A short story is the ultimate close-up magic trick -- a couple of thousand words to take you around the universe or break your heart.
Neil GaimanRead
Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.
Interpretation
Funny novels often struggle to receive recognition compared to serious ones, despite their value.
In this quote, Neil Gaiman reflects on the literary awards landscape, suggesting that serious novels tend to overshadow their humorous counterparts. He implies that there is a cultural bias that favors gravitas over humor, despite the impact and importance that funny novels can have on readers and society as a whole.
In practice
This quote is perfect for a literary discussion on the recognition of comedy in literature.
A short story is the ultimate close-up magic trick -- a couple of thousand words to take you around the universe or break your heart.
Jesus. Low-Key Lyesmith," said Shadow. and then he heard what he was saying and he understood. "Loki," he said. "Loki Lie-smith." "You're slow," said Loki, "but you get there in the end." And his lips twisted into a scarred smile and the embers danced in the shadows of his eyes.
As a teenager I wrote to R.A. Lafferty. And he responded, too, with letters that were like R.A. Lafferty short stories, filled with elliptical answers to straight questions and simple answers to complicated ones.
The important thing to understand about American history, wrote Mr. Ibis, in his leather-bound journal, is that it is fictional, a charcoal-sketched simplicity for the children, or the easily bored.
Nothing’s changed. You’ll go home. You’ll be bored. You’ll be ignored. No one will listen to you, really listen to you. You’re too clever and too quiet for them to understand. They don’t even get your name right.
I like the stars. It's the illusion of permanence, I think. I mean, they're always flaring up and caving in and going out. But from here, I can pretend...I can pretend that things last. I can pretend that lives last longer than moments. Gods come, and gods go. Mortals flicker and flash and fade. Worlds don't last; and stars and galaxies are transient, fleeting things that twinkle like fireflies and vanish into cold and dust. But I can pretend.
All told, she owned fourteen books, but she saw her story as being made up predominantly of ten of them. Of those ten, six were stolen, one showed up at the kitchen table, two were made for her by a hidden Jew, and one was delivered by a soft, yellow-dressed afternoon.
Before I'm a writer, I'm definitely a reader and when I read memoir, I really want it to be true.
What fiction offers us is an intimacy shorn of the messy contingencies of human existence - gender, race, class or age. Those moments of transcendence when we exclaim 'You know exactly what I mean!' depend for much of their force on the anonymous character of the intimacy between writer and reader.
The cry that 'fantasy is escapist' compared to the novel is only an echo of the older cry that novels are 'escapist' compared with biography, and to both cries one should make the same answer: that freedom to invent outweighs loyalty to mere happenstance, the accidents of history; and good readers should know how to filter a general applicability from a particular story.
Perhaps the story in the book is just the lid on a pan: It always stays the same, but underneath there's a whole world that goes on - developing and changing like our own world.
If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard?
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