Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 12.

Line 12: "Eve'n the girden of her garlhood he had snaken from her, eden then, with him the dirty apple of their Mermaw's eye and allwas raising cain, which Lucia had resistered for as long as she was abel."

Non-Lucy-Lips Version: "Even the garden of her girlhood he had taken from her, even then, with him the dirty apple of their mother's eye, always raising Cain, which Lucia had resisted for as long as she was able."

"Eve'n"
Begins the Genesis/Garden of Eden imagery if we ignore that it was begun with the serpent reference last sentence. Lucia is portrayed as Eve in the garden, innocent.

"girden of her garlhood"
Spoonerism of garden of her girlhood. "Girden" suggests Lucia's need to gird her girlhood against Giorgio's inappropriate sexual advances.

"snaken from her"
"Taken from her" but in the manner of the serpent of the Garden of Eden. Giorgio coerced and manipulated Lucia into a sexual relationship.

"eden then"
More Genesis imagery with the meaning of "even then," even when she was so young.

"dirty apple"
Giorgio was a bad apple. Dirty in this context has sexual connotations.

"dirty apple of their Mermaw's eye"
Giorgio was cherished and loved above all others by Nora, his mother (even though he was dirty and a snake and always raising Cain). Does this suggest some kind of incestuous relationship between Nora and Giorgio? Even if it does, remember this is Lucia's perception of events and, being schizophrenic, her perceptions do not conform with reality. Or maybe they see reality more clearly? Just try to convince a schizophrenic or somebody on LSD that they're not receiving cosmic insights into the nature of reality. The good thing about LSD is that eventually it wears off and you're left thinking, "Ha ha! What the fuck was I thinking?" But schizophrenia never lets you off the hook, never lets you have a moment to catch your breath to realize that when everything is connected, everything becomes truly meaningless. Not that reality has any objective meaning anyway!

"Mermaw"
Why is Lucia trying to invoke images of mermaids? Meemaw is a well-established nickname for a mother or grandmother. But why merge it with mermaid? Unless Lucia means something else which is entirely possible being that she means everything all at once, constantly.

"allwas raising cain"
The sense here is that Giorgio was always causing trouble and also that Nora was raising up a son to be like Cain, cursed and doomed to be outside the world. I don't know anything about Giorgio so I don't know how fitting a description that is of him.

"Lucia had resistered for as long as she was abel"
Lucia resisted Giorgio's sexual advances as long as possible with the remind in there that she was his sister. With "abel," she sees herself as her brother's victim. Which, if Lucia's perception of reality is correct (and being that this is all from Lucia's perspective, Moore is free to pursue this idea of Giorgio having coerced his sister into an illicit incestuous affair without it really mattering if it never happened. Because Lucia believes it happened and in "Round the Bend," we're in Lucia's reality).

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 11.

Line 11: "The molcow was sucked dry, by George, who went from one mamm to an udder all of his serpenitentine life."

Non-Lucy-Lips Version: "The milk/cow/milk cow was sucked dry by Giorgio who went from one breast to another all of his serpentine/penitent life."

"The molcow"
There's probably something I'm missing with this word. I suspect it's supposed to evoke three words, milk, cow, and one going over my head. The one going over my head probably has a definition for mother so that Lucia isn't simply thinking of Nora as a cow. Although regarding their tempestuous relationship (one so fraught with emotions that once Lucia was sent away due to her schizophrenia, Nora wasn't allowed to see her because it set her off so badly), perhaps she does think of her in this way? As simply a beast to provide nourishment but which failed to provide that nourishment because it all went to her older brother.

"sucked dry"
The act of nursing but also reminiscent of a vampire feeding. Not only was Nora's breast milk wholly taken by Giorgio, but she was drained of so much more by him.

"by George"
Literally sucked dry by Giorgio. But also the exclamation whereby "George" is a non-blaspheming replacement for God.

"who went from one mamm to an udder"
An image of Giorgio moving from his mother's breast to the next woman to come along, and the next. Mamm being both a shortened version of mammary and also simply a woman. So George both went from one breast to the next as well as from one woman to another. Once again, sucking them dry of all that they care to give.

"serpenitentine life"
The suggestion of the serpent, an allusion to the Garden of Eden, shows Giorgio is duplicitous or underhanded in his dealings with these women. But with the suggestion of penitence, that maybe he was ultimately regretful for the way he acted. Also "serpentine" as in his life did not follow a straight course but he wandered, possibly lost, for most of his life.

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 10.

Line 10: "Not a dripple Nora drop was she aloud."

Non-Lucy-Lips Version: "Not a dribble nor a drop was she allowed."
I mean, obviously, right?! Who am I helping with these translations?!

"a dripple"
Changing "dribble" to "dripple" isn't much of a mind-blowing moment here, Alan. I can only suspect that it's to evoke the idea that Nora's breast milk would be more like "ripple wine" (which should exist in the same space of time as this moment in Lucia's life as I think this is sometime in the 70s or so). Perhaps the sense is that Lucia's mother (and let's include her father as well) were a bit more concerned with partying than raising a family. Nora proclaimed in letters that James drank too much but does that mean Nora didn't? I don't know! I'm sure she drank enough with him when they were young parents.

"Nora"
Nora Barnacle, Lucia's mother.

"aloud"
"Audibly; not silently or in a whisper." Does this suggest Lucia always made herself heard? Or did Nora prevent Lucia from being heard? Being that the sentence begins with a negative, it feels like "being heard" is something Nora kept Lucia from being. Nora not listening to her daughter would fit this statement when combined with the previous sentence in which Lucia was denied her mother's teat. Perhaps less as an act of withholding and simply that Nora simply did not (or would not) "hear" her daughter's cries for nourishment and attention.

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 9.

Line 9: "Sadly hatched in Triste at seven past the century and seven past the year, born to the clench and stamour of a paupoise warld, she was denied the mummer's teatre."

Non-Lucy-Lip Version: "Sadly born in Trieste in July of 1907, born in the stench and clamour of a pauper's world/ward, she was denied her mother's breast."
This one's going to be difficult to suss out, isn't it?

"Sadly hatched"
I don't know why Lucia has gone from being water to being a chicken. Maybe because water isn't birthed. Also maybe she's not a chicken but a snake?! Raised by cold blooded reptilians!

"Triste"
I don't know why Trieste is misspelled here. Perhaps to evoke the word "tryst"? But that would simply be because her parents weren't married when she was born. They were already in a committed relationship with one child already: Giorgio. Unless the word is preparing us for some tryst of Lucia's, perhaps with Giorgio or Sammy Beckett or *shudders incestuously* her father.

"seven past the century and seven past the year"
Just a clever way of saying July 1907 and remind me I should continue with my Mason & Dixon One Line at a Time blog. It reminds me of that blog because of that chapter with the clock and this date was stated as if somebody were telling the time. See? My brain works normally.

"born to the clench and stamour"
A spoonerism to add more details than just the stench and clamour of poverty. Now we also have the clench of it, or tension and anxiety it induces. And the stammer which probably invokes Lucia's mental illness somehow. It's definitely a kind of impediment to speech which most of the language of this chapter represents. An impediment to reading (although one that also exposes more information than if it were written normally).

"a paupoise warld"
"Warld" is an obvious combination of "world" and "ward," suggesting Lucia was born both into an impoverished world and, more literally, the ward of a pauper's hospital. "Paupoise" suggest the word "pauper" while also suggesting a few other words: pause and poise and purpose. If one takes in Lucia's entire life (as one should if they're incorporating Jerusalem's sense of eternal and constant time, this may be a reference to Lucia's life's purpose being put on pause, the word "poise" pointing toward her life's purpose of dancing. Through eternal time, even when she was born, she was already fated to be denied her life's purpose (which gets into the next note).

"denied the mummer's teatre."
A "mummer" is an old word for actor (perhaps of a particular sort but we'll leave it as actor for this). A dancer on stage can be considered an actor. And here we see Lucia was denied the chance to dance in theaters. She was also literally denied her mother's breast milk which sets up an early conflict between mother and daughter, whether the withholding was in any way Nora's fault or choice.

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 8.

Line 8: "Spoonin' the tousled egg into her scrambled head she wells, as iffer, on the past now."

Non-Lucy-Lips Version: "Spooning the scrambled egg into her tousled head she dwells, as ever, on the past now."
I assume she's eating the egg and not slathering it in her hair.

"Spoonin' the tousled egg into her scrambled head"
Play on "spoonerism," something Lucia often does revealing unconscious thoughts and desires. While exchanging "tousled" with "scrambled" isn't exactly a spoonerism, the words used her are like a cryptic crossword (or regular crossword if you're British): words will often be scrambled or tousled and the reader should pay particular attention when this happens.

"scrambled head"
She's mad.

"she wells"
Remember, Lucia is water! She's a river. And at times, she wells which is as close to stopping and thinking and dwelling on things as a river can do.

"as iffer"
No clue!

"on the past now."
She now dwells on the past. But she also dwells on past nows. As if Lucia understands Moore's concept of time in Jerusalem. All moments are eternal. Every memory of the past she dwells on is and always will be a now.

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 7.

Line 7: "With her bunyans all complainin' she escapes the Settee o' Destraction and beguines her evrydaily Millgrimage towar's ridemption or towords the Wholly Sea; to wards, the tranquilisity of night."

The Non-Lucy-Lips Version: "With her bunions complaining, she escapes the site/city of distraction/destruction and begins her daily pilgrimage toward redemption or towards the Holy City/Sea/See; towards the tranquility of night."

"bunyans"
John Bunyan, the author of The Pilgrim's Progress from This World, to That Which is to Come, an allegorical story about a man on the path from the material world to spiritual redemption (Christian redemption, of course). This entire sentence is itself an analogy in that Lucia has become Christian, the everyman from The Pilgrim's Progress, making the same journey from the material world to the Holy City. Bunyan is one of the central touchstone characters in Jerusalem as is William Blake. William Blake drew illustrations for The Pilgrim's Progress in much the same way that Alma has done illustrations of her brother's pilgrimage in the afterlife, or, more literally, the book Jerusalem itself. It's also probably that Lucia Joyce living her version of The Pilgrim's Progress is meant as a subtle allegory of Alan Moore having lived through his version of Ulysses although in Northampton instead of Dublin.

"bunyans all complainin'"
Perhaps John Bunyan would complain about her method of traversing the path from the City of Destruction to the Celestial City?

"Settee o' Destraction"
Christian, the protagonist of The Pilgrim's Progress, leaves the City of Destruction (the material world) in search of redemption. Here Lucia does the same although slightly different. Her city, the asylum, is also simply a city of distraction due to its sounds and residents and medications and doctor's orders. Her "city" is also a "settee," a place where she and the other inmates would sit and rest and breakfast as opposed to journey. So the City of Destruction is also a Settee of Distraction, keeping people bound to, or seated on, the material world. Comfort and distraction help to keep pilgrims from every starting a journey toward heaven.

"beguines"
A combination of begins and beguiles (possibly in the literary sense of "to pass time pleasantly"). But probably more importantly, it is the name of a dance. Lucia Joyce was a professional dancer up until the age of 23 or so when she gave it up completely, possibly not of her own accord. Perhaps the sense of beguiling (both in passing time and in being charmed by somebody or something) fits with the dancing, as Lucia's journey toward the Celestial City would never have started if she had never given up dance. So she "begins" her journey in a reference where she avoids being beguiled by the beguines, or dancing.

"evrydaily"
Every day/daily.

"Millgrimage"
Obviously a play on "pilgrimage" but why capitalized? Without the capitalization, I would believe it references Blake's poem, Jerusalem, and its "dark Satanic Mills" and, well, look at that! I looked up Blake's written version to see if he capitalized "Satanic" and discovered that he also capitalized "Mills". So that's probably it! The dark Satanic Mills combined with the rest of the word "grim age," paint a stark picture of Lucia's starting point in her journey.

"towar's ridemption"
Here the idea is that Lucia is not just starting out on a journey to redemption but riding off to war to fight for it.

"towords the Wholly Sea"
Her entire journey is made through words, and not just regular words! But words that mean a whole bunch of things at once (the Wholly Sea (sea also being a sense of the subconscious)). The Wholly Sea points most directly at being "the Holy City" or Celestial City of Bunyan's The Pilgrim's Progress. "The Holy See" is also the entire area of the Pope's ecclesiastical jurisdiction. So pretty much the entirety of the Church (the Holy City also possibly being simply a reference to Vatican City or the Vatican).

"to wards, the tranquilisity of night."
Lucia's journey always leads her back to the wards at night where she must return. And it isn't simply "tranquil" because it's peaceful; it is tranquil because she is possibly often "tranquilized."

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Lines 5-6.

Line 5: "Ah, what a performance, practised and applausible."

Non-Lucy-Lips Version: "Ah, what a performance, practiced and plausible."

"what a performance"
This suggests that Lucia's high spirits and upbeat morning energy are simply a put-on to fool the doctors and nurses. Perhaps, like many schizophrenics, she prefers her non-medicated state and so must continue to act happy around those who might suspect she needs more or different medications which would alter her mood away from the one she seems currently happy with.

"practised and applausible"
She has been doing her performance for quite some time and it has gotten so plausible that it would be truly applauded by any audience in observance of it.

Line 6: "She claps her hands, over her ears, to drone out all the deadful wile-ing and the sorey implecations of whor farmlay."

Non-Lucy-Lips Version: "She clasps her hands, over her ears, to drown out all the dreadful wailing and the sorry implications/imprecations of her family."

"claps her hands"
Clapping hands make a large percussive noise, the opposite of what Lucia wants at this moment. And while one can "clap their hands over their ears," I chose to change it to "clasp" simply for that reason. The loud sound of a clap is something Lucia currently wants to avoid as she, presumably, enters the cafeteria with all of the other inmates of the asylum.

"to drone out"
Obviously clapping your hands to your ears doesn't "drone" out other noises. But maybe making her own low rumbling mumble, it helps her to not hear any ranting or raving from other inmates.

"all the deadful wile-ing"
In this instance, perhaps it isn't the inmates "wailing" that Lucia is drying to "drone" out but the orders and suggestions from nurses and doctors trying to persuade or manipulate her to act a certain way. Of course, people who have gone "round the bend" can also sometimes see and hear the ghosts of the dead. So Lucia is probably trying to keep from hearing (by hands clapped to ears or droning on so she is all she hears) the rantings of other inmates, the orders of doctors and nurses, and the constant yammering of the dead, many of them probably also insane, which surround her (not to mention her family whom this sentence is ostensibly about. So maybe just drowning them out?).

"and the sorey implecations of whor farmlay."
This she is also trying to keep out of her head: memories of her family and their deeds.

"sorey"
Not only are the implications/imprecations of her family "sorry" but they also make her sore or angry to think about them.

"implecations"
Probably a combination of implications and imprecations. The "implications of her family" probably refer to their secret deeds (possibly incest according to this fictionalized account) which may have contributed to her mental state. An "imprecation" is a spoken curse and if that's not what Alan Moore intended, being that he's Alan Moore, I'll eat and cook my own face. In Lucia's eyes, her family itself is a spoken curse which she must drown out by constant babbling or mumbling. She's trying not to think about her family as much as she's trying not to hear the other noises around her. But due to the fact that every single sentence which goes through her mind is full of many, many meanings, she's going to have terrible luck not thinking about them.

"whor"
"Whor(e)" replaces "her" which probably means she can't help but think of herself as a whore, probably because of the incest with her brother but maybe also her attempted relationship with Samuel Beckett. Plus she was never shy about taking a lover, I don't think. I haven't read any biographies on her but she was a dancer who sometimes danced in France! Ooh la la, amirite?!

"farmlay"
I don't know about this one but I reckon it has to do with seeing her family as a farm where animals rut. The family members are the animals rutting. You know. Incestuously.