In the Conclusion, I record the rival fates of Giovanni and Giorgio Amendola since 1980, whether in scholarship, public memory or Italian streetscapes. In each regard, the liberal democrat Giovanni Amendola has moved up and the communist Giorgio Amendola down. The (humane) communist world Giorgio believed in has all but totally disappeared. But liberal democracy, however much transmuted by an all but totalitarian neoliberalism, has prospered and, perhaps, triumphed. Certainly, when the centenary of Giovanni’s death occurs in 1926, it is likely that he will be celebrated as a father of his patria. What might be viewed as the historical limitations of his understanding of where the world was going, his all but non-existent commentary on capitalism and finance, his patriarchalism, his positive view of Italian imperialism – these no longer matter. He can take the leading place as his country’s most admirable saint and martyr of Anti-Fascism.

Quayson’s chapter compares the Dublin of Joyce’s Ulysses in 1904 with the real-life multilingual city of Accra, Ghana. In these twentieth- and twenty-first-century contexts, Quayson finds different forms of epic dreaming and material work. From among these celebrations of the kinetic aspects of urban life, he focuses on advertising billboards and personal slogans and pronouncements, arguing that these slogans and Joyce’s interior linguistic landscape in Ulysses exemplify what Deleuze and Guattari have described as the deterritorialization of language. Quayson draws on these theorists to offer a new way of understanding a central problem of language in Joyce’s writing – the self-interlocution and the relations between external stimuli and internal activities of the mind – and the nature of the Accra streetscape, in which vehicle slogans and inscriptions turn oral discourse into a written text, transforming stigmatized terms of African indigenous languages into co-creative dimensions of English discourse.