About Alan Moore | Recommended Reading

Portrait of Alan Moore by Kevin O'Neill

Alan Moore is widely regarded as the greatest comics writers the medium has ever seen. He has created a vast body of work including Watchmen, V For Vendetta, The League Of Extraordinary Gentlemen, From Hell, A Small Killing and Lost Girls. Although he is now retired from 'corporate' comics, he promises to persue more personal comic work in the future. More details here.

If you know of any other comic-related reading recommendations made by Alan Moore in interviews or articles we would love to hear from you. Please provide a scan and/or link if possible.
Email: recommended [at] readyourselfraw [dot] com

Bolland Strips!
Bolland Strips!
by Brain Bolland
"Brian Bolland is a neurological marvel, wired with no transmission gap between his extraordinary mind and statue-steady drawing hand, his imagery like perfect rub-down transfers still wet from the brain, exquisitely imprinted with no detail lost. Here is all the craft of the great 18th Century engravers brought to bear upon a vision that is at once timeless and contemporary, by one of the most striking and compelling illustrators of his day, each piece of visual banquet to be wolfed down far too quickly by a grateful, half-starved audience. Reserve your seat now, and enjoy the feast."
From the back-cover blurb
Alec - The King Canute Crowd

Alec: The King Canute Crowd
by Eddie Campbell
"I like Eddie's stuff because it's Masculist fiction and it demonstrates that you don't have to be published by Virago books in order to have any heart, understanding or human sensitivity. Men feel things too. It just takes them longer. I like it because it doesn't confuse being realistic with being depressing and because it is written by someone who obviously finds being alive an endless source of novelty and conundrum. I like it because it fills me in on what would have happened to Jack Kerouac and Neal Cassady if they'd traded in the Lincoln for a Ford Transit and moved to Southend-On-Sea. On The Pier as opposed to On The Road."
From the introduction to the Escape edition

Haunter Of The Dark

Haunter Of The Dark
by John Coulthart
"Coulthart soaks up the cultural heavy metals, will metabolise them, pass them on in a depleted form as a hatched miasmas, masonries collapsed in stipple. Wet black viper lines, escaped and slithering, hissing from the nib… Here in your ungloved hands you hold a sizzling isotope, a fuel rod of imaginal uranium. Dispose of it at sea or in deep clay bed shafts as soon as you have read the thing, if not before. If you must look at it, look through smoked glass. At its far edge, horror shades into beauty, and it is far beyond that edge that Coulthart takes us, into terrible magnificence. Absorb with care. Enjoy with caution."
From the introduction

The Complete Crumb Comics Vol 16

The Complete Crumb Comics
by Robert Crumb
"Crumb's earliest work shows a youthful sense of delight and exuberance, a sense of glee to be working in the comic medium with access to all its varied icons and delights. The characters in the early pieces, however weird or macabre or ridiculous, seem to be purposefully two-dimensional comic characters… His grotesque pranks are told in the same way that any animated character's more innocuous japes would be presented, right down to the sense of a winking camaraderie with the reader in the final panels. In Crumbs piece, though, turning it into something dark and different, raising all sorts of new and unsettling questions about the nature of the form itself… But there was a gradual sense, at least as I saw it, of Crumb becoming impatient or weary with simply subverting the cartoon icons of his youth. It looked as if he felt the need to grow and was looking around for territory to grow into…In his work for Arcade, we see Crumb confidently striking out for new pastures with an assurance that shows in every line… I'd scarcely recovered from the hard, no-nonsense pessimism of Crumb's look at life in This Here Modern America when along came his powerful and affecting portrait of an early backwoods man, That's Life. This piece, which manages to chart the rise and fall of a whole section of the music industry while telling a powerful human story is, I think, one of the best things that Crumb has ever done. A sad and bitter indictment, it is nevertheless accomplished with a real human warmth… Take a look at his sketchbooks and see just how much he's capable of caring about a stack of firewood or the light on his wife's forehead or a corner of his backyard, and if that doesn't make you feel better about the world we live in, then get a friend to try holding a mirror under your nose."
From an article in The Life & Times Of Robert Crumb

The Spiral Cage

The Spiral Cage
by Al Davison
"Beautifully drawn and written, expertly told, the story contained within these pages manages to talk about the things that many people still find difficult to talk or think about, and do so in a way that is at once accessible, entertaining and elevating. By addressing the world upon the level of the all-to-human rather than that of the unreachably superhuman it manages to say something for all of us, able and otherwise, seemingly within our own bodies and circumstances; apparently locked forever within the inescapable spiral cage of our own DNA. Within the discipline of his craft and the patience of his work within these pages, Al Davison seems to have found the key to the lock of his own cage. Try it. Who knows? Maybe it'll fit you too."
From the introduction

Bread & Wine

Bread & Wine: An Erotic Tale Of New York
by Samuel R Delany & Mia Wolff
"Bread & Wine affirms the central truths of all Delany's writings with conviction that is absolute, a light unscattered by the necessary mirror-surfaces of fiction: that love will transfigure and redeem. That the profane can only be the sacred. That the scum of all the earth and salt of all the earth are of the same coin. This is wisdom. This is necessary radiance to drive the shadows from the underpass, the ghosts from needle park, to blow the fogs away from culture's edge, it's coastline, and revel the widening ocean of the dispossessed beyond as objects not of fear, but of desire, of love. This is a marvelous book, filthy with feeling, with discovery. I recommend it utterly, and without reservation."
From the introduction

The Spirit Archives Vol 1

The Spirit
by Will Eisner
"I find it difficult to argue that Eisner is not the single person most responsible for giving comics their brains. I can think of no one who has explored the possibilities of this infant medium so tirelessly and rewardingly, nor anyone who has so successfully managed to evolve a working vocabulary for the parts and functions of the comic strip and the fascinating way in which it can all be fitted together… There is no one quite like Will Eisner. There never has been, and on my more pessimistic days I doubt there ever will be."
From the foreword to Volume 1 of The Spirit Archives


by Warren Ellis & John Cassaday
"This is an exemplary turn of the century mainstream comic book. During a period when many comics seem to have lapsed into an exhausted mire or else go blundering on ahead without the merest shred of a coherent plan, the work in Planetary has a glow and freshness that is all its own, a signature eruption of the neurons into novel, interesting patterns at the turn of each new page. It is at once concerned with everything that comics were and everything that comics could be, all condensed into a perfect jeweled and fractal snowflake. Read on and enjoy the remarkable comic book product of a remarkable comic book moment. And think Planetary."
From the introduction

The Suttons
The Suttons
by Phil Elliott
"Phil Elliott is superbly accomplished, both as an artist and as a writer, and never more so than when he's handling both these tasks himself. This is not to dismiss his many collaborations with other writers, but simply to state that in my opinion, Phil's work finds its purest expression when he's in control of both words and pictures. The charm of his insight and observation as a writer so perfectly complement the sensibilities of his drawing that I miss it when it isn't there, however talented his collaborator might be... It is in the Bringing Up Father of George McManus, of Frank King's breathtaking Gasoline Alley that we find the real forebears of The Suttons; strips that would rather evoke a quiet, whimsical smile than surrender themselves to the somewhat desperate pursuit of a daily belly-laugh... In the collected Suttons, Phil Elliott has given us what might yet prove to be his most enduring and endearing work. He has also relieved us of the need to move to Maidstone, for which we should remain properly grateful."
From the introduction
Lady Chatterley's Lover!

Lady Chatterley's Lover!
adapted by Hunt Emerson
"Might I observe that this is not only the best Hunt Emerson that I've ever seen, it's also the best D H Lawrence? Turning his deranged sensibilities to a work of this length and stature has bought a sustained sense of tightness and structure to Hunt's work that is normally eschewed in favour of his distinctive surreal and spontaneous narrative flow…The pictures here have all the EC-like attention to background detail that has characterized in his work for so long... What sounded initially like the most unlikely paring of the century has turned out to be something very, very good indeed…Highly recommended."
From a review in Escape #10

The Big Book Of Everthing

The Big Book Of Everything
by Hunt Emerson
"How do you solve a problem like Hunt Emerson? How do you keep a wave on the sand? How do you catch a cloud and pin it down? How do you catch a moon bean in your hand? How do you get unwanted nasal debris off of a suede jacket? The answer to all these questions is that nobody knows. Not you. Not me. Not my mum. Physically it must be noted that he has an economic, compact structure. You could stand him in a corner of your kitchen, next to the Chest Freezer, and he wouldn't be any trouble at all. You'd hardly notice him. He has a modest, self effacing air about him, and looks like the sort of person who can do funny voices. Whether or not this is in fact the case I do not know. I have certainly never heard him do one, nor have I met anyone who professes to have done so. Like so many things about this enigmatic merchant of mirth, it remains a mystery. His work, however, speaks for him in a deep and masculine baritone."
From the introduction

Cover: True Faith

True Faith
by Garth Ennis & Warren Pleece
"Garth Ennis is perhaps the most interesting new writer to emerge in the last ten years and Warren Pleece perhaps the most interesting artist. In True Faith, their talents combine to create a fresh and original work, the power and charm of which last long after one closes its pages."
From the back cover blurb

Cover: Violent Cases

Violent Cases
by Neil Gaiman & Dave McKean
"The textures and subtleties of meaning that the prose and artwork bring forth from their conjunction make this a work of rich complexity that rewards repeated examination and elicits responses that a short story in its unillustrated form would clearly be incapable of. This is something new. Its stylistic nuances defy classification as easily as does its genre. Part childhood memory, part reconstruction of a violent past, part comment on the magic to be gleaned from remembered events, Violent Cases evokes unfamiliar feelings in an unfamiliar way. In doing so it promises much for the future output of its creators, whether singly or together, and promises more for the future of the medium as a whole."
From the introduction

At Home With Rick Geary
At Home With Rick Geary
by Rick Geary
"From his subject matter to the stretched elastic of his rapidograph line, from his wonky Box-Brownie panel composition to his snapshot album method of story-telling, there is nothing that Rick Geary does that anyone else does in quite the same way. He's an original. More than simply a new angle on his chosen craft of cartooning, between these covers Geary provides a fresh and individual slant upon the world and how we see it, surely the only accomplishment worth a damn in any field of the arts... At Home With Rick Geary is at once an education, a compendium of magic and a lot of laughs. I genuinely can't think of a reason why everyone shouldn't want one of these."
From a review in Escape #8
Cover - The Originals
The Originals
by Dave Gibbons
"Sharp as the lapels on his mohair, revved up on Lambrettas and doobs, The Originals is Dave Gibbons at the very top of his considerable game, dripping style and soul like dance floor sweat, delivering a narrative that's young, good-looking and up for a ruck. Buy this immediately, and smell the oil, the blood, the seaside... I don't care where you've been; you ain't been nowhere 'til you've been in."
From the advertising blurb
Arcade #1
Arcade: The Comics Revue
edited by Bill Griffith & Art Spiegelman
"During its brief lifespan Arcade published some of the only truly worthwhile material produced during the 1970s, and for a short time seemed almost capable of revitalising the near extinct genus of the Underground Comic. This dream was truncated suddenly when Bill Griffiths woke up one morning to find Zippy The Pinhead's pointed, severed head in bed with him, or whatever way it was that those ruthless pinstripes Sicilians put the frighteners on him. The fact that Arcade folded is a shame; the fact that it has been pointedly ignored ever since is a tragedy... at least on the effete scale with which we aesthetes evaluate tragedies."
From the article 'Too Avant Garde For The Mafia?' Read the full article here.
Cover: Locus In Love

Love & Rockets
by Jamie Hernandez & Gilbert Hernandez
"Anyone out there who hasn't yet bothered to check out the Hernandez Brother's work… should stop being such gutless and ineffectual wimps and go and do so immediately."
Letter to Infinity #6

"Jamie's art balances big white and black spaces to create a world of nuance in between, just as his writing balances our big human feelings and our small human trivias to generate its incredible emotional power. Quite simply, this is one of the 20th century's most significant comic creators at the peak of his form, with every line a wedding of classicism and cool. He has never been better."
From the back cover blurb to Locas In Love

Cover: Zero Girl Vol 1

Zero Girl
by Sam Keith
"Sam Keith's work, for many years, has occupied a curious, perhaps unique position in the modern comics landscape. It stands in that ambiguous territory that may either be the more experimental margins of comics mainstream, or may be in the more moderate reaches of the avant-garde. Almost a country to itself, with its own postage stamps, traditional dress, and language, Keith's oeuvre stands alone. The style and content and concerns of his creations, always marvelously idiosyncratic, owe no obvious debt to any of the medium's louder voices, nor has his work thus far flung up an obfuscating cloud of imitators, masking its originality. Within a comic field where signals seem increasingly repetitive and scrambled, the sheer individuality of Keith's performance lends his work almost a beacon clarity... Here in Zero Girl, Sam Keith serves up the wonderful, superbly balanced meal his work has always promised; whetting the appetite for banquets yet to come. Enjoy, with relish."
From the introduction

True Brit

True Brit: A Celebration Of The Great Comic Book Artists Of The UK
edited by George Khoury
"George Khoury's True Brit is at once a passport and the perfect travel-guide to the marvellous lost continent of the British comic. For both those who didn't realise that they did comics on this side of the Atlantic, and those seasoned know-alls who can already tell their Dudley Watkins from their Paddy Brennan, this book is a treasure-trove of rare art, interviews and information, illuminating a hidden and unsuspected world of wonders."

Cover - Sticks & Stones

Stick & Stones
by Peter Kuper
"Given that Peter Kuper's work is usually wordless and silent, it is all the more extraordinary that he should be one of the strongest and truest radical voices to emerge from contemporary America. In Sticks & Stones, Kuper crafts a Bush-era parable so beautiful, simple and lucid that it could be understood and enjoyed by anyone, regardless of nationality. This is a powerful, angry and compassionate document, and in its perfectly measured silence there reside a profound human eloquence. Highly recommended."
From the back cover blurb

Cover - MAD

by Harvey Kurtzman
"The first time I encountered Harvey Kurtzman, I was around ten years old. The encounter took place between the covers of The Bedside MAD, a paperback collection; strange, American, the cover painting possibly by Kelly Freas, the edges of the pages dyed a bright, almost fluorescent yellow. To this day, it burns inside my head. The stories in that volume and the Kurtzman stories I discovered later brandished satire like a monkey-wrench: a wrench to throw against pop-culture's gears or else employed to wrench our perceptions just a quarter-twist towards the left, no icon left unturned."
From a tribute to Harvey Kurtzman, The Comics Journal #157

Goodnight, Irene

Goodnight, Irene
by Carol Lay
"I don't know why I find Carol Lay's stuff so wonderful and fascinating, but there's something about it that really tickles me. It might just be the quirky sensibilities of the stories, or the fact that her style is so reminiscent of traditional romance comics in places that the oddness of it looks all the more appealing in context. There's something about it which I find very, very charming."
From Amazing Heroes #145, July 15, 1988

Understanding Comics

Understanding Comics
by Scott McCloud
"Understanding Comics is quite simply the best analysis of the medium that I have encountered. With this book Scott McCloud has taken breathtaking leaps towards establishing a critical language that the comic art form can work with and build upon in future. Lucid and accessible, it is an astonishing feat of perception. Highly recommended."
From the back cover blurb

Cover: Hellboy - Wake The Devil

Hellboy : Wake The Devil
by Mike Mignola
"Hellboy is a gem, one of considerable size and a surprising luster. While it is obviously a gem that has been mined from that immeasurably rich seam first excavated by the late Jack Kirby, it is in the skillful cutting and the setting of the stone that we can see Mignola's sharp contemporary sensibilities at work... The collection in your hands distills all that is best about the comic book into a dark, intoxicating ruby wine. Sit down and knock it back in one, then wait for your reading experience to undergo a mystifying and alarming transformation. Hellboy is a passport to a corner of funny-book heaven you may never want to leave. Enter and enjoy."
From the introduction

Cover: Marshal Law

Marshal Law
by Pat Mills & Kevin O'Neill
"If Watchmen did in any way kill off the superhero – which is a dubious proposition – then Marshal Law has taken it further with this wonderful act of necrophilia, where it has degraded the corpse in a really amusing way. I really think that's great... Pat and Kevin do it so well, with such style and with such obvious malice; that's the fun thing about Marshal Law. They're not just kidding, they really hate superheroes."
From an interview, The Comics Journal #138

Roger The Dodger
The British Humour Comics of Ken Reid (1919-1987)
including Roger The Dodger & Jonah in The Beano; Frankie Stein & The Nervs in Wham!; Faceache in Buster
"More than just a great comic creator, Ken Reid was a great English fantasist, with a drawing style as accomplished as that of a Carl Barks or a Wally Wood. Reid created a fantasy world in his comic strips that had its own unique asylum atmosphere, where hilarity was dragged out to the point of gibbering dementia and the humour flirted shamelessly with the disturbing and the repulsive. In all the rich history of British children's comics I can think of few artists who can equal Reid in the technical skill, and none who match him for sheer inventiveness or originality of vision. British comics have lost one of their greatest and most seriously overlooked craftsmen. I regret never having penned this tribute while he was alive to read it."
From a tribute to Ken Reid in Escape #11
Cover: Palestine

by Joe Sacco
"In Joe Sacco's Palestine, the autobiographical comic book reaches beyond everyday trivia to embrace the travel documentary. Utilizing a masterful array of visual devices and employing consummate draftsmanship, Sacco details life in the Occupied Territories with sensitivity, insight, and a fine eye for moral ambiguities. Highly recommended."
From the back cover blurb

Cover: Cerebus Vol 1

by Dave Sim & Gerhard
"Cerebus, as if I need to say so, is still to comic books what Hydrogen is to the Periodic Table, and is one of the only comics that I still read and enjoy regularly every month."
From Correspondence : From Hell, Cerebus #220

"Cerebus is one of the comics that I like best in the world at the moment... It's always possible to learn from Dave... Comics in Dave's hands come the closet to music in some respects. And he's also got – like I say, the thing that's very important to me – the desire to push forward and experiment and move into untested ground… There's not a lot of people who you can learn from in terms of storytelling, but Dave's always one of them."
From an Interview, The Comics Journal #138

Illustration: Posy

by Posy Simmonds
"She's an extraordinary cartoonist. In the collected volumes that I've got there are places where she does some ingenious things with storytelling and characterization. The pity of it is that the vast majority of people who like to think of themselves as comic fans…will never do themselves the favour of picking it up and getting a decent education in graphic narrative."
Letter to Infinity #8

Cover - Strangehaven: Arcadia

by Gary Spencer Millidge
"A darkly glittering example of the soap opera noir, Gary Spencer Millidge's Strangehaven is an occasionally-opening portal into a beautifully realised otherworld, a plane all the more intriguing and sinister for its resemblance to our own mundane territories. Perfectly controlled and naturalistic storytelling creates a wraparound illusion of the everyday in which surreal and threatening incidents are studdied like unnerving little jewels. Gary Millidge is a consummate craftsman, a watchmaker patiently constructing his own unique universe. For a passport to a planet of unsettling delights that writhe beneath the surface of the ordinary, I strongly recommend that you attempt to be there when the portal next opens."
From the back cover blurb, Strangehaven #14

Cover: Maus

Maus : A Survivor's Tale
by Art Spiegelman
"Since discovering his work in the mid 70's, I have been convinced that Art Spiegelman is perhaps the single most important comic creator working within the field and in my opinion Maus represents his most accomplished work to date…Intensely subjective, it manages to encompass subjects as sensitive and diverse as the holocaust on one hand and the yawning emotional gulf between parents and children on the other, all in a fashion that is at once revealing, moving and innovatory. Maus surely marks one of the high points of the comic medium to date. It is perhaps the first genuine graphic novel in recent times, and as such its significance cannot be overstated. Please read it."
From a review in Escape #10

Cover: Foodboy

by Carol Swain
"Against the starkly realized backdrop of overcast mid-Wales with its rock-ruptured slopes, its immense Victorian dams and drowned villages, Carol Swain tells the story of Gary, the Foodboy, and his painful friendship with the heroic, tragic Ross, a feral outsider living by choice or necessity upon his world's most frayed, precarious margins. This is a fierce and touching human story, and for all its finely-observed contemporary backdrop of post-Thatcher Wales where fragile, vestigial communities cling doggedly to life around the closed pits in the heartbroken valleys, the emotions and loyalties here could be Paleolithic, as old as the weather-chewed landscape itself. Dark and full of life, like soil, Foodboy is a little masterpiece, a perfect example of what modern comics are capable of if they only try."
From the back cover blurb

Curt Swan: A Life In Comics
Curt Swan: A Life In Comics
by Curt Swan
"...Curt Swan to me was the essential Superman artist. Whether he was working on Superboy or Superman or any of the other books, there was something special about Curt's line, the actual line itself... There was something about Curt's Superman that was exactly right. The line was so clean; the three dimensional figures were so perfectly placed. They had weight, they had solidity. And the whole world, there was a coziness to it, a warmth, a softness... I loved the man's work! With someone like Curt, you could probably talk all day and not really scratch the essence of what made him such a great artist. His stuff had such a powerful effect on me at such an impressionable age, and I don't really know how to measure that. Still, looking back over my career, those last two issues of Superman... They're on the very, very brief short list of stories of mine that I'm proudest of."
From a tribute to Curt Swan, from Curt Swan: A Life In Comics
Cover - Luther Arkwright

The Adventures Of Luther Arkwright
by Bryan Talbot
"For me, the heart of the strip's appeal lies in its relentless experimentation. While remaining lucid, it explores as wide a range of graphic storytelling techniques as you're likely to find between soft covers these days. That it accomplishes this with such visual power and charm is an added bonus. A superb illustrator, Bryan Talbot firmly anchors his complex and shifting metaphysical fantasy in a solid bedrock of beautifully rendered Victorian architecture and meticulously researched period backdrops. The combined effect is stunning. As a crucial stepping stone between where comics were and where they are now, Bryan deserves our gratitude, and Luther Arkwright deserves to be read. More than this, it demands our attention as an intricate and fascinating graphic accomplishment in its own right."
From the introduction to the Valkyrie Press edition

Cover - Heart Of The Empire

Heart Of Empire
by Bryan Talbot
"Other than the obvious delights that Heart Of Empire offers in terms of your art and storytelling, it's a wonderful, compelling narrative. The mad, socio-historical satire that has always formed the backbone of your Arkwright work has never been more pointed or accurate."
From a letter to Bryan Talbot printed in Heart Of Empire #1

Cover: The Tale Of One Bad Rat

The Tale Of One Bad Rat
by Bryan Talbot
"Bryan Talbot's The Tale Of One Bad Rat is an ingenious, intertextual narrative the interweaves the charming, whimsical, and above all, English vision of Beatrix Potter with a vision of England as it has become; the soft juxtaposed with the savage; Peter Rabbit lost in Cardboard City. Thoroughly excellent."
From the back cover blurb of The Tale Of One Bad Rat Book 1

Cover: Chunky Rice

Good-bye Chunky Rice
by Craig Thompson
"Both funny and genuinely touching in turn, Craig Thompson's Good-bye Chunky Rice is an affecting meditation upon friendship, loneliness and loss, all delivered with a real feel for the musicality of the comic strip form. This work sings and dances, and you could do a lot worse than to sing and dance along with it. Highly recommended."
From the back cover blurb

Greyshirt: Indigo Sunset
by Rick Veitch
"Rick Veitch is one of the most genuinely innovative talents ever to grace mainstream comics, and in Greyshirt: Indigo Sunset he treats his fans to a two-fisted burning-rubber trawl through the banned, beloved and just plain bad neighborhoods of funnybook felony. Now get in the back seat and keep that smart mouth buttoned, pal. You too, sister. You're going for a ride."
From the introduction

"Rick... is a superb writer as well as fantastic artist... That Indigo Sunset story was wonderful, one of my favourite comics of last year, just because of the way Rick has taken all of these insignificant trailing threads from the continuity of the regular Greyshirt series in Tomorrow Stories and woven them into this coherent narrative that had all these wonderful, bizarre pulp touches in it, and where he was roping in people like John Severin and people like that on the back up stories. I thought that was a wonderful little package."
From an interview in Comic Book Artist Vol 1 #25

Cover: The One

The One
by Rick Vietch
"Whatever it is that the comics of the 1980's turn out to be remembered for, The One was right there in the thick of it, carving out a niche in the mainstream for dangerous ideas long before dangerous ideas became box office certainties. If you're looking for a long distance talent, a marathon man who can cover the ground and still be creatively fresh at the other end, then you're looking for Rick Vietch. If you're in search of a graphic story that captures in freeze frame a turbulent period for both funny-books and the world at large, look no further. This is the one."
From the introduction

Cover: Jim

The Book Of Jim
by Jim Woodring
"Jim Woodring's stories manage, by some occult means, to be at once unsettlingly alien and intimately familiar. The effect is not unlike opening a new book to find the illustrated account of a dream you had when you were five and told no one about. Cryptic and haunting, Woodring's work evokes a sense of something important and forgotten. Easily the most hypnotic talent to enter the field in years."
From the back cover blurb

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