This short story collection draws a vivid portrait of Joyce's Dublin at the turn of the twentieth century, with rich imagery and characterization.

在线阅读本书 Dubliners was completed in 1905, but a series of British and Irish publishers and printers found it offensive and immoral, and it was suppressed.The book finally came out in London in 1914, just as Joyce's Portrait of the Artist as a Young Man began to appear in the journal Egoist under the auspices of Ezra Pound.The first three stories in Dubliners might be incidents from a draft of Portrait of the Artist , and many of the characters who figure in Ulysses have their first appearance here, but this is not a book of interest only because of its relationship to Joyce's life and mature work.It is one of the greatest story collections in the English language--an unflinching, brilliant, often tragic portrait of early twentieth-century Dublin.The book, which begins and ends with a death, moves from "stories of my childhood" through tales of public life.Its larger purpose, Joyce said, was as a moral history of Ireland.

《都柏林人》是20世纪爱尔兰著名作家、诗人詹姆斯·乔伊斯久负盛名的短篇小说集，1914年出版。作品置景于二三十年代的都柏林，截取中下层人民生活的横断面，一个片刻一群人，十五个故事汇集起来，宛若一幅印象主义的绘画。笔触简练，错落成篇，浮现出苍凉世态，遥远、清冷，然而精致，是上上之品。

Published in 1916, James Joyce's semiautobiographical tale of his alter ego, Stephen Dedalus, is a coming-of-age story like no other. A bold, innovative experiment with both language and structure, the work has exerted a lasting influence on the contemporary novel. 'Joyce dissolved mechanism in literature as effectively as Einstein destroyed it in physics,' wrote Alfred Kazin. 'He showed that the material of fiction could rest upon as tense a distribution and as delicate a balance of its parts as any poem. Joyce's passion for form, in fact, is the secret of his progress as a novelist. He sought to bring the largest possible quantity of human life under the discipline of the observing mind, and the mark of his success is that he gave an epic form to what remains invisible to most novelists.... Joyce means many things to different people; for me his importance has always been primarily a moral one. He was, perhaps, the last man in Europe who wrote as if art were worth a human life.... By living for his art he may yet have given others a belief in art worth living for.'

Joyce's first major work, written when he was only twenty-five, brought his city to the world for the first time. His stories are rooted in the rich detail of Dublin life, portraying ordinary, often defeated lives with unflinching realism. He writes of social decline, sexual desire and exploitation, corruption and personal failure, yet creates a brilliantly compelling, unique vision of the world and of human experience.