About the newspaper headlines…
How do the interjecting headlines both interrupt and frame this episode? Some appear to work to establish a scene, “IN THE HEART OF THE HIBERNIAN METROPOLIS” (7.1) others simply work as titles of the proceeding prose, “WE SEE THE CANVASSER AT WORK” (7.120), or contradictions, “THE GRANDEUR THAT WAS ROME” (7.483). Others still seem to provide stage direction, “EXIT BLOOM” (7.429), and some aren’t even words ”? ? ?” (7.512).
Further, the various headlines are themselves figures of speech, “O, harp Eolian!” (7.370) an apostrophe (where the speaker addresses the reader/crowd, commonly used in Shakespeare), “HOUSE OF KEY(E)S” (7.141) a pun (one that spoils/reveals the ongoing joke about keys), “CLEVER, VERY” (7.673) (a hyperbaton (inversion of words for emphasis), and plenty more.
So what is the point? Are these headlines just flourishes of rhetoric? Do they breathe life into this episode about the printing industry?
And like Luke previously pointed out, do they move the narrative forward or are they more a criticism of the eye-catching nature of the press?
The ostracization of Bloom
Bloom is constantly treated as an outsider by his peers, facing subtle and overt exclusions. Collogues frequently ask about his wife, “What perfume does your wife use?” (7.230), often in a way that suggests mockery (do they know? it would be funnier if they didn’t). He receives no warm welcomes when entering the post office and isn’t invited to go drinking with the others. He is never in on the joke, and twice is told-off, “He can kiss my royal Irish arse” (7.991).
Yet how do we read the interaction in Lestrygonians? It seems to be a more candid look at the opinion that others have of Bloom: “He’s not too bad… He has been known to put his hand down too to help a fellow. Give the devil his due. O, Bloom has his good points.” (8.983-985). Nosey Flynn and Davy Byrne praise Bloom, but undermine the statements, saying “Nothing in black and white” (8.788), expressing antisemitic prejudice.
Do other Dubliners like Bloom? Do they just tolerate him? We’ve been inside his head all day, and we’ve yet to see any truly despicable character traits.
Bloom and Dedalus and Tinfoil
Bloom and Simon Dedalus are husbands, fathers, and Dubliners. As husbands, Simon still grieves the loss of his wife and does not enter a new relationship. Bloom, despite knowing of Molly’s infidelity, tries to remain loyal (but has a secret correspondence with another woman). As fathers, Bloom continues to grieve the loss of his son Rudy, himself whom he blames. Simon, on the other hand, is resented as he is absent and irresponsible. In the graveyard, Dedalus is ready for death, “Let Him take me whenever He likes.” 6.645, whereas Bloom ready to return to the world of the living “Back to the world again. Enough of this place. Brings you a bit nearer every time” (6.996-997).
How do these two men compare in other ways? The sonless father and the wifeless husband: how does this contrast set the stage for Bloom’s emergence as a surrogate father, where he fulfills the role of Odysseus to someone’s Telemachus…
We already begin to see Bloom doting over Stephen, “Has a good pair of boots on him today. Last time I saw him he had his heels on view. Been walking in muck somewhere. Careless chap.” (7.985-987)