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NEW YORK TIMES bestselling author Neil Gaiman's transcendent series SANDMAN is often hailed as the definitive Vertigo title and one of the finest achievements in graphic storytelling. Gaiman created an unforgettable tale of the forces that exist beyond life and death by weaving ancient mythology, folklore and fairy tales with his own distinct narrative vision. In THE KINDLY ONES, distraught by the kidnapping and presumed death of her son, and believing Morpheus to be responsible, Lyta Hall calls the ancient wrath of the Furies down upon him. A former superheroine blames Morpheus for the death of her child and summons an ancient curse of vengeance against the Lord of Dream. The "kindly ones" enter his realm and force a sacrifice that will change the Dreaming forever. Collecting issues #57-69 of THE SANDMAN and "The Castle" story from VERTIGO JAM, THE KINDLY ONES features art by Marc Hempel, Richard Case, D'Israeli, Teddy Kristiansen, Glyn Dillon, Charles Vess, Dean Ormston and Kevin Nowlan.
Dream of the Endless finds himself caught up in a mission of vengeance by the Kindly Ones.
Dream of the Endless finds himself caught up in a mission of vengeance by the Kindly Ones.
A former superheroine blames Morpheus for the death of her child and summons an ancient curse of vengeance against the Lord of Dream. The "kindly ones" enter his realm and force a sacrifice that will change the Dreaming forever.
Interview with graphic novelist Neil Gaiman.
Fabricating the Body: Effects of Obligation and Exchange in Contemporary Discourse is comprised of nine chapters that revolve around the body, and more specifically, issues related to identity. The text draws on a variety of criticism—including disability, gender, and psychoanalytic studies—to theorize aspects relevant to the human body historically. For example, Rachel Herzl-Betz’s “A Paratactic ‘Missing Link’: Dorian Gray and the Performance of Embodied Modernity” uses disability studies as a lens through which to examine Oscar Wilde’s literary debt to the atavistic discourse of late-Victorian freak shows. Moving forward in time, Melissa Ames’s chapter, “Bodies of Debt: Interrogating the Costs of Technological Progress, Scientific Advancement, and Social Conquests through Dystopian Literature” is a pedagogy-focused chapter. In the chapter, Ames discusses a college course in which she asked students to consider contemporary debates, such as cloning, stem cell research, human trafficking, and so forth, in tandem with fictional texts that relate these issues. Ultimately, the class wrestled with the question of: what do we do when human survival and societal progress come at extreme costs? As a whole, the text works to stimulate conversations surrounding the body, and specifically, bodies that can be labeled “indebted.” Fabricating the Body brings together issues of gender, class, and identity, and investigates ethical concerns along with topics related to marginalization and the mind/body split. Ultimately, the text situates the body as a productive space for academic research.

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