Neil Gaiman

Neil Gaiman
Neil Richard MacKinnon Gaiman is an English author of short fiction, novels, comic books, graphic novels, audio theatre, and films. His notable works include the comic book series The Sandman and novels Stardust, American Gods, Coraline, and The Graveyard Book. He has won numerous awards, including the Hugo, Nebula, and Bram Stoker awards, as well as the Newbery and Carnegie medals. He is the first author to win both the Newbery and the Carnegie medals for the same work, The...
NationalityBritish
ProfessionNovelist
Date of Birth10 November 1960
CityPortchester, England
Soon enough his head would be swimming with tales of derring-do and high adventure, tales of beautiful maidens kissed, of evildoers shot with pistols or fought with swords, of bags of gold, of diamonds as big as the tip of your thumb, of lost cities and of vast mountains, of steam-trains and clipper ships, of pampas, oceans, deserts, tundra.
She's not dead. You didn't kill her, nor did the hunger birds, although they did their best to get to you through her. She's been given her ocean. One day, in its own time, the ocean will give her back.I thought of corpses and of skeletons with pearls for eyes. I thought of mermaids with tails that flicked when they moved, like my goldfishes' tails had flicked before my goldfish had stopped moving, to lie, belly up, like Lettie, on the top of the water. I said, 'Will she be the same?
She had such unusual eyes. They made me think of the seaside, and so I called her Ocean, and could not have told you why.
I couldn't get you to the ocean, but there was nothing stopping me bringing the ocean to you.
My bed was pushed up hard against the wall just below the window. I loved to sleep with the windows open. Rainy nights were the best of all: I would open my windows and put my head on my pillow and close my eyes and feel the wind on my face and listen to the trees sway and creak. There would be raindrops blown onto my face, too, if I was lucky, and I would imagine that I was in my boat on the ocean and that it was swaying with the swell of the sea. I did not imagine that I was a pirate, or that I was going anywhere. I was just on my boat.
I could be blindfolded and dropped into the deepest ocean and I would know where to find you. I could be buried a hundred miles underground and I would know where you are.
In the case of 'Ocean at the End of the Lane,' it's a book about helplessness. It's a book about family, it's a book about being 7 in a world of people who are bigger than you, and more dangerous, and stepping into territory that you don't entirely understand.
It occurs to me that the peculiarity of most things we think of as fragile is how tough they truly are. There were tricks we did with eggs, as children, to show how they were, in reality, tiny load-bearing marble halls; while the beat of the wings of a butterfly in the right place, we are told, can create a hurricane across an ocean. Hearts may break, but hearts are the toughest of muscles, able to pump for a lifetime, seventy times a minute, and scarcely falter along the way. Even dreams, the most delicate and intangible of things, can prove remarkable difficult to kill.
Nothing's ever the same," she said. "Be it a second later or a hundred years. It's always churning and roiling. And people change as much as oceans.
"Ocean" is more about ... powerlessness and hopelessness. When we're very small we can't actually do anything - we have no say in what happens, we have no money or resources, we sometimes have no idea what's going on.
We have an obligation to make things beautiful. Not to leave the world uglier than we found it, not to empty the oceans, not to leave our problems for the next generation.
I do not believe that all books will or should migrate onto screens: as Douglas Adams once pointed out to me, more than 20 years before the Kindle turned up, a physical book is like a shark. Sharks are old: there were sharks in the ocean before the dinosaurs. And the reason there are still sharks around is that sharks are better at being sharks than anything else is.
When I started doing Sandman, I could look at a group of people lined up to get my autograph, and I knew who was my fan and who was somebody's mum there to get a signature. It doesn't work that way anymore. They're people. They're us. That's what they look like.
Fat Charlie wasn't sure that he liked freedom, ... There was too much open air involved.