Editing James Joyce (section)

==1915–1920: Zurich and Trieste==
===Zurich===
[[File:Zurich, Switzerland (26459893447).jpg|thumb|Zurich, Switzerland, where Joyce lived from 1915 to 1919]]
Joyce arrived in Zurich as a double exile: he was an Irishman with a British passport and a Triestine on parole from Austria-Hungary.{{sfn|Stanzel|2001|pp= [https://www.jstor.org/stable/25477813?&seq=4 364–365]}} To get to Switzerland, he had to promise the Austro-Hungarian officials that he would not help the Allies during the war, and he and his family had to leave almost all of their possessions in Trieste.{{sfnm|Bowker|2012|1p= [https://archive.org/details/jamesjoycenewbio0000bowk/page/217 217]|Ellmann|1982|2p=[https://archive.org/details/jamesjoyce0000ellm_n2o5/page/386 386]|Gibson|2006|3pp=[https://archive.org/details/jamesjoyce00gibs/page/106 106], [https://archive.org/details/jamesjoyce00gibs/page/116 116] }} During the war, he was kept under surveillance by both the British and Austro-Hungarian secret services.{{sfn|Stanzel|2001|p= [https://www.jstor.org/stable/25477813?&seq=5 365]}}

Joyce's first concern was earning a living. One of Nora's relatives sent them a small sum to cover the first few months. Pound and Yeats worked with the British government to provide a stipend from the [[Royal Literary Fund]] in 1915 and a grant from the British [[Civil list#United Kingdom|civil list]] the following year.{{sfnm|Fischer|2021|1p=[{{Google Books|id=-IETEAAAQBAJ|pg=PA15|plainurl=yes}} 15]|McCourt|1999a|2p= [https://archive.org/details/jamesjoycepassio0000mcco/page/76 76]}} Eventually, Joyce received large regular sums from the editor [[Harriet Shaw Weaver]], who operated ''The Egoist'', and the psychotherapist [[Edith Rockefeller McCormick]], who lived in Zurich studying under [[Carl Jung]].{{sfnm|Beja|1992|1pp=[https://archive.org/details/jamesjoycelitera0000beja/page/75 75–76]|McCourt|1999a|2p=[https://archive.org/details/jamesjoycepassio0000mcco/page/82 82]}} Weaver financially supported Joyce for the rest of his life and even paid for his funeral.{{sfn|Gibson|2006|p= [https://archive.org/details/jamesjoyce00gibs/page/132 132]}} Between 1917 and the beginning of 1919, Joyce was financially secure and lived quite well;{{sfn|McCourt|1999a|p=[https://archive.org/details/jamesjoycepassio0000mcco/page/82 82]}} the family sometimes stayed in Locarno in the Italian-speaking region of Switzerland.{{sfn|Bowker|2012|pp= [https://archive.org/details/jamesjoycenewbio0000bowk/page/234 234], [https://archive.org/details/jamesjoycenewbio0000bowk/page/238 238]}} However, health problems remained a constant issue. During their time in Zurich, both Joyce and Nora suffered illnesses that were diagnosed as "nervous breakdowns"{{sfnm|Bowker|2012|1p= [https://archive.org/details/jamesjoycenewbio0000bowk/page/228 228]|Grandt|2003|2p=[https://www.jstor.org/stable/26285204 78]|Maddox|1989|3p=[https://archive.org/details/nora00bren/page/141 141]}} and he had to undergo many eye surgeries.{{sfnm|Beja|1992|1p=[https://archive.org/details/jamesjoycelitera0000beja/page/78 78]|Gorman|1939|2p= [https://archive.org/details/jamesjoyce00gorm/page/232 232]}}

====Writing ''Ulysses''====
During the war, Zurich was the centre of a vibrant expatriate community. Joyce's spent evenings in the Cafe Pfauen,{{sfnm|Gorman|1939|1p=[https://archive.org/details/jamesjoyce00gorm/page/233 233]|Maddox|1989|2p= [https://archive.org/details/nora00bren/page/142 142]|Borach|1931|3p=[https://www.jstor.org/stable/371650?seq=1 325]}} where he got to know some of the artists living in the city, including the sculptor [[August Suter (sculptor)|August Suter]]{{sfn|Suter|1926|p=[https://archive.org/details/portraitsofartis0000unse_p0n8/page/61 61]}} and the painter [[Frank Budgen]].{{sfnm|Budgen|1934|1pp=[https://archive.org/details/jamesjoycemaking00budg/page/9 9–15]|Gorman|1939|2p=[https://archive.org/details/jamesjoyce00gorm/page/233 233]}} He often used the time spent with them as material for ''Ulysses''.{{sfn|Potts|1979|p= [https://archive.org/details/portraitsofartis0000unse_p0n8/page/59 59]}} He met the writer [[Stefan Zweig]],{{sfnm|Ellmann|1982|1p=[https://archive.org/details/jamesjoyce0000ellm_n2o5/page/603 603]|Zweig|1941|2p= [https://archive.org/details/worldofyesterday00zwei/page/275 275]}} who organised the premiere of ''Exiles'' in Munich in August 1919.{{sfn|Nadel|1989|p=[https://www.jstor.org/stable/3831378?seq=11 151]}} He became aware of [[Dada]], which was coming into its own at the [[Cabaret Voltaire (Zurich)|Cabaret Voltaire]].{{sfn|Nadel|2008|p= [https://www.jstor.org/stable/30244390?&seq=5 485]}}{{efn|In 1920, Joyce wrote that the Irish press reported him as the founder of Dada.{{sfn|Joyce|1966b|p= [https://archive.org/details/letterofjamesjoy03joyc/page/22 22]|ps=: Letter to Stanislaus Joyce, 14 September 1920}} }} He may have met the [[Marxist]] theoretician and revolutionary [[Vladimir Lenin]] at the Cafe Odeon,{{sfnm|Ellmann|1982|1p=[https://archive.org/details/jamesjoyce0000ellm_n2o5/page/409 409]|Gibson|2006|2p=[https://archive.org/details/jamesjoyce00gibs/page/116 116]}} a place they both frequented.{{sfn|McCourt|1999a|p= [https://archive.org/details/jamesjoycepassio0000mcco/page/74 74]}}

Joyce kept up his interest in music. He met [[Ferruccio Busoni]],{{sfnm|1a1=Ellmann|1y=1982|1p=[https://archive.org/details/jamesjoyce0000ellm_n2o5/page/409 409]|2a1=Hodgart|2a2=Bauerle|2y=1997|2p= [https://archive.org/details/joycesgrandopero0006hodg/page/54 55]}} staged music with [[Otto Luening]], and learned music theory from [[Philipp Jarnach]].{{sfn|Grandt|2003|p= [https://www.jstor.org/stable/26285204?&seq=2 75]}} Much of what Joyce learned about musical notation and counterpoint found its way into ''Ulysses'', particularly the "Sirens" section.{{sfnm|Grandt|2003|1p= [https://www.jstor.org/stable/26285204?&seq=4 77]|Luening|1980|2p= [https://archive.org/details/odysseyofamerica0000luen/page/197 197]}}

Joyce avoided public discussion of the war and maintained strict neutrality.{{sfnm|Gibson|2006|1pp =[https://archive.org/details/jamesjoyce00gibs/page/107 107–108]|Gorman|1939|2pp= [https://archive.org/details/jamesjoyce00gorm/page/233 233], [https://archive.org/details/jamesjoyce00gorm/page/240 240–241]|Manganiello|1980|3p= [https://archive.org/details/joycespolitics0000mang/page/162 162]}} He made few comments about the 1916 [[Easter Rising]] in Ireland; although he was sympathetic to the Irish independence movement,{{sfnm|Gorman|1939|p = [https://archive.org/details/jamesjoyce00gorm/page/234 234]}} he disagreed with its violence.{{sfnm|Beja|1992|1p= [https://archive.org/details/jamesjoycelitera0000beja/page/71 71]|Manganiello|1980|2pp= [https://archive.org/details/joycespolitics0000mang/page/162 162–163]}}{{efn|Budgen wrote: "Joyce, if asked, what he did during the Great War, could reply: 'I wrote Ulysses.'"{{sfn|Budgen|1934|p=[https://archive.org/details/jamesjoycemaking00budg/page/190 190]}} }} He stayed intently focused on ''Ulysses''{{sfn|McCourt|1999a|pp= [https://archive.org/details/jamesjoycepassio0000mcco/page/73 73–74]}} and the struggle to get his work published. Some of the serial instalments of "The Portrait of the Artist as a Young Man" in ''The Egoist'' had been censored by the printers, but the entire novel was published by [[B. W. Huebsch]] in 1916.{{sfn|Beja|1992|p= [https://archive.org/details/jamesjoycelitera0000beja/page/60 60]}} In 1918, Pound got a commitment from [[Margaret Caroline Anderson]], the owner and editor of the New York-based literary magazine ''[[The Little Review]]'', to publish ''Ulysses'' serially.{{sfnm|Bowker|2012|1p=[https://archive.org/details/jamesjoycenewbio0000bowk/page/241 241]|Gibson|2006|2p=[https://archive.org/details/jamesjoyce00gibs/page/132 132]}}

====The English Players====
[[File:Pfauen.jpg|thumb|The Pfauen in Zurich. Joyce's preferred hangout was the café, which used to be on the right corner. The theatre staged the English Players.{{sfn|Fischer|2021|p=[{{Google books|id=-IETEAAAQBAJ|pg=PA190|plainurl=yes}} 190]}}|alt=The Pfauen complex, a large stone building. Theatre is in the centre. Cafe used to be right of theatre]]

Joyce co-founded an acting company, the English Players, and became its business manager. The company was pitched to the British government as a contribution to the war effort,{{sfn|Gibson|2006|p= [https://archive.org/details/jamesjoyce00gibs/page/110 111]}} and mainly staged works by Irish playwrights, such as [[Oscar Wilde]], [[George Bernard Shaw]], and John Millington Synge.{{sfn|McCourt|1999a|p= [https://archive.org/details/jamesjoycepassio0000mcco/page/78 78]}} For Synge's ''Riders to the Sea'', Nora played a principal role and Joyce sang offstage,{{sfn|Beja|1992|p =[https://archive.org/details/jamesjoycelitera0000beja/page/72 73]}} which he did again when [[Robert Browning]]'s ''[[In a Balcony]]'' was staged. He hoped the company would eventually stage his play, ''Exiles'',{{sfnm|Maddox|1989|1p= [https://archive.org/details/nora00bren/page/154 154]|McCourt|1999a|2p= [https://archive.org/details/jamesjoycepassio0000mcco/page/78 78]}} but his participation in the English Players declined in the wake of the [[Spanish flu|influenza epidemic of 1918]], though the company continued until 1920.{{sfn|Gorman|1939|p=[https://archive.org/details/jamesjoyce00gorm/page/260 261]}}

Joyce's work with the English Players involved him in a lawsuit. [[Henry Wilfred Carr]], a wounded war veteran and British consul, accused Joyce of underpaying him for his role in ''[[The Importance of Being Earnest]]''. Carr sued for compensation; Joyce countersued for libel. The cases were resolved in 1919, with Joyce winning the compensation case but losing the one for libel.{{sfnm|Beja|1992|1pp=[https://archive.org/details/jamesjoycelitera0000beja/page/72 72–73]|Gibson|2006|2pp=[https://archive.org/details/jamesjoyce00gibs/page/112 112–113]|Rushing|2000|3pp =[https://www.jstor.org/stable/25477748 371–372]}} The incident ended up creating acrimony between the British consulate and Joyce for the rest of his time in Zurich.{{sfnm|Bowker|2012|1p=[https://archive.org/details/jamesjoycenewbio0000bowk/page/254 254]|Gibson|2006|2pp=[https://archive.org/details/jamesjoyce00gibs/page/113 113–114]}}

===Third stay in Trieste===
By 1919, Joyce was in financial difficulty again. McCormick stopped paying her stipend, partly because he refused to submit to psychoanalysis from Jung,{{sfnm|Beja|1992|1p=[https://archive.org/details/jamesjoycelitera0000beja/page/75 75]|Bowker|2012|2p= [https://archive.org/details/jamesjoycenewbio0000bowk/page/267 257]|Gorman|1939|3p=[https://archive.org/details/jamesjoyce00gorm/page/264 264]}} and Zurich had become expensive to live in after the war. He was also becoming isolated as the city's emigres returned home. In October 1919, Joyce's family moved back to Trieste, but it had changed. The Austro-Hungarian empire had ceased to exist, and Trieste was now an Italian city in post-war recovery.{{sfn|McCourt|1999a|p= [https://archive.org/details/jamesjoycepassio0000mcco/page/85 85]}} Eight months after his return, Joyce went to [[Sirmione]], Italy, to meet Pound, who made arrangements for him to move to Paris.{{sfnm|Bowker|2012|1pp= [https://archive.org/details/jamesjoycenewbio0000bowk/page/273 273], [https://archive.org/details/jamesjoycenewbio0000bowk/page/275 275]|Gibson|2006|2p =[https://archive.org/details/jamesjoyce00gibs/page/132 132]}} Joyce and his family packed their belongings and headed for Paris in June 1920.{{sfn|Gorman|1939|p=[https://archive.org/details/jamesjoyce00gorm/page/270 270]}}