Tag Archives: From Hell

The Alan Moore Jerusalem interview tapes, #10: ‘Doctor Manhattan was right on time’

16 Oct
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Doctor Manhattan in Watchmen, by Alan Moore and Dave Gibbons, published by DC. Through the God-like superpowers given to him, Doctor Manhattan sees all time as simultaneous. It took Moore a while to catch on

Following my interview feature on Alan Moore’s Jerusalem, I’ve been posting edited highlights from the 30,000-word interview transcript. The last excerpt was the weighty topic of what really happened on 9/11. Today, we get to a key part of the thinking behind Jerusalem: that we are living in an Einsteinean block universe where everything that will happen has already happened. Time is fixed, and it’s only our perception of it that makes it appear linear.

Though Doctor Manhattan in Watchmen experiences all time as simultaneous, it was only a decade later, Alan Moore says, that he realised his fiction was fact…

Alan Moore: “When I had my first what I believe to be magical experience with Steve Moore, in January 1994, I remember having this absolute crystalline understanding that time was a solid and that nobody was going anywhere. And then, almost as soon as I had thought that, I thought, ‘but you’ve been writing about this for years!’

“There’s William Gull in From Hell, there’s Doctor Manhattan in Watchmen, there’s those early Time Twisters and Future Shocks in 2000AD, one of which has got some people exploring the remote edges of the universe looking for alien life, and all of a sudden one of them seems possessed by an idea, that he keeps trying to explain to other people, and they gradually kind of get a weird smile on their face, and this is all told from the POV of one of the crew who’s watching it happening, who finally realises, what if an idea could be an alien life form? And what if it could just propagate itself, and the only snatch of conversation you ever get to hear is one of the people talking to an initiated person, and he’s saying ‘So if all of time is simultaneous, then…’ You only hear the first few words?

“And at the end of the story, all the people have converged on the narrator, because he’s the last one, and at the end he’s saying, ‘Well of course I realise how silly I was being, and it really is very very simple: you see, if all of time is simultaneous, then…’ And at that point the editor comes in and says we’re going to stop this story here because we think it’s a bit dangerous.

“At that moment in 1994, I thought, well, actually, that is appropriate. I’m only just understanding the concept now. But if time really is as I think it is, there is no reason ripples shouldn’t go out both ways, that it’s like, I suspect some of those early references might have been pre-memories. I don’t know. But it was an idea that had clearly come to me at some point.

“What with the idea of time is a solid, what I was thinking is that if Einstein is saying this a four-dimensional universe, dimensions are measurements,  they’re not like – since Mr. Mxyzptlk, Superman’s foe, came from the fifth dimension, everyone thinks of dimensions as spooky places, like the Phantom Zone or the Twilight Zone, but no, dimensions are measurements, so the fourth dimension is a physical dimension like the other three. We know there has to be a fourth dimension because Einstein tells us space-time is curved. That is to say that the three regulars have another one that they are curved in.

“Now, as I understand it, the fourth dimension is not time. Rather, time is the way we perceive our passage through time. In reality, if this is a four-dimensional universe, or a universe of at least four dimensions, what we are talking about is a solid block in which everything is eternal and unchanging, in which there is no movement and no change except that which we perceive, as our consciousness travels along the filament that is how we are represented in space-time: a kind of filament I imagine a bit like a centipede, lots of arms and legs [vividly described in Jerusalem]; one end of it is in genetic slime, the other end in cremated dust, but those are just the extremities, like your feet or the top of your head. All the other bits, we are alive.

“And when we get to the end of our filament, I would say there is nowhere for that consciousness to go but back to the beginning, so that would be something we experience countless millions of times, but each time it also felt like the first time, because that was how it had felt the first time, and that will never change, except for those brief moments of déjà vu.”

Jerusalem is out now in hardback from Knockabout in the UK and Liveright in the US. For the full interview feature, click here. Come back tomorrow to discover how Moore’s theory changes how we should think about life, the universe and everything

Ten Things We Learned From Alan Moore Last Week

2 Dec
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Alan Moore at the Prince Charles cinema last week

In the 25 years since I first interviewed him, Alan Moore has progressed from indifference to Hollywood to outright hostility. He used to entertain bewildered execs to a coffee or pizza at his Northampton local before politely sending them back to LA. He was happy to meet Terry Gilliam to give him his advice on how he would adapt Watchmen. [His advice, distilled: “I wouldn’t.”]

He was relatively sanguine about the adaptation of From Hell starring Johnny Depp, but The League of Extraordinary Gentlemen tipped him over the edge. Not only was it, to use the technical film term, a heap of steaming ordure, it landed Moore in court for ten hours of testimony on a plagiarism charge. The alleged plagiarism concerned elements in the film script that were absent from the graphic novel, and the case was settled out of court, but Moore was scarred by the experience. He insisted on removing his name from subsequent films such as V for Vendetta and Watchmen, and donated all payments to his artist co-creators.

So it’s quite a turnaround to see him associated with not just one, but two film projects.

The first is a graphic novelisation of Fashion Beast, a screenplay commissioned from Moore by Malcolm McLaren in the ‘80s. The second is a series of interlinked short films, the first two of which were shown last week at a Q&A session at London’s Prince Charles cinema. I’ll talk about the films in a subsequent post, but first, let’s hear from the man himself.

Resplendent in a purple velvet jacket, as articulate as ever and twice as funny, Alan Moore talked about immortality, magic and pornography… and sang us a song about “Alan Moore, Hitler and God”. So here are the ten things we learned from Alan Moore:

Image1. He’s written a new 24-page Bojeffries Saga set under Gordon Brown’s government, out in February.The Bojeffries Saga was always special to me, it was actually about something really close to my heart, which is how extraordinary working-class life is. Or mine, anyway. You see these factories with strange names and blue shavings that smell funny and do things like light filliping, and you think, what is that? Is that a thing? And even the people working there don’t seem to know. [NB: Moore himself once worked in a slaughterhouse.] The streets where I live are much stranger than anything I could write.”

2. It’s all about place. “These days I think it’s all about place. The writers I like best are focusing on where they are. Even HP Lovecraft, who I’m very involved with at the moment – I’m walled in by his books like in The Cask of Amontillado –  was obsessed by place, trying to express the New England he saw around him.”

3. Why adults like comics. “I know there were these newspaper articles in the ‘80s saying ‘Bam! Sock! Pow! Comics have grown up!’ No they didn’t. They met the emotional age of the people, coming the other way. We are not designed to take complexity like the world is now; I can understand why people want to retreat from it to the things they enjoyed as children, in simpler times. But it’s not good for culture. Also I just hate to see people having a good time!” [laughter]

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Doc Manhattan in Watchmen: precursor to Alan Moore’s current theories on immortality

4. We are all immortal. “I’m on the last three pages of my novel, Jerusalem, and then I have the epilogue to write. It’s really, really, big, somewhere over half a million words, bigger than the Bible and I hope more socially useful. But the main reason you should have a look at it is that it completely solves the minor problem of death. You’re welcome.

“When I turned 50, I could no longer kid myself I’m a third of the way through my life, so I started thinking about this. And simply put, it’s the idea that we are living in a universe of at least four dimensions. You have a block universe, a solid chunk of space-time, in which everybody’s lives are imbedded forever. There’s a lively quote from Einstein I’ve only recently come across, where he’s consoling the widow of a fellow physician. Einstein said, ‘Death isn’t a big problem to us scientists. We understand the persistent illusion of transience.’ Which is lovely, isn’t it.”

[Note: I’m sure I told Moore about this Einstein quote when discussing Voice Of The Fire some years ago; it’s something my mathematician brother told me way back when, though he relayed it to me as, “Your wife is still alive, but in the past”. I also don’t think what Moore said at the Prince Charles fully explains his thinking – he told me before that it’s to do with perception: time is constant and immutable, it’s only our perception of it that makes it seem linear. His line of thinking seems to me presaged way back in Watchmen by Doc Manhattan, who breaks that linearity and can perceive all time at once.]

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Glycon: illustration by Alan Moore, 1994

5. Why he started worshipping a snake-god called Glycon. “The standard approach to consciousness is that it doesn’t exist because science cannot explain it. It’s annoying for scientists to have everything in the universe worked out apart from the very phenomenon they are using to explain these things! Science cannot approach this, so art is a better tool. And then why limit yourself to the sterile and barren perception of consciousness that science can formulate?

“Magic is a different approach to consciousness: the rituals are ways of organising certain conscious experiences. Gods and entities don’t exist in the same physical way that we do, but by treating those concepts as if they exist, we may be reaching some part of our psyche we have not previously had access to. And if that’s all magic is, it’s still pretty good.

“I felt I’d more or less exhausted what I could do with my work while remaining in the boundaries of strict rationality. If I was to go further, I would have to break through into some new territory, and connect up with some writers I really admired who seemed to be visionaries, constructing a reality more real than the reality around us. William Blake was writing this symbolic material in a totally private language to try to illuminate the world that surrounds him.

“One problem with art at the moment as I see it is there is nothing visionary, nothing magical, nothing of the numinous. I believe art is magic and magic is art. If artists saw themselves as magicians, they might do something with real force and meaning, rather than sorry conceptualist stuff, which is empty.

“Conversely, if some of the magic orders around today regarded what they did as art, there might actually be some point to their existence.”

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Far from getting Alan Moore locked up, Lost Girls got him on The Simpsons.

6. Lost Girls, his pornographic graphic novel featuring Dorothy from Oz, Wendy from Neverland and Alice from Wonderland, had the opposite effect from that intended: it finally made him “respectable” in the national press. “I thought, ‘Why haven’t they hung us? Why are we still at liberty? What are we paying our taxes for?’ Though I didn’t really want to go to prison. I’m kind of the pretty one.”

7. For someone who’s against “culling the disabled”, Moore is not very kind about Gordon Brown’s disability. “There was some sort of petition to get me one, and I said of course I wouldn’t accept an Honour, and definitely not from a bipolar Cyclops. And that was from a Labour government. I certainly couldn’t from this government. It’s old-fashioned of me, but I kind of think culling the disabled is wrong. To accept an award would be condoning the behaviour of the people who gave it to you.”

8. His many comic awards are now in the bin. “My Mum saw that and said, ‘No, you can’t throw them out’, so she took them in briefly; then she gored herself on one and that was that.”

9. Alan Moore wants to star in a kids’ cartoon. “I’ve always said Northampton is the centre of the universe. Hitler’s invasion plan ended with the capture of Northampton. Also God directed his angels there in the eighth century. So I thought we could all be in a kids’ TV cartoon series called The Dream Team. I even wrote the theme song [singing]:

“Alan Moore, Hitler and God,

Though their friendship may seem odd,

One made space-time, one hates Jews,

One wrote some comics that got reasonable reviews.

Though their friendship may seem weird,

One has a moustache, two have a beard,

One’s a Nazi and one made Hell…

And Hitler and God probably did something as well.”

[Someone has now put the sound-file of Moore singing up on YouTube, here.]

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10. Moore actually plays God in his recent short film. See my next blog post for more on that….

Magic Words: The Extraordinary Life of Alan Moore, by Lance Parkin, is out now on Aurum Press (£20, or £11 on Amazon). 

For an interview with Alan Moore on books, magic and where ideas come from, click here. For a review of his shorts, plus comments on them from Moore, click here