Alan Moore: Doing

Alan Moore is English writer primarily known for his work in comic books. Explore interesting quotes on doing.

Alan Moore: 548 quotes13 likes

“The DC comics were always a lot more true blue. Very enjoyable, but they were big, brave uncles and aunties who probably insisted on a high standard of you know mental and physical hygiene. Whereas the Stan Lee stuff, the Marvel comics, he went from one dimensional characters whose only characteristic was they dressed up in costumes and did good. Whereas Stan Lee had this huge breakthrough of two-dimensional characters. So, they dress up in costumes and do good, but they've got a bad heart. Or a bad leg. I actually did think for a long while that having a bad leg was an actual character trait.”

Interview on BBC Radio 4 (27 January 2005) http://www.comicbookresources.com/?page=article&id=4533

“!-- What you have to do first is separate yourself from the world, most new-born babies don’t see any difference between them, their playpen and their Dad. It’s all them. Only after a little while do they start to realise that it’s not all me, just this bit is me. So by the invention of something similar to the word or concept ‘I’ we separate ourselves from the universe. Then we start to separate up the universe. We will divide sky from ground, the organic from inorganic. Looked at like this, doesn’t it provide a literal interpretation of the Biblical Creation story. -->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.”

De Abaitua interview (1998)

“!-- I come from the Arts Lab. Most of the writing I used to do was used for performance, so consequently I learnt that when you are reading a poem it has to read properly, which is to do with syllables and stresses. What takes me the longest with my fine writing, like say Voice of the Fire, is reading it through and finding the bits where it clunks, where it’s one syllable too long, and once you find that rhythm – the reader probably won’t be aware of it, consciously, but there is a tidal wave embedded in the prose that the reader is responding to. In the last chapter of Voice in the Fire, where it is actually me talking in my own voice, I don’t use the word ‘I’ or ‘me’ or ‘mine’. I don’t know why – perhaps I had been reading that Private Eye column where it is all ‘I’ ‘I’ ‘I’ and started to feel a bit self-conscious about it – but --> I thought if I can still be the central voice but without having an ‘I’ there, and by not having it there, it makes it easier for the reader to slip into the consciousness of the narrator. If you remove the letter ‘I’ it becomes a universal I. Everybody is the author walking down those streets while they are in the prose.”

De Abaitua interview (1998)

“!-- Most of the effects described in classical magical tradition I believe I can duplicate with art, possibly drugs – or some other means of integrating myself more deeply with that sort of reality, that sort of consciousness – I believe I could do most of the things that are described in traditional magic. This opens up wider possibilities. It also enables me to understand myself on a deeper level. -->By accepting the idea of endless pantheons of gods, I somehow accept these creatures as being distinct and separate from me, and not as being, to some degree, higher functions of me. Iain Sinclair was asking me about this: he asked me ‘do you think they are inside you, or outside you?’ The only answer I could come up with was, the more I think about it the inside is the outside. That the objective world and the non-objective world are the same thing, to some degree. Ideaspace and this space are the same space. Just different ends of the scale. That’s not a very good explanation, but the best I can come up with so far.”

De Abaitua interview (1998)

“I'm not a millionaire but I'm very comfortable doing what I do, and I'm more productive now than I was in my mid-20s. It's all down to functionality eventually. If you're functional it doesn't matter if you're mad.”

As quoted in "Moore's murderer", in The Guardian (2 February 2002) http://www.guardian.co.uk/film/2002/feb/02/sciencefictionfantasyandhorror.books

“If I wanted a full-scale manifestation, one that was apparent to other people, then I would do a ritual. I have displayed the snake god to other people. Or I have consciously hypnotised them into accepting my psychotic belief system, given them drugs, and made them think they are having the experience I have. Whatever you want. I’m not fussed.”

De Abaitua interview (1998)

“I can remember my Dad, god bless him, and he was telling me – when I was growing up – that machines would do everything. It would be great. There wouldn’t be any need to go to work because the machines would do everything. He thought that the working class would then be given a holiday, to Yarmouth or somewhere, forever. He was right except about the holiday to Yarmouth. He hadn’t really thought it through. He still trusted the society he was in. That he would be looked after. It turns out to have been a much more pragmatic relationship all along. I think we should have taken the clue when Thatcher said there is no such thing as society. What she meant was – just like the London-Liverpool thing – “we don’t need there to be a society anymore”. “We are getting what we want anyway, therefore we do not need your support. Therefore we do not need to maintain the illusion of society anymore.” -->”

De Abaitua interview (1998)

“Jordan Elliot: What's for dinner?
Lois Lane: Pizza. After that, if Jonathan's quiet, I thought maybe bed with a bottle of wine. And after that, I figure we just live happily ever after. Sound good to you?
Jordan: Lois, my love… [turns and winks to the reader as he closes the door] What do you think?”

Whatever Happened to the Man of Tomorrow? (1986)

“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.”

De Abaitua interview (1998)