More of a four and a half really, 02 Jan 2009
I love Neil Gaiman, and my eleven year old son loved Coraline, so I bought this book to read to him at bedtimes. He didn't like it and asked me to start a different book instead when we were only a couple of chapters in. (We went on to the third book in the Philip Reeve Mortal Engines series, which we're both enjoying). I kept reading The Graveyard book on my own though, and I enjoyed it very much. I liked the mythical lyrical quality of the writing, as well as the believable characters and humour - and the suspense involving The Man Jack. It wouldn't be my favourite Neil Gaimen but it was still brilliant.

One of his best, 01 Jan 2009
I found this book enjoyable, and wonderfully colourful. The vast supporting cast of the dead and undead, from Silas, Bod's vampiric mentor, the deceased jack and vera duckworth-esque owens' to the rather less pleasant but humourously named ghouls (the 33rd President of the united States, the famous writer Victor Hugo) are offset against the true menace of our young protagonists situation.

From the outset the `Jacks' have pursued this unknowing innocent, and his graveyard utopia is increasingly interrupted by his need to interact with the outside world, which more and more exposes him to them.

The folklore and rules of the dead are incredible, but believable, much like the worlds Gaiman sets up in American Gods and Neverwhere, and you are drawn into them comfortably. My only criticism was the ambiguity of the ending, why was he being pursued by the Men Jack? would have made the conclusion stronger.

I advise anyone to buy and read this book.

A good, light hearted, escapism book., 27 Dec 2008
I've just finished reading this and I thoroughly enjoyed it. Like I said in the title it was easy to read, funny in places and a good, light-hearted, escapism book. I would recommend it to anyone.

The lack of a 5th star only comes from the fact that I wish Neil would have gone into a bit for detail about the characters Silas and Miss Lupescu. I found myself left wanting for a bit more involvement from these two characters. I also got a tad frustrated by the haziness of what went on between them and the Jacks.

Other than that, I loved it and would defiantly read it again! I would also recommend listening to the audio-book. Neil himself narrates it and he does it extremely well; very atmospheric, broody and extremely enjoyable.

I hope you find this helpful (it's my 1st book review...)

This could well be a future Classic!, 03 Dec 2008
In a nutshell: A fine read primarily aimed at the junior reader, but with enough maturity to be able to be enjoyed by all. The Graveyard Book has the potential to be a future classic in the same vein as the one that inspired it, The Jungle Book (and other greats such as Alice in Wonderland, The Wizard in Oz and The Lion, The Witch and The Wardrobe etc.), and for that reason alone I consider this novel unmissable.
------------

In his acknowledgments Gaiman credits more than a passing nod for this novel to Rudyard Kipling's The Jungle Book, a childhood favourite of his, and while the chief protagonist of the novel Bod, can certainly fit into Mowgli's loin cloth, I didn't really feel that there was much of a relationship between the two, other than a child growing up in a unique environment. Then again I read Jungle Book with child eyes many years ago, and this I read as a mature adult, so my perspective is somewhat different. More delightful for me perhaps (mainly because of the romantic notion it throws up), is the author's revelation that the inspiration for The Graveyard Book came after watching his two year old son pedaling his tricycle between the gravestones of a church one summer.

So from the outset I think I've established that The Graveyard Book is a title primarily aimed at the more junior reader, and fundamentally it is. That said the narrative is certainly more than mature enough to be read by all ages and I certainly didn't feel at any point that I was reading a book that was too young for me. In fact the publishers have seen fit to release this title in both a child's and adult's version so it's accessible for all. Being frugal I actually bought the child's version (it was available at a discounted price :o)), and I'm glad I did because it's got some really nice illustrations throughout from accomplished artist Chris Riddell.

On to the story itself and The Graveyard Book is hugely fantastical (what story about a baby being adopted by ghosts wouldn't be?), but that's The Graveyard Book's quality - pure unadulterated escapism. The story is well-paced, tight and easily read and with this novel at least (because it's the only one I've read) Neil Gaiman shows himself as a great storyteller. If he were around in times of lore then he would undoubtedly be the one wandering the medieval countryside with his lute, entertaining the townsfolk with his tales of wonderment :o). Gaiman's put a lot of cleverness into this story with some neat plot twists that ensure the pages keep turning.

Aside from the plot twists I loved following Bod's interactions with the ghosts of the graveyard, and his attempts to adopt the ghostly attributes which would prove useful to him in his unique position. Undoubtedly however, the main success of the storyline comes from Bod's growing angst at being kept from the world outside the graveyard. It's a problem that increases as Bod grows older and its fundamentally an exploration of growing up, but it's growing up in a wholly unique environment, and that's what makes the story so compelling.

As anyone who has read any of my former book reviews would know, my biggest passion is for good characterisation. I'm not so bothered about story or plot (although they help of course) but good characters mean everything to me; so much so that this aspect on its own can often make the difference between a novel being good or bad for me. Well, I'm happy to proclaim that Gaiman has created a really well-rounded charismatic character in the chief protagonist Bod, and if he were looking to create an equal to rival Kipling's Mowgli then I think he's succeeded, admirably. Silas, Bod's vampiric guardian, is another well realised character in this novel. He's a character that comes across with a great deal of enigmatic depth, and the phrase `still waters run deep' comes to mind when I think of him. I also think that this is the first time ever that I've been so endeared to a character who is traditionally considered to be an icon of horror.

Sadly however that's where the good characterisation diminishes somewhat for me, and with the possible exception of `the man Jack', all of the other characters come across as being somewhat flat and mere `players' in the story. Don't get me wrong, the portrayal of the other characters is certainly adequate, more than enough to ensure the novel keeps its gleam, but given the richness of character that could have been realised with such an imaginative cast of ghostly figures, I would have liked to have seen some of the other characters being better developed, at least up to the same standard as Silas.

In closing then the main question remaining is whether this is a novel that I recommend reading? Well if you're a junior then absolutely. It's a fantastic novel with a flowing, interesting storyline that juniors are certain to love. I promise! :o)

What about the more mature reader? Well as I've said above it's marketed towards all ages and the story has enough maturity to make it a novel for all ages. It's certainly a light read so if your expecting something as deep and engaging as a Tolstoy or Murakami then you're going to be disappointed. However, if it's a light read you're after then I can think of no better. It entertained me completely and as a reader who normally gets his kicks from the more dense prose of writers such as Steinbeck, Doestovsky and Hamsun etc. that's a big achievement. Bearing that in mind I'm confident that The Graveyard Book will entertain just about anyone. Go buy it!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.

Despite being mostly known for his fantastical graphic novels and adult fiction, Neil Gaiman's first book for children is everything that you would expect from such a massive imagination as his. It's special and wonderful and very weird indeed. Described by some as the new Alice in Wonderland, Coraline is actually more bizarre than that, much more frightening and its modest length definitely adds to the book's undiluted potency.

Shortly after moving into an old house with strange tenants above and below, Coraline discovers a big, carved, brown wooden door at the far corner of the drawing room. And it is locked. Curiosity runs riot in Coraline's mind and she unlocks the door to see what lies behind it. Disappointingly, it opens onto a brick wall. Days later, after exploring the rest of the house and garden, Coraline returns to the same mysterious door and opens it again. This time, however, there is a dark hallway in front of her. Stepping inside, the place beyond has an eerie familiarity about it. The carpet and wallpaper are the same as in her flat. The picture hanging on the wall is the same. Almost. Strangest of all, her mum and dad are there too. Only they have buttons for eyes and seem more possessive than normal. It's a twisted version of her world that is familiar, and yet sinister. And matters get even more surreal for Coraline when her "other" parents seem reluctant to let her leave.

Her attempted escape from this nightmare alternative reality sees Coraline experience a chilling series of ever more bizarre encounters. Some are plainly odd, others disturbingly spooky and together they combine to form an immensely readable story. It's like all the best bits of the Goosebumps books condensed into 160 pages. A unique reading experience guaranteed. (Ages 10 and over)--John McLay

More of a four and a half really, 02 Jan 2009
I love Neil Gaiman, and my eleven year old son loved Coraline, so I bought this book to read to him at bedtimes. He didn't like it and asked me to start a different book instead when we were only a couple of chapters in. (We went on to the third book in the Philip Reeve Mortal Engines series, which we're both enjoying). I kept reading The Graveyard book on my own though, and I enjoyed it very much. I liked the mythical lyrical quality of the writing, as well as the believable characters and humour - and the suspense involving The Man Jack. It wouldn't be my favourite Neil Gaimen but it was still brilliant.

One of his best, 01 Jan 2009
I found this book enjoyable, and wonderfully colourful. The vast supporting cast of the dead and undead, from Silas, Bod's vampiric mentor, the deceased jack and vera duckworth-esque owens' to the rather less pleasant but humourously named ghouls (the 33rd President of the united States, the famous writer Victor Hugo) are offset against the true menace of our young protagonists situation.

From the outset the `Jacks' have pursued this unknowing innocent, and his graveyard utopia is increasingly interrupted by his need to interact with the outside world, which more and more exposes him to them.

The folklore and rules of the dead are incredible, but believable, much like the worlds Gaiman sets up in American Gods and Neverwhere, and you are drawn into them comfortably. My only criticism was the ambiguity of the ending, why was he being pursued by the Men Jack? would have made the conclusion stronger.

I advise anyone to buy and read this book.

A good, light hearted, escapism book., 27 Dec 2008
I've just finished reading this and I thoroughly enjoyed it. Like I said in the title it was easy to read, funny in places and a good, light-hearted, escapism book. I would recommend it to anyone.

The lack of a 5th star only comes from the fact that I wish Neil would have gone into a bit for detail about the characters Silas and Miss Lupescu. I found myself left wanting for a bit more involvement from these two characters. I also got a tad frustrated by the haziness of what went on between them and the Jacks.

Other than that, I loved it and would defiantly read it again! I would also recommend listening to the audio-book. Neil himself narrates it and he does it extremely well; very atmospheric, broody and extremely enjoyable.

I hope you find this helpful (it's my 1st book review...)

This could well be a future Classic!, 03 Dec 2008
In a nutshell: A fine read primarily aimed at the junior reader, but with enough maturity to be able to be enjoyed by all. The Graveyard Book has the potential to be a future classic in the same vein as the one that inspired it, The Jungle Book (and other greats such as Alice in Wonderland, The Wizard in Oz and The Lion, The Witch and The Wardrobe etc.), and for that reason alone I consider this novel unmissable.
------------

In his acknowledgments Gaiman credits more than a passing nod for this novel to Rudyard Kipling's The Jungle Book, a childhood favourite of his, and while the chief protagonist of the novel Bod, can certainly fit into Mowgli's loin cloth, I didn't really feel that there was much of a relationship between the two, other than a child growing up in a unique environment. Then again I read Jungle Book with child eyes many years ago, and this I read as a mature adult, so my perspective is somewhat different. More delightful for me perhaps (mainly because of the romantic notion it throws up), is the author's revelation that the inspiration for The Graveyard Book came after watching his two year old son pedaling his tricycle between the gravestones of a church one summer.

So from the outset I think I've established that The Graveyard Book is a title primarily aimed at the more junior reader, and fundamentally it is. That said the narrative is certainly more than mature enough to be read by all ages and I certainly didn't feel at any point that I was reading a book that was too young for me. In fact the publishers have seen fit to release this title in both a child's and adult's version so it's accessible for all. Being frugal I actually bought the child's version (it was available at a discounted price :o)), and I'm glad I did because it's got some really nice illustrations throughout from accomplished artist Chris Riddell.

On to the story itself and The Graveyard Book is hugely fantastical (what story about a baby being adopted by ghosts wouldn't be?), but that's The Graveyard Book's quality - pure unadulterated escapism. The story is well-paced, tight and easily read and with this novel at least (because it's the only one I've read) Neil Gaiman shows himself as a great storyteller. If he were around in times of lore then he would undoubtedly be the one wandering the medieval countryside with his lute, entertaining the townsfolk with his tales of wonderment :o). Gaiman's put a lot of cleverness into this story with some neat plot twists that ensure the pages keep turning.

Aside from the plot twists I loved following Bod's interactions with the ghosts of the graveyard, and his attempts to adopt the ghostly attributes which would prove useful to him in his unique position. Undoubtedly however, the main success of the storyline comes from Bod's growing angst at being kept from the world outside the graveyard. It's a problem that increases as Bod grows older and its fundamentally an exploration of growing up, but it's growing up in a wholly unique environment, and that's what makes the story so compelling.

As anyone who has read any of my former book reviews would know, my biggest passion is for good characterisation. I'm not so bothered about story or plot (although they help of course) but good characters mean everything to me; so much so that this aspect on its own can often make the difference between a novel being good or bad for me. Well, I'm happy to proclaim that Gaiman has created a really well-rounded charismatic character in the chief protagonist Bod, and if he were looking to create an equal to rival Kipling's Mowgli then I think he's succeeded, admirably. Silas, Bod's vampiric guardian, is another well realised character in this novel. He's a character that comes across with a great deal of enigmatic depth, and the phrase `still waters run deep' comes to mind when I think of him. I also think that this is the first time ever that I've been so endeared to a character who is traditionally considered to be an icon of horror.

Sadly however that's where the good characterisation diminishes somewhat for me, and with the possible exception of `the man Jack', all of the other characters come across as being somewhat flat and mere `players' in the story. Don't get me wrong, the portrayal of the other characters is certainly adequate, more than enough to ensure the novel keeps its gleam, but given the richness of character that could have been realised with such an imaginative cast of ghostly figures, I would have liked to have seen some of the other characters being better developed, at least up to the same standard as Silas.

In closing then the main question remaining is whether this is a novel that I recommend reading? Well if you're a junior then absolutely. It's a fantastic novel with a flowing, interesting storyline that juniors are certain to love. I promise! :o)

What about the more mature reader? Well as I've said above it's marketed towards all ages and the story has enough maturity to make it a novel for all ages. It's certainly a light read so if your expecting something as deep and engaging as a Tolstoy or Murakami then you're going to be disappointed. However, if it's a light read you're after then I can think of no better. It entertained me completely and as a reader who normally gets his kicks from the more dense prose of writers such as Steinbeck, Doestovsky and Hamsun etc. that's a big achievement. Bearing that in mind I'm confident that The Graveyard Book will entertain just about anyone. Go buy it!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


FABULOUS, 15 Oct 2008
I bought this book (for my daughter) on recommendation. I wasn't sure what to expect. I read it before I gave it to my child as I invariably do. I gave it to her with a smile and a wink and assured her she'd be scared (her idea of a good read! she's 9!) She marched downstairs the next day and declared she didn't know what I was talking about and it wasn't scary. The following morning (after having read a couple more chapters) she gave me the biggest smile and said "it's brilliant! I love it!" Apparently it had then become scary enough for her. :0)
That was 3 weeks ago - now most of her friends mothers have bought it for their children and even her teacher is reading it to the class.
It's just fabulous. I can't recommend this book enough. Buy it! Read it!
We've bought two more Gaiman books now and are eagerly awaiting the release of the film at the cinema next year. What a cracker!

Overrated, Pointless and Creepy, 08 Oct 2008
My class and I read Coraline at school over the period of a few weeks, and after hearing all the hype about Gaiman's works I must admit, I was disappointed with Coraline.

The book starts out alright, a young girl in a huge scary house, with a door that appears to be uninteresting, but as the book progresses the whole thing becomes fast-paced and pointless.

We, as the readers, are forced to endure pointless conversations and long and boring descriptions of every little thing that Coraline goes through. There were many times where I got incredibly bored reading it, something which I wasn't expecting at all.

There are parts that are bone-chillingly creepy though, but more creepy in a slightly disturbing way than in a scary way. The Other Mother was most definitely the creepiest thing in the book, with her paper white skin and large black button eyes.

Most of the characters in the book were either boring and undeveloped with no personality what-so-ever, or horrible, creepy and unlikeable. Coraline herself is possibly the most unlikeable person in the entire book, as she is completely unsocialable and comes across as a trouble-maker.

I'm 12 years old, and the book was too boring for me to enjoy , but would be much to creepy for a younger age.

All-in-all, this book is creepy, pointless and boring, with the exception of a few minor parts, which is why I gave it 2 stars.

Sophie (On my Mum's account)

Overrated, Pointless and Creepy, 08 Oct 2008
My class and I read Coraline at school over the period of a few weeks, and after hearing all the hype about Gaiman's works I must admit, I was disappointed with Coraline.

The book starts out alright, a young girl in a huge scary house, with a door that appears to be uninteresting, but as the book progresses the whole thing becomes fast-paced and pointless.

We, as the readers, are forced to endure pointless conversations and long and boring descriptions of every little thing that Coraline goes through. There were many times where I got incredibly bored reading it, something which I wasn't expecting at all.

There are parts that are bone-chillingly creepy though, but more creepy in a slightly disturbing way than in a scary way. The Other Mother was most definitely the creepiest thing in the book, with her paper white skin and large black button eyes.

Most of the characters in the book were either boring and undeveloped with no personality what-so-ever, or horrible, creepy and unlikeable. Coraline herself is possibly the most unlikeable person in the entire book, as she is completely unsocialable and comes across as a trouble-maker.

I'm 12 years old, and the book was boring for me to enjoy , but would be much to creepy for a younger age.

All-in-all, this book is creepy, pointless and boring, with the exception of a few minor parts, which is why I gave it 2 stars.

Sophie (On my Mum's Account)

Love dark fairy tales, 16 Sep 2008
I love dark fairy tales and Neil Gaiman doesn't disappoint. Simple yet meaningful, suitable for all to dive into as deep as you dare.

Courtesy of Teens Read Too, 12 Sep 2008
This version of CORALINE is a graphic novel adaptation of the novel penned by Neil Gaiman.

The story follows a common theme in his works of the naive, yet determined, everyman who stumbles into an alternate reality.

The protagonist in this story arises in the form of a young girl named Coraline.

I found the dialogue to be smartly written and the narrative engaging. The artwork, while typical comic fare, set the visual mood quite well.

I greatly enjoyed this story. I found the characters likeable and believable in the context of the story, which in and of itself seemed to me to be an odd metaphor for "growing up."

I cannot recommend this enough to fans of Neil Gaiman's work or to someone looking for something just a little bit different.

Reviewed by: Breia "The Brain" Brickey

"Wake up, sir. We're here". It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.

In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe

More of a four and a half really, 02 Jan 2009
I love Neil Gaiman, and my eleven year old son loved Coraline, so I bought this book to read to him at bedtimes. He didn't like it and asked me to start a different book instead when we were only a couple of chapters in. (We went on to the third book in the Philip Reeve Mortal Engines series, which we're both enjoying). I kept reading The Graveyard book on my own though, and I enjoyed it very much. I liked the mythical lyrical quality of the writing, as well as the believable characters and humour - and the suspense involving The Man Jack. It wouldn't be my favourite Neil Gaimen but it was still brilliant.

One of his best, 01 Jan 2009
I found this book enjoyable, and wonderfully colourful. The vast supporting cast of the dead and undead, from Silas, Bod's vampiric mentor, the deceased jack and vera duckworth-esque owens' to the rather less pleasant but humourously named ghouls (the 33rd President of the united States, the famous writer Victor Hugo) are offset against the true menace of our young protagonists situation.

From the outset the `Jacks' have pursued this unknowing innocent, and his graveyard utopia is increasingly interrupted by his need to interact with the outside world, which more and more exposes him to them.

The folklore and rules of the dead are incredible, but believable, much like the worlds Gaiman sets up in American Gods and Neverwhere, and you are drawn into them comfortably. My only criticism was the ambiguity of the ending, why was he being pursued by the Men Jack? would have made the conclusion stronger.

I advise anyone to buy and read this book.

A good, light hearted, escapism book., 27 Dec 2008
I've just finished reading this and I thoroughly enjoyed it. Like I said in the title it was easy to read, funny in places and a good, light-hearted, escapism book. I would recommend it to anyone.

The lack of a 5th star only comes from the fact that I wish Neil would have gone into a bit for detail about the characters Silas and Miss Lupescu. I found myself left wanting for a bit more involvement from these two characters. I also got a tad frustrated by the haziness of what went on between them and the Jacks.

Other than that, I loved it and would defiantly read it again! I would also recommend listening to the audio-book. Neil himself narrates it and he does it extremely well; very atmospheric, broody and extremely enjoyable.

I hope you find this helpful (it's my 1st book review...)

This could well be a future Classic!, 03 Dec 2008
In a nutshell: A fine read primarily aimed at the junior reader, but with enough maturity to be able to be enjoyed by all. The Graveyard Book has the potential to be a future classic in the same vein as the one that inspired it, The Jungle Book (and other greats such as Alice in Wonderland, The Wizard in Oz and The Lion, The Witch and The Wardrobe etc.), and for that reason alone I consider this novel unmissable.
------------

In his acknowledgments Gaiman credits more than a passing nod for this novel to Rudyard Kipling's The Jungle Book, a childhood favourite of his, and while the chief protagonist of the novel Bod, can certainly fit into Mowgli's loin cloth, I didn't really feel that there was much of a relationship between the two, other than a child growing up in a unique environment. Then again I read Jungle Book with child eyes many years ago, and this I read as a mature adult, so my perspective is somewhat different. More delightful for me perhaps (mainly because of the romantic notion it throws up), is the author's revelation that the inspiration for The Graveyard Book came after watching his two year old son pedaling his tricycle between the gravestones of a church one summer.

So from the outset I think I've established that The Graveyard Book is a title primarily aimed at the more junior reader, and fundamentally it is. That said the narrative is certainly more than mature enough to be read by all ages and I certainly didn't feel at any point that I was reading a book that was too young for me. In fact the publishers have seen fit to release this title in both a child's and adult's version so it's accessible for all. Being frugal I actually bought the child's version (it was available at a discounted price :o)), and I'm glad I did because it's got some really nice illustrations throughout from accomplished artist Chris Riddell.

On to the story itself and The Graveyard Book is hugely fantastical (what story about a baby being adopted by ghosts wouldn't be?), but that's The Graveyard Book's quality - pure unadulterated escapism. The story is well-paced, tight and easily read and with this novel at least (because it's the only one I've read) Neil Gaiman shows himself as a great storyteller. If he were around in times of lore then he would undoubtedly be the one wandering the medieval countryside with his lute, entertaining the townsfolk with his tales of wonderment :o). Gaiman's put a lot of cleverness into this story with some neat plot twists that ensure the pages keep turning.

Aside from the plot twists I loved following Bod's interactions with the ghosts of the graveyard, and his attempts to adopt the ghostly attributes which would prove useful to him in his unique position. Undoubtedly however, the main success of the storyline comes from Bod's growing angst at being kept from the world outside the graveyard. It's a problem that increases as Bod grows older and its fundamentally an exploration of growing up, but it's growing up in a wholly unique environment, and that's what makes the story so compelling.

As anyone who has read any of my former book reviews would know, my biggest passion is for good characterisation. I'm not so bothered about story or plot (although they help of course) but good characters mean everything to me; so much so that this aspect on its own can often make the difference between a novel being good or bad for me. Well, I'm happy to proclaim that Gaiman has created a really well-rounded charismatic character in the chief protagonist Bod, and if he were looking to create an equal to rival Kipling's Mowgli then I think he's succeeded, admirably. Silas, Bod's vampiric guardian, is another well realised character in this novel. He's a character that comes across with a great deal of enigmatic depth, and the phrase `still waters run deep' comes to mind when I think of him. I also think that this is the first time ever that I've been so endeared to a character who is traditionally considered to be an icon of horror.

Sadly however that's where the good characterisation diminishes somewhat for me, and with the possible exception of `the man Jack', all of the other characters come across as being somewhat flat and mere `players' in the story. Don't get me wrong, the portrayal of the other characters is certainly adequate, more than enough to ensure the novel keeps its gleam, but given the richness of character that could have been realised with such an imaginative cast of ghostly figures, I would have liked to have seen some of the other characters being better developed, at least up to the same standard as Silas.

In closing then the main question remaining is whether this is a novel that I recommend reading? Well if you're a junior then absolutely. It's a fantastic novel with a flowing, interesting storyline that juniors are certain to love. I promise! :o)

What about the more mature reader? Well as I've said above it's marketed towards all ages and the story has enough maturity to make it a novel for all ages. It's certainly a light read so if your expecting something as deep and engaging as a Tolstoy or Murakami then you're going to be disappointed. However, if it's a light read you're after then I can think of no better. It entertained me completely and as a reader who normally gets his kicks from the more dense prose of writers such as Steinbeck, Doestovsky and Hamsun etc. that's a big achievement. Bearing that in mind I'm confident that The Graveyard Book will entertain just about anyone. Go buy it!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


FABULOUS, 15 Oct 2008
I bought this book (for my daughter) on recommendation. I wasn't sure what to expect. I read it before I gave it to my child as I invariably do. I gave it to her with a smile and a wink and assured her she'd be scared (her idea of a good read! she's 9!) She marched downstairs the next day and declared she didn't know what I was talking about and it wasn't scary. The following morning (after having read a couple more chapters) she gave me the biggest smile and said "it's brilliant! I love it!" Apparently it had then become scary enough for her. :0)
That was 3 weeks ago - now most of her friends mothers have bought it for their children and even her teacher is reading it to the class.
It's just fabulous. I can't recommend this book enough. Buy it! Read it!
We've bought two more Gaiman books now and are eagerly awaiting the release of the film at the cinema next year. What a cracker!

Overrated, Pointless and Creepy, 08 Oct 2008
My class and I read Coraline at school over the period of a few weeks, and after hearing all the hype about Gaiman's works I must admit, I was disappointed with Coraline.

The book starts out alright, a young girl in a huge scary house, with a door that appears to be uninteresting, but as the book progresses the whole thing becomes fast-paced and pointless.

We, as the readers, are forced to endure pointless conversations and long and boring descriptions of every little thing that Coraline goes through. There were many times where I got incredibly bored reading it, something which I wasn't expecting at all.

There are parts that are bone-chillingly creepy though, but more creepy in a slightly disturbing way than in a scary way. The Other Mother was most definitely the creepiest thing in the book, with her paper white skin and large black button eyes.

Most of the characters in the book were either boring and undeveloped with no personality what-so-ever, or horrible, creepy and unlikeable. Coraline herself is possibly the most unlikeable person in the entire book, as she is completely unsocialable and comes across as a trouble-maker.

I'm 12 years old, and the book was too boring for me to enjoy , but would be much to creepy for a younger age.

All-in-all, this book is creepy, pointless and boring, with the exception of a few minor parts, which is why I gave it 2 stars.

Sophie (On my Mum's account)

Overrated, Pointless and Creepy, 08 Oct 2008
My class and I read Coraline at school over the period of a few weeks, and after hearing all the hype about Gaiman's works I must admit, I was disappointed with Coraline.

The book starts out alright, a young girl in a huge scary house, with a door that appears to be uninteresting, but as the book progresses the whole thing becomes fast-paced and pointless.

We, as the readers, are forced to endure pointless conversations and long and boring descriptions of every little thing that Coraline goes through. There were many times where I got incredibly bored reading it, something which I wasn't expecting at all.

There are parts that are bone-chillingly creepy though, but more creepy in a slightly disturbing way than in a scary way. The Other Mother was most definitely the creepiest thing in the book, with her paper white skin and large black button eyes.

Most of the characters in the book were either boring and undeveloped with no personality what-so-ever, or horrible, creepy and unlikeable. Coraline herself is possibly the most unlikeable person in the entire book, as she is completely unsocialable and comes across as a trouble-maker.

I'm 12 years old, and the book was boring for me to enjoy , but would be much to creepy for a younger age.

All-in-all, this book is creepy, pointless and boring, with the exception of a few minor parts, which is why I gave it 2 stars.

Sophie (On my Mum's Account)

Love dark fairy tales, 16 Sep 2008
I love dark fairy tales and Neil Gaiman doesn't disappoint. Simple yet meaningful, suitable for all to dive into as deep as you dare.

Courtesy of Teens Read Too, 12 Sep 2008
This version of CORALINE is a graphic novel adaptation of the novel penned by Neil Gaiman.

The story follows a common theme in his works of the naive, yet determined, everyman who stumbles into an alternate reality.

The protagonist in this story arises in the form of a young girl named Coraline.

I found the dialogue to be smartly written and the narrative engaging. The artwork, while typical comic fare, set the visual mood quite well.

I greatly enjoyed this story. I found the characters likeable and believable in the context of the story, which in and of itself seemed to me to be an odd metaphor for "growing up."

I cannot recommend this enough to fans of Neil Gaiman's work or to someone looking for something just a little bit different.

Reviewed by: Breia "The Brain" Brickey

A strong improvement over the first volume, 15 Aug 2008
The second Sandman collection picks up from the last one, with the Sandman continuing the process of restoring the Dreaming to its proper state, and also introduces a whole slew of new characters and storylines that will continue to resonate within the series until its very end.

Rose Walker and her mother travel from the USA to the UK to mee an unknown benefactor who has paid for their trip. The benefactor turns out to be Unity Kincaid, a victim of the sleeping sickness that swept across the world between 1916 and 1989, whilst Morpheus was imprisoned by Burgess. Whilst she was sleeping, Unity was raped by an unknown assailant, and had a baby, who turns out to be Rose's mother. Rose and her mother are stunned by this revelation, but Rose also takes advantage of the financial largesse of her very wealthy grandmother to undertake a search for her brother Jed, who disappeared several years ago.

At the same time, Morpheus has detected the forming of a 'vortex', a dangerous focii of dream-energy that could disrupt the dreams of the entire human race and kill them. Before he can shut down the vortex, which takes the form of a person, he decides to use it as bait to lure out several inhabitants of the Dreaming who fled to the waking world during his imprisonment, such as the thoroughly amoral Brute and Glob, the personified dream-place Fiddler's Green and the Corinthian, created by Morpheus to be the 'ultimate nightmare'. This results in Rose and her family being placed in extreme jeopardy.

Several other stories are also wrapped around this one: we learn why the Sandman's former lover, Nada, was glimpsed in Hell in the opening volume. We learn that his younger brother/sister Desire is plotting something behind his back. We also meet arguably the Sandman's only true human friend, Hob Gadling, from whom the touch of Death was lifted in 1389, making him immortal. Once a century Hob and Dream meet at the same pub and compare notes on how their lives have unfolded over the past century. This story, Men of Good Fortune, is a stunning piece of work and one of the seminal chapters of The Sandman (alongside the likes of The Sound of Her Wings from the first collection and the forthcoming Midsummer Night's Dream, Three Septembers and a January, The Dream of a Thousand Cats and Ramadan). It also introduces Will Shakespeare, whose amazing writing skills are revealed to be the result of a pact made with Dream, in return for which Shakespeare agrees to pen two special plays for Dream. But more on them when they appear.

The Doll's House represents a quantum leap forward in Neil Gaiman's writing and storytelling abilities. So many storylines revisited in future stories are set up it's pretty breathtaking, from linking this version of the Sandman to the previous DC one (an ineffective, slightly bumbling human crime-fighter called Hector Hall) to the establishing of numerous characters we will meet again later (such as Lyta Hall) and the establishing of several new regular characters, such as Matthew, Death's new raven, and Fiddler's Green. It also features one of Gaiman's most effective moments of horror, with a convention for serial killers (inspired by the World Fantasy Conventions of the mid-1980s) giving rise to moments of both disgust and jet-black humour (panels on deconstructing the stereotypes of female serial killers or how to make money from your hobby). There's also some nice tributes to other comics: as well as the 1970s version of The Sandman we also get a pastiche of Winsor McCay's Little Nemo in Slumberland strips. As well as the obvious nod to Shakespeare we also get to meet Christopher Marlowe (who is dismissive of Shakespeare's first play, Henry VI, whilst his own masterwork Faustus is getting vast amounts of acclaim).

We also get some more clues as to what The Sandman is about. The legend of Nada shows that the Sandman has made some mistakes in his past and he needs to correct them, whilst Men of Good Fortune shows that the post-imprisonment Sandman is a slightly warmer person than before. A century spent alone has given him the chance to reflect on things and it's interesting seeing his cold, heartless side giving way more easily than before. The story ends with Dream confronting Desire and the immediate crisis solved...but Lyta Hall is living in mortal fear of what Dream told her (read and find out), which sets up events much later in the series.

The Doll's House (****) is a radical improvement on the first Sandman collection, Preludes and Nocturnes, and gives the series a sense of purpose and direction. With the story Men of Good Fortune Gaiman's writing reaches a strong new level of maturity and intelligence, whilst Collectors may be among the most disturbing comics ever created.

Promising start to an excellent series, 06 Aug 2008
If Watchmen is the greatest graphic novel of all time, then a serious case can be made for Neil Gaiman's The Sandman to be the greatest on-going comics series of all time. Running from 1988 to 1996, the series incorporated some 76 issues, collected as ten graphic novels (and more recently, four large-format prestige collections). Although an ongoing series, it was bound together by a long-running story arc that spanned its entire length, and told the story of Morpheus or Dream, one of the seven Endless who are manifestations of universal concepts (the others are Death, Delirium, Desire, Despair, Destiny and Destruction). Preludes and Nocturnes is the first part of the Sandman saga, collecting together the first eight issues of the series.

In 1916, an English sorcerer named Roderick Burgess attempts to capture and constrain Death, so that all humans will become immortal. The spell goes awry, and instead he captures Death's younger brother, Dream. Dream refuses to help Burgess with his quest for immortality and is left imprisoned in a magic circle in the cellar beneath Burgess' home. The absence of Dream is soon felt, as thousands of people across the world slip into a 'sleeping sickness' and cannot wake up. One of these people, a young woman named Unity Kincaid, is even raped and bears a child without ever waking up. Years and then decades pass. Roderick dies of old age and his son Alex takes over as Dream's captor. Finally, in September 1989, Alex accidentally breaks the circle (by driving his wheelchair over it) and Dream is freed. After visiting an original form of vengeance upon his captor, Dream sets about reclaiming the 'tools' of his profession and restoring his realm, the Dreaming, to its former glory.

Preludes and Nocturnes opens the Sandman saga in style, introducing the titular character (who is unusually front-and-centre for the duration of the story: many Sandman stories are notable for not featuring him prominently) and the world he lives in. Gaiman weaves an interesting story here. The Sandman's quest to find his pouch of sand, his gemstone and his helmet is a traditional mythic device, as is the descent into Hell to confront Lucifer to find one of the missing artefacts (this in turn sets up the very end of the series, with Lucifer's vow that, "One day I shall destroy him," setting up future events). At the same time there's a lot of other things going on. Established DC Comics villain Dr. Dee abusing the Sandman's powers to torment a diner full of innocent people is one of the more disturbing things you're going to see in a comic. The story ends with a triumphant Sandman driven strangely morose by his success, and unable to think of something else to do, he goes to feed the pigeons in Greenwich Village, where he meets with his sister Death, probably the most popular character in the series. The collection ends on an upbeat note, as the Sandman begins the task of restoring his realm and his life.

Preludes and Nocturnes is a great story. It's clearly early days for Gaiman and the story creaks a bit in places. It's also rather more obvious than the later, more subtle collections, and the desire for a somewhat plot-driven narrative to hook in the readers means that a lot of the more reflective moments from the later collections are missing. At the same time, revisiting the collection reveals a host of details that crop up again later on, such as an early glimpse of Merv driving a bus (he doesn't reappear until The Kindly Ones, the penultimate collection) and the introduction of Nada, Dream's former lover whom he condemned to Hell for reasons that will later be revealed. The book also wears its influences a bit more obviously than later stories: The Devil Rides Out and the works of Alastair Crowley inform the Burgess sequences, whilst the gates of the Dreaming (the Gates of Horn and Ivory) are straight out of Homer and Virgil. Gaiman's use of established DC characters such as John Constantine and Dr. Dee was also an obvious strategy to attract other DC readers, but for those unfamiliar with the DC Universe, their appearance and the assumption of familiarity is a bit jarring.

Preludes and Nocturnes (***½) is an intruging opening to the series, ranging from mythology to the occult to superheroes (and villains) and back again, taking in multiple times, worlds and characters. It is a powerful work of the imagination, but in places feels constrained by being part of the DC Universe and has a few rough edges, the result of a writer near the start of his career but already showing great promise.

Excellent introductory background, 02 May 2007
My introduction to Sandman began with Endless Nights, which I was given. I was hooked, and decided to read the rest. Having made a start, I was surprised to see negative comments on this book. Certainly, it is not as polished as the later books, but it is invaluable as a background to understanding them. The intro in Dolls House probably does quite well for providing this background, but it cannot possibly do nearly as well as does reading Preludes and Nocturnes. And, whilst it is not as polished, it is still very good indeed. [...]

A Dream Start, 05 Feb 2007
The criticism that this is not the best of the sandman series is very much undeserved. Its not, however the comics it contains rate among the most important of the 20th Centuary, and helped to create what would become Vertigo comics, establishing itself in a trend started by Alan Moore on Swamp Thing and Jamie Delanos Hellblazer. Its dated a bit, but then so has Citizen Kane - And that is a worth comparison, because although both creators would do better in their career, their impact at those times would never be better'd.

Those were heady days, when this kind of Comic book was unheard of. This was a risk. Like the Watchmen before it, Preludes is special in that it dared to be different, and it succeded. Its not Gaimans best work on Sandman but it is his first work, and when it appeared it was unprecedented and unheard of. Moore, Miller and Morrison brought Graphic Novels into mainstream Bookshops, but Gaiman brought Book Buyers into the Comic Shops.

Its not something you can judge by comparison to later and now, but for what it was. If this had failed there would have been no later, people put their careers on the line for this.

Take it from someone who was there. This is the birth of the Modern Era of Comic Books. Sandman, Swamp Thing and Hellblazer are British Invasion of US comics.

A suitable homage to Alan Moore, 07 Sep 2006
After being a little disappointed with Gaiman's opening gambit, Preludes and Nocturns I thought that Neil Gaiman was forever going to be in the shadow of Alan Moore, trying desperately to produce a story of the majesty of Swamp Thing. With this story, Gaiman finally comes to maturity in his storytelling, combining magic and dreams with murder and horror and finally reaches the peak he's been looking for. The beauty of the Dolls House is it works perfectly as a standalone novel but even better if read as a sequel to Swamp Thing. My advice? Read Swamp Thing first if you've not already read it, then take this on. It will be worth the wait.

More of a four and a half really, 02 Jan 2009
I love Neil Gaiman, and my eleven year old son loved Coraline, so I bought this book to read to him at bedtimes. He didn't like it and asked me to start a different book instead when we were only a couple of chapters in. (We went on to the third book in the Philip Reeve Mortal Engines series, which we're both enjoying). I kept reading The Graveyard book on my own though, and I enjoyed it very much. I liked the mythical lyrical quality of the writing, as well as the believable characters and humour - and the suspense involving The Man Jack. It wouldn't be my favourite Neil Gaimen but it was still brilliant.

One of his best, 01 Jan 2009
I found this book enjoyable, and wonderfully colourful. The vast supporting cast of the dead and undead, from Silas, Bod's vampiric mentor, the deceased jack and vera duckworth-esque owens' to the rather less pleasant but humourously named ghouls (the 33rd President of the united States, the famous writer Victor Hugo) are offset against the true menace of our young protagonists situation.

From the outset the `Jacks' have pursued this unknowing innocent, and his graveyard utopia is increasingly interrupted by his need to interact with the outside world, which more and more exposes him to them.

The folklore and rules of the dead are incredible, but believable, much like the worlds Gaiman sets up in American Gods and Neverwhere, and you are drawn into them comfortably. My only criticism was the ambiguity of the ending, why was he being pursued by the Men Jack? would have made the conclusion stronger.

I advise anyone to buy and read this book.

A good, light hearted, escapism book., 27 Dec 2008
I've just finished reading this and I thoroughly enjoyed it. Like I said in the title it was easy to read, funny in places and a good, light-hearted, escapism book. I would recommend it to anyone.

The lack of a 5th star only comes from the fact that I wish Neil would have gone into a bit for detail about the characters Silas and Miss Lupescu. I found myself left wanting for a bit more involvement from these two characters. I also got a tad frustrated by the haziness of what went on between them and the Jacks.

Other than that, I loved it and would defiantly read it again! I would also recommend listening to the audio-book. Neil himself narrates it and he does it extremely well; very atmospheric, broody and extremely enjoyable.

I hope you find this helpful (it's my 1st book review...)

This could well be a future Classic!, 03 Dec 2008
In a nutshell: A fine read primarily aimed at the junior reader, but with enough maturity to be able to be enjoyed by all. The Graveyard Book has the potential to be a future classic in the same vein as the one that inspired it, The Jungle Book (and other greats such as Alice in Wonderland, The Wizard in Oz and The Lion, The Witch and The Wardrobe etc.), and for that reason alone I consider this novel unmissable.
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In his acknowledgments Gaiman credits more than a passing nod for this novel to Rudyard Kipling's The Jungle Book, a childhood favourite of his, and while the chief protagonist of the novel Bod, can certainly fit into Mowgli's loin cloth, I didn't really feel that there was much of a relationship between the two, other than a child growing up in a unique environment. Then again I read Jungle Book with child eyes many years ago, and this I read as a mature adult, so my perspective is somewhat different. More delightful for me perhaps (mainly because of the romantic notion it throws up), is the author's revelation that the inspiration for The Graveyard Book came after watching his two year old son pedaling his tricycle between the gravestones of a church one summer.

So from the outset I think I've established that The Graveyard Book is a title primarily aimed at the more junior reader, and fundamentally it is. That said the narrative is certainly more than mature enough to be read by all ages and I certainly didn't feel at any point that I was reading a book that was too young for me. In fact the publishers have seen fit to release this title in both a child's and adult's version so it's accessible for all. Being frugal I actually bought the child's version (it was available at a discounted price :o)), and I'm glad I did because it's got some really nice illustrations throughout from accomplished artist Chris Riddell.

On to the story itself and The Graveyard Book is hugely fantastical (what story about a baby being adopted by ghosts wouldn't be?), but that's The Graveyard Book's quality - pure unadulterated escapism. The story is well-paced, tight and easily read and with this novel at least (because it's the only one I've read) Neil Gaiman shows himself as a great storyteller. If he were around in times of lore then he would undoubtedly be the one wandering the medieval countryside with his lute, entertaining the townsfolk with his tales of wonderment :o). Gaiman's put a lot of cleverness into this story with some neat plot twists that ensure the pages keep turning.

Aside from the plot twists I loved following Bod's interactions with the ghosts of the graveyard, and his attempts to adopt the ghostly attributes which would prove useful to him in his unique position. Undoubtedly however, the main success of the storyline comes from Bod's growing angst at being kept from the world outside the graveyard. It's a problem that increases as Bod grows older and its fundamentally an exploration of growing up, but it's growing up in a wholly unique environment, and that's what makes the story so compelling.

As anyone who has read any of my former book reviews would know, my biggest passion is for good characterisation. I'm not so bothered about story or plot (although they help of course) but good characters mean everything to me; so much so that this aspect on its own can often make the difference between a novel being good or bad for me. Well, I'm happy to proclaim that Gaiman has created a really well-rounded charismatic character in the chief protagonist Bod, and if he were looking to create an equal to rival Kipling's Mowgli then I think he's succeeded, admirably. Silas, Bod's vampiric guardian, is another well realised character in this novel. He's a character that comes across with a great deal of enigmatic depth, and the phrase `still waters run deep' comes to mind when I think of him. I also think that this is the first time ever that I've been so endeared to a character who is traditionally considered to be an icon of horror.

Sadly however that's where the good characterisation diminishes somewhat for me, and with the possible exception of `the man Jack', all of the other characters come across as being somewhat flat and mere `players' in the story. Don't get me wrong, the portrayal of the other characters is certainly adequate, more than enough to ensure the novel keeps its gleam, but given the richness of character that could have been realised with such an imaginative cast of ghostly figures, I would have liked to have seen some of the other characters being better developed, at least up to the same standard as Silas.

In closing then the main question remaining is whether this is a novel that I recommend reading? Well if you're a junior then absolutely. It's a fantastic novel with a flowing, interesting storyline that juniors are certain to love. I promise! :o)

What about the more mature reader? Well as I've said above it's marketed towards all ages and the story has enough maturity to make it a novel for all ages. It's certainly a light read so if your expecting something as deep and engaging as a Tolstoy or Murakami then you're going to be disappointed. However, if it's a light read you're after then I can think of no better. It entertained me completely and as a reader who normally gets his kicks from the more dense prose of writers such as Steinbeck, Doestovsky and Hamsun etc. that's a big achievement. Bearing that in mind I'm confident that The Graveyard Book will entertain just about anyone. Go buy it!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


FABULOUS, 15 Oct 2008
I bought this book (for my daughter) on recommendation. I wasn't sure what to expect. I read it before I gave it to my child as I invariably do. I gave it to her with a smile and a wink and assured her she'd be scared (her idea of a good read! she's 9!) She marched downstairs the next day and declared she didn't know what I was talking about and it wasn't scary. The following morning (after having read a couple more chapters) she gave me the biggest smile and said "it's brilliant! I love it!" Apparently it had then become scary enough for her. :0)
That was 3 weeks ago - now most of her friends mothers have bought it for their children and even her teacher is reading it to the class.
It's just fabulous. I can't recommend this book enough. Buy it! Read it!
We've bought two more Gaiman books now and are eagerly awaiting the release of the film at the cinema next year. What a cracker!

Overrated, Pointless and Creepy, 08 Oct 2008
My class and I read Coraline at school over the period of a few weeks, and after hearing all the hype about Gaiman's works I must admit, I was disappointed with Coraline.

The book starts out alright, a young girl in a huge scary house, with a door that appears to be uninteresting, but as the book progresses the whole thing becomes fast-paced and pointless.

We, as the readers, are forced to endure pointless conversations and long and boring descriptions of every little thing that Coraline goes through. There were many times where I got incredibly bored reading it, something which I wasn't expecting at all.

There are parts that are bone-chillingly creepy though, but more creepy in a slightly disturbing way than in a scary way. The Other Mother was most definitely the creepiest thing in the book, with her paper white skin and large black button eyes.

Most of the characters in the book were either boring and undeveloped with no personality what-so-ever, or horrible, creepy and unlikeable. Coraline herself is possibly the most unlikeable person in the entire book, as she is completely unsocialable and comes across as a trouble-maker.

I'm 12 years old, and the book was too boring for me to enjoy , but would be much to creepy for a younger age.

All-in-all, this book is creepy, pointless and boring, with the exception of a few minor parts, which is why I gave it 2 stars.

Sophie (On my Mum's account)

Overrated, Pointless and Creepy, 08 Oct 2008
My class and I read Coraline at school over the period of a few weeks, and after hearing all the hype about Gaiman's works I must admit, I was disappointed with Coraline.

The book starts out alright, a young girl in a huge scary house, with a door that appears to be uninteresting, but as the book progresses the whole thing becomes fast-paced and pointless.

We, as the readers, are forced to endure pointless conversations and long and boring descriptions of every little thing that Coraline goes through. There were many times where I got incredibly bored reading it, something which I wasn't expecting at all.

There are parts that are bone-chillingly creepy though, but more creepy in a slightly disturbing way than in a scary way. The Other Mother was most definitely the creepiest thing in the book, with her paper white skin and large black button eyes.

Most of the characters in the book were either boring and undeveloped with no personality what-so-ever, or horrible, creepy and unlikeable. Coraline herself is possibly the most unlikeable person in the entire book, as she is completely unsocialable and comes across as a trouble-maker.

I'm 12 years old, and the book was boring for me to enjoy , but would be much to creepy for a younger age.

All-in-all, this book is creepy, pointless and boring, with the exception of a few minor parts, which is why I gave it 2 stars.

Sophie (On my Mum's Account)

Love dark fairy tales, 16 Sep 2008
I love dark fairy tales and Neil Gaiman doesn't disappoint. Simple yet meaningful, suitable for all to dive into as deep as you dare.

Courtesy of Teens Read Too, 12 Sep 2008
This version of CORALINE is a graphic novel adaptation of the novel penned by Neil Gaiman.

The story follows a common theme in his works of the naive, yet determined, everyman who stumbles into an alternate reality.

The protagonist in this story arises in the form of a young girl named Coraline.

I found the dialogue to be smartly written and the narrative engaging. The artwork, while typical comic fare, set the visual mood quite well.

I greatly enjoyed this story. I found the characters likeable and believable in the context of the story, which in and of itself seemed to me to be an odd metaphor for "growing up."

I cannot recommend this enough to fans of Neil Gaiman's work or to someone looking for something just a little bit different.

Reviewed by: Breia "The Brain" Brickey

A strong improvement over the first volume, 15 Aug 2008
The second Sandman collection picks up from the last one, with the Sandman continuing the process of restoring the Dreaming to its proper state, and also introduces a whole slew of new characters and storylines that will continue to resonate within the series until its very end.

Rose Walker and her mother travel from the USA to the UK to mee an unknown benefactor who has paid for their trip. The benefactor turns out to be Unity Kincaid, a victim of the sleeping sickness that swept across the world between 1916 and 1989, whilst Morpheus was imprisoned by Burgess. Whilst she was sleeping, Unity was raped by an unknown assailant, and had a baby, who turns out to be Rose's mother. Rose and her mother are stunned by this revelation, but Rose also takes advantage of the financial largesse of her very wealthy grandmother to undertake a search for her brother Jed, who disappeared several years ago.

At the same time, Morpheus has detected the forming of a 'vortex', a dangerous focii of dream-energy that could disrupt the dreams of the entire human race and kill them. Before he can shut down the vortex, which takes the form of a person, he decides to use it as bait to lure out several inhabitants of the Dreaming who fled to the waking world during his imprisonment, such as the thoroughly amoral Brute and Glob, the personified dream-place Fiddler's Green and the Corinthian, created by Morpheus to be the 'ultimate nightmare'. This results in Rose and her family being placed in extreme jeopardy.

Several other stories are also wrapped around this one: we learn why the Sandman's former lover, Nada, was glimpsed in Hell in the opening volume. We learn that his younger brother/sister Desire is plotting something behind his back. We also meet arguably the Sandman's only true human friend, Hob Gadling, from whom the touch of Death was lifted in 1389, making him immortal. Once a century Hob and Dream meet at the same pub and compare notes on how their lives have unfolded over the past century. This story, Men of Good Fortune, is a stunning piece of work and one of the seminal chapters of The Sandman (alongside the likes of The Sound of Her Wings from the first collection and the forthcoming Midsummer Night's Dream, Three Septembers and a January, The Dream of a Thousand Cats and Ramadan). It also introduces Will Shakespeare, whose amazing writing skills are revealed to be the result of a pact made with Dream, in return for which Shakespeare agrees to pen two special plays for Dream. But more on them when they appear.

The Doll's House represents a quantum leap forward in Neil Gaiman's writing and storytelling abilities. So many storylines revisited in future stories are set up it's pretty breathtaking, from linking this version of the Sandman to the previous DC one (an ineffective, slightly bumbling human crime-fighter called Hector Hall) to the establishing of numerous characters we will meet again later (such as Lyta Hall) and the establishing of several new regular characters, such as Matthew, Death's new raven, and Fiddler's Green. It also features one of Gaiman's most effective moments of horror, with a convention for serial killers (inspired by the World Fantasy Conventions of the mid-1980s) giving rise to moments of both disgust and jet-black humour (panels on deconstructing the stereotypes of female serial killers or how to make money from your hobby). There's also some nice tributes to other comics: as well as the 1970s version of The Sandman we also get a pastiche of Winsor McCay's Little Nemo in Slumberland strips. As well as the obvious nod to Shakespeare we also get to meet Christopher Marlowe (who is dismissive of Shakespeare's first play, Henry VI, whilst his own masterwork Faustus is getting vast amounts of acclaim).

We also get some more clues as to what The Sandman is about. The legend of Nada shows that the Sandman has made some mistakes in his past and he needs to correct them, whilst Men of Good Fortune shows that the post-imprisonment Sandman is a slightly warmer person than before. A century spent alone has given him the chance to reflect on things and it's interesting seeing his cold, heartless side giving way more easily than before. The story ends with Dream confronting Desire and the immediate crisis solved...but Lyta Hall is living in mortal fear of what Dream told her (read and find out), which sets up events much later in the series.

The Doll's House (****) is a radical improvement on the first Sandman collection, Preludes and Nocturnes, and gives the series a sense of purpose and direction. With the story Men of Good Fortune Gaiman's writing reaches a strong new level of maturity and intelligence, whilst Collectors may be among the most disturbing comics ever created.

Promising start to an excellent series, 06 Aug 2008
If Watchmen is the greatest graphic novel of all time, then a serious case can be made for Neil Gaiman's The Sandman to be the greatest on-going comics series of all time. Running from 1988 to 1996, the series incorporated some 76 issues, collected as ten graphic novels (and more recently, four large-format prestige collections). Although an ongoing series, it was bound together by a long-running story arc that spanned its entire length, and told the story of Morpheus or Dream, one of the seven Endless who are manifestations of universal concepts (the others are Death, Delirium, Desire, Despair, Destiny and Destruction). Preludes and Nocturnes is the first part of the Sandman saga, collecting together the first eight issues of the series.

In 1916, an English sorcerer named Roderick Burgess attempts to capture and constrain Death, so that all humans will become immortal. The spell goes awry, and instead he captures Death's younger brother, Dream. Dream refuses to help Burgess with his quest for immortality and is left imprisoned in a magic circle in the cellar beneath Burgess' home. The absence of Dream is soon felt, as thousands of people across the world slip into a 'sleeping sickness' and cannot wake up. One of these people, a young woman named Unity Kincaid, is even raped and bears a child without ever waking up. Years and then decades pass. Roderick dies of old age and his son Alex takes over as Dream's captor. Finally, in September 1989, Alex accidentally breaks the circle (by driving his wheelchair over it) and Dream is freed. After visiting an original form of vengeance upon his captor, Dream sets about reclaiming the 'tools' of his profession and restoring his realm, the Dreaming, to its former glory.

Preludes and Nocturnes opens the Sandman saga in style, introducing the titular character (who is unusually front-and-centre for the duration of the story: many Sandman stories are notable for not featuring him prominently) and the world he lives in. Gaiman weaves an interesting story here. The Sandman's quest to find his pouch of sand, his gemstone and his helmet is a traditional mythic device, as is the descent into Hell to confront Lucifer to find one of the missing artefacts (this in turn sets up the very end of the series, with Lucifer's vow that, "One day I shall destroy him," setting up future events). At the same time there's a lot of other things going on. Established DC Comics villain Dr. Dee abusing the Sandman's powers to torment a diner full of innocent people is one of the more disturbing things you're going to see in a comic. The story ends with a triumphant Sandman driven strangely morose by his success, and unable to think of something else to do, he goes to feed the pigeons in Greenwich Village, where he meets with his sister Death, probably the most popular character in the series. The collection ends on an upbeat note, as the Sandman begins the task of restoring his realm and his life.

Preludes and Nocturnes is a great story. It's clearly early days for Gaiman and the story creaks a bit in places. It's also rather more obvious than the later, more subtle collections, and the desire for a somewhat plot-driven narrative to hook in the readers means that a lot of the more reflective moments from the later collections are missing. At the same time, revisiting the collection reveals a host of details that crop up again later on, such as an early glimpse of Merv driving a bus (he doesn't reappear until The Kindly Ones, the penultimate collection) and the introduction of Nada, Dream's former lover whom he condemned to Hell for reasons that will later be revealed. The book also wears its influences a bit more obviously than later stories: The Devil Rides Out and the works of Alastair Crowley inform the Burgess sequences, whilst the gates of the Dreaming (the Gates of Horn and Ivory) are straight out of Homer and Virgil. Gaiman's use of established DC characters such as John Constantine and Dr. Dee was also an obvious strategy to attract other DC readers, but for those unfamiliar with the DC Universe, their appearance and the assumption of familiarity is a bit jarring.

Preludes and Nocturnes (***½) is an intruging opening to the series, ranging from mythology to the occult to superheroes (and villains) and back again, taking in multiple times, worlds and characters. It is a powerful work of the imagination, but in places feels constrained by being part of the DC Universe and has a few rough edges, the result of a writer near the start of his career but already showing great promise.

Excellent introductory background, 02 May 2007
My introduction to Sandman began with Endless Nights, which I was given. I was hooked, and decided to read the rest. Having made a start, I was surprised to see negative comments on this book. Certainly, it is not as polished as the later books, but it is invaluable as a background to understanding them. The intro in Dolls House probably does quite well for providing this background, but it cannot possibly do nearly as well as does reading Preludes and Nocturnes. And, whilst it is not as polished, it is still very good indeed. [...]

A Dream Start, 05 Feb 2007
The criticism that this is not the best of the sandman series is very much undeserved. Its not, however the comics it contains rate among the most important of the 20th Centuary, and helped to create what would become Vertigo comics, establishing itself in a trend started by Alan Moore on Swamp Thing and Jamie Delanos Hellblazer. Its dated a bit, but then so has Citizen Kane - And that is a worth comparison, because although both creators would do better in their career, their impact at those times would never be better'd.

Those were heady days, when this kind of Comic book was unheard of. This was a risk. Like the Watchmen before it, Preludes is special in that it dared to be different, and it succeded. Its not Gaimans best work on Sandman but it is his first work, and when it appeared it was unprecedented and unheard of. Moore, Miller and Morrison brought Graphic Novels into mainstream Bookshops, but Gaiman brought Book Buyers into the Comic Shops.

Its not something you can judge by comparison to later and now, but for what it was. If this had failed there would have been no later, people put their careers on the line for this.

Take it from someone who was there. This is the birth of the Modern Era of Comic Books. Sandman, Swamp Thing and Hellblazer are British Invasion of US comics.

A suitable homage to Alan Moore, 07 Sep 2006
After being a little disappointed with Gaiman's opening gambit, Preludes and Nocturns I thought that Neil Gaiman was forever going to be in the shadow of Alan Moore, trying desperately to produce a story of the majesty of Swamp Thing. With this story, Gaiman finally comes to maturity in his storytelling, combining magic and dreams with murder and horror and finally reaches the peak he's been looking for. The beauty of the Dolls House is it works perfectly as a standalone novel but even better if read as a sequel to Swamp Thing. My advice? Read Swamp Thing first if you've not already read it, then take this on. It will be worth the wait.

A little on the short side, but still an excellent collection, 22 Aug 2008
The third Sandman collection represents a change of pace from the first two. Whilst the first two were unified by a central story arc that ran through each one, Dream Country is essentially a short story collection, featuring four tales that although self-contained, do illuminate parts of the backstory and the ongoing overall storylines of the entire series.

The first story is Calliope. A young writer, Richard Madoc, has a bad case of writer's block following the success of his first novel. In desperation he turns to the occult to find a way out of his problem and enlists the help of Erasmus Fry, an elderly author and successful playwright. It turns out that Fry owes his success to his imprisonment of Calliope, one of the nine muses of antiquity (and the former muse of Homer), and he passes control of Calliope over to Madoc. By holding her hostage and abusing her, Madoc gains the inspiration he needs and becomes a bestselling writer, churning out novels, a poetry collection, screenplays and even becoming a gifted director. Unfortunately for Madoc, he is unaware that Calliope is also the former lover of one of the Endless...

This is an interesting story. The notion of 'the muse' is explored here, although the literal personification of Calliope can be substituted for whatever a writer uses for inspiration. The abuse and over-use of the muse resulting in a horrendous case of writer's block, perhaps permanantly, is an interesting idea to use for a story, but it works well. We also get some intriguing backstory for The Sandman overall, including the tantalising revelation that somewhere out there Morpheus has a son (although those who know their Greek mythology will be way ahead of the game here). For those interested in writing graphic novels and comics, the complete script for Calliope is included in the book as well.

The second story is much more straightforward and fun. The Dream of a Thousand Cats sees a cat travelling the world, preaching a message to all the other cats, and we see the impact of that message on a young kitten. This story has been called 'cute' but it really isn't. The dream the cat is trying to bring into reality really isn't very nice (especially for humans) and the final line and image are brilliantly contrasted with what is going on in the cat's mind. This is as self-contained as Sandman stories come, and shows Gaiman's wit and imagination in full flower.

The third story is the legendary A Midsummer Night's Dream. Back in Men of Good Fortune (included in The Doll's House), Dream and William Shakespeare made a deal whereby Dream would give Shakespeare access to a font of imagination in return for Shakespeare writing two plays for him. A Midsummer Night's Dream is the first, written for Dream to show as a piece of entertainment to the real faerie king and queen, Auberon and Titania, who return to the mortal plane with their retainers for the occasion.

This is a splendid, clever story which rightfully won the World Fantasy Award in 1991. As the play unfolds events offstage are illuminated by it: Titania's enchantment of Shakespeare's son (who died several years later), Robin Goodfellow (Puck)'s irritation at being portrayed by a mortal and the running commentary provided by several of the faerie court viewing the play, with some disagreement about whether they should congratulate the mortals for their art or eat them. There's also some more scene-setting for later stories (an invitation is extended to Dream who hasn't followed up on it by four centuries later). The highlight of the collection, this is an amusing story, although probably of most interest to established Shakespeare fans.

The final story is Facade, about an extremely obscure DC hero who finds herself lost and lonely, living in her apartment with a weekly conversation with the guy who signs her pension cheques as the highlight of her week. This is a somewhat bleak story about a hero with the power to save the world but who loses herself in the process, but it is given an uplifting ending by the arrival of Death, who is fleshed out a lot more here than in her previous brief appearances.

Dream Country (****) is an excellent addition to The Sandman mythos, although it can be criticised for being on the short side (collecting only four issues, compared to the previous two collections' eight apiece) and only padded out to a reasonable length by the Calliope script. But the quality of the actual stories more than makes up for it.

A Great Collection Of Short Stories......., 02 Jun 2005
As I said in my review of Sandman: "Fables & Reflections", Neil and the team would write short, self-contained stories between the big ones (in order to attract new readers).

The stories here are more horror-based than those of "Fables." My favourite is "Caliope" - the tale of a writer's need for inspiration, and the depths to which he'll sink to find it.

The other three stories star Lady Death, William Shakespeare and a Cat with a dream.

If you enjoyed the "Fables" collection then this is a must. Or check-out "Fables & Reflections" next if you like this volume.

On a side note, I should mention the size of this book. Compared to other titles in the series, this is by far the smallest. It wouldn't be so bad, except a big portion of the book is dedicated to reprinting one of Neil's story scripts. As a writer myself, I found this interesting. But most people buy Sandman for the stories, and I can imagine many being a tad narked since this precious space could have been used to squeeze-in another great tale.

That aside... DEFINITELY a superb read. Sandman is the business, folks!

the worst of an amazing series, 17 Jun 2003
I was pretty disappointed with this edition in the series as it is far too short! Four decent but emphatically short stories and a large section devoted to the script of the first of these stories is as somebody else noted, a huge cop out. You simply do not get value for money here. The stories themselves whilst perfectly enjoyable are far from the (extraordinarily high) standards which I have come to expect with the other Sandman novels. It is certainly worth reading but borrow a friends copy. Only for those who wish to complete the series.

Gorgeous., 07 Apr 2001
This is the one that hooked me on Sandman. I now have almost everything Gaiman has ever written. So this was a good starting point for me. There is a large portion of the book devoted to the script for Calliope, which is probably annoying if you are a first-time reader of Sandman, but brilliant if you're an obbsessive, like me! There are four short stories, each of which is a fine example of why Gaiman has become so famous now. My personal favourite is 'Calliope' which reveals a few things about Morpheus, the Sandman of the title. If you're a first time reader of Gaiman's graphic work, then I'd start off with 'Preludes and Nocturnes', the first in the series, but if you've already read his work, you won't be disappointed. I only direct you to the first in the series because its annoying to read things backwards, and once you've read a bit of 'The Sandman' you'll read all of it. I guarantee.

Disappointing, 19 Mar 2001
I loved the first 2 in the Sandman series but I found this very uninteresting. Maybe I was expecting too much with the first two books having set the scene so well but I just found all of the stories somewhat pedestrian and aimless. The last fifth of the book (the original script for the 1st story) is one of the biggest cop outs that i've ever come across. These books are more expensive than most and don't last that long so to see such a large portion of the book devoted to satisfying the curiosity of a small proportion of the readership is scandalous.

More of a four and a half really, 02 Jan 2009
I love Neil Gaiman, and my eleven year old son loved Coraline, so I bought this book to read to him at bedtimes. He didn't like it and asked me to start a different book instead when we were only a couple of chapters in. (We went on to the third book in the Philip Reeve Mortal Engines series, which we're both enjoying). I kept reading The Graveyard book on my own though, and I enjoyed it very much. I liked the mythical lyrical quality of the writing, as well as the believable characters and humour - and the suspense involving The Man Jack. It wouldn't be my favourite Neil Gaimen but it was still brilliant.

One of his best, 01 Jan 2009
I found this book enjoyable, and wonderfully colourful. The vast supporting cast of the dead and undead, from Silas, Bod's vampiric mentor, the deceased jack and vera duckworth-esque owens' to the rather less pleasant but humourously named ghouls (the 33rd President of the united States, the famous writer Victor Hugo) are offset against the true menace of our young protagonists situation.

From the outset the `Jacks' have pursued this unknowing innocent, and his graveyard utopia is increasingly interrupted by his need to interact with the outside world, which more and more exposes him to them.

The folklore and rules of the dead are incredible, but believable, much like the worlds Gaiman sets up in American Gods and Neverwhere, and you are drawn into them comfortably. My only criticism was the ambiguity of the ending, why was he being pursued by the Men Jack? would have made the conclusion stronger.

I advise anyone to buy and read this book.

A good, light hearted, escapism book., 27 Dec 2008
I've just finished reading this and I thoroughly enjoyed it. Like I said in the title it was easy to read, funny in places and a good, light-hearted, escapism book. I would recommend it to anyone.

The lack of a 5th star only comes from the fact that I wish Neil would have gone into a bit for detail about the characters Silas and Miss Lupescu. I found myself left wanting for a bit more involvement from these two characters. I also got a tad frustrated by the haziness of what went on between them and the Jacks.

Other than that, I loved it and would defiantly read it again! I would also recommend listening to the audio-book. Neil himself narrates it and he does it extremely well; very atmospheric, broody and extremely enjoyable.

I hope you find this helpful (it's my 1st book review...)

This could well be a future Classic!, 03 Dec 2008
In a nutshell: A fine read primarily aimed at the junior reader, but with enough maturity to be able to be enjoyed by all. The Graveyard Book has the potential to be a future classic in the same vein as the one that inspired it, The Jungle Book (and other greats such as Alice in Wonderland, The Wizard in Oz and The Lion, The Witch and The Wardrobe etc.), and for that reason alone I consider this novel unmissable.
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In his acknowledgments Gaiman credits more than a passing nod for this novel to Rudyard Kipling's The Jungle Book, a childhood favourite of his, and while the chief protagonist of the novel Bod, can certainly fit into Mowgli's loin cloth, I didn't really feel that there was much of a relationship between the two, other than a child growing up in a unique environment. Then again I read Jungle Book with child eyes many years ago, and this I read as a mature adult, so my perspective is somewhat different. More delightful for me perhaps (mainly because of the romantic notion it throws up), is the author's revelation that the inspiration for The Graveyard Book came after watching his two year old son pedaling his tricycle between the gravestones of a church one summer.

So from the outset I think I've established that The Graveyard Book is a title primarily aimed at the more junior reader, and fundamentally it is. That said the narrative is certainly more than mature enough to be read by all ages and I certainly didn't feel at any point that I was reading a book that was too young for me. In fact the publishers have seen fit to release this title in both a child's and adult's version so it's accessible for all. Being frugal I actually bought the child's version (it was available at a discounted price :o)), and I'm glad I did because it's got some really nice illustrations throughout from accomplished artist Chris Riddell.

On to the story itself and The Graveyard Book is hugely fantastical (what story about a baby being adopted by ghosts wouldn't be?), but that's The Graveyard Book's quality - pure unadulterated escapism. The story is well-paced, tight and easily read and with this novel at least (because it's the only one I've read) Neil Gaiman shows himself as a great storyteller. If he were around in times of lore then he would undoubtedly be the one wandering the medieval countryside with his lute, entertaining the townsfolk with his tales of wonderment :o). Gaiman's put a lot of cleverness into this story with some neat plot twists that ensure the pages keep turning.

Aside from the plot twists I loved following Bod's interactions with the ghosts of the graveyard, and his attempts to adopt the ghostly attributes which would prove useful to him in his unique position. Undoubtedly however, the main success of the storyline comes from Bod's growing angst at being kept from the world outside the graveyard. It's a problem that increases as Bod grows older and its fundamentally an exploration of growing up, but it's growing up in a wholly unique environment, and that's what makes the story so compelling.

As anyone who has read any of my former book reviews would know, my biggest passion is for good characterisation. I'm not so bothered about story or plot (although they help of course) but good characters mean everything to me; so much so that this aspect on its own can often make the difference between a novel being good or bad for me. Well, I'm happy to proclaim that Gaiman has created a really well-rounded charismatic character in the chief protagonist Bod, and if he were looking to create an equal to rival Kipling's Mowgli then I think he's succeeded, admirably. Silas, Bod's vampiric guardian, is another well realised character in this novel. He's a character that comes across with a great deal of enigmatic depth, and the phrase `still waters run deep' comes to mind when I think of him. I also think that this is the first time ever that I've been so endeared to a character who is traditionally considered to be an icon of horror.

Sadly however that's where the good characterisation diminishes somewhat for me, and with the possible exception of `the man Jack', all of the other characters come across as being somewhat flat and mere `players' in the story. Don't get me wrong, the portrayal of the other characters is certainly adequate, more than enough to ensure the novel keeps its gleam, but given the richness of character that could have been realised with such an imaginative cast of ghostly figures, I would have liked to have seen some of the other characters being better developed, at least up to the same standard as Silas.

In closing then the main question remaining is whether this is a novel that I recommend reading? Well if you're a junior then absolutely. It's a fantastic novel with a flowing, interesting storyline that juniors are certain to love. I promise! :o)

What about the more mature reader? Well as I've said above it's marketed towards all ages and the story has enough maturity to make it a novel for all ages. It's certainly a light read so if your expecting something as deep and engaging as a Tolstoy or Murakami then you're going to be disappointed. However, if it's a light read you're after then I can think of no better. It entertained me completely and as a reader who normally gets his kicks from the more dense prose of writers such as Steinbeck, Doestovsky and Hamsun etc. that's a big achievement. Bearing that in mind I'm confident that The Graveyard Book will entertain just about anyone. Go buy it!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


FABULOUS, 15 Oct 2008
I bought this book (for my daughter) on recommendation. I wasn't sure what to expect. I read it before I gave it to my child as I invariably do. I gave it to her with a smile and a wink and assured her she'd be scared (her idea of a good read! she's 9!) She marched downstairs the next day and declared she didn't know what I was talking about and it wasn't scary. The following morning (after having read a couple more chapters) she gave me the biggest smile and said "it's brilliant! I love it!" Apparently it had then become scary enough for her. :0)
That was 3 weeks ago - now most of her friends mothers have bought it for their children and even her teacher is reading it to the class.
It's just fabulous. I can't recommend this book enough. Buy it! Read it!
We've bought two more Gaiman books now and are eagerly awaiting the release of the film at the cinema next year. What a cracker!

Overrated, Pointless and Creepy, 08 Oct 20