AUSTRALIAN AUTHOR | 'Ulysses' Odyssey: Cyclops' by D. M. Wright, James Joyce & Homer
- D. M. Wright
- Jul 25, 2025
- 8 min read
Updated: May 22
 Beth Mac: Part One  Beth Mac: Part Two  Console  Dating Men: Series One  Dating Men: Series Two  Dating Men: Series Three  Nights on Hindley  Sherlock Homes: The Boscombe Billabong Mystery  The First Great Emu War of 1932  The Second Great Emu War of 1932  The Magpie  The Problem with Ralph: Chugging  Ulysses' Odyssey: Cyclops  Uncle Ian  Warlocks of Lōbethal: Class Clown  Warlocks of Lōbethal: Older  Writer, Father, Killer | TAGLINE A Blinding Epic: Homer's Odyssey Meets Joyce's Wit in an Aussie Odyssey of Chaos and Chutzpah! LOGLINE Fresh from sacking Troy, cunning warrior Ulysses sails for Ithaca with a ragtag, plunder-happy crew — only to blunder into a booze-soaked, chaos-filled misadventure. To escape from a one-eyed giant devouring his men like kebabs, Ulysses must outwit the monster with pure Aussie cheek in this riotous, vulgar collision of Homer’s epic and Joyce’s stream-of-consciousness madness. GENRE Primary: Satirical literary fiction Secondary: Absurdist comedy, parody, experimental/postmodern pastiche It reimagines Homer's 'Odyssey' through the stylistic lens of James Joyce's 'Ulysses' — blending epic adventure, stream-of-consciousness narration, vulgar Australian vernacular, anachronistic humour, and chaotic, irreverent storytelling. The result is a wildly irreverent, profane mash-up that pokes fun at classical literature, mythology, bureaucracy, mateship, and more. It's not straight historical fiction, fantasy, or classic retelling — it's a deliberately over-the-top, blokey, iconoclastic send-up aimed at readers who enjoy bawdy, clever literary hijinks. SETTING 'Cyclops' is set in a mythological and satirical version of the ancient Mediterranean between 1300 and 1100 BC, spanning locations such as the sacked city of Troy, the land of the Cicons, the island of the Cyclopes, and the protagonist's home of Ithaca. BLURB An audacious collision of epic and modernist chaos, this rollicking adaptation fuses The Odyssey with Ulysses, twisting Homer’s mythic voyage into a labyrinth of Joycean absurdity. Ulysses, a cunning warrior with meandering mind, navigates bureaucratic nightmares, drunken philosophers, and the sheer surrealism of Ithacan society among his crew as they sail home from the war in Troy, contending with Greco myths and mayhem in tribulations as much existential menace as a physical challenge. Packed with irreverent humour, absurd language and a gleeful disregard for convention, this is a masterpiece of literary pastiche—where high culture meets the sublime art of nonsense in one grand, chaotic odyssey. Ulysses' Odyssey is bound to bridge the gap between myth and modernism, offering a raucous entry point for those who have long hesitated at the gates of Joyce’s labyrinthine prose. Book 1's Cyclops will have mounting Joyce's 'Ulysses: Cyclops' without even breaking a sweat. CONTENT WARNING This book is Not Recommended for readers under the age of 15. It contains:
CHAPTERS Shit outta luck, mate! 1. Sweat of my brow 2. Bloody Halls of Pluto! 3. I beg your parsnips 4. Hanging gives you a stiffy 5. It was exactly seventeen o’clock 6. Oh, look, a blue dog! 7. Teach your grandma how to milk ducks 8. Give them bread and circuses 9. Penelope of the bountiful bosoms 10. Don’t cast your nasturtiums on my character 11. Some people can see the pin-dick in others’ eyes 12. Bugger me sideways! 13. He spat a Moreton Bay bug out of him 14. LEEEROY JEEEENKINS! 15. Into a bag of dangling ram’s personals 16. A piss-weak little insignificant 17. Can’t-keep-his-trap-shut-of-a-cow’s-fourth-anus AUTHOR'S NOTE The genesis of 'Ulysses’ Odyssey' lies in a deliberate act of literary collision. My goal was to take the foundational myth of Homer’s ancient world and the experimental, irreverent soul of James Joyce’s Dublin, and smash them together within a contemporary Australian context. I wanted to see what happened when the "High Art" of the Western canon was stripped of its marble finish and forced to survive the dry, biting comedy of a local pub. By merging Joyce’s Ireland into the Bronze Age, I’ve sought to bring his specific brand of linguistic play — the shifting registers, the "gigantism" of style, and the cynical deconstruction of the hero — into the mouths of the mythological ancients. However, this isn't just a dual-tribute to Homer and Joyce. To truly bring this story to life, I infused it with Aussie laughs. It is the "Digger" spirit — that mixture of gallows humour, scepticism of authority, and the ability to find the absurd in the middle of a slaughter — that grounds this odyssey. In 'Cyclops', you will find legendarily long, rhythmic lists of Barnsey which act as a bridge between the Homeric catalogue and the Joycean stream-of-consciousness, but populated with the icons of Australian life. Ultimately, I wrote this to prove that the themes of 'The Odyssey' and 'Ulysses' are not static or sacred; they are living things that can be reimagined through the grit, slang, and irreverence of a modern Australian voice. There are 17 more episodes to come to complete this epic journey! THEMES 'Cyclops' is centred on a satirical, gritty and hyper-stylized re-imagining of classical heroism. Mockery of Epic Heroism & Legend The book subverts the "noble" warrior trope. Ulysses is portrayed as a shrewd, cynical and often petty negotiator who haggles over tea and sugar prices in the ruins of Troy. His "fame" is acknowledged by a passing soldier who simply calls him a "wanker," and he poses naked for a sculptor to capture his "bust side for empirical distribution". The Burden of Identity & Language There is a recurring meta-theme regarding the "future" of the protagonist’s story. Ulysses chooses the Latin name over the Greek "Odysseus", predicting his tale will eventually be read in a "bastardised, mutilated, internationally spoken language." Plunder vs. Law and Order The narrative frequently blurs the lines between lawful acquisition and "highway robbery." Ulysses and his crew "plunder the plunder" of others, arguing that their actions are justified simply because they did it first or better. This is contrasted with the rigid, bureaucratic language used for sales agreements and legal "libel actions." Nationalism and "The Cause" Represented heavily by "The Citizen," this theme explores a rough, boozy brand of patriotism. The crew frequently debates the "Ithacan language" and the "cause" of their nation while engaging in brawls involving "boomerangs, blunderbusses and lumps of pig iron." Absurdity in Violence The brutal acts of the Cyclops — dashing men like "puppies" and eating them "bones, marrow and entrails" — are juxtaposed with the crew's mundane reactions, such as trying to distract themselves by discussing cricket or societal gossip. TONE & VIBE 'Cyclops' is a satirical and irreverent fusion of ancient epic and modern colloquialism, blending high-stakes Greek mythology with coarse, humorous dialogue and Australian slang. Its vibe is absurdist and chaotic, characterised by a narrative that constantly jumps between brutal violence, dry wit, and long, nonsensical lists that parody classical poetry. POV First-person limited Third-person omniscient Past tense 'Cyclops' employs a primary first-person POV narrated by Ulysses himself, but it is deeply layered with experimental structural shifts and stylistic mimicry that create a chaotic, multi-vocal experience. The result is a narrative voice that feels like a raucous pub tale told by a war hero, constantly being "volun-told" into epic situations while being heckled by a crew of colourful, bickering Australians — albeit, they're meant to be Ancient Greek. MAIN CHARACTER SNAPSHOTS The Protagonist Ulysses (Odysseus) A cynical, world-weary war hero from Ithaca who frequently uses modern Australian slang and is deeply aware of his own legendary status. He is a "soldier of the Achaean army" and a "gentleman" who is as much a shrewd negotiator as he is a warrior, notably haggling over the price of tea and sugar in the ruins of Troy. Despite his grit, he is prone to taunting his enemies — such as the Cyclops — even when it puts his crew at risk . The Crew & Companions Eurylochus ("Eury") Ulysses' second-in-command, described as "widely famed" and often the voice of practical (if equally rough) reason. He is frequently seen looting, drinking, or managing the crew's more unruly impulses, though he is not above a bit of "daylight robbery" himself. Pavlos ‘Barnsey’ Barnsenopolis An "unstoppable force" and the ship's resident "lister". He regularly interrupts the narrative with exhaustive, rhythmic catalogues of everything from fish and trees to Australian historical figures, acting as a satirical version of a classical Greek chorus. The Citizen (Kane) A fiercely nationalistic and vocal member of the party who is "working for the cause" and often "gassing out" about historical grievances or the "Ithacan language". He is portrayed as a heavy-drinking, loud-mouthed figure who frequently clashes with others. Theophilus ("Theo") A crew member often paired with Barnsey to entertain the men with rhythmic tongue-twisters about "thistle sifters". He acts as a sort of steward, often seen bringing pints of wine or ale to the others . Akamus ("Akka") A cautious sailor who isn't afraid to speak his mind or "slur" his words after a few drinks. He is protective of his reputation and quick to use physical force to settle "animated altercations" on deck. Grigorios ("Grigsy") Described as a "bloody mangey mongrel", he is a violent and unstable soldier who "lacerates" publicans and inhabitants during raids. He is often at odds with Ulysses and the more "civilized" members of the crew. The Antagonist The Cyclops (Polyphemus) A "huge monster" and "horrid creature" who lives as an outlaw in a cave. He is described as resembling a "crag that stands out boldly against the sky" with an eye the size of a "good-sized cauliflower". He is pitiless and stronger than the gods, famously dining on Ulysses' men and washing them down with a good drink. DISCUSSION QUESTIONS Genre & Tone Mashup
The Narrative Frame
Comparative Literature
Structure as Art
Character Deconstruction
The Role of Barnsey
Nationalism & The Citizen
Violence vs. Comedy
The Concept of "Nobody"
Language & The Future
ISBN . RELEASE YEAR 2025 SERIES INFO Ulysses' Odyssey Book 1 WORD COUNT 25,000 AVAILABLE FORMATS Original edition: Unavailable Spellbound edition: Kindle Workbench edition: Kindle | |
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