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This book explores a number of Alan Moore's works in various forms, including comics, performance, short prose and the novel, and presents a scholarly study of these texts. It offers additional readings to argue for a politically charged sense of Moore's position within the Gothic tradition, investigates surreal Englishness in The Bojeffries Saga, and discusses the doppelganger in Swamp Thing and From Hell. Radical environmental activism can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse. The book presents Christian W. Schneider's treatment of the apocalyptic in Watchmen and a reassessment of the significance of liminality from the Gothic tradition in V for Vendetta. It explores the relationship between Moore's work and broader textual traditions, placing particular emphasis on the political and cultural significance of intertextual relationships and adaptations. A historically sensitive reading of From Hell connects Moore's concern with the urban environment to his engagement with a range of historical discourses. The book elucidates Moore's treatment of the superhero in relation to key Gothic novels such as The Castle of Otranto and presents an analysis of the nexus of group politics and survival in Watchmen. The book also engages in Moore's theories of art, magic, resurrections, and spirits in its discourse A Small Killing, A Disease of Language, and the Voice of the Fire. It also explores the insight that his adaptations of H.P. Lovecraft, which are laced with heterocosms and bricolage, can yield for broader understandings of his forays into the occult.

Matthew J. A. Green

the curtain between our world and the underworld, between the mortar and the myth, fact and fiction, a threadbare gauze no thicker than a page. It’s about the powerful glossalia of witches and their magical revisions of the texts we live in. None of this is speakable. Alan Moore, Voice of the Fire 1 Stories shape the world. They

in Alan Moore and the Gothic Tradition
The Gothic imperative in The Castle of Otranto and ‘For the Man Who Has Everything’
Brad Ricca

We’re near the Straits of Otranto and the castle of the same name, empty since the 18th century, when it was plagued by apparitions, which included a giant helmet covered with black plumage. Alan Moore, The League of Extraordinary Gentlemen 1

in Alan Moore and the Gothic Tradition
Swamp Thing and the intertextual reader
Michael Bradshaw

At 5:32 this evening you will be impaled by a swordfish. There is nothing to be done. It is written. Selena has already decided not to buy the lawn furniture. Alan Moore, Swamp Thing 1 The practices of intertextual

in Alan Moore and the Gothic Tradition
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Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

You blight the soil … and poison the rivers. You raze the vegetation till you cannot even feed … your own kind … / A … And then you boast … of man’s triumph … over nature. Alan Moore, Swamp Thing 1 Radical

in Alan Moore and the Gothic Tradition
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Heterocosms and bricolage in Moore’s recent reworkings of Lovecraft
Matthew J.A. Green

as Magic? Alan Moore, ‘Beyond Our Ken’ 2 Since the early 1990s, Alan Moore’s creative activities have been closely bound up with his development as a magician, and the Gothic strands of his inheritance provide perhaps the most obvious threshold linking these pursuits. Alongside the wide range of works

in Alan Moore and the Gothic Tradition
Facing the apocalypse in Watchmen
Christian W. Schneider

THE END IS NIGH Life goes on. Alan Moore and Dave Gibbons, Watchmen 1 The intention was to try and make people feel a little bit uneasy about it. Alan Moore 2 Maybe it is all about transgression. According to Fred Botting

in Alan Moore and the Gothic Tradition
Julia Round

Alan Moore’s debut novel Voice of the Fire is a lyrical and poetic collection of prose stories set within the same ten-mile radius (of the Northampton township), in the month of November, over five thousand years of history. Each chapter is narrated by a different character at a different point in time, although the lines between past and

in Alan Moore and the Gothic Tradition
Unearthing the uncanny in Alan Moore’s A Small Killing, From Hell and A Disease of Language
Christopher Murray

Alan Moore’s early work in the 1980s, such as Captain Britain , Marvelman and Swamp Thing , earned him a reputation as a clever innovator, producing reinventions of old characters, subverting their histories, remoulding them as ‘realistic’ or adding shades of characterisation uncommon in comics. In this sense he was a ‘resurrection man

in Alan Moore and the Gothic Tradition
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

It’s a thing that I’ve done that I’ve come closest to actually describing the flavour of an ordinary working class childhood in Northampton. And the inherent surrealism in British life. Alan Moore 1 Originally

in Alan Moore and the Gothic Tradition