Neil Gaiman at the 2008 National Book Festival
Click link to watch the video.
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What the (very bad swear word) is a children's book, anyway?" by Neil Gaiman. Click link to read essay.
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The Graveyard Book, Neil Gaiman:"There was a hand in the darkness, and it held a knife. The knife had a handle of polished black bone, and a blade finer and sharper than any razor. If it sliced you, you might not even know you had been cut, not immediately. The knife had done almost everything it was brought to that house to do, and both the blade and the handle were wet." Click heading to read the rest of the first chapter.
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The Ocean at the End of the Lane, Neil Gaiman: "I wore a black suit and a white shirt, a black tie and black shoes, all polished and shiny: clothes that normally would make me feel uncomfortable, as if I were in a stolen uniform, or pretending to be an adult. Today they gave me comfort, of a kind. I was wearing the right clothes for a hard day." Click heading to read the rest of the excerpt.
35 comments:
Post by Afton (Forgot to use my nickname so resubmitted my post)
As a horror lover, I'm surprised I didn't know about Neil Gaiman until I watched The Sandman, and I had no idea that Coraline was made by him as well. Coraline, along with Goosebumps, but that's a bit of another story, was what got me into horror as a kid and more into reading more horror. I recently read Sandman and it is a really fun read. I really prefer it over the show, but the show still rocks in many ways. Maybe it's the art style that drew me or maybe it was the story. It was just really unique and I wish I had known about it earlier on in my life. I have to say issue #6 or more specifically "24 hours" was soooooooooooooooo fucking good. Such a morbid and fucked up story, but I don't know why, but I really enjoyed it. I haven't read or seen his other work, but he has such a cool set of work and wish that his name popped up more often than not. Also Neil Gaiman's essay on the very bad swear word was entertaining to read, I feel like any kid or most people have at some point in their life had that moment happen when their parents give you an earful for saying "fuck" while yes it's not very civil to say to someone depending on how you use it. Do I think it belongs in children's books? Probably not, but children are going to be exposed to the word at some point in their lives as long as you teach them the weight they carry and it isn't just like any other word, then I think it's fine to have them because it can carry emotional weight if they knew the meaning of the word.
Vik/Monodrone
I had heard of Neil Gaimen at many different times in my life, specifically whenever somebody recommended good omens to me. I didn’t really know much about him though, just that he made a bunch of these really cool things that people liked. I loved Coraline as a kid, but you don’t really pay attention to who makes what when you’re 9. At least I wasn’t, I was more scared of everything that appeared on screen. Reading these stories, and listening to him read aloud sections of his book, however is actually really cool, because I get to see an author in so many different forms of storytelling and do it all in a way that is so satisfying and fun. My favorite of these excerpts is the Ocean at the end of the lane. I love how he describes driving through a town that you grew up in after being away for a bit. Everything stays the same but it also changes so much. You see the same things you always did but you have this newfound appreciation for them. I’ll keep my fawning for this peace subdued but man it's such a strange feeling-especially when you’re with people that you knew back then but maybe don’t know so much about anymore. Either way I think he does a fantastic job at putting you in the narrator's shoes, and making you feel the emotions that he's trying to convey-without having to outright tell you.
Although Neil Gaiman’s writing often aims to unsettle, and unsettling stories are admittedly not my favorite (I wasn’t surprised to learn that he loves Stephen King’s work; I definitely wish I could scrub some passages from Cell and his short stories from my memory), I love the way he uses language in such a deliberate and thoughtful way. I like reading Gaiman’s short stories and enjoyed all three excerpts because there never seem to be any wasted words. His sentences aren’t long and flowery, and if he uses a cliche (“Revenge: best served cold!”), it’s funny and/or cleverly surprising. The descriptive words he uses have a way of sticking in the mind; even several paragraphs later, you’re still thinking about them.
“[His shoes] were polished to such a shine that they looked like dark mirrors: you could see the moon reflected in them, tiny and half full.” (The Graveyard Book).
I’m reminded of the beginning of American Gods, where he describes a room as painted a red which is “the color of ox blood.” I read that several years ago and didn’t even have to look it up; it was that memorable (and also a cool foreshadowing detail!). Even the way Gaiman reads his work out loud is deliberate and without wasted words; he does voices for his characters, but not to a distracting degree, and doesn’t rush through things or go too slowly.
I agreed with his thoughts on children’s books, they verbalized something I had partially thought of but couldn’t quite put into words: children can usually tell what they should and shouldn’t be reading, and the benefits of them reading something more “adult” usually far outweigh the risks. I had a lot of access to old college textbooks, adult nonfiction, and adult fiction when I was little, and remember a lot of times where I would discover something awesome about the world, and a lot of times when I would get bored and go back to Magic Tree House. There were only a couple of instances where I might have gone in over my head, but even then it was not a big deal. Overall, I enjoyed hearing his perspectives on censorship, genre boundaries, and writing inspiration.
Sense (Nicole)
Neil Gaiman has been a favorite author of mine for ages. Starting with a deep infatuation for all things Coraline in my preteens, Gaiman’s subversion of everyday living by blending it with the macabre or fantastical has kept me hooked into my adulthood. Not to mention his former marriage to one of my favorite musical artists, Amanda Palmer of the Dresden Dolls, has kept Gaiman a fixture in my life from multiple angles. Therefore, I am always ecstatic to study him at a collegiate level, which thankfully has happened multiple times for me.
After reading and viewing the given materials, I was most struck by the essay “What the (very bad swear word) is a children’s book anyway?” I find Gaiman’s non fiction writing style just as, if not more intriguing than in his fictional work. As someone who grew up reading mostly non fiction or adult level books in middle school, I felt a sense of catharsis in knowing I wasn’t the only one who found books aimed at kids anywhere from demeaning to far too juvenile. I was a kid who felt she didn’t need to be told how to be one - I experienced it every day, Not to mention, I related to Gaiman in the sense that I too did not enjoy being a kid. I had a wonderful childhood, but longed for the independence of adulthood from an early age. I currently work at a School of Rock where I teach a variety of age groups, and nothing excites me more than confirming to students that things truly do get better once they exit grade school.
To this day, I’ve always been wary of horror, and yet Coraline carries nothing but nostalgia for me and my sisters. My younger sister’s obsessed with it. (LIke memorizing the script obsessed) The first scene in the movie was, and still is my favorite part. It contains so much mystery and awe without any of the tension or fear that’s usually associated with the plot of a story like this (and don’t even get started on the amazing soundtrack). I just remember being mesmerized by the scene. But, now, as an adult, like Gaiman writes in his article about children’s books, the opening scene has become a bit more chilling, especially with the context of the scene. But as a child, all I saw was a satisfying doll transformation, mesmerized by the efficient expertise of the doll maker. That being said, his article made me also consider the purpose of simplifying and censoring content to conform to a child’s understanding–or what we think a child should understand. Like how good and evil are distinct and easily recognizable concepts within characters. Or how in Barbie when Ken asks Barbie if he can sleep over, and she asks, “To do what?” which I think plays into the idea of how romance is portrayed as cute crushes with an odd yet intentionally open-ended and vague follow-through. Neil Gaiman's approach to writing is so relatable I think I’ve come up with something as fascinating as “ buttons for eyes,” but I’ve also thought I’m not a good enough writer yet to tackle it. While I’m glad to know I’m not the only one who’s admitted that to themselves, I think his determination to push through that admittance and try anyway is reassuring and inspiring.
“We don’t live in a vacuum.” Neil Gaiman’s comment here in his talk in the National Book Festival is vital to the points I think he was trying to make. We are constantly influenced by little things that we don’t realize are impacting us, and his anecdotes during his talk of finding stories in moments around him are both helpful and amazing. The idea seems obvious, that we should find stories around us, but in practice we may forget since we see things at face value and don’t necessarily think about the potential in moments.
The Graveyard Book seems like such an interesting idea, and even an obvious one once he described it. In reading some of the story, it feels as mysterious, mystical, and strange as his other stories. I grew up watching, not reading, Coraline, and it is my go-to movie for Halloween night. I find it creepy and unsettling enough to fit the holiday but its nostalgia and creativity is what brings me back every year. His question as to what makes a “children’s book” is such a fascinating one, as I have argued countless times that Coraline should be rated higher than PG - i.e. not-for-kids. But, funnily enough, I started watching Coraline as a kid and loved it; I wasn’t as horrified or traumatized as Adult-Me would have assumed I would be. I think we have a habit to infantilize kids, no matter their age, and assume they are unready for anything adult-related. I think he makes a great point in talking about how “children tend to be really good at self-censorship” and then in his intentionality in writing stories a little on the fringe of what Scholastic might approve for young ages. I think it’s bold and clever, and causes us as adults to rethink the capacities of kids and young adults - something I’m sure our younger selves would be thankful for.
I’d never heard of Neil Gaiman until now – I haven’t even seen the movie Coraline. But watching him speak and reading his writing has inspired me to. I appreciate his laid-back, witty attitude that I observed in the video from the 2008 National Book Festival. I tend to imagine accomplished writers – meaning those with awards and recognition – as these stuffy sort of people, high-brow and unattainable. But he presents his ideas and projects as uncomplicated. He seems to very casually draw inspiration from life; he doesn’t try to be profound. Oftentimes that’s what deters me from sitting down and writing; feeling the pressure to be profound, or quotable.
He successfully frustrated me with his article about what a children’s book is, provoking more thoughts than he gave answers. I didn’t know this class was geared towards writing MG or YA, but I’m glad it is and I’m glad we started talking about an author as imaginative as he is. Before I ever dreamed of being a writer – an accomplished one – in the way I do now, my first wish was to become a children’s author. In 5th grade I wrote a book about a polar bear who had a message about climate change, and it got pretty dark. Anway, what I did take away from the article is that the difference is subjective, and there’s multiple perspectives that children’s books can be written for. I also realized that language can remain pretty much the same in both genres, while content is really the major player. “The Ocean at the End of the Lane” was good writing. It didn’t try too hard, and it left me wanting more. I’m definitely going to check out some of his work (I need to at least watch Coraline) and I’m excited to write without reservation this semester.
I'll admit, I've never heard of Neil Gaiman until now, nor have I ever engaged with his work, but I found these pieces and the video quite interesting. His essay on the word "fuck" and children's books struck me the most. The idea of being exposed to mature themes via books or TV shows/films as children is something I think about often. When we view animated works from our childhood, we sometimes discover that there are actually some complex and even mature themes in them that we didn't notice before. (Good example of this is in The Incredibles where Mr. Incredible finds out that Syndrome murdered multiple heroes) That, in my opinion, is a characteristic children's books/films should have: They shouldn't be made with just children in mind. They should have a hint of the brutal reality, some subtle hints of mature themes, because when we, as adults eventually come back to read or watch them again, we will discover these hints, and we will love them more. I'm an avid fan of Japanese anime and manga, and one of the things I noticed about these media is that they are not afraid to tackle complex and mature themes, even for works targeted toward children. Oshi no Ko, for example, incorporates some of the dark sides behind the entertainment industry, yet I've heard of young children in Japan watching it. This is one of the things I love about this medium, is that by doing this, we get to better understand the realities of the world from a younger age. (That all being said, explicit content that's explicit just because shouldn't be watched by children).
I had never really heard of Neil Gaiman before reading these pieces, but I already knew about Coraline. However, I haven't actually read anything he's written, and I've never even fully watched Caroline. After reading the articles and watching the video, I find that I really enjoy the way Gaiman writes and the way he thinks. He's very straightforward but not in a boring way, and his pieces, especially his essay and that excerpt about the guy trying to find and kill a baby, were really gripping. I tend to find it hard to focus when I'm reading, but the way he writes and the topics he chooses are very engaging. His essay struck me as very interesting because it is something I never really thought about before. Although I did read when I was younger, I never really read things that were necessarily out of my age range, so I didn't relate to much of the essay in that sense. However, I did have access to the internet at a very young age which could kind of be related. From that perspective, I feel like showing children too many things they aren't ready for might not be so good. I think the difference might be that reading is different from seeing images. I liked how, in the essay, he spoke of children as though they were almost another species since their brains work so differently to adults and since adults somehow forget what it feels like to be a child once they grow up. It was super interesting to see how he incorporated his childhood self into the essay since his thoughts as a child were very interesting from an adult perspective, and it was weird reading them and feeling that his assumptions made sense, especially the one where he theorized that adults had the memories of their childhoods wiped when they became adults. After looking at these short pieces by Gaiman, I think that I would love to look at more of his work in the future.
Fenyan
Neil Gaiman’s Sandman is one of my favorite graphic novels of all time, it's one of those books that stays with you for a long time after you read it - its one of those graphic novels that I recommend to people when they want to get into western comics. The others (if you’re interested) are The Watchman, The Killing Joke, and the Geoff Johns run of Green Lantern. On another note, I actually wasn’t aware that Neil Gaiman wrote Coraline - in hindsight, makes a lot of sense. I was always deeply disturbed by that movie - mainly the puppet designs. I never really liked things that look and act like humans, but aren't - It gives me the same feeling that I get from looking at body horror, it's just disturbing.
His article on Children's books was…thought provoking? Its a very good take on censorship that really makes you think about its merit - kids will read what they want to read and self censor, as Gaimen put it. Oftentimes, children stumbling upon something they “shouldn’t have” is usually a good experience rather than a bad one - let's take coraline for example. I was a bit of a weird kid in that I was always disturbed by that movie, but I know my sister actually loved it - it's part of the reason I'm familiar with it, she used to play it every so often. To her, it was a cute puppet story, nothing less, nothing more - she “self censored.” Gaiman’s article also gave me some more fuel for a belief that I had vaguely felt for a while - that children’s books aren't real. Obviously that's an exaggeration, but I do stick to that general belief. As Gaiman says - “What makes a book an adult book is, sometimes, that it depicts a world that’s only comprehensible if you are an adult yourself.” In that sense, a children's book cannot exist as long as it is written by an adult - you can't write something you don’t understand after all. The world of that book is the world of an adult, and while a child may be able to pick up on it, there will never be a children's book that is only comprehensible by children themselves. A child’s point of view of the world is so completely different from that of an adult - how can an adult write about how it feels to be a child? They can't. Some people might remember how it was being a child, and aside from the fact that memories are unreliable, no one can really go back to feeling like a child. An adult has passed that threshold, they can no longer truly empathize with the plight and joys of children because they no longer are one. Kinda depressing.
(Oz)
Neil Gaiman is actually a "character" in my life (character as in I was lowkey obsessed) because of my Highkey Obsession With Coraline. I don't know what I found so endearing, but it might've been my siblings hated it with a passion (too scary). The book is better though, and I will die on that hill. I wouldn't say his writing is choppy per se, but he absolutely isn't the fluffiest--he doesn't waste our time. And that’s something I can appreciate, and even think about executing into my own writing. Which is hard. Writing is hard.
I do enjoy his relatability, in the sense that the way he write may not be full of rainbows and flowers and ponies and whatever, but his writing is definitely not on the nose–which is something that, in a way, is simply expected in society. Most people don’t just flat-out say what they mean, because if they did life would be so much better and war probably wouldn’t exist. I appreciate the realism in the stories (even when they’re not technically REAL in the sense of fantasy) and I especially appreciate that in his writing, most importantly with his children’s books. When I was a child, yes, I was reading the book about the pigeon with the hot dog truck and the mouse with the really long flower name, but there was also a time in which I realized that no, I’m not stupid, and I can actually, in a way, contextualize things in my life that may seem “beyond me”. Neil has a way with his words, and the way he addresses children doesn’t feel stupid. You know how some people talk to their dogs, or their babies in that stupid little voice? Yeah, I do that too. But babies were actually proven to understand people better if they just talk to them like they’re real. That’s what Neil does. He excels.
I hadn’t actually heard of Neil Gaiman until this post. Sure, I’ve heard of Coraline before, but other than that? No clue who he was. After watching his Q&A session and essay, though, I’ve come to respect him a lot. Not just for his character, but because of his skill in writing. The extracts that were assigned are really good; he’s amazing at fleshing out the scene that the characters are in, as well as the people themselves. There was that feeling of “well, what happens next?” when I finished that part of The Ocean at the End of the Lane, and I especially wanted to learn more about Lettie Hempstock. He also just seems like a stand-up guy and was really frank with his answers. Him talking about how he couldn’t get The Graveyard Book off the ground for so long because “it was a better idea than he was a writer” was really relatable, too. It’s kind of annoying when some highly-respected writers and artists (maybe this is just on the musical side more than anything) put themselves on a pedestal and try to paint an image of being… almost superhuman? Or being an “ignorant genius.” Like, some musicians will act as if they didn’t know anything about music theory at all. That they were never taught - formally or informally - even though it’s pretty obvious that they’re lying through their teeth, pretending that it was solely sheer talent while hiding their hard work. Sure, it’s to sell an image, but it’s still kinda sad to see, y’know? I really liked his essay, too. It flowed really well together. That is, the story he was telling weaved his own personal experience with the point that he was trying to make. He didn’t talk down to children, either, but still highlighted the difference in perspective between them and adults. It really makes you think, what should children be allowed and not allowed to read? And how do you help kids navigate and orient themselves in this strange, confusing world? His insights are the kinds of stuff that are definitely worth thinking about.
I also had never heard of Neil Gaiman until this class. I like how in "The Ocean at the End of the Lane”, the main character embodies the catharsis by dressing in a conforming manner as a comfort, rather than an abhorrence, in a dire situation when he is introduced.I like how the narrator describes his sister's house with the most cheery air and expresses a total contrast in enjoyment, meaning lack thereof, when talking about the trivial small talk he endures with strangers and old friends. "The slick black road became narrower, windier, became the single-lane track I remembered from my childhood, became packed earth and knobbly, bone-like flints", the imagery is remarkable. I was captivated by the smoothly-sequenced and vivid, eloquent diction Gaiman used when he was reminiscing about his childhood memories in his hometown. You can definitely catch the opposing language when talking about his past, feeling warm and happy about a simpler time, versus his present where he has experienced much loss. I like how the "ocean" was used as a motif for child's escape through the form of a tranquil pond as the narrator recollects this within his menagerie of childhood memories, which are his escape. An escape within an escape. Neil Gaiman's writing style, specifically within this piece, has a similar style, to me, as Robert Frost's "Stopping by Woods on a Snowy Evening." Both pieces use the woods and water masses as an area of peace, darkness and remembrance.
So, wrote a comment, it didn't upload, so... take two!
Like I said before to the void that is faulty internet, Neil Gaiman is incredible, he seamlessly blends all the things I love into his books- Gothic imagery, allegory especially through myth and religion, fantasy and ever so skewed realistic worlds, brilliant and real and flawed characters, etc. With sandman, his use or horror mixed with a pantheon like group of fantastical characters is wonderful and almost refreshing (no matter how gruesome). The ability for him to take what could be cardboard-cutout allegorical figures (ie sleep, death, desire, etc) and blend them to be fully fleshed characters with arcs, flaws, and contradicting traits is especially addicting to a character focused writer such as myself.
On a personal note, the representation in his novels and shows is outstanding. When it comes to his queer characters, they so seamlessly are introduced and handles that it really shines as what representation could and should be. There's a natural flow to the relationships, no need to announce what they are, no waving of a flag or killing the characters off after they have their moment. They're just as important as the rest of the cast, and even more crucially, just as normal. When it comes to Good Omens, the representation is astounding- and the entire cast and crew (credit to David and Micheal especially) are so clearly committed to doing right. The treatment of nonbinary and trans characters is honestly so empowering and comforting as a nonbinary person, and the fact that the characters are so wonderfully human (even if they are thousand year old demons and angels) is something to be referenced by all other writers. I had the pleasure of seeing the first two episodes of season two in theatres this summer and suffice to say- it was easily one of the happiest days of my life.
In short- f*ck yeah Neil Gaiman.
I actually never heard of Neil Gailman before until now. I didn’t know he was the author of Coraline, the movie that had so many of my elementary classmates entertained. Although I had never heard of him before, watching the “National Book Festival” video made me interested in reading his book “The Graveyard Book”. The reason why is because of his personality. The way he talked about how he came up with his ideas reminded me of how my younger self used to come up with ideas for short stories and videos. Living life can give writers new ideas for books or anything else really. Most of the time you have to stay aware and be present for a good idea to magnetize your way. It really is all about patience and patience is a difficult quality to master in my opinion. Being a writer is something I always wanted to become, but I was always deterred by the lack of quality ideas coming my way when writer’s block emerged. I remember putting off publishing a piece of work because I wanted to become a better writer and person like how Neil Gailman said in the “National Book Festival 2008” video. However, it wasn’t until one day he realized he most likely was not going to become a better writer than he was currently at that time. What I am trying to say is that Neil Gailman showed me that authors are ordinary people and that they go through the same doubts and inner trials we go through too. Instead, of putting off something to become that “better” writer just write down whatever idea comes to mind.
Anran Li, Ms. President
“I write stories to find out what I think about things.”
I love this quote, especially since I really so often feel like I can only write about incidents that happened before, food I’ve tasted, places I’ve been to… Everything has to be based on what actually was THERE. I didn’t know this guy before, and at this point, I had to look up and confirm if he really was a children’s book writer because this was when I realized that he had that ability I’d been jealous of — the eyes of children. I heard long ago, back when I was actually a child, that children were gifted with natural creativity and that most would lose it as they become adults. I tried to discover my “natural gift” then but only realized I’d had it when it was lost. From Gaiman’s narration, I could tell that he still has this lens, the mind that would go beyond what things originally were, that would allow him to respect, appreciate, and therefore serve children’s unique set of eyes.
Is it fair to argue that good writers need both the eyes of children and the brains of old wise men (or women… they/them, whatever)? After reading Gaiman’s experience, I felt bad for being an obedient child growing up and not reading books not approved by adults (well, most of the time, and I wondered why he or some, if not most of us, were interested in adults’ books as kids. And my guess was about curiosity. To build on that, if children want to know the truth instead of the fairy tales or pretty lies made up by adults to discipline them, then what about us? And as writers, is it our job to show our readers the nudity of reality and shock the hell out of them or tell them white lies that, yeah, Santa does exist? Why do we need fiction? Does good fiction provide the truth or the escape?
Luna Fall
I enjoyed watching the video from the National Book Festival. A lot of what I find for my stories is based off of people that I know or have met or have lost, and the same goes for places. I feel that Gaiman is in a similar boat, as most authors are. Gaiman was right when he mentioned that we do not live in a vacuum. It would be near impossible to write something and not have it be a reflection of someone we know or a place we have seen. Everything we write is, in some way, a reflection. But I love that. It is almost to say as if we hide little pieces of us between the pages (tears and spit and chocolate smudges from our favorite candy bars).
I also ADORED that he said he hates outlining his stories. I relate to this in a big way. Part of the fun is having a scene fall into your lap while you're waiting in line at the supermarket or driving home and listening to a song (cue all of us racing furiously to the notes app on our phones). This method of story telling is something he also uses in his essay. It feels as if he's figuring it out along the way. He writes to find out how he feels or what he thinks about something. I love that. It's frustrating to have no idea where the words are taking us but sometimes that takes you (or at least people like me) some place we didn't think of going before.
This reflects, in turn, to his ideas on what makes a children's story. Gaiman writes to tell specific stories, which leads to sometimes a main character that is a father, or a children's book that starts with a multiple homicides. By letting children figure out what their own boundaries are, it encourages a certain level of faith that they are able to understand their own limits and emotions. I don't want to tell a child how to feel, nor do I ever want to tell a child they shouldn't read certain literature.
When I saw Neil Gaiman's name, I recognized it but I couldn't remember where from. But then I saw that he's the author of Coraline and it finally clicked. His take on children's books and how kids can self-censor things that they see was really interesting because I feel like it holds true for a lot of people. Like when you go back to watch a show you watched growing up and you see jokes or plotlines that you didn't catch onto when you were younger but you fully understand and can appreciate now. I definitely get why children's media needs to be at least slightly simplified, but it doesn't need to be totally basic and almost brainrotted to the point where even a child might get bored. It's best to just put stories out there (as long as it isn't overly explicit) so kids can find what they like and develop their own tastes.
Blog 1
I think I agree with Neil’s understanding, or at least his take on the line between fiction for children and fiction for adults. That its a very slippery, blurry, and downright confusing line. His remarks about the weight of subjects and the things you can show in a children book, is an area that I’ve seen writers really seem to stretch and play with. There’s obvious things such as nudity, sex, drug abuse that most will look at and say that shouldn’t be shown to a child. Granted that hasn’t stopped some writers from proceeding to anyway and the public still receiving their work with positive reactions. But things that are complex such as grief, tangled relationships or as heavy as death, struggles with what are essentially realities of the human experience, the line on that is not so clear. And those are just the obvious ones. I’ve seen media aimed at children that deal with things as heavy as this and I’d say that my childhood hasn’t worsened because of that, and in a lot of cases my investment in those stories grew and my experience was bettered. Avatar sticks out to me, it was a children’s show that dealt with the genocide, grief, the horrors of war, domestic abuse, and those are just the ones I can remember. Everyone who I know who has watched the show however buy in large says that at the end of the day it’s definitely a kids show. And a really darn good one at that. The distinction of media for children versus media for adults, that I agree, can only really be sensed by consuming the media, mulling it over, and then taking you best guess on where it falls between the two. Which is to say not clear at all.
Before encountering Neil Gaiman's work, he was a name unfamiliar to me. However, after watching him speak and reading his writings, I feel inspired to explore his works further. What struck me most was his laid-back, witty demeanor, as observed in the 2008 National Book Festival video. It was refreshing to see an accomplished writer who doesn't present himself as high-brow or unattainable. Instead, he effortlessly draws inspiration from life without trying to be profound, which resonated with me as someone who often feels pressure to be profound or quotable when writing. Gaiman's article about the definition of a children's book left me both intrigued and frustrated, as it provoked more questions than it answered. Despite not realizing this class was focused on writing for middle-grade or young adult audiences, I'm glad it is, and I'm excited to discuss such imaginative authors. Even before considering becoming a writer, my childhood dream was to write children's books, as evidenced by a dark tale I penned in fifth grade about a polar bear with a message about climate change. The article made me realize the subjective nature of defining children's literature and the importance of diverse perspectives. It also highlighted how language can remain consistent across genres while content plays a significant role. Gaiman's novel "The Ocean at the End of the Lane" showcased good writing that seemed to not force the issue, leaving me eager for more. Furthermore, Gaiman's essay on the word "fuck" and its relation to children's literature resonated with me, as it echoed thoughts I often contemplate regarding exposure to mature themes at a young age.
I have to be honest, I have never heard of Neil Gaiman. Although I have heard of the widely popular movie Caroline, I have never seen it, but I am planning to now because it seems like Neil Gaiman comes up with oddly fascinating ideas. I truly appreciated how transparent he was in the video, explaining that sometimes we do not actually know why ideas come to us, or specifically how he came up with buttons for eyes in the movie Caroline. However, when he explained how he came up with the idea for his book “The Graveyard Book,” I found it very fascinating that he put off writing the book because he did not think he could do it justice as he was not satisfied with his writing to capture the idea of the book. I have never thought about doing that and might implement that in my writing as sometimes I feel like I have a great idea for a story but feel like the execution is off for some reason.
Additionally, I resonated with his idea of not holding back when writing young adult fiction, as children often want to read about and understand adult behavior. If they ever feel like they are pushing their boundaries and capabilities, they will go back down to a reading level they are more comfortable with. That outlook on young adult writing has made me more relaxed when thinking of what I should and should not write about because I was afraid of stepping over boundaries as these stories are directed to a younger audience. Lastly, I loved the little excerpt from “The Ocean at the End of the Lane” due to its very chic feeling, of how it seemed to roll off the tongue even though it did not rhyme.
Neil Gaiman's "answer" in differentiating children's books from adult books was an interesting read. As he mentioned, he didn't quite answer the question but that in itself is already an answer. He mentions how the line between children and adult books are already blurring, so defining each wouldn't suffice. But he does mention the idea of reading a book as a child and then rereading it as an adult to better understand it. I think that's a solid qualifier in determining if a book is more adult or child like, but at the same time a question like this is really meant for the writer so that writer can better market their work. What I got from that article was to write whatever it is one seeks to write, and excusing pieces that are wildly inappropriate or only meant for mature audiences, and publish it young adult or adult fiction but with the message that an even younger audience can retain something information or satisfaction from the piece, whether or not they fully understand it. I feel some of his already published works kind of already fall into this category but with a reverse effect. For example, Coraline was published as a children's book but had tones that could be marketed for an adult audience. Gaiman seems to be proficient in not only genrebending but bending the demographics and targeted demographics of the fiction he publishes. Reading something like Coraline as a child would bring about a different reaction than reading it as an adult. Children might not have picked up on certain themes that adults would have.
Neil Gaiman is diffidently a cool author. I have tragically never read his work first hand but I am a fan of both Good Omens and Coraline, and would like to read the originals at some point. I'm also fascinated by the Sandman series, though that was more second hand hyperfixation, so my knowledge on that is spotty. He's also just kind of on tumblr and so every once in a while I'll see a post about on of his works from the fandom and he'll have just commented on it, and I think that is a very fun way to be interacting with fans.
-Spiral
Before encountering Neil Gaiman's work, he was a name unfamiliar to me. However, after watching him speak and reading his writings, I feel inspired to explore his works further. What struck me most was his laid-back, witty demeanor, as observed in the 2008 National Book Festival video. It was refreshing to see an accomplished writer who doesn't present himself as high-brow or unattainable. Instead, he effortlessly draws inspiration from life without trying to be profound, which resonated with me as someone who often feels pressure to be profound or quotable when writing. Gaiman's article about the definition of a children's book left me both intrigued and frustrated, as it provoked more questions than it answered. Despite not realizing this class was focused on writing for middle-grade or young adult audiences, I'm glad it is, and I'm excited to discuss such imaginative authors. The article made me realize the subjective nature of defining children's literature and the importance of diverse perspectives. It also highlighted how language can remain consistent across genres while content plays a significant role. Gaiman's novel "The Ocean at the End of the Lane" showcased good writing that seemed to not force the issue, leaving me eager for more. Furthermore, Gaiman's essay on the word "fuck" and its relation to children's literature resonated with me, as it echoed thoughts I often contemplate regarding exposure to mature themes at a young age.
I have never read Neil Gaiman, even though I’ve always said that I meant to (I even have a copy of Good Omens in my dorm right now), and I was a huge fan of Coraline growing up. I didn’t know that he wrote Sandman, or even that the show was based on a book—for me it was just the show my dad watched, and I would happen to be in the room. I’m still planning to read Good Omens, I love stories that take inspiration from the Bible (I went to Catholic school for 7 years). I loved his speech on what makes a children’s book, and it’s something that I have been thinking about a lot, for a while now. Is it subject matter? Do we believe children are incapable of understanding depth in stories? Do we need to make stories more palatable for children, or can they be too palatable if they’re for adults? I, obviously, don’t have any answers either, but I really appreciated seeing that dilemma put better by Neil Gaiman, and I think the excerpt of ‘The Graveyard Book’ really frames the question as well. Maybe it’s because I’m an adult, now, but it’s a dark opening to the story. At the same time, though, it’s something that I would have read and enjoyed in fifth grade, which confuses me more, when it comes to the idea of what’s a children’s book. I love “The Ocean at the End of the Lane”, and every time I read something by Gaiman I think this, but his descriptions of things always feel so nostalgic. Even though I’m not there with him, I feel like I understood exactly what he was talking about, and I knew all of the feelings he was describing and experiencing, and the focus on childhood and memories is so strong. I just love his work, every time I read an excerpt of his. I really need to get on with reading that copy of Good Omens I have (I’ll get there).
I'm a huge horror fan, but the only thing I actually knew of Neil Gaiman's was Coraline, because it scared the shit out of me when I was a kid (evidently, though, he's really good at writing comedy, so I really gotta read more of his stuff.) I never actually saw the movie (I was kind of a coward as a kid) because it seemed too real and inescapable, but I read the graphic novel which, in a lot of ways, was way more freaky. I remember having nightmares about the disembodied hand and the dad turning into a rotting pumpkin (? I haven't read it in ages) but, much like his daughter, I couldn't stop reading it. That, plus my obsession with the Warriors book series (which is way more graphic than I remember it being- cats disembowel each other and die in childbirth and it's all very bloody and political) definitely kick-started my obsession with horror. As a kid, I definitely leaned more towards the "scared little boy" end of the spectrum, which weirdly made me more interested in stuff that freaked me out? I was just obsessed with testing my limits, which I think Gaiman gets across well in his essay about children's books. My dad actually had a very similar experience to his daughter (which might be why I was a) such a pussy as a kid and b) why I got interested in horror) which was that when he was about 8, his friend's parents took him to see Carrie in theaters. He's still traumatized by it (although that's also in large part due to him having a religious mom, but I digress) and he recounted that story to me very young, saying that "Carrie's the scariest movie I've ever seen" and to "never watch it." So of course when I turned 14 I watched it at a sleepover to see what all the fuss was about. It for sure scared me way too bad and I had nightmares but it's still one of my favorite movies ever. I think to a certain extent, kids need to be scared. Maybe not as bad as my dad was, but I think there's merit to testing one's limits with fiction. But that also could just be me being a strange little freak, who knows.
Aidan/Junkiefest
There’s a lot I could write revolving around Neil Gaiman. He’s such a fascinating writer to me, someone who I’ve only begun to scratch the surface of. It’s strange to me, because I am so certain that he is one of my favorite authors, despite not having actually read anything by him yet. Never. Coraline, Stardust, The Ocean at the End of the Lane, etc., I could go on but this is only meant to be 250 words. Point is, I am so interested in Gaiman and his work, I have been meaning to for ages to get into it, and this assignment was a silver platter of opportunity for exactly that. However, with everything we were given here to read by him, the thing that stuck out to me the most was something that he said. During his 2008 speech: “The thing that keeps me going is the characters, I care about them, I want to know what happens to them”. He goes on to explain that he used to plan things out at the very beginning, but since he has excitedly followed along with the stories he’s told, exploring the characters as he writes them. And to me, as a writer, that’s so fascinating. Whenever I’ve tried to write a long-form story, like a novel or something, I’ve always faltered and tripped up when it came to the process of actually telling it. Most specifically, the characters, their specific stories and arcs, and of course, what happens to them. And for the longest time I’ve been keenly aware of my own overthinking of characters and plots and plans and maps in my writings, to the point where I know I overthink myself out of actually doing any actual writing. This speech didn’t give me that revelation, but it did contextualize it by making me think about other characters I’ve written who’s stories I did fall in love with. Characters not from my written work, but characters nonetheless: the ones I’ve played in Dungeons and Dragons. These are characters whose arcs I understand, but who’s actions and thought processes and most importantly futures are uncertain to me, and who I excitedly follow along with in a story. People who I develop alongside who I care about, and I want to know what happens to them. I’ve never had a novel character, or a long story character who I’ve written and had that connection with, but as Gaiman described his characters I immediately recognized the things he was saying in the context of table top role play and improvisation. It’s a perspective I’ve given to characters, but never given to characters I’ve written for reading’s sake. But this thing he’s describing that I’ve repeatedly failed to find in my story character’s is something I realized because of this speech I am intimately familiar with, just in a different medium. Maybe I’m missing the point of this blog post, but out of everything here, that’s stuck with me strongest, and I can just feel in my heart that it’s inspired a change in my writing that will continue to develop and change it in ways that I might never have had were it not for this random speech that we were assigned. How could I possibly respond to this with anything else?
My personal journey with Neil Gaiman's work has been intriguing. While I wasn't aware he wrote Coraline before this class, I was well aware and even a fan of Good Omens. Coraline, for lack of a better term, traumatized me. I watched the movie adaptation when I was little, and rather than filling me with wonder and amazement as it did for some of my peers, it provided me with nightmares for months on end.
On the other hand, Good Omens drew me in with its dry humor and style, a stark departure from the horror Gaiman is known for. I believe this dichotomy ironically justifies the importance of giving children the freedom to read what they want, regardless of arbitrary classifications given to them by the "adults" who write said books. Walking the line between what might be okay and what wouldn't for yourself, despite going "over it [the line] on occasion," is essential in shaping our worldview and understanding of situations and how we perceive them.
The difficulty in effectively categorizing books between "children" and "adults" is probably a good thing. A universal story that appeals to all makes it enjoyable and long-lasting compared to books that may otherwise have a "shelf life" when catered to a particular audience. People change, and their worldviews change with them, so transcending the arbitrary boundaries and writing to appeal to you, the reader, using themes and categories in mind, produces a more compelling story to read and write.
My only exposure to Neil Gaiman prior to this class was the time I began reading The Ocean at the End of the Lane on a PDF on my phone. I never finished it, but upon rereading the excerpt for today, I think it’s been long enough that I have more of an appreciation for the sincerity of Gaiman’s descriptions of his characters’ thought processes. It’s interesting how he talks about the fact that he’s motivated as an author by the question of “What happens next?” in his speech because I think what’s so compelling about the excerpt from OATEOTL is the journey of the character’s recollection of the past, not so much the events of the story itself. Yet as the character pieces together his fractured memories of the past, I do wonder what he’ll do with the more clear picture he finds by the end of the excerpt, and what else he might recollect about his time in this town.
The first story I ever read by Neil Gaiman was a short story he published in 2005 titled “Sunbird.” The story was about a quirky private club of food enthusiasts whose goal was to taste every kind of creature that had ever existed. When they begin to find that there is hardly anything left for them to try, their oldest member suggests that they go to Cairo, Egypt to catch a Sunbird. I have also seen the movie “Coraline” before but did not know it was originally written by Gaiman and heard that he had written an X-Men story in which the titular characters find themselves in ancient England and are accused of being witches (according to The Big Bang Theory, in which Gaiman himself makes a cameo appearance). The idea of censorship has always been a crucial issue when it comes to writing, especially when it comes to my own, as it’s a conscious issue that sticks within my mind when considering what aspects of my ideas would be appropriate for what I was writing and if it would be accepted as such. I think that the challenge comes from seeking a balance in both traditional and progressive values, as well as the audience demographic that the author is aiming for. That is not to say that a particular author’s writing is only intended for a specific limited audience demographic, but the intent of who the author decides to speak to is very symbiotically critical with what an author puts into their own work, in my opinion.
Neil Gaiman’s essay provides an interesting depth into significance of children’s literature and reading. Most importantly and firstly he goes onto critisize the notion that children’s literature is somehow simpler and lesser than other forms of literature. In fact he fights the fact that some books are even more profound and complex. This notion really piqued my interest as I too always thought of childrens literature of somehow lesser, that if somehow one were to ready a book such as mary shelly’s Frankestein that has literary merit, it somehow is “better” than reading let’s say Coraline by Neil Gaiman, but as I read this essay my mind became more and more transfixed onto this concept that this fact is simply not true. I love children’s and YA literature dearly so to now finally not be “embarassed” when I mention my current read is a children’s/YA book is more a relief thanks to Gaiman. Not to mention the fact that believing and writing in children/YA literature is crucial because these books help children everywhere get introduced into literature. Literature can do so many great things for kids such as help their imagination and creativity, understand other’s feelings better, and build their problem solving skills, all important for when they eventually enter the real world. Another main idea in this essay worth noting is Gaiman’s idea that children’s books should not shy away from difficult or tough topics. He argues that kids can indeed handle these stories and not only that, they will learn and grow expeditiously through them. - Johnny aka Hyacinth
I just finished the readings and viewing. In the 10 minutes I was graciously given from Alexander Dawson, I will embed a comment that simultaneously achieves the goals of this blog post while also communicating some thoughts I had about the various readings and the one viewing I did. What really stuck out to me was the Chu's Day children's book and how he tried to "smuggle" it into China by letting it be published. The very act of it existing was some sort of message, which I want my creative work to achieve as well. Also, the video that I watched was on 2x speed while I was eating breakfast, so I can't say I digested/comprehended it that well. The laughs were very recognizable from the audience, even though it was on 2x speed. I guess Neil Gaiman must talk pretty slowly, because I comprehended what he said even on double-time. I also watched it with closed captions, though, so I wasn't that surprised that I could understand most of everything that was going on. Alright, if my ten minutes is up, then I am wrapping this post up with the excerpts from the books. I was reading it while standing up, but it was not funny. It was, to put it bluntly, pretty grave. Pun unintended. This is just how my brain works, I guess. It's been a while since I formally wrote a blog post, I think the last time was in my Human Rights class at the school I transferred from. See how this post achieves a goal.
"Neil Gaiman? What are you doing in my falafel?"
Neil Gaiman knows how to create unsettling feel we all feel when something is just not quite right. I've read some excerpts and listened to some readings of many of his books, but the one that stands out to me is and always will be Coraline. I grew up loving the film adaptation and because of that I picked up the book from my school library. The whimsy I expected wasn't there, and instead was replaced with consistent tension. I felt immediately transported into the world, which was grim and drab and slowly became more sinister as the book continued. The simplicity of the storytelling lends it sense even more to the horror elements. The book doesn't feel dressed up or overcrowded. There's nothing to be distracted by. I really admire his style of writing. Don't know how he got in my falafel though.
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