“Bloowho” and Silence
As four o’clock approaches, Bloom spots Boylan enter the Ormond Hotel. After following his rival inside, he finds himself surrounded by music about love, sex, betrayal, forgiveness, and revenge. Will he allow its sentimental lyrics and sensational plots to speak for him as he ponders his relationship with Molly and considers whether or not to reply to Martha Clifford’s billet doux? Readers also face decisions. Given the stylistic experimentation of “Sirens,” should Bloom continue to be read as a realist character, or has “Bloom” become a site for competing discursive formations that speak through and for him. As a potential petitioner in a divorce, will he prove to be a character or a textual construct or might he be both?