The Mystique of Feminine Narratives #1 The SANDMAN

 FEMALE STORYTELLING Lost in the "Sandman" or is it? 

Wilhelm Menzler - The Literary Quintet

As I was reading the SANDMAN by Neil Gaiman specifically The Doll’s House chapter, I was inspired to write this article. (the following will include some spoilers)

The chapter introduces the first humans originating from Africa who thrived in a prosperous glass city, now reduced to a desert littered with heart-shaped glass shards due to Nada’s tragic story. Nada, revered as a beautiful and dutiful queen, encounters a mysterious stranger whose allure captivates her heart. Her relentless pursuit leads her to the Dreamworld, where she discovers the stranger is Kai'ckul, the Dreamlord, reciprocating her love. This forbidden love between mortal and Endless unravels the cosmic laws, culminating in devastating consequences for Nada's city.

the narrative dichotomy within "The Sandman" series is shown through the lens of Dream’s ill-fated romance with Nada, highlighting the divergence between men's and women's perspectives. The story, as recounted by male descendants, likely deviates from historical accuracy yet retains a profound truth. while potentially omitting or altering details, reveal essential truths when considered together. Nada's tale, predominantly told from a male standpoint, raises questions about the privacy and concealment of women's experiences within storytelling traditions.

Gaiman's tale delves into universal themes of love, sacrifice, and the consequences of defying cosmic laws. The retelling of Nada's story from a feminine perspective underscores the concealed nature of women's narratives within mythological and storytelling traditions. we are never told the story from the female storytellers."The Doll’s House" initiates a broader discourse on marginalized voices within narratives, presenting an academically significant exploration of storytelling dynamics and the transcendence of traditional comic books.

the real question is why was the female version of the story hidden?

Clodagh Brennan Harvey investigated the underrepresentation of women as storytellers in traditional Irish folklore, discovering that women were often excluded from longer, heroic storytelling in favor of shorter, more realistic tales. This exclusion stemmed from societal beliefs that men were better storytellers. Regardless women continued to share stories in private settings like homes or during seasonal retreats.

In contrast, Isobel Hofmeyr writes in her essay titled “Gender Patterns of Story-Telling and Forced Removals: A Transvaal Perspective”, the role of storytelling in southern Africa, particularly highlighting the significant involvement of women in this tradition, similar to the Irish context. Women predominantly occupied the role of storytellers within the household, sharing stories with village children and family members, while male storytellers tended to have more public roles.

I believe that despite the private nature of women's storytelling, its importance was profound. the element of privacy and hidden stories per se adds msystique. Women's acceptance as storytellers in southern Africa contributed to the empowerment of women within society. Hofmeyr argues that although women's intellectual realms, such as religion and storytelling, were limited compared to men's broader resources, these areas held cultural significance. Women defended these cultural prerogatives

Maria Westerholm, in her work “The power of women? The images of the female protagonist and other women in fairytales”, focuses on the role of women in Russian folklore. She notes that traditional tales were primarily orally transmitted by women—maids, nurses, and nannies—to children. When these stories were later recorded, it was predominantly done by men. Westerholm underscores the significance of these tales, as they not only reflected societal issues but also offered solutions and imparted life lessons to future generations.

Stories created by women are injected with a special quality,Despite te marginalization what makes the feminine storytelling unique for Maria Westerholm is their entertaining and dream-inspiring qualities, their ability to help express fears, and their depiction of relationships within society.

Part I

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references:

Maria Westerholm “The power of women? The images of the female protagonist and other women in fairytales”

Isobel Hofmeyr “Gender Patterns of Story-Telling and Forced Removals: A Transvaal Perspective”

SANDMAN by Neil Gaiman