Human as a Commodity in James Joyce's Works

In her seminal work, Imperial Leather, Anne McLintock argues that women are often perceived as the earth that is to be discovered, entered, named, and ultimately owned. This notion resonates deeply in the works of James Joyce, particularly in Ulysses and Dubliners, where he presents women as commodities, reflective of a broader cultural commodification. Joyce's portrayal of women extends beyond individual experiences; it encompasses the nation of Ireland itself, which, much like its female characters, is subjected to ownership and exploitation. Through his narratives, Joyce articulates Ireland as a feminized entity—an exploited motherland sold through its people and resources, thereby raising critical questions about the intersections of consumerism, identity, and authenticity in modern society.

Women as Commodities in Joyce’s Novels

Joyce effectively situates women within a Marxist framework of commodification, depicting them as embodiments of popular culture that can be bought, sold, or advertised. In the Calypso episode of Ulysses, the character Milly Bloom emerges as an object of marketable sexuality. In her letter home, she expresses gratitude for her new bathing suit, stating, “everyone says I’m quite the belle in my new tam…I am getting on swimming in the photo business now” (p. 63). This statement implicitly links her physical appearance to her success in a business that thrives on the sexualization of women. Milly’s burgeoning awareness of her body’s commercial potential underscores the pervasive nature of commodification that begins at a young age.

Similarly, in the episode Nausicaa, Gerty is depicted as a sexual object for Leopold Bloom, a representation of the commodification of female sexuality. Described as “as fair a specimen of winsome Irish girlhood as once could wish to see” (p. 333), Gerty's innocence is shattered as she becomes the target of Bloom's voyeuristic desires. Her awareness of his gaze and subsequent actions—“lifting her skirt but just enough…to draw attention on the account of the gentleman opposite looking” (p. 340)—illustrate the blurred boundaries of acceptable objectification, particularly when considering her young age.

The Commodification of Ireland

If the women of Ireland can be commodified, it is not surprising that Ireland itself can be viewed as the ultimate representation of a nation bought and sold. In Dubliners, the short story Two Gallants includes the image of a feminized harp, embodying Ireland as a land subjected to exploitation. The harp, neglected and exposed, symbolizes Ireland’s vulnerability under British rule, as Lenehan and Corley engage with her music in hopes of profit. The tone of resignation surrounding the harp’s song serves as an allegory for Ireland’s plight, mirroring the struggles of her people.

Joyce further emphasizes this commodification through the character Eveline in the story bearing her name. Eveline’s choice to leave Dublin for Buenos Aires—a city notorious for the exploitation of Irish women—illustrates the broader theme of commodification and loss within Ireland. By rejecting her home for a potentially exploitative future, Eveline symbolizes the vulnerabilities of Irish women and the nation itself, which is often objectified and weakened through such choices.

Commodities and Their Impact on National Identity

Joyce explores the relationship between material goods and national identity, illustrating how the export of Irish commodities is intertwined with the country’s historical struggles. In the episode Lestrygonians, Stephen Dedalus observes “a divided drove of branded cattle” (p. 94), contemplating their fate as exports to England, even as the Irish population suffers from famine. The cattle trade exemplifies how commodities can contribute to a nation’s decline, reinforcing the connection between material wealth and the exploitation of both land and people.

Conclusion: The Dual Role of Ireland

Ultimately, Joyce presents Ireland as a commodified nation, caught in a cycle of exploitation yet simultaneously benefiting from its own role in the imperialist economy. The constant interplay of commodification and identity within his works raises profound questions about the authenticity of both individual and national identity in an era dominated by consumer culture. Through his nuanced portrayal of women and the nation, Joyce compels readers to reflect on the implications of commodification, leaving a lasting impact on our understanding of humanity as a commodity.