Alan Moore celebrates Chris Petit’s The Psalm Killer – a nerve-shredding Irish noir

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In film and writing, noir – not a colour but a vital absence of the same – is nonetheless a necessary hue. The stark radiance of a composition becomes evident only when it lacks distractions of the spectrum and its gaudy splashes of attached sensation, just as a morally abysmal ground makes any human light displayed against it the more brilliant in the narrative.

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