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Jerusalem

Alan Moore

Fierce in its imagining and stupefying in its scope, Jerusalem is the tale of everything, told from a vanished gutter. 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. Employing, a kaleidoscope of literary forms and styles that ranges from brutal social realism to extravagant children's fantasy, from the modern stage drama to the extremes of science fiction, 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. In these pages lurk demons from the second-century Book of Tobit and angels with golden blood who reduce fate to a snooker tournament. Vagrants, prostitutes, and ghosts rub shoulders with Oliver Cromwell, Samuel Beckett, James Joyce's tragic daughter Lucia, and Buffalo Bill, among many others. There is a conversation in the thunderstruck dome of St. Paul's Cathedral, childbirth on the cobblestones of Lambeth Walk, an estranged couple sitting all night on the cold steps of a Gothic church front, and an infant choking on a cough drop for eleven chapters. An art exhibition is in preparation, and above the world a naked old man and a beautiful dead baby race along the Attics of the Breath toward the heat death of the universe. An opulent mythology for those without a pot to piss in, through the labyrin

Fierce in its imagining and stupefying in its scope, Jerusalem is the tale of everything, told from a vanished gutter. 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. Employing, a kaleidoscope of literary forms and styles that ranges from brutal social realism to extravagant children's fantasy, from the modern stage drama to the extremes of science fiction, 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. In these pages lurk demons from the second-century Book of Tobit and angels with golden blood who reduce fate to a snooker tournament. Vagrants, prostitutes, and ghosts rub shoulders with Oliver Cromwell, Samuel Beckett, James Joyce's tragic daughter Lucia, and Buffalo Bill, among many others. There is a conversation in the thunderstruck dome of St. Paul's Cathedral, childbirth on the cobblestones of Lambeth Walk, an estranged couple sitting all night on the cold steps of a Gothic church front, and an infant choking on a cough drop for eleven chapters. An art exhibition is in preparation, and above the world a naked old man and a beautiful dead baby race along the Attics of the Breath toward the heat death of the universe. An opulent mythology for those without a pot to piss in, through the labyrin
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Description:

Fierce in its imagining and stupefying in its scope, Jerusalem is the tale of everything, told from a vanished gutter. 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. Employing, a kaleidoscope of literary forms and styles that ranges from brutal social realism to extravagant children's fantasy, from the modern stage drama to the extremes of science fiction, 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. In these pages lurk demons from the second-century Book of Tobit and angels with golden blood who reduce fate to a snooker tournament. Vagrants, prostitutes, and ghosts rub shoulders with Oliver Cromwell, Samuel Beckett, James Joyce's tragic daughter Lucia, and Buffalo Bill, among many others. There is a conversation in the thunderstruck dome of St. Paul's Cathedral, childbirth on the cobblestones of Lambeth Walk, an estranged couple sitting all night on the cold steps of a Gothic church front, and an infant choking on a cough drop for eleven chapters. An art exhibition is in preparation, and above the world a naked old man and a beautiful dead baby race along the Attics of the Breath toward the heat death of the universe. An opulent mythology for those without a pot to piss in, through the labyrin

Language:

English

Narrators:

Simon Vance

Length:

60h 43m


Chapters

Introduction
Introduction

01:45:36


Part 1, Chapter 1
Part 1, Chapter 1

01:09:41


Part 1, Chapter 2
Part 1, Chapter 2

01:00:47


Part 1, Chapter 3
Part 1, Chapter 3

01:27:11


Part 1, Chapter 4
Part 1, Chapter 4

01:19:55


Part 1, Chapter 5
Part 1, Chapter 5

01:10:31


Part 1, Chapter 6
Part 1, Chapter 6

01:29:52


Part 1, Chapter 7
Part 1, Chapter 7

01:57:53


Part 1, Chapter 8
Part 1, Chapter 8

01:05:59


Part 1, Chapter 9
Part 1, Chapter 9

01:37:13


Part 1, Chapter 10
Part 1, Chapter 10

01:34:49


Part 1, Chapter 11
Part 1, Chapter 11

01:16:29


Part 2, Chapter 12
Part 2, Chapter 12

01:46:14


Part 2, Chapter 13
Part 2, Chapter 13

02:02:33


Part 2, Chapter 14
Part 2, Chapter 14

01:55:40


Part 2, Chapter 15
Part 2, Chapter 15

01:35:06


Part 2, Chapter 16
Part 2, Chapter 16

01:43:48


Part 2, Chapter 17
Part 2, Chapter 17

01:57:05


Part 2, Chapter 18
Part 2, Chapter 18

01:56:12


Part 2, Chapter 19
Part 2, Chapter 19

01:55:02


Part 2, Chapter 20
Part 2, Chapter 20

01:58:15


Part 2, Chapter 21
Part 2, Chapter 21

02:07:59


Part 2, Chapter 22
Part 2, Chapter 22

01:53:44


Part 3, Chapter 23
Part 3, Chapter 23

01:00:56


Part 3, Chapter 24
Part 3, Chapter 24

02:54:41


Part 3, Chapter 25
Part 3, Chapter 25

03:01:41


Part 3, Chapter 26
Part 3, Chapter 26

59:07


Part 3, Chapter 27
Part 3, Chapter 27

01:45:42


Part 3, Chapter 28
Part 3, Chapter 28

02:01:28


Part 3, Chapter 29
Part 3, Chapter 29

02:31:50


Part 3, Chapter 30
Part 3, Chapter 30

01:21:18


Part 3, Chapter 31
Part 3, Chapter 31

02:08:15


Part 3, Chapter 32
Part 3, Chapter 32

28:22


Part 3, Chapter 33
Part 3, Chapter 33

01:43:05


Part 3, Chapter 34
Part 3, Chapter 34

02:58:54


Part 3, Chapter 35
Part 3, Chapter 35

00:28