Sunday, August 8, 2010


It occurs to me that the out provided in Alan Moore and Eddie Campbell's From Hell , for the survival of Mary Kelly - that it's either her or not someone mistaken for her - makes the reader complicit in the murder, by virtue of desire (to see her killed or escaped) and our own innate feeling of rightness. No matter which way you go, you're making a call on a callous and horrible murder, unless you float the story in a nebulous Schrodinger's victim arrangement.

That's quite good.

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