Clay in Joyce’s “Clay”

Posted Mar 15, 2010 at 9:18 am, 5tein

…the LORD God formed man out of the clay of the ground and blew into his nostrils the breath of life, and so man became a living being.
Genesis 2:17

By the sweat of your face shall you get bread to eat, Until you return to the ground, from which you were taken; For you are dirt, and to dirt you shall return.
Genesis 3:19

James Joyce’s short story “Clay” uses clay as an ironic representation of Maria’s faith in God, one that is specifically reflective on a belief immortality. The clay which Maria blindly must identify in the family saucer game recalls the Biblical origin–and end–of Man; his mortality. For Maria, this fearful eventuality should be solved by her Catholicism, which states Man may move beyond this dumb substance, into an infinite glory with God. Joyce, however, makes some subtle suggestions that Maria may be fooling herself, the most elegant of which comes in Maria’s reaction–and the others’ lack of response–to her touching of the clay:

She felt a soft wet substance with her fingers and was surprised that nobody spoke or took off her bandage.

When I read this–already primed for the mortality symbolism of clay in “Little Cloud”–I imagined that Maria might face a similar surprise when, penultimately “blindfolded” in death, there is no one who can call out to her, and nothing for her to see!

If Joyce’s symbolism here isn’t an indictment of religious faith itself, at least it suggests cracks and quivering in Maria’s own faith. Such imperfections in one’s faith are not so remarkable, though in Maria’s case they are more troubling in light of her apparent dissatisfaction and disappointments in her own life, which she seems to willfully ignore, discount, or gloss over. This is poignantly illustrated when Maria sings the first verse of the song “I Dreamt that I Dwelt” twice. Whether consciously or unconsciously she obfuscates the second verse’s reference to eros–which Maria has not found–in favor of the first verse’s focus on agape–which Maria hopes to obtain.

I say this is troubling because it is one thing to hope for life after death as a remedy for dying, but quite another to hope for life after death as a remedy for living.

2 Responses to “Clay in Joyce’s “Clay””

  1. Chris Lott Says:

    Thanks for this… I really didn’t think too much about the religious symbolism of “Clay” beyond the implications of Maria even potentially being header for a convent. But you lay it out rather clearly. It makes Maria’s mistake a much richer area to delve into.

    This is one of those stories that is coming back to my mind more and more over time… my assessment of Joyce’s skill crafting it increasing each time.

  2. Stein Says:

    Chris, thanks for commenting. I had a very small window of time in which to draft this last night, but I’m glad my point was clear. I found the Maria’s touching the clay with no sensory response to be horrifying, and quite ironic in terms of her apparent religious faith.

    I think the religious symbolism and references in this story go beyond what you or I have alluded to, but I didn’t want to get into it in writing. After a couple more reads, maybe over a hot beverage, sure…

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