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Neil Gaiman, who recently announced to the world that he and girlfriend/artist/musician Amanda Palmer have are engaged to be wed (I understand he proposed to her on New Year’s Eve by drawing a ring on her finger with a Sharpie marker!!!), is featured in this week’s issue of The New Yorker. For some strange reason, The New Yorker finally decided to feature Gaiman and his “beloved text” Coraline 8 years after it was published and about a year after it was made into a movie. Trust me, tho, as an active reader and subscriber of The New Yorker, I am not complaining … it is amazing to see one of my favorite authors featured in their pages. Here is an excerpt:

Gaiman, who is forty-nine and English, with a pale face and a wild, corkscrewed mop of black-and-gray hair, is unusually prolific. In addition to horror, he writes fantasy, fairy tales, science fiction, and apocalyptic romps, in the form of novels, comics, picture books, short stories, poems, and screenplays. Now and then, he writes a song. Gaiman’s books are genre pieces that refuse to remain true to their genres, and his audience is broader than any purist’s: he defines his readership as “bipeds.” His mode is syncretic, with sources ranging from English folktales to glam rock and the Midrash, and enchantment is his major theme: life as we know it, only prone to visitations by Norse gods, trolls, Arthurian knights, and kindergarten-age zombies. “Neil’s writing is kind of fey in the best sense of the word,” the comic-book writer Alan Moore told me. “His best effects come out of people or characters or situations in the real world being starkly juxtaposed with this misty fantasy world.” The model for Gaiman’s eclecticism is G. K. Chesterton; his work, Gaiman says, “left me with an idea of London as this wonderful, mythical, magical place, which became the way I saw the world.” Chesterton’s career also serves as a warning. “He would have been a better writer if he’d written less,” Gaiman says. “There’s always that fear of writing too much if you’re a reasonably facile writer, and I’m a reasonably facile writer.” Gaiman’s two most recent novels, “Anansi Boys” (2005) and “The Graveyard Book” (2008)—a retelling of Rudyard Kipling’s “The Jungle Book,” set in a graveyard—débuted at No. 1 on the New York Times best-seller list in their respective categories, adult and children’s literature. Yet Gaiman remains somewhat marginal. The Times of London recently referred to him as “the most famous writer you’ve never heard of.” The New York Times waited to review “The Graveyard Book” for several months after its publication, by which time it had won the 2009 Newbery Medal, one of the highest honors in children’s fiction, and been on the best-seller list for eighteen weeks. “I have at this point a critic-proof career,” Gaiman said. “The fans already knew about the book.”

If anything, I’m hoping THIS New Yorker piece will enlighten others as to the talent and genius of Neil Gaiman and will inspire new fans to seek out his work and fall in love. As I mentioned above, the piece begins its focus on the theme of children’s Gothic literature, and in particular, Gaiman‘s novella Coraline but it then goes on to discuss Gaiman‘s long history as a writer. The full article/interview can be read online HERE or in the pages of this week’s issue of The New Yorker. It’s a fabulous read, almost as fabulous as Gaiman‘s own work. If you are not familiar, I urge y’all to seek him out and see for yourselves why I am such a big fan :)

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