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| Art by Nicola Testoni |
Alan Moore: [...] My understanding of magic has evolved massively over the thirty-three years since I commenced my study and practice. For one thing, I have come to understand that magic and the arts, particularly writing, are to all intents and purposes synonymous. Thus, while magic is the way in which I see the world and therefore affects every area of my life, nowhere is this more true than in my writing. Indeed, these days, writing is pretty much my only form of magical expression. My guess is that this, writing being the most powerful instrument of magic, has been true for most self-identified magicians – and what other kind is there? – since the dawn of human consciousness. [...]
Nothing against middle-class people, of course. It’s simply that the comic strip form was originally conceived as by, for and about the working classes, who were its audience and, for my money, its very best creators. That is the comics field I’d like to see, brimming with new ideas and available to everyone, but, realistically, I don’t imagine that is ever going to happen, so I’ve chosen to put my remaining energies elsewhere. [...]
If you like, I see myself as a piece of language that is somehow generating other pieces of language. [...]
To be honest, I’ve never really thought about the audience’s reaction too much, as it’s something I have no say in or control over. The only audience I’ve ever been attempting to please is, perhaps selfishly, myself. [...]
I’m currently nearing the end of the third book in my Long London quintet, this being titled Blow Away, Dandelion and set in the late 1960s, whereas the next book, In England’s Dreaming, will set in the late 1970s. The final book, And No River of Fire, will be set in 1999, on the eve of the current millennium. I have genuinely no idea what I’ll be doing after that point, so we’ll all just have to wait and see.
Read the complete interview HERE!
