Alan Moore - Jerusalem

the empty green of Beckett’s Park, drowning in light, there on one of her scant five hundred afternoons. She has no sense of where she ends or where the world begins, and having never seen the lovely golden cranium that everybody else makes such a fuss of, May assumes she is without one; that the whole width of the day and its astounding skies are in a monstrously vast glass bubble balanced on her headless infant shoulders. She can feel the silvery drag of fish-skin clouds across the blue inside her, while the birdsong is sharp citrus fluttering on her tongue and makes May dribble. She does not discriminate between the clever, complicated house-shapes on Victoria Promenade’s far side, the polished farthing of the sun or the trees swaying, chimney-high, to lick the wind. Since all these things are to be found inside her absent head the child supposes them to be her thoughts, that this is what thoughts look like, square with blue slate hats, or tiny and on fire, or tall and whispering. The eighteen-month-old does not separate that second’s slurps and shivers from its scents or shapes or sounds, confusing the asthmatic distant skirl of an accordion and the measured progression of the little gas-lamps just across the road, with both phenomena from her perspective being things that seem to roll down avenues. Then it’s a different instant, with no gas-accordion wheezing out its wrought-iron notes at intervals along the street, and where indeed the street itself is vanished and forgotten as the child discovers she is moving in a new direction that entails a different vista. Floating effortlessly a few feet above the surf hiss of the carpet-grass, descending slowly to the miniature domain of further-off with its toy huts and shrubs and paint-fleck daisies, May doesn’t remember that she’s being carried in her mother’s arms until the bobble-coated chocolate drop is put into her mouth. The warm accompanying maternal mumble melting on the baby’s tongue is like the creamy sweetness in her ears. As she explores the varicoloured beads of sugar speckling the confection’s upper surface, the sensation becomes inextricable from the pointillist blur-burst of a nearby flowerbed that May happens to be gazing at and she’s immersed in an undifferentiated glory. She and the big favourite body that’s called May as well and which she’s a detachable component of seem to be standing on a hiccup in the ginger gravel underfoot, a bump with railings where their path squirts in a stony arc over a river like a very long old woman, splashing on its further bank to trickle off in pebble tracks amongst the weeds. One of the syllables her mother coos is “swan”, a sound that starts off with a slicing whoosh then curves away into a stately glide, and something somehow flares into existence in the private centre of May’s continuity, a thrilling white idea that flaps up into ghostly being, making a commotion. Swan. The word is the experience and it doesn’t matter if she sees one now or not. Shifting her weight, May loses herself and forgoes the universe in favour of the freckles on her mother’s throat. A spittle spray of toffee isles adrift upon a dermal ocean, floated on its pinprick ripples, each spot has its own unique identity seen from an inch away. This one is like a smoky lion’s head yawning, this one like a piece of broken horseshoe, each no bigger than a grain of salt. She focuses on their implied geography, on the relationship between these distinct and minuscule atolls. Do they know each other? Are the ones closest together friends? Then there’s the overall arrangement to consider, preordained and perfect, each spot where it should be on a map that’s here forever, purposeful and ancient like the constellations or the musical periodicity of lampposts. The giant beauty cradles May through time, through summer with the dandelion-clocks going off like steam grenades. There are so many leaves and branches to bear witness to, so many breezes to be met and all with different personalities, that it’s a million million years before they’re back in the same moment on the bridge again but this time without chocolate drops and crossing it the other way, from which a new and unfamiliar town is visible. A different angle is a different place, and space is time. Her future moments are the funny land in front of her where little things get bigger, not like in the funny land behind her where the things that seemed so large get littler and littler until they’re gone into a dust-sized past, she doesn’t know exactly where. Infinitesimal, the ant-cows from a minute or two’s time mature to mouse-cows and then suddenly are old enough for her to see their eyelashes and to smell where they’ve done their business, staring without interest at May over the top gate-bar of the cattle market’s wooden barriers. The fruit-and-pepper stink surrounding her, not in itself unpleasant, is attempting to inform her of its noble histories and pungent legend but the buzzing black dots of the story’s punctuation make it hard to understand and so her mother waves it all away. The breast and bounce and rhythm of May’s passage lulls the day into a distance as if it’s a picture in a confiscated rag-book. Nearby hooves and cobbles drop the volume of their conversation as a courtesy, and she’s exhausted just from all the breathing and the staring. Luminous pink curtains briefly drop on the theatre of real things, and May is hurried through a fascinating but incomprehensible scenario in which

a baby girl is galloping an old man down a far-off foreign century after the people and the after-people have all gone, arboreal decades trampled in their gallivant. The distant walls of the immeasurable emporium, where these are visible between the baobabs and modified acacias, are themselves now only stockade rows of monster tree trunks with no trading posts or other signs of structured artifice apparent. Evidently nothing human or post-human lives and dreams in the inferior territory Downstairs, the hothouse bayous that were formerly the Boroughs. Pointing to the wood-web overhead and the unfolded sky beyond, May draws her racing grandfather’s attention to the lack of either birds or birdsong. Without breaking from his loping stride he hazards that this absence might imply a dreadful and illimitable cascade of extinctions. They run on in silence for a while, each inwardly considering this sombre possibility and trying to determine how they feel about their species vanishing along with a great torrent of its fellow life forms, sluiced into the drainage ditch of biologic obsolescence. Snowy in the end concludes he’s not much bothered, bare feet pounding out the years of unrestricted lichen. Everything, he reasons, has its length in time, its linger, whether that should be an individual, a species or a geologic era. Every life and every moment has its own location; still there somewhere back along this endless loft. It’s only here that mankind is no more, and when he and his granddaughter at last come back the other way with their preposterous pilgrimage complete he knows the centuries where Earth is habitable will be waiting for them, back at home amongst the sempiternal moochers and immortal rusted drainpipes of their own times, their own worn-out neighbourhood of heaven. Everything is saved, the sinners, saints and breadcrumbs underneath the couch alike, albeit not in the conventional religious sense of that expression: everything is saved in spacetime’s fourfold glass, without requirement of a saviour. Snowy thunders on in the general direction of the next millennium, whichever that might be, with his exquisite passenger bumping and jigging on her wolf-hide saddle stuffed full of anaemic fungus-fairies. Only when they notice that despite the lack of any avian presence there is yet the plaintive squeal of song reverberating in the unpacked auditory space of the great corridor do they slow to a halt, preventing them from rushing at full tilt into the pod of moss whales. Trailing emerald coiffures of algae, the handsome and posthumous leviathans crawl ponderously across a post-historic clearing through the pink light of another hyperdawn, calling to one another in their eerie radar-sonar voices. Awed and dumbstruck the two travellers note that while the creatures’ massive lower jaws and relatively tiny back-set eyes are undeniably cetacean, all appear to come equipped with an enormous pair of forward-thrusting horns, brow-mounted tusks that push to one side any overhanging branches which obstruct their path. Additionally, both their anterior and posterior flippers seem to have adapted into stubby legs that terminate in barnacle-encrusted hooves, each one the size of a bone omnibus, rhythmically splintering the world’s-end vegetation as like grey-green glaciers they continue their protracted slither, off amongst the Brobdingnagian trees. Resuming their potentially unending expedition at a cautious walking pace, the temporal pedestrians engage in heated speculation as to the most likely origins of the extraordinary future-organisms. Snowy posits a scenario in which the drying of the planet’s oceans has precipitated a migration of the more adaptable marine life onto land in search of sustenance, but he cannot explain the glaring incongruity of horns and hooves. After some cogitation, May suggests that if whales are air-breathing mammals that chose to return to the aquatic state from which all life originates, it may be that during their brief adventure as land-animals they were related biologically to some unlikely genus such as, for example, an ancestor of the goat. The white-haired ancient crooks his neck to squint up at his rider and determine if she’s joking, though she never is. They carry on, and presently Snowy’s hypothesis of boundless seas reduced to salt flats prompting a migration onto dry ground is confirmed by glimpses of the period’s other mega-fauna, or at least that fauna’s astral residue. Milling about one of the now irregularly-contoured apertures set in the arcade’s creeper-covered floor, May notices the spectres of teak-brown crustaceans with shells four feet in diameter, like ambulatory tables. Later, they experience a moment of breathtaking wonder when the tract of forest towards which they happen to be walking suddenly uncoils itself, the detailed scene and its apparent depth detaching from the background to reveal a sky-scraping cephalopod, a towering ultra-squid perfectly camouflaged against its afterlife surround by means of the evolved pigment-receptors in its skin. Shifted to a presumably more comfortable position, next the tentacled immensity adjusts its shimmering disguise, its surface a spectacularly animated Seurat wash of colours that resolves into an almost photographic reproduction of the endless avenue about them. Snowy is reminded of the shifting pictures in the fire when he’s only