Clay

As James Fairhill writes, “Dubliners reveals a sharp awareness of the social damage caused by drinking” (Fairhill, James. James Joyce and the Question of History. Cambridge UP, 1999). In “Clay,” the motif of drinking underpins much of the mood and action of the story. The motif is introduced early, as Maria hopes Joe will not arrive home already drunk before the party, suggesting this is something Joe is likely to do. Likewise, the man on the tram who offers Maria a seat has been drinking himself, contributing to his volubility. Maria does not seem comfortable with the exchange, though she does think, “how easy it is to know a gentleman even when he has a drop taken” (99). In spite of his drunkenness, she found him enjoyable, marking her distaste for alcohol. The most notable and problematic example of drinking occurs in the final pages at the Donnellys’ party. Joe has already been drinking when Maria arrives and continues to drink throughout the evening. He insists that Maria join him. He becomes incensed when Maria suggests that he might make up with his brother Alphy, and he nearly causes a scene. His temper can be attributed to his drinking, and it is likely that drunkenness caused the “social damage” (Fairhill 99) of his breakup with Alphy. By the end of “Clay,” Joe is awash in maudlin sentimentality and reaching for another bottle of wine, ignoring Maria and her discomfiture.

While the presence of alcohol is used to highlight addiction and abuse in Joyce’s story, it is also used to emphasize the fragile state of Maria’s façade. Maria’s aversion to alcohol, which lowers inhibitions, is significant in a story where Maria desperately holds to an illusion of contentment. While she may also have a distaste for drinking, she also cannot allow herself to release her emotions or let down the wall she has built. She has no power, and doing so would only result in embarrassment and potentially more pushback from her oppressors.