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While agreeing with all three, I find it most important that Lost Girls is a sexually explicit work, and one that is intended to be sexually gratifying. What is the difference between pornography and other work containing sexually explicit content? The human warmth and sexual heat of Omaha derives from the relationship of its creators, Kate Worley and Reed Waller, and the series declines after their breakup. Omaha is a carefully sex-positive book, in which sex is only and always depicted as healthy and normal, and sexual repression is decried as harmful.

The only true perverts in the series are those who attempt to force their sexual mores on others.

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Lost Girls, unlike Omaha, acknowledges human sexuality as dark and troubled territory, especially for its early 20th century heroines. This is not to say that it deserves or will receive unconditional acceptance from scholarly readers — Hatfield offers an important critique of Lost Girls on the basis of its categorical valorization of imagination and its ambivalence regarding truth and fiction.

All pornography is philosophy, as it must assume or fundamentally redefine what power, pleasure, gender and the human are, and Lost Girls is no exception. Lost Girls is too sex-centric and otherworldly to allow for such a reading: it takes the other tact, elevating even casual sex to a plane of deep ificance over and over again, making it the fundament and cement of identity and social relations — and, in doing so, producing an ethic and aesthetic that can only be described as a magical realism of the fuck.

Lost Girls cultivates this magical realism of the fuck both in literary and occult senses — the former emerges most clearly in the way Lost Girls lacks fantastic elements of the sort that characterize Alice in Wonderland, Peter Pan and The Wizard of Oz. Instead of magic spells, physical transformations, and other worlds, Lost Girls has sex.

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The fantasy and the mundane are each lost in the wonder and terror of sexual discovery. However, as Kidd points outMoore and Gebbie have straightened out the story, denying the intense male homoeroticism of the original. Both these conceptions of work are productive and social, unlike the Freudian understanding which is characterized by perpetual lack.

In doing so, he slights the directional shift that occurs in Moore with his declaration after Swamp ThingV for Vendettaand Watchmen that he has become a practicing magician. The story is structured as pornography — with a new strokeworthy scenario never more than a few s away — but it is also structured as a magic ritual that uses the reader as much as it serves him or her. But none of those stories exist in the world of Lost Girls, so there is no internal motivation for these allusions. Lost Girls is not an adaptation; it hardly even seems fair to call it an appropriation.

It is an evocation 1 — a shamanic activity that links these injured characters to powerful stories with happy endings. Much of what has happened to Alice, Wendy and Dorothy is, in mundane terms, traumatic, sordid, and even nightmarish. The lost girls are just that — lost, hurt, broken in various ways. Alice, who has arguably suffered the most, has only recently been released from confinement in an asylum. Again, neither Peter Pan nor any of those other stories exist in this diegesis. The power of those stories exists for the characters but only in the reader.

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This is not as radical a reading as it must at first seem. A basic dictum of chaos magic, a school of occultism that has influenced Moore, is that there is no functional difference between a god and a beloved character, between a spell and a powerful idea. Comfortable, happily-ever-after associations of the stories of Alice, Wendy and Dorothy, a set of associations that does not exist in Lost Girls, is a strength that the characters must draw from the reader. This healing takes its course through a lot of sex and a lot of frank discussion. Similarly, traumatic, harmful or forced sex is divorced from pleasure.

As a magician, Moore knows the power of taboo — and of taboo breaking. Moore and Gebbie break certain taboos, and draw the lines of others, in the name of sex as a healthy, healing practice. In Lost Girls, bisexuality of some degree is the norm among men and women: in accordance to the magical law, it must be for anyone capable of desiring members of both sexes. Childhood sexuality also becomes necessarily permissible, so long as one admits that sexual desire does not wait for a legal coming-of-age. Dorothy suffers the consequences of her actions, but the new taboo against repression is stronger than the old one against incest.

Conversely, the consequences of lawbreaking are staggering: Lost Girls posits a uniquely male tendency to sublimate sex into violence as the cause of WWI. Harold and Rolf are judged harshly because each puts his national loyalty ahead of their mutual desire for each other. Collins rightly points out that some attention is given to preventing pregnancya step up from most Victorian erotica.

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In the end, Lost Girls is exactly what it sets out to be — an outstanding and cerebral fuckbook. It is indiscernible and probably irrelevant whether sex is intended as a line of flight to somewhere else or if sex is intended to become purely sex. It works as both a therapeutic redemption though sex and as a redemption of sex and pornography, to the degree that it works at all.

Baker, Bill ed. Moore, Alan, J. Promethea: Book 3. The Complete Omaha, Volume 5.

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If plot, characterization or setting are any of them necessary criteria of adaptation, then Lost Girls cannot be an adaptation. Posted in Volume 3, Issue 3: Comics and Childhood. Tagged Roundtable.

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