By Neil Gaiman
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Additional resources for The Sandman #7 Master of Dreams: Sound And Fury
Example text
Putt-putting after in a stubby tin launch, black anorak, black megaphone, our coach. We shivered under the gloom of a railroad bridge where kids lobbed chunks of coal at startled boats and swaying snakes of boxcars, dried-blood red, rattled away to their obscure horizons. Two-mile warmup; we slid to rest by the isle, riding uneasily on the shifting current. A mallard family bobbed nearby, the male off on his own, neck-sheen green changeable silk. What could we say? ” Amelia, seven-seat, leaned to pat her arm.
The former owner’s nursery—pink walls, pink floor, pink-and-white lambs floating across the door— she used for storing shoes, boxed, in rows, pink tissue wadded in old spectator toes. She kept her mansion spotless; lived alone, flashing slick selves, like mica flakes in stone, to visitors. She loomed, a French armoire; skittered, an overlooked dustmouse, behind the bar. . • 19 • At night the squirrels would jump, hearing her scream. ” she shouted in a frequent dream that vanished under the sofa’s claw-and-ball, rolled like rain off roses flocking the walls.
Tempting to scan; you can’t. The cradle is the sea. It’s very odd, original without one’s knowing why. If you want to say these things, it’s falling rhythm. The ostensible sorrow is the boy discovering death, desertion. . ) And often rhythmical musical things aren’t good, they’re padding for not feeling. What prevents that here? It’s awfully eloquent wherever you pick it up. ‘From such as now they start the scene revisiting’: this has a tender Pindaric grandeur—I don’t know if you can say that.