Essential McLuhan 64 Chacun dit son nom…. O langage confus, langage qui t’agites, je veux foudre toutes tes voix. Cent mille feuilles mues font ce que le rêveur murmure aux puissances du songe. And he proceeds to contemplate the tree as a labyrinth merging with river and sea yet remaining a giant. In the same way the Aeolean tree music of the press “reamalgemerges” with the Mosaic eloquence of Sinai and the mountain, just as Anna Livia is also ALP (and Aeolus was a volcano spirit, that is, a cyclopean or mountain figure. He was the reputed father of Ulysses and hence of Bloom). The cyclopean aspect of Aeolus and the press provides an important motif, that of crime detection and the private eye. The press man as a “Shaun the cop” or cyclops type (“though he might have been more humble there’s no police like Holmes”) is presented in this episode as a parody or ape of the artist. Editor Myles Crawford, soliciting the services of Stephen, boasts of the sleuthing feats of “we’ll paralyze Europe” Ignatius Gallaher. Gallaher’s idea of scare journalism is paralysis as opposed to the artist’s idea of awakening. Gallaher reconstructed the pattern of the Phoenix Park murders to paralyze Europe; the artist reconstructs the crime of history as a means of awakening the dead. As “bullock-befriending bard,” Stephen is the threader of that Labyrinth described by Vergil in the fourth Georgic, the fable of the ox and of the bees of poetic inspiration. Nevertheless Joyce is not questioning the parallel between journalism and art in respect to the retracing process. The very conditions of journalism fostered insight into artistic production, because daily or periodic publication led to a great deal of serial composition. This in turn compelled authors to write their stories backwards. Edgar Poe, a journalist, in “The Philosophy of Composition,” begins: Charles Dickens, in a note now lying before me, alluding to an examination I once made of the mechanism of Barnaby Rudge, says—“By the way, are you aware that Godwin wrote his Caleb Williams backwards?” Poe then develops the familiar symbolist doctrine of poem as an art situation which is the formula for a particular effect. The same method of composition in reverse enabled Poe to pioneer the detective story. There is nothing accidental, therefore, about the Aeolus episode being crammed with instances of reversal and reconstruction. Applying the same principle to language yields, in the Wake, a reconstruction of all the layers of culture and existence embedded in the present forms of words and speech gesture. It was natural that eighteenth-century writers should have been attracted to the retracing and reconstruction principle of art, which made Horace Walpole say of Tristram Shandy that it was the first book which