RtB section 13 – Asylum Song

Up to “Round the Bend”.

Back to Section 12 – Dusty Springfield

In which Lucia returns to her own time and space, accompanied by an Alan Moore-crooned summary of her adventures.

Significant characters and themes in this section:

You Are My Asylum, live
You Are My Asylum, live
  • You Are My Asylum” is a song by Alan Moore, Downtown Joe Brown & the Retro Spankees. It was the first track on the compilation CD Nation of Saints, a collection of music by Northampton-ites which was included as an insert with the first issue of Moore’s 2010 fanzine Dodgem Logic. It is, in many ways, a summary of this whole chapter.
  • James Joyce (1882-1941) was an extremely famous writer and Lucia Joyce’s father.
  • The River Liffey is a river in Ireland which, in Finnegans Wake, is referred to many times, and is metaphorically linked to the female protagonist (who is, in some senses, Lucia).
  • World mythology, especially Irish, Greek, Roman, Norse, and Egyptian.
  • Alice in Wonderland and Through the Looking-Glass by Lewis Carroll, classic children’s books whose themes include childhood, madness, wordplay, and doubled characters.
    • In a 2009 interview, Moore stated: “There are also references to Alice in Wonderland, almost like a reprise to Lost Girls. But that’s because James Joyce identified his daughter with Lewis Carroll’s Alice – Lucia is almost an anagram of Alice.”
  • Page 929 (continued)
  • Paragraph 228
    As Lucia walks off between the trees, limbs lit by the long rays of the afternoon, she can hear the transistor radio playing somewhere behind her, or at least she thinks she can. It sounds a little like that record by the Beatles that those simple-minded evangelical Americans made bonfires of, and all because it apparently briefly talked about a naughty girl who let her knickers down. “I am the Walrus”, wasn’t that its title? Through the undergrowth ahead of her she can now see the main asylum buildings, looking just as they had done when she’d set out upon her odyssey that morning, though it seems an afterlifetime since. She even thinks she sees Patricia, peering anxiously around the grounds and no doubt wondering where Lucia had gone. She hurries up her timing pace a bit.

    • As Lucia swalks off betreen the tweeze, englishlit by the wrong lays of the drafternoon, she cawnear the transwisper pladio raying summerwhere behider, or alt feast she tinks she ken.

      • “swalks” – “Walks”, “SWALK” (Sealed With A Loving Kiss). Possibly “swale” (marshland), “swank”, “swallow”.
      • “betreen” – “Between”, “be (a) tree”. Possibly “Treen“, an alien race from Dan Dare who appeared often in later installments of Moore’s League of Extraordinary Gentlemen.
      • “tweeze” – “Trees”, “tweezers”, “twee”.
      • “englishlit” – “Limbs(?) lit”, “English lit(erature)”.
      • “wrong lays” – “Long rays”, “wrong lays” (deviant sex? suppressed songs?).
      • “drafternoon” – “Afternoon”, “draft”.
      • “cawnear” – “Can hear”, “caw near”.
      • “transwisper” – “Transistor”, “trans(exual?) whisper”, possibly “wisp” (will-o-wisp?).
      • “pladio raying” – “Radio playing”, “plaid rays”.
      • “summerwhere” – “Somewhere”, “summer where”.
      • “behider” – “Behind her”, “hide her”.
      • “alt feast” – “At least”, “alt feast”.
      • “tinks” – “Thinks”, “tinks” (small striking-glass sounds).
      • “ken” – “Can”, “ken” (know).
  • Page 930
  • Paragraph 228 (continued)
    • It stounds a litterl like that wrechord bother Beautles that those unclesampleminded evanjocular Armoryguns mad burnfears of, and all becase it undy pantly briefly chalked abawd a nighty curlew net her lickers drown.

      • “It stounds” – “It sounds”, “astounds”.
      • “litterl” – “Little”, “literal”, “litter”, possibly “littoral” (relating to the seashore).
      • “wrechord bother” – “Record by the”, “wretched bother”, “wreck chord brother”.
      • “Beautles” – “Beatles”, “beauties”.
        • The Beatles were spoken of often in the previous section, especially paragraph 223.
      • “unclesampleminded” – “Simple-minded”, “Uncle Sam”, “sample” (perhaps in the musical sense).
      • “evanjocular” – “Evangelical”, “even jocular”.
      • “Armoryguns” – “Americans”, “armory guns”, possibly “amor” (love of) “guns”.
      • “mad” – “Made”, “mad”.
      • “burnfears” – “Bonfires”, “burn (their) fears”.
      • “becase” – “Because”, “be case”.
      • “undy pantly” – “Apparently”, “underpants”. Possibly “undine”, “pantingly”.
      • “briefly” – “Briefly”, “briefs” (underpants).
      • “chalked” – “Talked”, “chalked”.
      • “abawd” – “About”, “a bawd”.
      • “nighty” – “Naughty”, “nighty”.
      • “curlew” – “Girl who”, “curlew” (type of water bird). Possibly “curl ew”.
      • “net her lickers” – “Let her knickers”, “net her lickers” (gained some oral sex?).
      • “drown” – “Down”, “drown”.
        I Am The Walrus
        I Am The Walrus
        • This appears to conflate two different incidents in Beatles history. In 1966, many American churches organized bonfires of Beatles records in response to John Lennon’s remark that the Beatles were “more popular than Jesus“. The song “I am the Walrus” did not (as far as I can determine) spark any bonfires, but did get banned by the BBC, specifically because of the lyric “You’ve been a naughty girl, you’ve let your knickers down”.
    • “I Am The Paulrus”, wasin’ dout its titterl?

      • “Paulrus” – “Walrus”, “Paul (McCartney)” (co-writer of “I am the Walrus”).
      • “wasin’” – “Wasn’t”, “was in”, “sin”.
      • “dout” – “That”, “doubt”.
      • “titterl” – “Title”, “titter”.
    • Rue the thundergrowth inhead of here she can now see demean aSalem pilldings, lurking just as day had done windsheet set out uplan her plodyssey date mourning, though it sims an evterlifetime sence.

      • “Rue” – “Through”, “rue”.
      • “thundergrowth” – “Undergrowth”, “thunder growl”.
      • “inhead” – “Ahead”, “in (her) head”.
      • “here” – “Her”, “here”.
      • “demean” – “The main”, “demean”.
      • “aSalem” – “Asylum”, “a Salem” (probably meant to suggest the Salem Witch Trials).
      • “pilldings” – “Buildings”, “pill dings”, possibly “pilings”.
      • “lurking” – “Looking”, “lurking”.
      • “day had done” – “They had done”, “day is done”.
      • “windsheet” – “When she’d”, “windsheet” (sail?), “winding sheet” (burial shroud).
      • “uplan” – “Upon”, “you plan”. Possibly “Utopian”.
      • “plodyssey” – “Odyssey“, “plodding”.
      • “date” – “That”, “date”.
      • “mourning” – “Morning”, “mourning”.
      • “sims” – “Seems”, “sim(ulate)s”.
      • “evterlifetime” – “Afterlifetime”, “ever”.
      • “sence” – “Since”, “sense”, possibly “séance”.
    • She even blhinks she sees Petreasure, pheering auntiously aground the rounds and nodate whendering ware Lucia has goone.

      • “blhinks” – “Thinks”, “blinks”.
      • “Petreasure” – “Patricia”, “treasure”.
        • Patricia (not seen since section one) is one of Lucia’s nurses.
      • “pheering” – “Peering”, “fearing”.
      • “auntiously” – “Anxiously”, “auntie”.
      • “aground the rounds” – “Around the grounds”, “ground rounds”.
      • “nodate” – “No doubt”, “no date”. Possibly “nod ate”.
      • “whendering” – “Wondering”, “when-wandering”.
      • “ware” – “Where”, “(be)ware”.
      • “goone” – “Gone”, “goon” (muscular person; slang “masturbate”), “goo”.
    • She whurries up her timin’ pace a bit.

      • “whurries” – “Hurries”, “worries”.
      • “timin’ pace” – “Timing pace”, “time and space”.
  • Paragraph 229
    She can still hear the song beyond her, but she isn’t sure if it’s the one she thought it was. The tune seems different and so do the words, though she suspects that she’s not hearing the real words at all. She’s probably translating the inaudible and distant lyrics into her own language, the same way she does with everything.

    • She kinstill hear the song beyonder, but she dizzn’t surey fit’s the when she thawtit was.

      • “kinstill” – “Can still”, “kin still”, “instill”.
      • “beyonder” – “Beyond her”, “beyond”. Possibly “Beyonder” (Cosmic character from Marvel Comics in the 1980s).
      • “dizzn’t” – “Isn’t”, “dizzy”, possibly “doesn’t”. Possibly “Drizzt” (fantasy D&D character created by R. A. Salvatore).
      • “surey fit’s” – “Sure if it’s”, “surely fits”, suggest??
      • “when” – “One”, “when”.
      • “thawtit” – “Thought it”, “thaw tit”.
    • Detune streems differrant and pseudo the words, doshy slushpects that she’s not herein’ thereal worlds at all.

      • “Detune” – “The tune”, “detune”.
      • “streems” – “Seems”, “streams”.
      • “differrant” – “Different”, “differ rant” (Moore’s music often seems to “rant”).
      • “pseudo” – “So do”, “pseudo”.
        • This seems to imply that Moore, in composing “Asylum Song”, was deliberately trying to evoke the Beatles’ “I am the Walrus”.  (The lyrics included in Jerusalem only form approximately the first half of the song. The second half contains mostly nonsense syllables, though some of them are clearly quoted from “I am the Walrus”.)
      • “doshy” – “Though she”, “dosh” (slang “money”).
      • “slushpects” – “Suspects”, “slush (fund?)”. There’s also a suggestion of a drunken slur in Lucia’s voice.
      • “herein’” – “Hearing”, “herein”.
      • “thereal worlds” – “The real words”, “ethereal worlds”.
    • She’s proverbly trancestating the inudibelle and dustant leerics into her roam lingwish, the seam way she daz with reveriething.

      • “proverbly” – “Probably”, “proverb lie”.
      • “trancestating” – “Translating”, “trance state”.
      • “inudibelle” – “Inaudible”, “I (am a) nude belle”.
      • “dustant” – “Distant”, “dust ant”.
      • “leerics” – “Lyrics”, “leers”.
      • “roam” – “Own”, “roam”.
      • “lingwish” – “Language”, “ling(uistics) wish”.
      • “seam” – “Same”, “seam”.
      • “daz” – “Does”, “daze”.
      • “reveriething” – “Everything”, “reverie thing”.
  • Paragraph 230
    [The lyrics of Moore’s song “You Are My Asylum” do not need ‘translation’, as they are in much plainer language than Lucia’s narration. They do, of course, still need a fair amount of annotation.]
John Clare by William Hilton; 1820
John Clare by William Hilton; 1820
    • John signs clarely on the water,
      Says the Queen’s his daughter,
      Longs for young Miss Joyce, the wife he barely even knew,
      And no more how’s-your-father now.
      He’s a product of his class
      Who eats the grass
      Along the path he’s made.

      • Line 1: John Clare is, of course, the subject of Section 3. “Signs” evokes semiotics, which are hugely relevant to this chapter; it also can read as “sighs” or “sings”. “On the water” – Suggest??
      • Line 2: One of Clare’s delusions was that he was Queen Victoria’s father.
      • Line 3: Another Clare delusion was that he had married a childhood sweetheart, Mary Joyce. For more on this, see Section 3 of this chapter, as well as the chapter “The Steps of All Saints”.
      • Line 4: “How’s-your-father” is British slang for “sexual intercourse”. The “no more” is not as obvious, but may have to do with the song’s preoccupation with death.
      • Line 5: Clare was, famously, lower class, which certainly had a large effect on him.
      • Line 6: During his famous escape from Epping Forest, at one point Clare was so hungry that he ate grass by the side of the road.
      • Line 7: “The path he’s made” may allude to Clare’s appearance in Moore’s Voice of the Fire. The creation of roads is one of the themes of that book.
  • Paragraph 231
    It’s unintelligible gibberish, of course, composed of nonsense syllables and utterly devoid of meaning, though she finds that she enjoys the skirling music of it.

    • It’s anuntellagibble jabberish, off course, nonposed of comsense sillyballs and nutterly devader meanink, though she fonds that she injoyce the squirling museek avid.

      • “anuntellagibble” – “Unintelligible”, “an un-tell” (something devoid of content?) “gibble(-gabble)” (meaninless talk — “gibble-gabble” appears in the second half of “You Are My Asylum”).
      • “jabberish” – “Gibberish”, “jabber”, possibly “Jabberwocky” (famous nonsense poem by Lewis Carroll).
      • “off course” – “Of course”, “off course”.
      • “nonposed” – “Composed”, “non- posed”. Possibly “non compos mentis”.
      • “comsense” – “Nonsense”, “common sense”.
      • “sillyballs” – “Syllables”, “silly balls”.
      • “nutterly” – “Utterly”, “nutter”.
      • “devader” – “Devoid of”, “invader”. Possibly “de” (of) “(Darth) Vader“.
      • “meanink” – “Meaning”, “mean ink”.
      • “fonds” – “Finds”, “fond”, possibly “fronds”.
      • “injoyce” – “Enjoys”, “in Joyce”.
      • “squirling” – “Skirling”, “squirrel”.
      • “museek” – “Music”, “seek” “mu” (a significant concept in Zen Buddhism).
      • “avid” – “Of it”, “avid”.
  • Paragraph 232
    • Lucy’s dancing in the language,
      Shares a marble sandwich
      With a Mr. Finnegan from several headstones down
      And no more how’s-your-father now.
      She’s a cockeyed optimist
      Who can’t resist
      This final white parade.

      • Line 1: An excellent description of this chapter. Lucia turns language into a dance-form. Her being called “Lucy” draws a connection to the psychedelic Beatles song “Lucy in the Sky With Diamonds”.

        Lucia Joyce's tombstone
        Lucia Joyce’s tombstone
      • Lines 2-3: Alluding to the proximity of a “Finnegan” headstone to Lucia’s in Kingsthorpe Cemetery (see section 10, paragraph 162).
      • Line 5: Referring to Lucia’s strabismus (see section 4, paragraph 70).
      • Line 8: The “final white parade” is never made explicitly clear. It may be referring to death, which, in Moore’s Eternalist view, just “parades” back to the start of life again.
        • Commenter barrynorton points out that this may be a parade of tombstones. Though Lucia’s own tombstone isn’t white, most are. Section 10 even described the cemetery where she is buried as a “white encroaching tide of marble“.
  • Paragraph 233
    Although she knows it’s symptomatic of delusional behavior and schizophrenia, she can’t help thinking that the previous verse of the song had been about her. She steps out from the concealing vegetation onto the green lawns of Saint Andrews just as the delirious psychedelic anthem slides into its catchy chorus.

    • Allthrough she nows it’s sometimeattic of belusional dehaviour and splitzophrenia, chicaned help thanking that de pravious abverse odder song had bin abider.

      • “Allthrough” – “Although”, “all through”.
      • “nows” – “Knows”, “now’s”.
      • “sometimeattic” – “Symptomatic”, “some time attic”.
      • “belusional dehaviour” – “Delusional behavior”, possibly “be lush”.
      • “splitzophrenia” – “Schizophrenia”, “split”.
      • “chicaned” – “She can’t”, “chicanery” (deception).
      • “thanking” – “Thinking”, “thanking”.
      • “de pravious” – “The previous”, “depraved”.
      • “abverse” – “Verse”, “averse”, “obverse”.
      • “odder” – “Of the”, “odder”.
      • “bin abider” – “Been about her”, “(looney) bin abider”.
        • It may be paranoid, but that verse was largely about her.
    • She stoops out from the councealing vagitation unto the groen lawnings ab Sent Hinderus joystirs the delayrious psychodelphic untheme slydes into its catch Icarus.

      • “stoops” – “Steps”, “stoops”.
      • “councealing” – “concealing”, “council”, “counselor”.
      • “vagitation” – “Vegetation”, “vaginal agitation”.
      • “unto” – “Into”, “unto”.
      • “groen” – “Green”, “groen” (Welsh “skin”). Possibly “(Matt) Groening” (creator of The Simpsons, which Moore has appeared on).
      • “lawnings” – “Lawn”, “awnings”.
      • “ab Sent Hinderus” – “Of Saint Andrews”, “absent hinder us”.
      • “joystirs” – “Just as”, “joy stirs”, “Joyce”.
      • “delayrious” – “Delirious”, “delay riots”, “de” (about) “lays” (songs; sexual encounters).
      • “psychodelphic” – “Psychedelic”, “psycho” (crazy), “Delphic (Oracle)“.
      • “untheme” – “Anthem”, “un theme”.
      • “slydes” – “Slides”, “sly”. Possibly “Sly (Stone)”.
      • “catch Icarus” – “Catchy chorus”, “catch Icarus”.
  • Page 931
  • Paragraph 234
    • So she waits for God, oh what’s the point
      Of all these tears?
      Letters of the alphabet are pouring from her ears
      And all her words are mangled
      And her sentences are frayed
      To black hole radiation
      In this final white parade.

      • Line 1: Alluding to Samuel Beckett‘s influential Absurdist play Waiting for Godot. Beckett was discussed earlier in this chapter (sections 5 and 9), and appears as a character in the chapter “The Steps of All Saints”.
      • Line 2: Possibly alluding to the Alice in Wonderland episode “The Pool of Tears”.
      • Line 3: In section 3, paragraph 57, letters emerge from John Clare’s ears, not Lucia’s.
      • Lines 4-6: This recapitulates imagery of Lucia as a black hole of information seen in section 3, paragraph 58.
  • Paragraph 235

    Samuel Beckett, early 1930s
    Samuel Beckett, early 1930s
  • The lyrics, for some reason, make her think of Samuel Beckett, whom she hopes will come and visit soon. He’s been a loyal friend to her, her Sam, and it’s not his fault that he can’t be something more. She walks across the grass towards the meadows with the fading song continuing to catch her ear on intermittent gusts of wind.
    • Delyrics, fearsome risen, meek her thank o’ Somewill Backitt, hom she whoopes wel come and fizzit soon.

      • “Delyrics” – “The lyrics”, “delirium”.
      • “fearsome” – “For some”, “fearsome”.
      • “risen” – “Reason”, “risen”.
      • “meek” – “Make”, “meek”.
      • “thank” – “Think”, “thank”.
      • “Somewill Backitt” – “Samuel Beckett”, “some will back it”.
        • As noted above, the first line of that verse contains a coded reference to Beckett’s most famous play.
      • “hom” – “Whom”, “homo” (Latin “man”).
      • “whoopes” – “Hopes”, “whoops” (sound of celebration; expression of error).
      • “wel come” – “Will come”, “welcome”.
      • “fizzit” – “Visit”, “fizzy”.
    • He’s bin alloyal friend to err, hus Sum, and it’ snotties falld vatican’t be comething moor.

      • “bin” – “Been”, “(looney) bin”.
      • “alloyal” – “A loyal”, “alloy”.
      • “err” – “Her”, “err”.
      • “hus Sum” – “Her Sam”, “hussy”, “his sum”.
      • “it’ snotties falld” – “It’s not his fault”, “snotties fall”.
      • “vatican’t” – “That he can’t”, “Vatican“.
      • “be comething” – “Be something”, “become thing”, “come thing” (sex object?).
      • “moor” – “More”, “moor” (wasteland). Possible allusion to Shakespeare’s Othello, the Moor of Venice.
    • She walks acrass the gross toherds the medowse weaver fating song contimbering to cadger ear on interdistent ghusts of wint.

      • “acrass the gross” – “Across the grass”, “crass and gross”.
      • “toherds” – “Towards”, “to herds”.
      • “medowse” – “Meadows”, “me dowse”.
      • “weaver” – “With the”, “weaver”. Possibly “The Weavers“.
      • “fating” – “Fading”, “fate”.
      • “contimbering” – “Continuing”, “con timbering”, “timbre”.
      • “cadger” – “Catch her”, “cadger” (beggar).
      • “interdistent” – “Intermittent”, “in the distant”.
      • “ghusts” – “Gusts”, “ghosts”.
      • “wint” – “Wind”, “winter”, possibly “win it”.
  • Paragraph 236
    • Malcolm’s methylated banter,
      When his Tam O’ Shanter
      Is by Colonel Bogeymen pursued into the dew
      And no more how’s-your-father now.
      Prisoner at the bar,
      They’d raise a jar
      For every serenade he played.

      • Line 1: Referring to Malcolm Arnold (section 7), and his alcoholism (“methylated” spirits being associated with drunkenness).

        Sir Malcolm Arnold
        Sir Malcolm Arnold
      • Line 2: Arnold set Robert Burns’ Tam O’Shanter to music, as discussed in section 7, paragraph 117.
      • Line 3: Arnold drew extensively on the “Colonel Bogey March” for his Oscar-winning soundtrack to The Bridge on the River Kwai. Bogey is also a word for goblin, so this refers to section 7, where Arnold is pursued by monsters.
      • Lines 5-7: This refers to Arnold’s “imprisonment” at the Crown & Cushion pub (see section 7, paragraph 118).
  • Paragraph 237
    Standing by the day room entrance, her sweet nurse Patricia has now seen her and is waving happily, relieved that she’s all right. Lucia starts to walk a little faster then to run. She skips and dances in the light, her shadow long upon the billiard-table baize of the asylum lawn. It’s been another perfect lucky day, her whole life somehow fitted into it from pauper’s ward nativity to Kingsthorpe cemetery headstone. Every day is like a snow-globe with the entire universe caught in suspension, full of myth and literature and history, and every day much like the next. She rushes eagerly towards the hospital, towards the ocean’s fatherly embrace.

    • Staunding bider raydoom intrance, her sweet’ners Peatrickier has nowse inner and is waifing hippily, relived that shizzle right.

      • “Staunding” – “Standing”, “staunch”, possibly “astounding”.
      • “bider” – “By the”, “bider” (one who waits).
      • “raydoom” – “Dayroom”, “doom ray”.
      • “intrance” – “Entrance”, “in (a) trance”.
      • “sweet’ners” – “Sweet nurse”, “sweeteners”.
      • “Peatrickier” – “Patricia”, “pea trickier”. Possibly “peat rick”.
      • “nowse inner” – “Now seen her”, “dowse inner”.
      • “waifing” – “Waving”, “waif”.
      • “hippily” – “Happily”, hippie”.
      • “relived” – “Relieved”, “re-lived”.
      • “shizzle right” – “She’s alright”, “shizzle” (shit) “right”.
    • Lucia tarts to walk a liffel feister, denderrun.

      • “tarts” – “Starts”, “tarts”.
      • “liffel” – “Little”, “(River) Liffey”.
      • “feister” – “Faster”, “feisty”.
      • “denderrun” – “Then to run”, “denderen” (Dutch “to roar”). Possibly “dander”.
    • She dips and skances in de light, her shedoe lang uponder trilliard-terrble baise o’ day asoiloam lorn.

      • “dips and skances” – “Skips and dances”, “dips askance”.
      • “de light” – “The light”, “delight”.
      • “shedoe” – “Shadow”, “she doe”, “she (does) do”.
      • “lang” – “Long”, “language”.
      • “uponder” – “Upon the”, “you ponder”.
      • “trilliard-terrble” – “Billiard-table”, “trilliard” “terrible”.
        • For more on trilliards, see chapter “An Asmodeus Flight”.
      • “baise” – “Baize” (green felt), “baise” (French “kiss” (dated); “fuck”). Possibly “base”, “bays”.
      • “day” – “The”, “day”.
      • “asoiloam” – “Asylum”, “soil loam”.
      • “lorn” – “Lawn”, “forlorn”.
    • It’ spin anutter pafict lucci die, hor whele life samewho fulldead inter it from pauppa’s word nowtivity to Jimsthorte cemeteary bedstone.

      • “It’ spin” – “It’s been”, “it spins”.
      • “anutter” – “Another”, “a nutter”.
      • “pafict” – “Perfect”, “pa fiction”. Possibly “pacifist”.
      • “lucci” – “Lucky”, “Lucia”.
      • “die” – “Day”, “die”.
      • “hor” – “Her”, “hora” (Latin “hour”), possibly “whore”.
      • “whele” – “Whole”, “wheel”. Possibly “whale”.
      • “samewho” – “Somehow”, “same who”.
      • “fulldead” – “Folded”, “full dead”.
      • “inter it” – “Into it”, “inter it”. Possibly “interpret”.
      • “pauppa’s word” – “Pauper’s ward”, “papa’s word”.
      • “nowtivity” – “Nativity”, “now activity”.
        • As noted in section 1, Lucia was born in a pauper’s ward.
      • “Jimsthorte” – “Kingsthorpe”, “Jim’s (Joyce’s) thought”.
      • “cemeteary” – “Cemetery”, “see me teary”.
      • “bedstone” – “Headstone”, “bed (of) stone”.
        • As noted in section 10, Lucia is buried in Kingsthorpe cemetery.
    • Ivory day is like as know-globe with the untired uniqverse curtin sudspinsion, fullove myrth and literatunes and herstory, an’ divery daymarch like the next.

      • “Ivory” – “Every”, “ivory”.
      • “like as know-globe” – “Like a snow-globe”, “like as not”, “know”l
      • “untired” – “Entire”, “un- tired”.
      • “uniqverse” – “Universe”, “unique verse”.
      • “curtin” – “Caught in”, “curtain”, possibly “curt in”.
      • “sudspinsion” – “Suspension”, “suds spin” (washing machine?).
      • “fullove” – “Full of”, “fully love”, possibly “FU” (fuck you) “love”.
      • “myrth” – “Myth”, “mirth”, “myrrh”.
      • “literatunes” – “Literature”, “litter of tunes”.
      • “herstory” – “History”, “her story”.
      • “an’ divery” – “And every”, “diver”.
      • “daymarch” – “Day much”, “march (of) days”.
    • She rashes eagirly thruwards the dosspital, towords the mocean’s featherly himbrace.

      • “rashes” – “Rushes”, “rash”. Possibly “rashers” (Britain “strips of bacon”).
      • “eagirly” – “Eagerly”, “girly”.
      • “thruwards” – “Towards”, “through wards”.
      • “dosspital” – “Hospital”, “doss” (to avoid work; to sleep rough).
      • “towords” – “Towards”, “to words”.
      • “mocean’s” – “Ocean’s”, “motion”. Possibly “moce” (Fijian “goodbye”).
      • “featherly” – “Fatherly”, “feather”.
        • James Joyce often symbolically associated himself with the ocean.
      • “himbrace” – “Embrace”, “him brace”.
  • Paragraph 238
    Dusty Springfield, 1967
    Dusty Springfield, 1967
    • Dusty’s cunningly linguistic,
      Jem’s misogynistic,
      But they dance the night away.
      Manac es cem, J.K,
      And no more how’s-your-father now.
      Grinding signal into noise
      The crowd enjoys
      This final white parade.

      • Line 1: This, of course, refers to Dusty Springfield and her lesbianism (see previous section). On another level “cunningly linguistic” describes much of Moore’s work, never more so than in this chapter.

        J. K. Stephen
        J. K. Stephen
      • Line 2: “Jem” is J. K. Stephen, subject of section 5.
      • Line 4: “Manac es cem, J.K.” This is the initials of the five ‘canonical’ victims of Jack the Ripper, arranged as a phrase. It can be interpreted as “Maniac is come, Jack.” The J. K. may also be taken to refer to J. K. Stephen. It appears this phrase was originated by Iain Sinclair in White Chapell Scarlet Tracings, which was a major influence upon Moore’s From Hell.
      • Line 6: Arguably what Moore has done in this chapter, putting so much signal into each sentence that, to many readers, nothing but noise remains. This may also be an allusion to the Neil Gaiman / Dave McKean graphic novel Signal to Noise.
  • Paragraph 239
    An embrace of existence and embodiment of light, Lucia dances on the madhouse grass.

    • An embress of textistence and embiddyment aflight, Lucia dawnsees on the meadhows grase.

      • “embress” – “Embrace”, “embarrass”, possibly “empress”.
      • “textistence” – “Existence”, “text is sense”.
      • “embiddyment” – “Embodiment”, “biddy” (old woman).
      • “aflight” – “Of light”, “aflight” (flying).
      • “dawnsees” – “Dances”, “dawn sees”.
      • “meadhows” – “madhouse”, “meadow’s”, “mead house”, “how”.
      • “grase” – “Grass”, “graze’, possibly “grace”.
  • Paragraph 240
    • So we wait for God, oh what’s the point
      Of all these tears?
      Letters of the alphabet are pouring from our ears
      And all the wards are empty
      And the beds are all unmade,
      And we’re walking through the blackout
      On this final white parade.

      • Lines 1,3: The pronouns are changed from the Lucia-specific “she/her” to the universal “we/our”.
      • Lines 4-5: Suggesting a utopian condition in which the asylum has been abandoned. Possibly because there is no more stigma against the non-neurotypical?
      • Line 6: “walking through the blackout” recalls Thursa walking around and performing during WWII blackouts in chapter “Hark! The Glad Sound!”.
  • Paragraph 241
    An embrace of existence and embodiment of light, Lucia dances on the madhouse grass forever.

    • An embress of textistence and embiddyment aflight, Lucia dawnsees on the meadhows grase floriver.

      • Most of this sentence is a copy of paragraph 239, above.
      • “floriver” – “Forever”, “flow river”.

Forward to chapter 3.04 “Burning Gold”

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