Concerning his intentions for Dubliners, Joyce issued a number of pronouncements and scattered a variety of hints, all of which defended his stories on essentially realistic grounds. He planned a book of connected stories about Dublin life, all tracing a central theme of paralysis－"the moral history" of the world of Dublin and its people. However, Joyce also concerned himself with the manipulating powers of language and narrative performance at this first stage. His writing shows a sensitivity to the elusive complexity of language and broader narrative demands. Particularly, the first three stories of Dubliners provides an elaborate introduction to the discourse of the collection and all Joyce`s later writings. "The Sisters" is a story about a boy-narrator`s isolated struggle to comprehend the mysteries of religion, rumor, and insanity－a drama that is played out as a problem of interpretation. "An Encounter" grows out of the narrative implications of "The Sisters," also emphasizing the interpretation of utterances and the filling of gaps. Difficulties of interpretation hold the attention of the narrating boy, who explicitly speculates about problematic intricacies of language, and ultimately of style. Like the other two stories, "Araby" is largely a"out interpretation whether of the written word or of signs encountered or acted out in society. The text increasingly challenges our conceptions of narrative voice, by planting further interpretive enigmas. All of these three stories are about the impossibility of reaching interpretive certainty. On numerous occasions Joyce provides the textual barriers of gaps and holes for interpretation. The text itself explores the blind alleys of the possible strategies of interpretation.