Where will Door's doors take you?
The Floating Market is not here tonight. A lovely annotated bibliography is here to direct you however.
Butler, Andrew. “Thirteen Ways of Looking at the British Boom.” Science Fiction Studies 30.3 (2003): 374-393. Web. 27 Mar. 2012.
Basic outline of the modern historical context/literary tradition in Britain that Neverwhere arose into. Novels today are a conglomeration, looks at the change and mixing of genres.
D’Elia, Jenifer. “Sometimes There Is Nothing You Can Do: A Critical Summary of Neil Gaiman’s Neverwhere.” Studies in Fantasy Literature: A Scholarly Journal for the Study of the Fantasy Genre 1 (2004): 29-37. Web. 26 Mar. 2012.
Neverwhere appears to be random in form and content at times, but this article helps decipher what to do with the work as a whole. The themes, characters and locations are not as unrelated to one another as they may seem at first glance.
Fallen London. 2009-2012. Failbetter Games Ltd. 4 April 2012 <http://www.fallenlondon.com/>.
For those interested in alternative Londons, similarly themed storylines to Neverwhere, and modern/technological mediums. Fallen London is an interactive, browser-based, choose-your-own-adventure game the length of several novels.
Gaiman, Neil. E-mail Interview. 02/Apr/2012.
The benefit of having a modern author is being able to interview them about their work. With both a Twitter and a blog, Neil Gaiman is available to provide his authorial interpretation.
Hunter, Jeffrey. “Neil Gaiman”. Contemporary Literary Criticism 195 (2005): 167-241. Web. 26 Mar. 2012.
Critics lay out their opinions surrounding all of Neil Gaiman’s works, such as the Sandman series, American Gods and Coraline, in addition to Neverwhere. Accompanying the critics’ opinions is an outline of the author’s background and inspiration behind each work.
Ingemark, Camilla. “The Octopus in the Sewers: An Ancient Legend Analogue.” Journal of Folklore Research 45.2 (2008): 145-170. Web. 26 Mar. 2012.
This article elaborates on the legends behind the monsters lurking in the sewers; among them are the wild boar in the labyrinth under London, the alligator under New York and the octopus under Rome. Background surrounding these tales gives meaning and understanding to Gaiman’s references to these tales in Neverwhere.
Jenkins, Alice. “Tunnel Visions and Underground Geography and Fantasy.” Foundation: The International Review of Science Fiction 35.98 (2006): 28-43. Web. 22 Mar. 2012.
Further explores the methodology behind fantasy in dark places. Neverwhere is a prime example of mysterious magic lurking in unexpected dark corners.
Lewisohn, Ludwig. “The Modern Novel.” The Sewanee Review 17.4 (1909): 458-474. Web. 23 Mar. 2012.
Written rather recently, Neverwhere is a key example of a postmodern era novel. Lewisohn argues for the power of the modern novel as being in the freedom it has in form.
Longeway, John. “The Rationality of Escapism and Self-Deception.” Behavior and Philosophy 18.2 (1990): 1-20. Web. 23 Mar. 2012.
Neverwhere stems from the escapist tradition, and Richard’s view on life is challenged. Longeway discusses the nature of escapism, as well as why people rationally deceive themselves in order to cope with different situations.
"Neverwhere (novel)." Wikipedia. Wikimedia Foundation, 24 Mar 2012. Web. 2 Apr 2012.
Neverwhere began as a TV series for BBC, and experienced many versions and forms. Basic background information to begin research as well as references to the many mediums now connected to the modern novel.
Pike, David. “Urban Nightmare and Future Visions: Life Beneath New York.” Wide Angle 20.4 (1998): 9-50. Web. 24 Mar. 2012.
Pike discusses urban space as represented in film and literature. Explains the power of fantastical stories set in recognizable locations/reality.
Round, Julia. “London’s Calling: Alternate Worlds and the City as Superhero in Contemporary British-American Comics”. International Journal of Comic Art 10.1 (2008): 24-31. Web. 29 Mar. 2012.
The ordinary man becoming the hero is a common story pattern in superhero stories. Neverwhere follows the next-door neighbor hero template yet puts its own unique spin on the cliche.
Roy, David. “Neil Gaiman.” Guide to Literary Masters & Their Works (2007): 1-1. Web. 23 Mar. 2012.
Author biography that gives information surrounding each of his works and awards. Gives additional insight to Gaiman’s subject matter and themes.
Vertesi, Janet. “The London Underground Map and Users’ Representations of Urban Space.” Social Studies of Science 38.1 (2008): 7-33. Web. 28 Mar. 2012.
References Neverwhere in discussion of the London Underground railway system. Draws parallels between the iconic/graphic representation of the London Underground versus its actual nature in urban space.
Yeager, D.M. “Art for Humanity’s Sake: The Social Novel as a Mode of Moral Discourse.” The Journal of Religious Ethics 33.3 (2005): 445-483. Web. 25 Mar. 2012.
Ingemark, Camilla. “The Octopus in the Sewers: An Ancient Legend Analogue.” Journal of Folklore Research 45.2 (2008): 145-170. Web. 26 Mar. 2012.
This article elaborates on the legends behind the monsters lurking in the sewers; among them are the wild boar in the labyrinth under London, the alligator under New York and the octopus under Rome. Background surrounding these tales gives meaning and understanding to Gaiman’s references to these tales in Neverwhere.
Jenkins, Alice. “Tunnel Visions and Underground Geography and Fantasy.” Foundation: The International Review of Science Fiction 35.98 (2006): 28-43. Web. 22 Mar. 2012.
Further explores the methodology behind fantasy in dark places. Neverwhere is a prime example of mysterious magic lurking in unexpected dark corners.
Lewisohn, Ludwig. “The Modern Novel.” The Sewanee Review 17.4 (1909): 458-474. Web. 23 Mar. 2012.
Written rather recently, Neverwhere is a key example of a postmodern era novel. Lewisohn argues for the power of the modern novel as being in the freedom it has in form.
Longeway, John. “The Rationality of Escapism and Self-Deception.” Behavior and Philosophy 18.2 (1990): 1-20. Web. 23 Mar. 2012.
Neverwhere stems from the escapist tradition, and Richard’s view on life is challenged. Longeway discusses the nature of escapism, as well as why people rationally deceive themselves in order to cope with different situations.
"Neverwhere (novel)." Wikipedia. Wikimedia Foundation, 24 Mar 2012. Web. 2 Apr 2012.
Neverwhere began as a TV series for BBC, and experienced many versions and forms. Basic background information to begin research as well as references to the many mediums now connected to the modern novel.
Pike, David. “Urban Nightmare and Future Visions: Life Beneath New York.” Wide Angle 20.4 (1998): 9-50. Web. 24 Mar. 2012.
Pike discusses urban space as represented in film and literature. Explains the power of fantastical stories set in recognizable locations/reality.
Round, Julia. “London’s Calling: Alternate Worlds and the City as Superhero in Contemporary British-American Comics”. International Journal of Comic Art 10.1 (2008): 24-31. Web. 29 Mar. 2012.
The ordinary man becoming the hero is a common story pattern in superhero stories. Neverwhere follows the next-door neighbor hero template yet puts its own unique spin on the cliche.
Roy, David. “Neil Gaiman.” Guide to Literary Masters & Their Works (2007): 1-1. Web. 23 Mar. 2012.
Author biography that gives information surrounding each of his works and awards. Gives additional insight to Gaiman’s subject matter and themes.
Vertesi, Janet. “The London Underground Map and Users’ Representations of Urban Space.” Social Studies of Science 38.1 (2008): 7-33. Web. 28 Mar. 2012.
References Neverwhere in discussion of the London Underground railway system. Draws parallels between the iconic/graphic representation of the London Underground versus its actual nature in urban space.
Yeager, D.M. “Art for Humanity’s Sake: The Social Novel as a Mode of Moral Discourse.” The Journal of Religious Ethics 33.3 (2005): 445-483. Web. 25 Mar. 2012.
Neverwhere is a modern book and contains a lot of violence as well as adult language, themes, and problems. Yeager argues for the moralizing nature of the social novel/literature, and how we can learn morals from portrayals of less-moral behavior.
All media used in this blog remain the property of their respective owners. No copyright infringement intended. Used for educational purposes.
All media used in this blog remain the property of their respective owners. No copyright infringement intended. Used for educational purposes.
