Next week’s auction of rare manuscripts by the great Irish author James Joyce looks set to ignite a bitter dispute between private collectors, leading academics and fans of a West Midlands football team. The documents – made up of original, handwritten drafts of what many believe to be his earliest published work - consist of over 1500 pages of articles, match reports and in-depth player profiles that Joyce wrote between 1919 and 1924 for Aston Villa’s weekly match day souvenir programme.
‘This has got us all worried,’ says Harry H. Earwicker, Aston Villa supporter and spokesperson for the Anglo-Irish ‘soccerlit’ pressure group, Villa Yootha Joyce. ‘There’s a very real danger that some well-heeled foreign buyer could take the manuscripts out of North Birmingham. These documents form part of this great club’s history. They are the only surviving link between the modern-day Claret and Blue Army and the lost world of Modernist literature. They should remain at Villa Park or, at the very least, somewhere in Witton.’
As well as being one of the most important writers of the last century, James Joyce will also be remembered as one of Aston Villa’s original ‘famous fans’. In this respect, he was very much the Nigel Kennedy of his day. Joyce would often boast about this in public, despite the fact that - in the 1920s at least - no serious artist wanted to be compared to Nigel Kennedy. What first attracted the Dublin-born writer to this legendary North Birmingham club remains a mystery, however. Some Joycean scholars have tentatively suggested that he supported Aston Villa as an defiant act of artistic rebellion against the dated literary conventions of Victorian novelists like Thomas Hardy, Anthony Trollope and the Brontë sisters who were, for the most part, Birmingham City supporters.
Whatever the case, his obsession for the club found its way into the early drafts of many of his most famous books. His autobiographical novel, A Portrait of the Artist as a Young Man, was originally entitled A Portrait of the Artist as a Young Fan, while his masterpiece Ulysses – in which the entire narrative famously took place on a single day, 16th June, 1904 – was originally scheduled to take place on 2nd April, 1897, the date of Villa’s first FA Cup victory.
Joyce began writing for the club’s souvenir programme in 1919. He was living in impoverished exile in Zurich with his lover, Nora Barnacle, and was desperately struggling to make ends meet. By the time his ends eventually did meet it was too late, as the pair had already moved to Paris. To help alleviate Joyce’s poverty his well-connected patron, Harriet Shaw Weaver, put in a good word with Aston Villa’s owners. In those days, the football souvenir programme industry was a melting pot of Modernist talent and many of the great artists of the day got their first break working for these publications. The likes of T.S. Eliot, Gertrude Stein and Marcel Proust cut their creative teeth writing articles, match reports and in-depth player profiles until people started taking them seriously. Writers weren’t the only people to benefit from this industry, of course. Pablo Picasso famously produced a series of lurid strip cartoons for Birmingham City’s souvenir programme during what later became known as his ‘Blues period’.
Over the next five years Joyce was a prolific contributor to the publication. He produced 276 articles, 573 match reports, 834 play-by-play tactical analysis charts and over 15,000 in-depth player profiles. This prodigious output was all the more remarkable as he spent most of this period living abroad and, as a result, was rarely able to attend home games. Instead, he had to rely heavily on detailed telegrams, eyewitness accounts and conjecture.
According to Earwicker, Joyce’s early articles for the souvenir programme featured ‘a winning combination of hard-hitting match analysis, erudite Irish wit and obscure literary allusions that proved to be a big hit with Villa fans.’ His classic work during this period included the groundbreaking match report Villa v QPR (1919) and its disappointing sequel, Villa v QPR (1920), and during Villa’s 1919-20 FA Cup campaign Joyce received widespread acclaim for his detailed account of the long road to Wembley, which was entitled ‘The M1.’
Unfortunately, Joyce’s love affair with Aston Villa was not to last. Egged on by fellow Villa fan Ezra Pound, he began to introduce increasingly experimental literary techniques into his Villa programme contributions. His play-by-play tactical analysis reports featured an increased use of multiple-viewpoint narration and Lobachevskian geometry. This confused scores of Villa fans who were more familiar traditional third-person narrative approaches and Euclidian geometry. He also abandon many of the traditional rules of punctuation: a 1921 interview with Frank Barson upset the legendary ‘hard man’ striker after Joyce removed all the quotation marks and replaced them with inverted commas.
The situation finally came to a head in 1924 with his controversial profile of one of Villa’a most notorious fans. A precursor to the modern-day streaker, Macintosh Brown would interrupt Villa matches by charging across the field wearing nothing but a brown macintosh. Joyce’s profile of this shady exhibitionist – complete with pop-up illustrations - resulted in a highly-publicised obscenity trial and Joyce was forced to accept a three-match ban.
The club’s owners were furious with Joyce. When Villa were defeated by Newcastle United in that year’s FA Cup final, Joyce submitted a 10,000 word match report which featured passing references to Irish patriot Charles Stewart Parnell, Catholic theologian St Thomas Aquinas and Italian philosopher Giambattista Vico. The club owners urged Joyce to remove these references which, they felt, were ‘somewhat irrelevant’ and ‘confusing to younger fans’. Angered by this perceived attack on his artistic integrity, Joyce submitted a 10,000 word profile of Parnell, Aquinas and Vico which made only passing reference to the FA Cup Final. In retaliation, the club owners published a clumsily edited version the original article and attributed it to one of Joyce’s uncles, who he didn’t like.
For Joyce this was the final straw. He sent the club a blunt, two-word resignation letter in Latin which read: ‘Non-serviam.’ The club responded with a blunt, two-word response in Anglo Saxon, which – unfortunately – was lost in the post. After turning his back on his religion and then his country, Joyce finally turned his back on his favorite team. In a fit of rage he attempted to set fire to his vast collection of Aston Villa scarves, track suits and other paraphernalia. Unfortunately, due to his failing eyesight, he instead set fire to a pair of curtains and an early draft of a planned sequel to Ulysses that was provisionally entitled Twolysses.
Nearly a century later, Joyce’s influence still remains strong at Villa Park. According to Earwicker, his ghost has often been witnessed sitting on the top deck of a bus that passes close to the ground and shouting abuse from the terraces. Most touchingly, perhaps, many of his early, lyrical poems have formed the basis of some of the club’s most enduring supporter chants. These include the touching ‘We Love You Villa, We Do’, the rousing ‘We are the Boys from the Holte Army’ and, of course, the ever-popular ‘Shit on the City.’
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