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27 pages 54 minutes read

Neil Gaiman

The Sleeper and the Spindle

Fiction | Graphic Novel/Book | YA | Published in 2014

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Symbols & Motifs

The Spindle

The spindle is a central object within the narrative, even giving its name to the book’s title. While not commonly in use in the modern day, spindles were easily recognizable in centuries past when the original Sleeping Beauty tale was told. Spindles are used in the practice of spinning sheep’s wool into thread, either on a spinning wheel (another classic fairy tale motif) or by hand. In this instance, the spindle also functions as a catalyst for the sleeper’s magic.

Throughout the narrative, Riddell uses the spindle as a decorative motif that doesn’t truly make an appearance in the text until halfway through the book on Page 38: “The spindle sat on the ground, beside the stool, where it had fallen seventy years before.” In its first iteration, the story treats the spindle as a weapon; the old woman wishes to use it to harm the sleeper (an event that ultimately comes to pass at the story’s climax). Later, when the queen discovers it discarded and announces that it “smells of magic” (52), the spindle is illustrated with a skull adornment (which was obscured at its first appearance), hinting at its non-domestic use. Through the sleeper’s story, the book reveals that the spindle acted as the catalyst for the dark magic that put the enchantress into a magical sleep and gave her power over the kingdom. When the old woman reclaims it, she recognizes the spun yarn as the thread of her life—an image that subtly alludes to other world myths, such as the Greek morai. She then uses it to injure the sleeper, despite the sleeper’s protestation that “no weapon can harm [her]” (62). In doing so, she reverses the magic by passing her life force backwards through the thread. Finally, the queen destroys the spindle during the first stage of her new journey, a symbolic reclamation of control over her life and choices.

Spindles and spinning wheels feature widely in traditional fairy tales and folkloric stories, largely because these stories were shared by women in domestic roles. They acted as a familiar point of reference in an unfamiliar world and showed the magic inherent in the everyday. In this story, the motif is inverted to become something deadly, entrapping, and ultimately something liberating.

Roses

Riddell uses roses—not romantic cultivars, but wild thorn-laden ones—as a recurring decorative motif throughout the book. They vary between black and white coloration, along with gold accents to highlight their central importance to the story. In several of the early illustrations, thorns are used as a border to set the mood and tone of the story, as roses and thorns are an image widely associated with the traditional story of Sleeping Beauty (who, in many retellings, is named Briar Rose). They also appear in the Snow White story, which is alluded to during the queen’s hallucinations about her past: “‘You are so beautiful,’ said her mother, who had died so very long ago. ‘Like a crimson rose in the fallen snow’” (41).

Gaiman first introduces roses in the text when the dwarves visit the inn and learn of the kingdom’s news from the people there; several people mention the roses that grew around the castle and now act as a barrier between it and its people. On this page, Riddell displays the roses as black against a white background, hinting at their ominous nature in the story. The roses are featured more prominently later on when the narrative branches away from the central story to describe the Forest of Acaire and broaden the context of the roses:

Each year the roses grew out further: close to the stone of the castle there were only dead, brown stems and creepers, with old thorns sharp as knives. Fifteen feet away, the plants were green and the blossoming roses grew thickly. The climbing roses, living and dead, were a brown skeleton, splashed with color that rendered the grey fastness less precise (30).

In the accompanying illustration, the roses are white on a dark background and given prominence in the woodland scene.

Later the roses appear prominently when the queen and the dwarves reach the barricade and find the skeleton of a hero caught in the thorns (illustrator Chris Riddell has said this is one of his favorite drawings from the book). Conversely, the roses also save the queen when she begins to fall asleep; one of the dwarves rouses her by stabbing her with a thorn, illustrating the dual nature of the symbol, as well as the dual nature of fairy tale magic as a whole.

Spiders

In the sleeping kingdom, spiders are among the only living creatures not affected by the sleeper’s magic (another exception are the maggots that infest the marketplace, suggesting that such small creatures are beyond the notice of the sleeper, or that she does not find them useful). When the group first notices them, a dwarf refers to them as “cobweb spinners” (26), creating an immediate parallel between the spiders and the motif of the spindle and spinning wheel—thread as a source of life. When the queen and the dwarves make their way to the city and meet a larger crowd of sleeping people, the spiders are ever present: “They were sleepwalkers, trailing gauze cobwebs behind them. Always, there were cobwebs being spun” (34). On several pages throughout the book, Riddell echoes this image in the decorative webbing around the page numbers. When the enchantress is finally defeated, she becomes “a tumble of bones, a hank of hair as fine and as white as fresh-spun cobwebs” (63). As a motif, the spiders suggest both a permanence and a forward motion; they continue living and thriving even while the kingdom remains in stasis; they persist even in the face of cataclysmic change.

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