Neil Gaiman: the power of fantasy and making metaphors real

Neil Gaiman, the prolific and acclaimed author of numerous bestsellers and award-winning works, recently engaged in a conversation with critic and writer Roz Kaveney at the British Library, as part of the fantasy series. Gaiman’s impressive body of work includes books, graphic novels, short stories, film and television, catering to audiences of all ages. Some of his notable works include “Norse Mythology,” “Neverwhere,” “Coraline,” “The Graveyard Book,” “The Ocean at the End of the Lane,” and “The View from the Cheap Seats.” Gaiman’s talent has earned him prestigious awards such as the Newbery, Carnegie, Hugo, Nebula, World Fantasy, and Will Eisner Awards.

Gaiman’s novel “American Gods,” originally published in 2001, has also been successfully adapted into a critically acclaimed, Emmy-nominated TV series. Additionally, he took on the role of writer and showrunner for the mini-series adaptation of “Good Omens,” co-authored with the late Sir Terry Pratchett. Gaiman served as an Executive Producer and co-showrunner for Netflix’s TV adaptation of his renowned Sandman comic book series, and he is currently working on a TV adaptation of his novel “Anansi Boys.” In 2017, Gaiman became a Global Goodwill Ambassador for the UNHCR, the UN Refugee Agency, further demonstrating his commitment to making a positive impact.

An exploration of fantasy literature with Neil Gaiman

During the conversation, Gaiman, who is an arts professor at Bard College in the US, and Kaveney discussed various aspects of fantasy literature, including the significance of Hope Mirrlees’ book “Lud in the Mist” in the genre. They explored the theme of reconciliation between the mundane and the miraculous, one of the central themes in fantasy literature. Kaveney highlighted the three great fantasy themes: the reconciliation of the mundane and the fantastical, the quest for the cure for the world’s pain, and the education of prominent figures.

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Gaiman shared his perspective on fantasy literature, emphasising the power of fantasy to make metaphors tangible and real. He discussed how his novel “Neverwhere” had a profound impact on a reader, causing them to engage with the issue of homelessness in a more meaningful way. They discussed the idea of mythic and legendary figures in London, such as the “No sex, no protein” man and the unique way in which Londoners create myths around ordinary individuals.

The conversation also delved into the blurred lines of fantasy literature and the importance of specificity in creating immersive fantasy worlds with Gaiman saying “I’m never quite sure what the boundary is in fantasy.” Gaiman explained how his novel “The Ocean at the End of the Lane” combined elements of autobiography, memoir, and fantasy, creating a unique and multifaceted narrative.

Insights into Gaiman’s creative process and storytelling

Kaveney stressed the significance of inspiration from childhood reading, stating, “Apart from family, is text. It’s books that you read when you were young that you want to make your version of.” Gaiman chimed in, revealing the origin of his novel “Good Omens,” saying, “That Good Omens started off as William the Antichrist.” Their discussion then shifted to “The Graveyard Book,” a masterful work of intertextuality. Gaiman described how the idea for the book came to him while watching his young son play in a graveyard with a tricycle.

He reminisced, “I thought, you know, I could write a book about a kid who goes and lives in a graveyard and is raised in a graveyard by dead people and taught all the things that dead people know.” He drew parallels to Rudyard Kipling’s “The Jungle Book,” noting, “That’s an awful lot like The Jungle Book, in which Mowgli gets raised by animals and gets taught all the things that jungle animals know. In which case, if that’s the Jungle Book, this would be the Graveyard Book.”

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Kaveney astutely observed the close conversation between Gaiman’s work and its literary influences, highlighting, “It’s a very close conversation, because the Ghoul chapter is very much a conversation with the Bandalag chapter.” Gaiman concurred, acknowledging the deliberate nods to obscure elements of Kipling’s “The Second Jungle Book.” The interview then delved into the process of bringing ideas to fruition, with Gaiman admitting the challenges he faced with “The Graveyard Book.” He confessed, “I’m not good enough yet to do this thing that I’ve just come up with justice. One day I will be good enough.” He described a decades-long journey of revisiting and rewriting the story until he finally felt ready to tackle it. Gaiman recounted how he started writing the book in the middle to find his voice and, with a nudge from his daughter Maddie, completed it.

Kaveney praised Gaiman’s discipline and work ethic, noting, “You’ve been an incredibly hardworking and disciplined writer for all the time I’ve known you.” Gaiman attributed his success to determination and the belief in constant improvement, saying, “I firmly believed that it was my job as a writer to write, to keep writing.” He shared his approach to crafting “The Sandman” series, explaining how he needed a versatile lead character to sustain a monthly comic, leading to the creation of a character that could transcend space and time.

Gaiman on social awareness

Gaiman reflected on his past work, particularly his creation of the character Wanda in the late 1980s and early 1990s. He expressed a sense of retrospection, stating, “I had to say, well, there are definitely things I would do differently. But there’s nothing I regret in the sense of writing Wanda.” His decision to introduce a trans character into his comics during that time period was driven by a strong desire for representation. He noted, “I had trans friends, and there were no trans characters in mainstream comics. Or if there were, I had never run into them. And I was like, why aren’t there people like Roz and Rachel in my comics? I’ll put a trans character in.”

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Gaiman also revealed that his decision was influenced by conversations with others, saying, “a lot of it also was things that you were telling me, you were telling me about.” One particular revelation had a profound impact on him. “I remember how profoundly shocked and upset I was when you told me that there were people that you knew, that trans women you knew who had been buried as men and deadnamed on their tombstones,” he said, adding, “and that I found so profoundly upsetting.” This deep emotional response motivated Gaiman to use his storytelling as a means to raise awareness and create empathy, stating, “It’s like, okay, that thing that is making me upset and angry, I want that to make other people upset and angry too, and I want somehow to be able to reply to that.”

The conversation between Neil Gaiman and Roz Kaveney provided valuable insights into the fantasy genre, the creative process, and the power of storytelling to explore complex themes and create meaningful connections with readers. Gaiman’s passion for storytelling and his commitment to pushing the boundaries of the genre continue to make him a prominent figure in the world of literature.

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