I M Talking About Jerusalem

The final play in the Wesker trilogy. Sequel to Roots.

On the famous mappa mundi, housed in Hereford Cathedral, Jerusalem is at the center of the world. For Jews, Christians, and Muslims, this holy city represents not merely a physical focus for their faith, but a theological and spiritual emblem: simultaneously a very earthly city and a uniquely celestial kingdom. How has this insignificant city become such a critical location in geopolitics and psychogeography? I’m Talking about Jerusalem explores the many and varied meanings and resonances of “Jerusalem”—in history, prophecy, theology, literature, imagery, and myth. “Jerusalem” appears 806 times in the Bible. For the Jews, Jerusalem is not simply a significant physical place, past and present, but a religious concept transcending time. For Christians, it is the site of Jesus’s last days—and of countless Christian structures, relics, and remains. Islamic tradition has celebrated the city with seventeen names; it was a key stage in Muhammad’s night journey and became Islam’s third holiest place of pilgrimage. For all three Abrahamic religions, Jerusalem is a major pilgrimage destination. Aldous Huxley wrote, “We have each of us our Jerusalem”—a vision of what life might be. I’m Talking about Jerusalem considers Jerusalem as a political goal and eternal home; its place in Jewish, Christian, and Islamic eschatology; and as a metaphor for all we yearn for in this world and the next. A place of perfection and conclusion, a golden city, a paradise to be attained after death.

The New York Times bestseller from the author of Watchmen and V for Vendetta finally appears in a one-volume paperback. Begging comparisons to Tolstoy and Joyce, this “magnificent, sprawling cosmic epic” (Guardian) by Alan Moore—the genre-defying, “groundbreaking, hairy genius of our generation” (NPR)—takes its place among the most notable works of contemporary English literature. In decaying Northampton, eternity loiters between housing projects. Among saints, kings, prostitutes, and derelicts, a timeline unravels: second-century fiends wait in urine-scented stairwells, delinquent specters undermine a century with tunnels, and in upstairs parlors, laborers with golden blood reduce fate to a snooker tournament. Through the labyrinthine streets and pages of Jerusalem tread ghosts singing hymns of wealth and poverty. They celebrate the English language, challenge mortality post-Einstein, and insist upon their slum as Blake’s eternal holy city in “Moore’s apotheosis, a fourth-dimensional symphony” (Entertainment Weekly). This “brilliant . . . monumentally ambitious” tale from the gutter is “a massive literary achievement for our time—and maybe for all times simultaneously” (Washington Post).

The Gospel writers Matthew, Mark and John were eyewitnesses to the life of Jesus. Luke was not, and in fact does not appear in the Bible until his travels with Paul around 50 AD. And while the other three Gospels are extremely similar, nearly half of Luke’s text is original, and cannot be found elsewhere, including some sixty stories and parables. The nativity scene we worship on Christmas Eve is from Luke. The only reference of Jesus’s childhood, being left at the temple, can only be found in Luke. How does the Virgin Mary’s song, the Magnificat, wind up in the Gospel of Luke? “I too have decided, after investigating everything accurately anew, to write it down in an orderly sequence for you,” Luke tells us. And he does, with more detail than the other Gospel writers, who trace Jesus’s lineage back to King David. Luke takes it back to Adam and Eve. So how does a man who was not a witness to the life of Jesus, and who does not appear until decades after his death, have the most relevant details on our Savior’s life? There can only be one answer.

It's 1958. Beatie Bryant has been to London and fallen in love with Ronnie, a young socialist. As she anxiously awaits his arrival to meet her family at their Norfolk farm, her head is swimming with new ideas. Ideas of a bolder, freer world which promise to clash with their rural way of life. Roots is the remarkable centrepiece of Wesker's seminal post-war trilogy. It was first performed in 1959 at the Belgrade Theatre, Coventry, before transferring to the Royal Court. It is the second play in a trilogy comprising Chicken Soup with Barley and I'm Talking About Jerusalem. It went on to transfer to the Duke of York's Theatre in the West End. A true classic, Roots is an affecting portrait of a young woman finding her voice at a time of unprecedented social change. This Modern Classic edition features an introduction by Glenda Leeming.