ALAN MOORE AND THE GOTHIC TRADITION

Half Title Page

Title Page

Copyright

Contents

List of illustrations

A note on references and quotations

Notes on contributors

Preface

Acknowledgements

Part I: Monstrous politics

1. Alan Moore and the Gothic tradition: Matthew J.A. Green

2. ‘Soap opera of the paranormal’: surreal Englishness and postimperial Gothic in The Bojeffries Saga: Tony Venezia

3. A Gothic politics: Alan Moore’s Swamp Thing and radical ecology: Maggie Gray

Part II: Gothic tropes

4. ‘Is that you, our Jack?’: an anatomy of Alan Moore’s doubling strategies: Jochen Ecke

5. ‘Nothing ever ends’: facing the apocalypse in Watchmen: Christian W. Schneider

6. Gothic liminality in in V for Vendetta: Markus Oppolzer

Part III: Inheritance and adaptation

7. ‘The Sleep of Reason’: Swamp Thing and the intertextual reader: Michael Bradshaw

8. Madness and the city: the collapse of reason and sanity in Alan Moore’s From Hell: Monica Germanà

9. ‘I fashioned a prison that you could not leave’: the Gothic imperative in The Castle of Otranto and ‘For the Man Who Has Everything’: Brad Ricca

10. Radical coterie and the idea of sole survival in St Leon, Frankenstein and Watchmen: Claire Sheridan

11. Reincarnating Mina Murray: subverting the Gothic heroine?: Laura Hilton

Part IV: Art, magic, sex, other

12. ‘These are not our promised resurrections’: unearthing the uncanny in Alan Moore’s A Small Killing, From Hell and A Disease of Language: Christopher Murray

13. Medium, spirits and embodiment in Voice of the Fire: Julia Round

14. A darker magic: heterocosms and bricolage in Moore’s recent reworkings of Lovecraft: Matthew J.A. Green

Bibliography

Index