Alan Moore was born November 18, 1953 in Northampton, England, an industrial town between London and Birmingham. The oldest son of brewery worker Ernest Moore and printer Sylvia Doreen, Moore's childhood and youth were influenced by the poverty of his family and their environment (as well as the eccentricities of his highly religious and superstitious grandmother). Moore married in 1974, eventually having two daughters.
Moore's early contributions were to Doctor Who Weekly and the famous science-fiction title 2000 AD, under which Moore created several popular series, such as The Ballad of Halo Jones, Skizz, and D.R. & Quinch. Moore then worked for Warrior, a British anthology magazine. It was on this title that Moore began two important series: Marvelman (known in the United States as Miracleman), a revisionist superhero series, and V For Vendetta, Moore's groundbreaking tale of the fight for freedom and dignity in a fascist and dystopian Britain, both of which earned him the British Eagle Awards for Best Comics Writer in 1982 and 1983.
In 1986 Moore finished Watchmen. This became the first comic book to be a recipient of the prestigious Hugo Award.
Later, Moore finished his run on Swamp Thing, completed the V For Vendetta storyline and wrote quite possibly the best Joker story ever in Batman: The Killing Joke.
Currently, Moore has his own imprint under which he's once again paving new territory with several new series: The League of Extraordinary Gentlemen, Promethea, Tom Strong, Tom Strong's Terrific Tales, Tomorrow Stories and Top Ten.
Fierce in its imagining and stupefying in its scope, Jerusalem is the tale of everything, told from a vanished gutter. In the epic novel Jerusalem, Alan Moore channels both the ecstatic visions of William Blake and the theoretical physics of Albert Einstein through the hardscrabble streets and alleys of his hometown of Northampton, UK. In the half a square mile of decay and demolition that was England's Saxon capital, eternity is loitering between the firetrap housing projects. Embedded in the grubby amber of the district's narrative among its saints, kings, prostitutes, and derelicts, a different kind of human time is happening, a soiled simultaneity that does not differentiate between the petrol-colored puddles and the fractured dreams of those who navigate them. Employing, a kaleidoscope of literary forms and styles that ranges from brutal social realism to extravagant children's fantasy, from the modern stage drama to the extremes of science fiction, Jerusalem's dizzyingly rich cast of characters includes the living, the dead, the celestial, and the infernal in an intricately woven tapestry that presents a vision of an absolute and timeless human reality in all of its exquisite, comical, and heartbreaking splendor. In these pages lurk demons from the second-century Book of Tobit and angels with golden blood who reduce fate to a snooker tournament. Vagrants, prostitutes, and ghosts rub shoulders with Oliver Cromwell, Samuel Beckett, James Joyce's tragic daughter Lucia, and Buffalo Bill, among many others. There is a conversation in the thunderstruck dome of St. Paul's Cathedral, childbirth on the cobblestones of Lambeth Walk, an estranged couple sitting all night on the cold steps of a Gothic church front, and an infant choking on a cough drop for eleven chapters. An art exhibition is in preparation, and above the world a naked old man and a beautiful dead baby race along the Attics of the Breath toward the heat death of the universe. An opulent mythology for those without a pot to piss in, through the labyrinthine streets and pages of Jerusalem tread ghosts that sing of wealth, poverty, and our threadbare millennium. They discuss English as a visionary language from John Bunyan to James Joyce, hold forth on the illusion of mortality post-Einstein, and insist upon the meanest slum as Blake's eternal holy city.