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In a 1972 interview, Binoy Majumdar, an experimental Indian poet of the Bengali language and a practicing mathematician, observed how for a number of years, mathematics had completely colonized his imagination, so much so that he could not create poetry. What the book successfully foregrounds in this narrative experiment is Joyce's provocative and often playful interpenetration of Euclidean and non-Euclidean geometries that produces errors in imagining the visual field and makes the geometric map untenable in a certain sense. McMorran reads through the oblique references to the infinite straight line in A Portrait of the Artist as a Young Man and works his way through Dubliners to arrive at the "Night Lessons" that mark investigations into origins of geometry as well as the senseless way in which these doctrines are acquired through education. The analysis of Shem's body-writing in relation to map projection and mythmaking is another high point of this chapter as it talks about expansion and contraction of space in the book: the movement from the "worldroom" to the "roomworld" (Joyce quoted in McMorran, 121).