Showing posts with label Paul Gravett. Show all posts
Showing posts with label Paul Gravett. Show all posts

Nov 28, 2025

Don’t be silly

Cover art by Philip Bond
Excerpt from a fundamental text written by Moore in the 80s. 
You can read it in full at Paul Gravett site, here
 
The following editorial was written by Alan Moore and appeared in Escape Magazine #15 (edited by Paul Gravett and Peter Stanbury) in 1988.
At that time Alan Moore had just set up a publishing company, Mad Love (together with Phyllis Moore and Debbie Delano), and was working on its first release, a 72-page benefit comics-anthology of work donated by the world’s top comic creators entitled AARGH: Artists Against Rampant Government Homophobia.
All the profits from AARGH were donated to the Organisation For Lesbian And Gay Action to safeguard the legal rights of Gay people persecuted by Section 28 of the Local Government Act. This was a piece of legislation enacted in 1988 by the Thatcher Government which stated that a local government authority"shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship." 
Firstly, forget God. If God exists, it’s unlikely that SpaceTime’s creator worries about our love-lives. A God who’d forego super novas to catch Sol III’s microbes having oral sex is just plain creepy, and has no place in this discussion. Neither do our Jimmy Swaggarts, claiming to represent the deity between visits to the knocking shop. While discussing human desire, let’s ignore superhumans and subhumans.

Secondly, forget ‘unnatural’ sex. Most natural creatures, excluding a few Presbyterian termites, will hump anything within reach if inclined, ignoring gender, species and family relationship. Lacking a hunky tom within pheromone-range, Tabby will back onto your winklepickers without embarrassment. Besides, since when does humanity do things naturally? Camels don’t wear polyester slacks. Amoebas know nothing of Shake’n'Vac. Every other human enterprise flaunts nature, so why is sex special?

Because it’s powerful. Along with death, it’s life’s propelling force. Control sex and death, and controlling populations becomes simple. Death’s easily subjugated: William Burroughs observed that anyone who can lift a frying pan owns death. Similarly, those owning most the pans, troops, tanks or warheads own most the death, and can regulate the supply accordingly. Death’s a pushover, but how do you control desire?
 
[...]

Sex exceeds politics, right or left (assuming you still differentiate). Mary Whitehouse or Andrea Dworkin may outlaw pornography, but can’t stop people wanting it, regardless of legality. Similarly, Section 28 cannot remove the desire for homosexuality. Consenting sex cannot be prevented. There’s regrettably little evidence that even un-consenting sex can be curtailed by legislation alone. Perhaps desire is better comprehended than contained? Perhaps sexual openness would mean less morbid longings, festering alone in darkness?

Despite a panic-stricken ‘moral’ backlash, we progress slowly towards tolerance, understanding. Our sexual turbulence and shattered preconceptions may resolve themselves into a new approach to sex, more various and humane, accepting different loves and lusts without reshaping them into Meccano for our social scaffolding. Sexual awareness rides an upward exponential curve, uncheckable by politicians, popes, police-chiefs. But what of plague?

Is AIDS sufficient to keep the erotic genie in the bottle? Televised health warnings seem increasingly less anti-disease than anti-sex. A youth writhes, unnerved by the ominous soundtrack, while his fishnetted date lounges invitingly. Rather than donning a condom and squelching deliriously till dawn, it’s implied that he should go home to sleep with hands above blankets

Novelists, who should know better, bemoan the inevitability of less sex in fiction. Surely AIDS isn’t transmitted by smut? The only virus afflicting literature are viral ideas of censorship, spreading through parliament, press, publishers and public, leading art towards the terminal ward. Obviously this over-reaction doesn’t make AIDS less terrifying. Quite simply, it will decimate us. While experts demand less discrimination to facilitate monitoring the virus, our government responds with Section 28. Remember that Britain is relatively enlightened concerning AIDS, and shudder.

So, no more sex? On screen, between soft covers or especially in reality? I don’t believe it. Sex survived horrific syphilis epidemics, aroused blood rushing from the brain, ensuring sex continues whatever the dangers. We’ll die of sex or live with it, but never stop it. Even preventing all physical contact wouldn’t prevent sex, which occurs more in minds than mucous membranes. We think about sex approximately every twenty minutes. Lacking physical contact, we’d just think harder. Thermonuclear war would barely slow sex down. Within billennia, cockroaches would rewrite the Kama Sutra.

AIDS may even hasten sexual enlightenment, this sexual crisis mirroring similar crisis in our environment and economies, all forcing a simple, brutal decision: change or die. Change our environmental policies or starve. Change our sexual furtiveness or die, as they say, of ignorance. Up in arms or down in flames, the choice is still ours. Our bodies are ours. No more sex?

Don’t be silly.
Bonus text, excerpt from a 2006 interview by (again) focused on Lost Girls.
Back in 1988, in Escape Magazine, you wrote an editorial piece for me entitled No More Sex in which you said, "Consenting sex cannot be prevented and there’s regrettably little evidence that even Un-consenting sex can be curtailed by legislation alone. Perhaps desire is better comprehended than contained? Perhaps sexual openness would mean less morbid longings festering alone in the darkness?"
Alan Moore: 
That is exactly how I feel today. In the context of that Escape editorial, where we were talking about AIDS, I also probably said that AIDS would probably decimate us before it was done. And the figures suggest that it is well on the way to doing that. One thing that might conceivably be "helpful" in an AIDS epidemic, or pandemic, would be presumably a higher standard of pornography with human values. You cannot get much safer sex than pornography. 

Jan 7, 2024

Alan Moore Portraits - Excerpts Part 1

With the dubious benediction of old age, a decade more than my allotted biblical span, tired eyes fail but the picture sharpens. Our future is not ‘used up’ as Marlene Dietrich lays on Orson Welles in Touch of Evil, but invigorated, ripe with inventions from a misused past. Potential is now absolute. Veterans hanging around beyond their mortal permissions have an enhanced sense of the world: we are on the cusp of being absorbed into its tacky substance. Disnatured, we leak through former inhibitions, invisible boundaries. We are everywhere. At once. Our own grandfathers. Our children.

Alan Moore, from my side of the grass, is a young man: permanently so. I mean in his boundless energy, his productivity, his continued interest in the obligatory madness of things. And his preternatural ability to ingest the information he needs and to formulate a great synthesis in popular form. [...]
I really love fanzines… I’d much rather do work for a fanzine and not get paid than do work for a slimy media parasite … and not get paid. I think the difference lies in the purity of intentions behind the editorial policy. Fanzine eds whatever their individual quirks, are putting in a lot of work purely out of love for the medium and desire to help and understand it.” –– Alan Moore

When Alan wrote the above to me in 1984 (I was 16) I had no knowledge of his involvement in fanzines or fandom. I had collected older fanzines that were before my time (and often before my ability to read), such as BEM, Comic Media News International and the pre-Martin Lock Fantasy Advertiser but hadn’t come across his name. I assumed Alan hadn’t been involved. I was wrong. He was there, of course, further back than I was able to go, right at the very beginning… [...]
From Hell: The House that Jack Built
I don't know when Alan Moore came in contact with Rudy Rucker’s The Fourth Dimension, but when writing From Hell, the ten-year work on Jack the Ripper’s murders co-created with Eddie Campbell, he was well aware of it. [...]
The early 1980s were a creative ferment for British comics and through this formative period and early professional comics career, Alan Moore was caught up in the thick of it. Xerography helped more people to self-publish fanzines about comics as well as small press comics themselves. Often in modest print runs, with finishing, stapling, perhaps cover-colouring, of necessity usually done by hand. From starting the Fast Fiction table to sell self-published titles at the bimonthly Comic Marts at the Central Hall, Westminster (right across the square from the Houses of Parliament), the next step was to pick out some of most interesting and distinctive voices among them and put them into a bigger, bolder anthology. It was my partner Peter Stanbury who came up with the title and used his handwriting of it as our logo. Escape would feature quite a range of written contributions by Alan over its nineteen-issue run between 1983 and 1989. [...]
The year was 1986 and I was only thirteen years old. Earlier that year I had been blown away by Frank Miller’s The Dark Knight Returns, a comic with an approach to Batman unlike any I had seen before. In May of that year, I went into my local comic shop in London to grab Watchmen n.1, a series which had been advertised in other DC books before it was published. I wasn’t a 2000AD reader as a kid so my exposure to Moore had been limited up to this point. I had seen him and Gibbons create Green Lantern stories for DC’s book of the same name which were fun but I wasn’t prepared for Watchmen. [...]
Scarcely four months after the terrorist attacks of September 11, 2001, Dark Horse put out a collection, 9-11: Artists Respond. The gashes were still fresh, the dead still being counted (or pieced together), the toxic reek still wafting over Manhattan. That’s the context for Moore and Melinda Gebbie’s contribution, the six-page comics essay “This is Information.”

The piece is somber, respectful of the moment and the victims. Still, upon first reading it in January, 2002, I was struck by how different it was in tone from all the other works in the collection, indeed from virtually all discourses about 9-11 which we had been steeped in up ‘til then. [...]
In 1993, to celebrate his 40th birthday, Alan Moore declared himself a ceremonial magician.

In an interview published in Entertainment Weekly, he says: “I was turning 40 and thinking, Oh dear, I'm probably going to have one of those midlife crisis things which always just bore the hell out of everybody. So it would probably be better if, rather than just having a midlife crisis, I just went completely screaming mad and declared myself to be a magician. That would, at least, be more colourful. So, I announced, on the night of my 40th birthday party — probably after more beers than I should have had — that, 'from this point on, I'm going to become a magician’. And then the next morning you have to think, Oh, what have I said now? Are we going to have to go through with this? So I had to go about finding out what a magician was and what they did.” [...] 

Part 2: HERE