percy Grainger "In the Round", 1933 Silver gelatin print. Grainger Museum collection, University of Melbourne.



Text and images courtesy of The Grainger Museum http://www.grainger.unimelb.edu.au/ 

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after William Blake

Percy Grainger - towel clothes and beadwork

Percy Aldridge Grainger (1882-1961) and Ella Viola Grainger (1889-1979)
Towelling clothes outfit, c.1934)
Grainger Museum collection, University of Melbourne

Unknown photographer, New York
Percy and Ella Grainger wearing towelling clothes outfits at their home in White Plains, 1936
Silver gelatin print
Grainger Museum collection, University of Melbourne

Unknown photographer, New York
Percy Grainger wearing a toweling clothes outfit at his home in White Plains, 1936
Silver gelatin print
Grainger Museum collection, University of Melbourne

Unknown photographer, New York
Percy Grainger wearing a toweling clothes outfit at his home in White Plains, 1936
Silver gelatin print
Grainger Museum collection, University of Melbourne

Attributed to Roger Quilter’s niece (name unknown), London
Percy Grainger wearing a towelling clothes outfit at his home in Kings Road, Chelsea, 
c.1910
Silver gelatin print
Grainger Museum collection, University of Melbourne

Attributed to Karen Holten, London
Percy Grainger wearing his decorative beadwork chestpiece, late summer 1909
Silver gelatin print
Grainger Museum collection, University of Melbourne

Attributed to Karen Holten, London
Percy Grainger wearing his decorative beadwork chestpiece, late summer 1909
Silver gelatin print
Grainger Museum collection, University of Melbourne

Attributed to Karen Holten, London
Percy Grainger wearing his decorative beadwork chestpiece, late summer 1909
Silver gelatin print
Grainger Museum collection, University of Melbourne

In Grainger’s own words. Transcriptions of the text for Grainger’s 
display legends on the topics of towel clothes and beadwork are below:

Percy Aldridge Grainger (1882-1961)
Towel clothes made by Rose Grainger, Percy Grainger & Ella Grainger
Grainger Museum display legend, c.1955-1956
Typescript on paper glued to card backing, painted blue border 
Grainger Museum collection, University of Melbourne

“The artist is not (as so many so called “inartistic” people seem 
to like to believe) a being supernaturally gifted with skill for 
some branch of art. To sing, make music, paint, draw, carve and 
dance is natural to all humanity, and it is only a lopsided 
civilisation, mad on “specialisation”, that scares the “tame cats” 
of humanity into abandoning their natural right to an allround
manysided life. The artist-type is not quite so tame-cat-like and 
more easily avoids what Tennyson calls “the falsehood of extremes”. 
So the artist tries to keep the balance between normality and the 
slavish modes and crazes of the moment. In a licentious age he is a 
puritan; in a puritanical age he is a hedonist; in a dirty age he 
strives to be clean; in a drab age he is colour-seeking.

“My mother was devoted to Lafcadio Hearn’s stories of Japan and 
she worshipped many aspects of Japanese civilisation – for instance
its cleanliness. And she and I often discussed the filthiness of
European clothes: men’s coats in which the sweat of years is allowed
to gather,our shoes that bring the dirt of the streets into our 
homes. And around 1910(after we had both been fired by the beauty 
of Maori and South Sea island clothes and fabrics seen in museums 
in New Zealand and Australia)my mother mooted the idea of clothes 
made of Turkish towels – cool in summer, warm in the winter, and 
washable at all times. I leaped at the idea, seeing therein a chance 
to return to something comparable with the garish brilliance of the 
“skyblue and scarlet” garments of our Saxon and Scandinavian 
forefathers. I resented very much that the darkness and dullness of 
more southerly European fashions (after the Norman Conquest) had 
ousted the bright colourfulness natural to the north of Europe 
(think of the clothes made of bird’s feathers described in Lady 
Gregory’s translations of old Irish Tales). The result of my 
mother’s and my teamwork is the field of towel-clothing is seen 
in Towel Clothes 1.

“Between 1910 and 1914 I wore these clothes while giving many of my 
lessons in London and continually during my composing holidays in 
Denmark. In 1932 or 1933 my wife and I took up again this idea of 
clothing made of towelling and when in Australia in 1934 and 1935 we 
were amazed by the beauty of the bath towels on sale in Australia – 
some imported from England, Chekoslovakia and America, but most of 
them (and among them the most beautiful ones) manufactured in 
Australia. Here was a chance to show what could be done with the 
beauty born of machinery – a beauty as rich and subtle, in its own 
way, as anything made by hand or loom. The problem was to use the 
towels with as little cutting and sewing as possible, and in this 
skill my wife shone.”

Percy Aldridge Grainger (1882-1961)
Beadwork & other native curios
Draft text for a Grainger Museum display legend, c.1938
Manuscript on paper
Grainger Museum collection, University of Melbourne

“In Jan.? 1909 (while staying at Warwick House, Christchurch) Rose 
Grainger & P.G. went (separately) to the Christchurch museum & both
(separately) fell wildly in love with the African & other beadwork 
displayed there. P.G. made drawings while in the museum & soon 
started copying native beadwork himself (the big necklace with free 
hanging beard is one of their results & so is the blue & white 
belt—copied from an Island belt shown by a German on board the 
German Lloyd Steamer 1st ½ of 1909), buying the beads in (Sydney?) 
& stringing them on unwound brown fishing line. On getting to 
Sydney after N. Zealand (Feb or March 1909) P.G. bought a lot of 
beadwork & other native curios (& photos of natives) at Tost & 
Rohu’s opposite G.P.O. Sydney (Martin Place). The S’African ones 
had been brought to Australia by Australian Boer War soldiers. 
After Sydney P.G. bought the Island wristbands (beads, blue & white) 
in Queensland—all (I think) from a Swedish greengrocer who had 
taken beadwork from Kanaka sugarcane-field-workers in payment 
for vegetables.

“On returning to London both Rose & P.G. did much beadwork—among 
others a small tablemat (coral color & white?) made by R.G. & given 
to Mrs Nina Grieg. The American Indian beadwork was bought by Rose G. 
and P.G. while living at 680 Madison Ave, (The Southern), New York 
City, around 1915–1917. Some American Indian beadwork was maybe 
added later. 

“A few other gifts were added by friends. Ella Grainger bought some 
nice shell money things to America when marrying P.G. (1928), when 
she also brought the big Solomon Island mask.

“The cabinet stood in the street-level hallway at 31a Kings Rd, 
Chelsea, London (not far from the wooden settee). After being stored 
in London during the war it came to White Plains, N.Y. (7 Cromwell 
Place), where it stood in hallway, facing front door.”


The Grainger Museum www.grainger.unimelb.edu.au