Joyce continued to maintain contact with Trieste and promote his own works in Italy long after he had left the Adriatic city. These contacts took various forms, from a keen interest in the translations of his works in Italian (as evidenced by his close collaboration with his chief Italian translator, Carlo Linati, and his supervision of Amalia Popper’s translations from ‘Dubliners’), to the promotion of his own works in the Italian press (Joyce even prompted Stanislaus to ‘get a par’ on Lucia Joyce’s ABC book in Il Piccolo and a brief mention did in fact appear in 1936). However, the most significant evidence of Joyce’s abiding interest and attachment to Trieste is to be found in Finnegans Wake, which includes numerous Italian and Triestine words and allusions. Indeed, one of Joyce’s last major creative efforts would be the translation of Anna Livia Plurabelle into Italian with Nino Frank in 1938 (Frank states in his memoirs that the translation was 75% Joyce’s). Less a translation than an original text, this version of Anna Livia Plurabelle demonstrates Joyce’s absolute mastery of Italian and in its wit and intimate knowledge of rhythms, timber, colour and allusion show just how much Joyce had assimilated – and retained – of his years in Trieste.