O'Connor (Becoming Belle) expands on her Granta award-winning short story, "Gooseen" in this poignant, comprehensive portrait of Nora Barnacle as a young woman, mother, and literary inspiration for the Molly Bloom character in Ulysses. Nora and James Joyce's inseparable attachment begins in Dublin on June 16, 1904 (forever remembered as Bloomsday for the setting of Joyce's masterpiece) and stretches to 1951. Narrated in Nora's robust voice and carried by details saturated in filth, such as a walk along the Liffey river that "smells like a pisspot spilling its muck into the sea," the narrative traces Nora and Joyce's nomadic life from Ireland to Trieste, Zurich, London, Rome, and Paris, and details their constant money worries, health concerns, struggles with two difficult children, and emotional despair. Despite their personal and professional achievements, and a circle of friends that includes Sylvia Beach, the Guggenheim sisters, Samuel Beckett, Ezra Pound, and other literati, the couple suffers loneliness and "mutual melancholy." An inscription on a bracelet that Joyce gives Nora underscores their commitment to one another: "love is unhappy when love is away." O'Connor's admirable accomplishment adds to the abundant Joyceana with a moving examination of an unforgettable family. (Jan.)

Nora Barnacle, lifelong partner to James Joyce and model for Molly Bloom in Ulysses, moves center stage in a story of loyal love tested over years of poverty and effort. Young Nora, a bold, freethinking, uneducated girl from a poor Galway background, narrates this biographical saga in evocative Irish tones, offering a more-or-less conventional account of the role of the supportive wife to a genius. The novel opens in Dublin on June 16, 1904--her first date with Jim Joyce, later to be commemorated as Bloomsday, the day during which Ulysses takes place. The attraction between the couple is explicitly sexual, and within months they leave Ireland together for Switzerland, where Joyce has been promised a teaching job. So begins their peripatetic life moving from Zurich to Trieste to Rome, back to Trieste, and eventually to Paris. Unmarried for decades since Joyce won't be bound by any church, the pair struggles with the culture shock of Europe (the food, the weather) and their own poverty. But Nora suffers more: She's lonely, living in the wake of a charismatic, mercurial husband who drinks too much, abandons her often, hates his work, and loses himself in his writing. This is a woman's story of craving female friendship, tending children, and supporting a wayward wanderer while always loving--and being loved by--him. Slowly Joyce begins to win the fight for publication and acknowledgement, but literature is largely the background to this domestic portrait of mutual dependency sometimes overwhelmed by its emphasis on family dramas. O'Connor's Joyce is "a man the same as any other, with all a man's frauds and faults," according to Nora. She emerges as his rock, the prose to his poetry. O'Connor's lengthy, indulgent portrait of a marriage forefronts the robust, devoted woman who kept the show on the road. Copyright (c) Kirkus Reviews, used with permission.