The next big book after Lost Girls was The League of Extraordinary Gentlemen: The Black Dossier (2007), drawn by Kevin O’Neill, and at the time I was so disillusioned with Moore that I ignored Dossier. I was also wrong about the decline of Moore’s career. They show ingratitude to a writer who entertained me for decades while inspiring other creators to produce better comics. I was disappointed with much of the America’s Best Comics line (though for me Promethea was major Moore), but I regret those words. In response to Moore’s claims that he was retiring from comics (most fully expressed in an interview in Comic Book Artist #25 ), I wrote that he was “leaving comics none too soon and many years too late” (138).

I still think Lost Girls is minor Moore, but I went too far in the final paragraph of my review.

In Comics Journal #278 (October 2006), I wrote a negative review of Moore and Melinda Gebbie’s Lost Girls, arguing that Moore’s rigidly schematic plot made the book a chore to read, despite the beauty of Gebbie’s art.

The subject of this essay is the first six issues of Alan Moore and Jacen Burrows’ Providence, but let me begin with an apology. Features Providence: Lovecraft, Sexual Violence, and the Body of the Other

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