Read Lost Girls by Alan Moore Melinda Gebbie Online


Now available in an exquisite three volume box set: the erotic masterpiece from Alan Moore, the visionary behind Watchmen, From Hell, and V for Vendetta!For more than a century, Alice, Wendy, and Dorothy have been our guides through the Wonderland, Neverland, and Land of Oz of our childhoods. Now, like us, these three lost girls have grown up and are ready to guide us agaiNow available in an exquisite three volume box set: the erotic masterpiece from Alan Moore, the visionary behind Watchmen, From Hell, and V for Vendetta!For more than a century, Alice, Wendy, and Dorothy have been our guides through the Wonderland, Neverland, and Land of Oz of our childhoods. Now, like us, these three lost girls have grown up and are ready to guide us again, this time through the realms of our sexual awakening and fulfillment. Through their familiar fairy tales they share with us their most intimate revelations of desire in its many forms... revelations that shine out radiantly through the dark clouds of war gathering around a luxury Austrian hotel.Drawing on the rich heritage of erotica, Lost Girls is the rediscovery of the power of ecstatic writing and art in a sublime union that only the medium of comics can achieve. Exquisite, thoughtful, and human, Lost Girls is a work of breathtaking scope that challenges the very notion of art fettered by convention. This is erotic fiction at its finest.Similar to DC's Absolute editions of Watchmen and The League of Extraordinary Gentlemen, Lost Girls will be published as three, 112-page, super-deluxe, ovesized hardcover volumes, all sealed in a gorgeous slipcase. It will truly be an edition for the ages....

Title : Lost Girls
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ISBN : 9781891830747
Format Type : Hardcover
Number of Pages : 320 Pages
Status : Available For Download
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Lost Girls Reviews

  • Arthur Graham
    2019-05-18 14:31

    Alan Moore and Melinda Gebbie, filthy pornographersThis graphic novel puts the “graphic” into pornographic, make no mistake about it. Sex acts of every imaginable configuration are rendered in vivid color and explicit detail, all across an extended narrative that is guaranteed to challenge the reader’s interpretation of at least several classic works. However, despite the fact that it's been lauded by multitudes of readers and well-respected authors alike, with Neil-Fucking-Gaiman himself calling it “a master-class in comics technique,” there remains the tendency to view such work as, at best, “smut with a story.”In a 2006 interview, Moore was willing to share his views on pornography in general, offering the following explanation for the stigma that remains permanently attached to the genre:Pornography is an area where there are absolutely no standards, so most of it is ugly, brainless shit. Therefore people look at it and say, well, most of the pornography that I can see is ugly, brainless, and perhaps sometimes immoral or degrading shit, therefore all pornography that can be conceived of must be in the same category.When Moore and Gebbie first began working on Lost Girls in 1991, it was a different kind of pornography they had in mind. Recognizing it as an art form with much untapped potential, they set out to create “a more human form of pornography that doesn’t necessarily sacrifice any of its erotic power, but which functions in the way that art should.” In its far-reaching exploration of the diverse issues arising from both sexual repression and liberation, Lost Girls accomplishes precisely that, prompting readers to actually think about sex above the base level. “It is one of the tropes of pure pornography that events are without consequence,” explains Gaiman. “No babies, no STDs, no trauma, no memories best left unexamined. Lost Girls, however, is all about consequences.”Gebbie, Moore’s wife and long-time collaborator, had the following to say about their sixteen-year study of human sexuality:When I was about 10, and I first started thinking about sex officially, I thought, ‘There must be a beautiful book somewhere, that will tell me everything I want to know, and it will be beautiful, and everything will be explained, and once I see it, I will know everything there is to know about sex.’ And of course, there was no such book. There never has been a book. With Lost Girls, I finally got a chance to do one.The story is set in Switzerland on the eve of the First World War. By sheer coincidence (or so it seems), three women from radically different walks of life converge upon the luxurious Hotel Himmelgarten; women who, through their subsequent exchange of stories and sexual encounters, discover that they have much more in common than is first expected. Besides their each being the grown-up incarnations of the three most beloved characters from classic children’s literature (Dorothy Gale, Wendy Darling, and Alice Liddell), they are each dealing with their own sexual issues as well. It is from this basic premise that the authors begin their narrative, “deconstructing and commenting on these classic children's stories, reconstituting them as overtly pornographic allegories about adolescent sexual awakening, the power of fantasy, sex as power, sex as a means of coping with trauma, and sex as a means to heal.”Though none of the works from which Moore and Gebbie draw their heroines are overtly sexual, each of them abounds with hints of glossed-over sexuality. For example, though we could easily read the Wicked Witch of the West as a predatory lesbian, cackling with glee as she pursues Dorothy, the chaste object of her desire ("I'll get you, my pretty!"), most of the characters from The Wizard of Oz are splendidly simplified, defined only in terms of what they lack (heart, courage, and brain, respectively). Dorothy, on the other hand, seems only to be lacking that which would be most natural in a girl her age: budding sexuality. In Moore and Gebbie’s treatment of her character, however, the long-kept secrets of her sex life are finally revealed. Not surprisingly, they put a whole new spin on the Land of Oz and its supposedly sexless inhabitants.See, what it is, I wanted to be doin' it with somebody who had real thoughts an' feelin's just like me, but sometimes I'd hold him an' there wasn't nothin' there. I might as well have humped a rag doll, or somethin' you stick out in a field to scare the birds. I didn't come but once or twice. He'd sigh, and all I'd hear was wind between the corn.Peter Pan is slightly more realistic sexually, as Wendy enters motherhood in the end, but to define her sexuality solely in terms of its biological consequence is to deny everything leading up to it. In addition to this, there are the unresolved sexual tensions submerged within the love triangle between Peter, Wendy, and Tinker Bell (a quadrangle if we include Captain Hook). Add to this the homoeroticism inherent in the notion of “Lost Boys” cavorting freely forever in a land far removed from adult judgments, and Peter Pan is simply rife with sexual undertones just waiting to be brought to the surface. As a middle-aged, painfully repressed English housewife, Moore and Gebbie’s Wendy proves to be the perfect vehicle for dredging them up.Shadow playIt is perhaps difficult to deny that the authors of Lost Girls took more liberties with Alice from Alice in Wonderland, portraying the young, seemingly innocent girl as an aging lesbian libertine, but, in all fairness, there is nothing in the original work to expressly eliminate this possibility from her future either. In fact, to assume that she'd become the well-behaved wife of a respectable man (like Wendy) constitutes the most blatant kind of heterocentricism, and the themes of madness coloring her childhood could arguably foreshadow much future "deviancy" [sic] as well.Through the looking glassDoubtless there will be those who insist the authors have gone too far in their reimagining of these characters, but in actuality they've done nothing more than reappropriate their lost sexualities from the dustbin of literary history. In this sense, the only liberties they’ve taken with them have been in doing justice to their impossibly repressed libidos. L. Frank Baum, J. M. Barrie, and Lewis Carroll may be rolling in their respective graves, but that shouldn't dissuade us from finally admitting that their characters did indeed possess genitals beneath their billowing bloomers and constricting corsets, and, perhaps, the desire and willingness to use them.This admittance is not made solely for the sake of titillation, however. As we follow Alice, not down the Rabbit Hole, but down into the decadence of the Victorian lesbian underground; as we follow Wendy, not to Neverland, but to the dense thicket of underbrush where her and her brothers first discovered sex; and as we follow Dorothy, not along the Yellow Brick Road, but along a string of rustic romps across her Uncle’s Kansas farm; several core theses regarding sex and sexuality are suggested and explored: one, that sexual desire defies all logic, and is often the pathway to madness; two, that sexuality is a part of growing up, a passage from childhood to adulthood; and three, that sex is something which, if denied, can lead to the development of an incomplete identity."We didn't want to do something that was a sniggering parody of these works,” explains Moore. “We really wanted to be faithful to the original books. We did not want to travesty them. So we have these girls all grown up and having sexual adventures — what human beings actually do.” In all three of the original stories it is suggested that the girls would grow up, after all, and therefore it only follows that they would develop sexual identities as well. It was with this natural development in mind that the authors set out “to extrapolate [the girls] into a future sexual, adult life."The premier of Stravinsky's Rite of SpringAs the current owners of Peter Pan have already resolved their objections to Lost Girls with Top Shelf Publishing, and both The Wizard of Oz and Alice in Wonderland have been within the public domain for quite some time now, whatever lingering concerns there are over the use or misuse of the characters constitutes a minor point of contention. The real controversy surrounding Lost Girls centers on the book’s graphic sexual illustrations. Rare is the page where there is no sex or sexuality depicted, and rarer still are the pages depicting sex acts one might consider to be "vanilla" in flavor. Although there are many instances of one-on-one couplings between young, conventionally attractive men and women, their inclinations toward promiscuity, sodomy, and unusual fetishes serve to make them every bit as potentially taboo as the many instances of group, gay, lesbian, interracial, and intergenerational sex to grace the book's pages. Add to this a healthy dose of incest, sex between minors, and ephebophilia, with a pinch of rape and bestiality thrown in for good measure, and there are enough transgressive images between these covers to make even the most sexually adventurous reader blush or pale, or perhaps both alternatively.“Any furor that might erupt over Lost Girls is down to the fact that it has pictures,” argues Moore. “After all, far more violent and brutal pornographic prose novels, like those by the Marquis de Sade, are still in print, and no one is currently trying to prosecute them in court.” And though Lost Girls did manage to overcome its initial legal difficulties, it was still refused by several book sellers on the grounds that its visual content was too offensive. This tendency to censor images more strictly than words has been a characteristic of our culture ever since Moses supposedly stepped down from Mt. Sinai with the Second Commandment, which, when taken literally, seems to prohibit images of any kind. In the realm of the sexual image, however, censorship has been even more virulent.As one example Moore cites William Blake, whose well-meaning followers, upon his death, “completely excised all of the erotic work that he’d done, because they didn’t want people to get the wrong idea of him.” Illustrating the tendency towards self-censorship, Moore reminds us that even Aubrey Beardsley, one of the finest British artists of the late Victorian era, requested on his deathbed that his beautiful illustrations of Aristophanes’ Lysistrata be committed to the flames, along with his many other “obscene” works. In both cases, however, the motivating force behind the censorship was essentially the same: moral pressures of the time simply did not foster a very high tolerance for sex or sexual imagery. And, according to Moore: the moral pressures of [Beardsley’s] time, looked back on from a more enlightened future, were simply wrong. The moral pressures of his time were what destroyed Oscar Wilde and everybody and every publication that Oscar Wilde had been associated with. I can see why Beardsley was nervous, but he shouldn't have been, because he’d done nothing wrong. And if that applies to 1820, it certainly applies today.The prohibitions against sex and sexual imagery, though certainly relaxed two centuries later, nevertheless continue to contribute to the denigration of pornography as inherently dirty, shameful, and generally undeserving of the status accorded to most other forms of art and literature. In response to this, Moore asks, “Why must these often very tender pieces of artwork be damned, consigned to this grubby under-the-counter genre, where there is a miasma hanging over the very word? That is another reason for stubbornly calling [Lost Girls] ‘pornography’, because I wanted to reclaim the word.”Given Moore’s views on sex and censorship, it is not surprising that he chose the pornographic medium to get those views across. The ability of sexually explicit images to shock and offend (or simply intrigue and arouse), rather than constituting a demerit, is actually one of the main virtues of the form. For while the imagery on any given page may be what draws the reader’s initial attention and reaction (positive or negative), if the eye is held long enough to take in the contents of the captions and word balloons as well, then the reader’s initial voyeuristic curiosity may be transformed into an actual consideration of what the images are being used to say. It may be hard to find a single image in all three volumes of Lost Girls that isn’t being used to explore deeper sexual themes and issues, but for the reader who finds sex and sexuality inherently offensive, this may not be enough to affect a pardon. “If we couldn't offend anybody,” jokes Moore, “then how could it be a transgressive work of pornography? We would have been rightly accused of having done something that was a literary work, which dodged the real issues that it set out to address.”However, before judging the book’s content or presentation, it is important to remember that the authors aren’t necessarily condoning or advocating all or even any of the sex acts they portray, any more so than the writer of a murder mystery is necessarily advocating the act of murder. “As a work of pornography,” Moore explains, “Lost Girls follows a basic tenet of the genre, which is the thrill of vicariously experiencing something taboo or transgressive.” He continues:We don’t seem to have much of a problem in distinguishing between fact and fantasy except for when it comes to sex, and I’m not entirely sure why that is, why we make a special case for sexuality. It’s okay to show murders in most of our great art, it’s perfectly okay to show how life can be ended, but there is something suspect in showing the ways in which life can be begun, or just showing people enjoying themselves.This observation is particularly telling when we consider that the sexual breakthroughs experienced by the story’s three heroines are only interrupted by the outbreak of World War I. Even after all of the other guests and most of its staff have fled the Hotel Himmelgarten, Dorothy, Wendy, and Alice continue to engage each other’s sexual imaginations, defying the impending death and destruction that will soon reach its front door. Moore postulates that “[t]he stories they are telling, and the fact that they are telling them, is somehow more important than this terrible storm that is breaking over Europe to destroy everything.” He continues:Somehow, this romance, this narrative, their narratives, are more important because they are actually about life; they are about imagination and possibilities, whereas what is bearing down upon Europe is the exact opposite of that. War is about limiting the possibilities of everything, destroying our imaginations in the same way it destroys the physical landscape by leveling it to just a flat, barren stretch of mud.This is what sets Lost Girls apart from the vast majority of pornography available today, which is most often based upon a gross simplification of the sexual experience, its participants, and the world they inhabit. “The sexual imagination, which is the biggest part of sexuality, is not well served in our culture,” explains Moore, “and I really don't understand why that should be.” It is this lack of sexual imagination, according to Moore, that limits the ways in which we’re allowed to view, think about, and practice sex. However, if the millennia of erotic art between the Venus of Villendorf and Lost Girls is any indication, “Pornography has always been with us and always will be with us, and nothing’s going to change that. The only question is, ‘Is it going to be good pornography or is it going to be bad pornography?’ And given that most pornography today is very bad indeed, it’s probably about time that people make a serious effort to reclaim this despised genre.”If bad pornography limits and constricts sex into a very narrow, ultimately hollow commodity, then good pornography should enlarge and challenge our ideas concerning sex and sexuality, finally doing justice to the rich sexual universe we live in. By refusing to cater exclusively to any one sex, gender, or orientation, by refusing to portray the sex act as separate from the deepest self, and by refusing the bounds of physical reality their puritanical reign over the limitless sexual imagination, Lost Girls has done precisely this. Even if it breaks a thousand taboos along the way, so be it: as a work of pure fiction, it could break every sexual taboo known to man and never hurt a thing.Perhaps this is the most important thing for us to remember in our estimation of this work, as exemplified by the speech delivered by Monsieur Rougeur during the hotel-wide orgy taking place in Chapter 22. Declaring our sexual imaginings to be “the palaces of luxury that all the policies and armies of the outer world can never spoil, can never bring to rubble,” he affirms the power of fantasy in the face of our most dire reality. Where the world of fact so often fails us, the possibilities embodied by fantasy remain, perhaps to guide our energies into a healthier, potentially cathartic future. It is possible to imagine a world where people are comfortable enough with themselves and each other to make love and not war, after all, but only if they are equipped to consider the possibility.Sources:

  • Alejandro
    2019-05-12 17:24

    A very complicated review to make.Warning: This book is for adults only.This hardcover edition collects the entire graphic novel “Lost Girls”, presenting the three volumes, with its thirty chaptersCreative Team:Writer: Alan MooreIllustrator: Melinda GebbieLetterer: Todd KleinWE’RE ALL MAD HEREI’m Alice.Oh, well. M-my name’s Wendy.And I’m Dorothy. Y’know, ain’t it just perfect we should all be friends?Alan Moore is the writer with more balls in the comic books’ business and the only comic book writer that can come out with such polemic book and not being attacked as a “dirty pornographer” but a “witty artist”.Alan Moore, only Alan Moore.Because after reading Lost Girls with all its greatness but also all its controversy, you can’t deny its artistic virtues.There are chapters, such like, “The Mirror” & “Shaking and Waking”, that they are indeed crafty pieces of art, merging narrative with drawing. Also, the book has a faultless format with chapters where each is made of exactly 8 pages, with 10 chapters per volume, in 3 volumes. I always like symmetry in a work. And talking about the materials of the the book: hardcover, paper, size, inks, etc… I have to admit that it’s easily one of the most gorgeous books ever published, in the genre of comic books (no wonder why it’s $45, but the resulted presentation is worthy).Lost Girls initially was serialized in the comic book Taboo (edited by Stephen R. Bissette (old friend of Moore since their days in Swamp Thing) and where, in that title, From Hell (also by Alan Moore) was serialized too. However, Lost Girls never was completed in Taboo and the collaborative team of Moore and Gebbie to finish Lost Girls was prolonged for 16 years (and resulted in the marriage of Moore and Gebbie, after he was left by his first wife and their mutual lover (yes, a complicated life). So, you can say that Lost Girls wasn’t just a work of sex, but also a work of love.Lady Alice Fairchild (adult version of Alice in Wonderland’s Alice, in her 50s), Dorothy Gale (adult version of Wizard of Oz’s Dorothy, in her 20s) and Wendy Darling (adult version of Peter Pan’s Wendy, in her 30s) meet in a hotel at Austria, a year before World War I. The three women recognized themselves as soulmates, having experienced unusual experiences in their teenage years, so they open themselves with each other in these threesome, to know everything about them.I think that my major complains about Lost Girls is its lack of point (beside the basic concept of portraiting classic children’s books’ characters from different tales, in their adult age, and interacting with each other) and its unnecesary lenght. You know, I read that Watchmen supposed to be only 6 issues (I figured more centered in the investigation of Rorschach (my favorite character there)) but DC wanted a maxi-series, so Moore had to include the heroes’ origins to be to expand the work to 12 issues, and while, obviously Watchmen is a masterpiece, I think that it’s felt that it’s longer that initially intended. And while Lost Girls may be possess its intended extension, I don’t think that it was needed so many chapters to point out such basic concept, since beyond that, the narrative hasn’t any other purpose, goal or (ironically) climax. In fact, there is a moment where this turned to be just uneventful chapters filled with sex scenes, unlike the initial chapters where you feel more ingenious interaction between the characters. And, of course, the main reason of all the controversy about this graphic novel, is due that the three main characters tell their own sex experiences while they are still teenagers. Everybody discover sex in his/her teenage years, but I guess that presenting that in such open way in an illustrated story, is one heck of fuzz. And playing Devil’s Advocate, I can’t blame those who may find awful those parts of the narrative, since after all, some of those scenes aren’t free of abhorrent acts that they are clearly legal offenses, and that's not good, not matter the reason, if there is any.PIXIE DUSTLike shoes, we try our fantasies on, yes? Sometimes they are too big for us, sometimes we outgrow them; they become too small. Too confining. Or perhaps they wear out; become dull, familiar, merely comfortable.I guess that while there are a lot of scholar studies analyzing the sexual allegories in classic children’s tales, one thing is reading about those hidden devices, in hypothetical scenarios; and quite other to have them in open way, without subterfuges, and with illustrations included.We read the tales when we were kids, and when we grow up, we want to get back to those stories, and that’s why those re-tellings are so popular since you can read about your favorite characters but with an adult-oriented angle. However, when the story turned to be too real, when the pixie dust is depleted, when the characters turned to be too adult, with needs too adult, well, no one can be blame if they feel that it was just a little too much.We want to know what happened with the characters after their original books ended, when the characters got older, beyond the yellow-brick roads, but sometimes you aren’t prepared for what you may find there.They are fiction characters for a reason. They aren’t real people. Characters are idealized, to the point to be put in pedestals. They became perfect in our minds. However, when fiction characters got too real, too human, they stopped to be characters and become people. And people aren’t perfect. You aren’t watching a reflection in a mirror anymore, but the true nature of people. So, you have to ask yourself if you really want to read about people or fiction characters. That’s why fantasy is such appealing, while reality can be awful sometimes.NOT KANSAS ANYMOREWar’s such a frightful perversion. It turns everything contrariwise.Make love, not war. If there is some way to simplify this massive work of Lost Girls, I think that’s that.Maybe you find having promiscuous sex like something dirty or wrong, we aren’t here to judge anyone (that’s God’s job), but definitely having war is far, far worse. And since this review has been quite challenging to write, I think that it’s better to leave it here.

  • Warwick
    2019-05-16 20:23

    Pornography, according to John Soltenberg, tells lies about women but the truth about men. But is that because the genre's inherently flawed, or just because everyone who makes it is so mediocre?Lost Girls is certainly an effort to say something truthful about women – as well as about men, adolescence, fantasy, freedom and common sense – but it takes you a fair while to get over the sheer chutzpah of using porn to do it. Is it brave? Is it justified?Is it…is it sexy?The premise is an interesting, almost Stoppardian, one. Three girls from classic children's stories – Wendy from Peter Pan, Dorothy from The Wizard of Oz, and Alice, of Wonderland fame – meet by chance as grown women, in a Vienna hotel in 1914. As they tell each other their stories, their childhood adventures are re-imagined as sexual coming-of-age tales, which all three of them find they still have to come to terms with in some way.Uncharitably, you could say this is a relatively flimsy excuse for three volumes of hardcore sex. Or you could find yourself wanting to cheer about the fact that someone's taking pornography and trying to do something interesting with it. And if this does have artistic merit (which it does by the way – in spades), does that make it somehow not-porn? Moore and Gebbie seem to have tried to stop anyone thinking of this as anything less: this can't be classified reassuringly as ‘erotica’. They aren't just dipping their toes in here, playing with some of the conventions. This is out-and-out porn. It's like they've rolled their sleeves up, and taken on every stereotype they could think of.We have boy-girl sex, boy-boy sex, girl-girl(-girl-girl-girl!) sex; sex with children, sex with parents and siblings, sex with animals; consensual sex and rape; sex oral, anal and vaginal; sex with toys. Sex in vast, pullulating groups. Sex alone.How much any of this turns you on will depend on where your tastes lie, but anyway turning you on isn't necessarily a high priority of Lost Girls. Working out what the priority is exactly is one of the many pleasures to be had here. The systematic way all of these set-ups are worked through in the book makes it seem almost parodic at times; but some serious effort is also being made to work out what artistic effect can be drawn out of a famously un-artistic genre.Visually, it looks stunning. Gebbie has gone to town in the most incredible way with the period, creating sexy Matisse take-offs, Victorian erotica imitations, parodies of Schiele and Beardsley, and erotic references to the original illustrations associated with these characters. All of this works well with Moore's approach to the material, which is to reinterpret the fairy tales as parables for adolescent sexuality. So the Lost Boys from Peter Pan represent a rich girl's view of the unbridled lust of the working classes; the wonderful wizard of Oz (who of course turned out to be a foolish old man) here becomes an examination of how a daughter outgrows her psychological attraction to her father.The wish to make all this fucking somehow more meaningful sometimes leads to some fairly ridiculous prose. Here's Alice describing an encounter during the famous first night of Stravinsky's Rite of Spring:I lanced my tongue in Mrs. Potter's anus, up and fast between the tropic lips into her beast-peach hole. Crowned hot with bronze, American girl heat rubbed shameless as a cat against my thigh. The smash of wet cymbals inside me as the maid surrendered to the sacrifice. I'm weeping.It's like a letter to Penthouse written by Sir Walter Scott. And the sex itself, however beautifully drawn, can get a bit fatiguing after three volumes of it.But that aside, you have to give Lost Girls full marks for ambition. Time and again it deliberately throws up challenges to you as a reader, prompting you to question every response you have to the material. Wendy, for instance, worries about the incest which characterises a book they're reading: isn't it wrong to be turned on by stuff which is legally and morally reprehensible?‘It's an…unngh…exciting story, but the children, doing things with…ungh…with their own Mother! I mean, I have…unngh…a son myself, and I'd never dream…unngh…never dream of—’‘But of course you would not, dear Madam,’ interrupts the hotelier. ‘Your child is real.’ This book is in part a defence of sexual fantasy, in whatever forms it comes. Perhaps some people might find that disingenuous, but I thought for the most part it was a rare blast of common sense.Moore also makes the most of the historical context. As well as Stravinsky, we have references to Freud (whose ideas are important to the book), and the imminent war is also significant. At the end of volume three, Moore shows us the trenches, and the stupidity of vilifying sex as compared to violence is left hanging with devastating effect.Particularly notable is the absence, or at any rate the dismissal, of the guilt which is such a conspicuous aspect of American treatments of sexuality these days. Wendy's story is particularly satisfying from this point of view. She has guilty fantasies about being kidnapped and raped by a strange claw-handed man who preys on local children (the ‘Captain Hook’ figure). When he finally confronts her in reality, she's initially terrified. But the downfall of Hook in the original story is here transformed into a kind of triumphant moment of self-acceptance on the part of his intended victim, as she stops running and turns on him:‘There was a moment when I suddenly saw everything, myself, the whole terrible situation, with perfect clarity. I could think about what I liked. That didn't mean I wanted it to really happen to me. That didn't mean that anyone could force it on me.’The worries, the excitement, the moral questioning, the confrontation with guilt: all of these things are experienced as much by you when you read Lost Girls as by the characters you're reading about. The Soltenberg quote I opened with has the following subtext: if you find porn sexy you ought to be ashamed of yourself. This is also the subtext of everything else anyone ever says about it. Isn't it nice for a change to read something whose message is ‘fuck guilt’?And if the subject matter bothers you, just remember: it's only a story. ‘Fact and fiction,’ reflects M. Rougeur, as he's being acrobatically fellated: ‘only madmen and magistrates cannot discriminate between them.’

  • James
    2019-05-07 17:11

    wow. um, i don't really know what i was expecting with this book when i first got it. i knew that it was by alan moore, the genius behind the comics/graphic novels watchmen, v for vendetta, from hell, the league of extraordinary gentleman, and many others, and i knew that it was a deconstruction of a genre like most of moore's work. in this case however, put bluntly as moore has in interviews requested it be done, that genre is "pornography," and lost girls is moore's attempt to "take it back," and to all kinds of intellectual places that aren't normally associated with works of that type. i guess i just wasn't expecting something quite so.....explicit? distressing? layered? to be honest, flipping through it put me off of reading it for a long time. when, recently, i read an interview in rue morgue magazine (a publication devoted to "horror in culture and entertainment") with moore, in which he discussed his intentions with the book, i decided to give it another shot.moore says that he really views the work as having very horrific undertones (which it does) and that in a way, it (and its subject matter) is based on fear, fear of "strange creatures alternately wonderful and scary," and the "worst and most ridiculous fears" one gender might hold toward the, what on the surface appears to be "smutty parodies" (what moore says he specifically didn't want to do), really turns out to be the stories of peter pan, alice in wonderland, and the wizard of oz (or rather, of their primary female protagonists) retold in an enlightening, frightening, disgusting, disturbing, and deeply metaphoric and layered manner. the parallels running through each of the stories, through humankind's story of maturation, through everyone's personal stories of maturaion, as well as through the era the stories are re-told in (all of it surrounds the opening shots of world war 1) are fascinating and rewarding. moore succeeds in making this book highly literary, intelligent, and challenging.the biggest issue to take with it, of course, is how graphic it is, (i could make a "graphic novel" joke here, but instead, i'll let it pass as best i can), which definitely makes the book not for everyone, and arguably not for most. but, when asked if the story could have been done in a "kinder, gentler" manner, moore's response, a perfect one to end on (as the interview in rue morgue did), is thus:"life can't be compartmentalized into genres. it's messy, it can't be separated, it's all going on at once. if we are well-balanced, then horror, sexuality, comedy, heroism and villainy - we are all these things at once, and that's what makes us human."

  • Alex
    2019-05-06 19:29

    We get it, Alan. You're a total radical. WooOOOoooOOOoooOO. I'm not shocked by this book, I'm just sortof bored by it.In case you don't know what this is: it's kiddie porn featuring lesbian sex between Alice (of Wonderland) and Dorothy (of Oz). See?! You were surprised, consternated and a little curious, right? That's what Moore wants you to feel! That's why he did it! He's just fucking with you. You know who writes lesbian sex scenes between Alice and Dorothy? Ninth grade boys. Because ninth grade boys are lame.

  • Grace
    2019-04-29 17:17

    I am no shrinking violet or prude. And I love a good comic book as well as a well written spin on a fairy tale. Therefore when I heard that Alan Moore had written erotica comics with Alice in Wonderland, Dorothy from Oz, and Wendy Darling from Peter Pan as the 3 main characters, I was enthusiastic. What a fascinating idea! Sadly, the reality did not live up to my expectations. I received all 3 volumes via Inter-library loan, and read the first one in its entirety. By the time I got halfway through the second volume, I had to close the book and quit. There are only so many ways one can have sex in a plotline before it gets repetitive. Not to mention that it seemed like all 3 of the women's first sexual experiences (their "supernatural" experiences were all explained as being their first sexual experience instead....Dorothy going to Oz was actually her first time masturbating, etc) were deviant or scarring. I won't go into details. Yes, naughty sex can be arousing, but it seemed like everything was in there for mere shock value.This book avoids receiving a rating of 1 because it WAS rather creative the ways in which Moore changed the original stories to make them sexual. And the illustration styles, especially the segments showing the book of erotica that the characters in the story are reading, can be delightful. But I definitely don't recommend it.

  • Sophia
    2019-05-24 17:26

    Sadly, a bit of a disappointment -- some of the art is beautiful, and I enjoyed some of the story, but overall it's a) too much porn, b) porn which doesn't really appeal to my sensibilities for the most part, and c) kind of sad to see all the magic of these girls' stories taken out and replaced with sex. I initially thought that sex would just be included, but, despite the cleverness of some of the shifts (Captain Hook is a dirty old man who spies on the Lost Boys' debauchery in the park? nice), I was left feeling sad, like something important had been taken away. Recognizing the thread of sexuality interwoven with these classic stories of lifechanging adventures for innocent girls on the cusp of adolescence is one thing, but taking away all the magic just sort of make the stories ordinary and uninteresting.

  • Brian
    2019-05-17 18:08

    I really wanted to like Lost Girls, in no small part because I love Alan Moore's superhero deconstruction and I'm an admirer of the comic world's ballsiest writer. But in truth, these books are filth, and no amount of sacrificing to Glycon is going to change that...Now hold onto your horse bestiality. I'm not one to blush. I'm not saying that these books are garbage because they include more genitalia per page than words. I'm fine with that, so long as the works stands.. erect on its merits. But it doesn't.At it's core, "Lost Girls" re-examines the "Big Three" of the childhood fantasies from the late 19th and early 20th Centuries. Baum, Barrie, and Carroll - if ever there was a more interesting group to trade dirty jokes with, I doubt you'd find it. Nobody could find sturdy ground from which to argue that these works are not laden with beaucoup sexual undertones, and for Moore to "go the distance" is an interesting and welcome take on the source material. But here's where it all goes Humpty Dumpty. Moore and Gebbie are so intent on their re-envisioning that they commit the unforgivable sin of adaptation: you cannot forsake the heart of your source.And the heart of these works is fantasy. It's escapism and adventure, magic and mystery. Are there all sorts of ways you could draw in parallels between these elements and the sexual awakenings of the characters? You bet! Would that make an awesome story? Probably! Do Moore/Gebbie do it successfully? Nope!Instead, the sex supplants the fantasy, and in doing so destroys 90% of what is great about the Big Three. All that's left are some clever associations and unexpected twists on familiar personages (Captain Hook, Tinker Bell, Scarecrow, etc). It's ironic, because Moore is a "ceremonial magician" (whatever that means) and so he should have enough respect for magic to leave it in when it works! He should have some inkling that to remove the wuzzy line between fantasy and sex and attribute the entirety of the exotic adventure in these wonderful stories to puberty-flamed dreaming is just not doing your predecessors justice. Yes, sex and fantasy are eager bedfellows. Yes, you can talk about sex fueling fantasy. No, they are not totally interchangeable.The art earns my particular scorn, mostly because it needed to be something extraordinary, a perfect blend of styles that left you unsure where the fantasy was going to take you. (Ya know, like a sexual awakening? How about letting the art inform the themes?) I found it offensive, not because of what it depicted, but of how and why. I do agree with some of the opinions of other reviewers that there was "too much porn". I think Moore could have nailed this with a little more restraint - a little more care for when a scene calls for a phallus, and when it doesn't.I was disappointed with this series. Moore has been very vocal about elevating pornography in the public estimation; moving into an era when porn is a legitimate art. I'm willing to entertain that notion, but "Lost Girls" is an argument in the wrong direction. It leaves porn right where it found it, which is to say the Victorian gutter.

  • Keely
    2019-05-08 13:06

    I don't always find my life story within the pages of fiction but there are three occasions when I did, and Alan Moore's graphic novel erotica Lost Girls was one of them.This was quite a peculiar work as a whole, considering Melinda Gebbie's candy-colored illustrations could easily be a part of a children's book; but I suppose this choice of art style was deliberate because Moore's sensuous writings on sexuality and hedonism were deeply contrasted yet incredibly enhanced by Gebbie's art. It also seemed only appropriate to use such an art style, considering Moore used three of the most famous and well-loved child heroines in fiction: Alice of Alice in Wonderland/Through the Looking-Glass, Wendy of Peter Pan, and Dorothy of The Wizard of Oz. With these recognizable characters, Moore weaved a trinity of intricate expositions; where each of his heroine shares her most heated encounters, most depraved indulgences and most mournful losses in the course of their childhood, adolescence and adulthood.There have been analyses on the thematic and psychological aspects of Lost Girls that I've read online. One discussed the Freudian concepts of Id, Ego, and Super Ego that these three women represent. Another drew comparisons between Dionysian and Apollonian and its dichotomy present in the characters. But my review will not touch upon that because I can't claim that I have an expert knowledge on such subjects (but I am more than willing to write an academic paper about Lost Girls someday).Like most of Moore's work, Lost Girls is intellectually stimulating and written with layers of symbols and interpretations which makes it an irresistible literary piece to analyze for someone like me, and an enjoyable if not quite arousing read for a casual reader. The idea that child heroines from stories we grew up in are interpreted and portrayed as sexually engrossing vixens who engage in various roleplays as freely as they wish sounds like a bad fanfiction for deviants and perverts, but Moore's caliber as a writer makes his versions of Alice, Wendy and Dorothy more than just desirable in flesh. He used their sexual escapades as a piercing examination of their damaged or repressed psyches. Therein lies the eroticism of Lost Girls. It not only engages our senses but also our minds and spirits. The story was set in a hotel where these three women are staying in. The deliberate depiction of the place that somewhat resembles a doll house is yet another symbolic visual that emphasizes Dorothy, Wendy and Alice's youth as readers are taken into their respective accounts of their very early sexual awakenings. We get to know Dorothy first, in all her fiery, passionate and self-indulgent encounters with suitors and her own kin, and we cannot look away because they are exciting tales of lust and taboo relations. Truly, Dorothy's ready availability and omnisexual inclinations are the most obvious depictions of graphic sex. Her purpose in the narrative is to embody raw and unadulterated sexual energy. Her panels are sunny and wide in length, emphasizing her larger-than-life personality and the warmth of her supposedly normal home life.Meanwhile, as a grown woman, Wendy's repressed sexuality represent her stifling Victorian upbringing. But long ago, she encountered the boy-prostitute Peter and his sister Tinkerbell when she was only twelve years old and was fascinated by his exploits and he then invited her and her brothers to play with them. While indulging in their afternoon delights, they are stalked by the deviant Hook who forcibly tries to take Wendy for himself but fails. She and Peter drifted away afterwards, and Wendy then learned to suppress her carnal desires, seemingly cold and aloof with her husband who is at least ten years her senior. Wendy's secrets are revealed when she stumbled upon a tryst between two women. One of them was Dorothy, and the other was a woman in her fifties but a shrewd and imposing elegant figure. Her name is Alice Fairchild, and she easily seduced the vibrant Dorothy as she also challenged Wendy to come out of her shell.Alice was molested by a man she called the White Rabbit, and to recover from the trauma of that abuse, she began to disassociate her sexual core with that of her rational mind, dividing herself into who she is as a person of flesh and the girl she sees in mirrors--her darker reflections. Alice attended an all girls' boarding schools and started engaging with other girls until she met an older woman (who emulates the Queen of Hearts) and under her tutelage, Alice embarked on orgies among several types of women. Her lesbianism might be a by-product of her sexual abuse in the hands of a man, but Alice's orientation and preference towards the fairer sex is a narcissistic release; she loved herself above anything else but could not heal properly because of the trauma of her earlier sexual experience. She began to see men as creatures to fear and be disgusted with, all the while being oppressed by women who have used her in terrifying ways.Once Alice freed herself from these clutches, she in return and with Dorothy's assistance was able to set Wendy free from her own prison. As a queer woman myself, I related very strongly to Alice. Her sexual exploration was the most intimate and self-centered, and I find myself both heartbroken and aroused by her experiences. Her panels are oval mirrors you can gaze into--an echo to the original Caroll stories--and they reflect nothing but the ugly truth.It's easy to see why the concept of Id, Ego and Super Ego was written in the analyses among the dynamics of Dorothy, Wendy and Alice. The last few pages of the three of them finally able to embrace and recover from the mistakes of their girlhood were astounding. Once the afterglow spell was broken, the three women have transformed into transcendental beings. Dorothy can go back to enjoying the pleasures of her future encounters with men, Wendy will now be able to fully give herself to someone who deserves her passions, and Alice can continue experimenting without losing portions of herself in the process. This ending is my own interpretation for Lost Girls remains ambiguous to the very end. Nevertheless, it is a searing look at female consciousness and sexuality, and I highly recommend this because it's also an eye-opener and a decadent story that will surely stimulate your other parts as well.RECOMMENDED: 10/10* Exquisitely intellectual despite being visceral in presentation

  • James Payne
    2019-05-06 16:24

    Great, I think, because I see Lost Girls as presenting inherent conflicts regarding views on sex from "The Left." Like the hotelier, the book seems to endorse an anarchic view by celebrating sex in all its various forms, deliberately transgressing against societal dogma - whether that's "be monogamous," or "don't jerk off a horse." But then, as Wendy, Dorothy, and Alice's stories devolve, you realize that their fantastical, dream-like sexual awakenings were also incest, abuse, street-hustling, rape, and sex trafficking. This seems to validate P.C. left, consent culture, which seems in direct contradiction to hedonist/anarchist, or New Left/free love views (safe sex leftism vs orgy leftism). I feel attuned to this disjunction in leftist rhetoric since many people in my social circles have espoused one framework or another, sometimes at the same time. Maybe they're eternal complements in a way beyond my understanding - I, too, feel both. Moore is good at narrativizing coping mechanisms for traumatic sexual experience, for example Alice's disassociation and fixation on her childhood appearance, or Wendy's absolute repression of her sex drive, in fear of going back into the street-sex Spinney. In my late-teens and early twenties, I often argued for sex as a freeing act, and as an experience that can bring people closer together, probably in retaliation for a sexually repressed upbringing. As I get into my late-twenties, I am beginning to see relational and behavioral cycles emerge in myself and my friends that I was too ideological and naive to understand or accept previously. Seeing repeated traumas - a big part of Lost Girls, ad nauseum really - or repeating dysfunctional relationship models learned in childhood, has changed my opinion on the pure utopian potentialities of sex. I'm no longer stridently in favor of sex: sex is good and bad, sometimes within one act, or one relationship. That might seem obvious, but I've never been good at seeing grey. I had the fortune to not be forced into patterns of sex until I was ready to be, which many people do not. Lost Girls picks out these experiences and subtleties within its endless morass of porn and genre-deconstruction (Tijuana bibles/fanfic/Belle Epoque everyone), and connects the individual's sexual awakening to the dawning of the modern age in The Great War. That this post-modern book looks back on the deflowering of Europe/modernsim and criticizes the ancien regime class structures and social properties while endless reiterating its beauty - "the summer of 1914 was said to be especially pleasant" - seems a fitting echo for a story recalling lost virginities. But it's a metaphor that is beaten over your head with foreshadowing ("Seems an Archduke is in town...")I have always been drawn to Moore's shtick: political themes cloaked in genre-play and cultural appropriation, plots that fold into themselves, allusions, etc - it's nice.

  • Jerry Jose
    2019-05-23 19:16

    Basically porn.For no reason whatsoever, at least none that I can comprehend, the story of Lost Girls is set in and around an Austrian Hotel, next to one of the most iconic event of 20th century – Gavrilo Princip taking out the Archduke Ferdinand. Maybe an inside joke on people who say, these things doesn't demand a compelling premise. Plot follows, explicitly and quite graphically, the sexual adventures and experiments of fictional versions of three already fictional female characters- Alice, Dorothy and Wendy (Alice in Wonderland, Wizard of the Oz and Peter Pan respectively). Story line is more or less a sharing activity in retrospection, by their adult selves, at the wake of WW1, aided with artful renderings of their past adventures. Narrative is layered, with definitive visual layout and writing elements for each character. For example, through most of the first book, Alice story line was represented via the looking glass, woods(and her shoes) were a recurring theme for Dorothy and for Wendy, everything around her were a bit Victorian. (Also their first encounter with adventure was interpreted as their sexual awakening.)Then there is sex, lots of it, in all imaginable/unimaginable permutations and combinations. And, in its entirety, art is not the kind that our teenage self would have loved a peek, or adult self would find erotic (though, many are), but the kind that exhausts you as a reader. Its unapologetically provocative, artistic and didactic, but the prolifically barely complimented book's plot. I put genuine effort in understanding the nuances in book 1, but by the next installment, the graphic nature transformed my reading into skimping and eventually skipping. By the last book, so called plot felt more like an excuse to slide show the remaining erotic sketches, that Moore and Gebbie had already crafted.I don’t know where porn stops and art begins, or whether a distinction was even intended here in the first place. Anyway, whatever be the reasons – plot, art, expression, experimentation, provocation, shock et cetera; Lost Girls is quite literally a ‘graphic’ novel where pervaded perversion overshadows all other elements.

  • Huan-hua
    2019-05-12 15:33

    "I know it when I see it"--this could equally well be said of this piece as porn and as art. I read an excerpt from this (Dorothy's first Oz story) in a comics class in college, and thought it was great. But when I picked up the entire 3-volume set from the library and read it through for the first time, I realized that the story chosen was one of the more subtle and skillful parts of this collection. The reframing of these stories in a sexual context really started to feel ham-handed after a while. It was definitely interesting overall, though, if you can get past the total, numbing overload of taboo sex, and if you have enough of a grounding in art history to appreciate the visual allusions Gebbie makes along the way to Beardsley, Schiele, Matisse, and the literary allusions in the Hotel Himmelgarten's White Book... (I don't have enough background to pick up on every allusion, though, honestly.) Two interesting points stuck in my mind after reading this: 1) where Wendy was reading the White Book and talking about how the child incest portrayed in one of the stories would be horrifying, disturbing, awful in real life, but the idea of it in pornography was terribly exciting. I found this repellent yet thought-provoking in the larger context. 2) the ending scene of the book, the dead, emasculated boy in Flanders Fields, and the great red bloom of the poppy. I've been thinking about the layers of symbolism aside from the question it brings up about obscenity--why sex is considered a worse taboo than violence. Is it the final self-acceptance and flowering of the sexuality of the Lost Girls against the backdrop of the Great War? There are the three female main characters and their "we don't need a man!" lesbian orgies--is the poppy an O'Keefeian yonic symbol presiding over the emasculation of the men in this book? Then there's the opium smoked by Alice and Dorothy, and the significance of the poppies in Dorothy's past. Anyway, it's an interesting read overall, but I definitely wouldn't recommend it over Watchmen...

  • Vanessa
    2019-04-28 19:08

    It has taken me a while to write this review, because it has taken me a while to figure out how I felt about Lost Girls. My rating of three stars is a compromise between two factors: For the years of thought and effort Alan Moore and Melinda Gebbe put into this opus, I felt they deserved four (and in places, five) stars; however, my enjoyment of the work only merited two (and in places, one or zero) stars.I was already a fan of some of Alan Moore’s previous work (particularly The Ballad of Halo Jones and V for Vendetta), so when I heard about Lost Girls, his goal in creating it, and all of the controversy surrounding it, I thought that I just had to read it. However, it is potentially lethal for any work of art or literature to be surrounded by hype, and I’m afraid too-high expectations may have weighed in more than a little with regard to my overall impression of this work.As anyone who has an interest in this work will know, it is a pornographic re-telling of the stories of three famous ladies of literature: Dorothy from The Wizard of Oz; Wendy from Peter Pan; and Alice from Alice in Wonderland. I thought the stories of Dorothy and Wendy were well done (and in places quite clever). However, I found the story of Alice to be extremely long and tedious by contrast. In fact, boredom was my almost constant companion while reading of the numerous random couplings and orgies filling the pages, though in one section, illustrated in an Aubrey Beardsley style, boredom was kicked out by utter revulsion. I also have mixed feelings about Melinda Gebbe’s artwork – finding it to be beautiful in places, and messy and childlike in others.Hardcore fans of Alan Moore and/or erotica might get a lot out of this work. From a purely personal perspective I cannot recommend it, but neither would I dissuade the curious from reading it. Not unlike intimate activities between consenting adults, this book is something about which each individual should make up their own mind.

  • Justin
    2019-04-27 18:34

    If you're not at all a prude (in any way shape or form) then you might enjoy this book. Instead of "book" in the last sentence, I accidently wrote "movie." I dont know what that means. Maybe that it was so well done that it was almost a cinematic experience? Hmmm.. I read this over the span of 3 days so I wouldnt get burnt out on it and I think that was a wise choice. At times I sat reading this oblvious to the world. I finished it a few minutes ago and I'm still kind of lost in the experience, digesting the various (moral and immoral) messages.Yes there are a lot of boobs and vaginas and wangs and taboo sexual scenarios (hence you shouldn't be a prude while reading it or else you will eschew it) but I would say that I didn't get aroused as much as I thought I would. I think because the book was less pornography but more literary.The real delight were the interpretations of the characters adventures (Alice and twiddle-dee and dum, Dorothy and the Tin Man, Wendy and Capt. Hook, etc.) into sexual encounters. It was brilliant like many things Alan Moore does. While I dont like to deify him or others, he and the artist masterfully walked the fine line of obscenity and art and came out the otherside....successfully.Aside from the content, the books were beautifully put together with excellent paper stock and with an amazing slip cover. Class act.

  • Punk
    2019-05-11 19:36

    Graphic Novel, literally. Alice, Dorothy, and Wendy meet up in a hotel in Austria prior to WWI, have a lot of sex, and recount their experiences as children, but instead of the stories we're familiar with, we get a sexually skewed version of events. I just don't know what to think of this. For now, my thoughts during the final volume: God, not more sex. I am so bored. OH MY GOD, DOROTHY GALE, WTF? Yes, yes, more cunnilingus, whatever. Yes, we all have strap-ons. Yes, Alice, someone's fingering you, please stop interrupting yourself to be surprised about that. Nice hot pink pirate pants, Wendy. God, this is boring. Is it over yet? Good thing I took German in college. Wait, who's this dead dude? THE END? What the hell?The writing was kind of awful, full of egregious puns and heavily didactic in places, but I liked (most of) the art, especially the way it changed to reflect each girl's story; I absolutely loved the shadows and silhouettes in Wendy's tales.The main concept of the book (the girls' stories rewritten as their sexual awakening) was promising, but there's a lot of chaff in here; the framing devices -- the hotel, the pornographic White Book, various people's correspondence -- are tiresome, and all the boring, repetitive sex the women have is, you guessed it, boring and repetitive. I might have liked their stories more if they weren't surrounded by so much proselytizing and random Stravinsky. (Not only did Lesbian orgies cause World War I, they were also responsible for the riot at the premiere of The Rite of Spring. Apparently.)Two stars: The sex is only occasionally sexy and I didn't care about any of the characters. I don't know what Moore was shooting for (beyond the obvious message that pornography shouldn't be subject to moral judgment), but that probably wasn't it.

    2019-05-01 19:29

    Reading some other folks reviews of this made me kind of realize just how important this type of literature is. First of all, it's not porn, it's an attempt to tell a story that revolves around sex rather than violence. Last time I checked, violence is illegal and everyone has sex. And yet every kid in America witnesses something like 300,000 simulated murders on television by the time they're 11. I didn't once have the urge to jerk off while reading this. It maybe got me kind of hot to watch actual porn or fuck my wife on a few occasions. Good times. Anyway, the first two books were amusing but somewhat tame and then in the third book he goes completely off the deep end, which I'll have to admit, I didn't see coming at all. Sister fucking, brother fucking, mother fucking, father fucking, bisexual opium whoring, pegging? Yeah, it's all covered. I kind of wondered where in God's name he was going with that, but it all wrapped up well. The point he was trying to make as far as I can tell is that even our darkest, weirdest, and creepiest consensual sexual fantasies are less disturbing and destructive than our mildest of violent ones. I'm not sure if there's a more important point that can be made in our world today. The fact that it offended so many people here or turned them away from it kind of just proves that point. People getting their heads blown off would be fine, but you know, how dare make your story revolve around sex. It was supposed to weird you out a bit and in doing so make you question: why exactly did that weird me out? Why indeed.

  • Vanessa Wu
    2019-05-05 13:23

    I have just remembered that I promised to write a review of this in my review of 25,000 Years of Erotic Freedom.This book moves me in a very personal way. I see it as a love story between Melinda (who drew the pictures) and Alan (who wrote the plot.) I think the collaborative effort was far-reaching and I wonder at it every time I pick up one of the three volumes that make up this amazing book.I don't know if they are still together but I certainly hope they are. What a beautiful gift to the world their love has produced.

  • Antonomasia
    2019-04-26 14:13

    Blah blah controversial blah. There are loads of other reviews in which you can read about that aspect of Lost Girls. It’s probably obvious to most people on my friends list which side of the debate I’d be on and so here I’d rather just talk about what I thought was good and not. (Very late to the party here – quite a few friends had copies years ago, but as with Alan Moore comics in general, people were reluctant to lend them to anyone. I later became wary of it because technically some of the contents became illegal in the UK in 2010 – but it appears to be a tacit exception because it’s still sold by mainstream booksellers; possibly it’s classified as art although it does identify itself as porn.)And this graphic novel is silly like porn is silly (it does deliberately identify itself as porn): every occasion is an excuse for sex, the likes of room-service staff are jumped on and welcome it (much of it’s set in a hotel where the three main characters happen to meet as adults in 1914), and generally if anyone’s not sure at first they are very soon afterwards. It’s working to a different set of conventions from literary stories – those of mainstream pre-gonzo porn films, the shagging-the-plumber sort of thing. It didn’t, as I assumed it would, take the original stories it’s based on (Alice in Wonderland, The Wizard of Oz and Peter Pan) and simply put sex in them – it rewrote them in such a way that the original environments and events seemed like symbols for the main characters’ early sexual experiences. This worked best with Peter Pan, because it has a fairly obvious sexual / romantic undertone between the main characters anyway. The idea of Captain Hook as a flasher and sex offender also fitted very well. (Though the story could have done with Tiger Lily as a real character, not just a dress-up costume. And I didn’t like the way grown-up Wendy looked so severe.) Whilst I really liked Moore & Gebbie’s characterisation of Dorothy – she’s so sweet and enthusiastic, regardless of her filthy adventures - her back story, a series of seductions of various farmhands, wasn’t as inventive as the others and more could have been done with the original IMO. Alice’s story jarred slightly in the narrative, because experiences of abuse which were clearly presented as traumatic for the character, complete with dissociation, appear in a narrative which otherwise is a straightforward sort of porn in which characters enjoy themselves without consequences. (Maybe I expect it to be either ‘porn’ or ‘a story of the characters’ sex lives with the bad bits left in’ plus possible commentary on Victorian / Edwardian hidden sleaze, rather than the mixture which it is. Sex is often liberating in Lost Girls, but not always; it's still a somewhat complicated force.) Some of Alice’s young-adult experiences (kept in the household of a dissolute society lesbian, a corollary for the Red Queen) are also rather similar to episodes in Sarah Waters’ Tipping the Velvet.I thought there was quite a pointless amount of incest in the various stories where it wasn’t relevant. (I know it’s a very common motif in porn because of the taboo, I’m just one of those people it does nothing for and who thereby doesn’t quite get it. In the case of the main characters it creates possible interpretations of all of them as victims, which is unwelcome, and which seems antithetical to the sex-positive ideals of the book.) Several of the storylines would have worked just as well – better to some of us - if characters had been unrelated, or just cousins which would have been quite common at that time (e.g. Annabel/Tinkerbell and Peter). In some instances it was possible to forget about it or just mentally rename/derelate characters, as the writing was otherwise pretty good or even occasionally somehow transcended that aspect. The authors present some argument in the narrative (quite meta) accompanying the characters’ reading of some late Victorian incest-porn: “It is a crime, but this is the idea of incest, no? …It is quite monstrous, except that they are fictions…Fiction and fact, only madmen and magistrates cannot discriminate between them…if this were real, it would be horrible…but they are fictions. They are uncontaminated by effects and consequences. Why, they are almost innocent.” (With clear and habitual understanding of the consequences from other sources, a very occasional narrative without them is surreal.) Yet one of its most potentially powerful arguments is left less clear by being presented only in pictures: the panels of the dying soldier in the trenches in the last pages. Evidently it asks the question why so many people consider it okay to present war, violence and killing as glorious and/or fun, whilst considering various degrees of sexual activity (legal or otherwise) not okay, or damaging if shown in similar ways. I wasn’t all that keen on Gebbie’s main art style in the narrative – though it does have a good way of showing the squashiness of the human body – I prefer more clearly delineated pictures and I did like many of the drawings when the outlines were sharper. (Surely it is the case with comics that such a large number of drawings are produced that it would be impossible for all to be perfect, and that there would be no panels in which characters don’t have odd faces, for instance.) There are so many styles in here though and that’s what, cumulatively, is impressive, to produce and pastiche all these. Her Art Nouveau style pictures were particularly lovely and detailed. The messy haziness of the predominant style worked beautifully, however, in the elegiac scene in which characters have an opium-fulelled orgy on an island (complete with colonial imagery) at the same time Duke Franz Ferdinand is shot: also the loveliest writing in the book as a world slips away for ever. And the spell was broken, just like that. As we came to ourselves we noticed how cold it had grown, a winter breath insinuated in the grass that paled the flowers and slowed the hearts of dragonflies. Something had changed. A certain inclination of the light, a shift of pressure in the air. Without the burning armour of our lust, I’m sure we all felt naked then. Three goose-fleshed women in a wood, suddenly awkward, unsure of their grace, abandoned by desire. Something quite glorious was finished with for good.A season turned.We hardly spoke, returning to the boat.The sun had all but gone, leaving a somber, elegiac light towards the West. No birds were flying overhead…There were no birds to fly.

  • Kris
    2019-05-04 21:08

    Alan Moore is definitely one of the most visionary comic creators of our time and Lost Girls is no exception.A blend of the fantastic, fable and erotica it weaves a descriptive story of three fairytales we know and love. We follow Alice, Wendy, and Dorothy as the recount their past along with a vary multitude of sexual encounters that shape them into the women who we meet at the beginning of the book. The book is rich with descriptions and alive with vibrant pictures showing in explicit detail the escapes of the women who have come of age.

  • Casey
    2019-05-02 15:12

    I have no problem with porn - as long as everyone is legal and consenting and earning a decent paycheck, let’s all get down with our bad selves. And in my juvenile days of becoming such a super-awesome sex-positive person, I thought I was very cool to bring up sex, very specifically, in inappropriate situations. Shock me, shock me, shock me with that deviant behavior! Since then, I’ve learned. Sex is something everyone does in their own ways, and everyone has their own secrets and deviances behind closed doors. The people who shout the loudest against gay marriage are fucking the poolboy while on meth; the same people who ate up Twilight’s Mormon sexual abstinence are now buying buttplugs and ballgags because of 50 Shades of Grey.Alan Moore, in his Monster House deep in Crazywoods Mountain Forest, never got the memo that we’re all pretty open now, or even the memo that Anne Rice was born, and aims to do the same thing for fairytale princesses that he did for the superhero mythos 30 years ago. I understand he and his wife, Melinda Gebbie, started this book in the early 90’s, before the internet was really a thing, and when Bill Clinton had barely been president, and they didn’t want to let all that work go to waste. But, man. This is the sort of book I would’ve found brilliant at 19. (“See, they’re having a really boring conversation in the foreground, but against the wall, their shadows are fucking, man! If you don’t get it, it’s because you’re a PRUDE!”)There could’ve been something here, which is the big shame. Alice, Dorothy, and Wendy gathering together at an Austrian hotel on the cusp of WWI. Rephrasing their fictional adventures as sexual awakening of three young women around the globe. Written by Well-Respected Comic Writer Alan Moore, with art by Feminist Artist Melinda Gebbie. So why is this so terrible? Is it the art, which seems to be evolving, and yet never getting better? Is it the distinct lack of subtlety? Is it that it’s so concerned with shocking and titillating the audience that all characters are constantly having sex? Is it that it takes itself so damn seriously as a Work of Erotic Art while sticking to the same old sexual tropes about women, such as Alice being a lesbian because she was raped by a man? (Her eventual awakening leading her to understand that women can be just as cruel as men, and eureka! Maybe she’s not a lesbian after all!)An example of the subtle prose and art (at the start of book 2, narration by Wendy’s husband, writing a letter to his boss about the women in the hotel):“Sort of chap who pays attention to clothing. Very commendable.” [CU of Dorothy’s beau, Rolf Bauer, masturbating onto her shoe]“Military life has so many drawbacks.” [Dorothy draws back her nighty to sit on Rolf’s face as they 69]“Having to start at the bottom.” [Rolf’s face next to Dorothy’s bottom]“All that spit and polish.” [Dorothy with a mouthful of Rolf]“I mean, the international situation being what it is...Things could blow up in our face at any moment.” [If you need a description of what’s happening in this panel, perhaps you’re the audience this book seeks. In other words, he comes in her face. GET IT?]Art and pornography by all means are comfortable bedfellows. They are both meant to elicit a reaction from us, to dig deep to the core of our humanity. They can be dressed up in finery, showing off our most idealized imaginations, or they can be crudely real, holding the mirror to life as it is. Art can be pornographic. Porn can be artistic. It is when one pretends to be the other that it is truly dirty.

  • Joshua Emmons
    2019-05-11 18:33

    First a warning (or an endorcement! You know who you are...): This book is porn. Not romance. Not erotica. It's flat out porn. It's porn with a plot that's intriguing enough that I, at least, tend to focus on story rather than the naked folks licking each other, but the fact remains this book is sexually graphic. Sex is not alluded to or used as an allegory. Sex is explicitly depicted. And not depicted because it naturally would have come about or in way might be considered "proper". No, this is sex for sex's sake and it is full of kink.There. So, sex aside, what do I like about these books? First off, it'sAlan Moore and, let's face it, he's way smarter than any of us. His stories are pretty much guaranteed to blow your mind, and this one is no exception. He's one of those rare authors that rewards the careful -- I might as well say obsessive -- reading of the work. Each chapter, though only a few hundred written words, is so layered and filled with subtext that one could easily revisit it twenty times, still finding something new. It took Mr. Moore nine years to write Lost Girls. It shows.Second, and I'm not really sure how to express this, but the story seems to operate on some level that my brain is just not accustomed to. It manages to be mentally stimulating, but not quite physically arousing. While I'm willing to call this a win for the novelty alone, it also makes me think that, given what I've gleaned from back-issues of Glamour, this is an ideal type of pornography for women to enjoy. Indeed, Moore's artist (and, later, wife) Melinda Gebbie reportedly worked tirelessly to nurture and enhance this aspect of the book. Her subtle use of colors to telegraph emotions and memories is really something you have to see to understand. If you're a woman, enjoy this book! If you're a man, use this book to catch a glimpse of what you're missing.Finally, I find the characters irresistible. Without giving too much away, the book is based around the lives of three women named Dorothy, Wendy, and Alice. If you think back, I'm sure you can recollect three other girls from your childhood with the same names. Those of you who know me know my love for re-imaginings of old fairytales is second only to my love for porn. Thanks to Mr. Moore, I can now have that particular cake and eat it. Grand!

  • Yasiru (reviews will soon be removed and linked to blog)
    2019-05-05 16:19

    This is a singular and remarkable attempt at 'reclaiming' pornography (and not, it should be stressed, more tame erotica), and one which, to my mind, more or less achieves that purpose, however unlikely the mould is to be readopted. Going by other reviews there seems a great deal of concern over the explicit nature of this work, each case duly prefaced with all manner of preemption that the reviewer is by no means a prude and has no problems with pornography, but this detail manages all the same to obscure the fact that what elevates this work to a special place (if one within its chosen confines) is that it is about the tension between the facades of the day to day and the fantasies and yearnings which slumber wasted or are simply lost, and how individuals hide the existence of the others along with their pulls while embodying the acceptable, and what happens when they no longer can or have to.It is this tension that's being communicated in Lost Girls when something suggestive is said or done or simply left to the reader's observation, rather than a gratuitous, slyly winking set of attempts at shock. Of course, when such tensions collide with those of others and are allowed to break, the fantasies escape vividly and very much decadently, clinging on with desperation as though to reassert bygone time. Artistic aspirations and rigid, gender politics appeasing messages are not made the business of the novel as it revisits familiar past vistas and recasts them with the conceit of offering the memories not only to the reader but also to each of the three protagonists who have dreamed through their lives to arrive at their present (strongly historically rooted) meeting point. As easily as that, the 'fantastic' undergoes a transformation and becomes, just as pervasively but more pressingly, the sexual. The artwork keeps pace very well with the story and its range determines the success of a few key sequences. I would recommend it for those willing to sample a 'supposition', or a 'prototype' of pornography, not as tightly concerted as one would like and perhaps also not as enjoyable, but fascinating all the same.

  • Artnoose McMoose
    2019-05-08 19:32

    Two disclaimers:1. I was on the wait list for this from the library for a solid year.2. This is porn. Don't read it if you don't want to read porn. I was surprised at how many people gave this three-volume set a low rating because of how much sex there is in it. It's porn.The premise of this book is that on the eve of the first World War, three women check into a fancy European resort and have a wild time telling each other sexy stories and then having sex with each other (and other people). The stories loosely follow those of the Wizard of Oz, Alice and the Looking Glass, and Peter Pan. This is probably the most clever part of the book. The artwork is very good, as you'd expect. My mind wasn't necessarily rocked though. Was I engaged in the story enough to read all three volumes in one sitting? Yes. Did I masturbate afterwards? No. I don't know--- maybe I can't get too excited about drawings. Also, in true comic book form, they have sound words near actions, and I don't find it particularly hot to have "SLURP!" (or some such thing) embedded in a drawing.And of course, I can't review anything sexy without peering at it through the consent lens. There are definitely situations in these books that I would not call consensual, and there's also sex with kids. However, they are drawings, and not real life, a point that the creators make within the book itself. During a scene in book 3, a group of people are having an orgy while reading an illustrated story about parents having sex with their kids. One character (in the orgy) complains about how dirty that is, and another character makes the argument that it's a story. There's no such thing as consent because the people in the book are characters on a page.This is always a sticking point with me. I have been wrestling with this question for many years. Does portraying messed up situations in any kind of media necessarily promote similar situations in real life? There are certainly two sides to this, and I really can see both sides.

  • Rachel
    2019-05-13 16:34

    Oy vey, I need to stop picking up books just because they involve Alice in Wonderland. Basically an excuse for porn, held together by an extremely flimsy plot. Even in the context of Alice, Dorothy and Wendy's sexual awakenings, it all seemed rather pointless. They sleep with each other, while telling the "real" stories behind the legend, which usually involve more sex and/or rape. I'm certainly not a prude, nor do I have a problem with sex/rape in a book, so long as it furthers the plot and provides some kind of character development. There was no plot to move forward, so it all seemed completely gratuitous. I've always found Alan Moore to be a pretentious dick. Sometimes it works (Watchmen, V for Vendetta), and sometimes it doesn't. This time, it definitely did not work.

  • Morgan
    2019-05-11 15:32

    I am going to say Lost Girls was an oddly wonderful graphic novel. For those who want to call it porn, go right ahead. In my opinion, I think those who call it porn are degrading this book. I think of this more as erotica or a work of art. Yes, there is a ton of sex within the pages of this book and yes, it gets very graphic at times, but I think calling this porn is totally missing the point of the book. If you think this is porn then it sure has a lot going on for a simple sex story. It is actually smart if you read between the lines.I will be honestly I was afraid to read this comic book with all the sex. It has been on my list for a long time though. I love Alan Moore and the things he creates. The weirder the comic, the better I like it I find. Lost Girls had a ring of League of Extraordinary Gentlemen and his Promethean. The biggest reason I wanted to read this book was the fact used the stories of Alice in Wonderland, the Wizard of Oz, Peter Pan. Like the LXG comic books. It is like Promethean in the fact the art changes in each chapter, making it seem like there is several artist when there is only one.The plot of the book is a “what if” type of story. What if Alice, Dorothy, and Wendy meet each other for the first time? Alice is now an elderly woman who serves as the wisdom for the group, Wendy is a middle-aged woman and married to a prudish man, and Dorothy is now a young adult out exploring the world. They are no longer children trapped in fantasy worlds, but women with deeper desires and questions. It is the start of the First World War, they meet in Austria at a hotel where they tell stories of their past while exploring there sexual needs. It is all fun and games until the Archduke Franz Ferdinand and his wife Sophie are shot.I love how Alan Moore a Melinda Gebbie work together on Lost Girls. For Moore, this book is fairly easy to follow, unless you go down the rabbit hole and focus only on the sex. It is interesting how Moore writes women in his stories too. Usually there are very few, but they are usually the strongest compared to the men. Look at Mina form LXG or Silk Spectre from Watchmen for example. Unlike his other books, I did noticed a slight feminist side to Moore's writing, especially towards the end where the women were praising Alice for not having enough men in her life. I do wonder if Moore did this because he was working with his wife.The other thing about this book that surprised me was how it was intellectual. All I kept hearing about was the sex and controversy behind this book. No one bothered to go into the style of the book or how this was not just a story about sex. It rather shows me that the world still shames anything that involves sex or they put it down. Yet, when people like me read this kind stuff, I also see that it is about religious and moral questionings, social class, literature, the arts, history, realism, insanity, and loss of childhood innocence.The other part I liked about this book was how Moore wrote each character form each story using a non-fanatical element to them. In the Alice in Wonderland parts Alice is at a boarding school and her schoolmates have names of flowers. She is sexually harassed by her PE teacher who is is the counterpart of the Queen of Heart and the Red Queen. In the Wizard of Oz parts, Dorothy is at her farm with three farm helpers (similar to the MGM movie). She as an attraction to her Uncle Henry who is also the Wizard and she fears her Aunt Em who is also the Wicked Witch. With the Peter Pan, parts Wendy and her brothers are playing in a park and meet a boy named Peter. She fears a Captain who tries to rape her, but he fails.I just love the artwork in this book too. Melinda Gebbie does a wonderful job with her paints and colors. Some of the pages in this book should be framed and hung somewhere. Sometimes nudity and sex can bother me in a comic book. Mainly when the artist draws it as something dark and shameful to look at, but not with this book. Yes, some of the acts are horrific in real life, but as Monsieur Rougeur says, you have to decide that what is real and that which is fake. If you think like that, this book will not bother you as much.Honestly if you are a fan of Alan Moore and like his dark twisted mind, I highly recommend this book.

  • Marie
    2019-05-05 17:06

    So, I'm reviewing pornography on the Internet. Since I'm researching graphic novels, I suppose I was also just paid by my University to read erotica. I'm definitely not complaining.Lost Girls was written by Alan Moore (of Watchmen and V for Vendetta fame) and illustrated, quite graphically, by his wife Melinda Gebbie. In a way strangely similar to Will Eisner's attempts to elevate comics, Moore uses Lost Girls to elevate pornography. I think Moore succeeded in that elevation, because Lost Girls makes me feel very complicated. Some of the art is less than stellar, especially in Book One.Alice, Dorothy, and Wendy (from Alice in Wonderland, The Wizard of Oz, and Peter Pan, respectively) all wind up at a hotel in Austria before World War I. They have sex. A looooot of sex. The other hotel patrons have sex. The three girls tell stories about sex and their journey up until they found themselves in this Austrian hotel. Their stories about sex are illustrated. There's straight sex, lesbian sex, gay sex, sex parties, sex orgies, depictions of minors in sexual acts, bondage, costumes, opium, multiple instances of incest, penises, vaginas, and an innumerable and impossible amount of orgasms.But Lost Girls is about more than sex. I think an analysis of the text's treatment of female sexuality would be intriguing. Alice, Dorothy, and Wendy dream of having sex during the ballet The Rite of Spring, and Alice recounts their time in bed together juxtaposed with the assassination of Archduke Ferdinand. At the end of the book, German soldiers burn down the empty hotel, and we are left with a haunting "zoom out" shot of a young boy dead in a red trench, the explosion of his torso bearing a resemblance to a bright red vagina, ending with a red poppy flower. It evokes questions of morality, of sexuality, of pleasure, of decadence.Lost Girls is not for the faint of heart, but it is ultimately complex, provocative, and artistic.

  • CC
    2019-05-04 15:08

    I wanted to like this. I didn't.It's porn, deliberately so according to Alan Moore, and drops references galore and excessive to the artful pornographies of years gone by: mostly the Art Nouveau/Symbolist/Decadent movements. But porn has changed since then, for the worse, and where the illict desires previously deserved their own attention, our sexualized world now takes that desire for granted. What would people want to do, after all, besides suck and fuck one another? (To a more disturbing end, unfortunately implied in this story, what would *women* want to do besides suck and fuck? Can you solve all your psycho-sexual troubles by having rosy orgies? And as someone else pointed out, where are the Lost Boys?)That presumption kills the turnon, though, and you can only see so many panels of very similar breasts and cocks and dildoes before it all becomes monotone. Like our media-at-large, the magic is killed by the constant, flattened excess.Funny, because the Lost Girls here are magical beings: Alice, Dorothy, Wendy. And they lose that magic by becoming totally sexualized. There could have been a glorious fusion of their magical worlds and their sexual lives, but here the former is condensed into the latter and loses out.Is it *bad*? Not really. Might be worth reading. Melinda Gebbie's art is luscious. Moore still does write the best sex in the business, too...but elsewhere.

  • Erin the Avid Reader ⚜BFF's with the Cheshire Cat⚜
    2019-05-07 16:07

    OMG HOW DO I KEEP RUNNING INTO BOOKS LIKE THIS?I'm a really big Alan Moore fan. Seriously. He's epic. I've read his graphic novels "Watchmen", "The Killing Joke", and "V for Vendetta". They were all pretty good, and the drawing were beautifully done. "Lost Girls" however, is not illustrated by Alan Moore. It's written by him, but illustrated by Melinda Gebbie. When I first heard about this book, I heard it was about Dorothy Gale from the Wizard of Oz, Alice Fairchild from Alice in Wonderland, and Wendy Potter from Peter Pan all coming together and telling stories. That's all I knew. Didn't know what kind of stories they were, just heard they were stories. I knew nothing else. So I thought "Hey, that sounds really interesting, I should check this out!" So, I check this out from the library...and what do I get?...Buckle up, you're in for one hell of a ride.WARNING: CONTAINS EROTIC THEMES, SEXUAL DEVIANCE, VERISIMILITUDE THAT IS NOT GOOD, AND OTHER THINGS NOT SUITABLE FOR SMALL CHILDREN.Okay, how do I begin this review. How about the stories they end up telling each other. It turns out to be EROTIC stories. Holy cow. There wasn't anything on the back of the book to tell me about the plot, so you can't blame me for that. Um, it's hard for me to start telling you about this book until I give you the plots of all the girls. How about I start with Wendy Potter from Peter Pan. Hoo we go.Wendy Durling-Potter:Wendy's sexual escapades begin when she meets a homeless teenage boy named Peter and his sister Annabel in Kensington Gardens. Peter follows the three siblings home and teaches them sexual games, and the siblings begin regular meetings with Peter and his group of homeless boys in the park for sex. These encounters are watched by The Captain, a co-worker of Wendy's father, who later hires Peter as a male prostitute and brutally rapes Annabel. He attacks Wendy, who escapes by confronting him with his fear of ageing. She only sees Peter once more, hustling in a train station. She marries the much older Harold Potter because she is not attracted to him, and would not have to think about enjoying sex ever again.That's really, really sad! While this sounds very erotic and strange, this is quite tame, considering what else is about to come along. Dorothy Gale:While trapped in her house during a cyclone, she begins masturbating and experiences her first orgasm at the age of sixteen. She has sexual encounters with three farm hands whom she refers to as The Straw Man, The Cowardly Lion and The Tin Man. Throughout most of her stories, she refers to her "aunt" and "uncle", whom she later admits were her step-mother and father, who discover her affairs. Her father takes her to New York City, under the pretense of seeking psychological help, but has sex with her repeatedly while they are in the city. Dorothy feels guilty of destroying her father's marriage, and leaves to travel the world.A bit of a happier ending, but the plot of this one is so damn weird. WHO THE HELL MASTURBATES WHILE A CYCLONE IS FLINGING YOUR HOUSE AROUND!!? If my house was being tossed around by a cyclone, the first thing to come to my mind wouldn't be to masturbate (it would be awesome, but that can't happen), it would be to PANIC! I'm also wondering why she refers farmers as "The Cowardly Lion" and "The Tin Man". I can understand "Straw Man", but not the other two. Anyway, moving on...Before I show you Alice Fairchild, here's a lil' warning.THIS IS THE WORST ONE OUT OF THE BUNCH! This one is bad demon seed, but I need to show you. Read at your own risk, and read after the jump.Alice Fairchild:At fourteen, Alice is coerced into sex with her father's friend, which she endures by staring into a mirror and imagines she is having sex with herself. At an all-girls boarding school, Alice convinces many of her schoolmates to sleep with her, and develops a strong attraction to her P.E. teacher, who offers Alice a job as a personal assistant (and sexual plaything) when she leaves employment at the school. Alice's employer marries a Mr. Redman, but begins hosting extravagant, drug-fuelled lesbian sex parties. Alice becomes addicted to opium, and watches a young girl named Lily, among many others, abused just as she was. When Lily is instructed by Mrs. Redman to secretly perform cunnilingus on Alice under the table during a dinner party, Alice exposes her employer's secrets to the guests. Mrs. Redman has Alice declared insane, and she is put into a mental hospital where she is systematically raped by the staff. Upon release Alice resumes her lesbian activity and drug use. Disowned by her family, she moves to Africa to run a family-owned diamond mine.Oh my god. This graphic novel is so twisted I can't even describe it. When I saw it "Under Best Graphic Novels" under no. 219th out of 1,618, I almost lost it. This only gets two stars because the illustrations are pretty good.C'mon Alan Moore, I believe in you. You're still legendary. This is just bad, Alan. Just bad, bad, bad.

  • Nickie
    2019-05-21 16:18

    Alice, Dorothy and Wendy meet up in 1913 and do A LOT OF RUDE THINGS, written/drawn by Moore and his missus.It's very expensive and comes in a presentation box containing all three volumes. But considering how fancy this sounds, it isn't the beautiful object that you would hope it to be. The animation is really changeable - from frame to frame a single character can look completely different. Sometimes the angles are really crappy and faces become warped. Considering the stunning Aubrey Beardsley style frames that she sometimes offers, Gebbie can definitely do it. So why did she not bother? It's hard to get lost in the stories, when you're so aware of the changing quality of the illustration.Moore's text is OK, but the shoehorning of Alice/Dorothy/Wendy's stories into erotic situations are sometimes really clumsy - especially Alice's. They say that all tales of young girls in fantasy are actually about their growth into sexual beings. It should have been easy then to write this without it becoming the equivalent of those school essays where you squeeze all of the songtitles of your favourite band into a single story. Subtlety Moore! Subtlety! Methinks he might have been allowing the ants in his pants to steer the story rather than allowing his head to have a bit of sway over it. Perhaps he and his missus were aroused to states of gymnastic sauciness and that's the reason why they couldn't be bothered doing a proper job of it.Also, it refers to the Rites of Spring, modernism, the beginning of the Great War, and it could really have made more of that too. So there!

  • RB
    2019-05-05 16:13

    I will, at some point, maybe, write more on Alan Moore's "Lost Girls" as there is a lot to discuss. This is a pornographic masterpiece and my second favourite comic of all time ("From Hell" being at the top) and one of the best art-related experiences I've found myself immersed in all year. Alice, Wendy, and Dorothy head to Austria before the first world war and during the time Freud and Jung were taking off and, on nearly every page, lick each other. The three grown up children's-story characters go into their pasts and then the artwork goes through feverish and opiated landscapes as the emotion varies on each page--a luminous tome to hold, for sure. There is a brilliant, titillating scene involving Stravinsky that I am not cruel enough to spoil for the potential reader, and there are haunting molestation and rape scenes, and glorious, ecstasy-infused orgies, and there is just too much in this book to put into an opinion on goodreads, it is a book that needs to be discussed, and I'd submit, taught in schools . . .