My brief appreciation of Grant Morrison, based on my interview with him in the early Noughties, an interview I spent mostly halfway up a step-ladder and wrapped in the American flag.
GRANT MORRISON’s (born 1960) house was on a distinguished street in Glasgow, purchased with the proceeds from his 1989 Batman graphic novel, Arkham Asylum. In the attic was a replica of his teenage bedroom; downstairs lurked the cellar in which, he told me, he summoned the giant floating head of John Lennon. These two rooms are twin engines, generating the unceasing momentum of ideas and intensity that characterizes Morrison’s comic-book writing. A self-proclaimed chaos magician, for The Invisibles (1994-2000), Morrison’s early Pop postmodernism (the god-like hand of the artist appeared in the 1988-90 run ofAnimal Man) became a florid psychoactive performance as Morrison reshaped himself in the image of lead character King Mob — and vice versa.
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