If there is one thing I would like to happen in 2019, it is for us all to agree that Neil Gaiman’s work is nowhere near as edgy, dark or interesting as his public persona is.
(Actually, there are a lot of other things I would rather happen in 2019 – sustained action on climate change, the impeachment of Donald Trump, a second Brexit referendum – but, you know. Neil Gaiman’s also quite annoying.)
How did I end up reading Trigger Warning? The marketing for his work promises twisty, thorny fairy tales, urban fantasy from the underbelly of modern life, stories that are fun and yet meaty, and that was what I was hoping for from this collection of “Short Fictions and Disturbances”.
And once again, I found it lacking that indefinable something. Depth. Nuance. Resonance.
To me, the most satisfying fantasy, the best fairy tales, are built on a paradox: they describe something that is indescribable. Through omission or metaphor, they talk about the numinous, the earth-shattering intrusion of the Real into our lives that lie under layers of story and symbol; they are about things that cannot be narrated. They resonate because they contain lacunae.
Perhaps this is why Gaiman’s Sandman series of graphic novels works so much better for me than his novels and short stories do: the images supply that resonance; wordless, they speak the unspeakable. There is nothing in Trigger Warning that does the same.
If you’re looking for an example of the collection’s lack of depth and nuance, look no further than its red-flag-to-a-bull title, based on a deliberate misunderstanding of how the phrase “trigger warning” is actually used. In his introduction to the book, Gaiman muses, with reference to his title:
Are fictions safe places? And then I ask myself, Should they be safe places?
And then, later on, he talks about stories he read as a child:
they…taught me that, if I was going to read fiction, sometimes I would only know what my comfort zone was by leaving it; and now, as an adult, I would not erase the experience of having read them if I could.
This romanticising of story and having grown up through fiction, as so many of us readers did, is of a piece with Gaiman’s authorial persona: the mysterious storyteller/bard warning us that fiction is never just fiction, that it can lead us into the mire and through the dark forests of the night, and that this is, mystically, a good thing. But, you’ll notice, it’s not actually very well-argued. For a start, note how paying heed to a trigger warning becomes conflated with not leaving your “comfort zone”. No. Staying in your comfort zone is, like, never watching anything apart from Doctor Who on TV, or having the same sandwich every day for lunch. Whereas, as I suspect Gaiman very well knows, encountering a trigger unannounced can be for a PTSD sufferer a matter of life and death. Comfort zones are formed by habit, and, mostly, there’s nothing actually unsafe about leaving them. (Although, as a sidenote, what’s wrong with staying in your comfort zone at least some of the time?) Trigger warnings are about not destabilising someone’s entire mental health. Fiction doesn’t need to be a safe place, but neither should it be radically unsafe. There’s a world of difference between the two, and it says nothing for Gaiman’s power as a writer that he misses, skips over, that nuance.
As for the stories themselves: they are mostly quite ordinary. There are sub-Twilight Zone-ish stories with trick endings and nothing much else, like “The Thing about Cassandra” and “Click-Clack the Rattlebag”; very inferior verse offerings like “My Last Landlady”; riffs on other people’s work like “The Case of Death and Honey” (Sherlock Holmes) and “Nothing O’Clock” (Doctor Who). There’s an entire “Calendar of Tales”, all of them very short and very minor.
I’ve written about Gaiman’s squicky fetishisation/aesthetisisation of dead or unconscious female bodies before, and sure enough, it turns out here in force, marring particularly the better stories in the collection. Take “Diamonds and Pearls: A Fairy Tale”, which Gaiman originally wrote to accompany a photograph of a dead woman. (Actually it was his wife pretending to be dead for an art project, which actually makes the whole thing more troubling.) And the dramatic reveal at the end of the otherwise standout “Truth is a Cave in the Black Mountains” is founded on the remembered image of a red-haired female skeleton.
I enjoyed “The Return of the Thin White Duke”, which feels like something that’s wandered out of a Mechanisms fanfic, but, once again, its sole female character is aesthetisised for the male gaze (although not dead, so that’s some improvement).
We can probably tie this aesthetisisation of women to Gaiman’s deliberate misuse of the phrase “trigger warning”, which originated in feminist spaces. In too much of his writing, women don’t get to have voices, and they don’t get to have agency: they exist to be looked at, to bear children, to inspire men to revenge or fulfilment. Their images and their words get co-opted by a highly influential white male author – an author whose public persona and reputation in the press exudes progressiveness.
My favourite story in the collection was “Black Dog”, a companion story to Gaiman’s novel American Gods. I’ll probably end up reading that too at some point. And I’ll probably finish it feeling disappointed and a bit angry.