But some truly revolutionary works were just around the corner in the early 20th Century, from Virginia Woolf to T.S. Eliot to William Faulkner to Samuel Beckett and, perhaps most emphatically, the innovations of the Irishman, James Joyce, in “Ulysses” and “Finnegan’s Wake” (although, of the hundreds of new words in these works, only monomyth and quark have enjoyed any currency, and that rather limited). A single sentence from “Finnegan’s Wake” (1939) may suffice to give a taste of the extent of Joyce’s neologistic rampage: