Customer Reviews

The Sandman: The Wake (The Sandman, Book 10)

5 star:		(35)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

The first three chapters in this graphic novel are the story of the funeral for the King of Dreams, mostly seen through the beady, little smart-assed eyes of the raven who was once Matthew Cable. Delirium manages to steal the show a bit in the first act, but there's plenty for everyone. Just about everyone puts in an appearance here, from the lovely, self-absorbed and funny Rose Walker, who adjusts to her `condtion' with the help of her estranged brother Jed; to the immortal Indian King talked about in World's End (who makes a Winnie the Pooh reference, so's you know it's good).

The convention of Morpheus' old lovers is nice. Good Queen Titania refuses to disclose any specifics about their rumored relationship, Larissa/Thessaly comes to tears speaking about Morpheus (wasn't she directly responsible for him getting killed in the first place, though?), and Calliope's speech about her gratefulness to Dream for the mercy-killing of their son, was strangely beautiful. Meager words, however, cannot possibly describe the eulogies of Morpheus' family and friends, nor the mystical funeral barge that Dream's final voyage is taken on. It IS the stuff dreams are made of.

But, celebrity guest stars aside, this is the story of the late Dream King's best friend and right-hand bird, Matthew, coming to grips with his boss' death, the option of ending his own life, and the new Dream on the throne. Dream/Daniel Hall has a busy time too. Fear over meeting the rest of his family, The Endless, over dinner, and his quiet moments with the palace guards, show that, despite however much of Morpheus there may be in him, this time, Dream is more human than ever. But, as Destruction's visit proves, Morpheus is still very much a part of Daniel. Evidenced especially when he pardons his mother, Lyta Hall, for her involvement in the Kindly Ones affair, something Morpheus probably would never have done. Finally, Matthew learns a lesson that Dream tried to impart to his son, Orpheus, and had he learned it, none of the tragedy in the series would need have happened. "When the dead are gone, you mourn, and go on living." Or words to that effect. Long live the King.

The Epilogue, Sunday Mourning, chronicles the immortal Hob Gadling's day spent at a renaissance festival with his latest girlfriend, Gwen. Miserable, and feeling his age (635), Hob gets into an argument about English slaving practices with Gewn, and argues about what the English Renaissance era was REALLY like with a puppeteer. Then he gets drunk. Or at least tries to. Hob's description of American beer has to be read in context to be believed, but it made me split my sides. Then Death shows up. She brings Hob the news of her brother's passing, and asks if he's ready to call it a day. Hob's anguish over whether to choose a poetic death over a degrading life is a great, moving literary moment.

Michael Zulli illustrates these four parts of the novel. The faces, the colors, the emotion in every stinkin' panel... Wow. The colors and the inks look just slightly washed-over, somehow, giving the feeling of looking at the page through glass. Or like in a dream. This is some of the best comic artwork I've ever seen. Ever.

Exiles is the story of a Japanese man banished from his village, and, lost in the desert, he enters the Soft Places, a section of the Dreaming where all time exists simultaneously, and meets both Dreams, Morpheus and Daniel. A quiet, touching story, perfectly fitting with the mostly black and white brushstrokes of Jon J. Muth.

Finally, The Tempest. Illustrated by fantasy master Charles Vess, whose art is full of emotion and the sights of the period. This, the story of the world's greatest writer's last work, which is itself, the story of a powerful magician who breaks his books and leaves his island. Will Shakespeare himself, is faced with the weight of old age, his distance from his wife, and his daughter being courted by a boy he does not approve of. He deals with these by getting drunk with Ben Jonson, and pouring his heart and soul into The Tempest. Finished the play, Will accompanies the King of Dreams to his castle for a drink, and to ask him why this was the play that Morpheus wanted written about him. Because Morpheus, unlike some of his family and unlike Prospero, the hero of The Tempest, will never leave his island. Although he is the Prince of Stories, he will never have one written about him. And, I guess, that's where we came in, fellow readers. Just us and Mr. Gaiman. Wasn't that a nice note to go out on?

A fitting title to one of the best comic series ever printed. The reader who has followed the Sandman series finally wakes up from the incredible 5 year 'dream' saga. It is not as heavy to read as some of the other earlier collections since it is made up of short stories. This collection wraps up the loose bits and pieces to the Sandman series. The first part sees the wake for Morpheus and Daniel taking up the mantle as the new Dream. The rest are individual stories. We see Hob's reaction to the departure of his friend, a story of a traveller trapped in The Dreaming and finally concludes, appropriately, with Neil Gaiman's take on Shakespere's "The Tempest". To really understand and appreciate this book, the reader would be have to have read at least "The Kindly Ones". As for me, I really liked this book and would have given it a 10 if I didn't have to wake up from this fantastic dream Gaiman has taken me, and countless others to.

Throughout the course of his acclaimed comic book saga, Sandman, Neil Gaiman always worked at his own pace. Thus, it is no surprise that the falling action that follows The Kindly Ones, the grand finale of the series, should last six issues and be a story arc onto itself. No matter, though. Gaiman possesses an immaculate sense of precision and rarely did any part of his saga stretch on longer than it had to. With The Wake, Sandman's long epilogue, Gaiman continues to dazzle readers with his beautifully surreal people and places and his inspiring deliberations on life, death, family and the significance of storytelling.

Sandman features a family of Greek God-like entities called The Endless, each of which have some sort of responsibility in regulating the conscious experience of mortals. In The Wake, the remaining members of the clan, Destiny, Death, Desire, Despair and Delirium hold a wake and funeral for Dream (Sandman's protagonist more often than not), who died in The Kindly Ones. Almost every character that played a part in the series attends. Meanwhile, Daniel, the child who inherited the mantle of the Dream King, prepares to meet his new family. There is a certain grace, warmth and thoroughness with which Gaiman addresses death, mourning and the welcoming of a new family member that makes this tale sure to cause readers to reflect on his or her own experiences with the aforesaid. Michael Zulli is the most grand and majestic illustrator to ever grace the pages of Sandman and his style certainly works for the story. Truly, the memorial services for Dream make-up one of the best pieces of the Sandman saga.

That story only lasts for first three issues, though. The remaining three of this volume are single-issue stories. "Sunday Morning" revisits one of the series' most interesting characters, the immortal Hob Gadling. In "Exiles" a banished Chinese wise man embarks on a strange path that leads into Dream's realm. The issue, which is told in Analect-ish verse, has little to do with the greater story, yet it is always delightful to see Gaiman mesh Sandman with indigenous story-telling traditions. "The Tempest," the series' final issue, revisits William Shakespeare, whose employment under Dream was chronicled in early issues. This tale elaborates on the dream king's need of the dramatist as he writes his final play. The Kindly Ones was Sandman's riveting climax and the first three issues of The Wake are the place to say goodbye to the main characters, but as far as giving the final word on what is perhaps the most important theme of Sandman, the importance of stories and their telling, "The Tempest" is its true conclusion.

When I heard the rumor that Dream would die, I fought against it utterly...until I picked up and read (and nearly lost to several friends after lending it out) The Wake. I knew that Dream was truly dead...though not really...just a new incarnation. But what I didn't understand before reading is how Gaiman could possibly make me love our beloved and brooding Sandman more. But he did. The new Dream is not un-Dreamlike. He is thoughtful and somewhat brooding, like his pretocesor...but unlike the old Dream, he is more capable of compassion and feeling. He is as beautiful as the old Dream, but more a Dream for a new millennium. I do wish that the story didn't have to end so soon...but at least I have my dreams. And in them the story does go on. Thank you, Neil. I'll join you and Tori in hanging out with your Dream King any time.

With appearances by most of the characters that have appeared in this series, this is a fitting epilogue to one of the greatest stories ever told in this medium. While the new personification of The Sandman waits, his family performs the final ceremony for their departed sibling. Like all wakes, it is a time for stories, for people to renew lost acquaintances, and to say goodbye. Michael Zulli's wonderful art gives the reader a clear picture of the events and Gaiman's final farewell to the character is most appropriate.

That is the phrase both me and the character Matthew the Raven were uttering as I picked up the soft cover of one of my least anticipated Sandman novelas. I say this in the realization that I was in such a state in denial to the death of Morpheus that I hated Neil for ever doing so. I bought it more out of spite than out of love and after reading it realized that yes, all good things must come to an end....and it was a good ending indeed. But before buying it I would come across it in Barnes and Noble and pick it up sneering that such a concoction had run across the great mind of Mr. Gaiman. I would sneer at the artist and at the way the pages begged to be read and decided to buy it, to prove that I was right becuase to me, it was a great sin to ever hate a book by Neil...I nearly worship the fellow....and it would kill me to have any notion against him go unscathed. I read at first, in great triumph which, as my reading became more frequent, began to dissolve into mere wonderment. Everything that I wanted it to be was unexpected. This is how it should be. This is why I can't help liking Neil Gaiman novels. This is why I actually wept from reading it. Don't get me wrong...this collection isn't all that sad. The ending I'm sure you'll find one of the most joyous that you've read, and the extra stories quite amusing. It is a MUST read...even if your concious is telling you any different! I would also like to say a special thanks to the author...who has filled my mind into believing that it holds more imagination than meets the eye. And that all great stories, do indeed end. I am happy now with it read, that it did.

Sandman was one of, if not the, most important comic book series ever produced. It managed to achieve a depth rarely found in the field, and maintain it far longer than most of the other important series. Neil Gaiman is a true genius, and this volume certainly displays that. Illustrated mostly by my favorite Sandman artist, Micheal Zulli (and containing excellent work by Jon J. Muth and Charles Vess), The Wake is a grand and emotional ending to a superb series.

First off, I'll just say that I think the wake has the finest art of all the SANDMAN collections, save for maybe Season of Mists.

The Wake is a story about death and endings and farewells, and it is an end to the series, but only in the sense of the Death tarot card: representing transformation, rebirth, the closing of a door and the opening of a window. As Dream told Orpheus: "You attend the funeral. You bid the dead farewell. You grieve. Then you go on with your life." That's what the characters are doing in this book. It also contains the story of another wanderer in the shifting zones, (a parallel to "Soft Places"), and the writing of Shakespeare's last play (a parallel to "Midsummer Night's Dream.") All told, The Wake is a graceful coda to the bittersweet symphony (so shoot me for the reference) that is SANDMAN.

The king is dead. Long live the king.

I started reading Sandman when a friend of mine, who desperately needed money at the time, sold me his first issues of Sandman. I immediately fell in love with Gaiman's series, and Sandman was part of my gradual internal growth. Even when the publisher cancelled the Brazilian edition, I continued to buy the American issues. My Sandman collection is a mess: partly in Portuguese, partly in English, in either books or individual issues. The only hardcover edition I own is "The Wake".

"The Wake" is the last story of the Sandman series, but, more than an end, it represents a transition, or the beginning of a new cycle.

After reading most great novels, of all times, we feel that our souls are somewhat closer to heaven, because the author has the ability to close a cycle, showing how the facts are all intertwined, and that these links - inevitable, essential, wise and apparently complex, lead to simple, effective solutions.

The Wake does close a cycle. It gives us the ability to see the whole of the series in its completion. It acts as the last piece of a puzzle. It shows us there is a Spring after Winter, a rainbow after a storm. It is peaceful, calm, mature.

Moreover, the hardcover edition is incredibly beautiful, a real collector's piece. Anyone who is a Sandman fan should have it. And, if someone who is sensitive to art manifestations but does not know the series sees this volume, he will become eager to read all the past stories.

That quote comes from the end of an earlier Sandman book, but it applies to "The Wake" as well.

"The Sandman" has always been about change, about those who can and those who cannot. This, the last in the Sandman series, ties together the ending threads of the story, and in the process reaffirms how wonderful a writer Neil Gaiman is. Never the showman, his prose quietly and powerfully speaks for him and his characters.

The artwork is, as always, brilliant. Michael Zulli's work on the main "Wake" storyline is amazing, and Charles Vess outdoes himself again for the very last story, "The Tempest." But most remarkable in this writer's opinion is Jon Muth's work for "Exiles", a quietly powerful piece that manages to express best what "The Sandman" was about; his art is a perfect match for it.

There are precious few proper endings, and ones that bring a tear to your eye are even rarer. This is one of the few books that accomplishes both.