La recopilación de la polémica ficción erótica de Alan Moore y su esposa Melinda Gebbie. Alan Moore (Watchmen, Promethea) y Melinda Gebbie (The Cobweb) firman una obra tan antológica como polémica sobre las travesuras sexuales de unas creciditas y muy despiertas Alicia, Dorothy y Wendy. Una historia que empezó en 1991 dentro de la revista Taboo, propició la unión matrimonial de sus dos creadores y concluyó en 2006 con esta fabulosa edición. -Premio Harvey 2007 por “La excelencia en la presentación”. -Nombrada como “La mejor novela gráfica del año” por The Publishers Weekly. -Nombrada como “Una de las 10 mejores novelas gráficas del año” por Amazon.com. Durante más de cien años, Alicia, Wendy y Dorothy han sido nuestras guías a través del País de las Maravillas, Nunca Jamás y la Tierra de Oz de nuestras infancias. Ahora, al igual que nosotros, estas tres niñas perdidas han crecido y están preparadas para guiarnos de nuevo, esta vez a través de los reinos de nuestro despertar y realización sexuales. A través de sus conocidos cuentos de hadas, comparten con nosotros sus más íntimas revelaciones de deseo en sus muchas formas, revelaciones que brillan con fuerza a través de las oscuras nubes de guerra que rodean un lujoso hotel austríaco. Recurriendo a la rica herencia de la erótica, Lost Girls es el redescubrimiento del poder de la escritura y el arte del éxtasis en una sublime unión que solo el medio de los cómics puede alcanzar. Exquisita, reflexiva y humana, Lost Girls es un trabajo de sobrecogedor alcance que desafía la misma noción del arte constreñido por las convenciones. Esto es ficción erótica en su máximo esplendor.
Alan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance art/spoken word pieces) with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
This is very much a case of 'does what it says on the tin' and whether you find that worthwhile will depend very much on what you think of that. I'm not generally concerned with the sexual morality of fiction (in universe - how it occurs in and/or affects the real world is often an entirely separate issue), so none of this was particularly upsetting to me, especially because, though the illustrations are graphic, the storytelling isn't... exploitative, I think, is the best word for it. (Alice's experience is traumatic, but not played grossly for eroticism or even shock the way the other two stories are. Her obsession/delusion of the mirror is clearly a coping mechanism and the entire event has had lasting consequences for her. I think there's credit to be given there.)
Though I wasn't wildly impressed and, as always, spent a lot of the time imagining what the story could've been if only women were at the helm, I am interested in what the next two volumes will offer, so I probably would've given this three stars if I had liked the art more.
(Obviously, fiction doesn't exist in a vacuum and we can have a lot of valuable discussions about the content as it relates to experiences of real people and how fiction may or not impact the way we think about things in the real world, but I don't think Alan Moore is including incestuous handjobs to provoke deep, thoughtful discussion amongst his readers.)
¡Blasfemia! ¡Herejía! ¡A la hoguera con los pecadores! Un libro ideal para escandalizar a los amantes de lo decimonónico y darle perversas pero entendibles vueltas de tuerca a clásicos universales cuyo mayor punto en común puede que sea la sublimación absoluta de los impulsos sexuales. Después veré si agarro "Peter Pan" antes de seguir con la trilogía, así tengo leídas de primera mano las obras primas, o si sigo sumido en mi ignorancia y revolviéndome en este precioso pantano pornográfico.
El sexo para Alan Moore es una gran sinestesia. Una suspensión de las reglas que habitualmente rigen los sentidos, de modo que unos acaban confundidos en otros. Lo que debería ser principalmente tacto se convierte en colores, visiones, sonidos, olores, sabores. Y a la inversa. En todas las direcciones posibles. Este desorden, este "estar fuera de sí", es la exacta etimología griega de la palabra "éxtasis".
Como es habitual en sus historias, las capas de significados se superponen. Alicia, Wendy y Dorothy, tres mujeres adultas de edades, extractos sociales y orientaciones sexuales distintas, se encuentran en un hotel austríaco (y levemente freudiano) y entablan complejas relaciones entre ellas. En sus conversaciones van narrando sus respectivos despertares sexuales, que aparecen como inesperadas versiones sicalípticas de los tres cuentos que protagonizaron en su pubertad: Alicia en el país de las Maravillas, Peter Pan y El mago de Oz. Según Alan Moore, esos tres relatos contaban, en algún nivel oculto a simple vista, historias puramente sexuales. Alan Moore es tan inteligente que, en general, sale airoso defendiendo su propuesta, con algunos juegos conceptuales, visuales y gramaticales luminosos. Pero cojea en algún momento, sobre todo con la reinterpretación de la historia de Alicia.
El dibujo de Melinda Gebbie es explícitamente pornográfico, pero delicado, con profusión de lápices y tonos pastel, de acuarelas y ceras, y adobado de otras técnicas, como el collage, cuando lo considera necesario. Lo peor es la traducción. El barroquismo de Alan Moore, su voluptuosidad literaria, exigen traducciones menos literales y un traductor culto y desprejuiciado que se tome muchas más libertades que las que se permite Raúl Sastre.
The incessant need to create a divide between sex in art as either "high-brow" (erotica) or "low-brow" meets its challenger in this first volume in the controversial collection. Moore has already affirmed its status as a work of "pornography", claiming that he hopes to raises the status of sex in literature.
Frankly I do see what he's going on about: this volume is a celebration of the body and discovery, and I do see the "shelter in the storm" theme connected to sex as a rite of passage and the inherent complications of physical intimacy. I was bothered by Alice's story, although I guess that's to expected since I found consent dubious. It did, however, find its place in the volume, as it subverted the rape (is it?) by turning into Alice's first brush with self-discovery and awareness of her own sexuality in a positive manner.
As a long-term campaigner for the consideration of erotica's artistic and literary value, I find that Moore's work is a refreshing challenge to those who would ban sexual content from the shelves. I will, however, warn readers that it deals with incest and dubious consent.
This entire review has been hidden because of spoilers.
I've seen 70's porno movies with more plot than this. As there isn't really a story here, telling you that I'm not cool with incest and child rape isn't much of a spoiler, and really, what was the point? Lesbian 3 way comic porn could have been done with a bit more substance and class, if you want Dorothy, Alice and Wendy to find their sexual freedom, it doesn't have to come at the cost of questionable legality. Is it supposed to shock people, or make them question themselves if they find themselves turned on by it? I don't know. It was all a bit eye-rolly for me, especially the point when the scissoring broke out. No one needs to see Wendy's brothers' jack each other off over their sister. Also, why the hell did Dorothy have a New York accent, she's from Kansas, as she likes to point out a LOT. I could more than likely get past the questionable bits if there was anything here to love, but there isn't, this needs some substance.
Я так и не полюбила комиксы aka графические романы: все равно читаю текст, и не смотрю картинки, поэтому смысла в такой форме для меня нет.
Однако то, что это жанр с серьёзным содержанием, я уже могла убедиться. Чего стоит хотя бы Maus by Art Spiegelman о холокосте и влиянии этого опыта на жизни не только переживших его взрослых, но и их уже выросших детей. Я не стала долго читать, эта тема мне сейчас не актуальна и не интересна, но говорить об этом в комиксах — сильно.
Про Алана Мура я услышала в подкасте Букмейта, и заинтриговала меня только постмодернистская стилистика. “Потерянные девочки” — это выросшие юные героини англоязычной литературы Алиса из Страны Чудес, Дороти из страны Оз и Венди, которая с Питером Пэном. В названии зашита аллюзия на lost boys в “Питере Пэне”, дети, которых потеряли и забыли. Хотя вариант перевода “Пропащие девчонки” мне нравится больше, ибо эта святая троица случайно встретилась в австрийском отеле в накануне Первой мировой, и ... шабаш удался.
Пример деконструкции, когда литературный персонаж помещается в другой контекст и переосмысливается под творческие задачи автора. Не для слабонервных, и сам Мур назвал эту книгу intelligent “pornography”, но об этом я узнала уже когда начала читать )) Чем меня после Эммануэль-то удивить уж и не знаю, однако знаменитая британская ирония по-прежнему остра как Экскалибур (листайте вправо, там 18+, но пристойно). Много Фрейда, немного соц сатиры.
Книгу иллюстрировала Мелинда Гебби, и их с Муром профессиональные отношения после публикации романа переросли в матримониальные. Это помогло сбалансировать мужской текст о женской сексуальности, но для меня явилось откровением, ибо я всегда думала, что автор комиксов и пишет, и рисует.
В книге 3 части, я нашла только Book 1, на ней пока и остановилась, но Мур вообще интересный чел. Например, V for Vendetta — его ума дело. И комиксы как жанр у него в неоплатном долгу, говорят.
I have the complete edition of Lost Girls, containing all three volumes, but it was after finishing the first one that I decided I couldn't put up with it anymore, so I'll just review that. It wasn't the sex, nudity, incest, sexual abuse or any of the other potentially challenging content that bothered me. I just found the whole thing incredibly boring.
Alan Moore seems to have two somewhat distinct writing voices. I find one of them interesting, exciting and full of good ideas. That voice can be found in most of Swamp Thing, Watchmen, From Hell and The Killing Joke.
The other is a slow, droning, self-indulgent writer too pleased with himself to edit his work. Sadly, that Alan Moore is always in the background lurking, ready to pounce at any moment, as he does in the last volume of Swamp Thing, or in Promethea. This latter voice is the one he almost exclusively uses in Lost Girls.
There were a few good scenes and the artwork, though not exactly to my taste, is interesting at least and suits the tone of the book well. I also respect what the creators are trying to do here, in attempting to elevate pornography to the level of high art. It's for these reasons that I give the book 1.5 stars instead of 1.
However, what seemed to be almost a complete lack of story, or of any particularly interesting characters, or of any sense of stake whatsoever, made it difficult for me to really get into this at any point. Add to that the real killer, Moore's interminable droning on and on, and this ends up feeling like enough of a slog that, for me, the biggest highlight was the feeling of relief I felt when I decided that I wasn't going to put myself through the remaining two thirds of the series.
Another interesting idea poorly executed by a writer who, from what I can tell, began to lose his way when his reputation began to precede him. If you're easily shocked, this might shock you. If you're easily bored, like me, don't waste your time.
This 1st volume out of 3, takes 3 literary characters from 3 different children's classics and creates a story for mature adults. We are introduced to Alice (Alice in Wonderland), Wendy (Peter Pan), and Dorothy (Wizard Of Oz) as grown women who find they have a sexual connection and decide to share their first sexual experience with each other which leads to more sexual experience with each other.
I have not read much by Alan Moore before. I have only seen movies of a few of his comics. I know that doesn’t really count because the comics are different and Moore hates most of the way Hollywood treated his stories...or so I have heard. I was interested because of who the characters were. I also thought the cover art was beautiful. Now that I am past the book cover presentation and have read this first volume...well I have to say not impressed.
I feel a lot of the story wasn’t a story and the sex was shocking to be shocking. There is incest, rape, and whatever Dorothy went through. Instead of building on the story, there is more sex in public places. As for the art, it was great sometimes and lacking in others.
I have the other 2 volumes but I do not know if I will read them. I am curious if there is more plot or something more interesting.
This 1st volume out of 3, takes 3 literary characters from 3 different children's classics and creates a story for mature adults. We are introduced to Alice (Alice in Wonderland), Wendy (Peter Pan), and Dorothy (Wizard Of Oz) as grown women who find they have a sexual connection and decide to share their first sexual experience with each other which leads to more sexual experience with each other.
I have not read much by Alan Moore before. I have only seen movies of a few of his comics. I know that doesn’t really count because the comics are different and Moore hates most of the way Hollywood treated his stories...or so I have heard. I was interested because of who the characters were. I also thought the cover art was beautiful. Now that I am past the book cover presentation and have read this first volume...well I have to say not impressed.
I feel a lot of the story wasn’t a story and the sex was shocking to be shocking. There is incest, rape, and whatever Dorothy went through. Instead of building on the story, there is more sex in public places. As for the art, it was great sometimes and lacking in others.
I have the other 2 volumes but I do not know if I will read them. I am curious if there is more plot or something more interesting.
Since I was a young teen, I wanted to read this, as a kid it was my goal to buy this (the complete edition) with my first paycheck, that never happened... and for some reason I decided to try it out now, only with part 1 (I had ambitions for the full thing but I'm stopping here...), and this is not for me anymore... I think I could have enjoyed this better, at 16-19, closer in age with these characters, and knowing less, now I'm just uncomfortable and disappointed!! I was always just very curious about exploring more about these characters years later, but like there was nothing besides sex here, maybe there's more of an exploration of friendship between the women, but not enough for me to read this, because I'm pretty sure that it will be more sex and not something more that I really wanted. I was actually aiming this was gonna be a two stars, but the Wendy's flashback was so bad that it brought it down - I'm sorry but Peter Pan is one of my favorite books of all time, so I was way more invested with this one, and this was a big no!!! This book is exactly what it says it is, I owned it to younger me to at least try it, but yeah, I had already suspected I wouldn't enjoy this now.
In 2025, the idea of adult Alice/Dorothy/Wendy having made up the fantasy worlds of their respective books to process trauma is a punchline about Dark Reimaginings, but in 2025 we've also had a decade and a half of the most anodyne pop culture possible in the absolute ascendant, so... I'll grant my boy Moore some slack here - it was the 90s.
Always kinda ignored this cuz of people straight up saying "it's porn!!" and yeah, it is, but it's fancy-pants porn by people who've read a book or two, the type that people went to watch in mainstream cinemas in the 70s.
Alan Moore, en el texto, y Melinda Gebbie, como ilustradora, desgranan una crónica erótica que relaciona a tres mujeres muy diferentes en un hotel art decó en 1914, radicado en el Imperio Austrohúngaro. Una maravilla de diseño, que ahonda en lo erótico, si no en lo pornográfico, y en el que el texto contribuye a crear volutas que se van elevando en una fantasía desbodada. Los nombres de las mujeres, Alice, Dorothy y Wendy, aluden a las protagonistas de las tres narraciones infantiles que esconden un trasfondo más oscuro. Aparte de citar a Carroll, a Baum y a Barrie, Beardsley, Colette, Stravinsky y Nijiski están citados explícitamente en esta arriesgada y empastelada novela gráfica.
I read the idea for this and was all for it. However, there are some themes in here that I don't care for. There are some pretty inappropriate scenarios in this even for a pornographic comic. I usually love Alan Moore, but just can't get on board with rape or incest. I also realize those things are in A Song of Ice and Fire, but in this context it was too much. The comic could have been written better, but the concept seems really cool.
Wendy, Dorothy, and Alice from childhood fairytales have grown up and gone through some sexual awakenings. This is a recounting of their first sexual experiences in explicit detail. The art is good and it is increasing to see the girls grown up, but there isn't a lot of substance to be found.
The art is beautiful, the story is pretty nonexistent (plotwise) - just a bunch of people in a hotel, their lives intertwining. Still, it was enjoyable. A lot of taboo, but I think that's to be expected given the nature of this book. Also I read the English version, it's just not on goodreads for some reason.
It's real weird. It's also very good, it's deep and profound and insightful, but is really, really weird. The sex isn't all fun happy stuff either, plenty of disturbing stuff I wasn't expecting. The idea is genius, and it's super cool. But it's real weird.
Part of me loved this, part of me hated it. It’s weird and gross kind of and I wish that a queer woman wrote this in an actual cool way but I think maybe I am glad the concept exists? But also maybe it’s horrible? Who knows!
To elevate pornography to the level of literature (and this was Moore's stated agenda) you better have some deservingly complex content to insert amidst the sex. In my opinion, this book doesn't.