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Is Jennifer Santillan Jo Koy’s Ex-Wife? Tune in to find out.
Jo Koy is a standup comic and Chelsea Handler’s boyfriend. His Netflix special Jo Koy: In His Elements was well received by fans. His other works include The Tonight Show with Jay Leno, Netflix’s Jo Koy: Live From Seattle, Netflix’s Jo Koy: Comin’ In Hot, and many more.
Jo was named Stand-Up Comedian Of The Year at the 2018 Just For Laughs Comedy Festival. He’s also been one of the panellists at Chelsea lately. He is also the author of Mixed Plate.
The news of Jo and Chelsea’s relationship has taken the internet by storm. Let’s get to know them in detail.
Learn about Jo Koy Ex-Wife:
Jo Koy’s ex-wife is Angie King. She is a professional singer and songwriter. Also known as “Nura Luca”, she has released singles such as “Handy Gadgets”, “Mediatrix”, “Twenty Intros”, “Night Lights”, “Pipe Dreams” and many more.
Angie gave birth to their son Joseph J. Herbert Jr. in 2003. He recently celebrated his 18th birthday. Also, Jo and Angie went their separate ways in 2013. Despite the divorce, they are good friends.
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King is active on Instagram as @mother.king. She is often pictured with her son on the social media platform. Beses, you can also go through her Instagram name to learn more about her.
Who Is Jennifer Santillan?
Jennifer Santillan is sa to be Jo Koy’s ex-wife. However, details of her private life have not been released. She also doesn’t seem to have a presence on social media.
Due to Santillan leading a low-key life, not much is known about her.
Spotlight On Jo Koy Age & Children
Jo Koy is 50 years old. He was born in Tacoma, Washington in 1971 and is a Filipino American. He also celebrates his birthday on June 2nd every year.
Moving on to his children: Jo Koy has a son named Joseph J. Herbert Jr.
The comedian is mainly inspired by his family and his son.
Why d Jo Koy And Jennifer Santillan Divorce?
No news has surfaced online yet about Jo Koy and Jennifer Santillan’s marriage or divorce. The fans and the media have yet to uncover the information. We will update you with the information as it becomes available.
On the contrary, Jo is currently in a relationship with Chelsea Handler.
Jo Koy pulls ex-wife Angie King onto live TV to discuss being friendly exes, co-parenting their son
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was born to Joseph Glenn Herbert, popularly known as Jo Koy, and Angie King, on April 21, 2003. Joseph Jr. was raised as a single child in California. In 2017, …
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Joseph Jr. and his father are incredibly close. He is even spotted with his father on many of Jo Koy’s work trips. In addition, the little boy often appears on stage with his father during his live performances. Continue reading
When Joseph Herbert Jr. was a child, his parents divorced. The former couple decided to have joint custody of their son following their divorce.
Joseph Herbert Jr. was born on April 21, 2003 to Joseph Glenn Herbert, commonly known as Jo Koy, and Angie King. Joseph Jr. grew up as an only child in California. In 2017 he finished his sophomore year at St. Mel School, a Catholic school in Woodlands, California.
Many people respect Joseph Herbert Jr.’s father, Jo Koy, and know him as an established comedian. But then again, few are aware of the skills and personality of Jo Koy’s son. So let us learn about the comedian’s child in this bio.
Joseph Herbert Jr. is one of several famous children who have garnered attention thanks to his father’s fame.
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If you’re a follower and enjoy watching stand-up comedy, Jo Koy isn’t a new name. Jo, born Joseph Glenn Herbert in Tacoma, Washington, is a famous American stand-up comedian. Jo has been in the comedy field for a long time. His stand-up career has brought him tremendous fame. As a successful stand-up comedian, the Washington native undoubtedly earned massive amounts from his job. Additionally, according to Celebrity Net Worth, Jo Koy’s net worth is estimated at $5 million. Jo Koy is of American-Filipino descent and originally attended Spanaway Lake High School. However, he later transferred to Foss High School in Tacoma. After high school, Jo attended the University of Nevada, Las Vegas.
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week 2
From Origins to Future: The Hero and the Epic Quest.
This week and next we will engage with one of the traditional approaches to comparative practice, following various reappearances of a myth/hero/genre in successive literary periods and in different countries. The example we will use is the character of Odysseus/Ulysses in epic writings and films from Homer to the turn of the 21st century. We will look at how this number has changed and focus on specific episodes from Homer’s original epic.
Homer, The Odyssey (read in particular Book 1 and the Episode of the Cyclopes (in Book 9);
Dante, Inferno (read canto 26, Ulysses);
James Joyce, Ulysses (read the “Cyclops” episode (the 12th, pp. 280-330 in Johnson))
Stanley Kubrick, 2001: A Space Odyssey (1968) (Movie: Please watch before the seminar)
Some secondary reading on Homer’s Odyssey and the character of Odysseus/Ulysses
Boitani, Piero, The Shadow of Odysseus: Characters in a Myth, tr. Anita West (Oxford: Clarendon Press, 1994). [Has an excellent chapter on Dante’s Ulysses]
Doherty, Lillian E., “The Nooses of the Odyssey: A Feminist Narratological Reading,” in Texts, Ideas, and the Classics: Science, Theory, and Classical Literature, ed. by S.J. Harrison (Oxford: Oxford University Press, 2001), pp. 117-133. Foley, John M. (ed.), A Companion to Ancient Epic (Oxford: Blackwell, 2005)
Fowler, Robert (ed.), The Cambridge Companion to Homer (Cambridge: Cambridge UP, 2004).
Graziosi, Barbara, Ende Emily Greenwood (ed.), Homer in the Twentieth Century: Between World Literature and the Western Canon (Oxford: Oxford University Press, 2007).
Jong, Irene de, A Narratological Commentary on the Odyssey (Cambridge: Cambridge University Press 2001)
Hall, Edith, The Return of Ulysses: A Cultural History of Homer’s Odyssey (London and New York: I.B. Tauris, 2008).
Lane Fox, Robin, Traveling Heroes: Greeks and Their Myths in the Epic Age of Homer (London: Allen Lane, 2008)
Manguel, Alberto, Homer’s The Iliad and The Odyssey A Biography (London: Atlantic Books, 2007).
Murnaghan, Sheila, Disguise and Recognition in The Odyssey (Princeton: Princeton University Press, 1987).
Stanford, WB The Ulysses Theme: A Study in the Adaptability of a Traditional Hero (Ann Arbor: University of Michigan Press, 1963).
Some secondary reading about Kubrick
Bizony, Piers, 2001: Filming the Future (London: Aurum, 1994)
Chion, Michel, Kubrick’s Cinema Odyssey. Trans. Claudia Gorbman (London: BFI, 2001)
Ciment, Michel, Kubrick. Trans. Gilbert Adair (New York: Holt, Rinehart, and Winston, 1983)
Cocks, Geoffrey, James Diedrick, and Glenn Perusek (eds.), Depth of Field: Stanley Kubrick, Film and the Uses of History (Madison, WI: University of Wisconsin Press, 2006)
Falsetto, Mario, Stanley Kubrick: A Narrative and Stylistic Analysis (Westport, Conn; London: Praeger, 1994)
Falsetto, Mario (ed.), Perspectives on Stanley Kubrick (New York: GK Hall; London: Prentice Hall, 1996)
Herr, Michael, Kubrick (New York: Grove Press, 2000)
Kolker, Robert (ed.), Stanley Kubrick’s 2001: A Space Odyssey: New Essays (Oxford: Oxford University Press, 2006)
Nelson, Thomas Allen, Kubrick: Inside a Film Artist’s Labyrinth (Bloomington: Indiana University Press, 1982)
Naremore, James, On Kubrick (London: British Film Institute, 2007)
Rasmussen, Randy, Stanley Kubrick: Seven Films Analyzed (London: McFarland, 2001)
Wheat, Leonard F., Kubrick’s 2001: A Triple Allegory (Lanham, MD, and London: Scarecrow Press, 2000)
Some secondary reading to the epic
Bates, Catherine (ed.), The Cambridge Companion to the Epic (Cambridge: Cambridge University Press, 2010)
Beissinger, Margaret, Jane Tylus, and Susanne Wofford (eds.) Epic Traditions in the Contemporary World: The Poetics of Community (Berkeley: University of California Press, 1999)
Clarke, M.J., B.G.F. Currie, and R.O.A.M. Lyne (eds.), Epic Interactions: Perspectives on Homer, Virgil, and the Epic Tradition (Oxford: Oxford University Press, 2006)
Danow, David K., Transformation as a Principle of Literary Creation from the Homeric Epic to the Joycean Novel (Lewiston, NY: Edwin Mellen Press, 2004)
Elley, Derek, The Epic Movie: Myth and History (London: Routledge & Kegan Paul, 1984)
Foley, John Miles (ed.), A Companion to Ancient Epic (Oxford: Wiley-Blackwell, 2009)
Hardie, Philip, The Epic Successors to Virgil: A Study in the Dynamics of a Tradition (Cambridge: Cambridge University Press, 1993)
Hainsworth, J.B., The Idea of Epic (Berkeley: University of California Press, 1991)
Hurst, Isobel, Victorian Women Writers and the Classics: The Feminine of Homer (Oxford and New York: Oxford University Press, 2006)
King, Katherine Callen, Ancient Epic (Chichester: John Wiley & Sons, 2009)
Konstan, David and Kurt A. Raaflaub, eds., Epic and History (Chichester: Wiley-Blackwell, 2010)
Kaufmann, Paul: The Epic (London: Methuen, 1971)
Miller, Dean A., The Epic Hero (Baltimore and London: Johns Hopkins University Press, 2000)
Johns-Putta, Adeline, The Story of the Epic (Basingstoke and New York: Palgrave Macmillan, 2006)
Newman, John Kevin, The Classic Epic Tradition (Madison: University of Wisconsin Press, 1986)
Quint, David, Epic and Empire: Politics and Generic Form from Virgil to Milton (Princeton, NJ: Princeton University Press, 1993).
Roisman, Hanna M. and Joseph Roisman (eds.), Essays on Homeric Epic (Waterville, ME: Colby College, 2002)
Toohey, Peter, Reading Epic: An Introduction to the Ancient Tales (London: Routledge, 1992)
Tucker, Herbert F., Epic: Britain’s Heroic Muse 1790-1910 (Oxford and New York: Oxford University Press, 2008)
Winnifrith, Tom, Penelope Murray, and K.W. Gransden, ed., Aspects of the Epic (London: Macmillan, 1983)
Some secondary reading about Ulysses
Guidebooks: (These classic “guidebooks” can supplement the annotations in your edition of Ulysses.)
Don Gifford, Ulysses Annotated (Berkeley: University of California Press, 1988) Weldon Thornton, Allusions to Ulysses: An Annotated List (Chapel Hill: University of North Carolina Press, 1968) Harry Blamires, The New Bloomsday Book (London: Routledge, 1996 )
Some suggested criticism of Ulysses
(This is a small selection of Joycean criticism, from useful collections of essays (Attridge, Latham, Hart, and Hayman), to critics who read language and narrative very closely (Kenner, Senn), to works on Homeric in Ulysses ( Flack, Kenner, Seidel), to some examples of studies reading Joyce through theoretical, historical, comparative, and postcolonial approaches.)
Derek Attridge, ed., The Cambridge Companion to James Joyce (Cambridge: Cambridge University Press, 1990) — ed., James Joyce’s ‘Ulysses’: A Casebook (Oxford: Oxford University Press, 2004) Scarlett Baron, ‘Strandentwining Cable’: Joyce, Flaubert, and Intertextuality (Oxford: Oxford University Press, 2012) Frank Budgen, James Joyce and The Making of ‘Ulysses’ (Bloomington: Indiana University Press, 1961) Vincent J. Cheng, Joyce, Race and Empire (Cambridge: Cambridge University Press, 1995) Leah Culligan Flack, Modernism and Homer: The Odysseys of H.D., James Joyce, Osip Mandelstam, and Ezra Pound (Cambridge: Cambridge University Press, 2015) Clive Hart and David Hayman, eds., James Joyce’s ‘Ulysses’ : Critical Essays (Berkeley: University of California Press, 1974) Hugh Kenner, Joyce’s Voices (Berkeley, Los Angeles and London: University of California Press, 1978) – “Ulysses” (London: George Allen and Unwin, 1980) Sean Latham , Ed., The Cambridge Companion to ‘Ulysses’ (New York: Cambridge University Press, 2014) Karen Lawrence, The Odyssey of Style in “Ulysses” (Princeton: Princeton University Press, 1981) Andrew J. Mitchell and Sam Slote, eds., Derrida and Joyce: Texts and Contexts, eds. (Albany : State University of New York Press, 2013) Katherine Mullin, James Joyce, Sexuality and Social Purity (Cambridge: Cambridge University Press, 2003) Michael Seidel, Epic Geography: James Joyce’s “Ulysses” (Princeton and Guilford: Princeton University Press , 1976 ) Fritz Senn, Inductive Scrutinies: Focus on Joyce, ed. Christine O’Neill (Dublin: Lilliput, 1995) – Joyce’s Dislocutions: Essays on Reading as Translation, ed. John Paul Riquelme (Baltimore and London: Johns Hopkins University Press, 1984)
Online searchable Concordance of Ulysses (e.g. if you can’t remember where the famous Irish hero “Napoleon Bonaparte” is mentioned, enter it in a “string search” and uncheck “whole word”) http: //joyceconcordance.andreamoro.net/
Ulysses summary
Ulysses: A Synopsis “Telemachia” 1 – “Telemachus” (Oxford World’s Classics, ed. J. Johnson, pp. 3-23 / Penguin, ed. D. Kiberd, pp. 1-28) – The chapter begins with Buck Mulligan celebrate a parodic mass in which Stephen Dedalus becomes an acolyte against his will. Stephen is a melancholy artist obsessed with guilt since the death of his mother; his taciturn manner contrasts with Mulligan’s clownish hilarity. Englishman Haines, their guest at Martello Tower, combines seriousness with enthusiasm for Gaelic culture; the three figures illustrate three possible positions in relation to Ireland, symbolized by the old peasant woman bringing in the milk: the dispossessed son (Stephen), the treacherous usurper (Mulligan); the representative of English imperialism (Haines), who – through his dream of the panther, traditionally a symbol of Christ – is also associated by Stephen with the imperialism of the Roman Catholic Church. Stephen chooses deception and exile: he gives up his key and does not come back. 2- “Nestor” (OWC 24-36 / Penguin 28-45) – Stephen teaches history and English literature to a class of wealthy schoolchildren who are unnerved by his scathing humor and mysteries. He confronts Mr Deasy (Nestor in Homer’s Odyssey) with Irish history and economics. Nurturing his inaccurate memories, the old headmaster promotes thrift while Stephen squanders what little money he has. Stephen views the story as a nightmare. Despite the animosity, Stephen agrees to help Mr Deasy in his fight against foot and mouth disease, which afflicts Irish cattle, by helping him get a letter published in the press. 3 – “Proteus” (37-50/45-64)- Stephen’s philosophical and aesthetic meditations lead him to question the reality of the outside world. Through a complex philosophical argument that vacillates between Aristotle and Berkeley, he redefines the nature of visual and auditory perception. His literary memories are mixed with the painful evocation of his past, in particular the unsuccessful exile in Paris, from which a telegram with the news of his mother’s death called him back. The sterility of Stephen’s “creations” in this chapter (which includes urinating and depositing a snot on a ledge [cf. Bloom’s own excremental “creation” in “Calypso”]) contrasts with the remarkable metamorphic poetic prose of the tale and from Stephen’s stream of consciousness. Odyssey 4 – “Calypso” (53-67/64-85) – Leopold Bloom, who is becoming the main protagonist, is introduced at his home at 7 Eccles Street and seen for the first time praying for himself and his wife Molly the breakfast prepared is still in bed. He goes in search of a pig kidney from a Jewish butcher, where he picks up a leaflet advertising plantations in Palestine (which introduces the theme of the lost promised land and “recall”). He brings Molly her mail, which later in the day contains a letter from Boylan, her future lover, announcing his visit. He explains to Molly the meaning of metempsychosis; the chapter ends with his defecation in the outhouse mingled with his remarks about cheap literature. 5 – “The Lotus Eaters” (68-83/85-107) – Bloom has left his home to embark on the epic wanderings of an atypical literary hero on an ordinary Dublin day – 16th June 1904. He first goes to get the reply post restante from his unknown pen pal Martha Clifford, to whom he sends love letters signed “Henry Flower”. Along the way, he meets several acquaintances, unknowingly “throws away” a tip for the horse races (the origin of a later misunderstanding), and finally goes to the swimming pool. Drugs of all kinds (perfume, tobacco, medicine, eroticism, religion, etc.) express a voluptuous narcissistic devotion to the world of the senses throughout the chapter. 6 – “Hades” (84-111/107-147) – Bloom goes to Paddy Dignam’s funeral along with Simon Dedalus (Stephen’s father) and other characters who have already appeared in Dubliners. The conversation soon takes on a maliciously anti-Semitic tone that makes Bloom uncomfortable. He thinks about death, remembering both his father’s suicide and his son’s death when he was only eleven days old. Bloom notices his first sign from Stephen (who doesn’t see him). 7 – “Aeolus” (112-143/147-189) – Divided into a series of newspaper articles with headlines, this episode gathers various “cream puffs” in various scenes and locations of the newspaper office, Bloom, Stephen. including Myles Crawford, the king of windy and hollow journalistic rhetoric. The speakers outdo each other in eloquence, and the parable of the captive Jews provides a mythical model for the Irish. Stephen tells a story that reveals the paralysis of his fellow Dubliners that no one pays attention to, while Bloom, the advertising agency, is severely angered by Myles Crawford. 8 – “Lestrygonians” (144-175/190-234) – The “Food Chapter”: Bloom is obsessed with food (it’s between 13:00 and 14:00) and thoughts about nutrition, and tastes and smells of all kinds invade the Language and style of the episode (the rhythm of the chapter is determined by the “peristaltic” [digestive] movement of the organism). Put off by the restaurant’s monstrous gluttons and obsessed with the upcoming encounter between Molly and Boylan, he ends up ordering a gorgonzola sandwich and a glass of burgundy at Davy Byrne’s pub. 9 – “Scylla and Charybdis” (176-209/235-280)- In the National Library, Stephen spins out his Aristotelian theory of artistic creation, which amounts to a sublimated autobiography; his paradoxes about Shakespeare’s life and work fail to convince his platonic audience. In the young artist’s complex argumentation, Shakespeare becomes like a god who begets himself through his works. Bloom emerges; Mulligan meets with Stephen and offers a rather burlesque conclusion to the philological-theological debate. 10 – “Wandering Rocks” (210-244/280-328) – This chapter is a pause in the narrative of Stephen and Bloom’s days and has no exact equivalent in Homer’s Odyssey. This pivotal and ‘pedestrian’ chapter consists of 19 episodes offering vignettes and snapshots of the various characters and cross-sections of the Irish capital and society, including Church (Father Conmee) and State (the Viceroy’s Cavalcade); the chapter breaks with the previously focused perspective. Stephen and Bloom only appear briefly and are not mentioned among witnessing the Viceroy’s cavalcade through the city. 11 – “Sirens” (245-279/328-376) – The language of this chapter aspires to the state of the music, forging linguistic equivalents to trills, staccatos, counterpoint, etc. The venue is the Ormond Bar, run by two flashy barmaids or “sirens”; While the tenors are busy competing in a male singing competition, Bloom listens and Martha answers. After escaping the seductive nooses of the music, he exits the room, leaving an ironic fart in his wake. 12 – “Cyclops” (280-330/376-449) – A satire against the Citizen’s bellicose patriotism and anti-Semitism, the “Cyclops” who ends up physically attacking Bloom, the chapter oscillates between the Citizen’s rhetorical bombast and the sarcastic deflation of the leaves neither the British Empire nor Irish nationalism unscathed, while the anonymous narrator – a sardonic barfly and debt collector – provides a brilliant example of Dubliner garrulousness. The narrative is periodically interrupted by parodic asides in other voices and styles. Bloom, the wandering Jew who had come to Barney Kiernan’s pub to offer Paddy Dignam’s widow some money, finds himself embroiled in an argument about nationalism and tries to explain his ideas about humanity, love and home. In the end, his escape from the Denizen’s onslaught becomes a pompous apotheosis. 13 – “Nausicaa” (331-365/449-499) – Bloom resting on the Sandymount rocks (Stephen in “Proteus” had also walked along the Sandymount beach) looking at young girls in their bloom. One of them, Gerty MacDowell, teases him into an erection through an increasingly daring exhibitionist pose; the distant eroticism ends with Bloom’s masturbation and culminates in fireworks. Die Erzählstimme ist die eines Autors romantischer Schundliteratur, die damals an Frauen verfüttert wurde – die Art von Büchern, die von Gerty gelesen werden, die dementsprechend in Bloom einen mysteriösen „dunklen Fremden“ sieht. Als der Blickwinkel auf Bloom wechselt, sehen wir Gerty hinkend davongehen; Bloom döst in postmasturbatorischer Dankbarkeit ein. Dem beschleunigten Crescendo des ersten „anschwellenden“ Teils folgt die erschöpfte Nüchternheit der zweiten, „abschwellenden“ Hälfte. 14 – „Oxen of the Sun“ (366-407/499-561) – Blooms und Stephens Wege kreuzen sich noch einmal im Krankenhaus, inmitten von lärmenden Medizinern. Das Kapitel führt uns durch eine grob chronologische Pastiche der verschiedenen Stile der englischen Sprache bis zur Jahrhundertwende und ahmt täuschend die Entwicklung des Fötus bis zu seiner Geburt nach. Die schmerzhafte Entbindung von Mina Purefoy nimmt einen universellen Wert an und obwohl sich das Gespräch unheilvoll auf Sterilität und Empfängnisverhütung konzentriert, symbolisieren ein Donnerschlag und ein Regenschauer im Moment der Geburt den Triumph der Fruchtbarkeit. 15 – „Circe“ (408-565/561-703) – Blooms überwacht Stephens betrunkenen Ausflug ins Rotlichtviertel aus der Ferne und folgt ihm in die halluzinatorische Atmosphäre von Bella Cohens Bordell (Circe’s Den in der homerischen Parallele). Die Figuren erleben Metamorphosen in einer wilden, traumhaften Dramatisierung ihrer Fantasien, Obsessionen und Schuldgefühle. Stephen wird mit zwei englischen Soldaten in ein Gegrilltes verwickelt und ohnmächtig; Bloom rettet ihn und verwandelt ihn in die zweideutige Vision seines toten Sohnes Rudy. „Nostos“ [=Heimkehr] 16 – „Eumäus“ (569-618/704-766) – Bloom führt Stephen zum Kutscherunterstand, und die gemeinsame körperliche Erschöpfung (es ist nach Mitternacht) und der unzuverlässige Erzähler machen das Kapitel zu einem amusing, if often tedious, collection of deliberately jaded linguistic stereotypes, full of misunderstandings and approximations. 17 – “Ithaca” (619-689/766-871)- This impersonal catechism narrates the last actions of the novel: Bloom takes Stephen to 7 Eccles Street and offers him hot chocolate, they exchange views of Irish and Jewish culture, Stephen refuses Bloom’s offer of a bed for the night, they urinate together under the stars, and Stephen finally departs into the night. Bloom, back in the house, finds traces of Molly’s visitor earlier in the day, goes to bed, where he finds other traces of the visitor’s earlier presence, gives Molly an expurgated account of his day, and finally falls asleep, his head to her feet. The dialogic play between questions and answers universalises all the themes, sorts out human knowledge into vast catalogues, and finally transform the couple in bed into astral bodies. 18 – “Penelope” (690-732/871-933)- Molly’s thoughts flow freely along eight unpunctuated, meandering sentences. She begins with a reaction to Bloom’s request that she make breakfast in the morning, continuous with a celebration of her afternoon with Boylan, proceeds to review her marriage, her girlhood on Gibraltar, her infatuations and dreams of future romances, and finally returns to Bloom, seemingly reinstated into her imaginary life; this is one of the meanings of her numerous final “yesses”, also an affirmation of life itself.
Additional suggestions on Joyce’s Ulysses/ Odysseus
Some of the texts through which Joyce reads and receives the figure of Odysseus/ Ulysses
Bérard, Victor, Les Phéniciens et l’Odyssée [originally published in 1902-03, there are no English translations that I know of; but you can find a lot about it, and Joyce’s use of it in the book by Seidel, listed below; Bérard held the view that the Odyssey was “written” by a Greek poet, but recorded the travels of Phoenician sailors – the Phoenicians were a semitic people, which is relevant when you think that Leopold Bloom (Joyce’s Ulysses figure) is a Jew]
Butler, Samuel, The Authoress of the Odyssey: Where and when she wrote, who she was, the use she made of the Iliad, and how the poem grew under her hands [originally published in 1897; Butler also transalted the Iliad and the Odyssey. There are various editions, including a cheap Kindle version; and it is in the library. Butler suggests that the Odyssey takes place in the island of Sicily, around the port city of Trapani, and that it is narrated by princess Nausicaa. The relevance to Joyce’s book, which set on an island in and around the port city of Dublin, and whose final words are narrated by a woman, is evident.]
Lamb, Charles, The Adventures of Ulysses [originally published in 1808, there are various editions in print, and a free Kindle version. The book really is about the adventures and was meant as a book for boys, not as a full tranlation or account of the entire Odyssey. Joyce read this as child and wrote an essay at school about it!]
See also:
Seidel, Michael, Epic Geography: James Joyce’s Ulysses (Princeton, N.J.: Princeton University Press, 1976) [not a book consulted by Joyce – of course! – but it looks at parallels between the geography of the Odyssey and of Ulysses and the movements of the characters, and relies extensively on Bérard’s Les Phéniciens et l’Odyssée]
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