Editing James Joyce (section)

==Major works==
===''Dubliners''===
{{Main|Dubliners|l1=''Dubliners''}}
[[File:Joyce - Dubliners, 1914 - 3690390 F.jpg|thumb|upright|First edition of Dubliners; published by [[Grant Richards (publisher)|Grant Richards]] in London, 1914|alt=Title page saying 'DUBLINERS BY JAMES JOYCE', then a colophon, then 'LONDON / GRANT RICHARDS LTD. / PUBLISHERS'.]]
''Dubliners'', first published in 1914, is a collection of 15 short stories{{sfn|Osteen|1995b|pp=[https://web.archive.org/web/20210922214926/https://markosteen.files.wordpress.com/2018/12/Osteen-Shoppers-Guide-to-Dubliners.pdf 483–484]}} that form a naturalistic depiction of Irish middle-class life in and around the city in the early 20th century. The tales were written when Irish nationalism and the search for national identity was at its peak. Joyce holds up a mirror to that identity as a first step in the spiritual liberation of Ireland.{{sfnm|Gibson|2006|1p=[https://archive.org/details/jamesjoyce00gibs/page/73 73]|1ps=|Joyce|1957|2p=[https://archive.org/details/letters00joyc/page/62 62–63]|2ps=: Letter to Grant Richards, 23 June 1906}}{{efn|Svevo writes that "what is fundamental in Joyce can be found entire in [''Dubliners'']".{{sfn|Svevo|1927|p= [https://archive.org/details/jamesjoyce0000svev/page/n27 20]}} }} The stories centre on Joyce's idea of an epiphany: a moment when a character experiences a life-changing self-understanding or illumination. Many of the characters in ''Dubliners'' later appear in minor roles in Joyce's novel ''Ulysses''.{{sfn|Groden|n.d.}} The initial stories are narrated by child protagonists. Later stories deal with the lives and concerns of progressively older people. This aligns with Joyce's tripartite division of the collection into childhood, adolescence, and maturity.{{sfnm|Walzl|1977|p=[https://www.jstor.org/stable/25476081 408]|ps=:cf., {{harvnb|Halper|1979|pp=[https://www.jstor.org/stable/25476225?&seq=4 476–477]}}}}

===''A Portrait of the Artist as a Young Man''===
{{Main|A Portrait of the Artist as a Young Man|l1=''A Portrait of the Artist as a Young Man''}}
''A Portrait of the Artist as a Young Man'', published in 1916, is a shortened rewrite of the novel ''Stephen Hero'', which was abandoned in 1905. It is a ''[[Künstlerroman]]'', a kind of [[coming-of-age novel]] depicting the childhood and adolescence of the protagonist [[Stephen Dedalus]] and his gradual growth into artistic self-consciousness.{{sfn|Rando|2016|p= [https://digitalcommons.trinity.edu/cgi/viewcontent.cgi?article=1074&context=eng_faculty 47]}} It functions both as an autobiographical fiction of the author and a biography of the fictional protagonist.{{sfn|Riquelme|1983|p= [https://books.google.com/books?id=ckO8AAAAIAAJ&q=autobiography 51]}} Some hints of the techniques Joyce frequently employed in later works, such as [[stream of consciousness]], [[interior monologue]], and references to a character's psychic reality rather than to his external surroundings, are evident in this novel.{{sfn|Spender|1970|p=[https://archive.org/details/jamesjoycecritic0000demi/page/749 749]}}

===''Exiles'' and poetry===
{{Main|Chamber Music (poetry collection)|l1=''Chamber Music'' (poetry collection)|Pomes Penyeach|l2=''Pomes Penyeach''}}

Despite early interest in the theatre, Joyce published only one play, ''[[Exiles (play)|Exiles]]'', begun shortly after the outbreak of the First World War in 1914 and published in 1918. A study of a husband-and-wife relationship, the play looks back to "The Dead" (the final story in ''Dubliners'') and forward to ''Ulysses'', which Joyce began around the time of the play's composition.{{sfn|Clark|1968|p= [https://www.jstor.org/stable/25486739 69]}}

He published three books of poetry.{{sfn|CI|n.d.}} The first full-length collection was ''[[Chamber Music (poetry collection)|Chamber Music]]'' (1907), which consisted of 36 short lyrics. It led to his inclusion in the ''[[Imagism|Imagist Anthology]]'', edited by Ezra Pound, a champion of Joyce's work. Other poetry Joyce published in his lifetime includes "Gas from a Burner" (1912), ''[[Pomes Penyeach]]'' (1927), and "Ecce Puer" (written in 1932 to mark the birth of his grandson and the recent death of his father). These were published by the [[Black Sun Press]] in ''Collected Poems'' (1936).{{sfn|Doyle|1965|p= [https://www.jstor.org/stable/25486486 90]}}

===''Ulysses''===
{{Main|Ulysses (novel)|l1=''Ulysses'' (novel)}}
[[File:Ulysses22.jpg|thumb|upright|First edition of ''Ulysses''; published by Shakespeare & Company in Paris, 1922|alt=alt=Worn out blue book cover saying 'Ulysses', at top and 'by James Joyce' at the bottom]]
The action of ''Ulysses'' starts on 16 June 1904 at 8{{nbsp}}am and ends sometime after 2{{nbsp}}am the following morning. Much of it occurs inside the minds of the characters, who are portrayed through techniques such as interior monologue, dialogue, and soliloquy. The novel consists of 18 episodes, each covering roughly one hour of the day using a unique literary style.{{sfn|Kimpel|1975|pp=[https://www.jstor.org/stable/45108722 283–285]}} Joyce structured each chapter to refer to an individual episode in [[Homer]]'s ''[[Odyssey]]'', as well as a specific colour, a particular art or science, and a bodily organ.{{efn| This structure was not part of the original conception of ''Ulysses'',{{sfnm|Fludernik|1986|1p= [https://www.jstor.org/stable/25476719?seq=12 184]|Groden|2007|2p = [https://www.jstor.org/stable/25571018?seq=7 223]|Litz|1964|3p= [https://archive.org/details/artofjamesjoycem0000litz/page/34 34]}} but by 1921, Joyce was circulating two versions of this structure, known as the [[Linati schema for Ulysses|Linati schema]] and [[Gilbert schema for Ulysses|Gilbert schema]].{{sfn|Emerson|2017|p= [https://www.jstor.org/stable/26798610?seq=16 55]}} }} ''Ulysses'' sets the characters and incidents of the ''Odyssey'' in 1904 Dublin, representing [[Odysseus]] (Ulysses), [[Penelope]], and [[Telemachus]] in the characters of Leopold Bloom, his wife [[Molly Bloom]], and Stephen Dedalus. It uses humour–{{sfn|Kimpel|1975|pp=[https://www.jstor.org/stable/45108722?&seq=29 311–313]}} including parody, satire and comedy– to contrast the novel's characters with their Homeric models. Joyce played down the mythic correspondences by eliminating the chapter titles{{sfnm|Attridge|1997|1p=[https://archive.org/details/cambridgecompani0000unse_s3a6/page/27 27]|Dettmar|1992|2p=[https://archive.org/details/rereadingnewbac00dett/page/284 285]}} so the work could be read independently of its Homeric structure.{{sfnm|Attridge|1997|1p=[https://archive.org/details/cambridgecompani0000unse_s3a6/page/27 27]|Dettmar|1992|2p=[https://archive.org/details/rereadingnewbac00dett/page/284 285]|Wykes|1968|3p=[https://www.jstor.org/stable/40753991?seq=5 305]}}

''Ulysses'' can be read as a study of Dublin in 1904, exploring various aspects of the city's life, dwelling on its squalor and monotony. Joyce claimed that if Dublin was destroyed in some catastrophe, it could be rebuilt using his work as a model.{{sfn|Budgen|1934|pp=[https://archive.org/details/jamesjoycemaking00budg/page/67 67–68]}} To achieve this sense of detail, he relied on his memory, what he heard other people remember, and his readings, to create a sense of fastidious detail.{{sfn|Ellmann|1982|pp=[https://archive.org/details/jamesjoyce0000ellm_n2o5/page/363 363–366]}} Joyce regularly used the 1904 edition of ''[[Thom's Directory]]''—a work that listed the owners and tenants of every residential and commercial property in the city—to ensure his descriptions were accurate.{{sfn|Hegglund|2003|pp=[https://www.jstor.org/stable/3176000?seq=3 168–167]}} This combination of kaleidoscopic writing, reliance on a formal schema to structure the narrative, and exquisite attention to detail represents one of the book's major contributions to the development of 20th-century modernist literature.{{sfn|Sherry|2004|p=[https://archive.org/details/jamesjoyceulysse0000sher/page/102 102]}}

===''Finnegans Wake''===
{{Main|Finnegans Wake|l1=''Finnegans Wake''}}

''Finnegans Wake'' is an experimental novel that pushes stream of consciousness{{sfnm|Kumar|1957|1p=[https://www.jstor.org/stable/434978 30]|Thompson|1964|2p=[https://www.jstor.org/stable/27540957?seq=3 80]}} and literary allusion{{sfn|Atherton|1960|p=[https://archive.org/details/booksatwake0000unse/page/22 22–23]}} to their extremes. Although the work can be read from beginning to end, Joyce's writing transforms traditional ideas of plot and character development through his wordplay, allowing the book to be read nonlinearly. Much of the wordplay stems from the work being written in peculiar and obscure English, based mainly on [[portmanteau|complex multilevel puns]]. This approach is similar to, but far more extensive than, that used by [[Lewis Carroll]] in ''[[Jabberwocky]]''{{sfn|Attridge|2007|pp=[https://archive.org/details/howtoreadjoyce0000attr/page/85 85–86]}} and draws on a wide range of languages.{{sfn|Schotter|2010|p=[https://www.jstor.org/stable/41429838?seq=1 89]}} The associative nature of its language has led to it being interpreted as the story of a dream.{{sfn|Attridge|2013|p=[https://www.jstor.org/stable/24598778 195–197]}}{{efn|{{harvnb|Attridge|2013}} also critiques interpreting ''Finnegans Wake'' as a dream narrative.}}

The metaphysics of [[Giordano Bruno]] of [[Nola]], whom Joyce had read in his youth,{{sfnm|Downes|2003|1pp=[https://www.jstor.org/stable/26285203 37–38]|Gorman|1939|2pp=[https://archive.org/details/jamesjoyce00gorm/page/332 332–333]|Rabaté|1989|3p=[https://www.jstor.org/stable/25485004 31]}} plays an important role in ''Finnegans Wake'', as it provides the framework for how the identities of the characters interplay and are transformed.{{sfnm|Atherton|1960|1pp=[https://archive.org/details/booksatwake0000unse/page/36 36–37]|Beckett|1929|2p=[https://archive.org/details/ourexagminationr0000unse/page/17 17]}} [[Giambattista Vico]]'s cyclical view of history—in which civilisation rises from chaos, passes through theocratic, aristocratic, and democratic phases, and then lapses back into chaos—structures the text's narrative,{{sfnm|Atherton|1960|1pp=[https://archive.org/details/booksatwake0000unse/page/29 29–31]|Beckett|1929|2p=[https://archive.org/details/ourexagminationr0000unse/page/17 17]|Gorman|1939|3pp=[https://archive.org/details/jamesjoyce00gorm/page/332 332–333]}} as evidenced by the opening and closing words of the book: ''Finnegans Wake'' opens with the words "riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs"{{sfn|Joyce|1939|p= [https://web.archive.org/web/20111003151519/http://www.trentu.ca/faculty/jjoyce/fw-3.htm 3]|ps=: {{harvnb|Atherton|1960|1p=[https://archive.org/details/booksatwake0000unse/page/29 29]}} points out that "vicus" is a pun on Vico.}} and ends "A way a lone a last a loved a long the".{{sfn|Joyce|1939|p= [https://web.archive.org/web/20111003151519/http://www.trentu.ca/faculty/jjoyce/fw-628.htm 628]}} In other words, the book ends with the beginning of a sentence and begins with the end of the same sentence, turning the narrative into one great cycle.{{sfn|Shockley|2009|p=[{{Google books|id=lW96fbBNRYsC|pg=PA104|plainurl=yes}} 104]}}