Alan Moore - Jerusalem

So, Michael Warren was the pretty brother of alarming-looking Alma Warren, who could somehow entice fiends to sit for her. And then there was that strange event of cryptic import that would take place nearly fifty years from now, in 2006, with which the woman artist would be heavily involved. Within the trillion-fragment jigsaw of the demon-king’s elaborate mind, the pieces started tumbling into intriguing new arrangements. Something positively Byzantine was going on, the devil was more certain by the moment. He reviewed what he could pre-remember of the labyrinthine pattern of events that would surround the early years of the next century, looking for clues and for connections. There was all that business of a female saint in the twenty-fives, with which the devil had a personal involvement. That affair had tenuous links with the occurrences in 2006, links that related to the ancestry of Alma Warren …

And her brother.

Oh, now, this was interesting. They were siblings, and so had their ancestry in common.

That meant Michael Warren was a Vernall too. It didn’t matter if he knew it, and it mattered less whether he liked it. He was tied by blood-bonds to the old profession, to the ancient trade.

The fiend knew that the greater part of Mansoul’s unique local terminology came from the Norman or the Saxon, phrases such as Frith Bohr, Porthimoth di Norhan and the like. Vernall was older, though. The devil could recall hearing the word around these parts since, what, the Roman occupation? And he had a notion that it might derive from earlier traditions still, from Druids or the antlered Hob-men that preceded them, weird figures crouching in the smoke-drifts of antiquity. Though Vernall was a job description, it described an occupation that was based in an archaic world-view, one which had not been in evidence for some two thousand years and one which did not see reality in terms the modern world would recognise.

A Vernall tended to the boundaries and corners, and it was in the mundane sense of a common verger that the term came to be understood throughout the Boroughs during medieval times. The ragged edges that comprised a Vernall’s jurisdiction, though, had not originally been limited to those weed-strangled margins of the mortal and material world alone.

The corners that a Vernall had traditionally marked and measured and attended to were those that bent into the fourth direction; were the junctions that existed between life and death, madness and sanity, between the Upstairs and the Downstairs of existence. Vernalls overlooked the crossroads of two very different planes, sentinels straddling a gulf that no one else could see. As such they would be prone to certain instabilities, yet at the same time often were recipient to more-than-normal insights, talents or capacities. In just the recent lineage of Michael Warren and his sister Alma, shook-up Sam O’Day could think of three or four striking examples of these odd hereditary tendencies. There had been Ernest Vernall, working on the restoration of St. Paul’s when he fell into conversation with a builder. Snowy Vernall, Ernest’s fearless son, and Thursa, Ernest’s daughter, with her preternatural grasp of higher-space acoustics. There had been ferocious May, the deathmonger, and the magnificent and tragic Audrey Vernall, languishing at present in a run-down mental hospital abutting Berry Wood. Vernalls observed the corners of mortality, and watched the bend that all too often they would end up going round themselves.

Hanging above St. Andrew’s Road with Michael Warren’s tiny essence held between his claws, the devil counted all the aces in the hand of information he’d been dealt. This clueless child, currently dead but in a few days time apparently alive, had been the cause of a colossal brawl between the Master Builders. More than this he was a Vernall by descent, related to a woman artist who was central to the crucial business that would take place in the spring of 2006. This forthcoming event was known, in Mansoul, as the Vernall’s Inquest. Much depended on it, not least the eventual destiny of certain damned souls that the fiend had a specific interest in. There might be some way slipshod Sam O’Day could tweak the dew-dropped strands of interwoven circumstance to his advantage. He would have to think about it.

Though excited by the tingling web of possibilities, the devil managed to sound nonchalant as he addressed the captive boy.

“Hmm. Well, your family all seem very pleased to have you back with them, but it appears there’s been a dreadful mix-up here. At some point over the next day or so you obviously come back to life, so probably you’re not meant to be running round Upstairs at all. I’d better end my flight and take you back up to the Attics of the Breath until I can decide what’s to be done with you.”

The astral toddler shifted in the devil’s grip. It seemed as if, once reassured that being dead would not be permanent in his case, Michael Warren was beginning to enjoy this ride the fiend had promised him and was reluctant to see it concluded. He conceded with a heavy sigh, as if doing the devil an enormous favour.

“I suppose so, but don’t go so fast this time. You said you’d answer questions for me, but I can’t ask any if my mouth’s all full of wind.”

The devil gravely tipped his horns in the direction of the infant dangling beneath him.

“Fair enough. I’ll take it nice and easy, so that you can ask me anything you like.”

He turned in a great spiral fan of red and green and started drifting north along St. Andrew’s Road towards the meadow sheltering at the foot of Spencer Bridge. They’d barely reached the fireside-flavoured heights above the coal merchant’s before the lad had formulated his first irritating query.

“How does it all work, then, life and death?”

How nice. He’d got a little Wittgenstein for company. Unseen behind the kiddy’s back, the devil opened wide his fang-filled jaws and mimed biting the baby’s head off, chewing it a time or two, then spitting it into the bays of heaped up slack below them. Relishing this fleeting fantasy, he let his features settle back into their customary insidious leer as he replied.

“There’s really only life. Death’s an illusion of perspective that afflicts the third dimension. Only in the mortal and three-sided world do you see time as something that is passing, vanishing away behind you into nothingness. You think of time as something that one day will be used up, will all be gone. Seen from a higher plane, though, time is nothing but another distance, just the same as height or breadth or depth. Everything in the universe of space and time is going on at once, occurring in a glorious super-instant with the dawn of time on one side of it and time’s end upon the other. All the minutes in between, including those that mark the decades of your lifespan, are suspended in the grand, unchanging bubble of existence for eternity.

“Think of your life as being like a book, a solid thing where the last line’s already written while you’re starting the first page. Your consciousness progresses through the narrative from its beginning to its end, and you become caught up in the illusion of events unfolding and time going by as these things are experienced by the characters within the drama. In reality, however, all the words that shape the tale are fixed upon the page, the pages bound in their unvarying order. Nothing in the book is changing or developing. Nothing in the book is moving save the reader’s mind as it moves through the chapters. When the story’s finished and the book is closed, it does not burst immediately into flames. The people in the story and their twists of fortune are not disappeared without a trace as though they’d not been written. All the sentences describing them are still there in the solid and unchanging tome, and at your leisure you may read the whole of it again as often as you like.