Cover image for From hell : being a melodrama in sixteen parts
From hell : being a melodrama in sixteen parts
Moore, Alan, 1953-
Personal Author:
Collected edition.
Publication Information:
Paddington, Australia : Eddie Campbell Comics, [1999]

Physical Description:
1 volume (various pagings) : chiefly illustrations ; 26 cm
Format :


Call Number
Material Type
Home Location
Item Holds
HV6535.G6 M55 1999 Graphic Novel Central Closed Stacks

On Order



Alan Moore ( Watchmen ) and Eddie Campbell ( Bacchus ), grandmasters of the comics medium, present a book often ranked among the greatest graphic novels of all time: From Hell .

From the squalid alleys of the East End to the Houses of Parliament, from church naves to dens of the occult, all of London feels the uniquely irresistable blend of fascination, revulsion, and panic that the Ripper offers. The city teeters on the brink of the twentieth century, and only the slightest prodding is necessary to plunge it into a modern age of terror.

Moore and Campbell have created a gripping, hallucinatory piece of crime fiction about Jack the Ripper. Detailing the events that led up to the Whitechapel murders and the cover-up that followed, From Hell is a modern masterpiece of crime noir and historical fiction.

Author Notes

Alan Moore is widely regarded as the best and most influential writer in the history of comics. His seminal works include Miracleman and Watchmen , for which he won the coveted Hugo Award. Never one to limit himself in form or content, Moore has also published novels, Voice of the Fire and Jerusalem , and an epic poem, The Mirror of Love. Four of his ground-breaking graphic novels-- From Hell , Watchmen , V for Vendetta , and The League of Extraordinary Gentlemen --have been adapted to the silver screen. Moore currently resides in Northampton, England.

Reviews 1

Booklist Review

Moore, renowned in mainstream comics for reinterpreting superheroes, blends history and horror in a graphic novel recounting the Jack the Ripper killings in 1888 London. Positing a conspiracy involving the royal family, Scotland Yard, and the Freemasons, Moore examines victims' and perpetrators' lives and harshly depicts the murders and their putative cover-up in what is less a work of suspense than a portrayal-cum-indictment of the era's inequities and injustices. Elements of mysticism tie the book's events to the dawn of the next millennium and hint that we aren't as far removed from the Ripper's cruel milieu as we may think. Moore's meticulous research (42 pages of annotation follow the story) helps him evoke Victorian England convincingly, and his characterization and storytelling skills make the story grippingly harrowing. Although Moore deserves the most credit for its impact, the book's effectiveness would be unimaginable without Campbell's atmospheric black-and-white drawings, which, alternately scratchy and blotchy, with deep black ink seemingly consisting of chimney soot and blood, give life to the horrific portrayal of squalid brutality. --Gordon Flagg