Abstract
Gaiman’s Neverwhere is an “urban” fantasy novel, which was originally a BBC mini-series (1996) and was later adapted as a graphic novel (2007), and it mitigates the same fears as discussed in Chapter 2 through an emphasis on individual agency in constructing home and by redefining the boundaries, networks, and nodes that can constitute an individual’s map of home. A key metaphor for home here is Door’s house, a space from which she can travel to disparate “rooms” in other places that remain a part of her home. Ultimately, the novel highlights the ways in which isolationist ideas of home can become more inclusive and adaptable through a networked approach to dwelling.
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Notes
- 1.
Gaiman reiterates some of the back and forth in his Introduction to yet another version of the story, the Author’s Preferred Text edition of Neverwhere (xiii).
- 2.
See Ted Friedman’s comparison of science fiction and fantasy genres for an eloquent introduction into the technology/magic metaphor more broadly.
- 3.
See Tomlinson.
- 4.
Gaiman, after all, satirizes most of the feudal and Victorian penchants of his secondary characters—from the mad Earl to the underhanded and impeccably dressed Marquis.
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Bida, A. (2018). Homecoming in Neil Gaiman’s Neverwhere. In: Mapping Home in Contemporary Narratives. Geocriticism and Spatial Literary Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-97967-0_4
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DOI: https://doi.org/10.1007/978-3-319-97967-0_4
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