"History is a nightmare from which I am trying to awake." Stephen Dedalus's famous words articulate the modern complaint concerning the burden of the past. In James Joyce and the Language of History: Dedalus's Nightmare, Robert Spoo argues that Joyce's creative achievement, from the time of his sojourn in Rome in 1906-07 to the completion of Ulysses in 1922, cannot be understood apart from the ferment of historical thought that dominated the nineteenth and early twentieth centuries.

Tracing Joyce's historiographic art to its formative contexts - the discourse of Romanticism, the New History and Nietzschean antihistoricism, doctrines of progress, Irish history and politics, traditions of rhetoric, the ideological language of literary history - Spoo reveals a modernist author passionately engaged with the problem of history, forging a new language that both dramatizes and redefines that problem.

Born into a culture oppressed by its history, Joyce was preoccupied by it. Torn between conflicting images of Ireland's past, he was confronted with the challenge of creating a historical conscience. His art became his political protest, and the belief that individual passion and freely expressed works of fiction defy and subvert dominant discourses is the basis of his historiographic art.

Both broadly philosophical and alert to the subtleties of Joyce's texts, this study uses a critical approach that draws on the historical and philosophical thought that shaped Joyce and his contemporaries. Spoo provides a rich and evocative context for reading Ulysses as well as other Joycean texts. He shows that for Joyce, as for his fictional alter ego, Stephen Dedalus, there is no waking from the nightmare of history, only the ceaseless reweaving of the texts that make history a nightmare.