X he fugal structure, which James Joyce claimed was the compositional technique of chapter 11 (the "Sirens" chapter) of Ulysses, has long been a point of intrigue with Joyce scholars. One of the reasons the chapter has drawn such attention is that Joyce himself gave few indications as to its structure. Evidence has revealed only two mentions of formal technique with respect to "Sirens": Georges Borach recalls a conversation on 18 June 1919 in which Joyce noted, "I wrote this chapter with the technical resources of music. It is a fugue with all musical notations."1 Later that same year, on 6 August, Joyce wrote a letter to Harriet Weaver revealing a few more specifics as to the form of "Sirens": "They are all the eight regular parts of afuga per canonem: and I did not know in what other way to describe the seductions of music beyond which Ulysses travels."2 Note the discrepancy between Borach's memory of a conversation and Joyce's own written words: in the remembered conversation, Joyce describes the chapter as a fugue, while his letter indicates that the form is afuga per canonem with eight voices. It is this discrepancy that has ignited much debate concerning how and why, and even if, musical form is employed in "Sirens." While important scholarship has continued to fuel interest in the chapter, it has equally moved the debate toward questions of verification ? that is, whether Joyce successfully or unsuccessfully translated a musical form into prose.3 While this can be an interesting and valuable task, it is also