The Sandman, Volume 10: The Wake

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Overview

The Sandman is the most acclaimed and award-winning comics series of the 1990s for good reason. A smart and deeply brooding epic, elegantly penned by Neil Gaiman and illustrated by a rotating cast of comics' most sought-after artists. It is a rich blend of modern myth and dark fantasy in which contemporary fiction, historical drama and legend are seamlessly interwoven. The saga of The Sandman encompasses a series of tales unique in graphic literature and is a story you will never forget.
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More About This Book

Overview

The Sandman is the most acclaimed and award-winning comics series of the 1990s for good reason. A smart and deeply brooding epic, elegantly penned by Neil Gaiman and illustrated by a rotating cast of comics' most sought-after artists. It is a rich blend of modern myth and dark fantasy in which contemporary fiction, historical drama and legend are seamlessly interwoven. The saga of The Sandman encompasses a series of tales unique in graphic literature and is a story you will never forget.

Editorial Reviews

From Barnes & Noble
When Neal Gaiman penned the seventy-fifth issue of The Sandman he made history in two ways. For the first time in comic book history, a profitable on-going series was being brought to a conclusion. More importantly the threads that he began to spin in the very first issue are now brought together and tied together in a loose bundle that wraps the whole package up nicely and yet leaves him the option to slip another present into the bundle at some later date.

Sandman: The Wake is comprised of the last six issues of the regular Sandman comic book series. The first three cover the actual wake of Morpheus, King of Dreams. In this story within a story characters from the series meet to remember and pay their respects to the fallen immortal. In eulogies which alternate between respect, praise and villification, the Dream Lord's character is summed up and his flaws laid bare to, literally, all the world.

In the final chapter of The Wake the reader is returned to an earlier time in the saga of the Sandman, when an aging "William Shekespeare" having just completed his final play "The Tempest," commissioned at the bequest of the Dream Lord, reflects on his life, his struggles, tragedies and a bargain for greatness he made with Morpheus many years earlier. In perhaps the series' most poigniant line, a statement which ironically becomes the Sandman's own epitaph, Morpheus reveals that he made the bargain because

"...I am the King of Stories, but I have no story of my own."

Carefully balancing melancholy and tragedy with hope and determination the beautifully illustrated and even more beautifully written Sandman: The Wake stands counter to Morpheus' own words and serves as an extrodinary ending to one of the most incredible stories in the history of comics.

- Joel Feigenbaum

Product Details

  • ISBN-13: 9781563892875
  • Publisher: DC Comics
  • Publication date: 9/28/1999
  • Pages: 192
  • Series: Sandman Series, #10
  • Product dimensions: 7.06 (w) x 10.48 (h) x 0.63 (d)

Meet the Author

Neil Gaiman
Neil Gaiman
Novelist Neil Gaiman has sent a British businessman tumbling into a fantastic underworld and had a devil and angel comically conspiring to thwart the Apocalypse. He found his biggest success, though, in Death, Dreams and Destruction -- and the four other similarly named siblings who controlled the reins of the human race's emotional impulses in his graphic-novel series The Sandman, a wholesale rejuvenation of graphic fiction that had everyone from Tori Amos to Norman Mailer spinning with, yes, Delirium.

Biography

Neil Gaiman thought he wrote comic books. But a newspaper editor, of course, set him straight.

Back when he was riding the diabolical headwinds of his popular series of graphic novels, The Sandman, the author attended a party where he introduced himself as a comic-book writer to a newspaper's literary editor. But when the editor quickly realized who this actually was -- and the glaze melted from his eyes -- he offered Gaiman a correction tinged with astonishment: "My God, man, you don't write comics, you write graphic novels." Relating the story to theLos Angeles Times in 1995, Gaiman said, "I suddenly felt like someone who had been informed that she wasn't a hooker, that in fact she was a lady of the evening."

Gaiman's done much more, of course, than simply write graphic novels, having coauthored, with Terry Pratchett, Good Omens, a comic novel about the Apocalypse; adapted into hardcover the BBC miniseries Neverwhere about the dark underworld beneath the streets of London; and, inspired by his young daughter, put a horrifying spin on C.S. Lewis' wardrobe doors for Coraline, a children's book about a passageway into a magical, yet malevolent, land.

But it is The Sandman that is Gaiman's magnum opus.

Though he had told a career counselor in high school that he wanted to pen comic books, he had a career as a freelance journalist before his first graphic novel, Violent Cases, was published in England in 1987. DC Comics discovered him and The Sandman was born. Or reborn, actually. The comic debuted back in 1939 with a regular-Joe crime fighter in the lead. But in Gaiman's hands the tale had a more otherworldly spin, slowing introducing readers to the seven siblings Endless: Dream, Death, Desire, Destiny, Destruction, Despair and Delirium (once Delight). They all have their roles in shaping the fates of man. In fact, when Death was imprisoned for decades, the results were devastating. Richard Nixon reached The White House and Michael Jackson the Billboard charts.

Direction from newspaper editors notwithstanding, to Gaiman, these stories are still comic books. The man who shuttled back and forth between comics and classics in his formative years and can pepper his writing with references to Norse mythology as well as the vaudevillian rock group Queen, never cottoned to such highbrow/lowbrow distinctions. Comparing notes on a yachting excursion with members of the Irish rock band U2, the writer who looks like a rock star and Delirium and the rock stars who gave themselves comic-worthy names such as Bono and The Edge came to a realization: Whether the medium is pop music or comic books, not being taken seriously can be a plus. "It's safer to be in the gutter," he told The Washington Post in 1995.

In 1995, Gaiman brought The Sandman to a close and began spending more time on his nongraphic fiction, including a couple of short-story collections. A few years later he released Stardust, an adult fairy tale that has young Tristan Thorn searching for a fallen star to woo the lovely but cold Victoria Forester. In 2001, he placed an ex-con named Shadow in the middle of a war between the ancient and modern dieties in American Gods. Coming in October 2002 is another departure: an audio recording of Two Plays for Voices, which stars Bebe Neuwirth as a wise queen doing battle with a bloodthirsty child and Brian Dennehy as the Angel of Vengeance investigating the first crime in history in heaven's City of Angels.

Gaiman need not worry about defining his artistic relevance, since so many other seem to do it for him. Stephen King, Roger Zelazny and Harlan Ellison are among those who have contributed introductions to his works. William Gibson, the man who coined the term "cyberspace," called him a "a writer of rare perception and endless imagination" as well as "an American treasure." (Even though he's, technically, a British treasure transplanted to the American Midwest.) Even Norman Mailer has weighed in: "Along with all else, Sandman is a comic strip for intellectuals, and I say it's about time."

The gushiest praise, however, may come from Frank McConnell, who barely contained himself in the pages of the political and artistic journal Commonweal. Saying Gaiman "may just be the most gifted and important storyteller in English," McConnell crowned Sandman as the most important act of fiction of the day. "And that, not just because of the brilliance and intricacy of its storytelling -- and I know few stories, outside the best of Joyce, Faulkner, and Pynchon, that are more intricate," he wrote in October 1995, " but also because it tells its wonderful and humanizing tale in a medium, comic books, still largely considered demimonde by the tenured zombies of the academic establishment."

"If Sandman is a 'comic,'" he concluded, "then The Magic Flute is a 'musical' and A Midsummer Night's Dream is a skit. Read the damn thing: it's important."

Good To Know

Some fascinating factoids from our interview with Gaiman:

"One of the most enjoyable bits of writing Sandman was getting authors whose work I love to write the introductions for the collected graphic novels -- people like Steve Erickson, Gene Wolfe, Harlan Ellison, Clive Barker, Peter Straub, Mikal Gilmore, and Samuel R. Delany."

"I have a big old Addams Family house, with -- in the summertime -- a vegetable garden, and I love growing exotic pumpkins. As a boy in England I used to dream about Ray Bradbury Hallowe'ens, and am thrilled that I get them these days. Unless I'm on the road signing people's books, of course."

"According to my daughters, my most irritating habit is asking for cups of tea."

"I love radio -- and love the availability of things like the Jack Benny radio shows in MP3 format. I'm addicted to BBC radio 7, and keep buying boxed CD sets of old UK radio programs, things like Round the Horne and Hancock's Half Hour. Every now and again I'll write a radio play."

"I love thunderstorms, old houses, and dreams."

    1. Hometown:
      Minneapolis, Minnesota
    1. Date of Birth:
      November 10, 1960
    2. Place of Birth:
      Portchester, England
    1. Education:
      Attended Ardingly College Junior School, 1970-74, and Whitgift School, 1974-77
    2. Website:
      http://www.neilgaiman.com

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