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What does fighting crime mean, exactly? Does it mean upholding the law when a woman shoplifts to feed her children, or does it mean struggling to uncover the ones who, quite legally, have brought about her poverty?

Alan Moore

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Alan Moore
Age: 71
Born: 1953
Born: November 18
Comics Artist
Comics Writer
Novelist
Opinion Journalist
Science Fiction Writer
Writer
Curt Vile
Jill de Ray
Translucia Baboon
The Original Writer
Woman
Exactly
Doe
Crime
Children
Poverty
Upholding
Mean
Ones
Uncover
Struggle
Legally
Quite
Struggling
Law
Feed
Fighting
Brought

More quotes by Alan Moore

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I suppose that the main drive is to find the edge of something and then throw myself over it.
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You wear a mask for so long, you forget who you were beneath it.
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Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.
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I'm dependent on writing for a living, so really it's to my advantage to understand how the creative process works. One of the problems is, when you start to do that, in effect you're going to have to step off the edge of science and rationality.
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Who? Who is but the form following the function of what, and what I am is a man in a mask.
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Do I believe, for example, that by using magic I could fly? No. How would you get around gravity? Impossible. Do I believe that I might be able to project my consciousness into a very, very vivid simulation of flying? Yeah. Yes, I've done that. Yes, that works.
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I leave the human cockroaches to discuss their heroin and child pornography.
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On my fortieth birthday, rather than merely bore my friends by having anything as mundane as a midlife crisis I decided it might be more interesting to actually terrify them by going completely mad and declaring myself to be a magician.
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Everybody is special. Everybody. Everybody is a hero, a lover, a fool, a villain. Everybody. Everybody has their story to tell.
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I've always wanted to explore characters of all races, all genders, all ages. It just seems to me to be a natural way to approach any kind of storytelling.
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There's been a growing dissatisfaction and distrust with the conventional publishing industry, in that you tend to have a lot of formerly reputable imprints now owned by big conglomerates.
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I think that we need mythology. We need a bedrock of story and legend in order to live our lives coherently.
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There are two worlds we live in: a material world, bound by the laws of physics, and the world inside our mind, which is just as important.
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Culture is just a shambling zombie that repeats what it did in life bits of it drop off, and it doesn't appear to notice.
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London has been used as the emblematic English city, but it's far from representative of what life in England is actually about.
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My dear, beautiful and imaginative things can be destroyed. Beauty and imagination cannot.
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If you look at that incredible burst of fantastic characters that emerged in the late 19th century/early 20th century, you can see so many of the fears and hopes of those times embedded in those characters. Even in throwaway bits of contemporary culture you can often find some penetrating insights into the real world around us.
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Our consciousness, a startling outgrowth of the universe, is possibly its most important part, the fraction of existence that can think, feel, marvel at itself.
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Language comes first. It's not that language grows out of consciousness, if you haven't got language, you can't be conscious.
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If we loved Steve Aylett, really loved him in the way that he deserves, a selfless love that genuinely wanted nothing save his happiness and comfort, we'd lobotomise him.
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