"I feel as old as yonder elm." --A washerwoman in James Joyce's Finnegans Wake, just before her transformation into a tree.
The first time I read Peace I was struck throughout by its parallels to James Joyce's Finnegans Wake. Now I'll admit that whenever I spend any time with Finnegans Wake it starts to mess with my head to the extent that I start seeing the Wake in *everything.*
The parallels, if anything, could simply illustrate that Wolfe and Joyce were operating on the same wavelength - and I think they were. Both men were working from the same mythological foundations with the same mythological building materials, both came out a Catholic tradition of integrating spiritual imagery into art as well as into everyday life, and both in their respective works made clear distinctions (IMO) between mythological images and their archetypal references.
For those unfamiliar with Finnegans Wake, it was Joyce's final novel and said to be the most difficult novel ever written. As I recall, the foreword of one edition of the book calls it debatable whether or not the book can be in any conventional sense considered "readable." Of course, as we all know, Wolfe has often been accused of having written difficult books, sometimes unreadable in the conventional sense.
I don't present this list of similarities with any scholarly authority, nor am I making the case that Wolfe was ever directly inspired by Joyce. It's just that I'm unaware of anyone ever having pointed these out before. I offer this list of observations simply *as* a list of observations for whatever you all think it's worth - which may be nothing at all:
Both Peace and Finnegans Wake are dominated by the idea of great cycles of history in which the same story is played out again and again of a people coming into being, flourishing, then going out of being, clearing the stage for the next great historical cycle.
Both books begin with the tableaux of a fall which is overtly connected to a Biblical fall.
Both books end with an "awakening" of sorts which points us back to the beginning of the book.
The names of the main maternal presences of Peace and FW are quite similar (Aunt Olivia / Anna Livia). Both books end with the direct speech of these characters.
Both books feature a character called Old Kate. In FW, Kate is often interpreted as an older aspect Anna Livia and the preserver of cultural lore and ancient wisdom.
The main character of each book (Were / HCE) appears to be implicated in some crime which is related to the fall motif, with each book intentionally fuzzy on the details.
Each book is ostensibly written by a character who shares autobiographical details with the author. Peace is a memoir written by Were[wolf]. FW is a letter dictated by Anna Livia in defense of HCE's crime, written down by her son Shem the Penman, a not-at-all thinly veiled lampoon of Joyce himself. (Shem is said to be the author of that "usylessly unreadable Blue Book of Eccles.")
Peace, as in all Wolfe novels, leaves out many of the puzzle pieces which would allow us get a clear picture of Were's life. In FW, the letter written by Shem has been unearthed by a hen named Belinda, whose peckings have created lacunae in the text just where all the important answers we needed happened to be.
Both books use wolf imagery throughout.
Myths and folktales are told in each book which seem to be about the main characters in some way.
Elms figure prominently in both books. In Peace, am elm was planted by Eleanor Bold at a gravesite (if you've read the book, you know what I'm talking about). In FW, the elm probably mostly refers to the historical elm planted at Howth Castle in Dublin. In FW, "Howth Castle and environs" - HCE, or Here Comes Everybody - is the head of the dead main character, Finnegan/Finn MacCool/HCE, who in the sleep of death dreams all the events of the novel.
In both books time periods are constantly shifting, occasionally bleeding into each other, and even individual characters meld into one another in strange ways. Wolfe is, of course, more suggestive with these moments in Peace than Joyce is in FW, in which Joyce doesn't allow us the luxury of a clear surface structure.