Customer Reviews
One of the best in the series! 
2007-09-17
To me, this is one of the best volumes in the series. It's a collection of eight separate stories of varying lengths, almost all with an historical connection. (To more or less real people, that is.) And there's no frame story for a change. "Three Septembers and a January" is a lovely piece about Emperor Norton, the deluded mascot of San Francisco for several decades in the 19th century, while "Thermidor" is a somewhat less successful piece about Lady Johanna Constantine and her search for the living head of Orpheus (who is also the son of Dream). Much later in the volume (oddly placed) is "Orpheus," about how he lost his bride and then his head. "The Hunt" is about werewolves, sort of, and it's cute but kind of a minor work. "August" is a fascinating and well-conceived story about the first Roman emperor's habit of going out into the city in disguise one day a year, just to think. "Soft Places" is an okay story about a lost Marco Polo's meeting in the desert with Fiddler's Green. "The Parliament of Rooks" is about Cain and Abel and a visiting Eve telling stories to a small child -- again, not that great, except for Eve's own story about Adam's three women. Finally, "Ramadan," a near-masterpiece about Haroun al-Rashid, with artwork by P. Craig Russell reminiscent of Little Nemo. It's literally a flying carpet story about the sultan and his golden city of Baghdad -- and there's a jarring ending that will bring you back to the present in a hurry.
Graphic SF Reader 
2007-09-03
This is perhaps the least interesting of the Sandman volumes so far, with each issue a different story of someone affected in one way or another by The Sandman. Even directly, in the case of Orpheus, his son, and his refusal to take any advice from any of The Endless. Stories of Ramadan, Caeasar, and even Lyta Hall's son Daniel being told a story in the House of Secrets.
Gaiman continues to amaze 2007-03-28
In this handful of only barely connected stories, Gaiman does what he does best, he tells a damn good story. While not furthering any particular storyline, he portrays his fellow man in all his nobility, pettiness, glory, and malice, and all things in between, in ways only Gaiman can.
...and then I realize I am not alone... 2006-11-27
ARG. I hate starting reviews with this word, but I am beginning to question the value of this series as it continually jumps from conscious storytelling to short, uneventful stories that do not involve the infamous Sandman at all. I just finished reading the sixth volume in this series, and my mind is still traveling the ups and downs of the rollercoaster. Not to dissect the rest of the books again, I just want complete storytelling. I want to Gaiman (whom I adore) to develop further the world of Sandman without intermingling these short stories throughout the work. I realize that these stories were written many years ago, but they are still as captivating today as they were in the early 90s, but I just hate the idea of going from a story where the entire structure is built around the Sandman or about a singular group of characters, to this drivel where one story is based off history and the complex stories that we once were familiar with get a new face. "Fables & Reflections" felt like it was trying to be smarter than the reader, and why I think the short stories that Gaiman likes to intermingle between the more developed storyline are his weakest element yet.
The stories themselves could not stand alone, but coupled with the name "Sandman", they seem to garnish some great remarks. Personally, I had trouble with the opening stories, but did begin to find some value in those that concluded the collection. The beginning story about the Emperor of the United States started strong, but by the center and final conflict, I was diminishing. I didn't care about this character and his brief run-ins with famous historical figures. This is exactly why I feel that the collection was trying to be smarter than the reader. Here you have this possibly "mad" character that is telling Mark Twain what he should be doing next ... to me this wasn't striking me as original! Next on the list was the story of the werewolf discovering his true love - again, another ramshackled story that began with some originality, but lost speed as the story progressed. The interruptions by the granddaughter learning about her heritage were annoying and all together not clever at all. Then, we are led, nearly by hand, into my least favorite stories of the series thus far - the destiny of Orpheus. Finally we have the opportunity to see what we all came to see, Sandman's family, but the story is almost a derivative of modern day Soap Operas in that you have this hidden affair, the son that wants nothing to do with his father, and a head that seems to stay alive throughout the ages. I think we can all see this on Tuesday afternoon "story" time, can't we? Thankfully, Gaiman proves to us that he is worth the pages that I bought with two of my favorite stories in this series, the first was "Parliament of Rooks" and the other was the finale entitled, "Ramadan". "Ramadan" seemed to give me goose bumps with the current situation of the world in Baghdad, but really was a powerful story of memories and truthfulness. "Parliament of Rooks" was zany and added yet another nook on the "smarter than the reader" element, but this time it was subtle. I liked the story because it answered a question, its delivery was crisp, and the characters were flamboyant enough to enjoy! Alas, these final two stories could not compete with the disastrous opening.
Overall, I must admit that this is my least favorite collection of the series. It ranks right behind "Dream Country" because I am not a fan of the sub-stories that Gaiman likes to engulf his avid readers with. I would like to clarify, because I wouldn't mind sub-stories involving further the Sandman or his immediate family, but these random ones likes "August" just seem to lessen the pace of the book and create heaviness in the eyes. This was not the type of storytelling that I initially began with this series, and I do not want it to be transformed into it. I found myself on a plane reading this book slowly chanting to myself, "I want Sandman. I want Sandman", but alas, could not find him at all. Gaiman needs to rediscover his roots and bring us back to the character that we all fell in love with in "Preludes & Nocturnes" and perhaps even bring back some old DC villains to make his point even clearer. I love this series, don't get me wrong, but Gaiman knows how to get under my skin with these short stories. While I want to love each one of them, I just find them slow, distracting, and unappealing to the reader that was first involved with Sandman from the beginning. I want to be a part of his world, and while I know these stories represent his world, I just don't need it. It is like eating a big meal hours before Thanksgiving. You have been looking forward to that turkey for weeks, why spoil your meal now?
All I can say is this, and I ask other readers of this series to do the same. I am not complete, and I am about to jump into "Brief Lives", but have cracked the graphic novel with these words on my lips:
"I WANT SANDMAN"
"I WANT SANDMAN"
Grade: *** out of *****
Good, as always. 
2005-11-16
Neil Gaiman, Sandman: Fables and Reflections (DC Comics, 1999)
Once again, we have a book of nine unconnected short graphic stories that touch on the Sandman in some way. As usual, both the quality of the writing and the art is superb; the whole team was pretty much above reproach by the time they got this far in the series.
The strongest of the stories, "The Hunt," shows both Gaiman and the illustrative team at the peaks of their powers. Thankfully, the majority of the book is of this quality. When it dips ("Fear of Falling," the closest thing to a throwaway piece that's been seen in Sandman's world to date), it does so only briefly, and we get back to the good stuff.
As always, well worth your time. ****
What They'll Read in Classrooms in 30 or so Years 2005-10-25
From the mists of the past to the nightmares of the present, Neil Gaiman's THE SANDMAN touches the lives of kings and knaves, explorers, storytellers, monsters and children. This collection of short tales explores historical figures from Augustus Caesar to Marco Polo, from The Arabian Nights to Revolutionary France.
LET HIM COME INTO YOUR DREAMS 2005-01-31
So far I have read 1 to 6 in this series.And each time I have found a connection with my life.Each time I read ,I forget my existence in this world, find myself one of the dreams.Each time I learn something,I remember something,I dream something...
Neil is really good,he combines his knowledge of history,myths,art,language with his imagination so well.I like most of the comics,but this is special ,you can enjoy X-men or Spiderman,but you can never ever compare it with sandman.Let the lord of dreams welcome you.Let him come in to your dreams :)
ACCOUNTS AND REFLECTIONS touching the Prince of Stories 2004-11-10
HB: "How did you come to name this collection FABLES AND REFLECTIONS?"
NG: "Actually, I didn't. What I wanted to call it is ACCOUNTS AND REFLECTIONS, but nobody at DC would let me. My thinking was that the book contained a set of stories about different elements intersecting titled CONVERGENCE, and a set of historical tales titled DISTANT MIRRORS, and 'accounts' would represent both things being totalled up, or coming together; and ancient tales being recounted. But DC felt all that title would do is make readers think of chartered accountancy."
- interview with Neil Gaiman in THE SANDMAN COMPANION, by Hy Bender
All stories herein were written by Neil Gaiman (Wolfe only wrote the introduction which was added for their publication in book form). Each involves characters telling stories, from a phobic modern playwright to Orpheus himself. Often the entire story is part of a character's reminiscences, such as Lady Joanna's journals. Each (apart from possibly "Fear of Falling") also involves the spirit of a very distinct *place* (Fiddler's Green even makes an appearance).
As for the artists - SANDMAN's typical practice was to team up artists with Gaiman for short storylines like these to get used to working together before tackling major story arcs. McManus worked on most issues of A GAME OF YOU (which was published between the CONVERGENCE and DISTANT MIRRORS storylines). Later, Thompson and Locke drew BRIEF LIVES, while Talbot and Buckingham worked on WORLDS' END.
"Fear of Falling" (illustrator: Kent Williams) Rather than appearing in SANDMAN proper, this story appeared in VERTIGO PREVIEW #1, which launched DC's VERTIGO imprint in 1993. The narrator's phobia has mushroomed into a more general fear of success, which is driving him to the verge of pulling out of the off-Broadway production of his own play. But in his dreams, he finds himself climbing to meet Morpheus, and telling him the story of how his terrors stem from a childhood nightmare. And as in DREAM COUNTRY, the Prince of Stories can provide revelation, if not always justice or wisdom. For there is a third alternative to awakening from or dying in a falling dream...
"Orpheus" (illustrators: Bryan Talbot, Mark Buckingham) Gaiman's plans for SANDMAN SPECIAL #1 were scrapped in favour of providing the background of the Orpheus and Eurydice legend, after learning from bitter experience that many of his readers didn't know who Orpheus (Dream's son) was.
The remaining 7 stories (which appeared in SANDMAN proper) aren't grouped by publication order and story arc within the book, but I have taken the liberty of doing so here.
The four stories of DISTANT MIRRORS:
"Thermidor" (illustrators: Stan Woch, Dick Geordano) replaced the month of July in the calendar of revolutionary France, where Lady Joanna Constantine has accepted a commission to rescue Morpheus' son from Robespierre's tireless attempts to destroy *all* old stories and superstitions.
"August" (illustrators: Bryan Talbot, Stan Woch) is a day in the life of the emperor for whom that month is named, who because of a dream spends one day a year in the marketplace of Rome, disguised as a beggar, as taught by the young actor accompanying him.
"Three Septembers and a January" (illustrator: Shawn McManus) Septembers 1859, 1864, 1875, and January 8, 1880 in the life of Norton I, who declares himself first and only Emperor of the United States as a consequence of a challenge issued to Dream by his younger siblings that he couldn't keep Norton out of *all* their realms - Despair, Desire, and Delirium - before their eldest sister came for him. (The young newspaperman whom Norton helps with his first story is writing "The Celebrated Jumping Frog of Calaveras County.")
During "Ramadan" (illustrator: P.Craig Russell), Haroun al-Raschid - troubled in his soul, despite his lordship of the greatest of the world's cities - summons the Dream-Lord to offer a bargain. (The story of one of Dream's treasures, last seen in his castle in SEASON OF MISTS.)
The three stories of CONVERGENCE:
"The Hunt" (illustrators: Duncan Eagleson, Vince Locke) A present-day grandfather tells his granddaughter this tale of a young man of "the People" who falls in love with a woman in a miniature carried by a wandering tinker. But among the tinker's stock is also a book, stolen from a librarian who is *most* anxious that Lord Morpheus not come to hear of the incident...
"Soft Places" (illustrator: John Watkiss) are those unexplored realms where boundaries are crossed and time becomes fluid, like the Desert of Lop in which a young Marco Polo has become separated from his father's caravan. Or is it his dream as an old man in prison, when he meets the Dream-King, just escaped from his own imprisonment?
In "The Parliament of Rooks" (illustrators: Jill Thompson, Vince Locke), Lyta Hall's son Daniel (whom she was last seen carrying back in THE DOLL'S HOUSE) is now a toddler who gets into *everything* - even Cain and Abel's little corner of the Dreaming, where three ancient storytellers find him a receptive audience. Thompson's "Li'l Endless" Hello-Kitty take on the Endless, accompanying Abel's simplified version of his own story, became a big hit. Eve's version of *her* own story is the theologian's version, which may be unfamiliar to readers apart from the simplified version told by CS Lewis as part of the backstory of the Witch. As for Cain, he begins with the title story (which is completed by his brother later).
The book concludes with "Biographies" - a warped little picture of each of the literary/artistic contributors, and some equally warped text accompanying each picture. :)
I Have Never Been Much For Comics.. 2004-10-16
Like the title, never been much for comics. I always thought that they were boring and unrealistic. The adventures of muscle bound freaks with ungodly amounts of testerstrone was the very last thing I wanted to read.
But lo and behold, here was a comic series that had substance and a story beyond heroics. Neil Gaiman can really craft a story and the artwork was fascinatingly beautiful. The characters were great. I loved how Gaiman drew from mythology to tell his story.
All I can say about this series, is give me the next volume.
More views, and different views 2004-04-22
What I like about the Sandman is the way it has room for so many different stories to open up. This volume is about the Sandman myth, of course, but connects to other myths from the Arabian, Greek, and Old Testament worlds.
The art is varied and enjoyable - P. Craig Russell is reliable as an artist and a visual storyteller. The other artwork complements and contrasts with his delicate style. Some is stark, almost geometric; use of color ranges from subtle to shattering.
It's good, varied material. I like the stories, I like the art, and that's enough for me. I'm relatively new to the Sandman, but I'll keep coming back for more.
