Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 15.

Line 15: "Giorgio's dragon would rear up, out from the scampy wondergrowth and orgiantly demanding her at-ten shuns while their Moider only smirled, ingently dull, and let her borther press a head with his idventure, up into the little light, the little depth."

Non-Lucy-Lips Version: "Giorgio would get aroused, his penis rising up from his scruff of pubic hair, urgently demanding her attention while their mother only smiled, indulgently, and let her brother press ahead with his adventure, up into her vagina."

"Giorgio's dragon"
A nice euphemism for penis referencing George's dragon, which demanded sacrifice and would only be satiated once fed. Eventually it demanded a princess and Saint George was all, "Okay, enough's enough! A few peasant girls and boys we can do without but a princess?! That penis has gone too far!" But he would only kill the dragon if everybody converted to Christianity which they did, of course. Who wouldn't convert to see a dragon that has been tamed murdered in cold blood?! Oh, I know who wouldn't: decent people!

"would rear up"
Become engorged. Aroused. Bonerfied.

"scampy wondergrowth"
Pubic hair. Scampy because it's still patchy and soft from Giorgio's youth. A "wonder" probably to Lucia who would find it different from her own still bald region.

"orgiantly"
Urgently but combining the words "giant" and "organ." So now we know why Lucia thought of it as George's dragon.

"demanding her at-ten shuns"
Lucia is only ten at the time and would initially balk at the strangeness and uncomfortableness of his sexual advances, so foreign to her young and innocent mind. Eventually she seems to take the entire relationship in stride and embrace it. That's just explaining her perception! I'm not saying it was cool!

"their Moider only smirled"
Moider means to distract or to throw into disorder or an unsettled state. This explains Lucia's early feelings and how their mother ignored her daughter's fears and concerns. While Giorgio threw everything into disorder with his incestuous attentions, their mother was simply distracted by everything else and unwilling to protect Lucia, simply smiling and standing piss pots on the table.

"smirled"
Not sure why smiled gets an "r" thrown in. Sounds like "whirled" or "world," perhaps stating how Lucia's world was moidered.

"ingently dull"
A scramble of indulgently which is the way Nora treated Giorgio. She indulged his every whim. The scramble, "ingently dull," recalls Lucia's constant reference to Nora as a cow.

"her borther"
Lucia's brother was a bother, to say the least.

"press a head"
Giorgio's act of penetration.

"his idventure"
Giorgio acting on his desires which would normally evoke social opprobrium. Being that they're illegal and immoral. But Giorgio is only concerned with his own gratification.

"up into the little light, the little depth."
Lucia being penetrated.

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 14.

Line 14: "Wristling under milky and transluciant sheets in a suck-session of clamped, crusterphobic rended rooms, the da off summerwhere with all his righting and the mudder rural, pagan in her unconcern, forever standing pisspots on the parlour table where they lifft their venerable beaded halos on the varnish."

Non-Lucy-Lips Version: "Wrestling under silky and translucent sheets in a succession of cramped, claustrophobic rented rooms, the dad off somewhere with all his writing and the mother rural, pagan in her unconcern, constantly leaving piss pots on the parlour table where they left rings on the varnish."

"Wristling"
Wrestling as in engaged in sexual behavior with the connotation of wrist movements, perhaps to suggest that, at first, Giorgio's sexual assaults were simply manual stimulation.

"milky"
Semen. Continues the suggestion that, initially, Giorgio was simply coercing Lucia to beat him off.

"transluciant"
A suggestion of Lucia between spaces, from innocent girl to experienced woman. It's difficult to find the correct tone when speaking about Giorgio and Lucia's sexual relationship as it is obviously assault and rape on Giorgio's part but as we see this through Lucia's perspective, I believe she doesn't quite feel that way. At least she seems to own her part in it, and she deeply loved her brother.

"suck-session"
Okay, maybe it wasn't just manual stimulation. Seem there was some endeavors into oral territory as well.

"clamped, crusterphobic rended rooms"
The spoonerism here paints more of the sordid and animalistic sexual experience. Two bodies clamped together secreting fluids which become crusty. "Rended" suggests Giorgio's destruction of Lucia's innocence or, less figuratively, her maidenhead.

"the da off summerwhere with all his righting"
James Joyce is always off somewhere writing. The homophone used for writing perhaps suggestive of his focus on writing above all else. It is both right that he spend his time writing and also his right to do so as the patriarch. "Summer" perhaps suggestive of frivolous, perhaps James not taking enough adult responsibility. He's off somewhere as if it were summer to do as he pleases, free and with no responsibilities.

"mudder rural"
Once again, the suggestion that Nora is a cow, a simple beast here to provide sustenance for her offspring.

"rural, pagan in her unconcern"
I'm not sure if "rural, pagan" has any wordplay happening as I'm too stupid to see it if there is. But even if Moore simply meant what is there, he's still left plenty of meaning in these words. Rural suggests Nora is perhaps simplistic in her morals and gives the sense that she views people and life as she would view animals on a farm. As such, she would be less concerned with her children rutting in the other room. Pagan suggests Nora doesn't hold the same values and morals as the status quo, perhaps suggesting she knew what her children were up to and simply didn't care, was unconcerned by their behavior.

"forever standing pisspots on the parlour table"
Nora stays engaged in rote, mundane behaviors as her son molests her daughter, "forever standing piss pots" being Nora's Prufrockian coffee spoons.

"where they lifft"
Apparently the river Liffey is an important metaphor in Finnegans Wake so Alan Moore makes a nod to it here (I think he made a nod to it earlier as well when Lucia was engaged in loads of water imagery but I probably missed it). The first line of Finnegans Wake (unless it's the second half of the last line) is "riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodious vicus of recirculation back to Howth Castle and Environs." There's some of that Garden of Eden imagery right out front, suggesting the start. But the sentence also suggests time as circular or a vicious cycle, evidenced by this line being a continuation of the last line of the book. Alan Moore's Jerusalem sets up the premise that time is not just cyclical but constant, all happening at once, together and also continuing to happen, forever. It is very much a book which the person/reader can open at any time to relive/reread any portion of it. It's all there and always has been and always will be. Like a character in a book, all lives are predetermined, inevitable, and unchangeable.

"their venerable beaded halos on the varnish."
Even small, mundane actions leave their mark on the world. Not just because of what that action accomplished but often what that action prevented the person from otherwise accomplishing. Here, Nora leaves her mark by not stopping her children's sexual activities. She has stained the varnish. But wait! These stains are regarded as "venerable" and "halos" (beaded also maybe suggesting rosaries). This must be because Lucia, whose perspective subverts this memory, sees her mother's allowance of her and her brother's trysts to be a wise and loving, perhaps almost religious, decision.

"constantly leaving pisspots on the parlour table where they lifft their venerable beaded halos on the varnish."
This paints Nora as in somewhat of a daze, perhaps lost in daydreams or, simply, irresponsible. Her children were fucking in a nearby room while she complacently went about doing mundane tasks half-assed, such as forgetting the piss pot she was emptying and leaving it on the table long enough for it to cause a ring.

Alan Moore's Jerusalem: Book 3: Vernall's Inquest: Round the Bend: Line 13.

Line 13: "He'd been furteen, shy was only ten, to pet it baldly."

Non-Lucy-Lips Version: "He'd been fourteen, she was only ten, to put it boldly."

"He'd been furteen"
He was old enough to have pubic hair.

"to pet it baldly"
She was not.

"shy"
Shy for she as if her reticence to engage in sexual activity with her teenage brother was only down to her demeanor and personality.

"pet it baldly"
I mean, gross.

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.