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| Lost Girls | 
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| Authors: Alan Moore, Melinda Gebbie
Publisher: Top Shelf Productions
Category: Book
List Price: $75.00
Buy New: $58.70
You Save: $16.30 (22%)
New (11) Used (4) Collectible (4) from $58.00
Avg. Customer Rating:  43 reviews
Sales Rank: 114454
Media: Hardcover Comic
Number Of Items: 1
Pages: 264
Shipping Weight (lbs): 7.3
Dimensions (in): 12.4 x 9.3 x 2.7
ISBN: 1891830740
Dewey Decimal Number: 741
EAN: 9781891830747
ASIN: 1891830740
Publication Date: September 13, 2006
Availability: Usually ships in 1-2 business days
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| Customer Reviews:
| Showing reviews 41-43 of 43 | | « PREV 1 ... | | |
 Disappointment April 9, 2008
0 out of 1 found this review helpful
I was truly disappointed in the writing - and the story lines. I thought they were hard to follow in some cases - and often did not blend with the illustrations. Far from an erotic fairytale of any sort.
The three large books were nicely bound with some lovely illustrations and large print. But they weren't moving or enjoyable enough to want to share with friends.
 Dream and Lust April 28, 2008
Finally the complete work of Alan Moore and Melinda Gebbie. Between dream and lust, the erotic adventures of three girls of our imaginary: Alice, Dorothy and Wendy.
A luxury edition that exalt Melinda Gebbie's superb drawing .
An engaging story that's not for everyone, and not just because of the adult subject matter June 12, 2008
0 out of 1 found this review helpful
I had some high expectations for this book because it was written by
Alan Moore, and he had all the freedom he wanted to tell any kind of
story. Despite all that the book was a bit of a let down.
The concept of the story is interesting. Three legendary heroines:
Dorothy, Alice and Wendy all meet up in a hotel in Austria, on the eve
of World War I. The hotel is called the Himmelgarten (himmel= sky,
heaven; garten=garden heavenly garden? ) and is a place of earthly
pleasures. The staff is VERY friendly and each room has the same
white book, a collection of erotic pictures and stories. The setting
brings out certain qualities in the three protagonists, so that they
grow a special bond, also brought on by the recounting of their
childhood.
Their stories, as told by Moore are of course quite different than the
cherished childhood tales we all know. Instead of the "fairy tale"
magic the readers expect the characters to encounter, they have their
first sexual experiences. The original stories inspire these new
imaginings, and the old characters and themes are eluded to in clever
ways. For example, each boy that Dorothy came across echoed the same
failings her friends had in the original story. The first boy was
like the scarecrow (no brains), the second was like the cowardly lion,
and the third was like the tin woodman (no heart.) (I don't want to
give away to many of these allusions to someone who hasn't read the
story, because it's part of the fun of reading the book.) The story has a lot clever humor, visually and in wordplay. One example is the way the shadow play between Wendy and her husband, which constrasts their intense sexual desires with their proper but lifeless, loveless relationship.
The story is set on the eve of WWI. In the middle of the story, the cataylismic event of the Arch Duke Franz Ferdinand's assination occurs. The discovery of the three women is set in a backdrop of this coming unease, a metaphorical storm that will change the world. People weathering a storm by telling stories is the frame for other works of literature: Magic Mountain, Canterbury Tales, etc. It's also siginificant to note that the end of WWI is the beginning of the pessimistic period of Modernism in fiction, and Moore frames the story with this in mind. There is a sense that innocence is lost and things will never be the same.
The art served to tell the tale, even if it wasn't overly impressive.
If the reader is familiar with erotica, you could tell that the illustrator was eluding to certain styles of erotica, particularly from the 1920's. Overall, the art seems "cartoonish" and falls short of this design, but it still works. Each girl's story had it's own style, mostly apparent by the way the panels were set up: Dorothy had window panes, Alice had ovals like a mirror and Wendy had a story book pattern. The way Dorothy story was illustrated was my favorite, a more impressionist sort of composition, and the most pleasing to my eye.
Thematically, Moore was interested in the validity of erotica as an
art form, and that is one of the main themes of the book. I would say
that the book is erotica and therefore art or literature due to the clever elusions, and well-crafted framework of the story. I don't see the subject matter as trashy or exploitative, but rather bold. Many people have strong objections to the age of many of the characters involved in sexual exploits, but Lost Girls supposedly passed the acid test for not being child pornography. Most people will take it at face value and enjoy the aesthetic value instead of seeing the pictures/situations as titillating.
However, overal I wouldn't say Lost Girls was great art or overly entertaining however. It is a good read, but it is relatively forgettable, and certainly did not live up to expectations. If Moore's goal for the book was a defense of erotica, I think that it fell a little short. I thought it succeed instead as a celebration of erotica, and elegiac look at time when that type of art was more appreciated. I base this reading in part to the frame story it was set in and the historical back drop. The ending fits with this theme, even if many of the other readers I talked to didn't like it.
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