Cerebus #224 (November 1997) Art by Dave Sim & Gerhard |
(from a conversation with Alan Moore in Dialogue From Hell, Cerebus #217, April 1997)
...When I visited that Scots bastard Eddie
Campbell (it really does take one to know one), we were both into our
cups one afternoon and he started in on your scripts. You know, he would
just get Anne to go through them and underline what had to be in the
panel and bollocks to all your windy exposition. Having read a number of
your scripts, I pointed out that you were always very good about
letting the artist know that a lot of the description was for your
benefit and could be used or not used as it suited him or her (hi,
Melinda). Well, Eddie was having none of it and goes into his studio and
roots out one of your scripts and begins a dramatic reading of one of
your lengthier descriptions. Or undramatic reading, rather, by way of
emphasising his own point. So, Eddie’s sitting in the kitchen droning
your description, and I’m sitting on the postage-stamp-sized back porch
(Campbell Enter-prises being a smoke-free environment) facing into the
kitchen. Now, having just read a hundred or so pages of From Hell in
photocopy form, I am as immersed in 1888 London as I’m ever likely to
be, anyway, and I start disappearing mentally and psychically into your
description. With Eddie droning and droning it begins to envelop me like
an incantation, and I begin rocking back and forth on the white plastic
kitchen chair I’m sitting on, thoroughly inside of your word-rhythms
and invocations, simultaneously resentful of the sneer on the old
Campbell mug and anticipating the good-natured or not-so-good-natured
(both of us being Scots bastards) row that is imminent as a result of
our divergent reactions. Something had to give, and it turned out to be
the chair I was sitting on. One leg snaps off pitching me over backwards
and hurling one of Eddie’s prized, limited-edition Guinness glass
steins out of my hand - the stein bounces neatly down a half-dozen
stairs before smashing into a million fragments. Of course, I’m
apologising all over the place, and Eddie is crestfallen. They don’t
make the glass steins anymore, do I have any idea how many Guinness he
had to drink to get each one of them (as if THAT was some torturous
ordeal for him), etc., etc. He had had six of them (six being the number
of the Lovers in the tarot —and what else, metaphorically speaking, is
the even-handed balance of a writer and artist than a literary/artistic
love affair?), and now he had five (the number of the Hierophant,
interpreter of arcane wisdom, which in its negative aspect is epitomised
by the imposition of said interpretation without the accompanying
wisdom). Served him right, I actually thought. Served him bloody well
right...
2 comments:
Two thoughts:
1. It's pages like this one that remind me how brilliant the layouts, lettering, etc. could be after Issue 200. Just gob-smacking stuff.
2. After a while I stopped reading the text that came after the story (like, after it started being at least as many pages as the story itself) so I had never read this particular anecdote. Thanks!
Oh, man, Tony, do yourself a favor and go back and reread all of that Dialogue From Hell. Almost as fascinating as the seven-part essay, "Islam, My Islam". And, yes, you're quite right about the layout and lettering going all "off the reservation", post-200.
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