From Hell, Alan Moore and Eddie Campbell’s epic revision of the Jack the Ripper murders, posits Sir William Gull, a physician to Queen Victoria, as the orchestrator of the Jack the Ripper murders that terrified Londoners at the end of the 19th century. The murders initially arise out of the need to cover up the knowledge of the existence of an illegitimate son begat by foolish Prince Albert, Victoria’s grandson. However, for Gull the murders represent much more–they are part of the continued forces of “masculine rationality” that will constrain “lunar female power.” Gull is a high-level Mason; during a stroke, he experiences a vision of the Masonic god Jahbulon, one which prompts him to his “great work”–namely, the murders that will reify masculine dominance.
One of the standout chapters in the book is Gull’s tour of London, with his hapless (and witless) sidekick Netley. In a trip that weds geography, religion, politics, and mythology, Gull riffs on a barbaric, hermetic history of London, revealing the gritty city as an ongoing site of conflict between paganism and orthodoxy, artistic lunacy and scientific rationality, female and male, left brain and right brain. The tour ends with a plan to commit the first murder. From there, the book picks up the story of Frederick Abberline, the Scotland Yard inspector charged with solving the murders. Of course, the murders are unsolvable, as the hierarchy of London–from the Queen down to the head of police–are well aware of who the (government-commissioned) murderer is. The police procedural aspects of the plot are fascinating and offer a balanced contrast with Gull’s mystical visions–visions that culminate in a climax of a sort of time-travel, in which Gull not only sees London at the end of the twentieth century, but also receives a guarantee that his murder plot has had its intended effect. From Hell takes many of its cues from the idea that history is shaped not by random events, but rather by tragic conspiracies that force people to willingly give up freedom to a “rational” authority. The book points repeatedly to the 1811 Ratcliffe Highway murders, which led directly to the world’s first modern police force. In our own time, if we’re open to conspiracy theories, we might find the same pattern in the 21st century responses to terrorism (Patriot Act, anyone?).
Although From Hell features moments of supernatural horror in Gull’s mysticism, it is the book’s grimy realism that is far more terrifying. London in the late 1880s is no place you want to be, especially if you are poor, especially if you are a woman. The city is its own character, a labyrinth larded with ancient secrets the inhabitants of which cannot hope to plumb. Despite the nineteenth century’s claims for enlightenment and rationality, this London is bizarrely cruel and deeply unfair. Campbell’s style evokes this London and its denizens with a surreal brilliance; his dark inks are by turns exacting and then erratic, concentrated and purposeful and then wild and severe. The art is somehow both rich and stark, like the coal-begrimed London it replicates. Although Moore has much to say, he allows Campbell’s art to forward the plot whenever possible. Moore is erudite and fascinating; even when one of his characters is lecturing us, it’s a lecture we want to hear. His ear for dialog and tone lends great sympathy to each of the characters, especially the unfortunate women who must turn to prostitution to earn their “doss” money. And while Abberline’s frustrations at having to solve a crime that no higher-ups want solve make him the hero of this story, Gull’s mystic madness makes him the narrative’s dominant figure. Rereading this time, I realized there is no character he reminds me of as much as Judge Holden from Cormac McCarthy’s Blood Meridian. I’m also reading Joseph Conrad’s The Secret Agent now, a book that dovetails neatly with From Hell, both in its time and setting, but also in its exploration of social unrest and duplicitous authority. Both novels feature detectives fighting a complacent system, and both novels feature a working class that threatens to erupt in socialist or anarchist rebellion.
From Hell is a fantastic starting place for anyone interested in Moore’s work, more self-contained than his comics that reimagine superhero myths, like Watchmen or Swamp Thing, and more satisfying and fully achieved than Promethea or V Is for Vendetta. Be forewarned that it is a graphic graphic novel, although I do not believe its violence is gratuitous or purposeless. Indeed, From Hell aspires to remark upon the futility and ugliness of cyclical violence, and it does so with wisdom and verve. Highly recommended.
[Ed. note: We ran a version of this review last year; we run it again in celebration of Halloween].
7 thoughts on “From Hell — Alan Moore & Eddie Campbell”
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I’m so glad you liked this book. I’ve been meaning to reread it for years and reconfirm my belief that it is maybe the biggest literary accomplishment in the graphic novel medium. As in I would firmly place next to books by Pynchon or Mailer or DeLillo in terms of its ability to so vividly articulate a perspective and time period. I remember reading the whole thing, having my mind blown and then reading all his notes at the end and almost falling out of my chair.
This is a hacky edit of an older post that I ran for Halloween (I am lazy/swamped with midterm essays) . . . but I do love me some From Hell!
I think it’s richer with every rereading—and Moore’s notes are unreal. I still remember the first time I read part of it. It was in the back of an issue of Dave Sim’s long running comic Cerebus. It was the beginning of the book; I’d never seen anything like it. Campbell’s inks were so scratchy and raw. The comic appeared to be about two old men. I was bewildered. I read it years later in a hazy blur. I think I’ve reread it about 10 times since then.
It’s definitely a pinnacle of the medium. Have you read Asterios Polyp? Also a good GN of the literary mode, although more like a novella then the beast of From Hell. Also, Moore’s work on Swamp Thing is worth reading, even if superheroes aren’t your thing (which they aren’t for me).
[…] work, Watchmen (and none of these titles are even in the same league as Moore’s masterpiece, From Hell). Alan Moore and Steve Bissette’s run on the DC Comics series essentially led to DC’s […]
Hmm, I just wrote a post about this, but I think I like yours more.
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[…] personal physician Sir William Withey Gull (whom Alan Moore posited as Jack the Ripper in From Hell), and a version of surrealist writer Raymond Roussel. I realize I began this paragraph with the […]