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.
other collaborators turned a generic horror comic into a complex visual narrative that articulated a radical green politics, by not only depicting the threat of an imminent and manifold environmental apocalypse but also affirming just such an ecological consciousness. It rehearsed many of the debates within the environmental movement of the period between various ecosophical
example of what happens when writing beyond the environmental apocalypse takes place and a version of a new society is envisioned – one in which the way forward seems, politically speaking, to reformulate the way back. Notes 1 Jack Kerouac, On the Road  (Harmondsworth: Penguin, 1991), p. 15. Subsequent references are
warriors who battle a forthcoming environmental apocalypse, but rather an ‘ancient race, part wolf, part human’ who, ‘were once lords among man and beast in a hunter’s paradise at the dawn of the world – but they destroyed that paradise with their own claws’. 28 This introduces concepts that had largely been absent from Apocalypse , with the dominion and hierarchical social classification of ‘lords’ in
, ‘The Finding of the Absolute’ is ultimately unclear about whether Spalding’s apparent happiness can be construed as an endorsement of a transcendent and alternative zeitgeist . After all, the history mapped in the tale includes images of an environmental apocalypse which implies the type of concerns about the inescapability of history that Glover saw in Wells, Eliot, Conrad, and Ford. According