Stephen Phelan

CHINESE literature is more drawn than written. In a language composed of characters, as opposed to letters, each word becomes a picture, and every sentence a montage. As Ang Lee has put it, in particular reference to the title of his new film Lust, Caution, “the shape itself means something”.

IN THE universe of Doctor Who, all moments in time are occurring simultaneously. The trick is moving back and forth between them. With that in mind, let’s go to Saturday, November 23, 1963, as this curious new programme about an irritable, inscrutable alien gentleman suddenly appears on BBC television, in the space between Grandstand and Jukebox Jury – although most viewers don’t notice at first, distracted by the news of President John F Kennedy’s assassination, which happened only yesterday.

THERE is a fearsome song by Shellac called End Of Radio, which presents itself as the last piece of music on Earth. “This microphone turns sound into electricity,” sings frontman Steve Albini, if ‘singing’ is the right word for his vocal role as an imaginary disc jockey after some kind of apocalypse. “The last announcer plays the last record. The last watt leaves the transmitter and circles the globe in search of a listener. Is it really broadcasting if there is no-one there to receive?”

BEFORE STARTING work on His Dark Materials, a trilogy of what he called “science- fantasy” novels, Philip Pullman wrote an alternative Book Of Genesis to rival God’s own creation story. In Pullman’s version, God was nothing more or less than an angel, the first sentient being. He did not make the universe, but told the younger angels that he had, pretending to an authority that he never possessed. When the more liberal of their number rebelled against his dictatorship, they were cast out of heaven. The wisest of them – Sophia, who was not mentioned in the Bible, but later found a place in the Gnostic gospels – tempted Eve to eat the forbidden fruit purely and simply because it represented knowledge, which could never be a sin.

ON my first morning, I am issued with work gloves and boots, a hardhat, a dust mask, and a red and yellow boiler suit. My team leader Dave Ludvik, being Australian, calls this garment a “onesie”. I already love my onesie, and I will later wear it to jobs that don’t really call for it. Today, Dave says it’s essential, as the two of us will be driving to the “gomi-yama”, or “mountain of rubbish” down at Ishinomaki port, where assorted debris from the great tsunami is still piling up, more than two years after the event.

STANDING over Pablo Neruda’s grave, a young attendant named Lorena said she wasn’t sure about any of this. The exhumation had not yet begun, and the flowerbed looked undisturbed above the poet’s burial mound at Isla Negra, just outside his former home on the rocky black volcanic coast of Chile. But court-appointed investigators had already been out to survey the site and measure the depth of the remains. Asked for her opinion on Neruda’s cause of death, Lorena told me that she didn’t know what to believe. “There’s a lot of stories, but no proof,” she said.

THE late Ray Bradbury once wrote a story called All Summer In A Day. It was set in a primary school on the planet Venus, where it’s been raining non-stop for seven years. The children are too young to remember the sun, except for one girl who has recently arrived from Earth, and feels its absence more acutely than they do. On the day it is due to come out again, if only for a couple of hours, the girl stands apart from the others, waiting for the sun and wanting to go home. The rest of the class hate her for that apartness. They lock her in a cupboard just before the clouds break, and then they all go out to play. Junot Diaz first read that story when he was about the same age as the kids in it.

THE whale was never just a whale. After 160 years, there is still no end to the meanings read into Moby-Dick, and the titular monster prevails as symbol for anything and everything that we doubt or dread, including existence itself, and whatever something or nothing that might lie beyond. From Matt Kish’s point of view as an illustrator, this made Herman Melville’s “damned whale” extremely tricky to draw.

George Orwell did not believe in ghosts. Any reader who respects his work could not possibly think that Orwell’s shade now haunts the remote farmhouse on the Isle of Jura where he wrote his final novel Nineteen Eighty-Four, and spent his last days of relative health and happiness. (He died of tuberculosis in 1950, and was buried elsewhere, in an English churchyard, under his real name, Eric Blair.) Even so, I’m jittery.

MOST writers spend the better part of their days sitting alone in chairs, slouched over desks, occasionally staring out of windows. In his lifetime, even a beloved crowd-pleaser like Charles Dickens would probably have bored his fans to fits of Victorian weeping if they had to watch him work for more than five minutes. But after a great author dies, his or her property begins to take on a kind of mystic fascination. Over decades, or centuries, their chairs become artefacts, their rooms become museums, and their houses become holy to those readers and travellers who consider themselves “literary pilgrims”.