La voz del fuego by R.M. Guéra

Art by R.M. Guéra

Above, cover illustration drawn by acclaimed Serbian artist R.M. Guéra for the Spanish edition of Voice of the Fire, published by Planeta DeAgostini in 2006.  Watch this video too.

 

The illustration is currently for sale on the CART Gallery website, HERE.

Made of Writing

Excerpt from a 2-part interview published on Flaming Hydra site, under paywall (Part I - Part II). 

Zach Rabiroff: All your novels to date have been concerned to a great extent with a sense of place—with Voice of the Fire and Jerusalem, it was Northampton, which allowed you to draw on personal experience. And now in The Great When you’re dealing with London. 

Alan Moore: I like to think that wherever I’m writing about, and in whatever form, I have always tried to pay attention to place, whether in my comic work or other work. I was quite pleased to get a lot of letters from American readers asking how long I’d lived in Louisiana [after using it as a setting in Swamp Thing]. That was touching. But no, actually it was just all research, and then imagining myself into the place. And of course with things like From Hell, it was immersing myself in London. 

[...] The majority of comics—when I started working in them—were set in America. So it felt quite radical to set some stories in London. When I did Voice of the Fire, that seemed to me to be quite audacious in that it was setting a whole novel in Northampton, which is largely a place that nobody cares about, and that doesn’t even get a mention on the local weather maps. And the same with Jerusalem, where I did it much more intensely. But that doesn’t mean that I exhausted London. The nature of a place like that means that you probably never could exhaust it. It’s infinitely deep with stories. [...]

I was actually going to ask whether you consider writing— artistic creation—itself an act of magic.

It is. I believe that all art and creation is an act of magic, consciously or unconsciously. But I believe that writing, specifically, is the closest to actual magic. If you look at the magic gods of most cultures, they are also gods of language. Hermes is the god of magic, but he's also the god of communication. The Egyptian magic god is also the scribe god, which tends to suggest that there is something, a rather intimate connection, between writing and magic. 

[...] with writing, just writing straight prose, which is all I'm doing now, I think that that has got to be the most elegant form of art. You can do so much with so little. All you've got are 26 characters peppered with punctuation.

You’re summoning reality into being with an incantation, so to speak.

You can create the whole universe from those 26 letters, any conceivable universe. And that is the immense power of writing. In writing Long London, I'm actually building that space. This is something that I learned that you can do. I probably learned it from Mervyn Peake, when I first read the Gormenghast books, and I thought, this is incredible—actually creating an architectural space in my mind. Even at this late age, I remember Gormenghast a lot better than I remember places that I've actually been. Better than places in the real world. 

Magic has got to be the art of causing changes in people's consciousness, including that of the practitioner. And anything that you can do with magic, you can do with writing. [...] You can be anything as a writer. [...]

We can never know another human being; that is the sorry fact of our existence. We can never know anything outside of our own skulls. And so, to a degree, everybody around us, the people that we love the most, are fictions that we have made up. We are fictions that we have made up. I can almost remember making me up when I was about 13 or 14. I can almost remember thinking that this childhood personality I have is going to be no use at all; if I want to have a girlfriend, I better write a new one. [...]

I wish I was made of writing, because then I wouldn't be in such a stage of physical collapse, and I would still be as gorgeous looking as I was 40 years ago instead of just almost as gorgeous looking as I was 40 years ago. If I was made of writing, I would be in perfect condition forever. And also, our fictional characters are going to meet and interact with a lot more people than we are, and for a lot longer time. Our fictions have a great deal of importance, I believe, not just as entertainment, but because they provide part of the infrastructure and armature of our world. 

Alan Moore between the lines by Matteo Alagna

Art by Matteo Alagna

Above a great portrait of Alan Moore by Italian art director and illustrator MATTEO ALAGNA. On the background you can read the final lines from Voice of the fire's first chapter.

This is part of Alagna's 5-portrait project titled Between the lines (2019):

5 writers, 5 quotes, 5 colored inks. Minimal and iconic portraits of some of my favorite authors. On the background, significant quotes from their writing. Because what the ink draws on the paper can last forever.

You can admire the complete project HERE. 

For more info about the artist: Behance - Instagram

Alan Moore by Wagner Willian

Art by Wagner Willian

Above and below two portraits of The Man from Northampton - referring, respectively, Swamp Thing and From Hell - by Brazilian artist and writer Wagner Willian, realized for a Voice of The Fire exhibition in 2014. 

 

For more info about the artist, visit his site: HERE.

Art by Wagner Willian

New Italian Voice of The Fire edition

Edizioni BD announced a new Italian edition of Voice of The Fire to be published this June. 

The novel will get a new translation by Leonardo Rizzi who translated several Moore comics and was the co-translator of the previous, now out of print, edition (also published by Edizioni BD in 2006).

This new edition will launch 451, Edizioni BD new editorial label focused on sci-fi novels by contemporary writers. More info here (in Italian).

Voice of the Fire: 25th Anniversary Edition

Art by John Coulthart.

Alan Moore's first prose novel, Voice of the Fire, is getting a 25th anniversary edition. It will be out in May, co-published by Top Shelf Productions in the United States and Knockabout in Britain, with a stunning new cover by John Coulthart (see above and below).

John Coulthart: [...] I liked the original cover but felt it made the novel seem too much like something by Henry Treece or Alan Garner, with no indication of more recent history. A stained-glass window seemed like a good solution to the problem of how to bring together so many disparate elements into a single design. Stained-glass windows are often things from the distant past still visible in the present day, and they have the additional convenience of being a single container for many small pictorial details.
My design doesn’t attempt to illustrate all the characters or events from the novel but shows the more salient moments together with smaller details, some of which (the noose, for example) appear in multiple chapters. [Read more here.]

More info HERE too.

Art by John Couthart.

Voice of the fire new edition

Cover by Dave McKean.

Subterranean Press announced a new edition of Voice of the Fire, the first novel written by Alan Moore, originally published by Gollancz in 1996. The book was later published in 2004 by Top Shelf Productions with colour plates by artist José Villarrubia and an introduction by Neil Gaiman (paperback edition published in 2009; new printing scheduled for August 2015).

The Subterrean Press edition will be published in June and it's available for preorder (here) with dust jacket and endpaper illustrations by Dave McKean, original introduction by Joe Hill.

Limited: 750 signed numbered oversize hardcovers.

Lettered: 26 signed leatherbound copies, housed in a custom traycase. This version is already sold out.