Death as a Beginning.
Both Ragnarök and Final Crisis begin with the unthinkable: the death of a god. For Ragnarök, it is the death of Baldr that signifies that something is very wrong in the world and that a great change is about to take place, as LoCicero says, “[t]he tragic death of Baldr was the single event that set the wheels of the Norse Apocalypse into motion” (LoCicero 142). O’Donoghue agrees, taking not also of the narrative shift that occurs in the story:[t]he death of Baldr is recounted just as the volva moves from recollection to prophetic vision, and his killing is presented as a decisive event in the inexorable progress to Ragnarök (O’Donoghue “What“ 87). For Final Crisis it is the death of Orion in the first chapter that portends the great disasters about to happen.
The deaths of both Baldr and Orion take place at the hands of family. Baldr was killed unwittingly by his blind brother Hod. For some time, Baldr had been having dreams about his impending death. Baldr’s mother Frigg petitions all things on earth to keep Baldr from harm, all things that is save for mistletoe, which she did not see as a threat. To celebrate his invulnerability, all of the Gods attempt to hurt Baldr with anything they can find. Hod, Baldr’s brother does not take part in the festivities because he is blind. Loki, the Norse trickster god and agent of chaos chides Hod for not participating and then gives him a spear of mistletoe and guides his aim. Baldr is struck by the mistletoe and immediately falls dead. The gods then go to Hel, the goddess of the underworld and the dead and ask her to return Baldr to life. Hel says that she will do so only if everyone on earth sheds tears for Baldr. The gods send messengers all over the world and ask everyone to weep for Baldr and all do except for Loki in the guise of a giantess and so Baldr must remain dead. Ultimately, Baldr is reborn after the events of Ragnarök and he reconciles with his brother Hod and they become gods of the new world (Sturluson 65-68, 77).
Because one of the main points of Final Crisis is that time and space have become distorted and are gradually breaking apart, the death of Orion is fragmented. Orion is shown dying in chapter one, where he warns detective Turpin that Darkseid and the other evil New Gods are hiding on earth. The moment when the bullet strikes Orion is shown in chapter three and Darkseid is seen firing the bullet in chapter ten. Incidentally, because of the time distortions, when Darkseid fires the bullet he is on the verge of death from being shot earlier by Batman in chapter nine with the very same bullet. Like Baldr, Orion dies at the hand of family, in this case, his father the tyrant god Darkseid. But unlike Baldr whose brother Hod unwittingly kills him, Orion’s murder is deliberate. Orion is killed by his father, presumably because Darkseid saw his son as being the only one who could stop him. After all, when addressing the other members of the Justice League in chapter one, Superman speaks of the power wielded by the New Gods with a kind of awe, saying that they are “capable of cracking the planet in half” (Morrison Chapter 1).
Each death in its own way contributes to the destruction that follows. Although Baldr is killed by his brother, the murder is (more…)

And Yet his Story is Rather Grim

The influence of Sigmund Freud’s ideas on the cultural landscape of the twentieth century is incalculable. Because of Freud, the human mind became a vast, complex dimension of its own– a world not unlike an iceberg where only a small part can be readily identified. The importance of dreams and their interpretations, once belonging solely within the province of shamans or mystics gradually moved toward the accepted realms of science. The actions of a person and the experiences of childhood were seen to have long lasting consequences. All of these things (and many others) which have shaped the way the western world perceives itself can be credited to Freud.
Nowhere is the impact of Freud’s theories seen more clearly than in the arts. Film directors like Fritz Lang, Ingmar Bergman, Alfred Hitchcock, and Woody Allen have made acclaimed films that incorporated Freud’s theories into the plots as well as the characters and sets. Literature, both on the part of writers as well as critics used Freud to create new methods of storytelling as well as new ways to examine the classics. Freudian themes also permeated the world of visual arts as well. Cubist painters like Pablo Picasso and Marcel Duchamp created images that seemed to have been broken apart and reassembled, as if the paintings themselves had been psychoanalyzed. Surrealist painters like Salvador Dali and Max Ernst filled their canvases with dream imagery and symbols as a way to represent the subconscious.
Like Sigmund Freud, the ideas of American psychologist George Herbert Mead have also permeated our world in our never-ending quest to understand ourselves and those around us. While Freud’s theories helped us to see our mind as an infinitely more complex mechanism than previously thought, Mead’s theories on the self and identities helped us to see that we can only really know ourselves through our reactions to and interactions with others, not unlike Hegel who said of the self-conscious: it is only by being acknowledged or recognized (Hegel 11). Regarding the self, Mead said:

The individual possesses a self only in relation to the selves of the other members of his social group; and the structure of his self expresses or reflects the general behavior pattern of this social group to which he belongs, just as does the structure of the self of every other
member belonging to this social group. (Mead 40)

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Annotated Bibliography and Influence Study on selected works
by Grant Morrison.

**note** This is in no way a comprehensive list of the books Grant Morrison has written. Rather, it is a (very amateurish) attempt at cataloging stories by Morrison where certain themes seem to be present as well as and authors that have influenced these themes.

Introduction

Grant Morrison is one of the most acclaimed and controversial comic book writers of the past twenty years. Along with fellow UK comic book writers Alan Moore, Neil Gaiman and Warren Ellis, he was approached by DC comics in the 1980’s to revitalize their properties and inject some “new blood” into mainstream American comics, which had become pretty stale and rote by that time. The results of course were Watchmen (Moore), Sandman (Gaiman), Stormwatch and The Authority (Ellis) and many of the books that are included in this annotated bibliography. These books changed forever the ways that comics are both read and written.
I first encountered Grant Morrison’s work around 1989 or 1990 when I picked up his Batman hardcover graphic novel Arkham Asylum: A Serious House on Serious Earth. It was unlike anything I had read up to that time. It was mysterious, dark and crammed full of symbolism that I couldn’t yet (and still today do not quite) understand. Over the years as I read more of Morrison’s books—becoming quite a fan in the process–I began to see that there was something more to them than just the typical super hero action that I’ve always loved. That “something more” is what ultimately separates Grant Morrison’s work from that of most other comic book writers.
With a few notable exceptions, most of Morrison’s work is centered around non-traditional heroes. In fact most of his protagonists cannot really be called heroes, at least not in the traditional sense. Instead they are deeply flawed characters with familiar problems who react to situations very differently from traditional comic book super heroes. This focus on non-traditional protagonists both brings the reader closer to the character since they are seen as being more “human,” while at the same time creating a world or scenario outside of the comfort zone of established comic book
storytelling. This is but one part of Morrison’s overall hypothesis which is that with all of his books, from his earliest to most recent, Morrison has been tackling the same basic themes of the universe being in a constant state of conflict, or war, of perceptions as well as the spiritual or gnostic awakenings of his protagonists to this conflict. These themes of perceptual conflict and awakenings quickly evolved out of the traditional good versus evil conflicts and characterizations so prevalent in many comics as well as Morrison’s earliest work Zenith, into an infinitely more complex meditation on paradigms, memes, metatextuality and of spirituality.
This bibliography will attempt to both catalog the comics written by Morrison that tackle these themes, showing a progression or evolution of said themes as well as cataloging the disparate sources from literature, science, and the occult that have influenced Morrison’s writing over the years. In addition, this bibliography also groups together texts about comic books, specifically texts relating to the work of Grant Morrison. This bibliography is divided into five parts: first, books by Morrison, second, books about Morrison’s work, third, literary influences on Morrison’s work, fourth, philosophical texts that have influenced Morrison’s writing and fifth, esoteric books that have informed Morrison’s writing. The Morrison entries will be presented chronologically from first publication while the other entries will be alphabetical.
This bibliography will be of particular interest to scholars who are interested in the use, appearance and juxtaposition of disparate influences in a fictional context and how those influences grouped together create a bold and exciting method of storytelling in an often marginalized medium. For anyone interested in pop culture and the incredibly complex world that exists just below its surface as well as the limitless possibilities for storytelling that exists within the comic book medium, this bibliography will be very helpful in understanding the ideas of one of the most interesting writers currently working in the comic book medium.

Annotated Bibliographic Entries
Texts by Morrison

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