"Penelope" comes after the novel`s main story of seventeen chapters, in which Molly Bloom has been denied her language that could express her sexuality. As only an object of a male gaze, she has looked the way the men have wanted her to look. Yet in this last chapter she asserts her own desires as an active agent, turns other Irishmen into objects of her gaze, and even argues with her creator in her own language of flow and overflow. Her unpunctuated and unrepressed soliloquy of sexuality functions as a threatening subversive discourse associated with pre-oedipal attachment to the impulsions of an imaginary maternal figure. So her discourse can transgress the fixed boundaries of racial/sexual stereotypes imposed by patriarchy and imperialism. Molly`s subversive strength stems from he ambiguous identity. Molly mingles sexual and racial differences within herself. So she can never be said to be `pure` both sexually and racially in view of Irish nationalism`s standard. Yet Joyce gives her the last word of Ulysses, from which we can infer some of Joyce`s thought of what a postcolonial subject should be like. Joyce vests Molly, the most abject subaltern subject in the text, with the freedom to express herself. She shows not only the fullest horror of the effects of colonial power but also a sense that out of his abjection might come a consciousness that would lead these colonized people to independent thought and action. For Joyce, "the spiritual liberation" of Ireland and the creation of "the conscience of his race" involved getting out of the `fictional` binary thought of patriarchy and imperialism, taking the responsibility for the present colonial condition, and from that position beginning a new start towards a new community.