In the epic novel Jerusalem, Alan Moore channels both the ecstatic visions of William Blake and the theoretical physics of Albert Einstein through the hardscrabble streets and alleys of his hometown of Northampton, UK. In the half a square mile of decay and demolition that was England’s Saxon capital, eternity is loitering between the firetrap housing projects. Embedded in the grubby amber of the district’s narrative, among its saints, kings, prostitutes, and derelicts, a different kind of human time is happening, a soiled simultaneity that does not differentiate between the petrol-colored puddles and the fractured dreams of those who navigate them.
Jerusalem‘s dizzyingly rich cast of characters includes the living, the dead, the celestial, and the infernal in an intricately woven tapestry that presents a vision of an absolute and timeless human reality in all of its exquisite, comical, and heartbreaking splendor.
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Alan Moore’s vivid imagistic prose, which touches all the listener’s senses, has the perfect partner in Simon Vance, who delivers this epic mellifluously. From the opening scene, one’s awareness of the sheer length ahead falls away because each moment absorbs one’s attention. Many characters’ viewpoints emerge as the narrative recounts the past 200 years of impoverishment in Northampton, England. Vance treats each person’s story and language—some of a time and status that visual readers might be hard pressed to re-create—with respect and enough humor to keep it all from becoming a deluge. Here’s a monument to a place, a people, a writer whom too many have dismissed as “a mere graphic novelist,” and a narrator who provides the author’s text with all it deserves. F.M.R.G. Winner of AudioFile Earphones Award © AudioFile 2016, Portland, Maine