The very thing that makes Ulysses the “Big Bang” of modern storytelling. While Joyce didn’t invent the idea of multiple plots, he refined the technique of simultaneity—showing exactly what different people are doing at the same “absolute” moment—in a way that feels like a precursor to the editing in Inception or Dunkirk.
Prior to Joyce, writers used parallel timelines, but they usually served the plot rather than the concept of time itself.
1. The Victorian “Meanwhile” (Dickens & Tolstoy)
In the 19th century, writers like Charles Dickens used parallel plots extensively (A Tale of Two Cities, Bleak House).
* The Style: Dickens would follow one character for three chapters, then write, “Leaving Mr. Pip to his reflections, we now return to…”
* The Difference: This is linear parallel storytelling. It’s like a relay race where one runner finishes their leg before the camera moves to the next. Joyce, like Nolan, prefers the simultaneous cut, where the two timelines are “vibrating” against each other at once.
2. Leo Tolstoy’s Anna Karenina
Tolstoy was a master of the “cross-cut” between the urban tragedy of Anna and the rural spiritual quest of Levin.
* Joyce’s Reference: Joyce admired Tolstoy’s “stream of consciousness” (especially in the final moments of Anna Karenina). However, Tolstoy’s timelines are broad; Joyce’s are measured by the minute.
3. Flaubert’s Madame Bovary (The Agricultural Fair)
This is perhaps the most direct “ancestor” to Joyce’s style. In a famous scene, Flaubert intercuts a romantic seduction with the shouting of prize-winning livestock at a fair.
* The Effect: It’s a “spatial” cross-cut. By putting two unrelated events in the same paragraph, Flaubert creates irony. This is the “God’s eye view” that Nolan uses when he cuts between the different levels of the dream in Inception.
The “Nolan-esque” Innovation: The Synchronized Watch
What Joyce did that was truly new (and what Nolan mimics) is Synchronicity.
In Chapter 10, Wandering Rocks, Joyce gives us 19 short vignettes.
* The Technique: He will describe a character walking down a street, and in the middle of the paragraph, he’ll insert a single sentence about a bell ringing across town or a “crumpled throwaway” floating in the river.
* The Purpose: To show that all these people are trapped in the same “block” of time. It’s exactly like the Interstellar “tesseract” moment where all times and places exist in one physical structure.
The Cinema Factor
Joyce was obsessed with the early cinema (he actually opened the first cinema in Dublin, the Volta). He realized that film could do something books couldn’t: The Jump Cut. Ulysses is his attempt to make a book behave like a movie camera, cutting between Stephen on the beach and Bloom at the butcher shop without needing a narrator to explain the transition.