The Object Museum

DIMENSION 1 · TYPE I, INVENTORY · THE UNIT: THE OBJECT — POSITION HOUR BY HOUR, HAND TO HAND

Thirty-two objects, 301 stations, every station quoted from the 1922 text, which is in the public domain and quoted freely. States follow anchor A3 and are kept strictly apart: present — the object is in the scene; recalled — it exists here only in memory or thought; hallucinated — Circe's visions and dreams. Hours are approximate, taken from the itinerary's clock (base document 03), and say so. The census was of the whole text; the selection is thirty-two, not everything — the exclusions are stated at the end.

The test for a case in this museum is Braudel's: does the object carry a structure of the day — money, post, empire, memory, desire, the body — and does it move? Followed materially, the day is also a logistics: letters through grills, coins across counters, a cake of soap riding thirteen hours in a series of pockets, a house key absent from eight in the morning to two the next morning and governing everything in between.

the shrivelled potato

the cases

VEGETABLE TALISMAN — A HARD BLACK SHRIVELLED POTATO, INHERITED FROM BLOOM'S MOTHER · EPISODES 4, 8, 15, 15, 15, 15, 15, 15

Famine memory as heirloom: checked on the doorstep, verified at the Museum gate, taken into Zoe's stocking-top and formally reclaimed — 'a relic of poor mamma' — the one object Bloom will negotiate to recover.

Famine memory as heirloom: a tuber carried mother-to-son against plague and rheumatism, checked at every threshold like the latchkey it outlasts. It leaves Bloom's pocket only once in the whole day — into Zoe's stocking-top at a brothel door — and it is the one object he formally negotiates to recover.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:10 a.m.	4 · Calypso	Bloom's hip pocket, on the doorstep of 7 Eccles Street	present	the day's first inventory: the latchkey is missing, the potato is not — the talisman verified before the door is pulled to	“On the doorstep he felt in his hip pocket for the latchkey. Not there. In the trousers I left off. Must get it. Potato I have.”
~2 p.m.	8 · Lestrygonians	Bloom's pockets, at the National Museum gate, Kildare Street	present	fleeing Boylan, Bloom runs the pocket-census again and the potato answers the roll between trousers and purse	“I am looking for that. Yes, that. Try all pockets. Handker. Freeman. Where did I? Ah, yes. Trousers. Potato. Purse. Where?”
~12:05 a.m.	15 · Circe	Bloom's pockets, Mabbot Street entrance to Nighttown	present	jolted by the Caffrey boys, Bloom pats down his portable estate and the potato is counted with watch, purse, book and soap	“Bloom pats with parcelled hands watch, fobpocket, bookpocket, pursepoke, sweets of sin, potato soap.”
~12:10 a.m.	15 · Circe	the apparition of Ellen Bloom, ransacking her petticoat pouch	hallucinated	in the parental phantasm the potato falls from his dead mother's pocket among her devotional kit — the heirloom shown at its source	“A phial, an Agnus Dei, a shrivelled potato and a celluloid doll fall out.”
~12:30 a.m.	15 · Circe	Zoe Higgins's hand, then her pocket, at Bella Cohen's door	present	Zoe, feeling for a chancre, extracts the potato from his trouser pocket; Bloom names it — 'A talisman. Heirloom.' — and she keeps it	“Her hand slides into his left trouser pocket and brings out a hard black shrivelled potato. She regards it and Bloom with dumb moist lips.”
~12:35 a.m.	15 · Circe	Bloom orating, in the stump-speech fantasy	hallucinated	prompted by Zoe's 'make a stump speech out of it,' the potato is elevated into national history against Ralegh's other import, tobacco	“Sir Walter Ralegh brought from the new world that potato and that weed, the one a killer of pestilence by absorption”
~12:40 a.m.	15 · Circe	the Daughters of Erin, in the martyrdom pageant	hallucinated	the talisman enters Bloom's mock-litany of relics as a plague-charm invoked by name	“Potato Preservative against Plague and Pestilence, pray for us.”
~12:45 a.m.	15 · Circe	back in Bloom's keeping, the music room at Bella Cohen's	present	Bloom formally asks for it back — 'a relic of poor mamma' — and Zoe unrolls it from the top of her stocking and returns it	“She hauls up a reef of her slip, revealing her bare thigh, and unrolls the potato from the top of her stocking.”

Sweets of Sin

the cases

EROTIC NOVEL IN CHEAP COVERS, TAKEN FROM A HAWKER'S BOOKCART FOR MOLLY · EPISODES 10, 11, 11, 13, 15, 15, 15, 15, 15, 16, 17, 17, 18, 18

Bought off a hawker's cart for Molly and carried against Bloom's breast through pub, strand, brothel and kitchen — where its blank endpaper becomes writing paper — desire purchased secondhand and put to domestic use.

A shilling-trade erotic novel chosen off a bookcart in mid-afternoon and carried in the bookpocket for eleven hours — commercial desire in cheap covers moving through pub, strand, brothel and kitchen, its phrases colonizing Bloom's inner speech, until its blank endpaper serves as household writing paper and the object itself is delivered as a marital gift.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~3:30 p.m.	10 · Wandering Rocks	Bloom's hands, at the hawker's bookcart off Merchants' Arch	present	Bloom rejects Fair Tyrants, samples Sweets of Sin — 'More in her line' — is physically overwhelmed by the Raoul passages, and takes it for Molly; the shopman taps it: 'That's a good one'	“All the dollarbills her husband gave her were spent in the stores on wondrous gowns and costliest frillies. For him! For Raoul!”
~3:55 p.m.	11 · Sirens	Bloom's bookpocket, walking the quays toward the Ormond	present	carried past the shop windows, the book pulses through his thoughts — 'For Raoul' recurring as he sights Boylan's car and decides to follow	“By went his eyes. The sweets of sin. Sweet are the sweets. Of sin.”
~4:45 p.m.	11 · Sirens	Bloom's bookpocket, leaving the Ormond up the quay	present	the episode's coda inventories what Bloom carries away from the hour of the adultery: Martha's letter, the book, the day's refrain	“Up the quay went Lionelleopold, naughty Henry with letter for Mady, with sweets of sin with frillies for Raoul with met him pike hoses went Poldy on.”
~8:55 p.m.	13 · Nausicaa	Bloom's bookpocket (inferred), on the rocks at Sandymount Strand	recalled	only the book's language appears — the Raoul phrases dissolving into Bloom's half-dream as he dozes; the volume itself rides unmentioned in his pocket	“met him pike hoses frillies for Raoul de perfume your wife black hair heave under embon señorita young eyes Mulvey plump bubs”
~12:05 a.m.	15 · Circe	Bloom's bookpocket, Mabbot Street	present	counted in the pocket-pat after the collision, between purse and potato	“Bloom pats with parcelled hands watch, fobpocket, bookpocket, pursepoke, sweets of sin, potato soap.”
~12:10 a.m.	15 · Circe	the smoke-wreaths of Nighttown, speaking	hallucinated	the title detaches from the book and is spoken back at Bloom by the drifting cigarette smoke of the doorway women	“THE WREATHS: Sweet are the sweets. Sweets of sin.”
~12:40 a.m.	15 · Circe	the Daughters of Erin, in the martyrdom pageant	hallucinated	the title becomes one of Bloom's litany-names among his day's relics	“Sweets of Sin, pray for us”
~12:45 a.m.	15 · Circe	the hallucinated Marion, in the cuckold fantasy with Boylan	hallucinated	the novel's lover-name colonizes the marriage itself: Molly, in Bloom's fantasy of the afternoon, calls Boylan by Raoul's name	“Raoul darling, come and dry me. I’m in my pelt. Only my new hat and a carriage sponge.”
~12:55 a.m.	15 · Circe	the hue-and-cry pursuing Bloom	hallucinated	the bookseller who supplied the volume runs anonymously in the mob chasing Bloom through the fantasy	“the bookseller of Sweets of Sin, Miss Dubedatandshedidbedad, Mesdames Gerald and Stanislaus Moran of Roebuck”
~1:40 a.m.	16 · Eumaeus	Bloom's pocket, in the cabman's shelter at Butt Bridge	present	reaching for Molly's photograph to show Stephen, Bloom must steer his hand around the book; its diction ('heaving embonpoint') then leaks into his appraisal of the photo	“Carefully avoiding a book in his pocket Sweets of, which reminded him by the by of that Capel street library book out of date”
~2:20 a.m.	17 · Ithaca	Bloom's hands, on the kitchen table of 7 Eccles Street, with Stephen	present	produced face-down so the cover cannot be read, its penultimate blank page becomes writing paper for Stephen's Irish and Bloom's Hebrew characters	“On the penultimate blank page of a book of inferior literary style, entituled Sweets of Sin”
~2:40 a.m.	17 · Ithaca	the bedroom of 7 Eccles Street — named to Molly (the volume delivered to her, inferred)	present	in the edited account of his day that Bloom gives Molly, the book is one of the items he does include	“a volume of peccaminous pornographical tendency entituled Sweets of Sin, anonymous author a gentleman of fashion”
no hour (after ~2:45 a.m.)	18 · Penelope	Molly's possession, the bed at 7 Eccles Street	present	Molly, wakeful, turns the unread gift over in her mind and guesses at its author	“I wonder what kind is that book he brought me Sweets of Sin by a gentleman of fashion some other Mr de Kock I suppose”
no hour (after ~2:45 a.m.)	18 · Penelope	Molly's monologue	recalled	the title returns as her exasperated exclamation on the whole business of being a woman	“O Jamesy let me up out of this pooh sweets of sin whoever suggested that business for women”

Molly's uncollected lotion (Sweny's)

the cases

PHARMACEUTICAL PREPARATION — ORDERED, NEVER COLLECTED · EPISODES 5, 5, 8, 8, 11, 11, 13, 15, 15, 15, 18

Ordered at ten, remembered guiltily at four, at eleven, and in bed — an object that never arrives, structuring the day as the errand not run: deferral itself given a bottle's shape, twin to the unpaid soap.

An object that never arrives: made up at ten and left on Sweny's counter with two and nine owing (twin to the fourpenny soap), it structures Bloom's day as the errand not run — surfacing at one, at two, at four, at five, at nine, in three hallucinations at midnight, and finally in the audit of the wife who told him to get it made up.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~10:10 a.m.	5 · Lotus Eaters	in Bloom's mind, walking Westland Row — recipe in the other trousers	recalled	Bloom remembers the standing errand and steers for the chemist's, keyless and recipeless	“Better get that lotion made up. Where is this? Ah yes, the last time. Sweny’s in Lincoln place.”
~10:15 a.m.	5 · Lotus Eaters	Sweny the chemist, Lincoln Place — being made up, unpaid	present	Bloom recites the recipe from memory (almond oil, benzoin, orangeflower water, white wax), orders it made up, promises to call back, and adds the lemon soap on the same unpaid account	“Make it up, please. I’ll call later in the day and I’ll take one of these soaps.”
~1:15 p.m.	8 · Lestrygonians	waiting at Sweny's; in Bloom's mind on Grafton Street	recalled	first resurfacing of the errand, already reframed as a possible birthday present	“Must go back for that lotion. For her birthday perhaps.”
~2:00 p.m.	8 · Lestrygonians	in Bloom's mind, fleeing Boylan into the museum gate — soap in hip pocket	recalled	in the panic of the pocket-search the lotion flashes past, fused with the soap it is twinned to	“His hand looking for the where did I put found in his hip pocket soap lotion have to call tepid paper stuck.”
~4:15 p.m.	11 · Sirens	in Bloom's mind, at dinner in the Ormond — while Boylan's car jingles toward Eccles Street	recalled	watching Miss Douce's seaside skin, Bloom reminds himself of the errand at the very hour of the adultery	“O and that lotion mustn’t forget.”
~4:50 p.m.	11 · Sirens	in Bloom's mind, rising to leave the Ormond — soap sticky at his back	recalled	second Sirens reminder, again prompted by the sweating soap, as he makes his exit past deaf Pat	“That lotion, remember. Well, so long. High grade.”
~9:00 p.m.	13 · Nausicaa	still on Sweny's counter; in Bloom's mind on the rocks at Sandymount	recalled	the reckoning: the shop never revisited, the soap never paid, the account (two and nine plus fourpence) computed for a tomorrow visit	“O by the by that lotion. I knew there was something on my mind. Never went back and the soap not paid.”
~12:10 a.m.	15 · Circe	the apparitions of Marion and of Sweny in the soap-sun disc	hallucinated	confronted by Molly's apparition, Bloom pleads the uncollected lotion as alibi; the soap rises singing and Sweny's face demands the unpaid three and a penny	“I was just going back for that lotion whitewax, orangeflower water. Shop closes early on Thursday.”
~12:35 a.m.	15 · Circe	the apparition of Virag, Bloom's grandfather, in Bella Cohen's music room	hallucinated	the recipe's ingredients leak into Virag's blasphemous rant — the lotion's whitewax and orangeflower recast as a woman's lovephiltre trade	“She sold lovephiltres, whitewax, orangeflower.”
~12:45 a.m.	15 · Circe	hallucinated Bloom's proffered ointment jar, before the apparition of Boylan	hallucinated	in the cuckold fantasy Bloom offers Boylan the lotion's own orangeflower as valet's service at his wife's door	“Vaseline, sir? Orangeflower...? Lukewarm water...?”
no hour (~2–3 a.m.)	18 · Penelope	Molly's memory, in bed — the last of the old bottle finished yesterday	recalled	the object's other end: Molly, who finished the previous bottle and ordered the refill 'over and over again', plans to audit the errand by the bottle — not knowing it was never collected	“the face lotion I finished the last of yesterday that made my skin like new I told him over and over again get that made up in the same place”

Bloom's high grade hat (Plasto's)

the cases

CLOTHING / CONCEALMENT — A MASS-PRODUCED ARTICLE OF THE DUBLIN HATTING TRADE DOUBLING AS A PRIVATE SAFE · EPISODES 4, 5, 6, 6, 6, 6, 6, 8, 11, 11, 14, 15, 15, 17, 17, 17

A hat that is also a safe: the sweated legend in its crown hides the Henry Flower card, so every doffing at funeral, church and shopfront carries a secret second life on Bloom's head.

A commodity of the hat trade that is also the day's one secure hiding place: the crown doffed to every public authority — funeral, church, the watch — carries in its leather headband the card that funds Bloom's second, postal life as Henry Flower. The same shop, Plasto's of 1 Great Brunswick street, hats both husband and lover: Boylan's dressy straw (11) is from the same counter, and the funeral carriage rolls past the shopfront at eleven.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:00 a.m.	4 · Calypso	Bloom's hand, from the peg in the hall of 7 Eccles Street	present	taken down for the day; the sweat-worn maker's mark read, the white slip (the Henry Flower card) checked safe behind the headband	“The sweated legend in the crown of his hat told him mutely: Plasto’s high grade ha. He peeped quickly inside the leather headband. White slip of paper. Quite safe.”
~9:50 a.m.	5 · Lotus Eaters	Bloom, Westland Row, before the post office	present	under cover of wiping his brow, the card is slipped out of the headband into his waistcoat pocket to claim Martha's letter as Henry Flower	“His fingers found quickly a card behind the headband and transferred it to his waistcoat pocket.”
~11:10 a.m.	6 · Hades	on Bloom's head, in the funeral carriage	present	weather registered on the hat's surface — the day's first rain lands on it	“A raindrop spat on his hat.”
~11:15 a.m.	6 · Hades	on Bloom's head; the maker's shop seen through the carriage window	present	the carriage passes the hat's point of manufacture, Plasto's of Great Brunswick street — commodity and owner briefly realigned	“Plasto’s. Sir Philip Crampton’s memorial fountain bust. Who was he?”
~11:40 a.m.	6 · Hades	balanced on Bloom's left knee, mortuary chapel, Glasnevin	present	doffed to the Church — the hat parked on the knee while Bloom half-kneels on his newspaper	“He fitted his black hat gently on his left knee and, holding its brim, bent over piously.”
~11:50 a.m.	6 · Hades	in Bloom's hand at the graveside	present	doffed to the dead; bareheaded, Bloom counts the mourners and finds the thirteenth in the macintosh	“Mr Bloom stood far back, his hat in his hand, counting the bared heads.”
~12:00 noon	6 · Hades	back on Bloom's head, leaving the grave	present	recovered the moment decency allows; the return to the living is performed by covering the head	“Mr Bloom put on his hat and saw the portly figure make its way deftly through the maze of graves.”
~1:10 p.m.	8 · Lestrygonians	on Bloom's head, under Tommy Moore's statue, Westmoreland Street	present	street grooming before the lunchtime crowd — the hat straightened by reflex	“Settle my hat straight.”
~4:30 p.m.	11 · Sirens	with Bloom in the Ormond dining room	present	while Boylan (in his own Plasto straw hat) jingles toward Eccles Street, Bloom writes to Martha and confirms the card is back in its hiding place	“If she found out. Card in my high grade ha. No, not tell all. Useless pain.”
~4:45 p.m.	11 · Sirens	on Bloom's head, leaving the Ormond	present	departure inventory — hat, sweat, lotion to collect, card verified inside the band	“Must have sweated: music. That lotion, remember. Well, so long. High grade. Card inside. Yes.”
~10:00 p.m.	14 · Oxen of the Sun	held in Bloom's hand, hall of Horne's maternity hospital	present	doffed on the threshold and held through the talk with Nurse Callan — courtesy where none is required of him	“Loth to irk in Horne’s hall hat holding the seeker stood.”
~12:20 a.m.	15 · Circe	hallucinated Bloom before the watch	hallucinated	in the dream-trial the hat betrays its owner: doffed in a salute, it drops the hidden card, and the watch reads the double identity aloud	“(A card falls from inside the leather headband of Bloom’s hat.) ... FIRST WATCH: (Reads.) Henry Flower. No fixed abode.”
~12:40 a.m.	15 · Circe	hallucinated Bloom under Dr Mulligan's examination	hallucinated	in the medical-degradation fantasy the hat is reduced to a fig leaf	“(Bloom holds his high grade hat over his genital organs.)”
~2:05 a.m.	17 · Ithaca	compressed on Bloom's head, area railings of 7 Eccles Street	present	jammed down for the burglar's drop into his own area — the one moment the hat is secured rather than doffed	“he climbed over the area railings, compressed his hat on his head, grasped two points at the lower union of rails and stiles”
~2:15 a.m.	17 · Ithaca	left inside the house (hall, inferred); Bloom reappears bareheaded	present	the day's public head is bared at home: Bloom opens the halldoor to Stephen without his hat — its resting place unstated (A5: inferred, the text records only its absence from his head)	“In the open space of the doorway the man reappeared without his hat, with his candle.”
~2:45 a.m.	17 · Ithaca	the hat's secret cargo filed in locked drawer 1 of the front-room table	present	the correspondence the headband financed is catalogued into the drawer — Martha's three letters to Henry Flower; the card itself is not listed in the inventory (A5: its final berth is inferred, not sourced)	“3 typewritten letters, addressee, Henry Flower, c/o. P. O. Westland Row, addresser, Martha Clifford, c/o. P. O. Dolphin’s Barn”

the Agendath Netaim flyer

the cases

PRINTED PROSPECTUS — A CUT SHEET USED AS BUTCHER'S WRAPPING PAPER · EPISODES 4, 4, 4, 4, 8, 8, 11, 13, 14, 15, 15, 17, 17

A Zionist planters' prospectus picked up at the pork butcher's, carried all day as a pocket dream of orange groves, and burned at midnight to light an incense cone — diaspora, longing and disposal in one folded page.

A Berlin land-company's prospectus reaches Dublin as wrapping paper on a pork butcher's counter: the print economy of Zionist colonization circulating as packaging. Bloom carries the folded page sixteen hours in a waistcoat pocket — a paper acre of Palestine — and at day's end it completes the full life-cycle of promotional print: advertisement, daydream, kindling.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:15 a.m.	4 · Calypso	Bloom's hand, at Dlugacz's counter, Upper Dorset Street	present	Bloom picks the page off the butcher's pile of cut wrapping sheets while waiting to buy the kidney	“He took a page up from the pile of cut sheets: the model farm at Kinnereth on the lakeshore of Tiberias.”
~8:20 a.m.	4 · Calypso	Bloom, walking back along Dorset Street	present	he reads the prospectus gravely — eucalyptus, orange groves, eighty marks a dunam — and drifts into a warm reverie of Jaffa and Citron's parlour	“Agendath Netaim: planters’ company. To purchase waste sandy tracts from Turkish government and plant with eucalyptus trees.”
~8:25 a.m.	4 · Calypso	Bloom's pocket, turning into Eccles Street	present	a cloud covers the sun, the dream curdles to dead sea and desolation, and he folds the page away and hurries home	“Grey horror seared his flesh. Folding the page into his pocket he turned into Eccles street, hurrying homeward.”
~8:40 a.m.	4 · Calypso	Bloom's pocket (he is in the garden, heading to the jakes)	recalled	the flyer surfaces as a stray thought — Dlugacz's voice and the half-remembered name	“Deep voice that fellow Dlugacz has. Agendath what is it? Now, my miss. Enthusiast.”
~1:20 p.m.	8 · Lestrygonians	Bloom's pocket (he is passing the silk shops toward Duke Street)	recalled	hungry among Grafton Street silks, the flyer's promise returns as a phrase of appetite and wealth	“All for a woman, home and houses, silkwebs, silver, rich fruits spicy from Jaffa. Agendath Netaim. Wealth of the world.”
~2 p.m.	8 · Lestrygonians	Bloom's hand, at the National Museum gate, Kildare Street	present	fleeing Boylan, he pulls the flyer out as stage business while pretending to search his pockets, then thrusts it back	“His hasty hand went quick into a pocket, took out, read unfolded Agendath Netaim. Where did I?”
~4 p.m.	11 · Sirens	the wrapper pile at Dlugacz's shop window, as Boylan's car passes (Bloom's own copy meanwhile in his waistcoat at the Ormond — inferred)	present	the narration places the shop's stock of Agendath sheets on Boylan's jingling route to Eccles Street — a narrational leitmotif, marked inferred (A5), since it is Sirens's echo-prose, not Bloom's page	“By Dlugacz’ porkshop bright tubes of Agendath trotted a gallantbuttocked mare.”
~8:55 p.m.	13 · Nausicaa	Bloom's pocket (he drowses on the rocks, Sandymount Strand)	recalled	the name drifts through Bloom's half-dream jumble as he dozes after the fireworks	“wander years of dreams return tail end Agendath swoony lovey showed me her next year in drawers return”
~10:30 p.m.	14 · Oxen of the Sun	Bloom's mind, in the common room of Holles Street hospital	recalled	in the visionary reverie of barrenness the orange groves are revoked — the promised land declared waste	“Agendath is a waste land, a home of screechowls and the sandblind upupa. Netaim, the golden, is no more.”
~12:20 a.m.	15 · Circe	hallucinated courtroom — J. J. O'Molloy defending Bloom; Dlugacz in the gallery	hallucinated	in the trial fantasy the flyer inflates into Bloom's mortgaged estate, with the Kinnereth lakeshore projected as evidence on the wall	“He is down on his luck at present owing to the mortgaging of his extensive property at Agendath Netaim in faraway Asia Minor”
~12:35 a.m.	15 · Circe	the Bloomusalem pageant — Brini's genealogy, Hornblower's stoning decree	hallucinated	Agendath and Netaim become begetting ancestors in Bloom's messianic pedigree, then the name of the people who stone and defile him	“And they shall stone him and defile him, yea, all from Agendath Netaim and from Mizraim, the land of Ham.”
~2:30 a.m.	17 · Ithaca	Bloom's hands, at the front-room mantelpiece, 7 Eccles Street	present	he unfolds the prospectus a last time, rolls it into a cylinder, lights it at the candle and uses it to ignite the cone of incense — the flyer is burned	“produced from his waistcoat a folded page of prospectus (illustrated) entitled Agendath Netaim, unfolded the same, examined it superficially, rolled it into a thin cylinder, ignited it in the candleflame”
~2:35 a.m.	17 · Ithaca	Bloom's pre-sleep meditation (the page itself now ash)	recalled	the prospectus's scheme is reviewed once more, deadpan, among the catechism's channels to vast wealth	“The reclamation of dunams of waste arenary soil, proposed in the prospectus of Agendath Netaim, Bleibtreustrasse, Berlin, W. 15”

the Jacobs' biscuit tin

the cases

MASS-PRODUCED PACKAGING / IMPROVISED WEAPON · EPISODES 12, 12, 12, 12, 12, 12, 12, 15, 15

An empty branded tin scraped for a dog, rifled by a cadger, and finally hurled after Bloom's escaping car with earthquake fanfare — mass-produced packaging as the day's one weapon, nationalism armed with what the shop sells.

A branded tin, already empty of what it was sold to contain, is the one piece of common property in Barney Kiernan's: it feeds a dog, is scavenged by the broke, and ends as the afternoon's only ordnance. The shop's packaging does the throwing that the nation's rhetoric threatens.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~5:15 p.m.	12 · Cyclops	Bob Doran (the tin fetched by Terry the curate at his order), Barney Kiernan's pub	present	Bob Doran, drunk and doing the bloody fool with Garryowen, has Terry bring the tin and scrapes its last crumbs out for the dog — the tin later named as the one 'Bob Doran left'	“starts scraping a few bits of old biscuit out of the bottom of a Jacobs’ tin he told Terry to bring”
~5:25 p.m.	12 · Cyclops	on the pub floor; the dog nosing it	present	emptied, the tin sends Garryowen mousing round the drinkers for more	“the old dog seeing the tin was empty starts mousing around by Joe and me”
~5:40 p.m.	12 · Cyclops	Lenehan's hands (the tin 'Bob Doran left')	present	Lenehan, cleaned out by Throwaway's win, goes to the tin to cadge what might be left, the dog backing his luck	“So he went over to the biscuit tin Bob Doran left to see if there was anything he could lift on the nod”
~5:55 p.m.	12 · Cyclops	the Citizen, plunging back into the shop for it	present	at 'Christ was a jew like me' the Citizen demands the tin as a weapon	“By Jesus, I’ll crucify him so I will. Give us that biscuitbox here.”
~5:55 p.m.	12 · Cyclops	no one's — the interpolating parody voice	present	the gigantism interpolation transfigures the tin into a presentation silver casket at Bloom's mock state farewell — in the narrator's gigantist parody, not the room (not Circe-vision or dream, so not 'hallucinated'; present only as the episode's own narration)	“a work which reflects every credit on the makers, Messrs Jacob agus Jacob”
~6:00 p.m.	12 · Cyclops	the Citizen's throwing arm, then Little Britain Street	present	the Citizen lets fly after Bloom's departing car; the sun in his eyes, the tin misses and clatters down the street	“all the populace shouting and laughing and the old tinbox clattering along the street”
~6:00 p.m.	12 · Cyclops	no one's — the interpolating parody voice	present	the throw is reported as a national catastrophe by the seismic-bulletin parody — in the narrator's gigantist parody, not the street (not Circe-vision or dream, so not 'hallucinated'; present only as the episode's own narration)	“The observatory of Dunsink registered in all eleven shocks, all of the fifth grade of Mercalli’s scale”
~12:20 a.m.	15 · Circe	the apparition of Father Coffey, in the Paddy Dignam sequence	hallucinated	the brand returns as liturgy — Coffey's requiem chant fuses Dominus vobiscum with the biscuit firm	“Namine. Jacobs. Vobiscuits. Amen.”
~12:45 a.m.	15 · Circe	the hallucinated hue-and-cry pelting Bloom	hallucinated	the single thrown tin multiplies into a hail of biscuitboxes as the whole day's cast hunts Bloom through Nighttown	“He is pelted with gravel, cabbagestumps, biscuitboxes, eggs, potatoes, dead codfish”

Stephen's ashplant

the cases

WALKING STICK OF ASH · EPISODES 1, 1, 1, 3, 3, 3, 9, 9, 10, 14, 15, 15, 15, 15, 15, 15, 15, 15, 15, 16, 17

The one possession the dispossessed man keeps all day — familiar, augur's rod, sword — until it smashes the brothel chandelier and passes briefly into Bloom's safekeeping: property as identity for a man who owns almost nothing else.

The single durable good of a man who surrenders his key at breakfast: familiar, sword, augur's rod and weapon by turns, it does the day's whole work of property — carried, lent, thrown down, abandoned, held in trust by a stranger, and restored.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:30 a.m.	1 · Telemachus	Stephen, leaving the Martello tower	present	Taken up from its leaningplace as Stephen locks the tower door and pockets the key he is about to surrender	“Stephen, taking his ashplant from its leaningplace, followed them out”
~8:40 a.m.	1 · Telemachus	Stephen; Mulligan's hand on it briefly	present	Mulligan tugs it in mock farewell before capering down to the Forty Foot	“He tugged swiftly at Stephen’s ashplant in farewell”
~8:45 a.m.	1 · Telemachus	Stephen, trailing it on the path	present	Trailed at his heels, its ferrule squealing — Stephen names it his familiar	“trailing his ashplant by his side. Its ferrule followed lightly on the path, squealing at his heels. My familiar, after me, calling, Steeeeeeeeeeeephen!”
~11:15 a.m.	3 · Proteus	rested in a rock grike beside Stephen	present	Set down while Stephen sits to scribble his poem on the torn end of Deasy's letter	“sat on a stool of rock, resting his ashplant in a grike”
~11:30 a.m.	3 · Proteus	in the grike, the tide rising toward it	present	The flooding tide threatens to carry it off; Stephen elects to wait rather than move	“My ashplant will float away. I shall wait. No, they will pass on, passing, chafing against the low rocks”
~11:45 a.m.	3 · Proteus	Stephen, leaving the strand	present	Taken up by the hilt like a sword, lunged with softly — the first rehearsal of Nothung	“He took the hilt of his ashplant, lunging with it softly, dallying still.”
~2:30 p.m.	9 · Scylla and Charybdis	across Stephen's knee in the librarian's office	present	Serves as hat-rack for the caubeen while Stephen performs his Shakespeare theory, and is silently named armament	“Stephen looked down on a wide headless caubeen, hung on his ashplanthandle over his knee. My casque and sword.”
~2:45 p.m.	9 · Scylla and Charybdis	Stephen, in the librarian’s office, mid-argument	present	Counted in the inventory of everything he owns and wears — crown, sword, borrowed boots — taken mid-Shakespeare-argument, not at the exit	“Stephen looked on his hat, his stick, his boots. Stephanos, my crown. My sword.”
~3:15 p.m.	10 · Wandering Rocks	Stephen, outside Trinity with Artifoni	present	Swayed idly from its midpoint while his singing teacher pleads with him not to sacrifice himself	“Stephen said smiling, swaying his ashplant in slow swingswong from its midpoint, lightly”
~11 p.m.	14 · Oxen of the Sun	grabbed up in the stampede from Holles Street	present	Snatched with all the party's headgear as Stephen cries Burke's! and the drinkers bolt for the pub	“a universal grabbing at headgear, ashplants, bilbos, Panama hats and scabbards, Zermatt alpenstocks and what not”
~midnight	15 · Circe	Stephen's left hand, entering Nighttown	present	Flourished while he chants the paschal introit, shivering the lamp image over Mabbot Street	“He flourishes his ashplant, shivering the lamp image, shattering light over the world.”
~midnight	15 · Circe	Lynch, briefly	present	Thrust on Lynch — Hold my stick — so Stephen's hands are free to illustrate gesture as universal language; Lynch hands the crutch back	“Stephen thrusts the ashplant on him and slowly holds out his hands”
~12:30 a.m.	15 · Circe	sprawled on the pianola, Bella Cohen's music room	present	Laid aside with the hat while Stephen picks out empty fifths with two fingers	“Stephen stands at the pianola on which sprawl his hat and ashplant.”
~12:30 a.m.	15 · Circe	asked after by phantoms	hallucinated	Philip Drunk and Philip Sober, Stephen's hallucinated doubles, check the drunkard's inventory for him	“By the bye have you the book, the thing, the ashplant? Yes, there it, yes.”
~12:40 a.m.	15 · Circe	Stephen, then the table, then Stephen again	present	Reclaimed as augur's rod for the tripudium, thrown on the table to waltz Zoe, snatched up again for the pas seul as the dance spins	“Quick! Quick! Where’s my augur’s rod? (He runs to the piano and takes his ashplant, beating his foot in tripudium.)”
~12:45 a.m.	15 · Circe	Stephen's two hands, raised at his mother's ghost	present	Nothung — the real blow inside the hallucination: the chandelier smashed, the chimney of the lamp actually broken	“He lifts his ashplant high with both hands and smashes the chandelier.”
~12:45 a.m.	15 · Circe	abandoned, then Bloom's hands	present	Dropped as Stephen flies from the room; Bloom snatches it up and raises it to show Bella the damage is sixpence, not ten shillings	“(Snatches up Stephen’s ashplant.) Me? Ten shillings? Haven’t you lifted enough off him?”
~12:50 a.m.	15 · Circe	Bloom's hand, hurrying after Stephen	present	Carried through the hallucinated hue-and-cry — the pack of pursuers is phantasm, but the stick in Bloom's grip is real	“The ashplant marks his stride.”
~1 a.m.	15 · Circe	Bloom, standing over unconscious Stephen	present	Held in trust with the hat and money while Stephen lies on the Beaver Street cobbles — property as guardianship	“No, no, no. I have his money and his hat here and stick.”
~1 a.m.	16 · Eumaeus	returned to Stephen's hand	present	Handed back with the hat in the book's plainest act of restitution before the walk to the cabman's shelter	“Mr Bloom brushed off the greater bulk of the shavings and handed Stephen the hat and ashplant and bucked him up generally in orthodox Samaritan fashion”
~2 a.m.	17 · Ithaca	Stephen, in procession to the garden of 7 Eccles Street	present	Borne like a crozier in the mock-liturgical exodus, the hat riding on it, while Bloom bears the lighted candle	“Lighted Candle in Stick borne by BLOOM Diaconal Hat on Ashplant borne by STEPHEN”

Stephen's Latin Quarter hat

the cases

HEADGEAR — A SOFT BROAD-BRIMMED HAT FROM PARIS · EPISODES 1, 3, 3, 3, 9, 9, 10, 15, 15, 15, 15, 16, 16, 17, 17

The Paris affectation worn through mourning, argued over as 'one hat is one hat,' knocked off in Nighttown and handed back by Bloom — costume as the thin membrane between the artist Stephen claims to be and the pauper he is.

Costume as fixed capital: a Paris hat worn through mourning declares the artist Stephen cannot yet afford to be. It leaves his head only under other men's hands — flung by Mulligan at morning, knocked to a Nighttown wall at night — and both times a hand gives it back.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:30 a.m.	1 · Telemachus	flung by Mulligan; Stephen puts it on	present	Thrown across the tower room as a limp black missile with its mocking name attached; Stephen picks it up and wears it out	“A limp black missile flew out of his talking hands. —And there’s your Latin quarter hat, he said.”
~11:15 a.m.	3 · Proteus	on Stephen's head, Sandymount Strand	present	Worn on the strand while Stephen replays the Paris self who bought it — costume-dressing the character he tried to be	“My Latin quarter hat. God, we simply must dress the character. I want puce gloves.”
~11:30 a.m.	3 · Proteus	on Stephen's head	present	Renamed a Hamlet hat under the imagined side eye of the passing cocklepickers — the costume read from outside	“A side eye at my Hamlet hat. If I were suddenly naked here as I sit?”
~11:40 a.m.	3 · Proteus	tilted over Stephen's eyes	present	Pulled down as a sunshade after the poem is written and pocketed	“cramming the scribbled note and pencil into a pocket, his hat tilted down on his eyes”
~2:30 p.m.	9 · Scylla and Charybdis	hung on the ashplant handle over Stephen's knee	present	Downgraded to a wide headless caubeen and made the subject of a syllogism on identity while Stephen argues Shakespeare	“Necessity is that in virtue of which it is impossible that one can be otherwise. Argal, one hat is one hat.”
~2:45 p.m.	9 · Scylla and Charybdis	Stephen, in the librarian’s office, mid-argument	present	Counted with stick and boots in the inventory — and crowned in Greek: Stephanos — taken mid-Shakespeare-argument, not at the exit	“Stephen looked on his hat, his stick, his boots. Stephanos, my crown.”
~3:15 p.m.	10 · Wandering Rocks	raised in Stephen's hand to Artifoni	present	Lifted in farewell courtesy to his old singing master outside Trinity — a station the census missed	“—Arrivederla, maestro, Stephen said, raising his hat when his hand was freed.”
~12:30 a.m.	15 · Circe	sprawled on the pianola, Bella Cohen's	present	Laid aside with the ashplant while Stephen plays empty fifths	“Stephen stands at the pianola on which sprawl his hat and ashplant.”
~12:40 a.m.	15 · Circe	back on Stephen's head for the dance	present	Worn through the frogsplits and highkicks of the whirling pas seul	“Stephen with hat ashplant frogsplits in middle highkicks with skykicking mouth shut hand clasp part under thigh.”
~1 a.m.	15 · Circe	knocked to the wall; Bloom picks it up	present	Sent rolling by Private Carr's blow as Stephen falls stunned on Beaver Street; Bloom retrieves it at once	“He lies prone, his face to the sky, his hat rolling to the wall. Bloom follows and picks it up.”
~1 a.m.	15 · Circe	Bloom's hand, over the unconscious Stephen	present	Held in trust, festooned with woodshavings, with the ashplant and the money, while Bloom keeps watch	“Bloom, holding in his hand Stephen’s hat, festooned with shavings, and ashplant, stands irresolute.”
~1 a.m.	16 · Eumaeus	returned to Stephen	present	Handed back with the ashplant before the walk to the cabman's shelter	“Mr Bloom brushed off the greater bulk of the shavings and handed Stephen the hat and ashplant”
~1:30 a.m.	16 · Eumaeus	Parnell's silk hat, in Bloom's memory	recalled	Not this hat but its rhyme: Bloom recalls returning Parnell's knocked-off hat years before — history repeating itself with a difference, the night's gesture given its precedent	“His hat (Parnell’s) a silk one was inadvertently knocked off and, as a matter of strict history, Bloom was the man who picked it up”
~2 a.m.	17 · Ithaca	riding on the ashplant in the exodus procession	present	Borne diaconal on the stick through the passage to the garden, opposite Bloom's lighted candle	“Diaconal Hat on Ashplant borne by STEPHEN”
~2:15 a.m.	17 · Ithaca	put on Stephen's head at the door of egress	present	Donned as Stephen steps out of 7 Eccles Street into the night, destination never said — the hat's last motion in the book	“Bloom set the candlestick on the floor. Stephen put the hat on his head.”

Stephen's wages (three pounds twelve)

the cases

MONEY (TWO NOTES, A SOVEREIGN, TWO CROWNS, TWO SHILLINGS) · EPISODES 1, 2, 3, 7, 9, 14, 14, 15, 15, 15, 16, 17

Paid onto Deasy's tablecloth at ten and traceable coin by coin through drinks stood, rounds at Burke's, a half-crown to Corley, and the £1-7-0 Bloom counts back at Eccles street — a single salary dissolving through the city's drink economy in fourteen hours.

The day's only earned salary is mortgaged before it is paid and dissolved through the city's drink economy within fourteen hours — Mooney's, the Moira, Larchet's, Holles street, Burke's, a half-crown to Corley — until a stranger's custody saves the last one pound seven and returns it, without interest, in a basement kitchen.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	1 · Telemachus	not yet paid — spoken for in advance at the tower	recalled	Anticipated only (sourced): Mulligan claims a loan and decrees a drinking programme against wages Stephen has not yet touched	“—The school kip? Buck Mulligan said. How much? Four quid? Lend us one.”
~10 a.m.	2 · Nestor	Deasy's pocketbook and savingsbox, then Stephen's trouser pocket	present	Paid onto the tablecloth piece by piece — two notes, a sovereign, two crowns, two shillings: three pounds twelve — and gathered 'with shy haste'; 'a lump in my pocket'	“A sovereign fell, bright and new, on the soft pile of the tablecloth.”
~11 a.m.	3 · Proteus	Stephen's pocket, Sandymount Strand	present	Reached for as writing paper — the wages jostle Deasy's letter in the same pocket, and the letter, not the notes, gives up its blank end	“Paper. The banknotes, blast them. Old Deasy’s letter. Here.”
~1 p.m.	7 · Aeolus	Stephen's pocket, leaving the newspaper office	present	First spending decided: Stephen moves that 'the house do now adjourn' and stands the pressmen drinks at Mooney's	“I have money.”
~2 p.m.	9 · Scylla and Charybdis	Stephen's pocket, National Library (lighter by 'a few shillings')	recalled	Stephen audits the Mooney's round in memory; Mulligan separately taunts 'Have you drunk the four quid?'	“Three drams of usquebaugh you drank with Dan Deasy’s ducats. How much did I spend? O, a few shillings.”
~10 p.m.	14 · Oxen of the Sun	Stephen's hand, common room of Holles street hospital	present	Displayed to the company — down to two pounds nineteen — and falsely accounted for as a poet's fee while Stephen fills all cups	“he showed them glistering coins of the tribute and goldsmith notes the worth of two pound nineteen shilling that he had, he said, for a song which he writ”
~11 p.m.	14 · Oxen of the Sun	Stephen paying at Burke's counter	present	Stephen stands the whole crowd at Burke's until closing; bystanders note the visible pile shrinking ('Two bar and a wing' out with each round)	“He’ve got the chink ad lib. Seed near free poun on un a spell ago a said war hisn.”
~midnight	15 · Circe	Stephen's conscience, voiced by an apparition	hallucinated	Philip Sober, an Oxford don with Matthew Arnold's face, recites the exact payroll and the itinerary of its dissolution — the wages audited in hallucination	“Three pounds twelve you got, two notes, one sovereign, two crowns, if youth but knew. Mooney’s en ville, Mooney’s sur mer, the Moira, Larchet’s, Holles street hospital, Burke’s.”
~12:30 a.m.	15 · Circe	Bella Cohen's table, then Bloom's custody	present	Stephen overpays for the three girls (a poundnote plus gold plus two crowns); Bloom lays a half sovereign, retrieves the poundnote, then takes charge of all Stephen's coins — 'One pound six and eleven. One pound seven, say'	“You had better hand over that cash to me to take care of. Why pay more?”
~1 a.m.	15 · Circe	Bloom's pocket, standing over Stephen on Beaver street	present	Bloom keeps the money, hat and ashplant safe over the unconscious Stephen and re-counts as he brushes off the shavings ('One pound seven. Not hurt anyhow')	“No, no, no. I have his money and his hat here and stick.”
~1 a.m.	16 · Eumaeus	a missed pocket of Stephen's; one half-crown to Corley	present	Stephen, groping for pennies, finds surviving halfcrowns in another pocket and lends one to Corley — the salary's last outward payment	“—Those are halfcrowns, man, Corley corrected him.”
~2 a.m.	17 · Ithaca	returned from Bloom's hands to Stephen's, kitchen of 7 Eccles street	present	The custody closed: Bloom returns the £1-7-0 without interest over cocoa — all that remains of three pounds twelve after seventeen hours	“The former returned to the latter, without interest, a sum of money (£ 1-7-0), one pound seven shillings sterling”

the Henry Flower card

the cases

CARD (PRINTED PASTEBOARD, FALSE NAME) · EPISODES 4, 5, 5, 5, 11, 15, 15, 17

A false name on pasteboard, kept behind a leather headband and produced only at the post office grill — the minimal apparatus of a double life, carried on the body all day and betrayed only in hallucination.

The minimal apparatus of a double life: one printed name, a rented pigeonhole at Westland Row, and a hiding place a hand's breadth from the owner's forehead. Carried on the body all day, produced once at a brass grill, and betrayed only in hallucination — while its paper trail accumulates in a locked drawer at home.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	behind the leather headband of Bloom's hat, at the hall peg	present	Checked before leaving the house — the day's first act of concealment, done in the hall with Molly still in bed	“He peeped quickly inside the leather headband. White slip of paper. Quite safe.”
~9:45 a.m.	5 · Lotus Eaters	moved from headband to waistcoat pocket, Westland row	present	Under cover of wiping his brow at a shop window, Bloom extracts the card — the transfer disguised as gesture	“His fingers found quickly a card behind the headband and transferred it to his waistcoat pocket.”
~10 a.m.	5 · Lotus Eaters	handed through the brass grill to the postmistress, Westland Row post office	present	The card's one public use: produced as identity, it fetches Martha Clifford's typed letter addressed to Henry Flower Esq; card and letter slip into the sidepocket	“He handed the card through the brass grill. —Are there any letters for me? he asked.”
~10:30 a.m.	5 · Lotus Eaters	restored to the headband, porch of All Hallows	present	After reading the letter and shredding its envelope under the railway arch, Bloom re-hides the card before entering the church	“he doffed his hat, took the card from his pocket and tucked it again behind the leather headband”
~4 p.m.	11 · Sirens	in the hat on Bloom's head, Ormond dining room (inferred)	present	The alias exercised without the card being shown: notepaper bought in Daly's as Henry Flower, the reply to Martha written and signed 'Henry' at the Ormond table while Boylan rides to Eccles street — the card's presence behind the headband inferred, not stated	“Two sheets cream vellum paper one reserve two envelopes when I was in Wisdom Hely’s wise Bloom in Daly’s Henry Flower bought.”
~midnight	15 · Circe	falling from the headband before the watch, Nighttown	hallucinated	In the trial fantasy the hiding place fails: the card drops as Bloom doffs the hat to give a false name, and the watch reads out 'Henry Flower. No fixed abode. Unlawfully watching and besetting' — the double life self-convicted	“(A card falls from inside the leather headband of Bloom’s hat.)”
~12:30 a.m.	15 · Circe	the name walking free of the card, Bella Cohen's music room	hallucinated	Henry Flower appears as a whole figure — dark mantle, plumed sombrero, dulcimer, 'the romantic Saviour's face' — the pasteboard fiction grown a body	“From left upper entrance with two gliding steps Henry Flower comes forward to left front centre.”
~2 a.m.	17 · Ithaca	the alias's archive in the locked drawer, front room of 7 Eccles street	present	The paper trail banked: three typewritten Martha letters addressed to Henry Flower lie in drawer one, and Bloom adds tonight's fourth ('let H. F. be L. B.'); the card itself unmentioned — inferred still behind the headband of the hat in the hall	“3 typewritten letters, addressee, Henry Flower, c/o. P. O. Westland Row, addresser, Martha Clifford, c/o. P. O. Dolphin’s Barn”

the brown macintosh

the cases

GARMENT (RUBBERIZED RAINCOAT) · EPISODES 6, 6, 10, 12, 13, 14, 15, 15, 16, 17

A garment that generates a man: mishearing at the graveside turns a raincoat into 'M'Intosh,' who crosses the viceroy's path eating dry bread, appears at Burke's, and enters the newspaper of record as a mourner who never existed.

Cheap rubberized rainwear, the anonymous uniform of the walking poor: one unclaimed specimen at a graveside generates a man, and the structures of the day — gossip, the viceregal route, the pub, the newspaper of record — absorb him as fact. The coat is the only body he ever has.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~11:30 a.m.	6 · Hades	on the unknown thirteenth mourner, Glasnevin graveside	present	Bloom notices the stranger in the macintosh and counts him as the thirteenth bared head	“Now who is that lankylooking galoot over there in the macintosh? Now who is he I’d like to know?”
~11:55 a.m.	6 · Hades	the man himself, vanishing; the word passing into Hynes's notebook	present	Hynes, listing mourners, mishears Bloom's description as a surname and scribbles it down; the wearer becomes invisible	“—M’Intosh, Hynes said scribbling. I don’t know who he is. Is that his name?”
~4 p.m.	10 · Wandering Rocks	a pedestrian in Lower Mount street, crossing the viceroy's path	present	the man in the brown macintosh, eating dry bread, cuts unscathed across the viceregal cavalcade	“In Lower Mount street a pedestrian in a brown macintosh, eating dry bread, passed swiftly and unscathed across the viceroy’s path.”
~5 p.m.	12 · Cyclops	no one in Barney Kiernan's — a figure conjured by the interpolating parody voice (inferred: not in the room)	present	the gigantist interpolation on love folds him into its litany of Dublin lovers, granting the invented man a dead beloved — a figure existing only in the narrator's gigantist parody, not the scene: no one in Barney Kiernan's perceives or remembers him (not Circe-vision or dream, so not 'hallucinated')	“The man in the brown macintosh loves a lady who is dead.”
~8:30 p.m.	13 · Nausicaa	Bloom's memory, on the rocks of Sandymount Strand	recalled	drowsing, Bloom drafts him into a prize titbit — The Mystery Man on the Beach — and remembers the graveside figure	“And that fellow today at the graveside in the brown macintosh. Corns on his kismet however.”
~11 p.m.	14 · Oxen of the Sun	on the man himself, in Burke's public house at closing time	present	the drinkers spot the seedy figure in the mackintosh drinking Bovril and speculate on his ruin and lost love	“Golly, whatten tunket’s yon guy in the mackintosh? Dusty Rhodes. Peep at his wearables.”
~12:30 a.m.	15 · Circe	a phantom springing through a trapdoor in Bloom's coronation fantasy, Nighttown	hallucinated	he denounces the newly crowned Bloom as an impostor and is abolished by cannonshot	“Don’t you believe a word he says. That man is Leopold M’Intosh, the notorious fireraiser. His real name is Higgins.”
~12:45 a.m.	15 · Circe	on Lipoti Virag, Bloom's hallucinated grandfather, in Bella Cohen's music room	hallucinated	the garment migrates: Virag chutes down the chimney sausaged into overcoats and wearing a brown macintosh over a roll of parchment	“He is sausaged into several overcoats and wears a brown macintosh under which he holds a roll of parchment.”
~1:30 a.m.	16 · Eumaeus	in print, in the Evening Telegraph funeral report Bloom holds in the cabman's shelter	present	the misheard name enters the newspaper of record as a mourner, alongside the equally spectral L. Boom and absent M'Coy and Dedalus	“Joseph M’C Hynes, L. Boom, C P M’Coy,—M’Intosh and several others_.”
~2:30 a.m.	17 · Ithaca	Bloom's mind, undressing in the front room of 7 Eccles Street	recalled	the catechism poses him as the day's one selfinvolved enigma — asked, and deliberately never answered	“Who was M’Intosh?”

the orangekeyed chamberpot

the cases

HOUSEHOLD VESSEL (SANITARY WARE) · EPISODES 4, 15, 16, 17, 18, 18, 18

Under the bed at morning, imagined from the cabman's shelter, catalogued at midnight, used in the small hours — the humblest vessel in the house frames the whole day, the body's schedule outlasting every drama above it.

A house with one outdoor privy and no plumbing above stairs keeps its nights in crockery: the pot under the bed is the body's fixed schedule, bought over a Moore street counter and outlasting every drama enacted above it. The day opens with it touched by accident, is haunted by it at midnight, catalogues it at two, and ends with a woman sitting on it.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	under Molly's bed, 7 Eccles Street; brushed by Bloom's stooping hand	present	Hunting Molly's dropped novel, Bloom lifts the valance and finds the book fallen against the pot — the object's one accidental daylight appearance	“The book, fallen, sprawled against the bulge of the orangekeyed chamberpot.”
~12:30 a.m.	15 · Circe	invoked by Bloom before the Nymph, Bella Cohen's music room; the pot itself remains at Eccles Street	hallucinated	In the Nymph hallucination Bloom pleads the bedroom's material poverty in his defence — cracked commode, and the pot named by its flaw (nothing grounds the vessel in the brothel room; it appears only inside the vision)	“And that absurd orangekeyed utensil which has only one handle.”
~1:30 a.m.	16 · Eumaeus	in Bloom's memory, at the cabman's shelter table, over Molly's photograph	recalled	Showing Stephen the photo, Bloom recollects the morning littered bed and the fallen book beside the pot — the morning's accident replayed with a grammar joke	“which must have fell down sufficiently appropriately beside the domestic chamberpot with apologies to Lindley Murray.”
~2:30 a.m.	17 · Ithaca	on the bedroom floor, 7 Eccles Street; perceived by Bloom undressing	present	The catechism inventories it among the impersonal objects, with its commercial provenance given exactly (sourced: seller and address named in the text) — the 'night article' on the floor, separate from the washstand ware	“Orangekeyed ware, bought of Henry Price ... consisting of basin, soapdish and brushtray (on the washstand, together), pitcher and night article (on the floor, separate).”
no hour (small hours)	18 · Penelope	a remembered pot of Molly's girlhood room, in her memory	recalled	Molly remembers undressing before a watching neighbour and drawing the line of modesty exactly at the pot — the vessel as the boundary of what may be seen	“only when it came to the chamber performance I put out the light too so then there were 2 of us”
no hour (small hours)	18 · Penelope	Molly's hands and weight, beside the bed	present	Her period come, she gropes for the pot in the dark, sits, fears it breaking under her after the cracked commode, and complains that chambers are never made a natural size for a woman	“wheres the chamber gone easy Ive a holy horror of its breaking under me after that old commode”
no hour (small hours)	18 · Penelope	standing in the bedroom; weighed in Molly's thought of Stephen	present	Back in bed she measures the imagined young lodger against the pot's audibility through a wall — the vessel as the limit of gentility, dismissed with a shrug	“he being so young hardly 20 of me in the next room hed have heard me on the chamber arrah what harm”

Martha Clifford's letter (and Bloom's reply)

the cases

LETTER · EPISODES 4, 5, 5, 6, 8, 11, 11, 13, 15, 17

The clandestine postal economy entire: letter through the grill, pin thrown to the road, flower to the heart pocket, reply written behind a screening newspaper with a two-and-six postal order, and the fourth letter filed at midnight in the locked drawer with three others.

A parallel postal economy running under the official one: a card kept behind a hatband, a poste-restante pigeonhole, a pin, a flower, a shredded envelope, a two-and-six postal order — and at day's end a locked drawer holding four letters. The infrastructure of a correspondence that never becomes a meeting.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	Bloom — the leather headband of his hat, 7 Eccles Street hall	present	Before leaving the house Bloom checks the Henry Flower card hidden in his hatband — the instrument of the whole correspondence (that the white slip is the card is inferred here, confirmed in episode 5)	“He peeped quickly inside the leather headband. White slip of paper. Quite safe.”
~10 a.m.	5 · Lotus Eaters	the postmistress's hands, then Bloom's sidepocket — Westland Row post office	present	The card goes through the brass grill and comes back with the third typed letter, addressed to Henry Flower Esq	“The postmistress handed him back through the grill his card with a letter.”
~10 a.m.	5 · Lotus Eaters	Bloom's hands, behind a newspaper in a back lane off Westland Row	present	He reads the letter twice, moves the pinned flower to his heart pocket, throws the pin on the road, and under the railway arch tears the envelope to shreds	“He tore the flower gravely from its pinhold smelt its almost no smell and placed it in his heart pocket.”
~11 a.m.–noon	6 · Hades	Bloom's memory, standing in Glasnevin cemetery	recalled	By the graveside he worries over an earlier reply to Martha, hastily covered with an envelope when Molly disturbed him — possibly misaddressed, possibly lost	“Did I write Ballsbridge on the envelope I took to cover when she disturbed me writing to Martha? Hope it’s not chucked in the dead letter office.”
~1 p.m.	8 · Lestrygonians	Bloom's sidepocket, walking near the post office	present	The morning's letter still on his person, he plans the mechanics of the reply — a postal order as the currency of the affair	“Postoffice. Must answer. Fag today. Send her a postal order two shillings, half a crown.”
~4 p.m.	11 · Sirens	Bloom, crossing Essex bridge toward Daly's	present	The reply becomes an errand: he resolves to write and buys notepaper and envelope at Daly's on Wellington Quay	“To Martha I must write. Buy paper. Daly’s. Girl there civil.”
~4–5 p.m.	11 · Sirens	Bloom's hands, Ormond dining room, screened by the Freeman	present	While Boylan is at Eccles Street, Henry writes the reply behind his unfurled newspaper, promising the two-and-six postal order in its text, blots it and addresses it to Dolphin's Barn — the order still unbought ('Postal order, stamp. Postoffice lower down') and the letter still in hand as the episode ends [enclosure and posting inferred, off-page]	“Bloom dipped, Bloo mur: dear sir. Dear Henry wrote: dear Mady. Got your lett and flow.”
~8–9 p.m.	13 · Nausicaa	Bloom's memory, on the rocks at Sandymount Strand	recalled	Reviewing the day he doubts the posted reply — did he address it? — and files Martha first in the day's inventory	“Did I forget to write address on that letter like the postcard I sent to Flynn?”
~midnight	15 · Circe	the First Watch's hands; Martha's apparition — Nighttown	hallucinated	In the hallucinated trial the card falls from the hatband and is read as evidence, the crumpled flower is produced, and a veiled Martha demands redress for breach of promise	“FIRST WATCH: (Reads.) Henry Flower. No fixed abode. Unlawfully watching and besetting.”
~2 a.m.	17 · Ithaca	the first drawer, unlocked, of Bloom's dresser — 7 Eccles Street	present	The drawer already holds three typewritten letters from Martha Clifford and her name in cryptogram; Bloom files the day's letter with them — in the drawer Ithaca itself calls 'the first drawer unlocked'; no locking act is recorded	“A 4th typewritten letter received by Henry Flower (let H. F. be L. B.) from Martha Clifford (find M. C.).”

Boylan's letter to Mrs Marion Bloom

the cases

LETTER · EPISODES 4, 4, 4, 5, 11, 13, 18

Three items on a hallfloor and one torn strip of envelope under a pillow — the wound of the day delivered by ordinary post, its trace haunting Bloom every hour until Molly herself weighs the letter and finds it wanting.

One item of ordinary morning post — bold hand, addressed to the wife under her own style — that structures the whole day: picked up by the husband, hidden under the pillow, reduced to a strip of torn envelope, and returning to Bloom's mind at ten, at four, at eight, until Molly herself, at the end, weighs it and finds it wanting.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	the hallfloor, then Bloom's hands — 7 Eccles Street	present	Bloom gathers the morning post and reads the address: Mrs Marion, not Mrs Leopold — the day's wound delivered by the ordinary penny post	“Mrs Marion Bloom. His quickened heart slowed at once. Bold hand. Mrs Marion.”
~8 a.m.	4 · Calypso	Molly's hands, then under her pillow — the bedroom	present	He lays it on the bedspread; raising the blind, his backward eye catches her hiding it	“his backward eye saw her glance at the letter and tuck it under her pillow.”
~8:15 a.m.	4 · Calypso	under the dimpled pillow — the letter opened, the envelope torn	present	When Bloom returns with the tray only the evidence shows; asked, Molly names the sender and the pretext	“A strip of torn envelope peeped from under the dimpled pillow.”
~10 a.m.	5 · Lotus Eaters	Bloom's memory, mid-conversation with M'Coy on Westland Row	recalled	Saying 'my wife' aloud, his mind replays the bedroom tableau — letter, cat, torn strip — station the census placed here as recall, not paper	“Mrs Marion Bloom. Not up yet. ... Letter. Cat furry black ball. Torn strip of envelope.”
~4 p.m.	11 · Sirens	Bloom's memory, Ormond dining room, at the hour of the assignation	recalled	The address on the envelope surfaces again in Bloom's mind while he orders dinner from Pat, as Boylan's jingle fades toward Eccles Street — earlier in the hour, well before the letter to Martha is begun	“Mrs Marion. Met him pike hoses. Smell of burn. Of Paul de Kock.”
~8:30 p.m.	13 · Nausicaa	Bloom's memory, Sandymount Strand, after the stopped watch	recalled	The bold hand returns once more, immediately before Bloom lets himself think the afternoon through to its conclusion	“Bold hand: Mrs Marion. Did I forget to write address on that letter like the postcard I sent to Flynn?”
no hour (after ~2:45 a.m.)	18 · Penelope	Molly's memory, the bed at 7 Eccles Street	recalled	Molly counts the house's whole post — his letter and Milly's card — then weighs Boylan's letter as a love-letter and finds it short	“I wish somebody would write me a loveletter his wasnt much and I told him he could write what he liked”

Milly's letter ('Dearest Papli')

the cases

LETTER · EPISODES 4, 4, 4, 6, 13, 17, 18

The daughter as correspondence: read twice at breakfast, drifting back through the funeral carriage, preserved at night beside her infant copybook — family held together, at one remove, by paper.

The family held together at one remove by paper: the daughter arrives each morning as post from Mullingar, is read twice over a kidney, drifts back through the funeral carriage and the evening strand, and survives at night in the drawer as an infantile epistle beside her copybook — the correspondence begun in childhood, still running.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	the hallfloor, then Bloom's hands — 7 Eccles Street	present	The letter arrives with Boylan's, and Bloom sorts the morning post aloud — a letter for him, a card for Molly, both from Mullingar	“—A letter for me from Milly, he said carefully, and a card to you.”
~8:10 a.m.	4 · Calypso	Bloom's hands, the kitchen, while the kidney fries	present	He slits it open and skims it standing — the birthday thanks, the young student, Boylan's song already inside his daughter's news	“Then he slit open his letter, glancing down the page and over. Thanks: new tam: Mr Coghlan: lough Owel picnic: young student: Blazes Boylan’s seaside girls.”
~8:20 a.m.	4 · Calypso	Bloom's hands, creased out beside his breakfast plate	present	The full 'Dearest Papli' text is read slowly with the meal, then read again — twice — as Bloom turns fifteen years of her over in his mind	“He drank a draught of cooler tea to wash down his meal. Then he read the letter again: twice.”
~11 a.m.	6 · Hades	Bloom's memory, the funeral carriage crossing the city	recalled	Between Molly and death the letter's salutation drifts back through the carriage window — daughter as her mother watered down	“Molly. Milly. Same thing watered down. ... Mullingar. Dearest Papli. Young student. Yes, yes: a woman too.”
~8:45 p.m.	13 · Nausicaa	Bloom's memory, Sandymount Strand at dusk	recalled	A station the census missed: the salutation returns as the hand that wrote it — the child's hand grown, measured against her infancy	“Little hand it was: now big. Dearest Papli. All that the hand says when you touch.”
~2 a.m.	17 · Ithaca	the first drawer of Bloom's dresser — 7 Eccles Street	present	The drawer preserves the correspondence's origin: Milly's Vere Foster copybook with its Papli drawings and her first, infantile letter — the morning's letter's whereabouts uncatalogued, its ancestor kept under lock	“an infantile epistle, dated, small em monday, reading: capital pee Papli comma capital aitch How are you note of interrogation capital eye I am very well full stop”
no hour (after ~2:45 a.m.)	18 · Penelope	Molly's memory, the bed	recalled	Molly registers the morning's division of the post — the letter to him, the mere card to her — and reads the imbalance	“only his letter and the card from Milly this morning see she wrote a letter to him”

the Freeman's Journal (Bloom's copy)

the cases

NEWSPAPER (PENNY DAILY) · EPISODES 4, 5, 5, 5, 5, 5, 5, 6, 6, 6, 6, 8, 11, 11, 17, 17

A newspaper used as baton, screen for secret reading, kneeling pad, soap wrapper and accidental racing tip before being abandoned in the Ormond — the day's proof that print's material uses outnumber its textual ones.

A penny's worth of newsprint whose uses on 16 June are almost entirely non-textual — baton, prop of careless air, screen for a secret letter twice over, church-floor kneeling pad, soap wrapper — and whose one textual transaction, offered to Bantam Lyons with the words 'throw it away', misfires into the rumour that dogs Bloom all day. Abandoned in the Ormond at four; surviving after that only as a line in the household budget.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	Bloom's mind, walking Dorset street (the copy's purchase is never shown; sourced only in the Ithaca budget — inferred, A5)	recalled	the paper is first present as a masthead in memory: Griffith's joke about the Freeman's headpiece	“What Arthur Griffith said about the headpiece over the Freeman leader: a homerule sun rising up in the northwest from the laneway behind the bank of Ireland.”
~9:45 a.m.	5 · Lotus Eaters	Bloom's hands, Westland row	present	unfolded from the sidepocket and rolled into a baton — a stage prop of unconcern for entering the post office; held to his nostrils at the counter	“took the folded Freeman from his sidepocket, unfolded it, rolled it lengthwise in a baton and tapped it at each sauntering step against his trouserleg.”
~10 a.m.	5 · Lotus Eaters	Bloom, talking to M'Coy	present	unrolled and read 'idly' as a shield against M'Coy's valise-cadging: the Plumtree's Potted Meat ad	“He unrolled the newspaper baton idly and read idly: What is home without Plumtree’s Potted Meat? Incomplete.”
~10 a.m.	5 · Lotus Eaters	Bloom, in the lane by the station wall	present	becomes the screen for adultery-by-post: Martha's letter folded into it and read inside it	“He drew the letter from his pocket and folded it into the newspaper he carried. ... He opened the letter within the newspaper.”
~10:15 a.m.	5 · Lotus Eaters	Bloom, in a bench corner of All Hallows	present	nursed with the hat through the tail end of Mass	“He approached a bench and seated himself in its corner, nursing his hat and newspaper.”
~10:30 a.m.	5 · Lotus Eaters	Bantam Lyons's fingers, outside Sweny's — then back to Bloom	present	borrowed for the racing page; Bloom's offer to give it away is heard as a tip on the horse Throwaway; Lyons thrusts it back and runs to bet	“—I was just going to throw it away, Mr Bloom said.”
~10:30 a.m.	5 · Lotus Eaters	Bloom, walking to the baths	present	refolded to a neat square and put to its next material use: wrapping the new lemon soap	“Mr Bloom folded the sheets again to a neat square and lodged the soap in it, smiling.”
~11 a.m.	6 · Hades	Bloom's inside pocket, in the funeral carriage	present	offered round for Dan Dawson's speech; Bloom scans the deaths column and finds Dignam already in print	“Mr Bloom’s glance travelled down the edge of the paper, scanning the deaths: Callan, Coleman, Dignam, Fawcett, Lowry, Naumann, Peake”
~11:30 a.m.	6 · Hades	Bloom's hand, alighting at Glasnevin	present	held while the other hand shifts the paperstuck soap from hip to handkerchief pocket	“He stepped out of the carriage, replacing the newspaper his other hand still held.”
~11:40 a.m.	6 · Hades	under Bloom's right knee, in the mortuary chapel	present	unfolded on the chapel floor as a kneeling pad during the service for Dignam	“dropped carefully his unfolded newspaper from his pocket and knelt his right knee upon it.”
~11:45 a.m.	6 · Hades	Bloom, filing out of the chapel	present	picked up, refolded, pocketed — the pad becomes a newspaper again	“Mr Bloom came last folding his paper again into his pocket.”
~2 p.m.	8 · Lestrygonians	Bloom's pocket, at the museum gate	present	counted in the frantic pocket inventory staged to avoid meeting Boylan's eye	“I am looking for that. Yes, that. Try all pockets. Handker. Freeman. Where did I?”
~4 p.m.	11 · Sirens	Bloom's hands, Ormond dining room	present	unfurled as a blind so Richie Goulding cannot see him answering Martha — its final and most furtive screening job	“Hope he’s not looking, cute as a rat. He held unfurled his Freeman.”
~4:30 p.m.	11 · Sirens	left on the table of the Ormond	present	deliberately abandoned as Bloom plans his exit past Miss Douce — the copy's last physical appearance	“Where’s my hat. Pass by her. Can leave that Freeman. Letter I have.”
~2 a.m.	17 · Ithaca	the catechism's recollection, 7 Eccles street	recalled	the Lyons transaction restated in full legal dress, its intended disposal twice noted	“requested, perused and restituted the copy of the current issue of the Freeman’s Journal and National Press which he had been about to throw away (subsequently thrown away)”
~2 a.m.	17 · Ithaca	the day's budget — an entry, not an object	recalled	survives as accountancy: one penny on the debit side, against the £1 7s 6d commission received from the same paper	“1 Copy Freeman’s Journal 0—0—1”

the imitation Crown Derby moustachecup

the cases

CHINA (SHAM PORCELAIN) · EPISODES 4, 17, 17, 17, 18

Milly's birthday gift, used for breakfast and pointedly NOT used at midnight when Bloom serves Stephen in an identical cup — a piece of sham china that maps the household's hierarchy of affection and hospitality.

Sham porcelain of the lower-middle-class table: a child's birthday gift that fixes a domestic ritual of service. Who drinks from it, who is pointedly not served in it, and who plans to fill it maps the household's hierarchy of affection across eighteen hours.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8 a.m.	4 · Calypso	Bloom's hands, at the kitchen table, 7 Eccles Street	present	Bloom pours his breakfast tea into it, smiling over the memory of Milly's childhood gift	“He filled his own moustachecup, sham crown Derby, smiling. Silly Milly’s birthday gift.”
~2 a.m.	17 · Ithaca	the lower shelf of the kitchen dresser, opened by Bloom	present	catalogued standing uninverted among the breakfast crockery as Bloom fetches things for the cocoa	“six horizontal breakfast saucers on which rested inverted breakfast cups, a moustachecup, uninverted, and saucer of Crown Derby”
~2:15 a.m.	17 · Ithaca	left standing unused; Bloom takes an ordinary cup instead	present	Bloom relinquishes his symposiarchal right to it so that host and guest drink from identical cups — hospitality overriding hierarchy	“Relinquishing his symposiarchal right to the moustache cup of imitation Crown Derby presented to him by his only daughter, Millicent (Milly), he substituted a cup identical with that of his guest”
~2:30 a.m.	17 · Ithaca	Milly's hands, in the catechism's memory of the presentation (Bloom's 27th birthday)	recalled	the gift itself is recalled as an instance of Milly's reciprocated affection	“on the 27th anniversary of his birth she presented to him a breakfast moustachecup of imitation Crown Derby porcelain ware.”
no hour (~2:45 a.m. onward); the imagined breakfast is next morning	18 · Penelope	Molly's projected hands — she plans to serve Bloom in it tomorrow	present	Molly, thinking in the scene, plans tomorrow morning — an imagined future, not a memory: she resolves to bring Bloom his eggs and tea up in Milly's cup, the cup re-entering the ritual by her decision; only the clause 'she gave him' is genuine recall of the gift	“Ill throw him up his eggs and tea in the moustachecup she gave him to make his mouth bigger I suppose”

the Martello tower key

the cases

INSTRUMENT OF TENURE — ONE HEAVY BRASS FACT OF WAR OFFICE PROPERTY, WORKED LOOSE FROM THE RENT-BOOK · EPISODES 1, 1, 1, 1, 1, 3, 14, 16

Turned, pocketed, then surrendered onto Mulligan's heaped clothes before nine in the morning — rent paid by Stephen, key kept by another: usurpation made brass, and the reason Stephen has nowhere to sleep tonight.

Possession of the key, not payment of the rent, is what holds the tower: turned by Stephen at eight, pocketed at half past, surrendered onto Mulligan's heaped clothes on the bathing rocks before nine. That one small transfer of metal fixes the structure of the entire night — Stephen has wages in his pocket and no bed, and every later station of the key is an echo of the morning's usurpation.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:15 a.m.	1 · Telemachus	in the lock of the tower door; the hand that turns it unstated	present	prompted by Mulligan's word — 'Haines, open that door, will you?' — the door is unlocked from inside to let out the smoke; the text never names who turns the key [inferred: Stephen, who says 'It's in the lock' and comes forward] — the key first appears already serving other men's comfort	“—It’s in the lock, Stephen said, coming forward. The key scraped round harshly twice”
~8:30 a.m.	1 · Telemachus	Stephen's inner pocket	present	leaving for the Forty Foot, Stephen locks the iron door and pockets the key — the rent-payer still, for half an hour, the keeper	“pulled to the slow iron door and locked it. He put the huge key in his inner pocket.”
~8:30 a.m.	1 · Telemachus	Stephen's pocket; Mulligan already tracking it	present	at the foot of the ladder Mulligan checks the key's whereabouts — the first move of the requisition	“—Did you bring the key? —I have it, Stephen said, preceding them.”
~8:35 a.m.	1 · Telemachus	Stephen's pocket, on the path with Haines	present	Stephen reads the coming dispossession in Mulligan's eyes and consents to it in advance	“He wants that key. It is mine. I paid the rent. Now I eat his salt bread. Give him the key too. All. He will ask for it.”
~8:40 a.m.	1 · Telemachus	passes from Stephen's hand to Mulligan's heaped clothes, the Forty Foot	present	the surrender: asked for as a paperweight, given with twopence — tenure changes hands on a bathing rock, dressed as a joke	“—Give us that key, Kinch, Buck Mulligan said, to keep my chemise flat. Stephen handed him the key. Buck Mulligan laid it across his heaped clothes.”
~11:15 a.m.	3 · Proteus	Mulligan's (in Stephen's certain knowledge); Stephen on Sandymount Strand	recalled	on the strand Stephen draws the conclusion the morning's transfer dictates: the tower is closed to him tonight	“He has the key. I will not sleep there when this night comes.”
~11:00 p.m.	14 · Oxen of the Sun	Mulligan's, far off; named in the drunken gabble at Burke's	recalled	at closing time the dispossession surfaces in pidgin — a young man whose friend took the key, begging a place to lay his head	“Kind Kristyann wil yu help yung man hoose frend tuk bungellow kee tu find plais whear tu lay crown of his hed 2 night.”
~1:30 a.m.	16 · Eumaeus	Mulligan's, absent; its consequence sitting between Bloom and Stephen in the cabman's shelter	recalled	the key's absence governs the night's arithmetic: Bloom names the lockout without naming the key (A5: inferred station — the object itself is unspoken) and the offer of Eccles Street follows from it	“Walking to Sandycove is out of the question. And even supposing you did you won’t get in after what occurred at Westland Row station.”

Bloom's latchkey (absent)

the cases

INSTRUMENT OF TENURE IN NEGATIVE — A KEY THAT ACTS ALL DAY WITHOUT ONCE APPEARING ON THE PAGE · EPISODES 4, 5, 17, 17, 17

An object present only as an absence — left in the everyday trousers because of the funeral suit, it governs the whole day's structure of home and returns Bloom to his own house over the area railings, a 'competent keyless citizen.'

Left in the everyday trousers by the change into mourning, the latchkey structures the whole day as an absence: it is patted for at eight, remembered at ten, and at two in the morning it turns the master of 7 Eccles Street into his own burglar — one half of the 'keyless couple' with the dispossessed Stephen, and never once seen or touched in the flesh.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:15 a.m.	4 · Calypso	the checked trousers upstairs at 7 Eccles Street; Bloom's hand finds an empty hip pocket	recalled	the founding discovery on the doorstep: key in the other trousers, Molly not to be disturbed, the halldoor pulled to on a house he can no longer open	“On the doorstep he felt in his hip pocket for the latchkey. Not there. In the trousers I left off. Must get it.”
~10:15 a.m.	5 · Lotus Eaters	still in the other trousers at home; Bloom on Westland Row	recalled	remembered alongside the lotion recipe — two things the funeral suit has cost him, both blamed on the day's black clothes	“But the recipe is in the other trousers. O, and I forgot that latchkey too. Bore this funeral affair.”
~2:00 a.m.	17 · Ithaca	the trousers of the day but one preceding, inside the house Bloom stands locked out of	recalled	the mechanical reach at the housesteps and the catechism's cold audit: the key is yards away, on the wrong side of his own door, and he is doubly irritated for having twice reminded himself	“It was in the corresponding pocket of the trousers which he had worn on the day but one preceding.”
~2:05 a.m.	17 · Ithaca	absent; its absence in command of both men on the doorstep	recalled	Bloom and Stephen are jointly defined by what neither carries — the 'keyless couple' — and the stratagem follows: over the railings, the five-foot-nine drop, entry through the basement like a burglar	“A stratagem. Resting his feet on the dwarf wall, he climbed over the area railings”
~2:30 a.m.	17 · Ithaca	absent; converted retrospectively into a civic title	recalled	the day's structural absence is ratified as identity: keylessness reviewed and dignified by the catechism as competence	“That as a competent keyless citizen he had proceeded energetically from the unknown to the known through the incertitude of the void.”

Stephen's boots (Mulligan's castoffs)

the cases

CLOTHING (BORROWED FOOTWEAR) · EPISODES 1, 3, 3, 7, 9, 16

Dependence made wearable: 'my two feet in his boots' on the strand, read by Bloom across the newspaper office as a poverty-index — the borrowed thing that cannot be handed back because it is being walked in all day.

Patronage made wearable: the castoff traffic runs one way, from Mulligan's trunk to Stephen's feet, and unlike the key or the money it cannot be handed back, because it is being walked in all day. Others read the boots as prosperity; the wearer counts the creases of the man who wore them first.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~8:15 a.m.	1 · Telemachus	on Stephen's feet, Martello tower living quarters; Mulligan the donor	present	The castoff economy is established on the page — Mulligan itemising what he gives and has given ('secondhand breeks', shirts, noserags); the boots themselves are not named here, but belong to this system (inferred: their donorship is stated only in episodes 3 and 9)	“Ah, poor dogsbody! he said in a kind voice. I must give you a shirt and a few noserags. How are the secondhand breeks?”
~11 a.m.	3 · Proteus	on Stephen's feet, walking the tideline, Sandymount Strand	present	Eyes shut, testing the audible world, Stephen registers that even his footing is borrowed — the boots enter the book already marked as another man's	“My two feet in his boots are at the ends of his legs, nebeneinander.”
~11:30 a.m.	3 · Proteus	on Stephen's feet, seated on the rocks	present	He broods on the leather itself, naming the donor's class and reading the creases where Mulligan's foot warmed them; the memory of Esther Osvalt's shoe in Paris rises from the boot (that shoe recalled, the boots present)	“His gaze brooded on his broadtoed boots, a buck’s castoffs, nebeneinander. He counted the creases of rucked leather wherein another’s foot had nested warm.”
~12:45 p.m.	7 · Aeolus	on Stephen's feet in the street outside the Freeman office; read at a distance by Bloom	present	Bloom, watching the drinking party set off, audits Stephen's feet as a poverty index — and is fooled by the borrowed decency of a buck's boots into reading improvement	“Wonder is that young Dedalus the moving spirit. Has a good pair of boots on him today. Last time I saw him he had his heels on view.”
~2:45 p.m.	9 · Scylla and Charybdis	on Stephen's feet, the librarian's office, National Library	present	Mid-discussion in the Shakespeare argument — just after 'Stephen looked on his hat, his stick, his boots' — he inventories the one item actively deforming him; the resolution to buy his own is deferred with the socks and the handkerchief	“His boots are spoiling the shape of my feet. Buy a pair. Holes in my socks. Handkerchief too.”
~1:30 a.m.	16 · Eumaeus	on Stephen's feet under the cabman's shelter table; touched by Bloom's	present	As the sailor demands Stephen's name, Bloom presses the boot in warning under the table — the borrowed object become the channel of the day's one protective touch, and disregarded	“Just in the nick of time Mr Bloom touched his companion’s boot but Stephen, apparently disregarding the warm pressure from an unexpected quarter, answered: —Dedalus.”

Mr Deasy's foot-and-mouth letter

the cases

DOCUMENT (TYPESCRIPT, TWO COPIES) · EPISODES 2, 3, 7, 9, 12, 14, 15, 16

The day's most complete paper itinerary — typed in Dalkey, torn for a poem on the strand, delivered to two newspapers, in print by nightfall: how an opinion physically travels through the 1904 information system, cattle-plague, patronage and all.

A provincial opinion enters the 1904 information system at a Dalkey typewriter at ten and is in a Dublin evening paper by nightfall. The carriage is done free, by patronage: an unpaid usher's literary acquaintance moves the cattle-plague cause from schoolroom to press to Parliament, and the same sheet serves the poet as scrap paper on the way.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~10 a.m.	2 · Nestor	Mr Deasy at his typewriter, then Stephen's coat pocket	present	Typed and copied in the Dalkey study; two copies handed to Stephen to place with the press (Telegraph, Irish Homestead); a parallel copy already sent to Field, M.P., for the cattletraders' meeting	“You have two copies there. If you can have them published at once.”
~11 a.m.	3 · Proteus	Stephen's pocket, on Sandymount Strand	present	Stephen tears the blank end off one copy to scribble his vampire quatrain — the letter physically loses a corner to a poem	“Paper. The banknotes, blast them. Old Deasy’s letter. Here. Thanking you for the hospitality tear the blank end off.”
~12 noon–1 p.m.	7 · Aeolus	handed to Myles Crawford, editor, Evening Telegraph office	present	First copy delivered; the editor notices the torn end ('Who tore it? Was he short taken?') and agrees to print; MacHugh’s jibe prompts Stephen’s own interior echo — bullockbefriending bard	“Stephen handed over the typed sheets, pointing to the title and signature.”
~2 p.m.	9 · Scylla and Charybdis	second copy consigned to A.E. (Russell) for Mr Norman of the Irish Homestead	present	Stephen hands off the second copy in the National Library; Russell is non-committal ('If he considers it important it will go in'); Stephen's private verdict: 'The pigs' paper. Bullockbefriending.'	“If you will be so kind as to give the letter to Mr Norman...”
~5 p.m.	12 · Cyclops	no copy in the room — the letter's campaign, in talk at Barney Kiernan's	recalled	The City Arms cattletraders' meeting (before which Deasy asked Field to lay his letter) has met; Joe Hynes reports Field and Nannetti going to London to raise it in the Commons — connection to Deasy inferred, not stated in this episode	“—Cattle traders, says Joe, about the foot and mouth disease. I want to give the citizen the hard word about it.”
~10 p.m.	14 · Oxen of the Sun	in talk — Stephen and the medicals at Holles street	recalled	The letter's matter returns as mock dispatches and the great parable of the Irish bull; Bloom (ex-cattlemarket clerk) questions the plague reports; the letter itself is at the printers (inferred)	“sending over Doctor Rinderpest, the bestquoted cowcatcher in all Muscovy, with a bolus or two of physic to take the bull by the horns”
~midnight	15 · Circe	Stephen's mind, at the pianola in Bella Cohen's	recalled	Drunk at the brothel piano, Stephen drafts a mental courtesy-reply to Deasy about the morning's errand — the day's obligation still ticking	“Must visit old Deasy or telegraph. Our interview of this morning has left on me a deep impression.”
~1 a.m.	16 · Eumaeus	in print, in the pink Evening Telegraph in the cabman's shelter	present	The letter has completed its transit: Stephen asks after it by joke-title, Bloom confirms it is in — 'flabbergasted at Myles Crawford's after all managing to' — delivered to print within fifteen hours of typing	“—Is that first epistle to the Hebrews, he asked as soon as his bottom jaw would let him, in? Text: open thy mouth and put thy foot in it.”

Plumtree's potted meat (ad, pot and crumbs)

the cases

BRANDED FOOD PRODUCT — JINGLE, 4 OZ POT, RESIDUE · EPISODES 5, 8, 8, 15, 17, 17, 17, 18

An advertising jingle that becomes physical evidence — 'What is home without…' read at noon, the empty pot on the dresser at midnight, flakes brushed from the marriage bed: the whole Braudelian arc from print to product to residue in one brand.

One brand's complete circuit through material life in sixteen hours: a jingle read in the morning paper, twice deprecated by the adman who knows where it was placed (under the obituaries), quoted back in a midnight hallucination, and finally physical evidence — the empty pot on the kitchen dresser, the flakes brushed from the marriage bed. Print becomes product becomes residue, and the slogan's question ('What is home without—') is answered in Bloom's own house.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~10 a.m.	5 · Lotus Eaters	the Freeman's Journal in Bloom's hands, near Sir John Rogerson's quay, while M'Coy talks at him	present	Bloom, half-listening, unrolls his newspaper baton and reads the printed advertisement — the jingle enters the day as ink	“What is home without Plumtree’s Potted Meat? Incomplete. With it an abode of bliss.”
~1:10 p.m.	8 · Lestrygonians	Bloom's mind, Westmoreland street, watching Hely's sandwichmen	recalled	the professional's memory: Bloom, ex-Hely's, recalls the ad's placement in the paper as a case study in how not to do it	“His ideas for ads like Plumtree’s potted under the obituaries, cold meat department. You can’t lick ’em.”
~1:30 p.m.	8 · Lestrygonians	Bloom's mind in Davy Byrne's — triggered by real potted meats on the shelf (those tins present; the Plumtree jingle recalled)	recalled	the shelf goods summon the jingle again; this time it curdles into the day's funeral — potted meat, cold meat, Dignam in his grave	“What is home without Plumtree’s potted meat? Incomplete. What a stupid ad! Under the obituary notices they stuck it. All up a plumtree. Dignam’s potted meat.”
~midnight	15 · Circe	Bloom's own mouth, inside the Mrs Breen apparition-scene in Nighttown (the pig's crubeen in his pocket is present; Mrs Breen is not)	hallucinated	challenged by the hallucinated Mrs Breen about the parcel he carries, Bloom answers with the slogan — the ad now speaking through him	“Kosher. A snack for supper. The home without potted meat is incomplete.”
~2:15 a.m.	17 · Ithaca	the middle shelf of the kitchen dresser, 7 Eccles Street — left from the afternoon	present	Bloom, making cocoa, finds the product itself for the first time all day: emptied, by other hands, in his own kitchen	“an empty pot of Plumtree’s potted meat”
~2:20 a.m.	17 · Ithaca	Bloom's mind, over cocoa with Stephen — the catechism's exhibit of the never-good ad	recalled	the advertisement anatomized in full — maker, address, pot size, and the fatal placement — as the day's example of what an ad must never be	“inserted by Councillor Joseph P. Nannetti, M. P., Rotunda Ward, 19 Hardwicke street, under the obituary notices and anniversaries of deceases.”
~2:40 a.m.	17 · Ithaca	the marriage bed — the sheets Bloom enters; his hand removes them	present	the residue: flakes of the potted meat in the bed beside the imprint of another man, brushed away before Bloom lies down	“the imprint of a human form, male, not his, some crumbs, some flakes of potted meat, recooked, which he removed.”
no hour (after ~2:45 a.m.)	18 · Penelope	Molly's memory, in the same bed	recalled	the pot's contents remembered as eaten with Boylan and the port — the brand's jingle-promise of home completed, from the other side	“after we took the port and potted meat it had a fine salty taste”

the lemon soap

the cases

TOILETRY — A WRAPPED CAKE OF SOAP · EPISODES 5, 5, 6, 6, 7, 8, 13, 15, 15, 16, 17

Fourpence of credit that rides Bloom's pockets thirteen hours — bought, sat on, transferred pocket to pocket, sweated on, hallucinated as a singing sun, and finally used at the sink still unpaid for: the day's whole economy of small debt and the body carried in one wrapped cake.

A structure of small credit and bodily care: fourpence owed at Sweny's rides Bloom's pockets for thirteen hours, scented, sat on, shifted at every threshold of the day, and is discharged not in money but in use — at the kitchen sink, the debt still standing.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~10:15 a.m.	5 · Lotus Eaters	Sweny's counter, then Bloom's left hand	present	Bought on credit — fourpence added to the lotion order, payable when he comes back — and carried out coolwrappered	“Mr Bloom raised a cake to his nostrils. Sweet lemony wax.”
~10:40 a.m.	5 · Lotus Eaters	lodged in Bloom's folded newspaper	present	After the Bantam Lyons throwaway exchange, tucked into the refolded Freeman as Bloom walks to the Turkish baths foreseeing the soap melting on his body	“Mr Bloom folded the sheets again to a neat square and lodged the soap in it, smiling.”
~11 a.m.	6 · Hades	Bloom's hip pocket, in the funeral carriage	present	Sat on during the drive to Glasnevin; Bloom resolves to shift it at the first opportunity	“I am sitting on something hard. Ah, that soap: in my hip pocket.”
~11:45 a.m.	6 · Hades	Bloom's inner handkerchief pocket	present	Transferred pocket to pocket as the carriage halts at the cemetery gates — the wrapper already sticking	“Mr Bloom’s hand unbuttoned his hip pocket swiftly and transferred the paperstuck soap to his inner handkerchief pocket.”
~12:30 p.m.	7 · Aeolus	Bloom's hip pocket again, newspaper-office stairs	present	Its scent surfaces on the handkerchief; Bloom moves it back to the buttoned hip pocket of his trousers	“Citronlemon? Ah, the soap I put there. Lose it out of that pocket.”
~2 p.m.	8 · Lestrygonians	Bloom's hip pocket, at the museum gate	present	Fumbled for in panic while dodging Boylan — the search for the soap covers the flight into the museum	“His hand looking for the where did I put found in his hip pocket soap lotion have to call tepid paper stuck. Ah soap there I yes. Gate. Safe!”
~9 p.m.	13 · Nausicaa	on Bloom's person, Sandymount Strand	present	Its lemon scent rises from his waistcoat; Bloom remembers the lotion never collected and the soap never paid for — two and nine still on Sweny's slate	“Almonds or. No. Lemons it is. Ah no, that’s the soap.”
~midnight	15 · Circe	Bloom's pocket, Mabbot Street	present	Patted among the inventory of pockets after Jacky Caffrey collides with him — fear of pickpockets is the day's economy in miniature	“Bloom pats with parcelled hands watch, fobpocket, bookpocket, pursepoke, sweets of sin, potato soap.”
~midnight	15 · Circe	the eastern sky of Bloom's hallucination	hallucinated	Rises as a soapsun, diffusing light and perfume, and sings its couplet; Sweny's face appears in its disc still demanding three and a penny	“We’re a capital couple are Bloom and I. He brightens the earth. I polish the sky.”
~1 a.m.	16 · Eumaeus	Bloom's pocket; its suds on an abandoned handkerchief	present	The cake rides on unmentioned, but its trace is left behind in Nighttown — the soap-scented handkerchief forgotten after brushing shavings off Stephen	“his rather soapsuddy handkerchief after it had done yeoman service in the shaving line”
~2 a.m.	17 · Ithaca	Bloom's hands at the kitchen sink, 7 Eccles Street	present	Finally used: Bloom washes his soiled hands with the partially consumed tablet, paper still adhering, the fourpence still owed	“Barrington’s lemonflavoured soap, to which paper still adhered, (bought thirteen hours previously for fourpence and still unpaid for)”

Blazes Boylan's straw hat

the cases

GARMENT · EPISODES 6, 8, 10, 11, 11, 15, 15

A white disc flashed from a doorway, sighted in sunlight, tipped to barmaids, hung in hallucination on Bloom's antlered head — the rival reduced to his most legible object, tracked across the city like a signal flag.

Mass-produced summer millinery working as a signalling system: a white disc legible at street distance, by which Bloom tracks his rival across the city without ever once looking at his face — flashed from a doorway at eleven, fled from at two, paraded past the viceroy at four, tipped to barmaids, and at midnight hung by hallucination on the husband's own antlered head.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~11 a.m.	6 · Hades	Boylan's head, in the door of the Red Bank; seen from the funeral carriage	present	The hat answers the mourners' salutes while Bloom looks down at his fingernails and says nothing	“From the door of the Red Bank the white disc of a straw hat flashed reply: spruce figure: passed.”
~2 p.m.	8 · Lestrygonians	Boylan's head, coming up Kildare street toward Bloom	present	Bloom identifies the rival by hat, shoes and trousers alone and bolts through the museum gates to avoid him	“Straw hat in sunlight. Tan shoes. Turnedup trousers. It is. It is.”
~3:55 p.m.	10 · Wandering Rocks	Boylan's head, by the provost's wall, facing the viceregal cavalcade	present	Hands in pockets, forgetting to salute, Boylan presents the hat at a rakish angle to the vicereine's carriage	“a skyblue tie, a widebrimmed straw hat at a rakish angle and a suit of indigo serge”
~4 p.m.	11 · Sirens	Boylan's head, in the Ormond bar	present	Boylan tips the hat's rim to Miss Kennedy while Bloom slips unseen into the dining room next door	“He touched to fair miss Kennedy a rim of his slanted straw.”
~4:15 p.m.	11 · Sirens	Boylan's head, on the jingling hackney car bound for Eccles street	present	The narration itemizes the adulterer as commodities — Mesias suit, Plasto hat — as the car carries him to Molly; Bloom, writing to Martha, does not see it	“wearing a straw hat very dressy, bought of John Plasto of number one Great Brunswick street, hatter”
~midnight	15 · Circe	the Boylan-apparition on the car, in Bloom's hallucination	hallucinated	Boylan reappears exactly as the afternoon dressed him, boater sideways, red flower in mouth, sated	“Over the well of the car Blazes Boylan leans, his boater straw set sideways, a red flower in his mouth.”
~midnight	15 · Circe	hung on Bloom's antlered head, in the hallucination	hallucinated	The rival's hat is hung on the cuckold's horns as Boylan calls for Mrs Bloom — the day's whole injury compressed into one gesture with a piece of straw	“(He hangs his hat smartly on a peg of Bloom’s antlered head.) Show me in.”

the Keyes ad cutting

the cases

NEWSPAPER CUTTING (ADVERTISEMENT DESIGN) · EPISODES 6, 7, 7, 7, 7, 8, 8, 9, 12, 13, 15, 16, 17, 17, 18

Bloom's livelihood in a scrap of newsprint — sliced out by shears, carried through the printingworks, negotiated by telephone, chased into the Kilkenny People files: the crossed-keys design that puns the whole book's key motif while paying the rent.

Bloom's actual work for the day in a scrap of newsprint: sliced out by Red Murray's shears at noon, laid on Nannetti's desk, drawn in crossed forefingers, negotiated by telephone and at Dillon's, chased toward the Kilkenny People files in the National Library — a two-month renewal worth about two pounds ten in commission, still unlanded at nightfall. The crossed keys of a tea merchant carry the book's key motif and pay Bloom's rent; Molly can name the account in her sleep.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~11:45 a.m.	6 · Hades	Bloom's mind, walking Glasnevin cemetery	recalled	the caretaker's keys call up the ad and the day's agenda before the cutting yet exists	“Keys: like Keyes’s ad: no fear of anyone getting out. No passout checks. Habeas corpus. I must see about that ad after the funeral.”
~12 noon	7 · Aeolus	Red Murray's shears, then Bloom's hand	present	the cutting is made — sliced out of the newspaper in the Freeman office for Bloom to carry through the building	“Red Murray’s long shears sliced out the advertisement from the newspaper in four clean strokes. Scissors and paste.”
~12:10 p.m.	7 · Aeolus	on Nannetti's desk, in the printingworks din	present	Bloom pitches the redesign — two crossed keys, a circle, the House of Keys with its home-rule innuendo — drawing it on the scarred woodwork	“—Like that, see. Two crossed keys here. A circle. Then here the name. Alexander Keyes, tea, wine and spirit merchant. So on.”
~12:30 p.m.	7 · Aeolus	Bloom (cutting in pocket), pursuing Keyes by wire and on foot	present	the negotiation goes mobile: phoned from the Telegraph office, then chased in person to Dillon's auctionrooms	“Better phone him up first. Number? Yes. Same as Citron’s house. Twentyeight. Twentyeight double four.”
~1 p.m.	7 · Aeolus	Bloom's hand again, before Myles Crawford on the steps	present	terms reported — two months' renewal against a puff paragraph — and answered with K.M.A.: kiss my arse	“taking the cutting from his pocket. I spoke with Mr Keyes just now. He’ll give a renewal for two months, he says.”
~1:30 p.m.	8 · Lestrygonians	Bloom's arithmetic, after lunch in Davy Byrne's	recalled	the ad converted to income: the commission computed against Hynes's three shillings and the Prescott prospect	“Keyes: two months if I get Nannetti to. That’ll be two pounds ten about two pounds eight.”
~2 p.m.	8 · Lestrygonians	Bloom's planning, Kildare street	recalled	the Mirus bazaar placard suggests dropping in on Keyes at Ballsbridge — but the library first, for the design	“What about going out there: Ballsbridge. Drop in on Keyes. No use sticking to him like a leech.”
~2–3 p.m.	9 · Scylla and Charybdis	Bloom in the National Library (the cutting on his person inferred, A5)	present	the design chased into the files: the librarian Lyster conducts the patient silhouette to the Kilkenny People	“There’s a gentleman here, sir, the attendant said, coming forward and offering a card. From the Freeman. He wants to see the files of the Kilkenny People for last year.”
~5 p.m.	12 · Cyclops	table talk in Barney Kiernan's	recalled	Bloom lobbies Hynes to put in a word with Crawford — repetition being the whole secret of advertisement — while the citizen glowers	“—O, I’m sure that will be all right, Hynes, says Bloom. It’s just that Keyes, you see.”
~9 p.m.	13 · Nausicaa	Bloom's day-audit, on the dark strand	recalled	counted in the day's inventory and carried forward as unfinished business, with Nannetti gone to Holyhead	“Nannetti’s gone. Mailboat. Near Holyhead by now. Must nail that ad of Keyes’s. Work Hynes and Crawford.”
~midnight	15 · Circe	no one — the pun set loose in Circe (Keyes himself also parades in the crowd)	hallucinated	the House of Keys migrates into John O'Connell's spectral burial docket for Dignam	“Burial docket letter number U. P. eightyfive thousand. Field seventeen. House of Keys. Plot, one hundred and one.”
~1 a.m.	16 · Eumaeus	Bloom's memory, reading the pink Telegraph in the cabman's shelter	recalled	a line of bitched type in Dignam's funeral report is dated by the ad — the moment he called Monks the dayfather	“eatondph 1/8 ador dorador douradora_ (must be where he called Monks the dayfather about Keyes’s ad)”
~2 a.m.	17 · Ithaca	the catechism, 7 Eccles street	recalled	cited as Bloom's model of the perfect advertisement — maximum visibility, legibility, magnetising efficacy	“K. 11. Kino’s 11/— Trousers. House of Keys. Alexander J. Keyes.”
~2 a.m.	17 · Ithaca	Bloom's silent recapitulation, before sleep	recalled	entered in the liturgical ledger of the day's fatigues, between the funeral and the lunch	“the advertisement of Alexander Keyes (Urim and Thummim)”
no hour	18 · Penelope	Molly's monologue, in the bed	recalled	the ad's last appearance: one item in Molly's weary list of what listening to Bloom means	“not always listening to him and Billy Prescotts ad and Keyess ad and Tom the Devils ad”

the Elijah throwaway

the cases

HANDBILL (PRINTED EPHEMERA) · EPISODES 8, 8, 8, 10, 10, 10, 11, 15, 17

A handbill pressed into Bloom's hand, crumpled off O'Connell bridge, and then given its own narrative life sailing the Liffey past the whole city — print at its cheapest becoming the book's most literal moving object, and the seed of the Throwaway pun.

Print at its cheapest: handed out free, read in under a minute, thrown to the gulls — and then moved for three more hours by the river's own timetable, past ferries, schooners and the port's commerce. The object outlives its message, and its phrasing ('throw it away') accidentally seeds the day's central rumour.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~1 p.m.	8 · Lestrygonians	a Y.M.C.A. young man's hand, then Bloom's	present	pressed into Bloom's hand outside Graham Lemon's sweetshop, O'Connell street	“A sombre Y. M. C. A. young man, watchful among the warm sweet fumes of Graham Lemon’s, placed a throwaway in a hand of Mr Bloom.”
~1 p.m.	8 · Lestrygonians	Bloom, walking riverward reading it	present	Bloom half-reads his own name into it (Bloo/Blood), then the announcement of Dowie's Elijah	“Bloo... Me? No. Blood of the Lamb.”
~1 p.m.	8 · Lestrygonians	no one — crumpled, thrown from O'Connell bridge to the gulls	present	Bloom balls it up and throws it to the gulls; it bobs unheeded and floats under the bridgepiers	“He threw down among them a crumpled paper ball. Elijah thirtytwo feet per sec is com.”
~3 p.m.	10 · Wandering Rocks	the Liffey — no hands	present	given its own narrative section: sails downriver under Loopline bridge, shooting the rapids	“A skiff, a crumpled throwaway, Elijah is coming, rode lightly down the Liffey, under Loopline bridge, shooting the rapids where water chafed around the bridgepiers,”
~3 p.m.	10 · Wandering Rocks	the Liffey, off sir John Rogerson's quay	present	second sighting between the cross-cut city scenes: rocked on the ferrywash past the North wall	“sailed by a skiff, a crumpled throwaway, rocked on the ferrywash, Elijah is coming.”
~3–4 p.m.	10 · Wandering Rocks	the Liffey, reaching the port	present	third and last sighting: passes the shipping and the schooner Rosevean, heading for the sea	“Elijah, skiff, light crumpled throwaway, sailed eastward by flanks of ships and trawlers, amid an archipelago of corks,”
~4 p.m.	11 · Sirens	Bloom's memory, in the Ormond dining room	recalled	its slogan surfaces as Bloom mentally itemizes the day's pennies while writing to Martha	“Penny the gulls. Elijah is com. Seven Davy Byrne’s.”
~midnight	15 · Circe	no one — the handbill's promised Elijah appears in person (link to the handbill inferred, A5)	hallucinated	the announcement made flesh: Elijah/Dowie preaches from a rostrum in the Circe phantasmagoria	“A white star falls from it, proclaiming the consummation of all things and second coming of Elijah.”
~2 a.m.	17 · Ithaca	the catechism's inventory — Bloom's recollection at 7 Eccles street	recalled	catalogued among the day's intimations of the Gold Cup result, its disposal noted in parentheses	“a dark man had placed in his hand a throwaway (subsequently thrown away), advertising Elijah, restorer of the church in Zion”

the U.p: up postcard

the cases

DOCUMENT · EPISODES 8, 8, 10, 10, 12, 12, 13, 15, 15, 18

An anonymous penny card that sets a man trudging Dublin all day with two law tomes seeking ten thousand pounds — libel, madness and the postal system's power to wound, passed from handbag to hand and back.

A halfpenny of postal infrastructure weaponized: one anonymous card, delivered at breakfast, sets an old man walking the whole legal geography of Dublin — solicitor, solicitor, subsheriff, detective — while the card itself travels in a handbag and the phrase travels faster than the man, mouth to mouth, into the pubs and finally into the marriage bed's last monologue.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~1:10 p.m.	8 · Lestrygonians	Mrs Breen's handbag, then Bloom's hands, then the handbag again	present	Josie Breen takes the card from her bag and shows it to Bloom on Westmoreland street; he reads it, she folds it back in and snaps the catch	“She took a folded postcard from her handbag. —Read that, she said. He got it this morning.”
~1:15 p.m.	8 · Lestrygonians	Bloom's mind, walking on	recalled	Bloom, watching Denis Breen shuffle out of Harrison's with his two law tomes, privately attributes the card to a pub prank	“U. p: up. I’ll take my oath that’s Alf Bergan or Richie Goulding. Wrote it for a lark in the Scotch house I bet anything.”
~3:15 p.m.	10 · Wandering Rocks	Denis Breen, mid-quest (card carried on his person — inferred, not stated)	present	The Breens cross O'Connell bridge between solicitors' offices, the card's libel action driving the whole trek	“Denis Breen with his tomes, weary of having waited an hour in John Henry Menton’s office, led his wife over O’Connell bridge”
~3:55 p.m.	10 · Wandering Rocks	Denis Breen, under the cavalcade's hoofs (card carried — inferred)	present	Mrs Breen plucks her husband from under the outriders' hoofs; he shifts the tomes and salutes the viceroy	“he shifted his tomes to his left breast and saluted the second carriage”
~5 p.m.	12 · Cyclops	Alf Bergan's retelling in Barney Kiernan's (card still with Breen, off-page)	recalled	Bergan, doubled up laughing, recounts the card and Breen's ten-thousand-pound circuit — Menton's, Collis and Ward's, the subsheriff's	“He’s traipsing all round Dublin with a postcard someone sent him with U. p: up on it to take a li...”
~5:30 p.m.	12 · Cyclops	the pub's talk — J. J. O'Molloy weighing the law; Bloom pitying the wife	recalled	The card is tried in absentia: an action would lie since it implies Breen is not compos mentis; Bloom alone speaks for Mrs Breen	“—Of course an action would lie, says J. J. It implies that he is not compos mentis. U. p: up.”
~9 p.m.	13 · Nausicaa	Bloom's memory, on the darkening strand	recalled	Bloom recalls Breen still hunting the sender and reads the card as fate that fell on another man, not him	“See him sometimes walking about trying to find out who played the trick. U. p: up. Fate that is. He, not me.”
~midnight	15 · Circe	apparitions of Denis Breen and Alf Bergan in Bloom's hallucination	hallucinated	Breen shuffles past in sandwichboards, dogged by Bergan cloaked in the ace of spades, still jeering the card's message	“ALF BERGAN: (Points jeering at the sandwichboards.) U. p: up.”
~midnight	15 · Circe	Bloom's own mouth, in the Bloomusalem fantasy	hallucinated	The phrase, fully detached from the card, becomes Bloom's benevolent-emperor patter as he trips up a fat policeman	“(He trips up a fat policeman.) U. p: up. U. p: up.”
no hour (deep night, ~2 a.m. by the clock outside the episode)	18 · Penelope	Molly's memory, in bed	recalled	Molly, weighing married names and mad husbands, closes the card's day: Breen in his slippers chasing ten thousand pounds	“now hes going about in his slippers to look for £ 10000 for a postcard U p up”

the seedcake on Howth

the cases

FOOD — RECALLED ONLY; CEASED TO EXIST IN 1888 · EPISODES 8, 18

Recalled only, in two mouths sixteen years apart — Bloom's at the burgundy, Molly's at the final Yes — the book's deepest shared possession is food that ceased to exist in 1888, memory as the one object both still hold.

No hand holds it on 16 June 1904; it exists solely as a mouthful passed on Howth Head sixteen years before, kept in two memories and produced twice — by the husband over burgundy at one, by the wife at the final yes. The marriage's one jointly held property is a food that no longer exists.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~1:30 p.m.	8 · Lestrygonians	Bloom's memory, at the burgundy in Davy Byrne's — originally Molly's mouth to his, Howth 1888	recalled	the wine on his palate opens the Howth memory: the rhododendrons, her mouth passing him the chewed cake, closing on 'Me. And me now.'	“Softly she gave me in my mouth the seedcake warm and chewed.”
no hour (~2–3 a.m.)	18 · Penelope	Molly's memory, in the bed at 7 Eccles Street — originally her mouth to his	recalled	the same cake from the other mouth: Molly reaches the Howth proposal at the head of the final Yes, dating it exactly	“first I gave him the bit of seedcake out of my mouth and it was leapyear like now yes 16 years ago”

the blind stripling's tapping cane

the cases

INSTRUMENT · EPISODES 8, 10, 10, 11, 11, 11, 15, 15, 17

The city measured by a cane's tap — guided across Dawson street by Bloom, brushed aside by Farrell, and tap-tap-tapping back to the Ormond for a forgotten tuningfork: infrastructure experienced at the pace of the excluded body.

The city's streets measured at the pace of the excluded body: the same cane that a stranger's kindness steers across Dawson street is knocked aside by a lunatic's dustcoat an hour later, and by five o'clock its tap has become the metronome of an entire episode, beating the blind piano tuner back along the quays for a forgotten tuningfork.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~1:50 p.m.	8 · Lestrygonians	the blind stripling's hand, with Bloom guiding his elbow	present	Bloom finds him tapping the curb on Dawson street, sees the cane tremble out toward the dyeworks' van, and walks him across to Molesworth street; the cane taps on toward South Frederick street	“A blind stripling stood tapping the curbstone with his slender cane. No tram in sight. Wants to cross.”
~3:30 p.m.	10 · Wandering Rocks	the stripling's hand, by the wall of College park and Merrion square	present	Farrell's swinging dustcoat brushes the cane rudely from its angle and buffets its owner, who curses after the striding form	“the sway of his dustcoat brushed rudely from its angle a slender tapping cane and swept onwards, having buffeted a thewless body”
~4 p.m.	10 · Wandering Rocks	the stripling's hand, opposite Broadbent's	present	The viceregal cavalcade sweeps past him — the Crown passing the one citizen who cannot see it	“He passed a blind stripling opposite Broadbent’s.”
~4 p.m.	11 · Sirens	the Ormond bar's talk — the tuningfork he forgot lies on the piano	recalled	Miss Douce recalls the tuner's visit that morning; Simon Dedalus strikes the tuningfork the cane must now come back for	“That was a tuningfork the tuner had that he forgot that he now struck.”
~4:30–4:55 p.m.	11 · Sirens	the stripling's hand, tapping back along the quays	present	The cane's tap punctuates the episode's music at intervals — Tap. Tap. Tap. — growing nearer as he returns toward the Ormond	“Tap. Tap. A stripling, blind, with a tapping cane came taptaptapping by Daly’s window”
~4:55 p.m.	11 · Sirens	the stripling, arrived in the Ormond doorway	present	The tap arrives: he stands in the door of the bar he cannot see, among the singers he cannot see, come for the fork	“Tip. An unseeing stripling stood in the door. He saw not bronze. He saw not gold.”
~midnight	15 · Circe	an apparition in Bloom's Bloomusalem fantasy	hallucinated	Emperor Bloom greets a blind stripling among the beneficiaries of the new Bloomusalem	“BLOOM: (Shaking hands with a blind stripling.) My more than Brother!”
~midnight	15 · Circe	the throng of faces in Bello's interrogation	hallucinated	The stripling recurs among the mute leering faces of Bloom's day pressed forward against him	“Mute inhuman faces throng forward, leering, vanishing, gibbering, Booloohoom. Poldy Kock, Bootlaces a penny, Cassidy’s hag, blind stripling”
~2 a.m.	17 · Ithaca	the catechism's ledger of hypothetical ruin	recalled	The blind stripling stands as one rung of mendicancy in the catechism's descending scale of what Bloom, unprotected, could become	“Mendicancy: that of the fraudulent bankrupt with negligible assets paying 1/4d in the £, sandwichman, distributor of throwaways, nocturnal vagrant, insinuating sycophant, maimed sailor, blind stripling”

the red carnation

the cases

FLOWER — A WORN BADGE, COST NOTHING · EPISODES 10, 10, 10, 10, 11, 11, 15

Taken free from a shopgirl's stemglass and worn between the teeth to the four o'clock assignation — desire's cheapest badge, its provenance a small theft the barmaids read at once: 'who gave him?'

A flower lifted unpaid from a shop's stemglass at three and worn to the four o'clock assignation: its whole economy is theft and display, and every witness on the route — the shopgirl, a boy in mourning, the vicereine, two barmaids — reads it correctly at sight. It survives the day only in Bloom's midnight hallucination, still in the adulterer's mouth.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~3:20 p.m.	10 · Wandering Rocks	Blazes Boylan — taken from the counter stemglass at Thornton's fruit shop, Grafton street, under the blond shopgirl's eye	present	Boylan helps himself to the flower while the girl reckons his bill, asking mock-permission after the theft, then sets the stalk between his teeth	“He took a red carnation from the tall stemglass. —This for me? he asked gallantly.”
~3:20 p.m.	10 · Wandering Rocks	Boylan's smiling teeth, still at Thornton's counter	present	worn as licence — the flower in the teeth accompanies his stare into the shopgirl's blouse and his request for her telephone	“Blazes Boylan looked in her blouse with more favour, the stalk of the red flower between his smiling teeth.”
~3:45 p.m.	10 · Wandering Rocks	the toff's mouth, Grafton street — seen by Master Patrick Dignam in mourning	present	the dead man's son, walking home with pork steaks, registers the badge exactly: flower, boots, swank	“In Grafton street Master Dignam saw a red flower in a toff’s mouth and a swell pair of kicks on him”
~3:55 p.m.	10 · Wandering Rocks	Boylan's lips, Nassau street, facing the viceregal cavalcade	present	hands in pockets, forgetting to salute the Crown, he offers the three ladies his admiration and the stolen flower instead	“he offered to the three ladies the bold admiration of his eyes and the red flower between his lips.”
~4 p.m.	11 · Sirens	Boylan — now moved from teeth to coat — at the Ormond bar, Miss Douce serving his sloe gin	present	the barmaid prices its provenance in a glance while pouring; Miss Kennedy repeats the reading a page later ('flower, wonder who gave')	“looked as it flowed (flower in his coat: who gave him?), and syrupped with her voice”
~4:05 p.m.	11 · Sirens	Boylan rising to leave the Ormond for Eccles street	present	Douce's own rose in her bodice seeks his flower as he goes — the badge jingles off toward the assignation, its last appearance in the flesh	“Bronzedouce communing with her rose that sank and rose sought Blazes Boylan’s flower and eyes.”
~midnight–1 a.m.	15 · Circe	the apparition-Boylan of Bloom's cuckold vision, Bella Cohen's — not in the room	hallucinated	in Bloom's staged humiliation the flower returns to Boylan's mouth, restored to the afternoon position, worn to the door of the imagined bedroom	“Blazes Boylan leans, his boater straw set sideways, a red flower in his mouth.”

Boylan's fruit basket (port and peaches)

the cases

PROVISIONS HAMPER — WICKER, BOTTLE, JAR, FRUIT · EPISODES 10, 10, 17, 18, 18

Adultery announced by grocery: assembled at Thornton's, sent ahead by tram 'for an invalid,' consumed that afternoon, its port and potted meat surfacing in the larder and in Molly's recollection — commerce as courtship's advance guard.

Adultery moves through the city first as groceries: assembled and paid for at Thornton's at three, dispatched by tram under the alibi of an invalid, at the door of 7 Eccles Street before four, consumed that afternoon — and inventoried at two the next morning as remains on the larder shelf, one Jersey pear and half a bottle of invalid port. Commerce as courtship's advance guard, receipts and residue at both ends.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~3:20 p.m.	10 · Wandering Rocks	the blond shopgirl's hands, Thornton's, Grafton street — Boylan directing	present	assembled to Boylan's order: the swathed bottle and a small jar bedded first in rustling fibre, the fruit arranged on top	“She bestowed fat pears neatly, head by tail, and among them ripe shamefaced peaches.”
~3:25 p.m.	10 · Wandering Rocks	consigned to Thornton's tram messenger; address in Boylan's own hand	present	Boylan checks his gold watch, writes the docket, and sends the basket ahead of himself under a lie — ten minutes to the city	“—Send it at once, will you? he said. It’s for an invalid.”
~2:15 a.m.	17 · Ithaca	the larder shelf, kitchen of 7 Eccles Street — found by Bloom making cocoa	present	the remains catalogued without comment among the household stores: the emptied basket, one pear, the port half drunk, the pink tissue half stripped	“an oval wicker basket bedded with fibre and containing one Jersey pear, a halfempty bottle of William Gilbey and Co’s white invalid port”
no hour (after ~2:45 a.m.)	18 · Penelope	Molly's memory of the late afternoon, in the bed	recalled	the basket's contents remembered as consumed with Boylan — port and potted meat together, before she slept	“after we took the port and potted meat it had a fine salty taste”
no hour (after ~2:45 a.m.); the delivery it recalls was before 4 p.m.	18 · Penelope	the messengerboy at the door of 7 Eccles Street, then Molly — as she remembers it	recalled	Molly recalls receiving the basket before Boylan came and misreading it for a moment as a substitute — the gift arriving instead of the man	“I thought it was a putoff first him sending the port and the peaches first”

the torn Gold Cup betting tickets

the cases

PAPER (BOOKMAKER'S RECEIPTS) · EPISODES 17, 18

Twenty quid of Boylan's confidence lacerated on the dresser apron — the material terminus of the Throwaway rumour that got Bloom nearly lynched, gambling's paper passing from hope to litter in an afternoon.

Printed paper of the turf economy: a bookmaker's receipt carries twenty pounds of expectation for one afternoon and is waste by nightfall. The fragments left on the dresser are the day's only material residue of Boylan [inferred: his authorship rests on Molly’s episode 18 memory, not on Ithaca] inside the kitchen — the whole cycle of the wager, stake to litter, completed within the house.

THE STATIONS
Hour	Episode	In whose hands	State	What happens	The text, 1922
~2 a.m.	17 · Ithaca	lying on the apron of the kitchen dresser, 7 Eccles Street; under Bloom's eye as he prepares cocoa	present	Bloom notices the torn fragments — left by Boylan [inferred: Ithaca never says who tore or left them; corroborated by Molly's memory in episode 18]; they corrugate his brow with reminiscences of the Throwaway coincidences	“Four polygonal fragments of two lacerated scarlet betting tickets, numbered 8 87, 88 6.”
no hour (~2:45 a.m. onward); the tearing itself early evening, after the stop press	18 · Penelope	Boylan's hands, in Molly's memory of the afternoon visit	recalled	Molly remembers Boylan returning with the stop press and shredding the tickets in fury at losing twenty quid on the outsider	“tearing up the tickets and swearing blazes because he lost 20 quid he said he lost over that outsider that won”

What was left out

Left out, honestly: (1) single-scene food and tableware however vivid — the fry, the pork kidney, the gorgonzola sandwich, the crubeen and trotter, the Epps's cocoa — they feed one hour and carry structure already covered by the soap/potted-meat/basket cases; the kidney was the hardest cut (it opens Bloom's day and his carnivore-householder identity, but never leaves the kitchen). (2) Recalled-only keepsakes with no 16-June itinerary — the Claddagh ring (a superb hand-to-hand-to-grave chain, but entirely inside Molly's memory), Mulvey's handkerchief, Rudy's woolly jacket, the suicide note 'For my son Leopold' — the museum's present/recalled discipline (A3) argues they belong to a memory-wing, not object cases. (3) Hallucination-only props (Rudy's ivory cane, Bella's speaking Fan, the pandybat) — not in any room. (4) Episode-bound emblems that don't travel: the cracked lookingglass and shaving bowl (famous but confined to ep 1), the milkwoman's can, the tuningfork (lovely, but its structure — the forgotten object awaited by its owner — is carried by the stripling's cane), the Hely's sandwichboards, Molly's photo shown to Stephen, the coin flung from the Eccles street window to the onelegged sailor (a genuine 10→18 loop, cut at 32 with regret). (5) Stationary furniture-as-evidence and the ep-17 drawer archaeology (brass bed, rearranged sofa, daguerreotype, endowment policy) — profound strata, but they are the site the museum sits in rather than movers through it; the biscuit tin was retained as the sole single-episode exception because it is the day's one object turned weapon.

Caveats

An inventory is a reference, not an argument (the working document's own definition). The thirty-two are a selection under the museum test above; the text holds many more objects than any museum should.
Hours are approximate throughout — the itinerary's rule is that hours are firm and minutes are not; a station's hour places it in the day, no more.
Episode titles are schema scaffolding, not Joyce's (anchor A2).
The traces were extracted and then adversarially verified against the 1922 text; seventeen stations failed first verification and were corrected or amended before publication, and the corrections were verified again. Notes from that pass:
The held transcription marks italics with underscores (_…_); inside the quotation cells those markers are set as the italics they mean, with the clearly foreign-language runs carrying their own language tag so a screen reader says them as what they are. Rendering a marker as what it means is not editing what it marks (A19); the words are untouched. Until 5 August 2026 the markers printed raw here — the closing audit set them, following the practice the passages layer already used.
Apostrophes inside quotes are set in the text’s curly form; quotes are otherwise verbatim. The curly quotation marks that enclose every station are likewise the project’s own setting, declared as the project’s: the 1922 page prints no inverted commas.
Cyclops's gigantist interpolations and Molly's imagined futures strain the three A3 labels; where a station's reality is narratorial parody or projection rather than scene, memory, or vision, its what-column says so in words.

SOURCE — the 1922 text of Ulysses (public domain; Project Gutenberg #4300); hours from base document 03, the itinerary. Sourced and inferred are separated (A5): inferred holders are marked [inferred] in their rows.