Said in conversation with Frederic Prokosch and quoted in Prokosch's Voices: A Memoir (1983), "At Sylvia’s." Joyce was replying to Prokosch's statement that Molly Bloom’s monologue in Ulysses was written as a stream of consciousness. "Molly Bloom was a down-to-earth lady" said Joyce. "She would never have indulged in anything so refined as a stream of consciousness."

“Our civilization, bequeathed to us by fierce adventurers, eaters of meat and hunters, is so full of hurry and combat, so busy about many things which perhaps are of no importance, that it cannot but see something feeble in a civilization which smiles as it refuses to make the battlefield the test of excellence.”

James Joyce

"A Suave Philosophy," in Daily Express, Dublin (6 February 1903), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, <small> ISBN 0-192-83353-7</small>], p. 67

“This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.”

James Joyce book Stephen Hero

Stephen Hero (1944)
Context: Now for the third quality. For a long time I couldn't make out what Aquinas meant. He uses a figurative word (a very unusual thing for him) but I have solved it. Claritas is quidditas. After the analysis which discovers the second quality the mind makes the only logically possible synthesis and discovers the third quality. This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.

“For that (the rapt one warns) is what papyr is meed of, made of, hides and hints and misses in prints. Till ye finally (though not yet endlike) meet with the acquaintance of Mister Typus, Mistress Tope and all the little typtopies. Filstup. So you need hardly spell me how every word will be bound over to carry three score and ten toptypsical readings throughout the book of Doublends Jined (may his forehead be darkened with mud who would sunder!) till Daleth, mahomahouma, who oped it closeth thereof the. Dor.”

James Joyce book Finnegans Wake

20.10-18
Finnegans Wake (1939)

“Around us fear, descending
Darkness of fear above”

James Joyce book Pomes Penyeach

On The Beach At Fontana, p. 14
Pomes Penyeach (1927)

“Can you nei do her, numb? asks Dolph, suspecting the answer know. Oikkont, ken you, ninny? asks Kev, expecting the answer guess.”

James Joyce book Finnegans Wake

286.25-27
Finnegans Wake (1939)

“Seraphim,
The lost hosts awaken”

James Joyce book Pomes Penyeach

Nightpiece, p. 17
Pomes Penyeach (1927)