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  • Notes on Giacomo Joyce and “Nausicaa”
  • Aaron Winslow

This is a further supplement to the list that Richard Ellmann and, later, Fritz Senn made of similarities between Giacomo Joyce and Joyce’s major works.1 Unlike the previous two lists, however, the correspondences noted here are only those found within “Nausicaa.” Many of them are probably only coincidences or arbitrary similarities, but, given that there is a strong likelihood that Joyce was finishing the final sketch of Giacomo Joyce (the second Paris section that takes place on page 15) at approximately the same time that he was composing “Nausicaa,” I believe there is special relevance to this list.

GJ 1 Who? U 13.78 But who was Gerty?
GJ 1 She uses quizzing-glasses. U 13.776–77 Curiosity like a nun or a negress or a girl with glasses. [End Page 812]
GJ 9 Here are wines all ambered, dying fallings of sweet airs, the proud pavan, kind gentlewomen wooing from their balconies with sucking mouths, the pox-fouled wenches and young wives that, gaily yielding to their ravishers, clip and clip again. U 13.661–64 the fallen women off the accommodation walk beside the Dodder that went with the soldiers and coarse men, with no respect for a girl’s honour, degrading the sex and being taken up to the police station.
GJ 11 Once more in her chair by the window, happy words on her tongue, happy laughter. A bird twittering after storm. U 13.1145–46 Birds too. Never find out. Or what they say. Like our small talk. And says she and says he.
GJ 12 A symphony of smells fuses the mass of huddled human forms: sour reek of armpits. U 13.1025–26 Wonder where it is really. There or the armpits or under the neck.
GJ 12 the soapy stink of men. U 13.1042–43 Opening of his waistcoat. Almonds or. No. Lemons it is. Oh no, that’s the soap.
GJ 12 the breath of suppers of sulphurous garlic, foul phosphorescent farts, opoponax. U 13.1010 Why Molly likes opoponax
GJ 14 Her eyes have drunk my thoughts: and into the moist warm yielding welcoming darkness of her womanhood my soul, itself dissolving, has streamed and poured and flooded a liquid and abundant seed. U 113.411–14 Yes, it was her he was looking at, and there was meaning in his look. His eyes burned into her as though they would search her through and through, read her very soul. Wonderful eyes they were, superbly expressive, but could you trust them.
U 13.563–64 His dark eyes fixed themselves on her again, drinking in her every contour, literally worshipping at her shrine.
GJ 15 A starry snake has kissed me: a cold nightsnake. U 13.1090–91 Nightstock in Mat Dillon’s garden where I kissed her shoulder [End Page 813]
GJ 15 darting at me for an instant out of her sluggish sidelong eyes a jet of liquorish venom. U 13.517 He was eyeing her as a snake eyes its prey.
GJ 15 From my right armpit a fang of flame leaps out. U 13.1221–22 three fangs in her mouth
GJ 16 Youth has an end: the end is here. U 13.1102–03 She kissed me. Never again. My youth. Only once it comes.
GJ 16 Why? Because otherwise I could not see you. U 13.1209–10 Why me? Because you were so foreign from the others.
Aaron Winslow
University of Massachusetts, Amherst

Footnotes

1. Richard Ellmann’s list appears in his edited version of Giacomo Joyce (New York: Viking Press, 1959), pp. xxiii–xxvii. Fritz Senn’s additions to the list are in “Some Further Notes on Giacomo Joyce,” JJQ, 5 (Spring 1968), 233–35. [End Page 814]

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