A Portrait of the Artist as a Young Man

The direct sequel — Stephen Dedalus returns to Dublin, older and having failed to become the artist he declared himself in Portrait. Reading both destroys Portrait's triumphant ending and rebuilds it as tragedy

The American vernacular equivalent — Holden Caulfield's rejection of phonies mirrors Stephen's rejection of Ireland, but without the aesthetic theory and without the exile. What rebellion looks like without a destination

Contemporary modernist bildungsroman — Paul Morel's emergence from working-class English Nottinghamshire echoes Stephen's from Catholic Irish Dublin. Both novels wrestle with the mother-bond the artist must break to become himself

Same structure — intelligent young person trying to become an artist collides with every institution that would define them. Where Stephen's antagonist is the Church, Esther Greenwood's is patriarchal domesticity

Another first-person bildungsroman about a young man trying to construct an identity against institutions that insist on defining him from outside. The weapons are different — silence and exile vs. engagement and irony — but the project is identical

Joyce's companion piece — the short stories that map the paralysis Stephen is escaping. Reading Dubliners shows you the Dublin Stephen runs from; Portrait shows you the running