‘Is that you, our Jack?’
An anatomy of Alan Moore’s doubling strategies
in Alan Moore and the Gothic Tradition
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Alan Moore's doppelgangers largely appear in uncanny scenarios that borrow heavily from the Gothic tradition, and are themselves unsettling figures, both for the diegetic characters and for the reader. This chapter suggests that the double in the Gothic is often bound up in a tradition of double address to the audience, a tendency which, Ben Little has argued, is also central to Moore's work. While in the case of Swamp Thing the character's indeterminacy is eventually celebrated, Moore's thinly veiled Bildungsromane also have a dystopian potential. When Moore took up the reins of DC Comics' Saga of the Swamp Thing from Martin Pasko in 1982, he was faced with the task of revising a character that had gone through horror scenarios ad nauseam. There remains one final doubling strategy at work in From Hell, which further complicates Moore's negotiations with the Gothic doppelganger.

Metrics

All Time Past Year Past 30 Days
Abstract Views 126 51 16
Full Text Views 72 2 0
PDF Downloads 12 3 0