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Additional resources for The Art of James Joyce: Method and Design in Ulysses and Finnegans Wake

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X- I THE DESIGN OF ULYSSES 1. GROWTH OF A MASTERPIECE ALTHOUGH Ulysses bears the date-line ' Trieste-ZürichParis, 1914-1921' its origin lies in Joyce's early experiences, and a full history of its development would be a history of his artistic career to the age of forty. In 1917, with the novel well under way, Joyce told a Zürich friend, Georges Borach, of his early fascination with the Odyssey: I was twelve years old when we dealt with the Trojan War at school; only the Odyssey stuck in my memory.

Nestor 11. Sirens 3. Proteus 12. Cyclops 4. Calypso 13. Nausicaa 5. Lotus-eaters 14. Oxen of the Sun 6. Hades 15. Circe 7. Aeolus 16. Eumaeus 8. Lestrygonians 17. Ithaca 9. Scylla & Charybdis 18. Penelope Other abbreviations for works frequently cited are: Budgen Frank Budgen, James Joyce and the Making of 'Ulysses', London, 1934. Ellmann Richard Ellmann, James Joyce, New York, 1959. , New York, 1948. Letters Letters of James Joyce, ed. Stuart Gilbert, New York, 1957. Slocum John J. Slocum and Herbert Cahoon, A Bibliography of James Joyce, 1882-1941, New Haven, 1953.

It [ Joyce's text] is a genuine example of the art of mosaic. I have seen the drafts. They are entirely composed of abbreviated phrases underlined in various-coloured pencil. These are annotations intended to recall to the author complete phrases; and the pencil-marks indicate according to their colour that the underlined phrase belongs to such or such an episode. It makes one think of the boxes of little coloured cubes of the mosaic workers. 32 Larbaud's description obviously applies either to the notesheets under discussion or to similar compilations of rough notes.

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