by Alan Moore
As he drew level with the knot of urchins, big and friendly John looked round and grinned at him.
“Are you still with us, titch? We thought we’d lost you for a minute there. Here, what about all this, eh? It’s a picture, wizn’t it?”
The tall lad gestured to the bustle and commotion going on around them, the incessant to and fro of the grave builders in their shimmering grey robes, waving just one slim arm where Michael was still half-expecting there to be a dozen. The interior of the Works was, to be sure, a picture. Over giant flagstones, with complex and colourful designs that seemed to crawl and flicker in the corners of the vision, moved the solemn builders at their diverse tasks, while high above the multitude, on a huge boss raised from the wall that they were nearing, was the queer design that Michael had seen in the pamphlet: a flat scroll or ribbon that seemed to unroll away towards the right, and over that two triangles joined by a double line. Rough and unpractised, it looked more like something that a three-year-old like him might scribble rather than the work of the mysterious ‘Master Angles’. Trotting there alongside John, Michael blinked up at him.
“Wiz that big mark up there an advertising sign?”
John chuckled.
“Well, yes, I suppose it wiz. It means ‘Justice Above the Street’ which wiz a sort of motto here, much like ‘Out of the strong shall come forth sweetness’ on the treacle tin. It tells you all about it in this guide the builder gave us just now. Have you read it?”
Michael said he’d read a bit of it before he’d stuffed it in the pocket of his dressing gown for fear of being left behind. John smiled and shook his head.
“Nobody’s going to leave you anywhere, not after how frit Phyllis wiz when you ran off. You ought to take another decko at that pamphlet. It’ll tell you loads of things, like about all the different devils that they’ve got trapped in these floor-tiles.”
Michael stopped dead in his tracks at that and stared down at the hundred-yard-long slab they were then passing over. When you paused to properly examine its involved design it really was an eyeful. The elaborate pattern was ingeniously composed of two repeated shapes that had been artfully contrived to interlock, one of the forms arranged to fit into the empty gaps between the carefully-spaced outlines of the other. Both of the two different figures making up this wallpaper-effect were quite unpleasant, with one having the appearance of a wolf that had a slimy snake-tail where its own should be while gouts of crimson flame belched from between its snarling jaws. The second shape was that of a disturbingly fat raven, its beak open to display the fangs of a big hunting dog.
The means by which the contours of the two dissimilar monstrosities fitted together was a marvel of delineation, aided by the flames erupting from the wolf-snake’s maw to wrap its lupine body in an aura of red fire, the scalloped edge of these fitting exactly with the black serrations in the wings of the dog-raven that was set to face the other way. Hypnotically, the ragged lines where the two different pictures intersected seemed to be perpetually moving, as if either the flame-halos around the wolf-snakes licked and leaped or else the dog-ravens were ruffling their feathers angrily. Retrieving the guide-pamphlet from his pocket, Michael resumed reading at the point where he’d left off in hope of learning what this convoluted parquet flooring was in aid of.
Visitors may notice that the floor is made from two-and-seventy great slabs, each one a hundred paces long and wide, and set into a nine-by-eight arrangement. These large tiles, upon inspection, have a tessellate design to their adornments, this peculiarity occasioned by the comprehensive catalogue of former employees that are both flattened and compacted in their manufacture.
These ex-builders, commonly called devils, are compressed into a two-dimensional plane of existence by the Master Angles and their armies during the foundation of the mortal and material realm. Once subjugated, these are governed by a golden torus worn upon one finger of the Master Angle Mikael as a controlling ring of holy dominance. In the symbolic strata overlooking the substantial world, the Master Angle Mikael then gives this token to King Solomon that he might likewise triumph over the same demons, setting them to build his temple at Jerusalem. This structure is reprised in the First Borough as the round church of the Holy Sepulchre, just as the Master Angle Mikael himself, conflated with Saint Michael of renown, presides over the earthly township from his vantage at the great Gilhalda of Saint Giles.
The full six dozen fiends incarcerated in the tiles, commencing from the southeast corner are in their depictions and their names as follows:
The first Spirit is a King that rideth in the East called BAEL. He makes men to go invisible. He ruleth over six-and-sixty Legions of inferior spirits. He appeareth in divers shapes, sometimes like a cat, sometimes a dog and sometimes like a man, or sometimes in all of these forms at the one time …
There then followed a long list of these appalling creatures and their attributes, most of which sounded horrible. Realising that the southeast corner of the cavernous enclosure was the one ahead of them and to their left, Michael could count along the massive flagstones to the one that him and the Dead Dead Gang were now standing on, which was the seventh from the end. Moving his finger down the column of demonic dukes and princes until he’d reached the appropriate spot, he then began to read.
The Seventh Spirit is called AMON. He is a Marquis, great in power and most strong. He appeareth like a wolf that hath a serpent’s tail, vomiting out of his mouth flames of fire, yet sometimes he appeareth like a Raven that has dog’s teeth in his head. He telleth all things past and present and to come; procureth love; and reconcileth all controversies twixt friends & foes. He governeth full forty Legions of inferior spirits.
That seemed to be it for dog-toothed, serpent-tailed wolf-raven Amon, as the mostly red and black and grey moving design beneath Michael’s plaid slippers was apparently addressed. Michael gazed down at the depicted creatures’ two visible eyes: one that of the in-profile raven and the other that belonging to the similarly side-on wolf. Now that he knew more of how timeless Mansoul functioned, the ability to “telleth all things past and present and to come” quite frankly didn’t seem much of a trick, though he supposed a talent for acquiring love might be seen as impressive if he were a little older. Mind you, since he felt a great deal older as it was, he thought it sounded quite good even at the moment. Rolling up the leaflet once again and putting it back in his pocket, Michael frowned enquiringly at John.
“What wiz it makes the pictures move?”
John offered him a sympathetic look.
“These what we’re walking on ain’t pictures, titch. These are the gentlemen themselves. You should be grateful they can only move the little that they can.”
Michael looked back down at the slab that they were standing on, with its writhing embellishments. He gave a little squawk and then performed a complicated dance in which he seemed to be attempting to lift both his slipper-clad feet from the tile at once, as if afraid of infernal contamination. In the end he stood on tiptoe, which was evidently the best compromise that he could manage. John was trying not to laugh, capping the sound off in a muffled detonation of amusement somewhere up his nose.
“Don’t worry, they can’t hurt you. When they’re flat like this they’re no more dangerous than Keyhole Kate or someone else out of a comic. Anyway, we’re nearly at the floor’s edge as it wiz. We’ll soon be on the stairs, where there’s no devils.”
Just as John had said, the vast wall rose immediately ahead of them and running up across it in diagonals there was a wooden staircase, its great zigzag length connecting four strata of balcony, the highest almost level with the poorly-drawn seal of the Works on its enormous plaque. The steps themselves were broad and sturdy and looked relatively normal in their ratio of tread to riser, unlike those that Michael had experienced a moment back while clambering up the Jacob Flight out of the ghost-seam. Anxious to be off this squirming carpeting of interlocking horrors, Michael didn’t risk any more dawdling until h
e and the gang had safely reached the possessed factory floor’s near side.
Seen from close up the stairs were several yards in width, bounded on one side by the sheer and soaring wall and on the other by a masterfully-wrought and polished banister of what was more than likely oak. Each step was cut from some unknown variety of marble, a profound and rich dark blue with mica twinkles seemingly suspended inside the translucent stone at differing depths, rather than simply glinting uniformly from its surface. Every one was like a solid block hewn from the night sky, and amongst the sparking flakes of mica here and there, Michael discovered, there were curdled nebulae and comet smears. It was a fire escape made out of universe, though he supposed they all were really, when you stopped to think.
The Dead Dead Gang began to climb the stairway from the dove-like murmur of the workplace, Phyllis Painter in the lead and striding up ahead of everybody else. As he ascended, somewhere near the group’s rear with big John, Michael looked down across the oaken balustrade towards the tiled floor dwindling beneath them. From this raised perspective he could almost see a unifying pattern to the movement of the builders as they hurried back and forth on their inscrutable trajectories, as if each worker were an iron filing caught up in the loops and whorls that radiated unseen from a magnet.
He could also now see clearly, thanks to his ghost-vision, all six dozen of the giant demon-haunted flagstones that comprised the floor, set out like an array of nightmare playing cards. He thought he could remember the deathmonger, Mrs. Gibbs, saying that out of all the devils that there were, the one who had abducted Michael, sneaky Sam O’Day, was number thirty-two. If that was right then his specific slab should be against the left-side wall, four rows away. He stood there gazing out over the wooden banister, moving his lips and jabbing at the air with one pink index finger as he counted to make sure. The stone in question, once he’d found it, was quite unmistakeable.
For one thing, it was one of only three or four flagstones in the arrangement that all of the builders seemed to manage to avoid as they traversed their busy place of labour. For another, unlike his confederate Amon, Sam O’Day was only shown in one form on the tile, this being the three-headed thing astride a dragon that had raged above them in the Attics of the Breath, what seemed a day or so ago. This complicated semblance was repeated something like a hundred times across the area of the slab, its contours engineered precisely so that all of the identically irregular shapes fitted perfectly together with an intricacy that was genuinely infernal. Empty spaces in between the creature’s many heads, as an example, were placed to accommodate the four legs of the dragon-steed belonging to the duplicate immediately above them in the pattern, while the tapering tail of each such mount was tailored to fit neatly in the open jaws of an identical heraldic dragon waddling behind it. Taking out his guide and scanning down the lengthy roll of hellish eminences until he’d reached number thirty-two, he tried to find out more about the fiend who had both literally and figuratively taken Michael for a ride.
The two and thirtieth Spirit is called Asmoday. He is a great King, strong and powerful. He cometh with three heads, whereof the first is like a bull, the second is like to a man and the third like unto a ram. He hath a serpent’s tail and belches noxious gas. His foot is webbed like to a goose. He sitteth upon an infernal dragon, carrying a Lance and Standard in his hand, whereon his ensign is displayed as so:
He giveth of the ring of Virtues, and teacheth the arts of Arithmetic, Geometry, Astronomy and handicraft. He giveth of full and true answers to all questions and can maketh men invisible. He showeth places where is treasure hidden and he governeth a full six dozen Legions of inferior spirits. If requested he may lift the conjuror into a higher place where they may looketh down upon their neighbours’ homes and see their fellows at their business as though it were that the roof had been removed.
Of all the eminences here bound and contained, most special caution is advised in all transactions with this Spirit. Of the devils captured by King Solomon on the symbolic plane, the fiercest and most difficult to subjugate is Asmoday. Indeed, in the rabbinical tradition it is said that Asmoday alone is proof against the magic ring of Mikael that he hath gifted to King Solomon. In their encounter, it is Asmoday who triumphs, hurling the defeated King so far into the sky that when he is returned to Earth he has forgotten quite that he is Solomon. Unchallenged, Asmoday assumes the form of Solomon and goeth on in this impersonation to complete the building of Solomon’s temple at Jerusalem and next take many wives, and to raise other, lesser temples to the foreign gods that these wives worship.
He is husband to the monster Lilith, Queen of Night and Mother of Abominations. While besotted with a princess in the land of Persia, Asmoday does slay as many of her rival suitors as there are days in the week, for which crimes is he driven out by exorcism into antique Egypt, spitefully removing all his mathematic insights from one kingdom to the other in attrition.
Asmoday, in the arrangement of ten rings or tori by which Hell and Heaven are composed, is the demonic ruler of the Fifth plane and is thus associated principally with Wrath. The flower of this particular domain is the five-petal rose, this being emblem to the mortal township, making it conducive to the fiend. Similarly, the reproduction of Solomon’s Temple raised in the First Borough is believed to strengthen the affinity felt by this Spirit for the earthly district. He is the most terrible of all the devils here confined, and in his wrath he is implacable. Asmoday’s colours, by which he is known, are red and green, which signify both his severity and the emotive nature of …
Michael glanced up from his guide-booklet, colour draining from his face until he looked almost exactly as he had done in the black and white expanses of the ghost-seam. Sizzling Sam O’Day, it seemed, was not just any common devil. He had beaten up King Solomon despite the King’s almighty magic ring which he’d been given by a Master Angle. He was “the most terrible of all the devils”. In his wrath he was “implacable”, which Michael thought meant something like “will get you in the end”. The small boy squinted hard at the end slab in the fourth row until he realised that the ram’s eyes, bull’s eyes, dragon’s eyes and man’s eyes in each picture, multiplied a hundred times across the writhing surface of the stone, were all staring directly at him. It was not a loving look.
Not without difficulty, Michael tore his gaze from the entrancing scintillations of the thirty-second Spirit and fell in with Phyllis and the others as they struggled up the constellated stairs to the first landing where, if he had understood their plan correctly, they intended to serve as spectators in a dreadful and unprecedented fight between the Master Builders. As Michael himself was seemingly the cause of this affray he wondered if attending it in person was the safest thing to do, the doubts he’d had on Scarletwell Street’s corner about how well Phyllis and the gang were looking after him resurfacing, if only for a moment. The five Dead Dead children were the only real friends that he’d got round here. Sticking the leaflet back into his pocket, Michael scurried upstairs after them.
A pair of builders passing down the wide and sweeping staircase in the opposite direction seemed to pay particular attention to the gang of ghost-kids, and specifically to Michael Warren. One inclined his head towards the child, at which the other nodded sagely. Both of them then smiled at Michael before walking on down the star-spattered steps, in their long trailing gowns of grey with peacock colours shimmering at the hem. Michael was faintly startled, having not seen this expression on the faces of the other builders labouring below. While they’d seemed fond or even proud of him, which made him feel warm and important, just the simple fact that they’d appeared to know him was a bit unnerving and raised fresh concerns regarding the advisability of turning up to watch the angle-fight.
By now the six of them had reached the first of the three landings jutting out from the east wall. A heavy swing door with a stained-glass panel and brass push-plate, like the ones that he had seen in pubs, led from the stellar marble of the platform out
onto the floorboards of a long and relatively crowded balcony with a black railing of pitch-treated wood. It looked a lot like the raised walkway up above the Attics of the Breath where the toddler had met with shifty Sam O’Day, and as big John held the door open for them while they filed out into crystal-perfect daylight, Michael briefly thought that it might be the same place but then realised swiftly that it wasn’t.
The most obvious and immediate difference was the sheer amount of people milling back and forth along the endless gallery, or leaning on its rail and chattering excitedly like patrons in the gods, the upper circle at a theatre. By Michael’s flailing estimate, along the reach of the veranda for as far as he could see, there must have been perhaps two or three hundred ghosts. He wondered if there was a special word like “pride” or “flock” or “herd” that you should employ when discussing such enormous quantities of phantoms, and asked his five ghost-pals if they’d heard of one. Phyllis insisted with an air of great authority that the appropriate term was “a persistence”, while Bill ventured “an embarrassment” as his alternative. Then John ended the speculation by suggesting that the best expression for a spectral multitude would be “a Naseby”, which he then had to explain to Michael, although everybody else was nodding gravely in agreement.
“Naseby wiz the village just outside Northampton where they had the final battle of the English Civil War. King Charles wiz captured and the field ran red, with bodies piled up in its ditches. Never visit Naseby while you’re in the ghost-seam, nipper. There’s dead cavaliers and Roundheads standing thick as rows of corn, chaps with great pike-holes through their jackets, all blood-black and bone-white and brain-grey, dragging maimed photo-trails behind ’em through the mud. You’ve never seen so many angry dead men. No, ‘a Naseby of ghosts’: that’s the only way to put it when you’ve got a crowd like this one here.”