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
-markets of Tubal-Cain’s city, a veritable Sodom and Gomorrah of human and animal flesh sold and consumed. Aronofsky’s Deluge is as much a commentary on the inevitability of contemporary environmental apocalypse, as it is biblical exegesis. Noah and his family are culpable as agents in the destruction of humanity, and the Patriarch sees only a difference in degree, not kind, between him and his nemesis, Tubal-Cain. The animals are innocent, we are not. Aronofsky’s apocalyptic discourse further appears in the computer animation sequence accompanying Noah’s own retelling of
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
threat of the end of our species should we fail to change our ways. Of the novels that employ ecological death-facing as a thematic device, some, such as the three books of Atwood’s trilogy, nonetheless do make certain use of environmental apocalypse, linking the ends of humanity, or of the Earth that sustains us, to our environmentally destructive behaviours. Yet they also tend to play off this apocalyptic trope, employing it as a device by which to introduce layers of ambiguity. In the MaddAddam trilogy, the question of perspective is raised in the entwining of two
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
contrast, the tango music soundtrack functions as the backdrop for the interactions of Cao’s community – life is a dance, a tango, in the film’s summertime setting until the haze turns everyone into the ‘living dead.’ The egalitarian pose of the film points to a society that will all come to the same inevitable end from an environmental apocalypse, which does not discriminate, and by the same logic, the zombies, like the dead, are no longer part of a human system that privileges race, gender, or sexuality. Haze and Fog contributes to the dialectical dialogue on the
, ‘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