INTRODUCTION

      

      I remember a window in a farmhouse in North Wales which had a sill of white-washed stone so deep I could sit sideways in it at the age of six, hugging my knees to my chin. From that spying place I had a view of the orchard of apple trees behind the house. The orchard seemed large to me at the time, though in retrospect it probably contained less than twenty trees. In the heat of the afternoon the farmyard cats, having exerted themselves mousing, went there to doze, and I went to hunt through the unkempt grass for eggs laid by nomadic hens. Beyond the orchard was a low wall with an ancient mossy stile. And beyond the wall an expanse of rolling meadow, grazed by sheep, with the sea a misty blue prospect.

      I have little way of knowing how accurate these memories are; almost forty years have passed since I was small enough to sit in that window niche. The photographs my parents took of those distant summers are still pasted in the musty pages of their album, but they are tiny, black and white and often blurred. There are, it’s true, a couple of pictures of the cats, dozing. But none of the orchard, or the wall, or the meadow. And none of the window where I sat.

      Perhaps it doesn’t really matter how accurate my memories are; all that matters is how powerfully they move me. I still conjure that place in my dreams, and when I wake I have the details clear in my head. The smell of the night-lights my mother set on the dresser in my bedroom, the dapple beneath the trees, the warmth and weight of an egg, found in the grass and carried into the kitchen like unearthed treasure. The dreams are all the evidence I need. I was there once, blissfully happy. And though I cannot tell you how, I believe I will be there again.

      The farmhouse has long since disappeared; the cats are dead, the orchard uprooted. But I will be there again.

      If you are already familiar with the book in your hand, you know the relevance of this sliver of autobiography. Weaveworld is a meditation on memory. Yes, it also tells about magic and demagoguery and angelic judgments, but the central drama of the tale is the way the characters remember – or fail to remember – the glimpse they’ve had of paradise. This, for instance, of Cal Mooney, our hero:

      ‘It was only when, in the middle of a dreamy day, something reminded him – a scent, a shout – that he had been in another place, and breathed its air and met its creatures, it was only then that he realized how tentative his recall was …

      … The glories of the Fugue were becoming mere words, the reality of which he could no longer conjure. When he thought of an orchard it was less and less that extraordinary place he’d slept in (slept, and dreamt that his life he was now living was the dream) and more a commonplace stand of apple trees …

      … Surely dying was like this, he thought; losing things dear and unable to prevent their passing.’

      The novel is not primarily about the escape into Eden. It’s about how the knowledge of Eden slips from us, and the means we devise to hold on to that knowledge. This is, I think, a universal experience, which may go some way to explaining why the book continues to find readers. I recently finished a six-week publicity tour for a new novel, and at book-signings across the country found readers bringing me battered but much-beloved copies of Weaveworld to be inscribed; several times I heard people say the book had helped them through dark times in their personal lives.

      There is nothing more gratifying to this author than to sign and personalize a book which has seen some action: passed between friends, dropped in the bath, coffee-stained and sun-yellowed. I have in my library copies of certain works – Melville, Poe, Blake – that I’ve treasured over the years, all much the worse for wear. I know how close you can get to a book whose stains and creases are part of your shared history. And what more perfect marriage of form and content, than that a novel about memory, like Weaveworld. should be valued because of the events that have marked it?

      The book was published in 1987, the year in which the first Hellraiser film was released, but it represented a considerable departure from the transgressive horror fiction with which I had become identified. There were plenty of critics ready to snipe at the change of direction, opining that my imagination was too dark for the genre I was attempting to infiltrate, and I was better off staying on the horror shelves. But the response from readers, including many who were devoted to the extremes of my earlier work, was overwhelmingly positive. The book sold solidly from the outset, and has continued to do so, in several languages, ever since. It has sparked off creative work in other media from readers who wanted to explore the story for themselves: paintings, poems, musical compositions; even an opera, planned for production in Paris. I have come to believe that the darkness I imported into the work, far from proving problematic, is very much to the book’s purpose. Yes, there are raptures in the novel, and glorious deliriums. But the Fugue – the magic haven of the book – is threatened with total destruction, and the powers that overshadow it are not tuppenny coloured terrors. They are the obscenities of human cruelty and human despair.