Mr. Moore's writing is as brilliant as ever-from dizzying wordplay in scene-setting detail to cuttingly succinct summaries . . . As for the stories themselves, there is no shortage of wild invention . . . Fans of Mr. Moore in all his incarnations will love this collection.” —Wall Street Journal
“Burn[s] with Moore's soaring intelligence and riotous humanity . . . Illuminations, Moore's first collection of short fiction, finds the writer working on a smaller scale but still swinging for the firmament . . . the book showcases all of Moore's strengths as a fantasist . . . Moore has written both a dynamite story collection and a dynamite monster manual . . . Moore's failures are few, his radiances many . . . Remarkable.” —Junot Diaz, The New York Times Book Review
“Illuminations is a wonderful collection, brilliant and moving . . . Both mind-expanding and cosmic while utterly rooted in our urban reality, written in language that coruscates, concatenates and glitters . . . [It] refuses to leave your head after you've read it.” —Neil Gaiman, author of AMERICAN GODS and NORSE MYTHOLOGY
05/01/2022
For the first time in his four-decade career, the Hugo Award-winning Moore (Watchmen) publishes a short story collection. The characters range from the four horsemen of the apocalypse to theoretical Boltzmann brains dreaming up the universe at the big bang, and a big novella covers the twisty history of the comics industry. With a 150,000-copy first printing.
2022-08-17
The first short story collection from the author of several iconic graphic novels and comic-book series.
When a comic-book writer switches to prose only, they might have trouble conjuring the fleshed-out descriptions usually provided by pictures. But Moore, creator of such legendary graphic works as Watchmen and V for Vendetta, has never had this problem. His works typically include several picture-light text extracts, and if Moore’s debut novel—the sprawling Jerusalem (2016)—is anything to go by, the difficulty is getting him to stop his flow of words. One might hope, then, that the restrictive length of a short story would provide some necessary structure. This collection definitely includes some tight, clever, and vivid entries, including “Not Even Legend,” about a cabal of mythological creatures prepared to go to any lengths to ensure that ordinary humans never get a hint of their existence; “Hypothetical Lizard,” which chronicles a brothel worker’s nasty revenge on his former lover; “Location, Location, Location,” concerning a real estate agent officially signing over a house to Jesus after the Rapture; and “And, at the Last, Just To Be Done With Silence,” a creepy tale of madness-inducing penance in the late 12th century. The title story, in which a man longs to recapture his youth, and “Cold Reading,” which features a successful fake medium who learns the perils of disbelief, have an entertaining if slightly derivative Twilight Zone vibe. But Moore goes off the rails with “What We Can Know About Thunderman,” the book's longest work, taking up fully half the pages. It’s a self-indulgently savage lampoon of the comic-book industry, wandering over several decades, taking the occasional clever potshot, very occasionally affirming the way that comic books and comic-book conventions can bring lonely nerds together, and frequently veering into the grotesque, petty, and bizarre. The story never has any clear destination other than to suggest that the industry is a cesspool that’s impossible to escape in any clean way. The well-informed reader will infer that Moore is still extremely angry at DC for a number of intellectual property issues, remains upset with the way Warner Brothers adapted his works for film, and isn’t exactly happy with Marvel, either.
A mixed bag with a misshapen boulder in it.
