The Dead has been heralded as one of the best short stories ever written, and I am inclined to agree. The lovable, deep, and very real characters, the excitement and lush accommodations at the annual dance, and the haunting story of the young boy—and its full meaning—move even the harshest of Joyce’s critics. After many readings (and performances) of this work, the simple beauty of Joyce’s prose is what really moves me; this adaptation gives the readers the chance to read some of the most well composed and yet thoroughly emotional images and phrases in all of literature. I’m still excited at the start of the party, still warmed by the great speech, still saddened and haunted by Gretta’s story, and, of course, still hungry after the description of the food on the supper table.

Joyce’s theme of the major epiphany from minor circumstances is not hidden so deeply in this tale, nor is it bluntly thrust forward at the audience, but simply and plainly stated by events, leaving us to ruminate on Gabriel’s new ideas, while forming (or remembering) our own. This story stands out, however, because every character has some sort of revelation, not just Gabriel; these are more hidden, but Joyce leaves you to ponder what each character does after the narrative has finished and how they’ve changed.

One can’t help but love such a poetic examination of the maturation of a human soul. Thanks for coming, and safe home.

Daniel Langhoff