by Alan Moore
“Then – and listen, this is brilliant. Adam Smith, the bloke who’s on the twenties, the economist, he either comes and sees the mill or hears about it, with its looms all working nineteen to the dozen and its shuttles whizzing back and forth and no one there, as though it were a factory being run by ghosts. He thinks it’s wonderful, tells everybody that he knows how it’s as though a massive unseen hand were guiding all this furious mechanical activity, some manner of industrial Zeus rather than basic principles of engineering. It’s what always happens with new science in a religious age, like all of these holistic fizzy water manufacturers who babble about quantum physics.”
Mick, who found both quantum physics and expensive fizzy water equally unlikely concepts, watched the fat man waddle by them on their right, seemingly headed for the lightly smouldering day nursery. Behind his lenses customarily complacent eyes regarded the pair sitting on the church wall with suspicion as he barrelled past, particularly Alma whom he more than likely recognised. Either unbothered by his presence or else unaware she pressed on with her tale excitedly.
“So Adam Smith, with his half-baked idea about a hidden hand that works the cotton looms, decides to use that as his central metaphor for unrestrained Free Market capitalism. You don’t need to regulate the banks or the financiers when there’s an invisible five-fingered regulator who’s a bit like God to make sure that the money-looms don’t snare or tangle. That’s the monetarist mystic idiot-shit, the voodoo economics Ronald Reagan put his faith in, and that middle-class dunce Margaret Thatcher when they cheerily deregulated most of the financial institutions. And that’s why the Boroughs exists, Adam Smith’s idea. That’s why the last fuck knows how many generations of this family are a toilet queue without a pot to piss in, and that’s why everyone that we know is broke. It’s all there in the current underneath that bridge down Tanner Street. That was the first one, the first dark, satanic mill.”
A dog barked, away on their left in the vicinity of Mary’s Street, one bark, then three, then silence. Not for the first time since getting up that morning, Mick felt an encroaching air of strangeness. There was something going on, something unsettlingly precise in its familiarity. Had this happened before? Not something like this but this exact situation, with his buttocks going dead from the stone wall’s chill striking through thin trousers. First one bark, then three, then silence. Wasn’t there something about Picasso, or had that not happened yet? Floundering in the déjà vu, he had a feeling Alma was about to mention a glass football.
“Warry, seriously, everywhere’s Jerusalem, everywhere trampled or run down. If Einstein’s right, then space and time are all one thing and it’s, I dunno, it’s a big glass football, an American one like a Rugby ball, with the big bang at one end and the big crunch or whatever at the other. And the moments in between, the moments making up our lives, they’re there forever. Nothing’s moving. Nothing’s changing, like a reel of film with all the frames fixed in their place and motionless till the projector beam of our awareness plays across them, and then Charlie Chaplin doffs his bowler hat and gets the girl. And when our films, our lives, when they come to an end I don’t see that there’s anywhere for consciousness to go but back to the beginning. Everybody is on endless replay. Every moment is forever, and if that’s true every miserable wretch is one of the immortals. Every clearance area is the eternal golden city. You know, if I’d thought to put that in a program or a booklet at the exhibition, I suppose that people might have had more chance of working out what I was on about. Ah, well. It’s too late now. What’s done is done, and done just one way for all time, over and over.”
Cue the chubby councillor. This thought had just occurred to Mick, by now slack jawed and reeling with recurrence, when the white-haired and white-bearded Christmas bauble rumbled back down Chalk Lane and once more into their field of view. From his outraged expression and the faint wisps of charred papier-mâché smog which wafted their malodorous tendrils after him, it was apparent that he’d witnessed the evacuated nursery and had very probably gone in to see the burned-out model Boroughs at first hand. All of a sudden, Mick knew down to the last syllable exactly what would transpire next and how Pablo Picasso had a part in it. It was that anecdote, the funny story he’d heard Alma tell at least a half a dozen times, about when Nazis visited the artist’s Paris studio during the occupation and came, with some dismay, on Guernica. The huffy councillor was going to say the same thing that the German officers had said on that occasion, and Mick’s sister would then shamelessly appropriate the Cubist sex-gnome’s spirited and memorable reply. And then the dog would bark again, four times. Scalp tingling, Mick took another turn round on the ghost train.
Stubbing her illicit fag out on the slab where she was sitting, Alma raised her less-than-interested grey and yellow gaze in time to notice the rotund former official for the first time. Near to apoplexy he raised his left arm, a trembling finger pointing back towards the daycare centre where the smoke alarms still sounded, and unwittingly delivered the Gestapo dialogue regarding Guernica.
“Did you do that?”
It was the perfect set up. Beaming beatifically, his sister offered up her plagiarised reply.
“No. You did.”
Blinking dazedly and without an articulate response the erstwhile council leader trundled off in the direction of Marefair, a haywire snowball that got smaller as it rolled downhill instead of bigger. From St. Mary’s Street came the predicted canine outburst: woof, woof, woof and then a faint pause. Woof.
Despite the clockwork eeriness, Mick found that he was chortling. Kicking her heels beside him, never one afraid to laugh at her own stolen jokes, Alma joined in. Somewhere upslope behind and right on schedule, sirens were approaching through the stopped streets of a broken heaven.
ACKNOWLEDGEMENTS
Where to start, and where to finish?
Firstly I must thank my wife, the artist and writer Melinda Gebbie, who’s been almost as intimately involved with this book as I have since its beginnings. I think I proposed to her just before commencing the project, and she’s had almost every chapter since read out aloud to her, whether she wanted it or not. It was her technical advice that fleshed out the tools of Ernest Vernall’s trade in chapter one and Alma Warren’s craft through the remainder of the novel, and most of all it was her belief that this work was important and her almost-ten-years of encouragement to that effect that helped give me the stamina to complete it. Thank you so much, darling. Without you, I doubt very much there’d be a book requiring these acknowledgements.
Almost as importantly, I must offer my deepest gratitude to Steve Moore, even though he’s no longer around to receive it. Steve completed his invaluable initial edit of Jerusalem’s first third – memorably including the stylistic critique “Ugghh” in red pen in the margins; mercifully, I forget just where – and brought his dazzling intellect to all our formative discussions of the view of time which we later discovered to be called Eternalism, by which point we’d both long since converted to that doctrine. If this book’s central idea is correct (and given physicist Fay Dowker’s current researches into an alternative hypothesis, it’s at least falsifiable and testable) then Steve is currently approaching his second birthday in a leafy close on Shooters Hill in 1951. Thanks again for everything, mate, and all being well I’ll run into you again in roughly nineteen years, your time.
Steve’s abrupt decision to put our theory to the test in March 2014 (some people – you pay them an advance to edit your gigantic novel, and then you never see them again) meant that I had to find a selection of other editors and proofreaders who weren’t scared of me. First and foremost among these was the poet, author, editor and comedian Bond, Donna Bond. Donna edited the whole book, took me to task several times for my misuse of the word ‘careen’ – apparently it’s a term specific to the practice of overturning a ship in order to scrape the barnacles from its hull, but who could have known? – and even somehow noticed a couple of typos in the impenetrab
ly made-up mess of chapter twenty-five. Thanks, Donna, for doing such a meticulous job of
something that I didn’t have the nerve, focus or knowledge of obscure naval terminology to face on my own. The next pass at the editing fell to my friends, the writers John Higgs and Ali Fruish. John spotted a few things, but was mostly invaluable in giving me his typically illuminating reaction to the book as a whole, and for writing an appreciation that made Jerusalem sound like something I might actually want to read. Ali, in between his numerous spells in prison (he’s a writer in residence, though I enjoy making him sound like a murderous drifter), not only gave me some useful pointers on crack etiquette but had, throughout my writing of the book, been digging up gems of research that turned out to be the novel’s making: he alerted me to James Hervey’s local provenance, and provided the final, necessary revelations about the Gas Street origins of free-market capitalism and the Industrial Revolution. To both of these gentlemen, scholars and acrobats I am greatly indebted.
Likewise being of immense assistance in the production of this behemoth, my thanks are also due to my comrade, henchman and hired goon, the omni-competent Joe Brown. Joe put me in touch with Donna Bond, served up sheaves of obscure reference material at my every delirious whim and, most of all, burned down a month of his life in colouring and making intelligible my smudged grey bedlam of a cover illustration. And, if you hold your ear close enough to the page, he also wrote the music to the song audible during the closing scenes of chapter twenty-five. Joe, I don’t know what I would do without you, but I’m confident I’d be doing it much more slowly and displaying a far higher level of ignorance. While on the subject of production, I’d also like to thank Tony Bennett at Knockabout – for his support, his warm enthusiasm and his occasional bouts of being pressed into service as werewolf-wrangler if I’ve had to deal with anything too early in the morning – and the fine people at Liveright Publishing for bringing their usual impeccable polish and discrimination to bear upon the finished article. And, of course, anybody along the way that I’ve left out. There have been a multitude of people responsible for building Jerusalem, and I’m grateful to every one of them.
A special shout-out is due to my pal the sublime John Coulthart for his mesmerising multi-period isomorphic map of the Boroughs, for doing all that loving and painstaking research, and for being the only person I could talk to about the mind-and-eye-destroying obsessive madness that comes with drawing hundreds of eccentrically-angled rooftops and chimneypots. Thanks, John, and I hope that you’re recuperating in a world of scintillant colour that is wrought from nothing save organic shapes and psychedelic arabesques. For the photographs heading the book’s three movements, I have once again to thank Joe Brown for his image manipulation skills in the montage of the Destructor looming over Bristol Street (no clear available images existed of the local chimneystack, necessitating the import of an identical model from, appropriately enough, Blackburn), and my colleague the diamond-eyed Mitch Jenkins for his photographs of the Archangel Michael with snooker-cue (some modern anti-pigeon spikes were airbrushed out, in accordance with the book’s generally pro-pigeon sensibilities), and of that door halfway up the wall of Doddridge Church with its inexplicable bolt on the outside. Your evidence that not all of this is invented was gratefully received.
I should also like to thank Iain Sinclair and Michael Moorcock for their continuing friendship, inspiration and encouragement – or eloquent nagging – regarding this novel, and apologise to them and anyone else who’s been called upon to abandon their families and read it, which I know includes my vastly knowledgeable but physically frail pal Robin Ince, who reports that he and his postman are both now disastrously ruptured. I must also mention my old friend and accomplice Richard Foreman, one of the co-authors of the excellent Northampton Arts Development publication In Living Memory, where I found some exotic details of Boroughs life that had managed to escape my attention during my upbringing, and without which Jerusalem would be missing some of its best stories and characters. A sweep of the sombrero in your direction, gents.
With everyone acknowledged who has been part of the creating of this novel (I think), I must now turn to those people who have had their lives and identities plundered and distorted to provide its contents. Foremost among these, obviously, is my younger, supposedly better looking, but far, far shallower brother Mike, so lacking in depth that he signed his soul away to me, aged twelve, during a game of Monopoly that was going badly for him. I still have it. I thank him for the memorable industrial accidents and near-death experiences that have made this book so much fun, and also thank my sister-in-law Carol and my nephews Jake and Joe (one of whose names I changed and one of whose I didn’t, for no explicable reason) for their supporting cameos. And to all the rest of my far-flung family members, living and dead, thank you for providing me with such rich substance, and also for any chromosomes you may have contributed. Particular thanks go to my cousin Jacquie Mahout (the arty, bohemian one who married a French communist) for all of the most startling fragments of family history included here, though even she had no idea where I’d got Mad Aunt Thursa from.
Huge acknowledgements and perhaps apologies go to all of the non-relatives who have been travestied herein, usually without their permission or knowledge, especially those whom I’ve grossly misrepresented without even going to the trouble of changing their names. The actor Robert Goodman, who in real life is beautiful in mind, body and soul, probably tops the list here, although Melinda Gebbie and Lucy Lisowiec may also wish to consult their lawyers. The same gratitude, and the same squirming disclaimers, go to my friends Donald Davies; Norman Adams and Neil; Dominic Allard (and his late mother Audrey); the late, great Tom Hall and all who sailed in him; Stephen “Fred” Ryan, who I hope hangs on long enough to read this, and his late mother Phyllis Ryan, née Denton, who served me tea and biscuits and gave me the entirety of Phyllis Painter from her boa of decomposing rabbits to the Compton Street Girls marching song. These are all lovely people, and any perceived flaws to their characters as presented here are entirely those of the author.
Otherwise unmentioned in Jerusalem, for providing a major part of this novel’s motivation, I should like to thank my wonderful daughters, Leah and Amber (along with their equally wonderful partners, John and Robo), and particularly my astonishing grandsons Eddie, James, Joseph and Rowan. Your nana Melinda called this book “a genetic mythology”, and for better or worse it’s part of yours, too. While I’m sure that the future you’re running into the breakers of will be as strange as anything in this book, remember that this is the peculiar landscape a bit of you came from, and that along with everybody and everything you’ve ever cared about, we’re all still there in Jerusalem.
I thank the deaf, mute stones of what is left of the Boroughs for all of the work that they have done across the centuries, and all that they have borne. When they at last slump, exhausted, into the dusty sleep of rubble, I hope that this may serve them as an entertaining, vindicating dream.
And lastly I thank both the Meaningful Concept of Death and the English Novel for having been such thoroughly good sports about all this. You guys are the greatest.
Alan Moore
Also by Alan Moore
Voice of the Fire
Publisher’s Note: Some of the people named or depicted in this book are loosely inspired by real people, but this is a work of fiction and the usual rules apply.
Copyright © 2016 by Alan Moore
All rights reserved
First Edition
Excerpt from An Einstein Encyclopedia by Alice Calaprice, Daniel Kennefick, and Robert Schulmann, copyright © 2015 by Princeton University Press. Reprinted by permission.
For information about permission to reproduce selections from this book, write to Permissions, Liveright Publishing Corporation, a division of W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
For information about special discounts for bulk purchases, please contact W. W. Nor
ton Special Sales at [email protected] or 800-233-4830
Book design by Daniel Lagin
Production manager: Anna Oler
Jacket art by Alan Moore
The Library of Congress has cataloged the printed edition as follows:
Names: Moore, Alan, 1953– author.
Title: Jerusalem : a novel / Alan Moore.
Description: First edition. | New York : Liveright Publishing Corporation, [2016]
Identifiers: LCCN 2016014957| ISBN 9781631491344 (hardcover) | ISBN 9781631492433 (paperback)
Classification: LCC PR6063.O593 J47 2016 | DDC 823/.914—dc23 LC record available at https://lccn.loc.gov/2016014957
ISBN 978-1-63149-135-1 (e-book)
Liveright Publishing Corporation
500 Fifth Avenue, New York, N.Y. 10110
www.wwnorton.com
W. W. Norton & Company Ltd.
Castle House, 75/76 Wells Street, London W1T 3QT