As Stephen Dedalus walks upon Sandymount Strand in Ulysses, he thinks, “the land a maze of dark cunning nets … Ringsend: wigwams of brown steersman and master mariners. Human shells” (3.154–57). This thought evokes Ireland’s complicated position as an island nation and its entanglements with fellow colonized peoples. For Ireland’s cultural mariners of the twentieth century, navigating such currents requires a knowledge not only of sea but also of sky. In the “Wandering Rocks” episode of Ulysses, a chapter where the city of Dublin is the prominent star, the sections are separated by a series of three asterisks also known as a dinkus. As a writer for the Paris Review explains, a dinkus is “used as a section break in a text. It’s the flatlining of an asterism (⁂), which in literature is a pyramid of three asterisks and in astronomy is a cluster of stars.” Asterisms serve as a striking intervention into the textual groundswells of Joyce’s Ulysses that ultimately connect to Derek Walcott’s own navigations in Omeros as a means of paternal inheritance and transatlantic affiliation.

Simple analytical solutions exist for the deflection by line loads of thin elastic beams that overlie an inviscid fluid substrate. Deflections for more complex rectangular- and triangular-shaped loads can be evaluated by integration. The deflection of a beam that varies in thickness along its length is best solved, however, by numerical rather than analytical methods. Foremost among them are finite difference techniques, and both two- and three-dimensional codes are now widely available. Thin-plate theory and a flat Earth are good approximations to make in most geological modelling applications.