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Books on the topic 'Gaiman, Neil - Short Stories'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Consult the top 17 books for your research on the topic 'Gaiman, Neil - Short Stories.'

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1

Gaiman, Neil, and Maria Dahvana Headley, eds. Unnatural Creatures: Stories Selected by Neil Gaiman. Harper, 2013.

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2

Christopher, Golden, and Bissette Stephen, eds. Prince of stories: The many worlds of Neil Gaiman. St. Martin's Griffin, 2009.

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Christopher, Golden, and Bissette Stephen, eds. Prince of stories: The many worlds of Neil Gaiman. St. Martin's Press, 2008.

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4

Nina, Volkova. Neil: Roman. Inapress, 2005.

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5

Munro, Neil. Neil Munro's Para Handy. Seanachaidh Presentations, 1986.

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6

Gaiman, Neil. Unnatural Creatures: Stories Selected by Neil Gaiman. HarperCollins Publishers Limited, 2013.

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7

Unnatural Creatures: Stories Selected by Neil Gaiman. HarperCollins, 2013.

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8

Gaiman, Neil. Unnatural Creatures: Short Stories Selected By Neil Gaiman (Turtleback School & Library Binding Edition). Turtleback, 2013.

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9

The Art of Neil Gaiman. Harper Design, 2014.

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10

(Illustrator), Charles Vess, ed. Neil Gaiman and Charles Vess' Stardust: Being a Romance Within the Realms of Faerie. DC Comics, 1998.

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11

Neil Gaiman in the 21st century: Essays on the novels, children's stories, online writings, comics and other works. McFarland & Company, Incorporated Publishers, 2015.

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12

Giant Book of Fantasy Tales: Fantasy Stories from the Greatest Writers of Modern Fantasy Including Clive Barker, Neil Gaiman And Many More. Book Sales, 2006.

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13

Fletcher, Judith. Myths of the Underworld in Contemporary Culture. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767091.001.0001.

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Stories of a visit to the realm of the dead and a return to the upper world are among the oldest narratives in European literature, beginning with Homer’s Odyssey and extending to contemporary culture. This volume examines a series of fictional works by twentieth- and twenty-first century authors, such Toni Morrison and Elena Ferrante, which deal in various ways with the descent to Hades. Myths of the Underworld in Contemporary Culture surveys a wide range of genres, including novels, short stories, comics, a cinematic adaptation, poetry, and juvenile fiction. It examines not only those texts that feature a literal catabasis, such as Neil Gaiman’s Sandman series, but also those where the descent to the underworld is evoked in more metaphorical ways as a kind of border crossing, for instance Salman Rushdie’s use of the Orpheus myth to signify the trauma of migration. The analyses examine how these retellings relate to earlier versions of the mythical theme, including their ancient precedents by Homer and Vergil, but also to post-classical receptions of underworld narratives by authors such as Dante, Ezra Pound, and Joseph Conrad. Arguing that the underworld has come to connote a cultural archive of narrative tradition, the book offers a series of case studies that examine the adaptation of underworld myths in contemporary culture in relation to the discourses of postmodernism, feminism, and postcolonialism.

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14

Lethbridge, Jack. Neil Armstrong in North Somerset: And More Than 50 Other Short Tales for a Fast World. Troubador Publishing Limited, 2017.

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15

David, Deirdre. The Rise. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.003.0002.

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Deeply troubled by social injustice, Pamela became an active member of the Labour Party, writing newsletters and marching in protests against the Spanish Civil War and Franco. In 1935 she met an Australian journalist, Gordon Neil Stewart, whom she married in 1936; her mother, Amy, lived with them after the wedding. Neil and Pamela travelled together in France just before the war (where Neil had lived for a few years after leaving Australia) and she continued to write short stories and novels. Her most memorable fiction in these years is The Monument (1938), a political novel sympathetic to the working class and passionately critical of prejudice, particularly that directed against Jews, and the first novel in her ‘Helena’ trilogy, Too Dear for My Possessing (named for one of the central characters). It is set in Bruges, a city she dearly loved.

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16

David, Deirdre. Writing With Every Nerve. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.003.0004.

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In the late 1940s, Pamela became an astute reader and critic of Snow’s work in progress. She learned of his working-class background in Leicester, his grammar school education and his academic success at Cambridge. As she became close emotionally to Snow, she felt increasingly estranged from Neil and began to spend less time with her husband and more time with Snow and his London literary friends, all of whom shared her belief that sterile Modernism was destroying the traditions of the English novel: social and psychological realism. Neil returned from the war unsettled and resentful of the intrusive presence of Pamela’s mother in their marriage. Despite domestic unhappiness, Pamela continued to write short stories, novels, and a well-received play, Corinth House.

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17

Gracey, James. The Company of Wolves. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.001.0001.

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Co-written by Irish filmmaker Neil Jordan and British novelist Angela Carter, and based on several short stories from Carter's collection The Bloody Chamber, The Company of Wolves (1984) is a provocative reinvention of the fairy tale of Little Red Riding Hood. Unraveling a feverish metaphor for the blossoming of a young girl's sexuality and her subsequent loss of innocence, the film entwines symbolism and metaphor with striking visuals and grisly effects. Released in the early 1980s, a time which produced several classic werewolf films (including An American Werewolf in London and The Howling), The Company of Wolves sets itself apart from the pack with its overtly literary roots, feminist stance, and art-house leanings. The film's narrative takes the form of a puzzle box, unfolding as dreams within dreams, and stories within stories, which lead further into the dark woods of the protagonist's psyche, as she finds herself on the cusp of womanhood. The book explores all these aspects, as well as placing the film in the context of the careers of its creators and its position as an example of the “Female Gothic.”

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