The life of [Ulysses] comes first and the philosophy afterwards. Obscenity is a question of manners and conventions for ever changing. Virtuosity, if it stood alone, would soon become demoded, and philosophy too, but living character stays through whatever material is presented. – Frank Budgen
Professor Bloom is a finished example of the new womanly man. – Ulysses, p. 493
While Leopold Bloom’s interest in butts is not the first thing we learn about him in “Calypso,” it certainly plays a key role in his actions over the course of Ulysses’ fourth episode. Ulysses, among many, many other things, is an ode to butts. It was written by a man smitten with hinderparts, as revealed in Joyce’s love letters to Nora Barnacle, which describe in graphic detail his lust for her butt and its various, predictable functions. Butts are celebrated in Ulysses’ 700+ pages as both functional and sexy.
Of our two protagonists, Leopold Bloom shows a particular affinity for shapely cheeks. Bloom is so connected to butts that when he appears as Haroun al-Raschid in Stephen’s prophetic dream, one of the symbolic images Stephen recalls is, “The melon he had he held against my face. Smiled: creamfruit smell.” The image of a melon culminates in “Ithaca” when Bloom finally curls up next to Molly, head to toe, and describes how “he kissed the plump mellow yellow smellow melons of her rump, on each plump melonous hemisphere, in their mellow yellow furrow, with obscure prolonged provocative melonsmellonous osculation.” A melon is not just a melon in Ulysses.