The Sandman Omnibus Vol. 1

Fiction | Graphic Novel/Book | YA | Published in 2015

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Summary

Chapter Summaries & Analyses

Part 1, Issues 1-7

Part 1, Issues 8-14

Part 1, Issues 15-20

Part 2, Issues 21-28

Part 3, Issues 29-31

Part 4, Issues 32-37

Part 5, Chapters 1-4

Character Analysis

Themes

Symbols & Motifs

Literary Devices

Important Quotes

Essay Topics

Tools

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Discussion Questions

Themes

Gender identity

Sandman takes several opportunities to explore the fluidity of gender and the choice inherent in gender identity. The clearest example of this is Desire, a genderfluid character who can appear as male, female, or non-binary. Their personality doesn’t change with their gender, and they are always a personification of intense desire. Desire is never questioned for their gender choices but addressed by name or neutral pronouns. The other Endless refer to Desire as “Sister-Brother.” This is an effective narrative choice because it shows that the nature of desire transcends gender. Unlike many non-binary, genderfluid, or transgender characters in literature who are shown at a disadvantage, Desire is empowered by their ability to move freely between gender identities.

Other characters who are defined by their gender identities are Hal and Wanda. Hal is a drag queen who generally identifies as male but dresses as a woman to perform and takes on the name Dolly. In contrast to Desire and Wanda, he accepts two distinctive core identities. Wanda appears later as a transgender woman who has completely thrown off her previous male identity and settled on one truth. She is confident in her self-knowledge; however, lines are drawn between her and the other women when she’s unable to take part in the drawing down the moon ritual with Thessaly and the others. This mirrors the dynamic between progression and tradition.

This relationship is explored further after Wanda’s death when tension rises between Barbie and Wanda’s family. Wanda’s aunt serves as a bridge between the old and the new—she doesn’t accept Wanda for who she is, but neither does she give up on Wanda as her family. On either side of her are Wanda’s parents, who have disowned Wanda for her choice, and Barbie, who embraces who she is. Wanda’s final moments are represented in the way Barbie crosses out her deadname and writes her real one above it. This leaves the reader with a powerful image visually and emotionally; however, we understand that time will wash the name away very quickly, suggesting there is more work in the world yet to be done.

Responsibility

Many characters throughout Sandman are given roles to play in the shape of the world, and the story explores the responsibility those characters have to the roles they are given. One of the strongest examples of this is Death and the job she fulfills from the beginning of the universe to the end. She summarizes this when she says, “I’m not blessed, or merciful. I’m just me. I’ve got a job to do, and I do it” (536). Death exhibits extraordinary kindness and compassion, but she also takes her role in the universe very seriously. This makes her a role model to the other Endless.

This responsibility, however, is always a choice. This is illustrated in the characters of Destruction, who leaves his post as one of the Endless, and Lucifer, who rules over his own kingdom. When Dream goes to rescue Nada, he finds that Lucifer has abdicated. This represents a complete reversal of Death’s choice in which Lucifer casts aside his responsibility in a selfish grasp for freedom. The consequences of this choice lead to a convening of the universe’s most powerful forces while the responsibility of Hell falls on Dream’s shoulders. Here the reader sees the sort of chaos that erupts when the desires of one are prioritized over one’s responsibility to the world around them.

Another example of responsibility comes in the lighthearted historical story, “Three Septembers and a January.” In the mid-19th century Joshua Norton, a real historical figure, declares himself Emperor of the United States. Although his rulership is tolerated with a blend of humor and disdain, he takes his role very seriously and does his best to be a kind and benevolent ruler to his people. He displays this when he appoints Mark Twain the United States’ official storyteller in an effort to support someone in need. As Death tells him later on, “I’ve met a lot of kings, and emperors and heads of state in my time, Joshua. I’ve met them all. And you know something? I liked you the best’” (817). This statement teaches the reader that unburdened by politics and bloodshed, Joshua Norton was able to admirably honor the responsibility he had undertaken.

Family Dynamics

Family is at the heart of Sandman. Much of the story is driven by Dream’s relationships with the other Endless. Some of the greatest conflicts come from his rivalry with Desire, which is at the root of his relationship with Nada and the ensuing consequences as well as the storyline following Rose Walker and her legacy handed down from Unity Kincaid. Dream’s closest relationship is with Death, and though it also has its moments of tension, it is the closest thing he has to a traditional family.

Their brother-sister relationship is paralleled in Rose’s relationship with her brother Jed. Like Death, Rose feels a sense of responsibility to her younger brother and goes out of her way to protect him. The reader can also see similarities in the way Jed spends most of his story caught in the dreamworld while Rose carries within her the power to destroy it. We also briefly see Rose’s relationship with Unity as the old woman comes to take her place as the dream vortex. Although they have known each other only briefly, their bond is enough to give Rose a second chance at life.

Other family dynamics explored in the story are the one between Dream and his son Orpheus and the one between Wanda and her family. These are very different from the ones previously mentioned and carry more negativity and tension. Dream disowns Orpheus after an argument; Dream, as we have learned through his relationship with Nada, does not let go of grudges easily. However, even though Dream and Orpheus do not remain a part of each other’s lives, Dream does make sure his son is cared for throughout his immortal, bodiless existence.

In a similar vein, Wanda has a fractured relationship with her family because she chose to be loyal to herself. This is a very real choice many transgender people need to make for themselves, and her courage in being herself serves as a valuable lesson for many readers. Through these disparate families, we see how family is at its heart a choice. While family can be both empowering and constraining, it is neither binding nor unbreakable. Each of these characters chooses to interact with their blood family in a way that is right for them.