Modern Age - Summer 2017 - 169

Reviews

spiritual heart of the country and the world. "Every clearance area
is the eternal golden city" is his creed. Jerusalem is the most powerful and poignant novel I've ever read about love of one's hometown. Anybody who's ever loved a scorned and broken place will
find vindication and comradeship in Moore's vision.
If you hear an echo of "The last shall be first," that's intentional.
Jerusalem is a theological novel, for better and eventually for
worse. The novel has three main sections: a series of loosely
linked portraits of people of the Boroughs, the poorest section
of the city, from a monk in the ninth century to a drug-addicted
prostitute in 2006; a fantastic journey through the soul of the
city, in which a gang of dead children taunt monsters and outwit
demons; and a genre-switching sequence of moral investigations
purporting to be a plot. Archangels play snooker with human
souls, Oliver Cromwell has a very bad dream, there's a chamberpot chalice and an immensely satisfying woolly mammoth.
All these fantastical elements come together in a hymn to
Northampton and the Boroughs. The Boroughs is still dear as it's
slowly being gutted; in dream and memory it "had still been a
thing of beauty throughout its undignified and gradual surrender."
At first Moore's careful delineation of every right turn on Sheep
Street seems self-indulgent, but by the end you'll be moved by
the simple recitation of street names. Sheep Street now means
the former American slave Henry, herding nineteenth-century
flocks down from Wales with his newlywed bride; Freeschool
Street means the dream of education that respects poor children;
Narrow Toe Lane, still mysterious by the novel's end, suggests
some long-forgotten escapade or beloved local character. You'll
feel the affront at the twin "stack-a-prole" housing projects that
rear up like a giant two-fingered salute to the Boroughs, "two
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Modern Age - Summer 2017

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