Put readings beside one another.

01 · Telemachus · performed authority · continuity

A morning performance changes who may speak for the room

Support: Mock liturgy, jokes, report, song, apology, memory, and final judgment repeatedly turn speech into a material pressure on food, labour, possession, allegiance, and departure.

What this comparison distorts: A performance lens can make Mulligan only a usurper, Haines only an extractor, or Stephen's final judgment the guide's verdict while overlooking care, comedy, grief, improvisation, and unfinished relation.

• performance-and-authority — Performance can become authority

02 · Nestor · claims in circulation · complication

A sentence gains force from where and how it travels

Support: Question, correction, riddle, wage lecture, typed letter, repeated joke, and editorial access make knowledge and falsehood social events rather than free-standing statements.

What this comparison distorts: Following circulation can over-politicize classroom confusion, reduce practical care to strategy, or imply that Stephen's carrying a letter proves endorsement of the claims surrounding it.

• claim-circulation — How does a claim acquire a route?

03 · Proteus · changing consciousness states · complication

Walking prose shifts state without leaving the body behind

Support: Present perception repeatedly becomes memory, quotation, hypothesis, dream, projection, or invented audience while feet, ground, sound, paper, water, teeth, and bodily position return.

What this comparison distorts: State labels are reader aids rather than airtight boxes, and bodily recurrence does not solve, stabilize, or exhaust the episode's linguistic and philosophical excess.

• state-changing-narration — State-changing narration

04 · Calypso · print and return · continuity

Objects carry thought away; the body brings it back

Support: Food, keys, letters, advertisements, books, smells, and bodily actions open associative departures while domestic tasks and interruptions repeatedly return Bloom to the morning circuit.

What this comparison distorts: An object-trigger account can make association look mechanically caused and can understate care, appetite, labour, grief, gendered access, and the cat's irreducible otherness.

• print-travel-return — Print travels; bodies return

05 · Lotus Eaters · deferral and release · continuity

Channels open, but completion keeps moving ahead

Support: Postal alias, sociable talk, private letter, church ritual, pharmacy transaction, betting information, scent, soap, and imagined bath make contact and relief depend on concealment, discipline, payment, interpretation, or delay.

What this comparison distorts: A languor-and-deferral pattern can make Bloom passive and erase vigilance, practical timing, commercial intelligence, ethical exposure, comic misreading, and deliberate choice.

• deferral-and-release — Deferral and temporary release

06 · Hades · public talk · continuity

A shared phrase enters the carriage

Support: Funeral speech and borrowed language make mourning public before Bloom's attention turns elsewhere.

What this comparison distorts: Following the phrase isolates one verbal relay and leaves much of the carriage's gesture, street detail, and social judgment outside the comparison.

• bury-caesar — We come to bury Caesar

07 · Hades · private return · complication

A sight opens a family wound

Support: Rudolph Bloom's death and the letter return inside the public journey without becoming physically present in it.

What this comparison distorts: Treating memory as interruption can understate how continuously absence shapes Bloom's public seeing throughout the route.

• rudolph-letter — Rudolph Bloom's suicide and the broken language of the letter

08 · Aeolus · rhetoric and print pressure · complication

Spoken display meets the material gatekeeping of print

Support: Headlines, anecdotes, speeches, advertisements, compositing work, editorial access, and political memory make language circulate through both performance and a working newspaper institution.

What this comparison distorts: A rhetoric-as-pressure account can reduce speech to manipulation or noise and overlook print labour, craft, humour, ambition, audience response, and genuine political memory.

• rhetoric-and-print-pressure — Rhetoric and print pressure

09 · Lestrygonians · appetite, aversion, and care · contrast

A city walk lets bodily judgment redirect attention

Support: Food displays, smells, meals, bodies, commerce, memory, disgust, hunger, and chosen movement keep appetite beside social observation and practical care.

What this comparison distorts: An appetite ledger can reduce Bloom or the people he observes to consumption and disgust, reproducing the episode's dehumanizing comparisons while erasing ethics, curiosity, memory, humour, and choice.

• appetite-aversion-and-care — Appetite, aversion, and care

10 · Scylla and Charybdis · argument as performance · complication

A theory is staged for listeners who can interrupt it

Support: Stephen's Shakespeare argument advances through quotation, analogy, wit, objection, retreat, and renewed assertion inside a library conversation shaped by audience and institutional standing.

What this comparison distorts: Treating the performance as a solved theory can certify speculative biography or a master key to Joyce; treating it only as fraud erases intellectual play, pressure, craft, and audience negotiation.

• argument-as-performance — Argument as performance

11 · Wandering Rocks · cut · contrast

A local scene admits another scene

Support: Nineteen focal sections remain locally bounded while interpolations, passing figures, objects, and later recognitions make the reader revise what belongs together.

What this comparison distorts: Calling the operation a cut can make the episode sound cinematic and mechanical when its joins also depend on syntax, recurrence, and delayed recognition.

• nineteen-cuts — Nineteen cuts, not nineteen sealed boxes

12 · Wandering Rocks · near-miss · limit

The reader sees more, but never everything

Support: Cross-section nearness creates unequal knowledge without converting every passing route into a meeting or synchronized event.

What this comparison distorts: A near-miss frame privileges spatial relation and can overlook scenes organized by work, scarcity, books, music, or institutional power.

• near-misses — Near-misses and unequal knowledge

13 · Wandering Rocks · delayed source · complication

A sound arrives before its explanation

Support: A sound enters one focal section before a later section supplies its local source, making sequence revise the reader's first placement of it.

What this comparison distorts: One delayed explanation demonstrates an operation in the prose; it does not make every interruption a solvable clue or synchronize the two scenes exactly.

• WR-FORM-02 — Sound arrives before its source

14 · Sirens · overture and return · continuity

Fragments become recognizable without becoming a code

Support: The opening fragments return through later words, noises, movements, memories, and performances, teaching recognition across sequence.

What this comparison distorts: Calling the opening an overture can imply a single solved musical plan; the page keeps multiple local returns and unmatched material visible.

• overture-and-return — The overture teaches recognition, not a code

15 · Sirens · unequal hearing · complication

One room does not produce one listening position

Support: Performance, service, conversation, memory, appetite, silence, and offstage pressure coexist while no person commands the whole acoustic scene.

What this comparison distorts: A shared-song comparison can flatten labour, gendered gaze, disability, and Bloom's own strategic silences into atmosphere.

• shared-song-unequal-hearing — One performance, several hearings

16 · Cyclops · public scale · complication

Changing scale changes who sounds credible

Support: The unnamed narrator's colloquial account and the episode's legal, epic, scientific, parliamentary, devotional, and biblical inflations repeatedly contest who may define a person, injury, nation, or event.

What this comparison distorts: A two-scale hearing can make one voice factual and the other merely false, when the narrator also fabricates and the interpolations perform varied, sometimes competing work.

• inflation-deflation-and-evidence — Inflation and deflation allocate dignity

17 · Nausicaa · gaze, display, and self-fashioning · complication

Romance display and distant looking do not make one viewpoint

Support: Sentimental idiom, commodity language, clothing, posture, church sound, fireworks, bodily sensation, and a later shift in narrative access place self-presentation beside Bloom's distant gaze without making them equivalent.

What this comparison distorts: A gaze comparison can turn Gerty into Bloom's projection, erase her self-fashioning and material situation, pathologize disability, or imply equal knowledge and agency across the two positions.

• gaze-display-and-self-fashioning — Gaze, display, and self-fashioning

18 · Oxen of the Sun · style beside labour · complication

Register succession cannot displace childbirth

Support: Changing prose registers move beside hospital conversation, medical authority, drinking, sexual talk, waiting, and Mina Purefoy's bodily labour elsewhere in the institution.

What this comparison distorts: A style-history sequence can become a clean evolutionary triumph or an exact survey of English prose, allowing virtuosity and the drinking-room company to erase the woman's offstage labour.

• style-beside-labour — Style beside labour

19 · Circe · waking action and phantasm · limit

Stage directions keep changing what kind of event can be claimed

Support: Waking movement, dialogue, character-organized phantasm, uncertain composite, and arranger-level theatre coexist in a dramatic script that repeatedly changes ontological footing.

What this comparison distorts: A stagebook can harden uncertain layers into a solved code, turn phantasm into literal encounter or geography, or use theatrical pressure as transparent biography, unconscious record, or diagnosis.

• waking-action-and-phantasm — Waking action and phantasm

20 · Eumaeus · tired language · complication

Qualification becomes a reading method

Support: Formulaic, overextended and self-correcting prose makes claims arrive already burdened by fatigue, social performance and competing evidence, so the reader must keep story, object, inference and practical care distinct.

What this comparison distorts: Calling the language tired can mistake crafted formal pressure for careless composition or turn every speaker's uncertainty into proof of deception.

• tired-language — Tired language is a crafted reading pressure

21 · Ithaca · measure and remainder · complication

Exact-seeming answers expose what their measures omit

Support: Catechetical questions and calibrated answers accumulate quantities, classifications, alternatives, and hypothetical futures while affect and remainder resist being absorbed by the apparatus.

What this comparison distorts: Calling the form an apparatus can make it sound uniform, neutral, or emotionally empty and can overlook wit, hospitality, refusal, fatigue, and unequal access to knowledge.

• measure-and-remainder — Measure keeps producing remainder

22 · Penelope · bodily return · continuity

The present body edits memory

Support: Sensation, appetite, posture, pain, menstruation, touch, and fatigue repeatedly redirect long chains of recollection.

What this comparison distorts: Tracing bodily recurrence can falsely imply physiological mastery if the episode's wit, labour, prejudice, fantasy, and formal craft are pushed aside.

• body-now — The body edits memory

23 · Penelope · revision · complication

Judgment changes on its return

Support: Molly's appraisals of Bloom, herself, lovers, rivals, work, and family turn with remembered detail and present feeling rather than settling once.

What this comparison distorts: Revision can sound progressive or reconciliatory; the comparison must leave prejudice, dependency, grief, refusal, and unresolved injury visible.

• marriage-revision — Marriage without a final verdict

01 · Telemachus · tower morning sequence · continuity

Roof, room, cliff path, and departure without invented minutes

Support: Seven ordered movements carry the morning from roof ritual through breakfast, exterior argument, the bathing cove, and Stephen's departure. A schema orientation and local sequence do not establish exact start, duration, or surveyed route geometry.

What this comparison distorts: A tower-to-road band can turn grief, song, breakfast labour, institutional history, a reported drowned body, and changing possession into equally weighted itinerary stops.

SCHEMATEXT_ANCHORRECONWINDOWOPEN

• TEL-01 — Roof ritual and performance
• TEL-04 — Song, dream, and descent
• TEL-07 — Cove, key, coins, and departure

02 · Nestor · school morning sequence · continuity

Classroom, playfield, study, and gate without a minute table

Support: Lesson, hockey release, Sargent's sum, wage payment, letter request, and the repeated gate joke preserve a textual order across the school while exact minutes and durations remain open.

What this comparison distorts: A school sequence can make inward history, quotation, prejudice, teaching, care, payment, and publicity look like uniform stages of one scheduled lesson.

TEXT_ANCHORRECONWINDOWOPEN

• NES-01 — Pyrrhus becomes a classroom test of remembered history
• NES-03 — Sargent's sum makes care ethically mixed
• NES-06 — The gate joke turns false history into an afterword

03 · Proteus · late-morning strand walk · complication

Steps, turns, rest, and rising water without fixed coordinates

Support: Walking, the untaken family turn, changed ground, a turn at the wet edge, writing on rock, rest, advancing water, and the final ship form an ordered bodily sequence while exact coordinate, duration, and tide extrema remain unclaimed.

What this comparison distorts: A strand path can spatialize remembered Paris, dream, projection, quotation, and imagined drowning as though consciousness travelled the same measurable route as Stephen's feet.

TEXT_ANCHORRECONWINDOWOPEN

• PRO-01 — Shut eyes, sounding boots
• PRO-03 — The road not taken to Aunt Sara
• PRO-05 — Turn back: live dog, dead dog, drowned man
• PRO-07 — Rising water, corpse, silent ship

04 · Calypso · domestic morning circuit · contrast

Near rooms and one errand without a total floorplan

Support: Seven ordered stages move among kitchen, bedroom threshold, nearby streets, return, letters, meal, garden, and privy while broad sequence remains firmer than exact minutes or surveyed domestic geometry.

What this comparison distorts: A circuit can make ordinary care, bodily need, animal encounter, print, memory, and partial privacy look like stops on a stable route rather than pressures that reshape attention.

TEXT_ANCHORRECONWINDOWOPEN

• CAL-01 — Breakfast things and the cat
• CAL-03 — The corner errand expands
• CAL-05 — Printed elsewhere and the turn home
• CAL-07 — Garden, privy, print, and bell

05 · Lotus Eaters · late-morning errands · continuity

Post, church, pharmacy, and imagined bath before the funeral

Support: Nine ordered stations move from quayside observation through the post office, social interruption, private reading, church, chemist, betting misunderstanding, and the imagined bath inside a broad late-morning window. One local clock observation does not timestamp the whole walk.

What this comparison distorts: An errand line can make secrecy, ritual, commodity exchange, memory, scent, bodily comfort, and fantasy look like equivalent destinations on a surveyed route.

TEXT_ANCHORRECONWINDOWOPEN

• LOT-01 — Quayside signals and the unstated approach
• LOT-03 — The alias becomes deliverable
• LOT-06 — Ritual observed from the edge
• LOT-09 — The bath remains imagined

06 · Hades · about 11:00 · continuity

Departure and southern route

Support: The episode-hour schema and route sequence orient stops S037–S040; they do not establish an exact 11:05 departure.

What this comparison distorts: A route band foregrounds forward travel and can understate memory, dialogue, and figures seen beyond the carriage.

SCHEMARECONWINDOW

• S037 — outside fictional Dignam residence, No. 9 Newbridge Avenue
• S038 — Newbridge Avenue, Tritonville Road, Irishtown Road past Watery Lane
• S039 — Ringsend Road past Wallace Bros bottleworks, Dodder bridge and Grand Canal bridge
• S040 — Great Brunswick Street past Westland Row station, Antient Concert Rooms, St Mark's and Queen's Theatre

07 · Hades · 11:20 · limit

Central-city checkpoint

Support: Bloom's 'twenty past eleven' thought falls between the D'Olier Street/O'Connell Bridge and Sackville Street parts of the route.

What this comparison distorts: One exact textual checkpoint can make adjacent reconstructed stops appear more precisely timed than their evidence allows.

TEXTTEXT_ANCHOR

• S041 — D'Olier Street/Red Bank restaurant, Crampton memorial and O'Connell Bridge
• S042 — Lower Sackville Street past O'Connell statue, Sir John Gray statue, Nelson's Pillar and west-side institutions
• S043 — Rutland Square hill, Blessington Street and Berkeley Road past the Mater Hospital and Eccles Street

08 · Hades · around noon · continuity

Canal, cemetery approach, burial

Support: Stops S044–S046 preserve firm order while the exact minute remains a broad window.

What this comparison distorts: The ordered approach compresses the uneven narrative weight of arrival, cemetery encounter, and burial into one temporal band.

WINDOW

• S044 — Dunphy's corner, Phibsborough Road, Cross Guns Bridge over the Royal Canal, then left into Finglas Road
• S045 — Finglas Road past Dennany's stonecutter's yard, Bengal Terrace and Prospect Cemetery railings
• S046 — Prospect Cemetery mortuary chapel, Dignam grave and cemetery paths including Parnell's grave

09 · Aeolus · newspaper-office sequence · complication

Street, pressrooms, offices, and departure without a newsroom stopwatch

Support: Nine ordered turns follow movement through and around the newspaper offices as printing, advertising, editorial access, rhetoric, interruption, and departure reshape the local sequence. No exact minute table or complete building plan is claimed.

What this comparison distorts: A newsroom band can make simultaneous print labour, reported political memory, speeches, errands, and interruptions appear synchronized or equally accessible to every participant.

TEXT_ANCHORRECONWINDOWOPEN

• AEO-01 — Headlines enter the street
• AEO-04 — Dan Dawson's speech is tried by listeners
• AEO-08 — Taylor's oration is performed again

10 · Lestrygonians · city-centre lunch walk · complication

Food, bodies, crossings, and chosen turns without surveyed geometry

Support: Ten stations preserve a broad walking and eating sequence as Bloom encounters commercial display, hunger, aversion, memory, social observation, and alternative places to eat. Exact timing, distances, and every associative location remain open.

What this comparison distorts: A lunch route can turn vulnerable people and sensory judgments into landmarks, flatten pauses and choices, or confuse Bloom's comparisons with neutral description of the city.

TEXT_ANCHORRECONWINDOWOPEN

• LES-01 — Sweet display meets sacrificial thought
• LES-05 — Feeding becomes a civic question
• LES-10 — Guidance, projection, and avoidance share a route

11 · Scylla and Charybdis · library debate sequence · contrast

Argument moves through a room without becoming a transcript clock

Support: Eight argumentative movements order Stephen's claims, quotations, objections, audience changes, and departures inside the National Library setting while exact duration and the boundaries between speech, thought, and performance remain open.

What this comparison distorts: A chamber sequence can make speculative claims look like timed propositions in a settled debate and can erase interruption, social standing, irony, inward revision, and uneven audience attention.

TEXT_ANCHORRECONWINDOWOPEN

• SCY-01 — The room sets competing rules for art
• SCY-04 — Questions make Stephen perform method
• SCY-08 — Fatherhood becomes the theory's void

12 · Wandering Rocks · mid-afternoon · contrast

A city hour without a master clock

Support: The Conmee and cavalcade frames orient a commonly described three-to-four window; nineteen local sections are not assigned invented exact minutes.

What this comparison distorts: A shared window can suggest synchronized coverage even though the page deliberately leaves section-by-section simultaneity open.

SCHEMAWINDOWOPEN

• WR-01 — Father Conmee
• WR-19 — The viceregal cavalcade

13 · Wandering Rocks · across Dublin · complication

Nearness is not necessarily an encounter

Support: The literary order and broad place labels support cross-section comparison while exact route geometry and synchronization remain reconstruction or open.

What this comparison distorts: Spatial comparison risks turning narrative crossings into surveyed geometry and giving the reader a total city view the episode withholds.

TEXT_ANCHORRECONWINDOWOPEN

• WR-05 — Blazes Boylan
• WR-09 — Lenehan and M'Coy
• WR-15 — Martin Cunningham and companions
• WR-19 — The viceregal cavalcade

14 · Sirens · broad afternoon sequence · complication

Clock signs and carriage pressure without a master timeline

Support: Public-clock references, Boylan's departure, Ormond performances, Bloom's meal and letter, and two street departures supply sequence and pressure without a complete exact-minute synchronization.

What this comparison distorts: Joining the clock, carriage, room, and street can give an editorial diagram more simultaneity and spatial certainty than the prose warrants.

TEXT_ANCHORRECONWINDOWOPEN

• SIR-04 — Four sounds, Boylan leaves
• SIR-06 — A shared song, unequal hearings
• SIR-10 — Street return and comic cadence

15 · Cyclops · late-afternoon hearing · complication

A five-o'clock schema without twelve invented timestamps

Support: The inherited five-o'clock orientation and the broad five-to-six working window place the courthouse approach, pub exchanges, Bloom's errand, late arrivals, departure, and projectile in order without synchronizing every report or interpolation.

What this comparison distorts: A single time band can make narrated action, offstage errand, reported event, and stylistic interruption look more simultaneous and precisely measured than the witness supports.

SCHEMATEXT_ANCHORRECONWINDOWOPEN

• CYC-01 — Debt talk becomes legal monument
• CYC-05 — Execution talk becomes expert proof and public spectacle
• CYC-10 — Nation, empire, persecution, and love compete for the room
• CYC-12 — An accusation becomes projectile, pursuit, catastrophe, and ascension

16 · Nausicaa · strand evening sequence · complication

Church sound, shoreline display, and fireworks without synchronized viewpoints

Support: Eight ordered movements place the strand group, church sounds, self-presentation, distant looking, fireworks, bodily response, and aftermath in a broad evening sequence. Chimes and fireworks orient local order without providing a complete clock or equal access to both viewpoints.

What this comparison distorts: An evening band can make gaze reciprocal, turn Gerty's material situation into scenery, or use church and fireworks cues to impose exact simultaneity on unequal narrative positions.

TEXT_ANCHORRECONWINDOWOPEN

• NAU-01 — A shore group held together by care
• NAU-04 — A ball opens a corridor of glances
• NAU-08 — Bloom's aftermath cannot preserve the encounter

17 · Oxen of the Sun · hospital evening sequence · complication

Waiting, drinking, childbirth, and departure without making style a clock

Support: Ten ordered turns hold arrival, hospital conversation, reports of labour, drinking-room escalation, news of birth, and departure in broad sequence while Mina Purefoy's bodily time remains largely outside the men's room and the prose registers do not function as timestamps.

What this comparison distorts: A hospital band can subordinate childbirth to the men's talk, treat reported labour as directly witnessed, or misread stylistic succession as exact chronological measurement.

TEXT_ANCHORRECONWINDOWOPEN

• OXE-01 — The hospital threshold places labor upstairs
• OXE-05 — Prose forms keep revising the same room
• OXE-10 — The prose and company break into the night

18 · Circe · waking movement through Nighttown · limit

A late-night waking sequence with phantasm excluded from route evidence

Support: Twelve stage-and-ontology scenes preserve only the broad order of waking approaches, meetings, conflict, departure, and aftermath. Phantasms, transformations, remembered places, and uncertain composites are formal events rather than independent coordinates or elapsed time.

What this comparison distorts: A Nighttown path can literalize phantasm, confuse staged return with bodily encounter, turn vulnerable people into route markers, or imply present-day navigation and safety knowledge.

TEXT_ANCHORRECONWINDOWOPEN

• CIR-01 — Nighttown opens as pursuit and hazard
• CIR-06 — Bella becomes Bello and domination takes the stage
• CIR-12 — Guarding Stephen opens the image of Rudy

19 · Eumaeus · after-midnight walk and shelter · complication

A tired sequence without a synchronized minute table

Support: The walk from Nighttown, Corley's request, the cabman's shelter, travellers' stories, political disagreement, hunger, payment, invitation, and arm-in-arm departure form a firm broad sequence while the working 00:45–01:40 orientation remains reconstruction and window rather than textual clock time.

What this comparison distorts: A single interval can make exhausted movement, remembered events, printed claims, rumours, projected futures, and shelter conversation appear more synchronized or geographically settled than the episode supports.

TEXT_ANCHORRECONWINDOWOPEN

• EUM-01 — Aid, no cab, and the long walk beginning
• EUM-02 — Corley, uncertain need, and shelter entry
• EUM-05 — Body, hunger, soul, and the limits of judging
• EUM-08 — Invitation, payment, leaning, and unheard continuation

20 · Ithaca · late-night household sequence · complication

Entry, observatory, separation, and bed without a solved timetable

Support: The nine observatories preserve a firm textual order from improvised entry and hospitality through garden separation, household evidence, edited account, and the terminal bed-point while exact duration and emotional distance remain open.

What this comparison distorts: Turning the catechetical order into a timeline can mistake textual succession, calculations, hypotheticals, and remembered places for a complete chronology of bodies or feelings.

TEXT_ANCHORRECONWINDOWOPEN

• ITH-01 — Parallel courses and improvised entry
• ITH-06 — Garden observatory and separation
• ITH-09 — Bed, edited account, terminal point

21 · Penelope · small hours · contrast

One room, many memory-places

Support: The bed and immediate body anchor the present while Gibraltar, Howth, performance spaces, and earlier homes return through association rather than travel.

What this comparison distorts: Naming remembered places as a geography can turn embodied association into a route and obscure the episode's uncertain duration.

TEXT_ANCHORRECONWINDOWOPEN

• PEN-01 — Breakfast, suspicion, appetite
• PEN-05 — Menstruation and material interruption
• PEN-07 — Voice, work, Gibraltar
• PEN-08 — Howth, proposal, yes