James Joyce’s Ulysses presents new humanism and portrays a new image of Christ. Thereby, it deconstructs early 20th century Dublin, a city based on the two pillars of Western culture, Hellenism and Hebraism. The lotus flower paralyzes the minds of those who eat by triggering in the urge to indulge in pleasure. Joyce displays discrete forms of paralysis encountered on Dublin streets through Bloom’s eyes, including horse racing, the Irish penchant for religion, and colonial remnants that Dubliners fail to recognize. The male protagonist Bloom’s exchange of love letters with Martha Clifford is also merely lotus eating: he tries to satisfy his desires through language. Joyce also associates the image of a man floating in the sea reading a book with the properties of lotus eating, manifesting the lure of language inscribed in books as an effect of ingesting the lotus flower. Above all, the Catholic religion represents the most evident lotus in this chapter: Bloom secularizes the Eucharist during the Mass, elucidating that the body of a living man is a better means of salvation than eating a ‘dead body.’ Ulysses focuses primarily on the sexual vitality of women: however, the chapter “Lotus Eaters” attends to the reproductive abilities of men. Bloom’s immersion in the water in the final scene of the chapter amounts to the declaration that he is purifying the church as a new Christ of life. Christ in the symbolic world is replaced by Christ in the real world by connecting Christ, the Word, with the sexually inactive love letter (word), then shifting to the author’s work (book), and finally moving to Bloom’s body.