10 AndrésRomero.pmd (Mercer qtd. Rutherford 43). But is it really in crisis? Is the individual self really self individual the Is crisis? in really it is But 43). Rutherford qtd. (Mercer crisis in be to considered is it which in “identity”period define a to in tries trend PsychoanalysisPost-colonialism,to Feminism Post-Structuralism,to every almost ABSTRACT PALABRAS predeterminados. de modeloscomportamiento que el individuo escapa voluntariamente de viejas máscaras que aprisionan al sujeto dentro nuevos roles, y deberes y mundo valores; del por concepciones otro lado, viejas identidad entre como un confrontación cambio la de situación, de en resultado el el como identidad lado, un por relacionados: pero diferentes conceptos dos de resultado como identidad la cultural. El objetivo de identidad este ensayo es analizar cómo la de novel concepción una como así cómic, del completamente cánones los mundo a del respecto nueva visión una tanto crean conjunto, en que, narrativas de dad realidad y de la identidad. El principal valor de esta obra es la presentación de una plurali- Sandman The RESUMEN KEY behaviour.of predeterminedpatterns of situation, as the individual wilfully escaping from old masks that imprison the self inside tions of the world and new roles, duties and values; on the other hand, identity as a change tions: on the one hand, identity as the outcome of the confrontation between old concep- Sandman how analyze identity.to cultural aims of essay conception novelThis a also but ards, stand- comic-book to according vision world new completely a only not that, together,create narratives of plurality a of presentation its is work this of asset main identity.The Neil Gaiman’s

WORDS

“Identity” is one of the key words of contemporary cultural analysis. From CLAVE deals with identity construction as fashioned by two different but related no- related but different two by fashioned as construction identity with deals : Comic-book, graphic novel, Neil Gaiman, de Neil Gaiman es una novela gráfica que explora las complejidades de la de complejidades las explora que gráfica novela una es Gaiman Neil de The Sandman : cómic, novela gráfica, Neil Gaiman, R REPRESENTATIONIN IDENTITIES OF EVISTA SOMEWHERE OVER THE RAINBOW: NEIL GAIMAN’S C 149 ANARIA is a graphic novel that explores the complexities of reality and

DE Andrés Romero Jódar UniversidadZaragozade E STUDIOS I NGLESES THE SANDMAN , 54; April54; , pp.2007, 149-168 The Sandman The Sandman, identidad. The Sandman trata la construcción de 08/10/2007, 11:39 , identity. The

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ANDRÉS ROMERO JÓDAR 150 of development based on the interpretations of Time and Memory of the indi- vidual (hi)story the (Sarup, of Memory and Time of interpretations the on based development of (Benhabib 5). On the other hand, a subjective —individual and private— process cognition” and interaction language, of capable being “social” a becomes it that in individual an becomes “theself which by process socializing the hand, one the of processes subjectivities. Thus, individual two processes are the articulated in this conception and of identity: on discourses, particular of subject social the between 6) suture”(Hall“point of the represents It development. —subjective— tion of the self, primarily based on cultural —social— pressures, and on personal the aim of this section. Identity can be seen as an individual process for the defini- identities. never-ending process of becoming. of process never-ending “somewhereis motion”identity respect,a in this like something (Rutherford13), Inbody. its and processes individual ideology,sociology,the institutions, affects time of passing the how to according movement continuous in is that struction con- cultural a rather but essentialist, not is identity of perception lar.this Then, tion, and physical aspects that are proper and unique of that individual in particu- orienta- sexual race, gender, as —such characteristics individual and personal its round its life. Through this process, the individual incorporates social discourses to sur- that discourses social and cultural the of appropriation subjective a of means by self the of definition own its creates entity) sexless abstract an (as “it” as refer the subjective appropriation of a cultural construction. The individual which I will process is previous to the subjective one. In this sense, identity can be perceived as relationship between the two processes in the definition of the self. The socializing gave unifying patterns to define large groups of individuals. There are no new no are forms of identity as ThereMadan Sarup affirms ( individuals. of groups large define to patterns unifying gave what crisis, in really not is such as days, there is no place for an absolute Truth to define individuals. nowa- Hence,sense, institution”this universityIn the (xxiv). “identity”of and philosophy physical “ofmeta- that to parallel crisis a legitimation”suffered of has apparatus narrative Weltanschauungen, and therefore, individuals. As Lyotard pointed out “the meta- tation is the notion of “metanarrative,” conceived as the old roles that defined old tity” as such that is in crisis. What has actually fallen into decadence and fragmen- tion, outside old patterns of definition? Actually, it may be said that it is not “iden- suffering a fragmentation? (Hall 4) Or has it rather entered a new realm of defini- and fractured. As stated before, what is in crisis are those old globalizing patterns that are the are that patterns globalizing old those “metanarratives”are 2). footnote (see crisis in is what before, stated As fractured. and be unified, for they are always in progress and change. But they are not now increasingly fragmented late in and, modern unified times, increasingly never fragmented areand fractured” “identities (4). Of that course, affirms individual identities he can never when Hall Stuart with agree completely A definition of identity will prove helpful to understand this point and point this understand to helpful prove will identity of definition A 1 Hence, identity is neither in crisis nor “fragmented and fractured” (Hall 4). I cannot I 4). (Hall fractured” and “fragmented nor crisis in neither is identity Hence, 150 Identity 38). However, I believe that there is not a balanced 1 in crisis are those globalizing discourses that discourses globalizing those are crisis in is Identity 42), only new ways of defining 08/10/2007, 11:39 10 AndrésRomero.pmd of the self against old values and prejudiced traditions. Within this grouping, I grouping, this would Within assemble the traditions. following prejudicedstory arcs: and values old against self the of definition. In other words, this strand focuses above all on the creation of a new idea tres on the necessity of “change” to wiggle out of, or get away from imposed masks House (volume 2), A Game of You (volume 5), and The Kindly Ones Thus, the path of authorial freedom already started by Alan Moore in is the construction of the individual’s identity after the over the individual identity: destruction and change. The first thematic orientation work of a complete of the of line reality. plural story favourcentral the collect that volumes seven The in discourses old the of destruction the of effects the portrays novel, itself as one of the sources for self-identification. for sources the of one as itself contrary, it soon turns out to be one of the work’s essential thematic elements, promptly establishing correctness legally imposed on the comics genre. Nevertheless, this violence is not gratuitous. On the “depraved”more this strand, for itself as an artistic production that was not necessarily tied to that industrial correctness. Out of think to started comic-book However,the creations. 1980s, patriotic excessivelythe and in dull of series a into comics the plunged guidelines these to according published requirementscorrect cally abolished. This censorship code affected comic-books both as a genre and as an industry. The politi- been revised at least on two different occasions, one in 1971, the other in 1989, but has never been (Comics CMAA Magazine Association of America) the as a proof of of their decent nature. covers The Comics the Code has on appear to was that Seal, Code “censorship”Comics —certain the subsequently Code and Comics rules— the of creation the to led report This 1955. 14, March on Congress U.S. the to delinquency juvenile and comic-books on report interim an submit Kefauver by Dr Fredric Wertham in WerthamFredric Dr by trend of the 1950s EC comics and the 1970s DC horror comics. These comic-books were “analyzed” to define identity. The aim of this essay is to analyze how considered as an example of the postmodern breakdown of metanarratives as a means of those metanarratives those of object of analysis of this essay. Neil Gaiman’sessay.Neil this of analysis of object order to form part of a globalizing structure. As long as it is imposed, it does not come from the individual’sfrom therefore,pluralism. voice,and of prevents development come it the not does it imposed, is it as long As structure. globalizing a of part form to order Yige Ren De Shengjing novel his in Xingjian Gao by employed image the Using pluralism. without pattern, unifying a of accordingindividuals the of pre-existentidentity to the defines that archetypes,course general part the “old” processes ofdefinitionidentitythatare beingtransformed. themselves outside the globalizing discourses. For this reason, it is not identity,define to but try that voices repressed of outbreak an is have we what Instead, types. arche- pre-existing on based patterns, social unifying of imposition the through The Sandman The Sandman present two different approaches to the effects of metanarratives The second strand is made up by those volumes whose thematic line cen- line thematic whose volumes those by up made is strand second The In relation to identity, Postmodernism has brought about the “decadence” 3 2 It is within this aspect of the crisis of the metanarratives that I place the place I that metanarratives the of crisis the of aspect this within is It As a means of situating of means a As dis- globalizing a as seen be can metanarrative a construction, identity with relation In can be described as basically a violent story that deliberately ignores the political (1999), a metanarrative is a fixed “mask” that is imposed on the individual in 151 Seductions of the Innocent the of Seductions 2 or globalizing discourses that stifle individual identities individual stifle that discourses globalizing or The Sandman The The Sandman The made its appearance at the end of the 1980s, following 1980s, the of end the at appearance its made Preludes & Nocturnes , Neil Gaiman’s work stands originally inside the inside Gaiman’soriginally Neil stands , work (1954), and later on, they helped Mr Estes Mr helped they on, later and (1954), The Sandman The The Saga of The Swamp Thing destruction The Sandman, as a graphic 08/10/2007, 11:39 (volume 1), (1988-1996) of old patterns of (volume 9). The Dolls’ 3 can be can series.

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ANDRÉS ROMERO JÓDAR 152 that he will not be able to change this tradition. That metanarrative will keep on keep will metanarrative tradition. That this change to able be not will he that conscious painfully is he 2, picture 1, panel in show wordsHowever, his dom. as rewrite the ‘story” which imprisons him, the metanarrative which prevents his free- to transform that world which has made him the first victim. His secret desire is to he says in the third picture of the first panel, his is a secret story, because he wants craving for is, in fact, a change of the old tradition in which he is the first victim. As character,this of subjectivity the is longings. desireshe and deepest What his into mutilated face (panel 2, picture 1). This “movement” also entails the entrance into showingAbel picture1, his (panel of steps close-up the extreme on a sitting to 1), frames of each picture leads from a setting/descriptive illustration of the situation, three pictures, intercalated by a deformation of the frame. The “movement” of the artists: Sam Kieth and Mike Dringenberg). steps of his House of Secrets, recovering from his “last death” (writer: Neil Gaiman, the on Abelsitting portrays series. followingexample the The along all repeatedly or bored, or just in a lousy m-mood.” It is a common practice that Cain kills Abel Cain as “the kind [of brother] who kills me [Abel] whenever he’s, uh... mad at me, brother his describes Abel when 55) (p. episode this of beginning the to made be roles.old inside ment In referencepage, order particular to this has understand to the definition of the self according to which identity is understood as an imprison- ceived of as those old roles that persist in time and imprison characters. This, I This, believe, characters. is the basic imprison theme of and time in persist that roles old those as of con- ceived are metanarratives the perspective, this From existing. on keep to order in House of Mystery and 1970s], [the during titles [horror] popular highly two of “werehosts they respectively origins, tation, page 78 of 78 page tation, on the borders of the kingdom. From the point of view of identity and its represen- House of Mysteries, whereas Abel, first victim, dwells in the House of Secrets, both the killer,in first lives Cain, called Sandman.Dream, also The of kingdom —the first one, taken from taken one, first The Wake issue of this volume, Cain and Abel and Cain volume, this of issue second the In death. certain a to leads self the of definition pre-existing a of tion individual’simposi- the the overidentity, how roles fixedand and metanarratives As can be appreciated, the page is made up of two panels, each divided into 4 Inside the first strand, three examples stand out most conspicuously.most out The stand examples three strand, first the Inside Cain and Abel are not an original creation of Neil Gaiman’s. Apart from their biblical their Gaiman’s.Neilfrom of Apart creation original an not are Abel and Cain (volume 10). (volume THE 152 IDENTITY CONSTRUCTION IDENTITY THROUGH The House of Secrets PreludesNocturnes & DESTRUCTION Preludes & Nocturnes & Preludes Season of Mists ” (Bender 244). 4 make their first appearance at the Dreamingthe at appearance first their make OF METANARRATIVESOF (last page of the second issue), introduces issue), second the of page (last (volume 4), (volume 1) represents the effects of effects the represents 1) (volume 08/10/2007, 11:39 Brief Lives (volume 7), and The 10 AndrésRomero.pmd as they descend. Abel’s identity is defined as long as he stays imprisoned in his role. the outside left space narration, between the The pictures, is cell. occupied by tears prison that gradually turn into a blood of typical bars, window thick of ration between pictures, conform the feeling of imprisonment through its visual configu- sections middle the in separation of lack the and lines, straight its page, the of ity Abel is crying for —or bleeding for— on this page. this on for— bleeding —or for Abelcrying is makes them live that inside their existence old roles of compulsive killer and repetitivekilled. And it of is this imprisonment kind that a inside exist Abel and Cain Both existence. his define that roles old into trapped being about really”) Irving (“I’ll“think”feelings true his resignation,hiding showshis childishly he as you of killing him every day. Hence, instead of demonstrating any kind of determination, In this sense, the arrangement of the page is quite meaningful. The vertical- 153 08/10/2007, 11:39

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ANDRÉS ROMERO JÓDAR 154 Dream208, page on the story line, Rose Walker’s powers as Vortex awaken. The Vortex, as explained by of end the At identities. of plurality overthe imposed metanarrative a of example VortexHearts.”“Lost in the or “Collectors,” in Dream American the as such metanarratives of imposition of the with seen be can —as individual plurality the of destruction the to heads also the it voices, of rupture the to leads only not rest the over reality one of tion However,ownfantasies. their inside trapped are imposi- killers the serial those all where “Collectors,” shocking the in —as imprisonment for origin the become on the later that creations escapist against or existence—, real the in uncle his world of abuses physical mental imaginary perfect a of Jed’sfantasies little like —just realities harsher to solutions soothing be can worlds him/herself.These imprison or escape either to order in build to has self the worlds/realities those reflects that symbol iconic an way,doll’sbecomes this the house In arc. story the of character gent point of the different stories in echoing the clash of realities suffered by every House volume, the of title respect,the this In struggle. endless an in clash and collide that fantasies illusory and materiality established betweenreality, mental the inner, mental world. There is a constant dichotomy between the real world and of presence important the of sense the in consciousness, of streamModernist the volume. this of purpose formal related stories. From my own perspective, this fragmentation is the outcome of the linearity of the previous volume, this one is fragmented in seven the different to but contrast In inter- 41). (Bender walls” those of down tearing the about and both; or imprisonment, for or protection, for other, each and themselves around build people that walls and houses the about women; to men’sattitudes and women, traditions. According to the author, the stories that make up this volume are “about this story deals with the creation of a new identity against old values and prejudiced any possibility of change to improve his situation. He accepts his role and duty as victim —and as keeper of secret tity is taken from taken is tity life as imprisonment. as life of tragedy the in owncreatinghumour their time, outside situation, their accept is do can they All Godot. of coming the for waiting while change or move to Beckett’sunable (1956). are characters of couple Estragon and Vladimir the in portrayed as existentialism, Beckettian be perceived inpicture 1,panel1. acters of the series, but especially to Dream, the main character, whose shadow can sense of self-meaning. This final statement can also be applied to most of the char- of this story, he , apart from being a reference to Ibsen’sto reference a play,conver- being famous the from represents apart , The Vortex, at the end of this volume, can be considered as the clearest the as considered be can volume, this of end the Vortex,at The 5 The second example of how metanarratives destroy the individual’sthe iden- destroy metanarratives how of example second The In this way, the couple made up by Cain and Abel stands quite near the conception of conception the near quite stands Abel and Cain by up made way,couple this the In is 154 the Story, and a change would mean his own “destruction” in the The Doll’sThe House The Doll’sHouse The , the second volume of the series. the Thematically of volume second the , is formally the representation of representation the formally is 5 However, Abel is not only part 08/10/2007, 11:39 stories— and rejects Waiting for Godot Waitingfor The Doll’sThe 10 AndrésRomero.pmd of dream-quests for identity on page 193 (writer: Neil Gaiman; artists: Mike artists: MalcolmDringenberand Gaiman; Jones Neil (writer: 193 page on identity for dream-quests of ess of becoming. In this respect, there is a very good visual example of the plurality this story dreams reflect the never-ending quest for identity, the in never-ending that proc- think I words, identity.other Inindependent an for search in individuals the of longings and desires deepest the of of world reflection a this considered be And can dreams. dreams of world complete the globalize to tries that course dis- monolithic one into dreams unifies It rest. the from different creature living on the individuals. It destroys the plurality (in this case of dreams) that makes every his/her own independent dream world or mental reality. Hence, although all of all although Hence,reality. mental or world dream independent own his/her possesses dreamer every house, the of image conjoining the inside integrated are plurality of (hi)stories that make up a global reality. That is, just as all those dreams The Vortex is a symbol of the conjoining nature of metanarratives imposed repair.yond It darkness. but nothing leaves be- Dreaming the damages it it; with dreamers the of minds the Ittakes gone. is Until all the dreams are one. Then the vortex collapses in upon itself. And then it chaos of the Dreaming... until the myriad dreamers are caught in one huge dream... By its nature, destroys the barriers between dreaming minds; destroys the ordered This page illustrates the different dreams of Rose’s neighbours and also the 155 III ). 08/10/2007, 11:39

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ANDRÉS ROMERO JÓDAR 156 of that world. Contrariwise, the second picture shows the opposite idea. It portrays portrays the commonly accepted identity of that city,picture upper the the sense, traditional this representation In population. its and city a of identity the of tions defini- clashing volume’stwo the “illustrate”theme: to main thought be can that picture-postcard a like looks water.It the of peacefulness and calm the in bathed the under (Newcity a York)of image the city title, a hidden the portrayed; of is letters type-written picture, upper the In panel. bottom the in figures, unsightly the of close-up disturbing the and panel, upper the of landscape calm the cover: Let’s takeforinstancethefirstofDaveMcKean’s covers forthisseries. visual and narrative emphasis on dichotomies, on opposed perceptions of realities. ues. Besides,thisvolume’s originalcontributiontothegeneral themeresides inits val- old of destruction and confrontation the of means by identity(ies) new (a) of Doll’sThe House volume, second the of orientation thematic the and characters recovers line story course being imposed over the identities of the different selves. dis- identity,metanarrative of of crisis danger a therefore,a thereis and effects—, Vortexthe in —as rest the over imposed is reality one When existence. therefore, identity,defining on keep and to order in plurality of necessity the is volume this processes are what makes all individuals create their own identity. The main idea of thin and fragile walls. The page thus graphically shows how independent subjective by separated are they house— the by —symbolized reality of unity a create them There is a clear opposition between the two pictures that make up the up make that pictures two the between opposition clear a is There is strand first the of example last The 156 . Once again the central topic of the narration is the construction the is narration the of topic central the again Once . A Game of Youof Game A 08/10/2007, 11:39 , volume five. This five. volume , 10 AndrésRomero.pmd physical transformations. However, after the death of the huge dog-like Martin dog-like huge the of death the after However, transformations. physical through identity of perceptions her changing continually is she since needs, she role stabilising the fulfil not does project body destroyed.Furthermore,her is tity from dreaming. Thus, the subjective process that allows her to build her own iden- and man; Wanda,preoperativethe transsexual. ples of identity building: Barbie, the leading character; George, the Cuckoo’s hench- exam- best the as volume this from characters differentthree on centre will I ism. determin- cultural and identity of conceptions reactionary traditional defies that self-definition new a him/herself, for identity new a created has character single Every surface. the on be to seems he/she as straightforward and stereotypical, ple, sim- as is one no us”story inside Inthis worlds 122). magical (Bender stupid, tic, once you get to know the person. Every single one of us has glorious, weird, majes- surface, the on seems she or he what is nobody stereotype,and a is nobody that is uniform stereotypes. According to the author, “one of the points of of favour in identity destroy that representations postcard iconic those question citizens. its and city a both identify to supposed are that up in up ple of a Manichean conception of a black and white world that will again be taken everyday by means of making herself up, for instance, as a chess board —an exam- Barbie also felt the loss of part of her identity. For this reason she “reinvents” herself House fying perception of her own self. Thus, her identity is based on different “body projects.” According to Chris Shilling: different on based is identity her Thus, self. own her of perception fying the make up, she adapts and changes her identity day,every without having a uni- identity.of her means of by Hence,crisis the also but life, past her of destruction the Vortex,meant the of discourse metanarrative the of imposition the of result of good and evil, of light and darkness. and light of evil, and good of of identity. The cover as a whole seems to be based on a Manichean representation not represent traditional —Christian and patriarchal— values for the construction the —as fantasies sexual chains of the masochist in the background; the world that is kept silent for it does and vice of world the citizen; the of world hidden the the first chapter of this volume. this of chapter first the in search for a new life without dreams. As soon as she stopped dreaming, stopped she as soon As dreams. without life new a for search in The Kindly Ones Kindly The Barbie is unable to control the foreign —social— forces that prevent her prevent that forces —social— foreign the control to unable is Barbie body.one’s on effect (Woodwardsome 71) have can one least at society, complex a over ence ing good and increasing control over their flesh. If one feels unable to exert influ- provideprojects feel- expression,Body of of way means a a and with individuals The thematic aim of this volume is to put to test all these traditional values 6 BarbiemovedNew to Yorkthe Vortexafter in narrated episode Visually,of pages opening the on emphasised is darkness and betweenlight contrast the 157 . The loss of her dream-world —called “the Land”— as a as Land”—“the —called dream-world her of loss The . 6 A Game of Youof Game A 08/10/2007, 11:39 A Game of You The Doll’sThe tries to tries

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ANDRÉS ROMERO JÓDAR 158 ties. As an example of this, Wanda —the preoperative transsexual— dreams about sions of Reality, based on black and white worlds, that is, good against evil identi- vi- —simplistic— Manichean provoking dreams sleepers” George’sthe inside metanarrative. irrupt birds a of fashion the in individual, the over itself impose to tries that identity patriarchal—traditional and —Christian that of projection a is affirms: “everybody but me’s asleep” (52, 2nd panel, 3rd picture). In this way, song by George Frank Sinatra. And just like New York, George, and therefore the Cuckoo, values, has been defined as the city that never sleeps —according to the well-known of the city in his glasses. New York, inside its postcard identity based on traditional Shawn artist: McManus).Gaiman; Neil (writer: city the and Cuckoo, the of projection as George, between relationship that reveals 52 page on panel first the of picture in did vortex the like just dreams of plurality the re- destroyto identity tries he for volume, coverthe first of the picture in upper the in flected globalizing of type postcard the embodies He Earth. on henchman destroyto tries “the Land”). who figureVortex, ominous the (the of Cuckoo discourses the narrative then and the after built is identity new a how incarnates she opinion, my in Hence,identity. independent and stable own her create thus and structures social to adaptation of process subjective her reorganize dream- her inside world. somewhere She will is have to recovercase, her her past dreams, her in memory of the that, past, in rainbow order to the over somewhere up.make her of blurring the in seen be can as bles, Tenbones, one of the dream inhabitants of “the identity crum- Land,” her illusory New York becomes a projection of George’s identity through the reflection The second character of this volume to be analyzed is George, the Cuckoo’s identity,for towards quest her start to forced be will she moment this At (Page 25. 158 Writer : Neil: Gaiman; destruction artist of old impositions: i. e. the meta- the e. i. impositions: old of hw cau.Page 36) Shawn: McManus. The Doll’s House Doll’s The 08/10/2007, 11:39 . The second The . 10 AndrésRomero.pmd the “Weirdzos.” old in order to find her own female voice. She has had to fight those religious those fight to had metanarratives that interfere with her ownhas perception of her self. She may portray She voice. female own her find to order in present identity of a person. She has had to destroy her reactionary traditional past the affect memories and times past how of example an also is she self, the of tion life: everyday and 179. These two pictures reveal the important presence of those old roles in her 54 pages of comparison the through appreciated be can as bed, her over them of returnownher to hometown family,her with photograph a just having of instead Robert Caleb Mann (1966-1991). And it is only through death that she can finally Only through death can Wanda be physically embedded inside her identity as Alvin that tries to define masculinity and femininity in terms of reactionary metanarratives. with the “Weirdzos,” because they were symbols of the of imperfection the system identified felt she reason this For evil. and good of and female, and male of self, the of conception own her on themselves impose to attempt that values religious those transcend to movie,”had SheOz has 185). the in “Glinda (like woman a as identities as a defence against old values. Thus, when she meets Death, she does so therefore,reality. identity,plural a and of favour in avoided be to is that metanarrative of kind this the old metanarrative, that tries to impose itself upon the individual. It is precisely discourse, traditional that Cuckoo,embodies the of representation the as George, the Manichean intrusion of the Cuckoo’s metanarrative of traditional values. of Thus, product the is female woman. This a as in herself of perception man own her against a clothes, as portrayed dream her in herself sees She terms. biological in Action 7 Wanda is not only an example of body project to create a personal defini- personal createa to project Wandabody of example an only not is The character of Wanda also embodies the idea of the construction of new This is a reference to the Bizarros (imperfect copies of the original Superman) taken from and Superman 7 In her dream, gender identity is portrayed as either male or female comics. 159 08/10/2007, 11:39

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ANDRÉS ROMERO JÓDAR 160 the human being has been outlined in the midst of the story.the of midst the in outlined been has being human the volume, the of end therefore, the that one realisesat how deftly only the development, is progression or Itevolution of chapters. the between individually appears in the first volume of the series, the of volume first the in identity construction comes in a set of seven drawings by Dave of McKean, included type this of example first The existence. of patterns old with breaks that iour trate the definition of identity as a result of a sudden and willing change of behav- traditional values to that imprison try her inside a male role in a Christian society. the outside woman, a as defined completely is she death, after only but end, the happy”looks (185). at she her,Thus, And about artificial. camp nothing nothing Drop-deadgorgeous. [...] ‘she Death, meets perfect she is Butis Therewhen dies. she end the at for death to leading metanarrativesoverindividual of the effect the introduced in the collected volume of 1991, which is the workthe employedessay.is this which for 1991, of volume collected the in introduced have I approach.second illustrativethe clearly of demonstrate, to hope I as images is, fromvolume extracted the of sequence the metanarratives, of forces “destructive” the from resulting identity 9 8 As in the previous strand, I shall here make use of three examples to illus- to examples three of use make here shall I strand, previous the in As These drawings did not appear in the monthly original series (1988-9). been series have original They monthly the in appear not did drawings These of is, that strand, first the of representative is volume this of story-line the Although (Page 54; IDENTITY CONSTRUCTION IDENTITY THROUGH 160 Writer : Neil Gaiman; Preludes & Nocturnes & Preludes penciller and inker hw cau.Page179) Shawn: McManus. 08/10/2007, 11:39 . 8 Each of these drawings these of Each CHANGE 9 10 AndrésRomero.pmd “third space.” This process of integration into a new identity can be applied to applied be can identity new a into integration of process This space.” “third created new a in other the and one melting worlds, two between mid-way page, old roles— a new identity willingly escapes from that cage into the whiteness of the space. After the death of the old self, built inside the constrains of the frame —the grating in itself both the blackness of the inner world and the whiteness of the outer the of means by death oftheimprisonedself. achieved be only can whiteness this But frame. oppressive the inside the womb somehow reflects an unrelenting longing for the whiteness outside remain long after her/his death. The drama for human beings is that the whiteness the will that inside and birth, his/her before individual there supposedly was that an cage a of boundaries of construction the portrays 6 to 1 from sequence the death. at Thus, womb the into enters then and circle the surrounds first that ness black- body,the human and the encircles that form womb-like the established: is that frames the growing human figure. Moreover, inside the cage another dichotomy cage coffin-like the inside space, inner an and unknown; the to linked knowledge of infinity the suggesting limits— page space, the —except outer boundaries the without drawing: white, each in spaces different two are There 6. and in death darkness final its to 1, in birth its from being, human every of death and tion of the human being. A linear vision of the drawings reveals the process of matura- Sequentially arranged, these pictures illustrate the evolution and final change Picture 7 shows the new-born identity in the form of a mature being, inte- (Respectively 53,79,105,131,157,183,235) 161 08/10/2007, 11:39

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ANDRÉS ROMERO JÓDAR 162 book, and ends with Destiny closing the book. In this way, Dream’s story is framed his in happen to going is what reading Destiny with begins story embedded. The and correctness. And it is inside this type of pattern beauty that of Dream’spatterns classical the fourth and story arc line is straight the to related visually is Destiny conclusus”“hortus and with the labyrinths that make up his garden. Inthe this sense, of order classical the with associated is He relationships. cause-effect of way by the narrator in the frame breakframe the in narrator the by 23: to 21 pages of in the description of a character in the story, Destiny of the Endless. As is explained different levels of abstraction related to nique tech- employed in —a character any of eyes the through filtered than rather way omniscient tion of events as real. With its disappearance, pictures seem to portray reality in an story’sthe of beginning legitima- of effect an producing thus disappears, prologue the at voice narrative omniscient the Furthermore, events. of relationship effect and defined clearly of separated pattern illustrations. This formal patterning classical highlights the linearity of the a cause- follows page each on panels and tures pic- of arrangement the 2, and 1 volumes especially issues, previous the to pared For this reason, this story arc is the least innovative in narrated. terms be of to visual display.going are that Com- events the summarizes briefly that paragraph short a with opens chapters the of one each example, For title. its of origin Romantic the with contrasts that fact —a novels Victorian of organisation formal tight, the one’sof rid get can throughone only that is change own pain. conception of the theme: this in idea new a introduces story This patterns. and roles old inside change for necessity the stress that stories of group the in volume this include I matically Death). new identity outside the cage (in the epilogue, with the strong presence of his sister, of Dr Dee and the destruction of the ruby, 202) and acceptance of the change to help the his (with realities of integration his to (152), death physical (almost) his and prison crystal the in imprisonment his from arc: story complete the of character Dream,bymain undergone the one the as development same the reproduces 7 to and adaptation to new existences as a means of escape from imprisonment from escape of means a as existences new to adaptation and Destiny is the representation of order inside a life that is written in a linear no casts He footprints. no shadow.leaves (22) He night. of libraries the and dust of smells Destiny time. through journey their on make things living patterns intricate the the fine traceries the galaxies make as they spiral through the void, that he watches travelled far beyond blindness, that indeed he can do nothing but see: that he sees has he that claim reason, more with perhaps others, whilst blind; be to him lieve aloud. spoken be- was who eyes. some are There mortal to Endless, it the of tallest the also ever is Destiny before book, his of page first the on hand by traced was it Word,the and was beginning the in Endless; the of oldest the is Destiny Formally,recreationconscious of a as described be can volume fourth this is line thematic this of example second A hell 162 as something personal. Everyone creates his/her own hell, and it The Doll’s House . This realistic form finds its clearest exposition The Sandman Season of Mists of Season . Hence, the sequence from 1 08/10/2007, 11:39 , volume 4. The- volume , 10 AndrésRomero.pmd the interlude chapter 4 of this volume. this of 4 chapter interlude the of orientation thematic the fact in is —which death or change either possibilities, two just are there Hence, volumes. following the in destruction final his to lead figure, in order to create his own new identity. However, his inability to do this will with existence, he will have to change his nature of Endless, his old role of universal old roles and duties in which Dream is imprisoned. Therefore, in order to keep on convergence, symbolizing an absolute Truth, can be seen as representation of those associated with the king of dreams. These straight lines, with continuously arethe that sun at forms the curved point the of Destiny’sand of garden, line straight the will lead to his own destruction. In this picture, there is a clear opposition between Malcolm Jones and Dringenberg Mike artists: Gaiman; Neil (writer: one panel one, picture 32, oppress Dream’s narrative, as can be appreciated in the visual arrangement of page to way,seems this Inform narrative. the embedded an Dreamas to related world tiny as a frame narration; and on the other hand, Romantic fantasy and the dream —conceptions of worlds: on the one hand, Victorian Realism is associated to Des- less. There is a tension, both visual and narrative between these two End- two the of symbology the between confrontation Destiny’s,a by producing III ), when the king of dreams has to face precisely those duties that 163 08/10/2007, 11:39 Weltanschauungen

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ANDRÉS ROMERO JÓDAR 164 the Endless as patterns that help to define reality.define to help that Endlesspatterns the as is example good A natureand of roles the defines Destruction when 8, providedchapter 16, page on individual. the of identity the affect to continue duties and for the definition of the self in contrast to old roles and duties, and how these roles things, little those highlight to line arc. realitythe up make that stories of fragments story the of story this all for covers the on focuses aim McKean’sDave world. contemporary to on face new a put main to order in tives, ence. Toreality,this understand differentthose perspec- all understand to has one citizen’sday common exist- the of part are which realities brief those on depends tiny faces which are brief lives inside a complete pattern. Reality, as a those entity,metanarrative, all higher Reality,compresses a that as is emphasized idea faces. The Daveby fied McKean’s cover (1994). edition collected the for stantly change and transform the con- idea of Realitythat as reborn,a whole. are This and is clearly exempli-die that voices tiny always-changing, never-ending, of existence as a whole can keep on developing. For reality is made up of a multitude nope fore anamoebasplitsintwo,itsaystoitself, “ “changeunpredictability,introduces disorder.uncertainty,of be- universe Right a afterword to this volume, this story is mainly about mortality and change, and that the in out Peterpoints StraubAs roles. and masks old of ourselves ridding of sity series, (author’s italics)”. It is by means of those changes, those little deaths that deaths little those changes, those of means by is It italics)”. (author’s Brief Lives This volume is the most interesting one in terms of the necessity of change repeated different by up made face indefinite an portrays painting This the of volume seventh the from taken strand, this of example final The 164 , further develops the theme of the need for change and the neces- uh, uh, no way,no uh, uh, ain’tI that, do gonna 08/10/2007, 11:39 10 AndrésRomero.pmd adapt to the new conception of the not world, does which will he lead changed, him, have as explained roles before, old these of most cellar,Burgess’ in prisonment Dreamthat duty destroyed.finally is This explains why it is mainly because of his inability to escape from his feeling of tool through which the metanarrative apparatus exerts its control over the subject. prisonment of the individual inside foreign patterns of behaviour. Duty becomes a im- the to lead that elements recurrent those of one be to appears duty sense, this In freedom. of favour in altered be can tradition oldest the even Hence,freedom. ultimate his achieve to order in role old his of imprisonment the leave to chooses in Lucifer as Destruction, motifs,” “repeating or “ideas” as less long as they remain in their old positions. However, despite the nature of the End- tions. Thus, the identity of each one of the Endless is defined by his/her duties, as Destruction defines the Endless as mere patterns, ideas, and wave func- wave and ideas, patterns, mere as Endless the defines Destruction Dream cannot escape the old traditions and rules. Although after his im- his after Although rules. and traditions old the escape cannot Dream 165 ( Writer : Neil: Gaiman; and Daniel Vozzo)and artists : Jill: Thompson 08/10/2007, 11:39 Season of Mists of Season ,

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ANDRÉS ROMERO JÓDAR 166 to kill his own son Orpheus at the end of end the at Orpheus ownson his kill to the way chosen by characters such as Lucifer in Lucifer as such characters by chosen way the mined patternsofbehaviour. modeofestablishingone’sThis particular identityis individual wilfully escaping from old masks that imprison the self inside predeter- realitypreventsthat developmentthe individual’sthe of self.the of conception A Game of You that imposes its own reality over the individual identity; and finally the Cuckoo of himself outside that old structure. Another example could be the Vortex (in vol. 2), is portrayed as craving for release from this characterization and in need of defining that invariably presents him as the first victim. In would be the case, for instance, of Cain, imprisoned inside his role within the story values. and This duties roles, new and world the of conceptions old between tion ent but related notions: on the one hand, identity as the outcome of the confronta- the essay, time and by the need to find their own place inside reality. As demonstrated along Dream willfacehisown asadirect result destruction ofhisson’s death. that rules old destroythose and change to inability his of because is it and masks, and roles old inside lived be to brief too are existence and Life death/destruction. of process changing the of means by existence new a of creation the symbolizing ment. The blood that flows from Dream’s arm is transformed into tiny red flowers, reinforceimprison- section), of this idea of the beginning Abel the of at (analyzed The picture is fragmented by means of bar-like separations which, as in the picture Neil Gaiman; artists: Jill Thompson and Vince Locke), after he has killed Orpheus. old traditions, as can be visually appreciated in chapter 9, page 6 (1st panel; writer: being imprisoned inside the pattern of king of Hell, he decides to leave his king- his leave to decides he Hell, of king of pattern the inside imprisoned being On the other hand, identity is also perceived as a change of situation, as the Gaiman’s graphic novel series portrays characters affected by the passing of The Sandman (vol. 5), that also tries to destroy plurality in favour of a globalizing 166 deals with identity construction as fashioned by two differ- CONCLUSIONS Brief Lives Brief Season of Mists of Season Preludes & Nocturnes . Dream is imprisoned by the byDream imprisoned . is 08/10/2007, 11:39 (vol. 4). Tired of Tired4). (vol. (vol. 1), he 10 AndrésRomero.pmd H —— —— —— —— L —— —— —— —— —— H B genrenovel.hybrid graphic the the of tion of cultural identity as well as a new definition of the comic-book in the form of novelconcep- a together, vision, that, narrativesworld of new completely a create ties. In this respect, the main asset of Gaiman’sidenti- individual work of is plurality its necessary presentationthe destroy of that a roles old plurality metanarratives, old to subordinated be mind’scannot every world of complexity seems. The it as graphic novel, demonstrating by the same stroke of hand that nothing is as simple ception of Dream, more in line with contemporary definitions of reality and dreams. another anthropomorphic representation, named Daniel, who becomes a new by con- fulfilled be will Endless as role However,his death. his to lead ultimately will to changing reality. His imprisonment inside his role as well as his feelings of duty tragedy of the leading character of the narration: Dream is unable to adapt himself vol. 7), outside the patterns of behaviour that the Endless represent. This is also the brother of Dream, escapes and abandons his duties in search of his own destiny (in Endless the Destruction, Forpart, Angeles. his Los in restaurant a open and dom B R B G YOTARD ERMÚDEZ ENHABIB ENDER OSE AIMAN UYSSEN ALL , Margaret A. , Stuart & Paul The Sandman. The Sandman. Vol. 8: The Sandman. The Sandman. The Sandman. The Sandman. Vol. 10: The Wake The Sandman. Vol. 9: The Kindly Ones. New York: DC Comics, 1996. The Sandman. Vol. 7: The Sandman. Vol. 6: , Hy. , Neil. , Jean-François. , Andreas. , , Sheila., Macmillan,1988. Cambridge: Polity,Cambridge: 1997. & Brian& MinnesotaMassumi.P,Minneapolis:of U 1989. In this way, Neil Gaiman explores the complexities of reality along this along reality of complexities the explores Gaiman Neilway, this In Madrid:FactoríaLa Ideas,de 1999. , Trajano Sánchez. García Eduardo & The Sandman Companion. London: Titan, 2000. The Sandman SituatingSelf:the Gender, Postmodernismand Community Contemporaryin Ethics The Post-Modern and the Post-Industrial After the Great Divide: Modernism, Mass Culture and Postmodernism and Culture Mass Modernism, Divide: Great the After

Vol. 3 Vol. 2 Vol. 5: Vol. 4: DU G The Postmodern Condition: A Report on Knowledge 167 AY : :

Worlds’ End. New York: DC Comics, 1994. Dream Country Brief Lives Fables & Reflections The Doll’s House A Game of You Season of Mists , eds. . Vol. 1 Questions of Cultural Identity . London: Sage, 1997. : Preludes & Nocturnes . New York: DC Comics, 1994. . New York: DC Comics, 1997. WORKS CITED . New York: DC Comics, 1993. . New York: DC Comics, 1992. . New York: DC Comics, 1991. . New York: DC Comics, 1991. . New York: DC Comics, 1993. El mapa de los sueños: guía de lectura de Sandman de lectura de guía sueños: los de mapa El . New York: DC Comics, 1991. . Cambridge: Cambridge UP, 1991. 08/10/2007, 11:39 . Trans. Geoff Bennington . London: . . .

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ANDRÉS ROMERO JÓDAR 168 S —— W R S W S TRINATI TOREY ARUP UTHERFORD OODWARD ERTHAM An Introductory Guide to Post-Structuralismto Guide AnIntroductory Postmodernism and , Madan. , John. , Dominic., 1989. 1990. , Fredric., , Kathryn, ed. Kathryn, , , Jonathan, ed. An Introduction to Cultural Theory and Popular Culture Identity,Culture Postmodernthe and World 168 SeductionInnocentthe of AnIntroduction to Popularof Theories Culture Identity and DifferenceIdentityand Sage, 1997. London: . Identity, Community, Culture, Difference . London: Museum,London: . 1955. . Edinburgh:. Edinburgh UP, 1996. . London: Routledge,1996. London: . 08/10/2007, 11:39 . London: Lawrence & Wishart, . Georgia: The U of Georgia P,GeorgiaGeorgia: of . U The . London: Prentice Hall, 1997.