Reviews for Ocean at the End of the Lane
Booklist Reviews 2013 April #1
*Starred Review* In Gaiman's first novel for adults since Anansi Boys (2005), the never-named fiftyish narrator is back in his childhood homeland, rural Sussex, England, where he's just delivered the eulogy at a funeral. With "an hour or so to kill" afterward, he drives about--aimlessly, he thinks--until he's at the crucible of his consciousness: a farmhouse with a duck pond. There, when he was seven, lived the Hempstocks, a crone, a housewife, and an 11-year-old girl, who said they were grandmother, mother, and daughter. Now, he finds the crone and, eventually, the housewife--the same ones, unchanged--while the girl is still gone, just as she was at the end of the childhood adventure he recalls in a reverie that lasts all afternoon. He remembers how he became the vector for a malign force attempting to invade and waste our world. The three Hempstocks are guardians, from time almost immemorial, situated to block such forces and, should that fail, fight them. Gaiman mines mythological typology--the three-fold goddess, the water of life (the pond, actually an ocean)--and his own childhood milieu to build the cosmology and the theater of a story he tells more gracefully than any he's told since Stardust (1999). And don't worry about that "for adults" designation: it's a matter of tone. This lovely yarn is good for anyone who can read it. HIGH-DEMAND BACKSTORY: That this is the popular author's first book for adults in eight years pretty much sums up why this will be in demand. Copyright 2012 Booklist Reviews.
BookPage Reviews 2013 July
Again the magic
We readers expect magic when we pick up a Neil Gaiman novel. By now he’s built a reputation for his own unique brand of spellbinding fiction, but even among works like American Gods, Stardust and Coraline, The Ocean at the End of the Lane stands as a landmark. Never before has Gaiman’s fiction felt this personal, this vibrant or this deeply intimate.
Gaiman’s hero is an unnamed narrator who returns to his childhood home as an adult and is flooded with memories of a farm at the end of the English country lane where he grew up. We relive those boyhood memories as he does, beginning with an odd tragedy that brought him to the doorstep of the Hempstock family. There he met 11-year-old Lettie, her mother and her ancient grandmother, who claims she was around when the moon was first made. There he finds a pond that Lettie insists is an ocean. And there he embarked on a strange, mesmerizing and often terrifying adventure that probes the often unreachable corners of human memory, nostalgia and wonder.
Never before has Gaiman’s fiction felt this personal.
At fewer than 200 pages, this is one of Gaiman’s shortest books, and yet The Ocean at the End of the Lane is overflowing with ambition. As it meanders through ever-thickening layers of magical intrigue—which wrap this book like bright green English moss—the novel becomes something more than a boyhood adventure story. It is a fable about the practicalities and inconsistencies of magic, about the often unreliable powers of memory and about how fear can often make us stronger. All this is imparted through a lightning-quick narrative filled with typically spellbinding Gaiman imagery, and told in unpretentious but endlessly evocative prose. The Ocean at the End of the Lane is a character study trapped in a fairy tale, a coming-of-age story wrapped in the trappings of myth. It’s Gaiman at his bittersweet, hypnotic best, and it’s a can’t-miss book for this summer.
Matthew Jackson reviews from Texas. Copyright 2012 BookPage Reviews.
Kirkus Reviews 2013 April #1
From one of the great masters of modern speculative fiction: Gaiman's first novel for adults since Anansi Boys (2005). An unnamed protagonist and narrator returns to his Sussex roots to attend a funeral. Although his boyhood dwelling no longer stands, at the end of the road lies the Hempstock farm, to which he's drawn without knowing why. Memories begin to flow. The Hempstocks were an odd family, with 11-year-old Lettie's claim that their duck pond was an ocean, her mother's miraculous cooking and her grandmother's reminiscences of the Big Bang; all three seemed much older than their apparent ages. Forty years ago, the family lodger, a South African opal miner, gambled his fortune away, then committed suicide in the Hempstock farmyard. Something dark, deadly and far distant heard his dying lament and swooped closer. As the past becomes the present, Lettie takes the boy's hand and confidently sets off through unearthly landscapes to deal with the menace; but he's only 7 years old, and he makes a mistake. Instead of banishing the predator, he brings it back into the familiar world, where it reappears as his family's new housekeeper, the demonic Ursula Monkton. Terrified, he tries to flee back to the Hempstocks, but Ursula easily keeps him confined as she cruelly manipulates and torments his parents and sister. Despite his determination and well-developed sense of right and wrong, he's also a scared little boy drawn into adventures beyond his understanding, forced into terrible mistakes through innocence. Yet, guided by a female wisdom beyond his ability to comprehend, he may one day find redemption. Poignant and heartbreaking, eloquent and frightening, impeccably rendered, it's a fable that reminds us how our lives are shaped by childhood experiences, what we gain from them and the price we pay. Copyright Kirkus 2013 Kirkus/BPI Communications.All rights reserved.
Library Journal Reviews 2013 January #1
The great Gaiman presents a roused-evil tale starring two children. With a one-day laydown on June 18, a 250,000-copy first printing, and an 11-city tour. [Page 62]. (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Library Journal Reviews Newsletter
Set in one of those special places in England where two worlds meet (such as wardrobes and rabbit holes), Gaiman's first novel for adults since Anansi Boys (2005) is a luminous tale of bravery, loyalty, magic, and memory. The protagonist, unnamed throughout the story, returns home for a funeral and wanders away from its mournful proceedings back to the landscape of his old family home and back further to the memory of a dark adventure he once experienced involving witches, hunger birds, and frightening beings without real form. This modern fairy tale, which seems at once as old as time and freshly conjured, is finely crafted in lush, glorious prose as enchanting as the tale itself. The story unfolds quickly, its pace rapid owing to both the high stakes Gaiman introduces and the tale's relative brevity, but it feels expansive as well, as if the reader has stepped out of time along with the protagonist. Deeply descriptive and evocative, Gaiman's tale vividly evokes family farms and hedgerows, briar thickets and trees with branches made for reading, magical creatures hungry for their prey, and two beautifully drawn children of astonishing fortitude. Transporting, lyrical, and otherworldly, Gaiman's modern take on fairy tales and their forms, of childhood and its costs, is also elegiac, reverberating, and ingenious. (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Library Journal Reviews 2013 June #1
Gaiman here departs somewhat from his previous books, instead featuring greater emphasis on investigation of the human condition and a more subdued fantasy element. The main character revisits his boyhood, particularly a series of formative events surrounding his friendship with a girl named Lettie Hempstock. The plot rapidly evolves from reminiscent to scary to downright life-threatening, with profound reflections on mortality inherent in the drama. In this ominous environment, seeming evil is explained as a misplaced desire to please, and the ocean at the end of the lane is a liquid knowledge bath transcending space and time that helps rescue the boy. In fact, Lettie is one of the keepers of the ocean, and she and her family represent caretakers who manage the equilibrium of our world and protect the hapless. As we learn the full extent of our narrator's relationship with the Hempstocks, the absolute necessity of the act of forgetting becomes clear. VERDICT Scott Smith's The Ruins meets Astrid Lingren's Pippi Longstocking. A slim and magical feat of meaningful storytelling genius. [See Prepub Alert, 12/16/12.]--Henry Bankhead, Los Gatos Lib., CA [Page 97]. (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publishers Weekly Reviews 2013 April #1
"Childhood memories are sometimes covered and obscured beneath the things that come later... but they are never lost for good"--and the most grim of those memories, no matter how faint, can haunt one forever, as they do the anonymous narrator of Gaiman's subtle and splendid modern myth. The protagonist, an artist, returns to his childhood home in the English countryside to recover his memory of events that nearly destroyed him and his family when he was seven. The suicide of a stranger opened the way for a deadly spirit who disguised herself as a housekeeper, won over the boy's sister and mother, seduced his father, and threatened the boy if he told anyone the truth. He had allies--a warm and welcoming family of witches at the old farm up the road--but defeating this evil demanded a sacrifice he was not prepared for. Gaiman (Anansi Boys) has crafted a fresh story of magic, humanity, loyalty, and memories "waiting at the edges of things," where lost innocence can still be restored as long as someone is willing to bear the cost. Agent: Merrilee Heifetz, Writers House. (June) [Page ]. Copyright 2013 PWxyz LLC