] Gaiman sees himself as part of the age-old profession of ] storytellers, but unlike a lot of the tiresome people who ] go around referring to themselves that way, he's right. ] His fiction, in its various media (he also writes screen- ] and radio plays), induces that blissful, semi-hypnotic ] state most of us first experienced as children, when the ] power of a book seemed to erase the world around us, and ] when reading felt almost like a drug. Gaiman is ] interested in all the traditional forms of storytelling ] -- legends, folk and fairy tales, myth -- and not just in ] the stories themselves, but the ways they get told. Not ] surprisingly, the hero of the Sandman epic is Morpheus, ] the King of Dreams, who also presides over stories. ] ] Gaiman certainly wasn't the first comics writer to draw ] on ancient myths, but he could be the first to really ] understand how myths work, not just as motifs but as ] nodes of meaning that gain new layers as we attach new ] experiences to old stories. For example, the Egyptian god ] Osiris, the Norse god Balder, Jesus and John F. Kennedy ] are all very different figures and yet -- in some ] fundamental way having to do with how we understand them ] -- also the same. As the British writer C.S. Lewis (a ] major influence on Gaiman) pointed out, a myth is a story ] that can be told and retold in very different ways and ] yet remain essentially intact. There is no original or ] correct version of the Orpheus myth, just countless ways ] of revealing it, and even people who haven't heard the ] traditional Greek version recognize it as something ] powerful when they meet it in another form. Anything dealing with Neil Gaiman is worth reading. Salon takes a crack at trying to explain the mass appeal of Neil, despite the fact that he continues to go back to the medium of comic books. I have been an avid fan of his since 1988 when The Sandman began and am constantly trying to introduce his works to more and more people. |