Something about the current spring weather, with its contrast between the warm wind perfumed with chlorophyll and the trash liberated from its snowy prison and strewn about artistically, reminded me of 6-page story Song of the Terraces. Originally published in A1 no. 4 (1990, Atomeka Press), it is officially part of Alan Moore and Steve Parkhouse’s Bojeffries Saga, and as such was also collected in the The Complete Bojeffries Saga published in 1992 by Tundra Press (and reissued in a new collection in 2013 by Top Shelf Productions).
I don’t know if it’s a universal rule, but it seems that people either love to read plays, or hate the very idea. I belong to the former category, and have happily spent my young years on a steady diet of plays. Sometimes these included musical interludes, and I was not in the slightest bit perturbed by being given basically lyrics with some details about the mood of the singers, but no melody.
Perhaps that is part of why I am so fond of Song of the Terraces, or perhaps it’s the familiarity of this scene – its row of lovingly depicted council houses (Parkhouse has a really lovely, fluid style) and its hodgepodge of denizens in various states of spiritual and physical dishevelment are part and parcel of British shows I’ve watched and loved. Be as it may, I find the following tremendously endearing.
This interlude features two characters from the mighty Bojeffries family line – Raoul (the werewolf) and powerful but lonely Ginda – but otherwise is not particularly linked to any storyline.
I’ve talked about the Bojeffries Saga a bit in Tentacle Tuesday: Adventure and Levity, if you’d like to know more about its characters.
It’s probably a minority opinion, but I reckon Alan Moore peaked with Bojeffries.
Hi Caspar! While it may be a minority opinion — and we’re no strangers to them ’round these parts — I’d say it’s a perfectly valid one!