The View from the Cheap Seats by Neil Gaiman Read Free Book Online Page A

about passionate unknowing. I’ve written a speech, because I’m nervous, but I’ve also made lots of little marks in green ink where I’ve told myself I’m allowed to go off and just sort of start talking if I want to. So I have no idea how long this is going to be. It depends on the green-ink bits. What is the official title?
    [ From crowd: “‘The Pornography of Genre, or the Genre of Pornography.’” ]
    Yeah, or something like that. It’s actually nothing at all about the genre of pornography. That was just put in to make it a catchy title. I make no apologies.
    It is the job of the creator to explode. It is the task of the academic to walk around the bomb site, gathering up the shrapnel, to figure out what kind of an explosion it was, who was killed, how much damage it was meant to do and how close it came to actually achieving that.
    As a writer I’m much more comfortable exploding thantalking about explosions. I’m fascinated by academia, but it’s a practical fascination. I want to know how I can make something work for me. I love learning about fiction, but the learning is only as interesting as it is something that I can use.
    When I was a boy, we had a garden. Mr. Weller was eighty-five, and he came in every Wednesday and did things in the garden, and the roses grew, and the vegetable garden put forth vegetables, as if by magic. In the garden shed every kind of strange hoe and spade and trowel and dibber hung, and Mr. Weller alone knew what they were good for. They were his tools. I get fascinated by the tools.
    The miracle of prose is this: it begins with the words. What we, as authors, give to the reader isn’t the story. We don’t give them the people or the places or the emotions. What we give the reader is a raw code, a rough pattern, loose architectural plans that they use to build the book themselves. No two readers can or will ever read the same book, because the reader builds the book in collaboration with the author. I don’t know if any of you have ever had the experience of returning to a beloved childhood book. A book that you remember a scene from so vividly, something that was etched onto the back of your eyeballs when you read it, and you remember the rain whipping down, you remember the way the trees blew in the wind, you remember the whinnies and the stamps of the horses as they fled through the forest to the castle, and the jangle of the bits, and every noise. And you go back and you read that book as an adult and you discover a sentence that says something like, “‘What a jolly awful night this would be,’ he said as they rode their horses through the forest. ‘I hope we get there soon,’” and you realize you did it all. You built it. You made it.
    Some of the tools that hang in the garden shed of a writer are tools that help us, as writers, to understand what the patterns are. That teach us how to work with our collaborators—because the reader is a collaborator.
    We ask ourselves the big questions about fiction because they are the only ones that matter: What’s it for? What’s fiction for? What’s the imagination for? Why do we do this? Does it matter? Why does it matter?
    Sometimes the answers can be practical. A few years ago, in 2007, I went to China for the first-ever, I believe, state-sponsored science fiction convention, and at some point I remember talking to a party official who was there and I said, “Up until now I have read in Locus that your lot disapprove of science fiction and you disapprove of science fiction conventions and these things have not been considerably encouraged. What’s changed? Why did you permit this thing? Why are we here?” And he said, “Oh, you know for years we’ve been making wonderful things. We make your iPods. We make phones. We make them better than anybody else, but we don’t come up with any of these ideas. You bring us