I don’t know quite what I mean by my own metaphor, but I have feeling, it may bring in an even greater, faster space of fluid transmission, where no structures, as we used to understand structure, will sustain itself – we will have to come up with new notions of structure where things can change by the moment. I’m talking about physical structures, political structures, I can’t see coherent political structures in the traditional sense lasting beyond the next twenty years, I don’t think that would be possible.

Beauty Is Never Tarnished: The final fate of Mary Kelly * Or possibly Julia, depending on your outlook may be one of the most thorough aversions in the comics medium. The mass of gristle Gull leaves behind is barely recognizable as having once been a woman.As to how politics relate to the storytelling process, I’d say that it’s probably in the same way that politics relate to everything. I mean, as the old feminist maxim used to go, “the personal is the political.” We don’t really live in an existence where the different aspects of our society are compartmentalized in the way that they are in bookshops. In a bookshop, you’ll have a section that is about history, that is about politics, that is about the contemporary living, or the environment, or modern thinking, modern attitudes. All of these things are political. All of these things are not compartmentalized; they’re all mixed up together. And I think that inevitably there is going to be a political element in everything that we do or don’t do. In everything we believe, or do not believe. I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that. From Hell won several Eisner Awards, including "Best Serialized Story" (1993), [8] "Best Writer" (1995, [9] 1996, [10] 1997 [11]), and "Best Graphic Album – Reprint" (2000). [12] It won the 1995 Harvey Award for Best Continuing or Limited Series, and the collected edition won the 2000 Harvey Award for Best Graphic Album of Previously Published Work. There are books that have devastated continents, destroyed thousands. What war hasn’t been a war of fiction? All the religious wars certainly, or the fiction of communism versus the fiction of capitalism – ideas, fictions, shit that people make. They have made a vast impression on the real world. It is the real world. Are thoughts not real? I believe it was Wittgenstein who said a thought is a real event in space and time. I don’t quite agree about the space and time bit, Ludwig, but certainly a real event. It’s only science that cannot consider thought as a real event, and science is not reality. It’s a map of reality, and not a very good one. It’s good, it’s useful, but it has its limits. We have to realise that the map has its edges. One thing that is past the edge is any personal experience. That is why magic is a broader map to me, it includes science. It’s the kind of map we need if we are to survive psychologically in the age that is to come, whatever that is. We need a bigger map because the old one is based on an old universe where not many of us live anymore. We have to understand what we are dealing with here because it is dangerous. It kills people. Art kills. Conspiracy Kitchen Sink: Royal cover-up, Masonic involvement, police complicity, ritualistic murder, paganism, time travel and baby Hitler. It's all here.

Two years after announcing that he had retired from comics, Alan Moore, the illustrious author of Watchmen and V for Vendetta, has signed a six-figure deal for a “groundbreaking” five-volume fantasy series as well as a “momentous” collection of short stories. The more I look at most of the art movements, it’s all occultism, when you get down to it. The Surrealists were openly talking about being magicians. On the creation of the character John Constantine in Swamp Thing, as quoted in "The Unexplored Medium" in Wizard Magazine (November 1993); the character he created later appeared in other works, including Books of Magic by Neil Gaiman, and his own series Hellblazer. If you take the idea of God in the Bible as a metaphor for any nascent, formative just-created intelligence, is that not how we all create the universe. We divide the firmament up from the waters of the abyss, and the key to how to do this is in the first line: in the beginning, there was the word. By giving sky one word, the ground into another, we break the universe down into manageable things that we can interact with through language.

Country Matters: An awful lot, it focuses heavily on working class English people after all. The perpetually disillusioned Abberline uses it to refer to his superiors a lot, in particular.