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.
People apparently only read mystery stories of any length. With mysteries, the longer the better, and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore, and people need to get used to that.
It is with noble sentiments that bad literature gets written.
There was no really good true war book during the entire four years of the war. The only true writing that came through during the war was in poetry. One reason for this is that poets are not arrested as quickly as prose writers.
In novels, and American novels in particular, it's not just about redemption, it's about forward movement and healing oneself. Americans are very big on getting better.
I have never known a novel that was good enough to be good in spite of its being adapted to the author's political views.
She doesn't do the things heroines are supposed to. Which is rather Jane Austen's point - Fanny is her subversive heroine. She is gentle and self-doubting and utterly feminine; and given the right circumstances, she would defy an army.
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