Read Providence 1: El miedo que acecha by Alan Moore Free Online
Book Title: Providence 1: El miedo que acecha|
The size of the: 519 KB
Edition: Panini Comics España
Date of issue: April 2016
ISBN: No data
The author of the book: Alan Moore
Format files: PDF
ISBN 13: No data
Read full description of the books Providence 1: El miedo que acecha:Providentially Speaking
Alan Moore’s series Providence is a dense and complex literary work. And after reading things from Moore like Top Ten and Swamp Thing, it feels at least initially tonally subtle and almost subdued, thanks in part to the elegant drawing of Jacen Burrows and the muted lovely coloring of Juan Rodriguez. As with Moore’s most ambitious works, it is meticulously researched; if you have no acquaintance with either the ideas or works of H. P. Lovecraft, if you know nothing about Neonomicon—and it’s ludicrous to think very many thousands of readers would!!—you can still very much appreciate this story, but you will miss things. It’s like parents and kids watching the best of the Warner Brothers cartoons—both parents and kids might be laughing their asses off, but at different things. And it’s all good, but re-readings, and reading around the text, will give you a richer experience. As always, with great literature. And I think this just may be for me Great Literature, but I’ve only so far read it through a couple of times.
So when I picked up the first issue of Providence, others told me it was connected to Moore’s long interest in Lovecraft and Neonomicon and related issues. Moore likes Lovecraft, but also saw him as failing to deal adequately with racism and other problems. In other words, Lovecraft’s work and horror itself is all about looking underneath, below the surface, and Moore does that here with horror and the master of horror himself HP Lovecraft. He digs deeper.
Sound like too much work for you, you who just wants to read some kiddie comics? Well, acknowledged. But you know, old Alan has from the very beginning both loved pulpy stories and also theorized their literary and cultural importance. As with Swamp Thing, where he also deconstructs and celebrates the power of horror. Or From Hell. So: I read and read some of this stuff as backstory. I read some Lovecraft. I also read Moore’s story adapted to comics, The Courtyard, which is a kind of prequel to his other work out of the Lovecraft mythos, Neonomicon You don’t have to know all this to read Providence, but it doesn’t hurt. All of this is prelude to Providence.
In Providence the main character, Robert Black, is a young journalist hoping to turn novelist in 1919. It’s New England, it’s Lovecraft (meaning he is always commenting on Lovecraft stories and ideas), and it’s a specific time in American history. Black is both Jewish and gay. He keeps a Commonplace Book as he travels, researches, reads, recording ideas for stories, for plot, for themes, even as he experiences things. It’s a writer’s journal, the pages of which alternate with the comic itself. It’s a commentary on the events of the story we are reading, as with Watchmen where there are texts that parallel and comment on the main story. Black is also us, we are readers, we are learning to read the world.
Black is interested in a (Moore’s fictional) Sous Le Monde, a story that he understands to have inspired The King in Yellow by Robert Chambers, an actual collection of horror stories that came out in 1895. Chambers claimed that when some people read his stories they went mad, some even committing suicide. Lovecraft read Chambers’s horror stories in 1927 and folded them into his Chthulu mythos. Sous Le Monde is, by the way, French for Underworld, a perfect place for horror. Yellow is in Chambers’s and Lovecraft’s mythos the color of horror. Oh, and in this volume Black’s lover Jonathan (Lillian is the cover name for him) commits suicide., hmm.
If you are curious at all about the level of intentionality to this intertextual story, look at the work being done to look at just the very FIRST issue of this (so far, in this volume, at least) four issue comics series!!! (This book collects issues 1-4).
I have other things to do, more to read, more reviews to write, but here’s some notes on what I am seeing so far, some ways/themes in which this text connects with Moore’s other work, just to name a few things:
*Books/stories and their (almost) mystical effects on our lives; in this story people read a book, Sous Le Monde, and kill themselves, or so some people say. . . what can stories do?
*The relationship between pulp/comics/popular culture and Literature
*The occult figures in here as elsewhere in so many places
*American history; in the American Gothic sections of Swamp Thing, we see the social horrors of the twentieth century. In Providence we are in twenties New England. How do we romanticize that area of the country; what are its dark secrets in those times? In Moore’s From Hell, he takes a look at the way the Jack the Ripper story presages the horrors of the twentieth century. How does Lovecraft comment on New England twenties America, and what does he fail to cmment on, according to Moore?
*Racism, sexism, lgbtq issues: our hero is a gay Jewish writer. What secrets has he concealed just to stay alive in—“Let’s Make America Great Again”—America.? Who are outsiders living secret lives, and why? What social horrors does horror help us unveil?
*Sexual violence; rape figures in this story, as it has in other Moore stories, such as Watchmen, and this makes the story deeply disturbing almost from the start. Another kind of deep horror, of course.
*Literary history—in this instance Moore deeply studies horror master Lovecraft; Moore tries to look at HPL in a sort of balanced way, as master of horror, sure, but also flawed in terms of racism and other problems.
*Jung. Dreams, figure in. Is this also funny? Yes, but the way in which images in dreams reflect psychological states is key here.
*Time as an ocean versus a straight line; tesseracts (Wrinkle in Time)
*History matters—it’s 1919, things are about to erupt in twenties history, in America especially—but also there are things underneath surface, where horror lurks. Comics is and always has been a perfect medium for social and cultural commentary. Literature is the best way to understand life, in and through imagery and story.
*Alchemy, which for Moore is also another name for storytelling.
*Sense of humor; much of this work, some of it I don’t even fully get, is satirical. For all of Moore’s erudite verbiage, and in this one he is at times almost restrained in this respect, he also can be silly and make you laugh. He likes entertainment and tries not to forget that he is not primarily writing a scholarly thesis. He’s trying to entertain you, even scare the hell out of you.
This is a creepy, creepy story, but it is starting out slowly, taking its sweet-ass time. Not much has happened. But it will, oh, it will.
I’m just scratching at the surface here, I’m serious!
Read information about the authorAlan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance art/spoken word pieces) with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
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