Tuesday, 7 February 2017

Saving The Past II

See Saving The Past.

Alan Moore saves the Burroughs by writing a novel in which Alma Warren saves the Burroughs by representing the area in visual art. The titles of Alma's art works correspond to Alan's chapter headings.

Alan writes and Alma says:

"'That's what art's for. It rescues everything from time.'"
-Alan Moore, Jerusalem (London, 2016), p. 1171.

Right on.

Saving The Past

"'Sooner or later all the people and the places that we loved are finished, and the only way to keep them safe is art. That's what art's for. It rescues everything from time.'"
-Alan Moore, Jerusalem (London, 2016), p. 1171.

"Kine die, kinfolk die,
"And so at last oneself.
"This I know that never dies:
"How dead men's deeds are deemed.
-copied from here.

Hassan asks, "How could the city last?" but then goes home "...by child's short-cuts..." with, behind his eyes, "...towers and jewels and djinn, carpets and rings and wild afreets, kings and princes and cities of brass..." (p. 258). That is how the city lasts.
-copied from here.

Monday, 6 February 2017


In the Afterlude of Alan Moore's Jerusalem (London, 2016), we read detailed descriptions of the partly sequential works of art in Alma Warren's exhibition. The art works correspond to several chapters that we have already read, even including one that I had forgotten reading! (This book is like several books.)

Suppose that the art works are real and that the previous chapters are stories written to correspond to the visuals of the art. Thus, the entire volume would be turned inside out. I do not believe that that is the author's intention. I offer it as one surreal imagining by someone still reading the Afterlude.

Here is another inversion. In one of the art works, a line-drawing, Oliver Cromwell lies asleep in bed in the midst of a battle. Alma's brother is unsure whether this means that Cromwell is unaware of the suffering that he causes or that he dreams of the battle. But it can obviously be both. He is unaware in waking life but his unconscious knows. This one piece of art seems to transcend the rest of the exhibition. But I have yet to read to the end of the Afterlude and am about to join the Lord Protector (not literally) in the realm of Morpheus.

Walking Back III

See here.

Maybe Snowy's walk to the mortal "end of time" takes so much of his time that, by the time he gets there, the Upstairs realm has advanced into its era when the demons regain their angelic status? No, because, as I understand the text, the fallen angels are still demons when Snowy has completed his return journey.

Either he has walked forward, then backward, along the first temporal axis and has endured through a short period of the second temporal axis or he has walked forward, then backward, along the first temporal axis and has endured through a long period of the second axis but has then endured backwards along that second axis. The latter would make life more complicated. In fact, he would be passing his outward bound self at every step of the way back.

It is not easy to think about more than one dimension of time (see here) and I may be getting this all wrong.

Sunday, 5 February 2017

Walking Back II

See Walking Back.

Snowy, a ghost, is able to walk to what mortals regard as the end of time because his backwards-forwards dimension corresponds to their temporal dimension. Walking along a corridor above the mortal realm, he is able to look down through apertures at cross-sections of some of the world lines in that realm. It follows that Snowy's temporal dimension is at right angles to the temporal dimension of the mortal realm.

Although the last mortal dies a long time before the end of the universe, Snowy continues walking until he reaches that ultimate end. If he were to converse with the last mortal, then he would have to:

interrupt his "futureward" hike;
descend through one of the apertures;
rotate through ninety degrees so that his temporal dimension became the temporal dimension of mortals.

He would then be able to converse with a being who would otherwise appear to him as one end of a static world line.

The corridor along which Snowy walks is the lowest part of an "Upstairs" realm inhabited by ghosts and angels. Some of the angels have either fallen or been pushed down into a demonic role but will eventually regain their angelic status. But surely this "eventually" is in the far future of the temporal dimension of the "Upstairs" realm which is at right angles to the temporal dimension of the mortal realm? Snowy should not find a demon transformed back into an angel waiting to converse with him at what mortals regard as the end of time. This "end of time" is not the end of time for angels but is merely a remote point along one of their three or more spatial dimensions.

Story-Telling Media

A story can be narrated, enacted or depicted. Thus, the three story-telling media are narrative, drama and sequential art. Narrative can be verse or prose.

Alan Moore's Jerusalem has:

many chapters of prose;
one dramatic script;
one chapter of verse;
art panels on the cover;
one Joycean chapter that I skipped but must revisit;
streams of consciousness.

When we have read a dialogue from both POVs, we think that that scene has been exhausted but then we read it again as observed by a third party. Some incidents make more sense literally hundreds of pages later. I don't think that I will reread any time soon.

Life In Lancaster

Today in Lancaster: Chinese New Year. See Kinds Of Dragons, China and Adzel On Earth last year.

This year: dragons, dancing, music and food. A guy was selling what he did not want to call waffles so I told him just to call them Hong Kong waffles. Many of the performers are not Chinese and I met several non-Chinese friends in the crowd.

Yesterday, I anachronistically joined the Industrial Workers of the World in picketing a cafe while other comrades went further afield to demonstrate about more global issues.

Back home, I am just 100 pages away from the end of Alan Moore's monumental Jerusalem. It might not be possible to formulate an over-all assessment of the book. The earlier chapters now seem like a different novel.