Tim Martin in Aeon (Illustration by Lee Moyer):
Alan Moore is waiting when I get off the train in Northampton, a majestically bearded figure in a hoodie, scanning the crowd that pushes through the turnstiles with a look of fearsome intent. When I wave, the glare becomes a beaming smile. ‘How are you, mate?’ he booms. ‘Splendid, splendid. I thought we’d go for a bit of a walk, so I can show you around and we can work up an appetite.’
Off we go up the hill. Moore swings his stick – a wooden snake coiled around the handle to symbolise his enthusiastic worship of Glycon, a second-century Macedonian snake god – and keeps up a constant flow of arcane local chatter. This station car park, he tells me, used to be King John’s castle, where the First Crusade began. That charmless glass-and-steel building was once a Saxon banqueting hall. Over there was a pub where, ‘if you’d come along here on a Sunday afternoon in the 1920s or ’30s, you’d have found a zebra tied up outside it.’
Before long, tramping through the riverside mud under a railway bridge, we’ve moved on to grander concerns. Moore has embarked on a potted summary of eternalism, the philosophical concept of time that ran through Kurt Vonnegut’s novel Slaughterhouse-Five (1969), played a part in his own revolutionary superhero comic Watchmen (1986-87), and is the central conceit behind ‘Jerusalem’, the million-word mega-novel the first draft of which he has now, after more than a decade, shepherded to its conclusion.
In essence, eternalism proposes that space-time forms a block – ‘imagine it as a big glass football’, Moore suggests – where past and future are endlessly, immutably fixed, and where human lives are ‘like tiny filaments, embedded in that gigantic vast egg’. He gestures around him at the rubbish-strewn path, his patriarch’s beard waving in the wind. ‘What it’s saying is, everything is eternal,’ he tells me. ‘Every person, every dog turd, every flattened beer can – there’s usually some hypodermics and condoms and a couple of ripped-open handbags along here as well – nothing is lost. No person, no speck or molecule is lost. No event. It’s all there for ever. And if everywhere is eternal, then even the most benighted slum neighbourhood is the eternal city, isn’t it? William Blake’s eternal fourfold city. All of these damned and deprived areas, they are Jerusalem, and everybody in them is an eternal being, worthy of respect.’
If this mixture of local history, cosmological speculation and messianic mysticism sounds bewildering, then perhaps you haven’t been reading enough Alan Moore lately.