- Ulysses. Paris: Shakespeare and Company, 1922
[typescript leaf:] cf Peter Spielberg, James Joyce's Manuscripts and Letters at the University of Buffalo, pp.55-56 (describing the rest of the chapter held at Buffalo, MS V.B.8.a, and a partial duplicate MS V.B.8.b); http://library.buffalo.edu/jamesjoyce/catalog/vb8ai.htm
A superb presentation copy of Ulysses, inscribed by Sylvia Beach to the American expatriate who was influential in obtaining her release from a Nazi internment camp, together with an annotated leaf from the final typescript.
Sylvia Beach closed down Shakespeare & Company in the late winter of 1941, a few weeks after two separate visits from a high-ranking German officer, the second threatening to confiscate her entire stock after she refused to show him a copy of Finnegans Wake. The shop remained intact, but in August 1942 Beach herself was interned in Vittel by the occupying forces. She obtained her release in February 1942, largely through the efforts of the accomodationist Wilkinson, who wrote on her behalf to Jacques Benoist-Mechin, an ardent Joycean who had joined Beach's lending library in 1919, but who by now was a secretary at Vichy headquarters. The circumstances surrounding Beach's release are documented in a series of unpublished letters by Wilkinson to the poet and bookseller Adrienne Monnier held at the Humanities Research Center at the University of Texas at Austin. Beach's inscription here echoes Joyce's own in the copy of Ulysses (no.2) which he gave to her, presented also as a "token of gratitude".
The typescript (on a sheet 272 x 210mm., creased at fold, some very minor soiling, two tiny edge-tears) begins "...S.J. of St. Xavier's church, upper Gardiner street stepped on to an outward bound tram...", and is a portion of chapter 10, the "Wandering Rocks" episode, as Father Conmee travels on board a tram car between Newcomen bridge and Howth road, reflecting on the appearance, nature and behaviour of his fellow occupants both in general and in particular, leading on to a rumination on the propagation of the faith and of the millions of black and brown and yellow souls that had not yet received baptism ("...But they were God's souls created by God. It seemed to Father Conmee a pity that they should all be lost, a waste, if one might say..."). Among Joyce's autograph annotations, comprising over 100 words in black ink, there are three typically enriching additions. These autograph revisions and additions by Joyce were made for the final printing of the first edition in the months leading up to publication in February 1922 (see below). Aside from Beach's note relating to these ("...Witnessed by the editress Sylvia Beach") there is a printer's note in pencil at the head.
The single leaf (p.3 of the complete typescript) is one of two such leaves separated from the main portion of the printers' typescript for this episode now housed in the James Joyce Collection at the University of Buffalo Libraries (V.B.8.a.i: see http://library.buffalo.edu/jamesjoyce/catalog/vb8ai.htm). The other absent leaf is the final page (p.25), which Buffalo records as having been last recorded in the late Bernard Gheerbrant's Catalogue de l'exposition "James Joyce & Paris, 1902... 1920-1940... 1975: Papers from the Fifth International James Joyce Symposium (1979). The typescript for this and other episodes of Ulysses were prepared from the Rosenbach ("fair copy") manuscript version (itself prepared from Joyce's original notebooks), chiefly in Zurich and Paris between 1919 and 1920, though - as here - Joyce then made further autograph revisions in black ink in preparation for the final printing of the first edition (which eventually came out on 2 February 1922). Before these revisions the "Wandering Rocks" episode had appeared in the June and July 1919 issues of The Little Review.
Buffalo acquired the bulk of the final printers' typescripts of Ulysses from their acquisitions in 1950 and 1959 of (i) the Joyce materials exhibited at La Hune in Paris after the war (essentially comprising the personal effects left in Joyce's Paris apartment when he fled in 1939) and (ii) Sylvia Beach's own collection of manuscripts, letters and books. It would appear that the present typescript leaf was removed by Beach from the rest of the "Wandering Rocks" chapter - after publication of Ulysses and after the printer had returned the typescripts - specifically for the purpose of presentation.
The first edition of Ulysses was limited to 1,000 copies, of which 100 were numbered and signed on Dutch handmade paper, 150 were numbered and printed on vergé d'Arches and 750 were merely numbered.