Gabriel Conroy, central to James Joyce's novella, “The Dead,” keys the reader's experience of the evening portrayed. A third-person narration allows for distance, but Gabriel's closely depicted thought processes and actions, and his insistent self-consciousness, shape the story. As such they invite psychoanalytic interpretation and reward it. Gabriel's shocking discovery and reaction to it can be seen to be informed by rendered psychodynamics and a credible internalized past. Joyce and Freud, actual contemporaries, can be seen as contemporaneous in imagination as well.