Bloom walks past a candy store. A man hands Bloom a throw-away flyer, advertising a visiting American evangelist. Bloom at first thinks his own name is on the flyer but then realizes it reads, “Blood of the Lamb.”
Bloom passes Dilly Dedalus. Bloom pities the now motherless Dedaluses. Dilly looks thin, and Bloom thinks about the inhumanity of the Catholic Church, which forces parents to have more children than they can feed. Bloom walks over O’Connell bridge and tosses the throw-away over the side. He buys two Banbury cakes to feed the seagulls. He notices an advertisement on a rowboat in the harbor. He thinks about other effective places for ads, like placing a doctor’s flyer about sexully transmitted diseases in a bathroom. Bloom suddenly wonders if Boylan has an STD.
Bloom thinks of an astronomy concept that he never fully understood—“parallax.” Bloom remembers this morning’s “metempsychosis” conversation. A line of men wearing advertising sandwich boards for Wisdom Hely’s walk by. When Bloom worked at Hely’s, his employers rejected his advertising idea of having women inside a transparent cart writing on Hely’s stationary. Bloom tries to remember where he and Molly were living at that time.
Bloom runs into Josie Breen, whom he once courted. She is now married to Denis Breen, who is mentally off-balance. Mr. Breen received an anonymous postcard this morning, which cryptically read, “u.p.: up.” Today, he is trying to take legal action against the joke. Bloom inquires after a mutual friend, Mina Purefoy, who has been in labor at the maternity hospital for three days. As Bloom and Mrs. Breen talk, another Dublin crazy man sashays by—Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell.
Bloom continues on, past the Irish Times office—he remembers the newspaper ad he ran for a lady typist that attracted Martha. He had another application—Lizzie Twigg—but she offered A.E. as a reference and thus seemed too literary, possibly ugly. His thoughts switch to Mina Purefoy and her perpetual pregnancies.
Passing a group of policemen, Bloom remembers watching a mounted policemen chase down a group of medical students who were shouting anti-British sentiments. Bloom guesses those medical students are probably now part of the institutions they were criticizing. He thinks about other turncoats—Carey of the Invincibles and house servants who inform on their employers.
This book needs a No Fear for it! But if there were a No Fear made, it should be made in a different way from the others; some lines just need to be put into context. For example, I can't tell if one character is thinking or talking.
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I think Ulysses, and all Joyce (except Finnegan's Wake) should have a No Fear and a summary video. These classics are often overlooked by kids my age, and they should be read!
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I'm about half way through Ulysses and I'm beginning to realize that his scenarios and conversations will never become any clearer than they are now. I rarely quit a thing once I've started, but it's very frustrating. To those of you who have read it in full....do you understand who's talking, where they are, who's good/bad.....nothing is clear to me. I just keep reading words......I'm not sure why.
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