The book is easier than its reputation would have you believe because it exudes purposeful meaning: everything is there for a reason, and usually several reasons. It’s more difficult than its reputation because underneath the surface text, there is no single plot, character, or explanation for what is buried under the opaque verbiage. This becomes most noticeable in most of Book III, where the text tends to be a lot less abstruse than in Book II, but in which the situations being portrayed are even less realistic than before, culiminating in the grandiose fantasia of III.3, in which four senile old men seem to be excavating the mound of history itself, until a litany of betrayals and suffering pour out. I found this section tremendously moving, however little I understood it. Though the book may be impenetrable, Joyce is not the most philosophical of writers: he constantly references the physical and the commonplace, and as much as we all know these things, we can read ourselves into bits and pieces of the Wake.
The second pursues a comparison with John Crowley’s Little, Big, which I haven’t read, but he makes an important point about Joyce’s this-worldliness:
One look at Finnegans Wake and it seems like mysticism. But Joyce is almost devoutly quotidian: the things he repeatedly, obscurely analogizes are the very basics of the world and more importantly, the known: male, female, parents, children, birth, death, day, night, sex, education, work, play. The most realistic scene (in III.4) appears to concern a pub-owner and his family, and the situation as far as I can discern it is hardly anything more unusual than Leopold Bloom’s in Ulysses. If anything, it’s more normal, as there’s far less information given to make these people unique. The pub-owner, named Porter, is a Protestant Irishman and well-respected citizen leading an typical middle-class life. Joyce loads the scene up with the usual allusions and such, and I take from it that this scene is to be put on an equal footing with all the complications and mysteries have gone before. The message: This is it. This is the world for all to see and all that anyone can see.
If you’re at all curious about Joyce’s famously “difficult” final work, this might be just the thing to get you started.
(Via wood s lot.)