Alan Moore - Jerusalem

If Studs is understanding this correctly, the inordinate morbidity of Hervey’s writings which the Wesleyans had so deplored turned out to be a maggot-eaten inspiration for his literary contemporaries. The persistent theme of human transience compared with the eternity of God was taken up by other theologians such as Edward Young and by the poets of the nascent Graveyard School like Thomas Gray, becoming such a major influence upon the writings of the day that William Kenrick wrote:

’Twas thus enthusiastic Young;

’Twas thus affected Hervey sung;

Whose motley muse, in florid strain,

With owls did to the moon complain.

From what Studs can make out, this was fair comment, at least in so far as it pertained to later writers of the Graveyard School, who weren’t much bothered by the business about God but were completely smitten by the atmospherics and the props, the owls and bats and skulls and crumbling headstones. This was at a moment when society was slowly starting to clean up the nation’s graveyards for the purposes of physical and mental hygiene, clearing out the mouldering bones and simultaneously banishing the ever-present smell and the immediate idea of our mortality beyond the margins of accepted daily discourse. Perhaps unsurprisingly, with the grim actuality of death displaced from ordinary life, this was also the point at which our culture first began to make a titillating fetish of the deathly and funereal. Commencing where the less religious and more genuinely ghoulish authors of the later Graveyard School left off, writers like Horace Walpole and Matthew ‘Monk’ Lewis would take Hervey’s sombre iconography and use it to adorn their decomposing European castles or their morally subsiding monasteries. The gothic novel and indeed the whole late eighteenth-century gothic tradition would appear to have its origins in the consumptive Hervey’s spiritual preoccupation with the tomb.

As lengthening headstone shadows slither purposefully through the cropped grass towards him, Studs attempts to weigh up all the implications of this latest evidence. He knows that if it’s on the level it puts Hervey squarely in the frame as the elusive Mr. Big behind far more than just the gothic novel. Until Walpole, Lewis, Beckford and their fellow frighteners arrived, the only form of novel which existed was the comedy of manners — Goldsmith, Sheridan and later on Jane Austen — with the advent of the gothic novel being also the first genre fiction. Almost every subsequent sub-category of imaginative writing is therefore derived from gothic literature and thus from Hervey’s first mould-culture texts; sprung from the moss and lichen of his first sepulchral narratives, Studs realises. Sure, the classic ghost tale is an obvious example, alongside the burgeoning horror and supernatural genres which grew out of it, but that’s not where it ends. The field of fantasy would have to be included, as would science fiction with its genesis in Mary Shelley’s gothic Frankenstein . And then, of course, there are the Decadents, caught up in the sublime deliriums of heir apparent to the caliphate of Vathek and the riches of Otranto, Edgar Allen Poe. And Poe — the idea hits Studs with the force of bourbon before breakfast — Poe set his Chevalier August Dupin to solve the murders on the Rue Morgue or the mystery of the purloined letter and in doing so precipitated the detective story. He attempts to take it in: the bone bulb from which germinated every heartless rain-lashed midnight, every knockout blonde with a sob story and each stuttering electric sign is resting maybe fifty feet away, just south of the communion table in the chancel. Every dining-room denouement, every double-cross. It’s one hell of a thing.

This gothic business, though, has got him thinking once more about Bauhaus and the movement’s modern reinvention during the end credits of the 1970s. As Studs recalls, it had been the eclectic David J who’d first suggested many of the eerie tropes which would one day prove the salvation of the black lace and mascara industries. And yet, as widely-read as the peculiarly ibis-like bohemian intellectual undoubtedly had been, Studs doubts that any eighteenth-century Christian killjoys found their way into J’s vehemently other-directed syllabus. The Bauhaus bassist, he concludes, would have known nothing about Hervey when he was intuitively laying out the ground-plan for the most bewilderingly long-lived youth cult of the modern era. The exploding belladonna, lilies and pressed roses which accompanied Northampton’s twentieth-century gothic blossoming came into being without any reference to or knowledge of Hervey’s origination of that style more than two hundred years before. Unless this is no more than an evocative coincidence, the implication would appear to be that both of these traditions and the sensibilities that shaped them have arisen from those singular inherent qualities within the town itself; the gothic view as an emergent property, as a condition of Northampton. That would explain everything about the place, its churches, murders, history and ghostly monks. That would explain its writings and its music and the nature of its people, everyone from Hervey to Ben Perrit, from John Clare to David J, with Studs and Little John and Alma Warren somewhere on the grotesque spectrum in between them. Little John alone reprised the gothic movement in one tidy package, what with the malefic dwarf being a staple of the genre and John’s background making him appear almost an escapee from Beckford’s Vathek , brought here from the djinn-swept terraces of Ishtakar in far Persepolis, a crooked grandchild of the demon-sultan Eblis. Studs is just about as close to inner satisfaction as a spent and used imaginary private eye can get. It all makes sense. He flips through the remaining pages with mounting impatience.

There’s an interesting piece from a biography of Hervey by one George M. Ella, which describes the Weston Favell visionary’s Theron and Aspasio in terms that make it sound more like a piece of modernist or possibly post-modern writing than a dialogue concerning Christ’s imputed righteousness first written in 1753. Massively long by modern standards, Hervey’s work apparently shifts in its style and its delivery with each new chapter, hopping from one mode or genre to another and including “narrative description, scientific records, inner monologue, anecdotes, autobiography, eye-witness reports, pen-portraits, short stories, sermons, linguistic studies, nature portrayals, journals, poetry and hymns. There is also much in the work that is reminiscent of a modern film-script.” Studs reflects that he should maybe add the beatnik avant-garde to the already-lengthy list of literary forms which seem to owe their M.O., which is flatfoot talk for modus operandi, to James Hervey. His respect for the extravagantly miserable divine is growing by the moment. Studs would like to see one of these modern pantywaists even attempt a work as grand and various as that.

He’s right down to the Wikipedia entries for both Hervey and Northampton School for Boys now, sprawling on the churchyard turf between the sparse chimes of the early afternoon. Neither of the remaining files appear to Studs to be particularly promising, and yet upon inspection both documents demonstrate convincingly how wrong a guy can be. The first, Hervey’s internet résumé, while in the main it offers nothing Studs has not already learned from other sources, plainly states that Hervey was not just someone whom William Blake had heard of and referred to in a solitary painting, but was rather one of Blake’s two main spiritual influences with the other one being Immanuel Swedenborg. The hovercraft-inventing angel confidant who once asserted that such creatures know nothing of time, whose missing head was rumoured to be propped against the optics at the Crown and Dolphin, with Northampton’s foremost fatalist, both stirred into the Lambeth lad’s ideological genetic mix; become his paranormal parents. Studs thinks back to the Blake plate he studied at the library, the solitary human figure at the bottom centre of the image, back towards the viewer and face hidden as he gazes up at the funereal saints and angels gathered there above him, obviously meant to represent Hervey himself and yet with the averted features lending to the character’s interpretation as an everyman, paused on the brink of a marmoreal hereafter which renders tuberculosis, flesh and human brevity irrelevant, a figure at death’s door refuting loss and time. Or, possibly, Blake didn’t know what Hervey looked like, in which instance the appended line engraving offers Studs a slight edge on South London’s beatific bruiser.