* Etext of English translation by Richard Lansing, Brandeis University

* Full text of 1 Esdras from the University of Virginia's Etext Center

It is available as an Etext at Project Gutenberg.

* Etext on Icelandic writers

The name was coined by Gell-Mann and is a reference to the novel Finnegans Wake, by James Joyce (" Three quarks for Muster Mark!

It originally comes from the phrase " Three quarks for Muster Mark " in Finnegans Wake by James Joyce.

* Robert Anton Wilson On Finnegans Wake and Joseph Campbell ( interview by Faustin Bray and Brian Wallace ) ( 1988 ) 2 CD Set Sound Photosynthesis

This novel was later an important influence on Joyce's Finnegans Wake and is set in Chapelizod, where Le Fanu lived in his youth.

* Finnegans Wake

Dr. Leary himself called the trilogy " more important than Ulysses or Finnegans Wake ," two novels by author James Joyce-who appears as a character in The Illuminatus!

The title of the novel is paraphrased in James Joyce's Finnegans Wake at 203. 21 as " Nanon L ' Escaut ", which also refers to the 17th-century French courtesan Ninon de l ' Enclos and to the Escaut River.

James Joyce used the legend of Gráinne Ní Mháille (" her grace o ' malice ") and the Earl of Howth in chapter 1 of Finnegans Wake, but added the kidnapping of another fictional son, Hilary, to match his Shem and Shaun theme.

The rhyme has also been used as a reference in more serious literary works, including as a recurring motif of the Fall of Man in James Joyce's 1939 novel Finnegans Wake.

Most notably he makes several appearances in James Joyce's Finnegans Wake, and some have posited that the title, taken from the street ballad " Finnegan's Wake ", may also be a blend of " Finn again is awake ," referring to his eventual awakening to defend Ireland.

James Joyce, author of Ulysses and Finnegans Wake, is another noted word-player.

Finnegans Wake is a work of comic fiction by Irish author James Joyce, significant for its experimental style and resulting reputation as one of the most difficult works of fiction in the English language.

Written in Paris over a period of seventeen years, and published in 1939, two years before the author's death, Finnegans Wake was Joyce's final work.

Owing to the work's expansive linguistic experiments, stream of consciousness writing style, literary allusions, free dream associations, and its abandonment of the conventions of plot and character construction, Finnegans Wake remains largely unread by the general public.

Many noted Joycean scholars such as Samuel Beckett and Donald Phillip Verene link this cyclical structure to Giambattista Vico's seminal text Scienza Nuova (" New Science "), upon which they argue Finnegans Wake is structured.

Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses.

Initial reaction to Finnegans Wake, both in its serialized and final published form, was largely negative, ranging from bafflement at its radical reworking of the English language to open hostility towards its lack of respect for the conventions of the novel.

" In 1998, the Modern Library ranked Finnegans Wake 77th on its list of the 100 best English-language novels of the 20th century.

A drawing of Joyce ( with eyepatch ) by Djuna Barnes from 1922, the year in which Joyce began the 17-year task of writing Finnegans Wake

" This is the earliest reference to what would become Finnegans Wake.

While these sketches would eventually be incorporated into Finnegans Wake in one form or another, they did not contain any of the main characters or plot points which would later come to constitute the backbone of the book.

The first signs of what would eventually become Finnegans Wake came in August 1923 when Joyce wrote the sketch " Here Comes Everybody ", which dealt for the first time with the book's protagonist HCE.

The Jolases gave Joyce valuable encouragement and material support throughout the long process of writing Finnegans Wake, and published sections of the book in serial form in their literary magazine transition, under the title Work In Progress.

Finnegans Wake was published in book form, after 17 years of composition, on 4 May 1939.

Also contains the etext of Finnegans Wake ( free of the known typos present in the " Trent University " etext ).

* Finnegans Wake public domain in Canada ( incomplete and suffering from the same typos present in the " Trent University " etext )

Joyce's Book of the Dark: Finnegans Wake, University of Wisconsin Press .</ cite >

Narrative Design in Finnegans Wake: The Wake Lock Picked ( University Press of Florida )</ cite >

' Lots of Fun at Finnegans Wake: Unravelling Universals ' ( Oxford: Oxford University Press, 2007 )

Structure and Motif in Finnegans Wake, Evanston, Illinois: Northwestern University Press.

* Hofheinz, Joyce and the Invention of Irish History: Finnegans Wake in Context, Cambridge University Press ( 26 May 1995 ).

* Mink, Louis O .. A Finnegans wake gazetteer Bloomington: Indiana University Press, 1978.

A reader's guide to Finnegans Wake, Syracuse University Press, 1996, ISBN 978-0-8156-0385-6

* Joyce's Kaleidoscope: An Invitation to Finnegans Wake, Oxford University Press, July 2007.

This " new way " of telling a story in Finnegans Wake takes the form of a discontinuous dream-narrative, with abrupt changes to characters, character names, locations and plot details resulting in the absence of a discernible linear narrative, causing Herring to argue that the plot of Finnegans Wake " is unstable in that there is no one plot from beginning to end, but rather many recognizable stories and plot types with familiar and unfamiliar twists, told from varying perspectives.

" Patrick A. McCarthy expands on this idea of a non-linear, digressive narrative with the contention that " throughout much of Finnegans Wake, what appears to be an attempt to tell a story is often diverted, interrupted, or reshaped into something else, for example a commentary on a narrative with conflicting or unverifiable details.

" Riquelme finds that " passages near the book's beginning and its ending echo and complement one another ", and Fargnoli and Gillespie representatively argue that the book's cyclical structure echoes the themes inherent within, that " the typologies of human experience that Joyce identifies Finnegans Wake are essentially cyclical, that is, patterned and recurrent ; in particular, the experiences of birth, guilt, judgment, sexuality, family, social ritual and death recur throughout the Wake.

Harry Burrell, representative of this view, argues that " one of the most overworked ideas is that Finnegans Wake is about a dream.

Parrinder however, equally skeptical of the concept of the Wake as a dream, argues that Joyce came up with the idea of representing his linguistic experiments as a language of the night around 1927 as a means of battling his many critics, further arguing that " since it cannot be said that neologism is a major feature of the dreaming process, such a justification for the language of Finnegans Wake smacks dangerously of expediency.

Speculation about the ' real person ' behind the guises of the dream-surrogates or about the function of the dream in relation to the unresolved stresses of this hypothetical mind is fruitless, for the tensions and psychological problems in Finnegans Wake concern the dream-figures living within the book itself.

John Bishop has been the most vocal supporter of treating Finnegans Wake absolutely, in every sense, as a description of a dream, the dreamer, and of the night itself ; arguing that the book not only represents a dream in an abstract conception, but is fully a literary representation of sleep.

On the subject Bishop writes: The greatest obstacle to our comprehension of Finnegans Wake been ... the failure on the part of readers to believe that Joyce really meant what he said when he spoke of the book as a " reconstruction of the nocturnal life " and an " imitation of the dream-state "; and as a consequence readers have perhaps too easily exercised on the text an unyielding literalism bent on finding a kind of meaning in every way antithetical to the kind of meaning purveyed in dreams Bishop has also somewhat brought back into fashion the theory that the Wake is about a single sleeper ; arguing that it is not " the ' universal dream ' of some disembodied global everyman, but a reconstruction of the night – and a single night – as experienced by ' one stable somebody ' whose ' earwitness ' on the real world is coherently chronological.

HCE is referred to by literally thousands of names throughout the book ; leading Terence Killeen to argue that in Finnegans Wake " naming is a fluid and provisional process ".

Patrick McCarthy describes HCE's wife ALP as " the river-woman whose presence is implied in the " riverrun " with which Finnegans Wake opens and whose monologue closes the book.