Plan I. Introduction 3 II. Main part 6

Publication of Dubliners and A Portrait[]
Joyce's fortunes changed for the better in 1913 when Richards agreed to publish Dubliners. It was issued on 15 June 1914,^[205] eight and a half years since Joyce had first submitted it to him.^[206] Around the same time, he found an unexpected advocate in Ezra Pound, who was living in London.^[ac] On the advice of Yeats,^[208] Pound wrote to Joyce asking if he could include a poem from Chamber Music, "I Hear an Army Charging upon the Land" in the journal Des Imagistes. They struck up a correspondence that lasted until the late 1930s. Pound became Joyce's promoter, helping ensure that Joyce's works were both published and publicized.^[209]
After Pound persuaded Dora Marsden to serially publish A Portrait of the Artist as a Young Man in the London literary magazine The Egoist,^[210] Joyce's pace of writing increased. He completed A Portrait of the Artist as a Young Man by 1914;^[211] resumed Exiles, completing it in 1915;^[212] started the novelette Giacomo Joyce, which he eventually abandoned;^[213] and began drafting Ulysses.^[214]
In August 1914, World War I broke out. Although Joyce and Stanislaus were subjects of the United Kingdom, which was now at war with Austria-Hungary, they remained in Trieste. Even when Stanislaus, who had publicly expressed his sympathy for the Triestine irredentists, was interned at the beginning of January 1915, Joyce chose to stay. In May 1915, Italy declared war on Austria-Hungary,^[215] and less than a month later Joyce took his family to Zürich in neutral Switzerland.^[216]
1915–1920: Zürich and Trieste[]
Zürich[]

Zürich, Switzerland where Joyce lived 1915–1919
Joyce arrived in Zürich as a double exile: he was an Irishman with a British passport and a Triestine on parole from Austria-Hungary.^[217] To get to Switzerland, he had to promise the Austro-Hungarian officials that he would not help the Allies during the war, and he and his family had to leave almost all of their possessions in Trieste.^[218] During the war, he was kept under surveillance by both the English and Austro-Hungarian secret service.^[219]
Joyce's first concern was earning a living. One of Nora's relatives sent them a small sum to cover the first few months. Pound and Yeats worked with the British government to provide a stipend from the Royal Literary Fund in 1915 and a grant from the British civil list the following year.^[220] Eventually, Joyce received large regular sums from the or Harriet Shaw Weaver, who operated The Egoist, and the psychotherapist h Rockefeller McCormick, who lived in Zürich studying under Carl Jung.^[221] Weaver financially supported Joyce throughout the entirety of his life and even paid for his funeral.^[222] Between 1917 and the beginning of 1919, Joyce was financially secure and lived quite well;^[223] the family sometimes stayed in Locarno in the Italian-speaking region of Switzerland.^[224] But health problems remained a constant issue. During their time in Zürich, both Joyce and Nora suffered illnesses that were diagnosed as "nervous breakdowns"^[225] and he had to undergo many eye surgeries.^[226]
Ulysses[]
During the war, Zürich was the centre of a vibrant expatriate community. Joyce's regular evening hangout was the Cafe Pfauen,^[227] where he got to know a number of the artists living in the city at the time, including the sculptor August Suter^[228] and the painter Frank Budgen.^[229] He often used the time spent with them as material for Ulysses.^[230] He made the acquaintance of the writer Stefan Zweig,^[231] who organised the premiere of Exiles in Munich in August 1919.^[232] He became aware of Dada, which was coming into its own at the Cabaret Voltaire.^[233][ad] He may have even met the Marxist theoretician and revolutionary Vladimir Lenin at the Cafe Odeon,^[235] a place they both frequented.^[236]
Joyce kept up his interest in music. He met Ferruccio Busoni,^[237] staged music with Otto Luening, and learned music theory from Philipp Jarnach.^[238] Much of what Joyce learned about musical notation and counterpoint found its way into Ulysses, particularly the "Sirens" section.^[239]
Joyce avoided public discussion of the war's politics and maintained a strict neutrality.^[240] He made few comments about the 1916 Easter Rising in Ireland; although he was sympathetic to the Irish independence movement,^[241] he disagreed with its violence.^[242][ae] He stayed intently focused on Ulysses^[244] and the ongoing struggle to get his work published. Some of the serial instalments of "The Portrait of the Artist as a Young Man" in The Egoist had been censored by the printers, but the entire novel was published by B. W. Huebsch in 1916.^[245] In 1918, Pound got a commitment from Margaret Caroline Anderson, the owner and or of the New York-based literary magazine The Little Review, to publish Ulysses serially.^[246]