UlyssesFirst Reader’s Companion

Public reading companion

Episode 10 · accepted backbone

Wandering Rocks

Before continuing: Full-episode spoilers follow, including the closing procession.

Nineteen city sections, read as an interlacing rather than a route

The novel loosens its hold on one central traveller and cuts among nineteen bounded sections across Dublin. This first-reader proof follows the joins, interruptions, unequal visibility, and institutional frame without pretending that the city can be reduced to one map.

Evidence appears on two separate axes: TEXT, HIST, or INTERP names the claim lane; SCHEMA, TEXT ANCHOR, RECON, WINDOW, or OPEN names basis, precision, or state.

Episode
E10 · 10 of 18
Native form
19 bounded sections
Reading paths
Choose one path: brief bearings, deeper reading, or evidence check.
Lifecycle
Under review
Editorially accepted
Yes
Verified
Yes
Deployed
Yes
Published
Yes
Public status
Published

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Listen to the project guide for Wandering Rocks

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Before you listen

Synthetic browser narration of a project-authored guide, not a reading of Joyce’s novel. Full-episode spoilers follow, including the closing procession.

Orientation

The novel loosens its hold on one central traveller and cuts among nineteen bounded sections across Dublin. This first-reader proof follows the joins, interruptions, unequal visibility, and institutional frame without pretending that the city can be reduced to one map.

Who carries the episode?

The episode follows clergy, workers, children, members of the Dedalus family, Bloom, Stephen, Boylan, beggars, officials, and passers-by. Father Conmee's section comes first; the Lord Lieutenant's cavalcade occupies the final section.

Where are we?

The sections name streets, shops, offices, churches, bridges, and institutional interiors around Dublin.

When does the interlacing happen?

Father Conmee checks his watch at five to three; later clocks, bells, and sequence markers continue to mark the afternoon.

What changes as we read?

The arrangement can be read as repeatedly transferring attention: what first seems local becomes answerable to material from elsewhere, and the reader revises what belongs to the present scene.

Why does the arrangement matter?

The arrangement can make Dublin legible as a field of partial views: no single consciousness owns the city, yet the sequence invites comparison rather than randomness.

A city appears through controlled incompleteness

Wandering Rocks does not offer a neutral panoramic camera. It builds civic scale by limiting each local view, letting other scenes leak in, and finally sending official power through a city already thick with private errands, work, hunger, memory, desire, and performance.

Father Conmee

Conmee walks, rides a tram, exchanges greetings, gives a letter to schoolboys, remembers clerical matters, and notices people and places along his route.

Corny Kelleher

Kelleher closes his daybook, examines a coffin lid, stands in the doorway, talks with a constable, and watches the street.

The one-legged sailor

A disabled veteran moves on crutches, repeats a song fragment, holds out his cap, and receives some alms while others watch or ignore him.

Katey and Boody Dedalus

Katey and Boody enter the Dedalus kitchen; books have brought no money, food is scarce, and the sisters eat donated pea soup and bread.

Blazes Boylan

Boylan selects fruit and other goods, asks for prompt delivery, writes an address, looks at the shop assistant's blouse, takes a carnation, and requests the telephone.

Stephen and Almidano Artifoni

Artifoni urges Stephen to use his voice for income and reconsider his position; Stephen says he will think, and they part in the street.

Miss Dunne

Miss Dunne types, waits, reads, checks the time, and answers a telephone call in an office.

Ned Lambert and companions

Ned Lambert guides visitors through a former council chamber, discusses the building and its history, and returns to companions outside.

Lenehan and M'Coy

Lenehan and M'Coy walk and talk while several people and vehicles enter the prose near them without joining their conversation.

Leopold Bloom

In the tenth of nineteen sections, Bloom browses several books, rejects some, reads from another, and chooses a book for Molly.

Dilly Dedalus

Dilly waits near an auctionroom, hears its bell and bids, meets her father, asks him for money, and receives a shilling and two pennies.

Tom Kernan

Kernan walks on a sales errand, reviews a booked order, observes clothes and shopfronts, and rehearses his commercial talk.

Stephen and Dilly

Stephen finds Dilly examining a French primer at a bookstall; they discuss the book, learning French, and the family's pawned books.

Simon Dedalus and Father Cowley

Simon Dedalus, Father Cowley, and Ben Dollard meet; they discuss Cowley's debt, Dollard sounds a deep note, and the men consider how to delay action by a creditor.

Martin Cunningham and companions

Martin Cunningham and his companions go to Dublin Castle seeking help for the Dignam family, then continue through the central streets.

Buck Mulligan and Haines

Mulligan and Haines eat, joke, discuss literary plans, and talk about Stephen in a refreshment room.

Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell

Farrell walks through Merrion Square and adjoining streets, gestures, collides with other pedestrians, and draws looks.

Patrick Dignam, junior

Patrick Dignam carries food through commercial streets and thinks about school, public notices, his father's funeral, and his father's death.

The viceregal cavalcade

The final section follows the Lord Lieutenant's carriages and records a sequence of salutes, non-salutes, obstructions, and glimpses by figures around Dublin.

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01 · First bearings

Five questions before the detail

Start here, then keep the cautions attached as the page becomes more specific.

  1. whoWho carries the episode?

    The episode follows clergy, workers, children, members of the Dedalus family, Bloom, Stephen, Boylan, beggars, officials, and passers-by; Father Conmee's section comes first and the Lord Lieutenant's cavalcade occupies the final section.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

    Limit: This selected focal ledger is not an exhaustive census and does not imply equal narrative access.

    The changing focal cast can be read as dispersed rather than governed by one continuous civic viewpoint.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

    Limit: Dispersed is a formal interpretation, not a claim that every figure carries equal weight.

    Caution: This is a first-reader focal ledger, not an exhaustive character census or a claim that every named person receives equal narrative access.

  2. whereWhere are we?

    The sections name streets, shops, offices, churches, bridges, and institutional interiors around Dublin.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

    Limit: The list gives literary bearings, not complete section boundaries or present-day locations.

    The accumulated local bearings orient the reader without yielding a surveyed master route; remembered or narrated movement should not be promoted to coordinates.

    Claim laneINTERPRECONOPENSourcesSRC-E10-01SRC-E10-02

    Limit: This is a project boundary, not evidence of present-day access, safety, or navigation.

    Caution: Place labels are literary orientation only. They do not establish exact present-day pins, access, safety, or navigation.

  3. whenWhen does the interlacing happen?

    Father Conmee checks his watch at five to three; later clocks, bells, and sequence markers continue to mark the afternoon.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: These are local textual markers, not a complete clock for every section.

    Taken with the secondary orientation, the markers support a broad mid-afternoon window commonly described as about three to four, not exact simultaneity.

    Claim laneINTERPSCHEMARECONWINDOWOPENSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: The window is a bounded reconstruction; it is not a synchronized stopwatch or section-by-section minute table.

    Caution: No section-by-section minute reconstruction is claimed. Different editions and critical chronologies require separate checking.

  4. what changesWhat changes as we read?

    Individual sections follow local figures while stray sentences, passing bodies, repeated objects, and later recognitions introduce material from elsewhere in the episode.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

    Limit: This selected formal description is not a complete interpolation census.

    The arrangement repeatedly transfers attention, asking the reader to revise what belongs to the present scene.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: Transfer is a reading of formal effect, not proof that every cross-cut is exactly simultaneous.

    Caution: Interlacing is a reading of the arrangement, not proof that every apparent cross-cut is exactly simultaneous.

  5. whyWhy does the arrangement matter?

    Across the sections, people cross, miss, notice, ignore, solicit, buy, work, and perform authority, while focal attention keeps changing.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

    Limit: The verbs summarize selected recurring actions and do not exhaust the episode's civic life.

    The arrangement makes Dublin legible as a field of partial views with no single owning consciousness, while still inviting formal comparison.

    Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: A field of partial views is a project interpretation, not a total account of Dublin or the episode.

    Caution: Calling Dublin a field of partial views is a project interpretation under review, not a total account of the episode.

02 · INTERP · review

Why the arrangement matters

Each section limits its local focal view, material from other sections enters those views, and the final section follows an official procession past selected earlier figures.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

Limit: This formal bearing is selective and does not enumerate every interpolation or returning figure.

By limiting each local view, admitting other scenes, and closing with official power, the episode builds civic scale without offering a neutral panorama.

Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-02SRC-E10-03

Limit: Civic scale is an interpretation that must retain accident, opacity, comedy, and incomplete knowledge.

A city appears through controlled incompleteness

Counter-reading: The mechanical pleasure of matching sections and crossings can overstate coordination. The episode also preserves accident, opacity, comic excess, and people who never become fully knowable to one another or to the reader.

03 · Episode-native structure

The nineteen-section city ledger

Read down once for local scenes, then use the crossings to read sideways. Section labels are first-reader handles, not replacements for Joyce's prose.

  1. 01WR-01

    Father Conmee

    Place
    Northward from the city centre toward Artane
    Time
    Mid-afternoon window

    Conmee walks, rides a tram, exchanges greetings, gives a letter to schoolboys, remembers clerical matters, and notices people and places along his route.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: This compresses a long focal section and does not fix every movement to a minute.

    Repeated greetings, salutes, blessing, charity, and clerical memory place Conmee's private reflections inside visible public authority.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

    Limit: The pattern does not endorse Conmee's judgments or make every response voluntary deference.

    Caution: A compressed focal summary; it does not endorse Conmee's judgments or fix every movement to a minute.

  2. 02WR-02

    Corny Kelleher

    Place
    An undertaker's premises and its street edge
    Time
    Mid-afternoon window

    Kelleher closes his daybook, examines a coffin lid, stands in the doorway, talks with a constable, and watches the street.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The summary records public action without assigning an unspoken motive.

    The scene gathers funeral business, police contact, and street observation around a figure already connected to the day's burial economy.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: This relation does not establish surveillance, collusion, or any motive the scene leaves unstated.

    Caution: The summary keeps public action separate from any speculative motive.

  3. 03WR-03

    The one-legged sailor

    Place
    A begging path through residential streets
    Time
    Mid-afternoon window

    A disabled veteran moves on crutches, repeats a song fragment, holds out his cap, and receives some alms while others watch or ignore him.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: The paraphrase does not reproduce the period song wording or the text's discriminatory language.

    The cut places bodily effort, begging, household response, and public piety in an uneven field of attention.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

    Limit: Uneven attention is a bounded reading, not a complete social history of disability, empire, race, or poverty.

    Caution: The period text includes language and attitudes about disability, empire, race, and poverty that this summary does not reproduce.

  4. 04WR-04

    Katey and Boody Dedalus

    Place
    The Dedalus household and nearby streets
    Time
    Mid-afternoon window

    Katey and Boody enter the Dedalus kitchen; books have brought no money, food is scarce, and the sisters eat donated pea soup and bread.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The scene is a bounded textual bearing, not a complete family budget or history.

    The failed errand, talk, and meal make household scarcity materially visible within a family dispersed across the city.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: Material scarcity does not authorize a total diagnosis of the family or its members.

    Caution: A bounded material reading, not a complete history or diagnosis of the family.

  5. 05WR-05

    Blazes Boylan

    Place
    Commercial streets and a shop counter
    Time
    Before his later appointment

    Boylan selects fruit and other goods, asks for prompt delivery, writes an address, looks at the shop assistant's blouse, takes a carnation, and requests the telephone.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The section shows Boylan's actions and gaze, not Molly's experience of the later appointment.

    The purchases and timed delivery place anticipation inside public commerce while the later private encounter remains offstage.

    Claim laneINTERPTEXT_ANCHORRECONWINDOWSourcesSRC-E10-01

    Limit: The commercial pattern does not make Boylan's focal section evidence of Molly's interior experience.

    Caution: The page does not infer Molly's experience from Boylan's focal section.

  6. 06WR-06

    Stephen and Almidano Artifoni

    Place
    A street conversation near the music world
    Time
    Mid-afternoon window

    Artifoni urges Stephen to use his voice for income and reconsider his position; Stephen says he will think, and they part in the street.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The paraphrase compresses the multilingual exchange and does not settle every implication of Stephen's replies.

    The exchange sets Artifoni's practical future against Stephen's resistance to being settled into a prescribed one.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: Resistance is an interpretation of the exchange, not a complete account of Stephen's vocational position.

    Caution: The exchange is compressed without claiming a complete account of Stephen's vocational position.

  7. 07WR-07

    Miss Dunne

    Place
    An office interior
    Time
    Clock-watching afternoon

    Miss Dunne types, waits, reads, checks the time, and answers a telephone call in an office.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The office clock is a local textual marker, not a master clock for the episode.

    The enclosed clerical routine provides an interior counterpoint to the episode's outdoor movement.

    Claim laneINTERPTEXT_ANCHORRECONWINDOWSourcesSRC-E10-01

    Limit: Counterpoint describes the arrangement; it does not synchronize this section with every street scene.

    Caution: The office clock helps orientation but is not used here to synchronize every section.

  8. 08WR-08

    Ned Lambert and companions

    Place
    A historic Dublin interior
    Time
    Mid-afternoon window

    Ned Lambert guides visitors through a former council chamber, discusses the building and its history, and returns to companions outside.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The record paraphrases what characters say about the building; it does not verify their historical claims.

    Touring, anecdote, architecture, and national history become a social performance inside a repurposed commercial space.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: The formal reading does not turn character anecdote into documentary history.

    Caution: The historical talk belongs to characters and requires separate verification before being treated as documentary fact.

  9. 09WR-09

    Lenehan and M'Coy

    Place
    Central streets and river crossings
    Time
    A comparatively extended afternoon passage

    Lenehan and M'Coy walk and talk while several people and vehicles enter the prose near them without joining their conversation.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: Narrative adjacency does not by itself establish mutual notice or exact simultaneity.

    The cut combines gossip and performed friendship with near-passing figures who never form one shared scene.

    Claim laneINTERPTEXT_ANCHORRECONWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: Nearness is a bounded structural relation, not proof of a common event.

    Caution: Nearness does not automatically mean mutual notice or exact simultaneity.

  10. 10WR-10

    Leopold Bloom

    Place
    A bookseller's interior
    Time
    Mid-afternoon window

    In the tenth of nineteen sections, Bloom browses several books, rejects some, reads from another, and chooses a book for Molly.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: The section's ordinal position is observable; it does not make Bloom the episode's sole centre.

    The structurally central purchase brings privacy, desire, taste, and commerce into one quiet act of selection.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

    Limit: This formal reading does not infer Molly's response or grant Bloom continuous control of the episode.

    Caution: Structural centrality is observable in this nineteen-part ledger; it does not make Bloom the sole centre of the episode.

  11. 11WR-11

    Dilly Dedalus

    Place
    An auctionroom and the surrounding street
    Time
    Mid-afternoon window

    Dilly waits near an auctionroom, hears its bell and bids, meets her father, asks him for money, and receives a shilling and two pennies.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: This section precedes Dilly's later encounter with Stephen and her French primer.

    Auction prices, Dilly's request, and her father's evasions place money and family deprivation in the same street exchange.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: The material reading does not supply a complete account of Dilly's inner life or the family's finances.

    Caution: The scene supports a material and family lens but not a complete account of Dilly's inner life.

  12. 12WR-12

    Tom Kernan

    Place
    Commercial streets on a work errand
    Time
    Mid-afternoon window

    Kernan walks on a sales errand, reviews a booked order, observes clothes and shopfronts, and rehearses his commercial talk.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The prose moves through Kernan's focal colouring; his judgments are not neutral documentary description.

    His salesman's eye connects clothing, display, religion, respectability, and the surfaces of the city.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: The connection describes a focal pattern, not verified social fact beyond the scene.

    Caution: Free indirect colouring and documentary description are not treated as the same kind of statement.

  13. 13WR-13

    Stephen and Dilly

    Place
    A street-side book encounter
    Time
    Mid-afternoon window

    Stephen finds Dilly examining a French primer at a bookstall; they discuss the book, learning French, and the family's pawned books.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The primer and dialogue are textual bearings; Stephen's inward associations remain his focal experience.

    Learning, family deprivation, Stephen's guilt and fear, and his wish for distance tighten around Dilly's small purchase.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: The reading does not resolve Stephen's obligations or treat his fear as Dilly's future.

    Caution: The summary names pressures in the scene without resolving Stephen's obligations or Dilly's future.

  14. 14WR-14

    Simon Dedalus and Father Cowley

    Place
    A music room and its social network
    Time
    Mid-afternoon window

    Simon Dedalus, Father Cowley, and Ben Dollard meet; they discuss Cowley's debt, Dollard sounds a deep note, and the men consider how to delay action by a creditor.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: This paraphrases the action without reproducing the musical words or treating the plan as successful relief.

    Music, debt, improvisation, and old acquaintance shape the scene's comic effort to delay a creditor.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: Comic arrangement does not erase the debt's material consequences for the wider family.

    Caution: Comic arrangement does not erase the material consequences of debt for the wider family.

  15. 15WR-15

    Martin Cunningham and companions

    Place
    Dublin Castle and central streets
    Time
    Mid-afternoon window

    Martin Cunningham and his companions go to Dublin Castle seeking help for the Dignam family, then continue through the central streets.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The section shows an effort to obtain help; it does not establish the outcome or amount of relief.

    Intended relief, institutional access, and familiar social talk share the same movement through the city.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: Good intention, access, and effective relief remain distinct questions.

    Caution: Good intention, institutional access, and effective relief are distinct questions.

  16. 16WR-16

    Buck Mulligan and Haines

    Place
    A refreshment room near the library
    Time
    Mid-afternoon window

    Mulligan and Haines eat, joke, discuss literary plans, and talk about Stephen in a refreshment room.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: Their judgments remain character speech and do not supply Stephen's perspective.

    Their mockery and planning turn friendship and appropriation into a public performance.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: Appropriation is a project interpretation, not the companion's adoption of their claims about Stephen.

    Caution: Their judgments about Stephen remain character speech, not the companion's verdict.

  17. 17WR-17

    Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell

    Place
    Merrion Square and adjoining streets
    Time
    Mid-afternoon window

    Farrell walks through Merrion Square and adjoining streets, gestures, collides with other pedestrians, and draws looks.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

    Limit: The record paraphrases observable conduct without converting comic description into diagnosis.

    Style, gesture, collision, and uneven notice make him a moving public spectacle within the cut.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: Spectacle describes narrative presentation, not a medical or psychological classification.

    Caution: The episode's comic language about behaviour is not converted into a diagnosis.

  18. 18WR-18

    Patrick Dignam, junior

    Place
    Schoolward and commercial streets
    Time
    Mid-afternoon window

    Patrick Dignam carries food through commercial streets and thinks about school, public notices, his father's funeral, and his father's death.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: A brief focal section cannot supply a complete psychology of grief.

    The cut places a child's recent bereavement inside ordinary errands, advertising, and school relations.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

    Limit: The juxtaposition does not reduce grief to one pattern or claim that public life resolves it.

    Caution: The first-reader summary avoids treating one brief focal section as a full psychology of grief.

  19. 19WR-19

    The viceregal cavalcade

    Place
    From the Phoenix Park through central Dublin toward Ballsbridge
    Time
    Closing afternoon procession

    The final section follows the Lord Lieutenant's carriages and records a sequence of salutes, non-salutes, obstructions, and glimpses by figures around Dublin.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: The literary procession is not a present-day route, exact encounter table, or synchronized clock.

    The procession gathers selected earlier figures into a redistributed field of attention rather than a single civic response.

    Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: The gathering is selective and constructed; it does not exhaust the city or prove total geometry and simultaneity.

    Caution: The procession is a literary route. This release offers no present-day navigation, exact pins, or synchronized encounter table.

Read sideways

Crossings

WR-X-01

Church and state frame

Trace: WR-01 — Father Conmee · WR-19 — The viceregal cavalcade

Father Conmee's mission occupies the first section and the Lord Lieutenant's procession occupies the nineteenth, with seventeen focal sections between them.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

Limit: The ordinal frame is observable; it does not make the two journeys identical.

The two public journeys frame private errands between clerical and imperial forms of movement and classification.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02SRC-E10-03

Limit: The symmetry neither equates church and state nor exhausts the episode's institutions.

Caution: The symmetry is useful but does not make church and state identical or exhaust every institution in the episode.

WR-X-02

Charity meets material need

Trace: WR-01 — Father Conmee · WR-03 — The one-legged sailor · WR-04 — Katey and Boody Dedalus · WR-15 — Martin Cunningham and companions · WR-18 — Patrick Dignam, junior

The selected sections show requests for help, alms, donated food, an effort to obtain family relief, and a bereaved child's household need.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The selected instances do not form a quantified record of poverty, charity, or relief.

Need and aid move through unequal social channels, and benevolent language does not settle every need it names.

Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01

Limit: This thematic join does not prove the outcome of each effort or reduce distinct acts to one institutional verdict.

Caution: A thematic join under review; it does not quantify poverty or prove the outcome of each charitable effort.

WR-X-03

Books at the centre

Trace: WR-06 — Stephen and Almidano Artifoni · WR-10 — Leopold Bloom · WR-13 — Stephen and Dilly

Artifoni discusses paid use of Stephen's voice, Bloom chooses erotic reading for Molly, and Stephen meets Dilly with a French primer near a bookstall.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The first scene concerns work rather than a book; the relation depends on structural comparison, not one repeated object in every section.

Work, erotic reading, language learning, family aspiration, and escape converge without giving reading one stable social meaning.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

Limit: The comparison does not prove one intentional message about all reading or collapse distinct motives and consequences.

Caution: The objects connect sections; the motives and consequences remain distinct.

WR-X-04

Nearness without meeting

Trace: WR-05 — Blazes Boylan · WR-09 — Lenehan and M'Coy · WR-10 — Leopold Bloom · WR-15 — Martin Cunningham and companions · WR-19 — The viceregal cavalcade

Across the selected sections, figures occupy shared streets or enter one another's narrative vicinity while seeing, missing, or failing to recognize one another.

Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

Limit: Narrative vicinity does not establish exact distance, time, or mutual awareness.

Spatial closeness in the arrangement does not guarantee a common event or equal knowledge.

Claim laneINTERPTEXT_ANCHORRECONWINDOWSourcesSRC-E10-01SRC-E10-02

Limit: No encounter or simultaneity is promoted beyond what the text explicitly stages.

Caution: No exact encounter or simultaneity is asserted beyond what the text explicitly stages.

WR-X-05

Performance in public

Trace: WR-03 — The one-legged sailor · WR-08 — Ned Lambert and companions · WR-12 — Tom Kernan · WR-14 — Simon Dedalus and Father Cowley · WR-17 — Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell · WR-19 — The viceregal cavalcade

The selected sections include public song, historical anecdote, commercial self-presentation, music, conspicuous gesture, and ceremonial display.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The list is selective and paraphrase-first, not a complete performance concordance.

These performances reveal unequal capacities to command, attract, or lose public attention.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

Limit: Attention is an analytical relation, not a single measurable quantity or proof of social power in every case.

Caution: A selective formal thread, not an exhaustive catalogue of performance.

Form in action · bounded examples

How one local scene admits another

These examples follow operations in the prose rather than plotting a master map or synchronized clock.

WR-FORM-01

A local scene admits other scenes

Kelleher's doorway scene is interrupted by brief notices of Conmee boarding a tram and a coin thrown from a distant window; the next section follows the sailor who receives it.

Passage bearings: WR-02 — Corny Kelleher · WR-01 — Father Conmee · WR-03 — The one-legged sailor

Kelleher's doorway scene includes brief notices of Conmee boarding a tram and a coin thrown from a distant window; the next section follows the sailor who receives it.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The paraphrase preserves narrative order without assigning exact coordinates or seconds to the three actions.

The insertions make the local section permeable rather than a sealed block.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

Limit: Permeable is a formal reading, not proof of a total city geometry or exact simultaneity.

Caution: This selected join shows one way a cut opens outward; it is not a complete interpolation census or synchronized map.

WR-FORM-02

Sound arrives before its source

An auction bell sound enters the Dedalus kitchen before a later section identifies the auctionroom lacquey who rings it beside Dilly.

Passage bearings: WR-04 — Katey and Boody Dedalus · WR-11 — Dilly Dedalus

An auction bell sound appears during the Dedalus kitchen section; a later section identifies the auctionroom lacquey ringing the bell beside Dilly.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The wording is paraphrase and does not reproduce the bell's printed syllable.

Delayed identification asks the reader to recognize a source after its sound has already crossed a cut.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

Limit: This example does not make every repeated sound an exact temporal bridge.

Caution: The relation is bounded to these two anchors; it does not establish an episode-wide acoustic score or master clock.

WR-FORM-03

A refrain and gesture travel

The sailor's repeated begging song and the gestures of offering or withholding alms recur as attention moves from Conmee, past Kelleher's doorway, to the sailor's own section.

Passage bearings: WR-01 — Father Conmee · WR-02 — Corny Kelleher · WR-03 — The one-legged sailor

The sailor's song is first heard on Conmee's path; a coin-throwing gesture enters Kelleher's section; the sailor's own section repeats the song and follows the giving of alms.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The song is paraphrased rather than quoted, and the record does not reproduce period slurs.

Recurrence carries need across separate focal frames while preserving unequal notice.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

Limit: The pattern does not establish that every nearby person hears, understands, or responds in the same way.

Caution: The example joins refrain and gesture without reproducing lyrics or turning disability and poverty into decorative motifs.

WR-FORM-04

The cavalcade appears before it takes the frame

A brief notice of the viceregal carriages leaving the park appears during Dilly's encounter with her father; the closing section later follows the procession at length.

Passage bearings: WR-11 — Dilly Dedalus · WR-19 — The viceregal cavalcade

Dilly's section briefly reports the viceregal carriages leaving the park; the final section follows the procession through a much longer sequence.

Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01

Limit: The two placements establish textual order, not a verified minute-by-minute synchronization.

The earlier notice pre-echoes official movement before it becomes the episode's closing frame.

Claim laneINTERPTEXT_ANCHORRECONWINDOWSourcesSRC-E10-01SRC-E10-02

Limit: Pre-echo names a compositional effect, not an exact clock or complete route relation.

Caution: The comparison preserves sequence and framing while withholding exact simultaneity, coordinates, and total geometry.

WR-FORM-05

The final procession redistributes attention

The closing section returns to selected earlier figures—including Lenehan and M'Coy, Dilly, Farrell, and Patrick Dignam—and records where their attention goes as the carriages pass.

Passage bearings: WR-19 — The viceregal cavalcade · WR-09 — Lenehan and M'Coy · WR-11 — Dilly Dedalus · WR-17 — Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell · WR-18 — Patrick Dignam, junior

The closing section shows Lenehan and M'Coy watching the carriages, Dilly looking up, Farrell looking across them at another man, and Patrick Dignam saluting.

Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

Limit: These are selected anchors from a longer procession and not an exhaustive reaction list.

By returning to selected figures under official spectacle, the sequence redistributes attention without producing a unified civic view.

Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-02SRC-E10-03

Limit: The pattern does not make the procession a poll, a total city view, or proof of shared knowledge.

Caution: The anchors are deliberately bounded; this is neither a complete encounter table nor a synchronized route reconstruction.

Module limit: The ledger preserves literary order and broad place/time orientation. It is not a synchronized map, exhaustive concordance, or substitute for reading the episode.

04 · People and presence

Who is here—and in what sense?

Presence, memory, report, imagination, and narrative focus are kept apart.

WR-P-01

Focal, glimpsed, and merely reported

Individual sections follow focal figures while other people are glimpsed in passing, reported in talk, remembered, or inserted from elsewhere.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

Limit: The selected presence modes do not form an exhaustive character concordance.

A person's presence in a sentence should not automatically be read as shared knowledge, mutual notice, or encounter.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

Limit: This is a first-reader distinction, not a canonical Character Atlas projection.

Caution: This is a reading aid, not a canonical Character Atlas projection.

WR-P-02

Visibility follows power unevenly

The sections stage greetings, salutes, watching, looking away, begging, display, obstruction, and differing amounts of focal attention across many social positions.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: These recurring actions do not quantify visibility or represent every person in Dublin.

Public notice and narrative access follow power unevenly across clergy, officials, workers, women, children, disabled people, and the poor.

Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-03

Limit: This comparative hypothesis is not a complete social history or a claim that narrative prominence always equals power.

Caution: A comparative hypothesis under review, not a complete social history of Dublin.

WR-P-03

A crowd is not a consensus

The final procession sequence places salutes, watching, indifference, obstruction, and private preoccupation alongside one another.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

Limit: The sequence is selected and composed; it is not a complete survey of public response.

The cavalcade collects reactions without producing one civic voice or consensus.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02

Limit: Plural response is a reading of the constructed sequence, not opinion polling.

Caution: The final section is a constructed sequence of responses, not opinion polling.

WR-P-04

The Dedalus family is dispersed but connected

Separate sections follow Katey, Boody, Maggy, Dilly, Stephen, and Simon Dedalus in different places, with food, pawned books, money, learning, and debt recurring among them.

Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

Limit: The selected figures and objects do not represent the family's whole history or every member's experience.

The family is spatially dispersed yet connected by scarcity, education, debt, and Stephen's wish for distance.

Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

Limit: Connection does not imply shared knowledge, equal responsibility, or one family viewpoint.

Caution: The selected sections do not stand for the family's whole history or every member's experience.

05 · Reading threads

Questions that open the episode

Each thread states what it notices, why that matters, and what would make the reading too neat.

  1. Thread 01

    Nineteen cuts, not nineteen sealed boxes

    Question: What happens when one section leaks into another?

    In the episode: The focal ledger repeatedly admits stray actions, phrases, objects, and later recognitions from elsewhere in the episode.

    Why it matters: The reader has to hold local attention and citywide pattern together without granting either one complete authority.

    Counter-reading: Not every interruption needs a hidden symbolic solution; some preserve the comedy and difficulty of partial information.

    Trace: WR-01 — Father Conmee · WR-02 — Corny Kelleher · WR-19 — The viceregal cavalcade · crossings WR-X-04 — Nearness without meeting

    Local sections admit stray actions, phrases, objects, and later recognitions from elsewhere in the episode.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

    Limit: The selected devices do not constitute a complete interpolation or recurrence census.

    The reader must hold local attention and citywide pattern together without granting either complete authority.

    Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: Citywide pattern is reconstructed and incomplete, not a view from total knowledge.

    Some interruptions preserve accident, comedy, and partial information rather than offering a hidden symbolic solution.

    Claim laneINTERPTEXT_ANCHOROPENSourcesSRC-E10-01SRC-E10-03

    Limit: This counter-reading does not deny deliberate recurrence or formal construction.

  2. Thread 02

    Church opens; state closes

    Question: What kind of frame do the two public journeys create?

    In the episode: Father Conmee's northward mission and the viceregal cavalcade bracket the seventeen intervening focal sections.

    Why it matters: Institutional movement becomes one scale against which ordinary errands, needs, refusals, and performances can be read.

    Counter-reading: Formal bracketing does not make the two journeys morally equivalent or all-controlling.

    Trace: WR-01 — Father Conmee · WR-19 — The viceregal cavalcade · crossings WR-X-01 — Church and state frame

    Father Conmee's mission occupies the first section, the viceregal cavalcade occupies the nineteenth, and seventeen focal sections lie between them.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01SRC-E10-02

    Limit: The formal bracket is observable without making its poles equivalent.

    Institutional movement becomes one scale against which private errands, needs, refusals, and performances can be read.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: One scale is not an exhaustive explanation of the intervening sections.

    Formal bracketing does not make church and state morally equivalent or all-controlling.

    Claim laneINTERPTEXT_ANCHOROPENSourcesSRC-E10-01SRC-E10-03

    Limit: The distinction remains open to further historical and institutional analysis.

  3. Thread 03

    Who gets noticed?

    Question: How does public attention distribute value?

    In the episode: Begging song, flamboyant movement, shop display, office routine, and official spectacle draw sharply different kinds of notice.

    Why it matters: The city is organized not only by streets but by habits of looking, ignoring, greeting, and performing.

    Counter-reading: Narrative prominence and social power do not always coincide; a brief section can make a marginal figure unforgettable.

    Trace: WR-03 — The one-legged sailor · WR-07 — Miss Dunne · WR-17 — Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell · WR-19 — The viceregal cavalcade · crossings WR-X-05 — Performance in public

    Begging song, conspicuous movement, shop display, office routine, and official spectacle receive visibly different kinds of notice across the selected sections.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

    Limit: The examples are selected and do not quantify every act of attention in the episode.

    The city is organized not only by streets but by habits of looking, ignoring, greeting, and performing.

    Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01

    Limit: Organization describes a reading of recurrent relations, not a complete urban sociology.

    Narrative prominence and social power do not always coincide; a brief section can make a marginal figure memorable.

    Claim laneINTERPTEXT_ANCHOROPENSourcesSRC-E10-01

    Limit: Memorability is a reader-facing hypothesis, not measured reception evidence.

  4. Thread 04

    Books, work, desire, escape

    Question: Why do reading objects cluster near the episode's centre?

    In the episode: A music teacher's advice, Bloom's purchase, Dilly's primer, and Stephen's response place books inside competing material needs.

    Why it matters: Reading is neither pure refuge nor mere commodity; it moves between education, fantasy, employment, family pressure, and possible departure.

    Counter-reading: The cluster may reward structural comparison without proving one intentional message about all reading.

    Trace: WR-06 — Stephen and Almidano Artifoni · WR-10 — Leopold Bloom · WR-13 — Stephen and Dilly · crossings WR-X-03 — Books at the centre

    Artifoni advises Stephen about earning through his voice, Bloom buys reading matter for Molly, and Stephen meets Dilly with a French primer near a bookstall.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

    Limit: The first scene concerns work rather than a book; the cluster is structural, not one repeated object in every anchor.

    Reading and learning move between education, fantasy, employment, family pressure, and possible departure rather than carrying one stable meaning.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01

    Limit: The relation preserves different motives and material conditions across the scenes.

    The structural cluster does not prove one intentional message about all reading.

    Claim laneINTERPTEXT_ANCHOROPENSourcesSRC-E10-01

    Limit: Formal comparison remains useful even when a single symbolic solution is withheld.

  5. Thread 05

    Near-misses and unequal knowledge

    Question: What does the reader know that the walkers do not?

    In the episode: The arrangement can place figures near one another across sections while withholding recognition, motive, or a shared account of the moment.

    Why it matters: The reader's wider view remains assembled and incomplete; it is not the view of an omniscient citizen standing above the city.

    Counter-reading: A reconstructed crossing should never be promoted to a textual encounter without an explicit anchor.

    Trace: WR-05 — Blazes Boylan · WR-09 — Lenehan and M'Coy · WR-15 — Martin Cunningham and companions · crossings WR-X-04 — Nearness without meeting

    The arrangement places selected figures near one another across sections while withholding recognition, motive, or a shared account of the moment.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: Near is a broad textual or reconstructed relation, not a measured distance or exact time.

    The reader's wider view remains assembled and incomplete rather than becoming the view of an omniscient citizen above the city.

    Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01SRC-E10-02

    Limit: Wider knowledge does not imply total geometry, synchronized time, or transparent motive.

    A reconstructed crossing should not be promoted to a textual encounter without an explicit anchor.

    Claim laneINTERPRECONOPENSourcesSRC-E10-01SRC-E10-02

    Limit: This limit preserves useful comparison while blocking false encounter claims.

  6. Thread 06

    Need moves differently from charity

    Question: What separates asking, giving, and relief?

    In the episode: A begging veteran, the Dedalus household, the Dignam children, clerical intention, and Castle business place need beside several forms of aid.

    Why it matters: The episode lets charitable language travel more smoothly than resources, outcomes, or mutual understanding.

    Counter-reading: The text does not authorize a quantified welfare history, and individual acts should not be flattened into one institutional verdict.

    Trace: WR-01 — Father Conmee · WR-03 — The one-legged sailor · WR-04 — Katey and Boody Dedalus · WR-15 — Martin Cunningham and companions · WR-18 — Patrick Dignam, junior · crossings WR-X-02 — Charity meets material need

    The selected sections show a begging veteran, the Dedalus household, the Dignam family, clerical intention, and an effort to obtain institutional help.

    Claim laneTEXTTEXT_ANCHORSourcesSRC-E10-01

    Limit: The examples do not constitute a quantified welfare history or complete account of need.

    Charitable language travels more smoothly than resources, outcomes, or mutual understanding.

    Claim laneINTERPTEXT_ANCHORRECONOPENSourcesSRC-E10-01

    Limit: The comparison does not flatten distinct people and acts into one institutional verdict.

    Individual acts of asking, giving, and seeking relief must remain distinct even when read as a recurring thread.

    Claim laneINTERPTEXT_ANCHOROPENSourcesSRC-E10-01

    Limit: The thread does not prove the outcome of every effort or the motives of every participant.

  7. Thread 07

    The procession does not unify the city

    Question: What does the closing cavalcade collect?

    In the episode: The final movement revisits figures from earlier sections through their partial, unequal responses to official display.

    Why it matters: A formal gathering can reveal plurality rather than civic agreement.

    Counter-reading: The section's compositional sweep may briefly feel totalizing; its many blind spots still remain.

    Trace: WR-19 — The viceregal cavalcade · crossings WR-X-01 — Church and state frame · crossings WR-X-04 — Nearness without meeting · crossings WR-X-05 — Performance in public

    The final section revisits selected earlier figures through salutes, watching, non-salutes, obstruction, and private preoccupation as the carriages pass.

    Claim laneTEXTTEXT_ANCHORWINDOWSourcesSRC-E10-01SRC-E10-02

    Limit: The sequence is selected and does not record every figure or response in Dublin.

    A formal gathering can reveal plurality rather than civic agreement.

    Claim laneINTERPTEXT_ANCHORRECONSourcesSRC-E10-01SRC-E10-02SRC-E10-03

    Limit: Plurality is a reading of the composed sequence, not population-level evidence.

    The procession's compositional sweep may feel totalizing, but its blind spots remain.

    Claim laneINTERPTEXT_ANCHOROPENSourcesSRC-E10-01SRC-E10-03

    Limit: The counter-reading does not deny the force of the final formal sweep.

06 · Public source register

Sources, uses, rights, cautions

Links support checking; they are not permission to reproduce a whole text, edition, annotation database, article, or image.

Evidence sources

These sources have at least one governed return path from a displayed claim unit.

SRC-E10-01 · evidence · accessed 2026-07-21

Ulysses, Project Gutenberg eBook 4300

Authority: Project Gutenberg

Use: Searchable primary-text witness for Part II [10], focal sequence, wording checks, and the retained Bloomsday date anchor.

Rights: Project Gutenberg identifies the ebook as public domain in the United States; readers elsewhere must check their jurisdiction. This companion publishes paraphrase rather than a bulk text reproduction.

Caution: Not a 1922 facsimile, not a sole definitive edition, and not authority for cross-edition lineation or typography.

Supports 99 displayed claim units

SRC-E10-02 · evidence · accessed 2026-07-21

The Joyce Project: Wandering Rocks annotations

Authority: The Joyce Project

Use: Secondary orientation for the nineteen-section design, interpolations, three-to-four window, and Conmee/cavalcade frame.

Rights: Linked scholarly annotation. No annotation text, image, or database is reproduced here.

Caution: A secondary guide; every textual claim remains checked against the retained primary witness and edition caveats.

Supports 46 displayed claim units

SRC-E10-03 · evidence · accessed 2026-07-21

The Cambridge Ulysses: The 1922 Text with Essays and Notes — publisher excerpt

Authority: Cambridge University Press & Assessment

Use: Edition-aware scholarly support for describing Wandering Rocks as nineteen differently situated vignettes and for preserving interpretive caution.

Rights: Linked publisher excerpt. No page image or extended text is reproduced.

Caution: The excerpt is not used as a public-domain text witness or as permission to reproduce the edition.

Supports 14 displayed claim units

Context and bibliography

These sources orient the reader; a zero join is explicit and does not masquerade as claim evidence.

SRC-E10-04 · bibliographic · accessed 2026-07-21

Ulysses first edition bibliographic record

Authority: National Library of Ireland

Use: Bibliographic orientation to the 1922 Shakespeare and Company first edition.

Rights: Bibliographic link only; no scan or catalogue media is reproduced.

Caution: A catalogue record does not verify this page's section summaries or settle textual variants.

Context/bibliographic orientation only; no claim support asserted.

SRC-E10-05 · context · accessed 2026-07-21

An introduction to Ulysses

Authority: The British Library

Use: Whole-book context for Joyce's changing formal methods and the relation between ordinary life and experiment.

Rights: Linked institutional essay. No article text or media is reproduced.

Caution: Whole-book context, not an episode-level locator or a substitute for the text.

Context/bibliographic orientation only; no claim support asserted.

Show the complete source register by ID

07 · Status and limits

What this build can honestly claim

Owner-accepted as the bounded v0.2 backbone and live-verified at the v0.14.0 Stage 1 checkpoint. It is publicly released; acceptance does not make its character, route, or timing coverage exhaustive.

Editorial state

Verified and accepted

The data contract, source joins, semantic render, and release checks can pass while the new interpretation remains open to editorial revision.

Accessibility

Static first, not certified

All orientation, nineteen sections, crossings, reading threads, source records, and limits render in semantic HTML without requiring client JavaScript.

The interlacing is provided as ordered lists and explicit cross-reference text; colour is supplementary and no spatial graphic carries unique meaning.

Formal conformance claimed: No.

Privacy

No reader write surface

The application collects no reader answers, notes, progress, account, or personalized reading history.

No forms, comments, submissions, authentication, database, or content-management write path exists.

At the exact canonical public origin, the application sends one cookieless GoatCounter request and adds only the namespaced route, project-authored title, and ns=1 query parameters. It omits source query, fragment, body, credentials, referrer, and reader-entered content; standard browser request headers still reach GoatCounter, whose aggregate processing, optional individual-pageview mode, retention, and account settings remain provider-governed and unverified here.

Known limits

  • This is a substantial episode backbone, not an exhaustive concordance, canonical Character Atlas projection, or full critical edition.
  • The nineteen-section ledger is edition-aware but does not publish line-by-line section boundaries, textual variants, or a witness facsimile.
  • Place and time remain literary orientation: there is no synchronized route reconstruction, present-day navigation, field-safety audit, or route-accessibility audit.
  • Interpretive connections, people lenses, and both cross-episode synthesis dimensions are owner-accepted under R-013, while remaining visibly revisable and bounded by their cited public evidence.
  • No empirical first-reader, screen-reader, voice-control, or formal accessibility-conformance study has been performed for this new route.

Content note in full

  • The episode and this guide refer to bereavement, poverty, hunger, disability, imperial ceremony, religious and ethnic prejudice, sexual anticipation, and period racialized entertainment. The guide paraphrases rather than reproducing slurs.

E10-WANDERING-ROCKS-BACKBONE-v0.2 · v0.2 · prepared 2026-07-22 · editorially accepted: yes