By Raymond Tyler
Comics have always been a radicalizing force for me. I first encountered the work of British author Alan Moore in fifth grade, and it changed everything. Until then, I had consumed only superhero comics, but Moore’s stories became a gateway into the world of alternative comics. Soon, I was exploring the works of Harvey Pekar, Joe Sacco, Trina Robbins, and Art Spiegelman—comics filled with politics, sex, and a healthy dose of leftist ideology.
By middle school, I had declared that I wanted to write comics for a living, a dream that took nearly two decades to take shape. Along the way, I reflected on what I could contribute to the medium. My voice draws on my upbringing in Northeast Georgia Appalachia, my love of people’s history, and a worldview shaped by socialism, anarchism, and communism—all ideologies that found fertile ground in my young mind thanks to Alan Moore. His work consistently challenges readers to confront their beliefs and ask, “Why do I believe what I believe?”
Socialism, anarchism, and communism have fascinated me for as long as I can remember. Those ideologies made sense to me, perhaps because I spent my formative years reading Alan Moore. The Moon and Serpent Bumper Book of Magic, which appeared last month and includes work by Moore’s late mentor Steve Moore (no relation), appeals to me as an adult as much as Moore’s work did when I was younger.
A “bumper book” is a mass-produced children’s book, typically printed on cheap, lightweight yet thick paper. The paper gives the illusion of heft, but the text is often sparse, with large type. Bumper books, like comics, have a class element to them. Popularized in Britain starting in 1925, they were designed to appeal to working-class families—affordable reading material for children. Often, they came in series, expanding on existing fictional universes while focusing on the magic of childhood. This bumper book focuses on magic, but not the kind found in most children’s stories. A side note: though this book seems appropriate for children to read, it isn’t targeted toward children.
The Moon and Serpent Bumper Book of Magic is a graphic grimoire, taking readers on a journey through the history of magic and its practical uses. Alan and Steve present the rich history of esotericism, pagan practices, and magic in a way that’s accessible—something the comics medium excels at. However, as Alan Moore said in an interview, this bumper book is “not quite a comic.” It defies easy categorization. It’s a masterpiece of words and images, making the history and practice of magic approachable and practical.
Alan Moore is an anarchist, and his work consistently reflects that framework. For those wary of the term “anarchist,” it’s worth noting that anarchism is a stateless tradition within socialism. It emphasizes horizontal, non-hierarchical social structures and the abolition of oppressive systems. Many members of today’s socialist movements, including DSA, share these values. Alan and Steve’s work often centers on people taking control of their lives, and this book is no exception.
A standout thread in the book is the recurring section “Things to Do on a Rainy Day,” for Alan and Steve emphasize that the creative process itself is magical. Whether it is crafting or writing, creation is an act of magic. As the book unfolds, this philosophy deepens, revealing its radical implications. Practicing magicians view creation as an act of pulling from the unconscious—an immaterial world we encounter in dreams. Skeptics may dismiss this as fanciful, but for magicians, the imaginary world is as real as the material one. Engaging with it requires thought, imagination, and creation.
Another standout thread in this bumper book is the series of comics pages titled “Lives of the Great Enchanters.” Here, the writers weave together mythology and history, intertwining the “canon” of magical practitioners into a rich tapestry. This section highlights the depth and complexity of occult traditions, offering stories that would typically be accessible only to those willing to immerse themselves in dense occult literature and practice. Alan and Steve distill this vast wealth of knowledge into concise and engaging comic pages, sparing readers the hundreds of hours of study often required to unearth these fascinating insights.
Many of us have seen how religious institutions and practices have been weaponized to enforce submission and oppression. Yet some of us still cling to the scripture and spiritual elements of religion that we see as inherently liberatory. Critics often point out that these liberatory aspects are but a drop in a sea of grotesque abuses of religious power. We cannot dismiss these criticisms. Institutionalized religion has been, and continues to be, a source of harm for many. While we may find kindness and a guiding force for social justice in religious texts and movements throughout history, we must wade through a legacy of hate and oppression to reach them.
What Alan and Steve offer in this book is a deinstitutionalization of spiritual practices. This is not merely an introduction to magic but a tool for amplifying the liberatory elements of literature and religion while discarding the harmful and oppressive aspects.
Karl Marx is often quoted as saying that religion is “the opium of the people,” but the full statement is often overlooked: “Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. . .” For me, describing religion as an opium of the people perfectly encapsulates institutionalized religion—so often a tool of control and harm. Yet religious texts frequently offer immense comfort, helping people resist distress and injustice. If only those texts could be decoupled from the harmful institutions that wield them. Magic and occult practices have the potential to do just that, serving as a force for liberation and empowerment.
Alan and Steve Moore have written the least pretentious history of occult practices and magic imaginable. It’s a people’s guide and a people’s history, offering practical steps for readers to begin their magical journey. Spells, history, and creativity pour from every page of this beautifully crafted work.
Raymond Tyler is a writer from Appalachian Georgia currently residing in Nyack, NY. He’s a longtime social justice and labor activist, mostly bridging “history from below” with comics. His most recent work is the comic Black Coal and Red Bandanas: An Illustrated History of the West Virginia Mine Wars, published by PM Press and Working Class History.
Image credit: Top Shelf Productions