A number of documents have recently come to light which provide significant glimpses of Joyce's activities in Trieste in the years 1908-1913. This period is of particular interest because, contrary to the received image of Joyce as someone who wrote constantly and who was totally absorbed in his art, we find a Joyce who was, in literary terms, in a state of "suspended animation," with no major writing project at hand and with his energy dispersed among various interests and activities, most of which involved ways of making money. Before describing the documents, it might therefore be useful to briefly establish the context to which they refer. Based on Stanislaus' Trieste diary, "The Book of Days," we know that Joyce had finished the third chapter of his rewriting of Stephen Hero as early April 1908 (it was definitely finished by February, 1909, when Svevo wrote Joyce his appraisal of the first three chapters). At this point Joyce seems to have suspended work on the Portrait, which would only be mentioned sporadically over the next few years: in February 1911 (Ellmann's dating) when he threw the manuscript into the fire and it was saved by his sister Eileen; in July 1912 when he sent Svevo the postcard of the fisherman from Galway, with the wry annotation "portrait of the artist as an old man" and in August of the same year when Joyce wrote Nora that if only he could get Dubliners published he would "plunge into my novel and finish it." However, it seems that only with Joyce's "discovery" by Ezra Pound in December 1913, and the serialisation of Portrait in the Egoist beginning in February 1914 did he find the impetus to finally finish the novel, probably in the first six months of 1914 (Pound would receive the third Chapter of Portrait in July), and concurrent with work on Giacomo Joyce, Exiles and probably Ulysses. We thus have a period of over five years in which there was little if any progress on Joyce's writing of the Portrait. But if he wasn't writing, then what was he doing? In September 1908 Joyce declared his intention to abandon writing and train his voice for a professional career, and a month later he enrolled in the Conservatorio di Musica di Trieste to study [End Page 1] with the maestro Romeo Bartoli.1 After singing in the quintet from Wagner's Der Meistersinger at the Conservatory's year-end concert in July 1909, Joyce went to Ireland for two months with Giorgio and then returned to Dublin from September to January to supervise the opening of the Volta Cinema. Over the next four years, except for the occasional article for the Trieste paper, Il Piccolo della Sera, a few poems and some translation work, Joyce's main literary activities seem to have been critical in nature, and were related to his lectures on Defoe and Blake in February 1912 and most especially to the cycle of Hamlet lectures which began later that same year, for which he read and studied extensively. We can also assume that this was a preparatory period in which Joyce was considering what to do after Portrait, a work which though unfinished, was probably already superseded in his mind. In fact, when Joyce would finally finish the Portrait, it would be done in a retrospective fashion, from the point of view of someone who had already moved onto something else, as the use of Giacomo Joyce in the last two chapters (itself a sort of pseudopodia which, if not the distilled version of a projected longer work, certainly bears all the hallmarks of the epiphanic scaffolding and thematic gathering of materials from which the body of the work would be both generated and coalesce, which characterised Joyce's modus operandi when moving onto a new work2 ) and the shifting of the tower episode from the conclusion of Portrait to...