Clara D. McLean, Wasted Words, in Vincent J. Cheng, Kimberly J. Devlin & Margot Norris, eds., Joycean Cultures/Culturing Joyces [transactions of conference at Univ. of California (Delaware UP; AUP 1998), pp.44-58.
Blooms battle with bodily fluids is waged with both body and words. In a paradoxical gesture much like his contained ejaculation, Blooms narrative both reveals and conceals his semen, repeatedly its wetness but refusing to ever call it by name. That diffuses all through the body, says Bloom (my emphasis), permeates. Source of life. And its extremely curious the smell. Celery sauce (U 13.1039-41). Again and again, the various narrative voices of Nausicaa call up the bodys interior wetness but at the same time suppress, cover, and disguise it with words. Blooms meticulous measuring of fluid, we see, is not really successful: the precious life fluid. He hoped to protect leaks out through his shirt, becoming in spite of a wet unpleasantness, waste to be rinsed out: Mr Bloom with careful hand recomposed his wet shirt .... Begins to feel cold and clammy. Aftereffect no not pleasant (U 13.851). I will argue here that, ultimately, the dirty secret that the narrative and characters strive so hard conceal is precisely this troubling property of the body: its inner fluids are both life and waste, sustenance and poison. Any al or bodily effort to filter, to separate these contradictory props, to align the body definitively with one or the other, is consistently undermined in this episode. The paradoxical nature of bodily fluids inevitably seeps to the surface of body and text. (p.45.)
This narrative slipperiness in Nausicaa collapses the boudnaries, breaking down any traditional notions of bodily, sexual, or characterological intactness. The threat of this leakage to the characters wholeness, to their independent livesin the text, is a direct extension of the threat of bodily leakage that haunts the whole chapter.
When Blooms well-guarded semen seeps up through his shirt, the troubling mixing of life and waste present itself, finally, as a problem of his own body, interior and inescapable. That which is the source of life, that which makes a babys body, is also filth, unpleasantness, maker of dirty laundry. This could provide a clue to the aversion to intercourse that, as we learn in Ithaca, has sexually paralysed Bloom for many years.
Kristeva formulates the abject as the bad object that inhabits the body and something rejected from which one does not part (1982, p.54.) The problem of the abject, the filth integral to the body, the dead thing contained within life, is central to the Nausicaa episode. The horror of the dead body that emerged from his own interior [i.e., semen and Rudy] leads him to attempt to reject and eject the waste of his body, through language, onto the bodies of women. His response resembles Kristevas abjection, whose subjects feel a collapse of the border beetween inside and outside, wherein it is as if the skin, a fragile conainer, no longer guaranteed the integrity of ones own and clen self but, scraped or transparent, gave way before the dejection of its contents. (53).
Nausicaa suggests that defilement is implicit in the body and in language. While Nausicaas characters fight valiantly against this situation, there is some suggestion of another response. Towards the end of the episode, Blooms narrative turns more toward Milly, his living child. In Milly, Blooms narrative harshness toward women seems to lessen, acknowledging a continuity with his own, clean flesh and hers: Little paps to being with [...] (U 13.1200-01), he thinks [...] Joyces own work suggests a way out of Blooms troubling impasse: that the bodys wste waters can be cherished, rather than feared, for their paradoxical properties. They are, in part, an artful trajectory, their leakage a life-affirming stream. [End.]