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Loading... The Ocean at the End of the Lane: A Novel (original 2013; edition 2013)by Neil Gaiman
Work InformationThe Ocean at the End of the Lane by Neil Gaiman (2013)
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"The Ocean at the End of the Lane" by Neil Gaiman is a mesmerizing and enchanting tale that weaves together elements of fantasy, mystery, and coming-of-age themes. The story follows an unnamed protagonist who returns to his childhood home and is flooded with memories of a remarkable and otherworldly adventure he had as a young boy. Gaiman's masterful storytelling immerses readers in a world where the lines between reality and imagination blur, as the protagonist grapples with the complexities of innocence, fear, and the enduring power of memory. With lyrical prose and a hauntingly atmospheric setting, the novel grips readers from its opening lines and takes them on an emotional journey filled with wonder and nostalgia. "The Ocean at the End of the Lane" is a captivating and poignant ode to the magic of childhood and the timeless allure of storytelling.
The Ocean at the End of the Lane arouses, and satisfies, the expectations of the skilled reader of fairytales, and stories which draw on fairytales. Fairytales, of course, were not invented for children, and deal ferociously with the grim and the bad and the dangerous. But they promise a kind of resolution, and Gaiman keeps this promise. [Gaiman's] mind is a dark fathomless ocean, and every time I sink into it, this world fades, replaced by one far more terrible and beautiful in which I will happily drown. The story is tightly plotted and exciting. Reading it feels a lot like diving into an extremely smart, morally ambiguous fairy tale. And indeed, Gaiman's adult protagonist observes at one point that fairy tales aren't for kids or grownups — they're just stories. In Gaiman's version of the fairy tale, his protagonist's adult and child perspectives are interwoven seamlessly, giving us a sense of how he experienced his past at that time, as well as how it affected him for the rest of his life. Reading Gaiman's new novel, his first for adults since 2005's The Anansi Boys, is like listening to that rare friend whose dreams you actually want to hear about at breakfast. The narrator, an unnamed Brit, has returned to his hometown for a funeral. Drawn to a farm he dimly recalls from his youth, he's flooded with strange memories: of a suicide, the malign forces it unleashed and the three otherworldly females who helped him survive a terrifying odyssey. Gaiman's at his fantasy-master best here—the struggle between a boy and a shape-shifter with "rotting-cloth eyes" moves at a speedy, chilling clip. What distinguishes the book, though, is its evocation of the powerlessness and wonder of childhood, a time when magic seems as likely as any other answer and good stories help us through. "Why didn't adults want to read about Narnia, about secret islands and ... dangerous fairies?" the hero wonders. Sometimes, they do. AwardsDistinctionsNotable Lists
It began for our narrator forty years ago when the family lodger stole their car and committed suicide in it, stirring up ancient powers best left undisturbed. Dark creatures from beyond the world are on the loose, and it will take everything our narrator has just to stay alive: there is primal horror here, and menace unleashed - within his family and from the forces that have gathered to destroy it. His only defense is three women, on a farm at the end of the lane. The youngest of them claims that her duckpond is ocean. The oldest can remember the Big Bang. No library descriptions found.
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Google Books — Loading... GenresMelvil Decimal System (DDC)823.914Literature English English fiction Modern Period 1901-1999 1945-1999LC ClassificationRatingAverage:
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The central story is framed by the reminiscence of a middle-aged man who has returned home to Sussex, England for a funeral. After the service, he drives past his childhood home, to the bottom of the lane, to the farm and pond which stir his memory. Initially, I was a little put off by the structure, thinking the story strong enough to have stood on its own. Gaiman is not one to waste anything in his fiction, though, and uses his "Epilogue" to close the book with a sort of wistful hope. Indeed, the novel would lose a great deal of its poetry and magic if the adult story didn't serve to contrast the childhood happenings.
The lyrical efficiency of Gaiman's writing is ultimately what makes this book work. In the hands of another author, this easily could have become a Goonie-esque, kid-centered adventure. Don't get me wrong, I love The Goonies (Hey, you guuuyyys!), but The Ocean at The End of the Lane has so much say about trust and healing and hope, much more than old One-Eyed Willie could ever handle.
Gaiman's narrator speaks with the wonderful certainty of childhood, but also with the desperate confusion of having that certainty removed. Even in the most ethereal parts of the story, there is something comforting in his tone. The captured emotions represent universal truths of childhood and these surpass the particulars of the plot.
The malevolent Ursula Monkton, who appears in the main character's home and begins manipulating his family was of particular interest to me. Her supernatural origins aside, she represents the kind of outside force which can subtly unravel an otherwise peaceful (though not perfect) situation. Not only could I sympathize with the child narrator's inability to understand her power, but I also saw myself in the adults' simple-minded blindness. This book is magic and fantasy used to its greatest end. Because none of us have experienced these particular events, we can all relate to them. The sorcery at work becomes a palatable metaphor for our own lives without reducing either the novel or the reader to base pedantry.
This is a wonderful book, but make no mistake, it is dark in places. There were sections which I found difficult to read because of the brutality and callousness shown. They were not, however, without merit. As I said, Gaiman wastes nothing in his writing and these instances should not be mistaken for sensationalism. The Ocean at the End of the Lane represents a master of both fiction and storytelling (which are not the same thing) at the very height of his craft.
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