He does this in a variety of ways, but one of the tricks he borrows to make his point is William Burrough's magical number 23. For those unfamiliar with it, synchronicity is a term that was coined by Freud's wayward protege Carl Jung, describing 'the experience of two or more events, that are apparently causally unrelated or unlikely to occur together by chance, that are observed to occur together in a meaningful manner' and through it Morrison attempts to make the reader conscious of the immanent interconnectivity of everything. '- a join the dots picture - the invisible emerging as a pattern from nowhere everything is coincidence here - like the coincidence of the light going on when you flick the switch.'
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Very early on he lays out the ground rules.Īs is indicated by the content and form of the text (sentences linked by hyphens as opposed to interrupted by full stops), much of issue five relies less on traditional, linear storytelling modes than it does on thematic correspondance, the flow of dialogue and imagery in Mob's scenes obeying a poetic, as opposed to causal, logic - or as the man himself puts it Issue five weaves between a time displaced drug trip and real world events strung together by King Mob's stream of consciousness narration as he attempts to contact the recently deceased Lady Edith Manning from beyond the grave. It wasn't the story, if by that stage you could even describe the Invisibles as a story anymore, and it certainly wasn't the ideas or the execution. Right then I was flicking through issue five and feeling increasingly disappointed. Morrison's Invisibles had nearly wrapped and there were only five issues to go before the final volume's backwards numbering counted down to one and the secrets of the universe were revealed.
I'd never got the number to work before and I didn't hold out much hope that this time would be any different. Features Hauntology and the Invisibles 3: The Mirror We Made to See Ourselves In
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