[...] This interview took place on 14th September. As it was six days after the Queen’s death, I began by offering what little consolation I could to one of Her Majesty’s most doting subjects.
As we speak, we’re all in mourning here in Walthamstow. How are you finding yourself in these sad times?
Alan Moore: I’m taking each day as it comes. Being familiar with this country for nearly 69 years now, I have been avoiding any contact with the media or the world since we got the sad news. I figure that give it another a month and it might have died down to a manageable level.
There seems to be a fear within the media that they’re going to get leapt on by a public clamour which does not really appear to exist
I notice that most of my comedian friends are apparently only commenting within a fairly exclusive site where they can avoid getting piled upon by, what have been referred to as, flag-shaggers. I’ve seen there’s been a couple of nice comments. My friend Barney Farmer had noticed that a lot of food banks had been closed for the queen’s funeral, which is of course what she would have wanted. Barney posted a picture of the Swedish Chef from the Muppets giving one of his signature kisses. These are certainly eventful times. [...]
might the passing of the Queen mark a psychic shift in how people relate to that institution? That her being replaced by a King who enjoys a slightly less worshipful reverence, might make some of the arguments against the wider institution break through?
That had occurred to me. That this might be the beginning of the end of the Royal Family, which perhaps wouldn’t be before time. It’s about how relevant the Royal Family are to our current state of affairs. I tend to consider that, with or without a monarchy, this country will probably carry on as the conservative/fascist utopia that it has been for a long while.
I’m not sure how much, at least in the 21st century, that was dependent on the Royal Family. It would be a step in the right direction though, if only that.
[...]
So maybe you can assuage my embarrassment and talk a little about how you assembled such a big, complete world for [What We Can Know About Thunderman]?
Well, it came from a strange place, it came from something I think I have one of the characters in there expressing, which is that leaving comics is one thing — and I’d done that, which seemed like a massive relief — but stopping thinking about comics is another. Especially when you’ve been working at them for forty years, which is a fairly long career by anyone’s standards. So, I tend to find these annoying, often negative, thoughts about comics swirling up in my mind when I didn’t want them there.
And there was also an image that came with them, it was something to do with, I dunno, old copies of Superboy or something like that. Some kind of Curt Swan scene with someone walking across one of those generic midwestern landscapes that used to appear in Superboy and adventure comics. And, coming the other way, there was somebody who was one of the original Legion of Superheroes in their original, twelve-year-old-kid incarnations. And I’d got no idea what this meant but there was a sort of obsessive quality about it.
So, when I was putting together the proposal for Illuminations I thought this would be a good place to actually exorcise some of that stuff as some form of art rather than some angry mutterings in the bath.
[...]
Will there be more of these short stories, is there a drawer full of these or you can return to the unwieldy space operas?
I’m probably not going to return to the space operas anytime soon but, for the time being, what I am committed to is a quintet of books I promised, which is the Long London series. I’m about halfway through the first one, which is entitled, at least at the moment, The Great When. I’m having enormous fun with them, when I get the chance to write them, which is one of the reasons why I’m finding the publicity circuit a bit of a pressure, because I’m just aching to get back to where I left Long London.
It’s nice to get back into London again, it’s a city that have always enjoyed fictionally. I haven’t been down there for years but to get back into that fictional territory where there are all these figures from the different periods that I’ll be setting the various books in. I suppose those figures are the reason why I wanted to write the book. There’s something in those kinds of liminal characters and their histories and how they all interwove.
I’m talking about people like
Prince Monolulu, the imaginary African, who was probably the most famous black man in Britain in his time. He was a racing tipster and he was acting the exotic very skillfully to work his audience.
People like
Iron Foot Jack, the King of the Bohemians, with his huge built-up shoe.
Austin Osman Spare figures quite prominently, and odd figures like
John Gawsworth who was Arthur Machen’s biographer and publisher. Arthur Machen’s a big off stage presence, having died a couple of years before. It’s taking off from some ideas of Arthur Machen’s, along with the way that they overlapped with other bits of London lore and legendary London figures.
