1. Introduction

2. The Picture

2.2 ALP as 'Container' of the Picture

2.3 The Silence Accompanying the Picture

2.4 The First '(Silent.)'

2.5 The Second '(Silents)'

2.6 The Third 'SILENCE'

2.7 The Picture as Masculine Content

3. The Wall

3.2 The Picture on the Wall

3.3 The Picture Book

3.4 The Material Composition of the Wall

3.5 Relationship between the Wall and Letter

3.6 HCE as the Wall

3.7 ALP as the Wall

3.8 The Wall as City

3.9 The Wall and the Original Sin

3.10 Bricks in the Wall

4. The Tomb

4.2 HCE as Revenant

4.3 The Return of the Deity

4.4 HCE as Genetically Entombed

4.5 The HCE Deity as Spiritual Father

4.6 HCE as Sacrament

4.7 The Material World as HCE's Tomb

5. Tree/Stone

5.2 Life and Death

5.3 The Tree of Religion

5.4 The Biblical Snake as a Fallen HCE

5.5 Shaun and Violence

5.6 Shaun's Virgin/Whore Perception of Women

5.7 Shem and Peace

5.8 Class in the Wake

5.9 Sex and Power

5.10 Subverting the Cyclic Reproduction of HCE

6. The Letter

6.2 The Letter as Condom

6.3 Wetting the Tea

6.4 Halting the Genetic Message

6.5 A Parcel of Cakes

6.6 Documents Number One and Two

6.7 Non-Delivery of the Letter

6.8 Female Sexuality/Textuality

6.9 The Writer's Feminine Language

6.10 Motherhood and the Letter

6.11 The Genetic Source

6.12 The Masculine Deity as Content of Letter

6.13 Immortality

7. The Rainbow

7.2 The Wakean Female as Biblical Rainbow

7.3 The Female as a Suit of Male Clothing

7.4 The Female as Peace

7.5 Heaven

7.6 The Language of Flowers

7.7 The Womb as the Container of the Deity

7.8 Non-Participation as Feminine

7.9 The Escape of the Artist

7.10 Black and White vs. Colour

7.11 The Peace of the Future

7.12 Peace as the Outcome of Violence

7.13 Sex and Authority

7.14 Biological Enslavement of the Female

8. The Kaleidoscope

8.2 Part One of the Kaleidoscope Question - the Picture

8.3 Part Two of the Kaleidoscope Question - the Letter

8.4 Language as a Container

8.5 The Trinity

8.6 The Kaleidoscope as Sexual Union

8.7 Collide or Escape: Unity and Difference

9. Conclusion

9.2 The 'Collideorscape' as Différance

9.3 The Wake's Suspended Conclusion

9.4 Social Action via the Acolyte

9.5 Collide or Escape as Social Development

9.6 Women and Motherhood

9.7 Joyce and the Archetypal Family

9.8 The Reproduction of the Deity

9.9 Freeing of the Female

9.10 Sexual Repression

9.11 The Social Use of Desire