vicissitudes that are but to us. 2
As in Suicide Bridge , time here has a cosmological dimension, and echoes the emphases on cosmic time and limited human time, attempting to paint on both canvases simultaneously through psychogeography and myth. This explains the time-jumping structure of White Chappell : to explore the continuities of consciousness and ‘force’, the novel grafts the 1970s and 1980s onto the 1880s. Both White Chappell , and AlanMoore and Eddie Campbell’s graphic narrative From Hell (1999), which is clearly indebted to Sinclair
Eco, ‘ The myth of Superman ’, trans. Nathalie Chilton, Diacritics , 2:1 (Spring 1972), 14–22 (15). See also Mircea Eliade, Myth and Reality , trans. Willard R. Trask (Long Grove: Waveland, 1963).
5 Steve Brie, ‘Spandex parables: justice, criminality and the ethics of vigilantism in Frank Miller’s Batman: The Dark Knight Returns and AlanMoore’s Batman: The Killing Joke ’, in William T. Rossiter and Steve Brie (eds), Literature and Ethics: From the Green Knight to the Dark Knight (Newcastle: Cambridge Scholars, 2010), pp. 203–15 (203).
6 Dennis O