Scan barcode
puff_'s review against another edition
emotional
hopeful
mysterious
reflective
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
chsahit's review against another edition
3.0
This was the first time in years I got so absorbed in a book without having the urge to check my email or twitter or something, so that was nice. The writing painted a fantastical world in my head. That being said, I was never too invested in any of the characters. I do wish goodreads had a 3.5 stars, as that might be more appropriate for this.
leggup's review against another edition
4.0
This book gives me the same feeling as American Gods, but so so so so much smaller. It is such a short book that you can down in in an evening without feeling full, which is the problem. There's not enough to sink your teeth into. Speaking of food, for a short book, Neil does take his time telling you about what he ate. Home = bad food, magical place = good food is a bit heavy handed. There is also a bit of a "sleepwalker syndrome" going on with the main character. The impossible is possible, actions have unforeseen consequences that are bizarre and disconnected. It fits well enough since the story is meant to be told looking back, but perhaps it's just a bit too authentically dreamlike.
The only thing I hated about this book was the stupid bit at the beginning wherein Neil Gaiman explains how he came up with this book. Horrid.
The only thing I hated about this book was the stupid bit at the beginning wherein Neil Gaiman explains how he came up with this book. Horrid.
enbylievable's review against another edition
5.0
Gave me way too many feelings about my own dad. A beautiful story that is ultra relatable, and so easy to get into. Another smash hit by Neil Gaiman.
meoreads's review against another edition
adventurous
funny
lighthearted
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.0
cxppatee's review against another edition
adventurous
dark
emotional
mysterious
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
5.0
evejawara's review against another edition
adventurous
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
yoe's review against another edition
adventurous
inspiring
mysterious
reflective
relaxing
slow-paced
- Strong character development? No
- Loveable characters? Yes
5.0
novabird's review against another edition
5.0
When I am feeling vulnerable and world-weary, I return to this adult fairy tale. It never fails to rekindle my sense of wonder. My fount of energetic-power, houses, my resiliency and hope. I rediscover this truth as being embedded within stories. And my narrative meaning-making soul is always reignited.
Being transported into a world created by Neil Gaiman is a gift like no other. His authorial voice itself has the power to enchant. The power of childhood is that life is both enchanted and real.
In this novelette, Gaiman uses a child’s voice and perspective and a commoner tongue that delivers a powerful message that contrasts reality with enchantment.
In, ‘The Ocean,’ a forty-something-year-old man unknowingly returns, again and again, to his original place and time of enchantment. He returns as his seven-year-old self, to see his childhood friend, Lettie, and to visit an ocean of forgotten memories.
The ocean represents a feminine cosmology where there are three generations of women; Old Mrs. Hempstock, Ginnie, and Lettie who can “snip and cut” (p 95) the fabric of reality, just as the Three Fates; Clotho, Lachesis, and Atropos determined the destiny of everyone born in Classical Antiquity. They combine as a trio into an even greater force known as Moirai.
“The second thing I knew was that I knew everything. The ocean flowed inside me, and it filled the entire universe.”
“I found myself thinking of an ocean running deep beneath the whole universe.”
Gaimen also refers to various fabrics of reality throughout, ‘Ocean:’
Skarthach of the Keep, in her original form is like dirty, gray sheets of cloth, old fabric, or rotting canvas. She can selectively tear pieces from her own self to serve her purposes of binding for example, which has the power to turn the boy’s world gray. Skarthach has the power to change the lives of humans, by altering their realities, with money and then with pain.
“…that the reality I knew was a thin layer of icing…”
“…I understood dark Matter, the material of the universe that makes up everything that must be there but we cannot find…”
The combined forces of the trio: of Clotho, Lachesis, and Atropos - the Moirai, is defined as one's portion or part in destiny, which consists of good and bad moments. As the Moirai (Fates) predetermined it, it was impossible for anyone to get more than his ordained part, portion or share. Moirai functioned as a natural law and drew up the boundaries of this law. A portion in destiny was something similar to their portion in boote.
“There are pacts, and there are laws and there are treaties, and you have violated all of them.”
Now you may be thinking, “Where is she going with this?” And I agree I am being rather obscure:
“I wish you’d talk properly,” I said. “You talk in mysteries all the time.” p. 115
The boy had used up a large piece of his boote in his borderland experience between magical realism and fantastical realms. He had crossed over from the real into a nightmare enchantment and there is always a price to pay for using up too much boote in any world view.
We all give up the knowledge of an enchanted fabric of reality in our journey to adulthood, to the real world of materiality and money. Most of us have forgotten what originally enchanted us in our childhood. And the seven-year-old boy was far too young to have to swallow that coin of reality.
Gaiman gives us the reader, more than magical realism, and more than fantasy. He reaches farther back than that and gives us something from our childhoods, a fairy tale, an adult fairy tale, almost mythic in its representation. It is an adult fairy tale because it deals with the theme of enchantment and disenchantment through several horrific passages that are understated, yet leave an indelible residue of reminders of what may be some causes are for disenchantment and act as a reminder of things that are more important.
I fully appreciate Gaiman’s earlier works, but with Gaiman’s ‘Ocean,’ I find I am in love with his imaginative genius and his application to a greater whole. He wrote, ‘Ocean,’ for his wife and it is so evident that this was a gift of love.
I don’t often go out to the movies, but on the premiere of, ‘Ocean,’ I will definitely be one of the first in line.
I highly recommend this for anyone who has an inkling left of their power to suspend disbelief. Then it is like stepping back in time to when you had a greater sense of the enchanted and then not forgetting it, ever.
Being transported into a world created by Neil Gaiman is a gift like no other. His authorial voice itself has the power to enchant. The power of childhood is that life is both enchanted and real.
In this novelette, Gaiman uses a child’s voice and perspective and a commoner tongue that delivers a powerful message that contrasts reality with enchantment.
In, ‘The Ocean,’ a forty-something-year-old man unknowingly returns, again and again, to his original place and time of enchantment. He returns as his seven-year-old self, to see his childhood friend, Lettie, and to visit an ocean of forgotten memories.
The ocean represents a feminine cosmology where there are three generations of women; Old Mrs. Hempstock, Ginnie, and Lettie who can “snip and cut” (p 95) the fabric of reality, just as the Three Fates; Clotho, Lachesis, and Atropos determined the destiny of everyone born in Classical Antiquity. They combine as a trio into an even greater force known as Moirai.
“The second thing I knew was that I knew everything. The ocean flowed inside me, and it filled the entire universe.”
“I found myself thinking of an ocean running deep beneath the whole universe.”
Gaimen also refers to various fabrics of reality throughout, ‘Ocean:’
Skarthach of the Keep, in her original form is like dirty, gray sheets of cloth, old fabric, or rotting canvas. She can selectively tear pieces from her own self to serve her purposes of binding for example, which has the power to turn the boy’s world gray. Skarthach has the power to change the lives of humans, by altering their realities, with money and then with pain.
“…that the reality I knew was a thin layer of icing…”
“…I understood dark Matter, the material of the universe that makes up everything that must be there but we cannot find…”
“. … As if it were eating a curtain or a piece of scenery with the world painted on it. In a handful of heartbeats, where the constellation and sky had been, there was only a pulsing nothingness.
The combined forces of the trio: of Clotho, Lachesis, and Atropos - the Moirai, is defined as one's portion or part in destiny, which consists of good and bad moments. As the Moirai (Fates) predetermined it, it was impossible for anyone to get more than his ordained part, portion or share. Moirai functioned as a natural law and drew up the boundaries of this law. A portion in destiny was something similar to their portion in boote.
“There are pacts, and there are laws and there are treaties, and you have violated all of them.”
Now you may be thinking, “Where is she going with this?” And I agree I am being rather obscure:
“I wish you’d talk properly,” I said. “You talk in mysteries all the time.” p. 115
The boy had used up a large piece of his boote in his borderland experience between magical realism and fantastical realms. He had crossed over from the real into a nightmare enchantment and there is always a price to pay for using up too much boote in any world view.
We all give up the knowledge of an enchanted fabric of reality in our journey to adulthood, to the real world of materiality and money. Most of us have forgotten what originally enchanted us in our childhood. And the seven-year-old boy was far too young to have to swallow that coin of reality.
Gaiman gives us the reader, more than magical realism, and more than fantasy. He reaches farther back than that and gives us something from our childhoods, a fairy tale, an adult fairy tale, almost mythic in its representation. It is an adult fairy tale because it deals with the theme of enchantment and disenchantment through several horrific passages that are understated, yet leave an indelible residue of reminders of what may be some causes are for disenchantment and act as a reminder of things that are more important.
I fully appreciate Gaiman’s earlier works, but with Gaiman’s ‘Ocean,’ I find I am in love with his imaginative genius and his application to a greater whole. He wrote, ‘Ocean,’ for his wife and it is so evident that this was a gift of love.
I don’t often go out to the movies, but on the premiere of, ‘Ocean,’ I will definitely be one of the first in line.
I highly recommend this for anyone who has an inkling left of their power to suspend disbelief. Then it is like stepping back in time to when you had a greater sense of the enchanted and then not forgetting it, ever.