Williams, Mark P. "Speculative Resistance in Lost Girls." In: Alluvium (15. März 2017)(<https://www.alluvium-jo ... sistance-in-lost-girls/>).
Added by: joachim (3/27/17, 1:46 PM)
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BibTeX citation key: Williams2017
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Keywords: "Lost Girls", Gebbie. Melinda, Intertextuality, Moore. Alan, Pornography, Underground Comics, United Kingdom
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This article will suggest that Alan Moore’s perspective can usefully be considered as part of an underground aesthetic which declares the necessity of solidarity of experience with all other groups through artistic expression. I would like to consider Moore’s earlier epic poem The Mirror of Love (2004) as a pre-text for his more recently completed underground comix project Lost Girls (2006) and, in so doing, situate Lost Girls as a speculative underground comix narrative. Like Moore’s earlier work, The League of Extraordinary Gentlemen (1999-), Lost Girls is what we can call a “counterfiction” (Hills 2003): that is, a text that presents a crossover between well-loved fictional characters, which necessarily always has a radical potential (see my discussion of the radical potential of crossovers, “Rise of the Irregulars”). The characters appropriated into the world of Moore and Gebbie’s Lost Girls, include: Wendy from Peter Pan, Dorothy from the Wizard of Oz, and Alice from Alice’s Adventures in Wonderland / Through the Looking-Glass. In Lost Girls, these canonical protagonists from children’s literature meet as adults in a hotel in Switzerland shortly before the outbreak of WWI to share stories of their respective sexual awakenings. This takes the form that Moore and Gebbie have polemically categorised as pornography, which has itself created some controversy.
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