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
The short story is still like the novel's wayward younger brother, we know that it's not respectable - but I think that can also add to the glory of it.
Interpretation
Short stories may be seen as lesser than novels, but their unique qualities can make them special.
In this quote, Neil Gaiman reflects on the perception of short stories compared to novels. He suggests that while short stories might be viewed as the 'wayward younger brother'—less respectable or serious—they possess their own charm and glory, highlighting the beauty in their brevity and creativity.
In practice
In a speech at a literary festival to emphasize the importance of short stories in contemporary 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.
The power of literature does not lie in resonance with the particular but the way that the particular speaks to a broader, more universal truth.
Each book, intuitively sensed and, in the case of fiction, intuitively worked out, stands on what has gone before, and grows out of it. I feel that at any stage of my literary career it could have been said that the last book contained all the others.
I think it's a very old and deep-seated double standard that holds that when a man writes about family and feelings, it's literature with a capital L, but when a woman considers the same topics, it's romance, or a beach book - in short, it's something unworthy of a serious critic's attention.
Literature got me into this mess and literature is going to have to get me out of it.
Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
A people's literature is the great textbook for real knowledge of them. The writings of the day show the quality of the people as no historical reconstruction can.
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