1. James Joyce, Ulysses (New York: Random House, 1961), p. 70. Subsequently cited in the text as U.

2. See Richard M. Kain, Fabulous Voyager: A Study of James Joyce's Ulysses . Rev. ed. (New York: Viking Press, 1958), pp. 37-39.

3. Georg Simmel, "Metropolis and Mental Life," in

4. James Joyce, Finnegans Wake (1939; New York: Penguin Books, 1967), pp. 140, 6. Subsequently cited in the text as FW.

5. John Cage / Klaus Schöning, "Laughtears: Conversation on Roaratorio," in John Cage, Roaratorio: An Irish Circus on Finnegans Wake," ed. klaus Schöning (Köningstein: Athenäum, 1985), p. 107. Subsequently cited in the text as R.

6. Michael Benedikt, "Introduction," Cyberspace: First Steps, ed.Michael Benedikt (Cambridge and London: MIT Press, 1992), p. 3. This collection is subsequently cited as MBC.

7. Marcos Novak, "Liquid Architectures in Cyberspace," in MBC, pp. 225-54; p. 249.

8. See Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media (Chicago and London: University of Chicago Press, 1992), pp. 150-61. Susequently cited as RA.

9. The /J/ phoneme is foregrounded, not only by its repetition, but because /j/ is never a silent letter as are /y/ and /e/ and, when it appears in a compound like "neAtly," the /a/. The /j/ sound thus dominates: "pftJschute," "Jiccup," "Judges," "Jollybrool," "Jerrybuilding," "Jute," "Jubilee," "Japijap," etc.

10. Herbert Muschamp, The New York Times, 1992, Section 2, p. .

11. Saskia Sassen, The Global City (Princeton: Princeton University Press, 1991), pp. 3-5.

12. Poetics Journal, 4 (May 1984): 138-39.

13. "The Person and Description," Symposium on "The Poetics of Everyday Life," Poetics Journal 9 : "The Person" Issue (1991): 166-67.