Home | Chapter 7 Sections: 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35

Supplemental material:
Shloss' Deletions| The Notebook Observations

25.	"And vamp, vamp, vamp, the girls are merchand."     (FW 246.22-23)

26.	"to take care of Giorgio and Lucia while she [Nora] was confined to the hospital," disingenuously referring to them as "the children."     Helen Fleischman Joyce, Unpublished Memoir, RE Papers.

27	"that he found [her] pleasant to look at. I felt happy," she wrote creating a scene of seduction that was as replete with the machinations of fate as any Harlequin romance: "I blushed like a school-girl. It was a happy night and nothing except perhaps a slight excited tingle around the region of my heart warned me that this evening was to be a turning point in my life...For all time [my fate] was to be inextricably woven with the destiny of the man I had met that night."     Helen Fleischman Joyce, "A Portrait of the Artist by his Daughter-in-Law." Unpublished typescript, HRC.
28.	"Standing tall and straight and looking young and very beautiful, he fixed his dark blue eyes on mine with such intensity, I blushed and he began to sing a lovely old Italian song, 'Amaryllis.' I thought I had never heard anything more lovely in my life. All his young passionate soul rang out in the small room and stirred my senses and my heart. I knew, as his father knew, that he was in love with me. Accustomed to having young men as well as men nearer my own age attracted to me, still I was deeply moved. I gazed back with equal intensity into his lovely Irish eyes and a new phase of my life, unknown to me, had begun. When his fresh young bass baritone voice had faded away into the soft dark shadows of the room, the last poignant 'Amaryllis' had been sung with so much passion, I was inwardly rather embarrassed. It was surely obvious to everyone as to me, that Giorgio was very much interested in me. I applauded loudly and went up to him to thank him for his lovely song. He flushed, and bowed in his comely and old fashioned, yet so charming way."     Helen Fleischman Joyce, Unpublished Memoir. RE Papers.
29.	"perhaps the dues ex machine that was then shaping our ends. It was," Helen admitted, "the old game that I loved. But this boy was so young, so sweet. I did not want to hurt him. Loving him would only bring him pain. I hoped he would get over it but not heartily or sincerely. I really liked his passionate adoration."     Helen Fleischman Joyce, Unpublished Memoir. RE Papers.
30.	"the epitome of lovely young wifehood and womanhood [with] great charm and wit."     Helen Fleischman Joyce, Unpublished Memoir. RE Papers.

31.

"His wife, Lillian, was Canadian by birth I think [she was English] and I thought her very common. She spoke in a high pitched shrill voice with a sort of cockney accent, her thin tense rather horselike face, her blonde string hair, her big teeth, her too thin body. I found not at all attractive. Perhaps there was a reason for the antagonism I felt toward her. Dear Lillian had been Giorgio's first romance. I think she seduced him but perhaps that is unkind. Certainly I never had any trouble getting him away from her."     Helen Fleischman Joyce. "A Portrait of the Artist by His Daughter-in-Law," HRC.

32.	"This was usually the best part of the party. Certainly the most illuminating. Mrs. Joyce would begin by criticizing how all the other women looked and behaved. Did you see...and so on down the list with hardly a kind word for anyone."     Helen Fleischman Joyce, Ibid.
33.	"Babbo has my unconscious Calvary immortalized in the part of Finnegans Wake known as "Anna Livia Plurabelle" and the washerwomen gossiping by the river are indubitably Nora and some friends of hers, eagerly ripping me apart and washing their own dirty linen in the river while I (as Anna) swim happily and unconsciously downstream followed by H.C. Earwicker. Babbo never told me and I stupidly never suspected that I was the heroine of this masterpiece of prose and that he as H.C.E. was trying to catch my slim young form which was chasing after Giorgio who in the book is the twin brothers...Dear Dirty Dublin is passionately in the manner of a middle-aged man feeling love and life slipping through his fingers, pursuing youth and beauty in the person of Anna."     Helen Fleischman Joyce, Ibid.
34.	"If Joyce's art followed life, then the life of his son followed art. "Do as I write, not as I do." Ulysses was not only a fact in Giorgio's life; it was a script. He had found a precursor in Blazes Boylan, even if the parent who had created the jaunty adulterer was scandalized by his behavior. He had 'vicereversed' his father's use of Lillian Wallace as one of the models for Molly Bloom."     Carol Shloss. James Joyce.

35.	"very attractive and brilliant young French writers and I flirted and ate and drank a lot of good wine and had a perfectly wonderful time."     Helen Fleischman Joyce. "Luncheon at Café Leopold." Unpublished Memoir, RE Papers.