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Because, Soferim Bebel, if it goes to that, (and dormerwindow gossip will cry it from the
housetops no surelier than the writing on the wall will hue it to the mod of men that
mote in the main street) every person, place and thing in the chaosmos of Alle anyway
connected with the gobblydumped turkery was moving and changing every part of the
time: the travelling inkhorn (possibly pot), the hare and turtle pen and paper, the
continually more and less intermisunderstanding minds of the anticollaborators, the as
time went on as it will variously inflected, differently pronounced, otherwise spelled,
changeably meaning vocable scriptsigns.
James Joyce, Finnegans Wake
James Joyce’s ‘Work in Progress’

The text of Finnegans Wake is not as monolithic as it might seem. It grew

out of a set of short vignettes, sections and fragments. Several of these
sections, which James Joyce confidently claimed would ‘fuse of themselves’,
are still recognizable in the text of Finnegans Wake. And while they are
undeniably integrated very skillfully, they also function separately. In this
publication history, Dirk Van Hulle examines the interaction between the
private composition process and the public life of Joyce’s ‘Work in Progress’,
from the creation of the separate sections through their publication in
periodicals and as separately published sections. Van Hulle highlights the
beautifully crafted editions published by fine arts presses and Joyce’s
encouragement of his daughter’s creative talents, even as his own creative
process was slowing down in the 1930s. All of these pre-book publications
were ‘alive’ in both bibliographic and textual terms, as Joyce continually
changed the texts in order to prepare the book publication of Finnegans
Wake. Van Hulle’s book offers a fresh perspective on these texts, showing
that they are not just preparatory versions of Finnegans Wake but a ‘Work in
Progress’ in their own right.

Dirk Van Hulle is Professor of Literature in English at the University of

Antwerp. He is the author of Modern Manuscripts: The Extended Mind and
Creative Undoing (2014) and co-director of the Beckett Digital Manuscript
Project. He recently edited the New Cambridge Companion to Samuel
Beckett (2015).
Studies in Publishing History: Manuscript, Print, Digital
Edited by Ann R. Hawkins and Maura Ives

Exploring the intersection of publishing history, book history, and literary

and cultural studies, this series supports innovative work on the cultural
significance and creative impact of printing and publishing history,
including reception, distribution, and translation or adaptation into other
media.

Previous titles from this series:

The Rise of the Modernist Bookshop

Books and the Commerce of Culture in the Twentieth Century
Edited by Huw Osborne

Charles Dickens’s Great Expectations

A Cultural Life, 1860–2012
Mary Hammond

Charles Dickens’s Our Mutual Friend

A Publishing History
Sean Grass

Lewis Carroll’s Alice’s Adventures in Wonderland and

Through the Looking-Glass
A Publishing History
Zoe Jaques and Eugene Giddens

Baroness Orczy’s The Scarlet Pimpernel

A Publishing History
Sally Dugan
Frances Burney’s Cecilia
A Publishing History
Catherine M. Parisian

Elizabeth Gaskell’s Cranford

A Publishing History
Thomas Recchio
James Joyce’s ‘Work in Progress’
Pre-Book Publications of Finnegans Wake Fragments

DIRK VAN HULLE

First published 2016
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge
711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2016 Dirk Van Hulle

The right of Dirk Van Hulle to be identified as author of this work has been asserted by him
in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks,

and are used only for identification and explanation without intent to infringe.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

Hulle, Dirk van.

James Joyce’s ‘work in progress’ : pre-book publications of Finnegans
wake fragments / by Dirk Van Hulle.
pages cm. — (Ashgate studies in publishing history: manuscript, print, digital)
Includes bibliographical references and index.
ISBN 978-1-4094-6595-9 (hardcover)
1. Joyce, James, 1882–1941. Finnegans wake. 2. Joyce, James,
1882–1941. — Relations with publishers. 3. Literature publishing–
England–History–20th century. 4. Authors and publishers–England–
History–20th century. I. Title.
PR6019.O9F593535 2016
821′.912—dc23
2015033110

ISBN: 978-1-40946-595-9 (hbk)

ISBN: 978-1-31559-026-4 (ebk)

Typeset in Times New Roman and Gill Sans

by Apex CoVantage, LLC
For Geert Lernout
Contents

Acknowledgements
List of Abbreviations
Note on Transcriptions
List of Illustrations

Introduction: Joyce and the Enacted Mind

PART I WORK IN PROGRESS

1 Before transition
2 Pirates and Critics
3 transition (1927–38)

PART II WORK IN PRESS

4 Anna Livia Plurabelle
5 Tales Told of Shem and Shaun
6 Haveth Childers Everywhere
7 The Mime of Mick, Nick and the Maggies
8 Storiella as She Is Syung
Conclusion: In the Wake of ‘Work in Progress’
Appendices
Appendix 1: Survey of Pre-Book Publications
 Appendix 2: Anna Livia Plurabelle and Haveth Childers Everywhere:
Variants between the first editions and the '1-shilling’ editions by
Faber and Faber
Appendix 3: Variants between the Pre-Book Publications and the Text of
Finnegans Wake (London: Faber and Faber; New York: Viking, 1939)
Bibliography
Index
Plates
Acknowledgements

The research for this book was made possible thanks to an ERC grant
(European Research Council) for a project called ‘Creative Undoing and
Textual Scholarship’ (CUTS) and thanks to a TOP BOF project of the
University of Antwerp. Several archivists, Joyce scholars and friends have
greatly helped me during the writing of this book. My first debt of gratitude
is to Luca Crispi and Ronan Crowley, whose invaluable help has been
instrumental in filling particular lacunae in this publication history. I would
also especially like to thank James Maynard at the University at Buffalo for
all his help with the press clippings and other documents in the James Joyce
Collection. I owe a debt of gratitude to Michael Basinsky, Tim Conley, Tom
De Keyser, Wout Dillen, Ann Donahue, Daniel Ferrer, Michael Groden,
Cheryl Herr, Wim Van Mierlo, Nicholas Morris, Sam Slote, J. Eric Smith at
Salisbury House and to the editors of European Joyce Studies and the Dublin
James Joyce Journal for their willingness to include a version of two
sections of this book in their publications.
Most importantly, I would like to seize this opportunity to thank one man
in particular. In the past 20 years, he has been my Doktorvater, elder brother,
mentor and friend. I don’t think I will ever be able to pay proper credit to all
the things he has made possible, all the help, all the encouragement, all the
friendship, all the critical advice – and all of this on a daily basis. I therefore
dedicate this book to Geert Lernout.
The research leading to these results has received funding from the European
Research Council under the European Union’s Seventh Framework
Programme (FP7/2007-2013) / ERC grant agreement no 313609 and from the
University of Antwerp (TOP BOF).
Abbreviations

ALP Anna Livia Plurabelle, with a Preface by Padraic Colum, New

York: Crosby Gaige, 1928.
BL British Library, followed by the call number and folio number.
Cr ‘Fragment of an Unpublished Work’, The Criterion, London, III.12
(July 1925), 498–510.
FDV A First-Draft Version of ‘Finnegans Wake’, edited by David
Hayman, Austin, TX: University of Texas Press, 1963.
FW James Joyce, Finnegans Wake, London: Faber and Faber, 1939.
HCE Haveth Childers Everywhere: Fragment from Work in Progress, by
James Joyce, Paris and New York: Henry Babou and Jack Kahane /
The Fountain Pess, 1930.
HRC Harry Ransom Humanities Research Center, The University of
Texas at Austin.
JJA James Joyce, The James Joyce Archive, edited by Michael Groden
et al., New York: Garland, 1978–79.
JJSB James Joyce’s Letters to Sylvia Beach, edited by Melissa Banta and
Oscar A. Silverman, Oxford: Plantin Publishers, 1987.
LI Letters of James Joyce, vol. I, edited by Stuart Gilbert, London:
Faber and Faber, 1957.
LIII Letters of James Joyce, vol. III, edited by Richard Ellmann, London:
Faber and Faber, 1966.
Mime The Mime of Mick Nick and the Maggies: A Fragment from Work
in Progress, The Hague: The Servire Press, 1933.
Nd’A ‘From Work in Progress’ in Navire d’Argent, Paris, II.5 (October
1925), 59–74.
S Storiella As She Is Syung: A Section of ‘Work in Progress’, by James
Joyce, s.l.: Corvinus Press, 1937.
SL Selected Letters of James Joyce, edited by Richard Ellmann,
London: Faber and Faber, 1992.
t transition (followed by the issue number).

TQ ‘Extract from Work in Progress’, This Quarter, Milan, I.2 (Autumn

– Winter 1925–26), 108–23.
TR ‘From Work in Progress’, transatlantic review, Paris, 1.4 (April
1924), 215–23.
TT Tales Told of Shem and Shaun: Three Fragments from Work in
Progress, by James Joyce, Paris: The Black Sun Press, 1929.
TW Two Worlds: A Literary Quarterly Devoted to the Increase of the
Gaiety of Nations (followed by the issue number).
U Ulysses, edited by Hans Walter Gabler with Wolfhard Steppe and
Claus Melchior, London: The Bodley Head, 1986.
UBJJC University at Buffalo, James Joyce Collection (Poetry Collection),
described and annotated by Luca Crispi.
UBC University at Buffalo Clippings, James Joyce Collection (Poetry
Collection), uncatalogued newspaper clippings, preserved in
brown envelopes; the abbreviation UBC is followed by the number
of the envelope and the handwritten number (in red crayon) on
the clipping.
Note on Transcriptions

The transcription method applied in this study tries to represent the quoted
passages from manuscripts with as few diacritical signs as possible, crossing
out deletions and using superscript for additions. The manuscripts’ catalogue
number is followed by the folio number, ‘r’ or ‘v’ indicating the recto or
verso side. Bold typeface is used to highlight particular words in the
transcriptions.
Illustrations

Colour Plates

1 Back cover of Le Navire d’argent (October 1925)

2 Cover of the first issue of Two Worlds (September 1925)
3 Announcement of transition 21 in the New York Times (25 March 1932)
(The Poetry Collection, Buffalo)
4 Special edition of Anna Livia Plurabelle with black cover (Crosby Gaige,
1928)
5 Cover of Anna Livia Plurabelle in the ‘dun colour’ of the Liffey (Faber and
Faber, 1930)
6 Flyer announcing the publication of Tales Told of Shem and Shaun (The
Black Sun Press, 1929)
7 Flyer announcing the publication of Haveth Childers Everywhere
8 Cover of Storiella as She Is Syung (Corvinus Press, 1937)

Illustrations

1.1 Cover of Contact Collections of Contemporary Writers

1.2 Cover of The Criterion (July 1925)
1.3 Announcement for the October issue in The Calendar (September 1925)
1.4 Cover of Le Navire d’Argent (October 1925)
1.5 Opening page of ‘From Work in Progress’ in Le Navire d’Argent (October
1925)
2.1 Opening page of ‘A New Unnamed Work’ (Third Instalment ‘Anna Livia
Plurabelle’) in Two Worlds I.3 (March 1926)
2.2 Opening page of ‘A New Unnamed Work’ (Fourth Instalment ‘Shem the
Penman’) in Two Worlds I.4 (June 1926)
2.3 Decorated initial letter, immediately following after Samuel Roth’s
editorial in Two Worlds I.4 (June 1926)
2.4 Cover of Two Worlds II.5 (September 1926)
2.5 Advertisement for the serialization of Ulysses in Two Worlds Monthly at
the back of Two Worlds II.5 (September 1926)
3.1 Table of Contents in the first issue of transition (April 1927)
3.2 Title page of transition 1 (April 1927)
3.3 ‘Continuation of a Work in Progress’ in transition 6, pages 106 and 106a
3.4 Cover of transition 8
3.5 Closing pages of transition 8
3.6 Inside back cover of transition 8
3.7 Report on Wyndham Lewis’s tour in New York in the Montreal Daily
Star (11 September 1928) (The Poetry Collection, Buffalo)
3.8 Title page of transition stories
3.9 Flyer advertising Our Exagmination round His Factification for
Incamination of ‘Work in Progress’ (The Poetry Collection, Buffalo)
3.10 ‘Gossip About Books’ in the Montreal Daily Star (The Poetry Collection,
Buffalo)
3.11 Title page of transition 22
3.12 Title page of transition 23
3.13 Table of Contents of transition 26
4.1 Opening page of Anna Livia Plurabelle (Crosby Gaige, 1928)
4.2 Opening page of Anna Livia Plurabelle (Faber and Faber, 1930)
4.3 Announcement of ‘Anna Livia Plusibus’ [sic] in Liège échos (The Poetry
Collection, Buffalo)
4.4 ‘James Joyce at a Shilling’ Announcement of Anna Livia Plurabelle
(Faber and Faber) in the Liverpool Post (The Poetry Collection, Buffalo)
5.1 Title page of Tales Told of Shem and Shaun (The Black Sun Press, 1929)
5.2 Cover of Two Tales of Shem and Shaun (Faber and Faber, 1932)
6.1 Title page of Haveth Childers Everywhere (Babou & Kahane and The
Fountain Press, 1930)
6.2 Cover of Haveth Childers Everywhere (Faber and Faber, 1931)
6.3 Advertisement for Haveth Childers Everywhere (Faber and Faber) in the
Observer (3 May 1931) (The Poetry Collection, Buffalo)
6.4 ‘A James Joyce for a Shilling’ in Everyman (7 May 1931) (The Poetry
Collection, Buffalo)
7.1 Announcement of A Chaucer A.B.C. in transition 27 (The Poetry
Collection, Buffalo)
7.2 Advertisement for The Mime of Mick, Nick and the aggies in transition
26
8.1 Statement on page 45 of Storiella as She Is Syung
Introduction
Joyce and the Enacted Mind

In 1919, the mind became an issue in the battle between two generations of
writers. Virginia Woolf tried to make a clean break with the generation of
Arnold Bennett, John Galsworthy and H.G. Wells. While the content of her
essay ‘Modern Fiction’ accords with Ezra Pound’s motto ‘Make It New’, it
makes use of the classic ‘They say, I say’ structure. Woolf’s rhetorical
strategy to distinguish her generation from the previous one centres around
the mind. The traditional novel, according to Woolf, ‘more and more ceases
to resemble the vision in our minds’ (Woolf 1994, 160):
Look within and life, it seems, is very far from being ‘like this’. Examine for a moment
an ordinary mind on an ordinary day. The mind receives a myriad impressions – trivial,
fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come,
an incessant shower of innumerable atoms; and as they fall, as they shape themselves
into the life of Monday or Tuesday, the accent falls differently from of old; the moment
of importance came not here but there; so that, if a writer were a free man and not a
slave, if he could write what he chose, not what he must, if he could base his work upon
his own feeling and not upon convention, there would be no plot, no comedy, no
tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single
button sewn on as the Bond Street tailors would have it. […] Let us record the atoms as
they fall upon the mind in the order in which they fall, let us trace the pattern, however

disconnected and incoherent in appearance, which each sight or incident scores upon the
consciousness.

(Woolf 1994, 160–1; emphasis added)

The imperative ‘Look within’ opening this paragraph has functioned as an

order in modernism studies, which have consequently been characterized in
terms of a ‘journey within’ (Guerard 1958, 326), an ‘inward turn’ (von Kahler
1973) or a ‘shift from outside to inside’ (Meisel 2006, 79). More recently,
however, this ‘critical commonplace’ (Herman 2011, 249) is being questioned
by cognitive narratologists. The evocation of fictional minds is not
necessarily a matter of ‘looking within’, and Woolf’s image of the mind as
some kind of surface upon which ‘the atoms […] fall’ is perhaps not the most
appropriate metaphor.1 But her appeal to her co-modernists certainly had an
impact. With the activating ‘Let us’, Woolf mobilizes her generation and in
the same paragraph she refers to Joyce as an exponent of this new
movement:
Let us not take it for granted that life exists more fully in what is commonly thought big
than in what is commonly thought small. Any one who has read The Portrait of the
Artist as a Young Man or, what promises to be a far more interesting work, Ulysses,
now appearing in the Little Review, will have hazarded some theory of this nature as to
Mr. Joyce’s intention. On our part, with such a fragment before us, it is hazarded rather
than affirmed; but whatever the intention of the whole, there can be no question but
that it is of the utmost sincerity and that the result, difficult or unpleasant as we may
judge it, is undeniably important. In contrast with those whom we have called
materialists, Mr. Joyce is spiritual; he is concerned at all costs to reveal the flickerings of
that innermost flame which flashes its messages through the brain, and in order to
preserve it he disregards with complete courage whatever seems to him adventitious.
(Woolf 1994, 161; emphasis added)

The question is to what extent Woolf was projecting her own programme
onto Joyce’s work, and to what extent Joyce felt comfortable with this
appropriation. Richard Ellmann has drawn attention to Woolf’s much more
negative reaction in A Writer’s Diary: ‘After Ulysses was published he [T.S.
Eliot] came to tea with Virginia Woolf at Hogarth House, and in discussing
Ulysses was for the first time in her experience “rapt, enthusiastic”. “How
could anyone write again after achieving the immense prodigy of the last
chapter?” he asked. To her it was “underbred”, “the book of a self taught
working man”, of “a queasy undergraduate scratching his pimples”, but Eliot
insisted that Joyce had killed the nineteenth century’ (Ell-mann 1983, 528). A
few years later, in 1927, Wyndham Lewis called Joyce ‘the poet of the
shabby-genteel, impoverished intellectualism of Dublin’, treating him as ‘an
Irish parvenu’ (Ellmann 1983, 595). ‘His world is the small middle-class one’,
Lewis wrote in Time and Western Man (1993 [1927], 75). Lewis’s attitude
towards the ‘smallness’ of this world and Woolf’s private opinion on the ‘self
taught working man’ contrast sharply with her magnanimous, outwardly
unprejudiced gesture towards ‘what is commonly thought small’. Both of
them ‘could not resist judgement by social class’, Ellmann suggests (595).

Joyce and the Extended Mind

This social context is only a small part of the environment in which ‘Work in
Progress’ took shape. What I would like to show in this book is that
modernist evocations of the human mind – which were so important to
Woolf and which Joyce is equally famous for – are not confined to a
spiritual interior. If Joyce is to be called ‘spiritual’– as Woolf suggests – he is
just as much of a ‘materialist’ at the same time. If his evocations of fictional
minds are famous, it is because they present the human mind as what David
Herman has called an interaction between intelligent agents and their
cultural and material circumstances (Herman 2011, 266). In this sense, Joyce
intuited much of what in the last few decades has come to be known as
‘distributed cognition’ (Hutchins 2000, 2068) or what Mark Rowlands has
dubbed ‘4e cognition’, encompassing the Embodied, Embedded, Enactive and
Extended Mind theories.2 This so-called ‘post-cognitivist’ paradigm of
enacted cognition3 is anti-Cartesian in that it focuses on the ‘inextricable
tangles of feedback, feedforward, and feedaround loops that continuously
criss-cross the boundaries of brain, body and world’, and thus works with a
‘porous’ model (as opposed to a ‘brainbound’ model) of the mind (Clark
2012, 277). This ‘post-cognitivist’ model opposes the Cartesian dualism
underlying the ‘cognitivist’ approach to cognition, which works with
representational models to explain the workings of the mind, notably the
human mind. Various models of distributed cognition start from the
assumption that cognition is situated and that action plays a crucial role in
cognitive processes. Hutchins also refers to the notion of ‘cognitive
artefacts’,4 which David Herman defines as ‘objects – mental and cultural as
well as material – that scaffold sense-making activities’ (Herman 2013, 272;
emphasis added).
This notion of ‘scaffolding’ is an important element in Daniel Hutto and
Erik Myin’s ‘radical enactivism’,5 which makes a difference between ‘basic
minds’ and ‘scaffolded minds’, and claims that ‘Basic cognition is not
contentful; basic minds are fundamentally, constitutively already world-
involving. They are, as we say, extensive’ (Hutto and Myin 2013, 137). The
notion of ‘enaction’ (in relation to cognition) was first suggested by
Francisco J. Varela, Evan Thompson and Eleanor Rosch in 1991 in their book
The Embodied Mind, which ‘questions the centrality of the notion that

cognition is fundamentally representation’ (9).6 They propose the notion of

‘enaction’ to denote the idea that ‘cognition is not the representation of a
pregiven world by a pregiven mind but is rather the enactment of a world
and a mind on the basis of a history of the variety of actions that a being in
the world performs’ (Varela, Thompson and Rosch 1991, 9; emphasis added).
These philosophical paradigms (embodied, embedded, enactive, extended
mind) are marked by subtle differences, but they have an ‘externalist’ focus
in common. For the purposes of this book, the notion of the ‘extended mind’
is the most suitable paradigm because, unlike enactivism and radical
enactivism, it does not concentrate on ‘basic minds’ and basic sensorimotor
activity. Joyce’s mind and the fictional minds he evokes in his works are not
‘basic’ but ‘scaffolded’, and representation cannot be downplayed since
language plays such a crucial role in the genesis of Finnegans Wake.
Moreover, when the ‘extended mind’ theory was introduced by Andy Clark
and David J. Chalmers in 1998, their key example was a notebook – which
makes it directly applicable to Joyce’s writing practice. With ‘Otto’s
notebook’, Clark and Chalmers demonstrated that an Alzheimer’s patient
(‘Otto’) has a mind that interacts with tools such as a notebook. This
notebook plays the role of a memory. The only difference with a biological
memory is that it ‘lies beyond the skin’.7 His mind is simply ‘extended’. This
obviously does not imply that only the mind of Alzheimer’s patients is
‘extended’. The 50 notebooks for Finnegans Wake are a case in point. Joyce
made frequent use of notebooks and copybooks to give shape to his ‘Work in
Progress’. And the extended mind theory not only applies to Joyce’s own
daily practice as a writer. It also applies to many of his characters, as the pre-
book publications discussed in this book suggest.
A good example of the extended mind at work can be found in the notes
Joyce took while he was reading Virginia Woolf’s essay ‘Modern Fiction’ in
its original form, published in the Times Literary Supplement (10 April 1919,
189–90) under the title ‘Modern Novels’. As mentioned above, Woolf presents
the mind as some kind of surface onto which the impressions of outside
reality are ‘falling’:
we seek to define the element which distinguishes the work of several young writers,
among whom Mr. James Joyce is most able, from that of their predecessors. […] Let us
record the atoms as they fall upon the mind in the order in which they fall, let us trace
the pattern, however disconnected and incoherent in appearance, which each sight or
incident scores upon the consciousness.
(qtd in Joyce 2002b, 132; emphasis added)

From this passage, Joyce excerpted and combined the words ‘incoherent
atoms’ (Finnegans Wake notebook VI.B.06: 116). There was one other
passage in Woolf’s essay that caught his attention, especially the words
‘poverty of […] mind’:
A work of such originality yet fails to compare […] with Youth or Jude the Obscure. It
fails, one might say, simply because of the comparative poverty of the writer’s mind.
(qtd in Joyce 2002b, 132; emphasis added)

Whenever Joyce inserted a note from the notebooks in his drafts, he crossed
it out with a colour crayon, a system he devised in order not to use any note
twice. When he was writing the portrait of Shem the Penman (Finnegans
8
Wake, chapter 7) in his ‘Guiltless’ copybook, he crossed out and used only
the critical note, ‘poverty of mind’: the first draft reads ‘your terrible poverty
of mind’ (BL 47471b-72) – which eventually became ‘your horrible awful
poverty of mind’ in the published version (FW 192.10). But also the
undeleted entries are of interest, as they show what caught Joyce’s attention
in the first instance. The undeleted entry ‘incoherent atoms’ can shed some
light on the development from Ulysses to Finnegans Wake, which is in many
ways a radicalization of the atomic method observed by Virginia Woolf.
Actually, Woolf’s metaphor of the atoms applies to the very words Joyce
excerpted and recorded ‘as they fall upon the mind in the order in which
they fall’. If we take Joyce’s notes into account, we treat his notebooks as
part and parcel of his extended mind, not unlike the notebook that features
in Clark and Chalmers’s article. Joyce’s use of his notebooks is paradigmatic
of enactive cognition and extends, as it were, the ‘extended mind’ theory: the
example of Otto’s notebook related to an exceptional brain (the brain of an
Alzheimer’s patient), but perhaps extension is the rule rather than an
exception. ‘Work in Progress’ / Finnegans Wake could not have been written
if Joyce had not borrowed all the brains that he could – to paraphrase Louise
Barrett (2001, ix) – distributed in other books, articles, pamphlets and
encyclopaedia. Joyce’s mind is not a pre-given; nor are the minds of his
characters or character amalgams (see chapter 1). Similarly, the ‘incoherent
atoms’, the chaotic jottings in his notebooks, serve as extensions of the
writer’s mind.

Joyce’s ‘Stuff’
This ‘incoherent’ aspect of cognition recurs elsewhere in Virginia Woolf’s
essay, when she refers to the scene in the cemetery in Ulysses, with ‘its
incoherence, its sudden lightning flashes of significance’. The images of light
and visual impressions are developed in the following famous passage,
focusing on the mind’s complexity as ‘the proper stuff of fiction’:
 Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-
transparent envelope surrounding us from the beginning of consciousness to the end. Is
it not the task of the novelist to convey this varying, this unknown and uncircumscribed
spirit, whatever aberration or complexity it may display, with as little mixture of the
alien and external as possible? We are not pleading merely for courage and sincerity; we
are suggesting that the proper stuff of fiction is a little other than custom would have us
believe it.
(Woolf 1994, 160–1; emphasis added)

Woolf advocates a literary approach that ‘conveys’ the mind in all its
complexity, but preferably in isolation, ‘with as little mixture of the alien
and external as possible’. If that is the ‘proper stuff of fiction’, the passage
reads as a criticism of Joyce’s method, with its constant mixture of ‘the alien
and external’. Against the backdrop of Woolf’s definition of ‘the task of the
novelist’, Joyce’s ‘stuff’ is not the ‘proper stuff of fiction’. This distinction
between Joyce’s ‘stuff’ and the ‘proper stuff’ comes close to the point
Wyndham Lewis makes in his ‘Analysis of the Mind of James Joyce’ in Time
and Western Man:

At the end of a long reading of Ulysses you feel that it is the very nightmare of the
naturalistic method that you have been experiencing. Much as you may cherish the
merely physical enthusiasm that expresses itself in this stupendous oupouring of matter,
or stuff, you wish, on the spot, to be transported to some more abstract region for a
time, where the dates of the various toothpastes, the brewery and laundry receipts, the
growing pile of punched ‘bus-tickets, the growing holes in the baby’s socks and the darn
that repairs them, assume less importance.
(Lewis 1993 [1927], 89)

Lewis’s criticism applied to Ulysses, but it was undoubtedly also informed

by his reading of the pre-book publications of ‘Work in Progress’ and by the
manuscript of ‘The Muddest Thick That Was Ever Heard Dump’, which Joyce
had written for Lewis’s new magazine, The Enemy.
In this book, I would like to investigate how this ‘stuff’ informs the
process of thinking and writing (the ‘extended mind’ at work), and how
‘Work in Progress’ develops from Ulysses. This interaction with ‘stuff’ works
on three levels: the level of the text, the level of its reception and the level of
its production.
On the level of the text, the evocations of fictional minds show the
extended mind at work. Whereas the ficional minds in Ulysses were
embedded renditions of a character’s thought process with techniques such
as interior monologue and stream of consciousness, ‘Work in Progress’is that
process itself. Beckett’s famous characterisation of ‘Work in Progress’ –
‘Here, form is content, content is form […] His writing is not about
something; it is that something itself’ (Beck-ett 1972 [1929], 14; original
emphasis) – is also applicable to Joyce’s literary evocation of cognition. This
does not imply that Joyce had a systematic, philosophical model in mind to
give shape to his characters, but the text of ‘Work in Progress’ enacts ways of
thinking, which cognitive philosophy would now – with hindsight –
categorize as forms of the ‘extended mind’.
On the level of the reception of the text, the minds of the reviewers and
journalists were clearly extended as well. It is remarkable how few of the
contemporary articles referring to ‘Work in Progress’ are actually based on a
direct reading of Joyce’s texts, as evidenced by the misquotations that lead a
life of their own in the newspapers. Journalists make use of other journalists’
impressions, thus creating a ‘Chinese whispers’ effect that is – in its turn –
thematized by Joyce in his ‘Work in Progress’.
On the level of the production of the text, Joyce’s ‘stuff’ – all the books he
read, all the hassle with journals and publishing houses, all the material
aspects of his pre-book publications, all the reactions from his direct
environment, all the reviews and the clippings from newpapers – was part
and parcel of the extended mind at work.
Any writer who makes use of notes and drafts is an example of the
extended mind according to the paradigm of cognitive integration (see
Richard Menary’s ‘Writing as Thinking’, 2007). Joyce clearly was a writer
who ‘thought on paper’. He was also sensitive to whatever happened to offer
itself as potential material for his work. He was able to incorporate
enormous amounts of external material by means of a process that became
thematic in Finnegans Wake, when he described it as ‘decomposition’ for the
purpose of subsequent ‘recombination’ (FW 614.34–5). Not unlike Shem the
‘notesnatcher’, he snatched words and excerpts from numerous books in his
notebooks, thus decomposing others’ texts and recombining them in his
drafts. Evidently, these impressions were processed in the writer’s mind, but
this mind was not limited to the writer’s physical brain; it included the
interplay with his environment, and the process of conscious recombination
proceeded according to what Daniel C. Dennett has described as the
‘multiple drafts model’ (Dennett 1991, 111–43; see also chapter 3), which he
also referred to as a ‘Joycean machine in our brains’ (Dennett 2006, 171–2).
This ‘machine’ is not only predicated on Joyce’s stream-of-consciousness
technique, as Tim Conley notes, but is also akin to ‘textual-genetic methods
of re-reading Joyce’ (Conley 2014, 34–5), and Finnegans Wake in particular.
Quoting the Wakean phrase ‘to isolate i from my multiple Mes’ (FW 410.12),
Conley argues that ‘consciousness is not so much a quality as a process, not a
given but a work in progress’ (Conley 2014, 32).
In the ‘Guiltless’ copybook, this process becomes palpable as it shows the
creative and generative potential of Joyce’s interaction with the material
environment of this copybook.9 In the study of writing processes this
interaction is known as the impact of the ‘text produced so far’ or TPSF
(Flower and Hayes 1981, 370; Leijten, de Maeyer, van Waes 2011, 331) on the
writing process, since the writer is simultaneously his own reader and this
re-reading of the text produced so far keeps informing and colouring the rest
of the text that is still to be written.
If enactive cognition can be charactized by means of the nexus or
interplay with cultural and material circumstances (Herman 2011, 266; see
above), Joyce’s immediate environment certainly also included the material
and cultural circumstances of his work’s publication history – which brings
me to the core of this book’s subject matter. My research hypothesis is that
the immediate circumstances in which Joyce was working – including the
fierce criticism of Wyndham Lewis, Ezra Pound, Harriet Shaw Weaver, but
also the massive number of negative reviews in newspapers – played a
considerable role in the workings of the extended mind that shaped ‘Work in
Progress’. John Nashe’s James Joyce and the Act of Reception does not
Another random document with
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Cadytis, 344
Cake of raisins,
107
Caleb (Chelubai),
15 f., 19, 27
Calebites,
16 ff., 19 f., 154
Canaan,
6
Candlesticks, the golden,
183
Captivity, the,
351
Caravans, halting stations of,
21
Carchemish,
172, 344
Carites, see Cherethites
Carmel,
85, 288
Castles,
163, 238, 291
Caterpillars,
192
Causeway leading to the Temple,
150
Cedars,
173 f., 207
Census, David’s,
31, 127 f., 155 f.
Chaboras, the river,
122
Chaldees, Chaldeans,
9, 350
Chambers,
70 f., 315
Champions, Philistine,
126 f.
Chapiters (= capitals),
179, 184
Chapman. Introduction to the Pentateuch,
xiii note, 12, 338
Chapmen,
204
Chariot cities,
30, 171, 200, 206
Chariots and horsemen,
122 f., 171, 206
Cherethites (Carites),
120, 167, 267, 273
Cherubim,
162, 178 f.
Child-sacrifice,
293
Choir,
138
Chronicler, the, characteristic treatment of subjects by,
xxxviii ff., 11, 25, 37, 38, 73, 77, 87, 92, 95, 97, 98,
100, 105, 106, 114, 117, 121, 124, 127, 128,
133, 153, 167, 173, 191, 195, 200, 214, 217,
218, 222, 223, 225, 229, 237, 238, 256, 274,
 275, 276, 278, 280, 283, 284, 289, 292, 297,
300, 301, 308, 326, 330, 333, 352;
facts omitted by, xliv f., 22, 33, 73, 76, 77, 106, 114,
116, 117, 121, 125, 126, 167, 173, 200, 207,
208, 209, 210, 211, 213, 223, 256, 273, 325,
329, 330, 346, 347, 348, 349
Chronicles, the, relation of,
to Ezra and Nehemiah, xvi f.;
date and authorship of, xvii ff.
contents of, xxiv ff.;
the sources of, xxix ff.;
the historical value of, xlii ff.;
the religious value of, liv ff.;
name and position of, in the Canon, lvi ff.;
text and versions of, lviii f., and see under “Text,”;
recent literature on, lix f.
Cities, fortified,
211, 215, 224
City of palm trees,
297
Commandments, the Ten,
274
Conaniah,
340
Confection,
71
Congregation,
163
Coniah, see Jeconiah
Cook, S. A.,
(on 1 Esdras), xxiii, xlvii, 339 f.;
(in Journal of Theological Studies), xxxiv;
(in Encyclopedia Britannica), xlvii, 52, 57;
 Notes on Old Testament History, 17;
(in Encyclopedia Biblica), 19;
(in Expository Times), 226, 258;
(in Jewish Quarterly Review), 265
Cornet,
105
Coronation,
271
Corvée,
173
Courts, the Temple,
183 f., 325
Covenant,
77, 94, 113, 190, 219, 230, 336 f.
Crete,
7
Crown,
125, 270
Cubit,
177
Curtis, E. L.,
Chronicles, referred to, xvii, xxi, xxxiv, lvi, lix, 16, 38,
45, 53 f., 67, 74, 102, 104 f., 138, 140, 152, 157,
187, 235, 276, 308, 332, 342
Cush, Cushites,
6 f., 225 ff., 262
Cyprus,
5
Cyrus,
xvi, xxiv note;
rebuilding of the Temple decreed by, 351 f.
D, or “Deuteronomic” narrative,
xx, 338 f.
D and R easily confused in Hebrew,
6, 250
Damascus (Darmesek),
116, 118, 233, 298 f.
Daric,
xviii, 165
Daughters, inheritance of,
139
David, descent of,
14, 15;
sons of, 21 f.;
king over Israel, 76 f.;
the city of, 77 f., 186, 207, 217;
adherents of, in exile, 87 ff.;
his dealings with the Ark, 94 ff., 101 ff., 105 f., 107;
Psalm of praise of, 107 ff.;
desires to build a Temple, 112 ff.;
foreign wars of, 117 ff.;
officials of, 120;
numbers the people, 127 ff.;
prepares for building the Temple, 133;
charges of, to Solomon and to the princes, 133 ff., 158
ff.;
organises Levites, 137 ff.;
organises the priests, 141 ff.;
organises the military and civil officials, 153 ff.;
the blessing of, 165 f.
dĕbhash,
314
Debir,
47
dĕbīr,
178, 180
Demons (jinn),
213
Dhirrīh (Zirrīh),
226
dibs,
314
Dittography,
22, 49, 55, 58, 116, 318
Doorkeepers (= Porters),
xvi, 67 ff., 104 f., 137, 149 ff., 273
Drachma,
165
Drink offerings,
307
Dukes of Edom,
13

E, or “Elohistic” narrative,
xx
Edom,
11 f., 119, 260, 281
Egypt,
172
Elephantine, Jewish Temple at,
xxxviii
Eliakim, see Jehoiakim
Elijah, writing of,
261
En-gedi,
250
Ephod,
106
Ephraim,
56 f.
Ephraimite mercenaries,
281
Ephron (Ephrain),
222
Eponymous ancestors,
3
Erman, Ancient Egypt,
157, 209, 242
Esar-haddon,
317, 327
Esdrelon (Esdraelon),
74, 171, 345
Ethan,
42 f., 103, 112, 145
Ethanim,
186
Ethiopia, Ethiopians,
6, 225 ff., 262
Eunuch,
159, 241
Euphemisms,
114, 258, 266, 277, 289
Euphrates,
116 ff., 122, 206, 344
Evil-Merodach (Amil-Marduk),
347, 351
Ezekiel (Jehezkel),
143
Ezion-geber,
202, 258

Familiar spirits,
325
Fasting,
76, 250
Father (= eponymous ancestor),
18;
as a title of honour, 175
Fathers’ houses,
xvii, 34, 52
Feast of dedication, the,
195 f.
Feast of harvest, the, see Feast of weeks
Feast of tabernacles, the,
186, 196 f.
Feast of unleavened bread, the,
310
Feast of weeks, the,
230, 314
Fir trees,
174
Folds,
323
Foreigners, see Aliens
Fortresses,
211, 224

Gad the seer,

130, 168, 305
Gates of the Temple,
68, 268 f., 272 f., 291
Gehenna (Gē-ben-hinnōm, Gē-hinnōm),
293
Genealogical Table of the Nations,
2 ff.
Genealogies, a prominent feature in Chronicles,
xvi, xlvii;
the practical purpose of, 1 f.
Genealogy, reckoning by,
xvii, 35, 217
Genesis, stylistic similarity of Chronicles to,
27
Gezer,
49, 199 f., 224
Giant,
126 f.
Gibeon,
169, 171
Gihon, the spring of,
323 f.
Gilboa, campaign of,
73 f.
Gilead,
17, 34 f.
Gimirrai,
4
Goliath,
126 f.
Governor of the city,
332
Governors,
205

Habor,
37
Hadarezer (= Hadadezer),
117, 124
Hadoram (Adoram, Adoniram),
210
Hagrites,
34, 36
Hamath, entering in of,
96, 196;
(= modern Hama), 117, 119
Hamath-zobah,
199
ḥamman
224
Hanani the seer,
234
Handcock, Latest Light on Bible Lands,
317, 320, 327
Hanoch (Ḥanôkh) (= Enoch),
2, 11, 33
Harps,
96 f., 188
ḥāṣer, ḥăṣêrîm,
31, 184, 250 f.
hăṣōṣĕrāh,
230
Havvoth-Jair,
17 f.
Heart, the, considered as the seat of the mind,
113, 189, 220
Heaven,
296, 321
ḥebel,
108
He-goats (= jinn),
213
Heman,
42 f., 103, 112, 145, 188
Hercules, the temple of (Melkart),
180
Herodotus referred to,
4, 180, 317, 320, 344
Heroes, list of,
79 ff.
hēykāl,
163, 348
Hezekiah,
300 ff.;
the great Passover of, 308 ff.;
the prayer of, 321
ḥidoth,
 203
High places,
169, 171, 223, 231, 236, 256, 320
High-priests, list of the,
37 ff.
Hilkiah the priest,
337 ff.
Hinnom, the valley of the son of,
293, 325
Hiram, see Huram
Hittites,
8, 172, 200
Hivites,
8
Hogarth, Authority and Archaeology,
317, 322, 327
Hogg,
(in Encyclopedia Biblica), 31;
(in Jewish Quarterly Review), 60;
(in Expositor), 308
Hölscher, Palästina,
xlviii, 20, 229, 309
Holy of Holies, the,
161, 178, 183
Holy place, the,
141, 177
ḥōmer,
175, 291
Honey,
314
Hooks, used by Assyrians,
 327
Horn, lift up the,
147
Host of God, the,
91
Host of heaven, the,
243, 325
Houghed (= hamstrung),
117
House (= dynasty),
114
House of the forest of Lebanon,
205
Houses of the Temple,
161, 164, 333
ḥōzai,
329
Huldah, the prophecy of,
336
Huram (artificer),
175, 184
Huram (king),
98, 173 ff., 184, 198 f., 202

Iddo,
207, 217, 223
Idols, see Asherim
Incense,
201, 221, 289, 291
Instruments, musical,
 96 f., 138, 196, 305, 311
Ionians,
4
Isaiah,
290, 320 f.
Israel,
(= laymen), 64;
(= the covenant-people), 210 f.

J, or “Jahvistic” narrative,
xx, 2
Jachin,
180
Jahaziel, the prophecy of,
252 f.
Jashar,
the Book of, xi, 189
Javan (= the Ionians),
4
Jebusites,
8, 177, 200
Jeconiah (Coniah, Jehoiachin),
23, 348 f.
Jeduthun,
42, 112, 145, 188
Jehoahaz, see Ahaziah
Jehoahaz (Shallum),
346 f.
Jehoiachin, see Jeconiah
Jehoiada,
 153, 273 f.
Jehoiakim (Eliakim),
347 f.
Jehoram,
258 ff.
Jehoshaphat,
xlix ff., 235 ff.
Jehu the prophet,
246 f.
Jerahmeel, Jerahmeelites,
18 f.
Jeremiah,
345
Jericho,
297
Jeroboam,
208, 210, 218 ff.
Jerome, St,
lvi, lix, 338
Jerusalem,
78, 171, 217;
destruction of, 349 ff.
Jezreel,
264
jihād,
221
Joab,
78 f., 119, 123, 125, 128 f.
Joash, King of Israel,
282 f.
Joash, King of Judah,
 273 ff.
Joppa (Jaffa),
176, 287
Josephus,
Antiquities of the Jews, xix, 5;
War of the Jews, 277
Josiah,
329 ff.;
celebration of the Passover by, 310, 330, 339 ff.;
lamentations for, 345 f.
Jotham,
291 f.
Jozabad,
340
Justice, administration of,
171, 237, 247 f.

Karnak, the temple of,

180, 214
Kassite dynasty, the,
7
ḳĕdēshim,
331
ḳeṣeph,
247, 249, 277, 323
Kidron, the brook,
231, 303
King’s friend, a title,
157
kinnōr,
97
Kinship, traced through the mother,
16
Kiriath-jearim,
94, 170
Kiriath-sepher,
47
Kirkpatrick,
(on 1 Samuel), 99;
(on Psalms), 110;
(on 2 Samuel), 116, 120
Kition,
5
Kittel, R., referred to,
xxxiii, lx, 238, 307, 316
kiyyōr,
190
Knops,
182
ḳōnēn,
345
kōr (kōrīm),
175, 291
Korah, Korahites,
43, 253 f.
Koran, the, referred to,
197
Kuë,
172

Lachish,
260, 285, 319 f.
Lamentations,
345 f.
Lavers, the,
182
Law, book of the,
discovery of the, 332, 334, 337 ff.
Leprosy,
289
Levi, sons of,
37 ff.
Levites,
xvi, 51 f., 70, 186 f., 307, 312;
the cities of the, 46 ff.;
duties of the, 71 f., 140 f.;
David’s organisation of the, 137 ff.;
families of the, 144 f.;
help to cleanse the Temple, 303
Levy,
173
Libnah,
47, 260
Libyans,
7, 215
Lots, drawing of,
143, 148
Lowland, see Shephelah
Lubim,
215, 226, 234
Lydians,
7, 9
Maacah,
56, 122
Maacah (Micaiah),
daughter of Absalom, 213 compare 218;
Queen-mother, 230
Macalister, R. A. S.,
The Philistines, 7;
Palestine Exploration Fund Quarterly Statement, 28,
31, 32;
The Excavation of Gezer, 49;
Bible Side-lights from the Mound of Gezer, 199, 224
Machir,
17
Magdolus,
344
māgēn, māginnōth,
205, 323
Magog,
4
Manasseh,
325 ff.;
the prayer of, 328
Mareshah,
225 ff., 258
maṣṣēbāh, maṣṣēbōth
180, 224
Meal-offering,
132, 141, 196
Medes (Madai), the,
4
Megiddo,
 58, 266, 345
Megillōth,
lvii
Mesopotamia,
122
Meunim,
32, 249, 251, 260, 287
Micaiah, the prophecy of,
240 ff.
Michal,
105 f.
Midianites, the,
11
midrash,
xxxi and note, xlvi, xlix, 223, 279
Midrashic narrative,
characteristics of, xlix;
in sources of Chronicles, xxxii;
exemplified in Chronicles, 136, 217 f., 225, 239, 249,
294
migdānōth,
259, 323
Millo,
79, 319
mishkān,
94 f., 274
mishma‘ath,
83
Mishōr,
288
Miṣraim (= Egypt),