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American Gods by Neil Gaiman

American Gods (2001)

by Neil Gaiman

Other authors: See the other authors section.

Series: American Gods (1)

MembersReviewsPopularityAverage ratingConversations / Mentions
24,65263744 (4.09)12 / 1156
  1. 260
    Fragile Things: Short Fictions and Wonders by Neil Gaiman (Anonymous user, moonstormer)
    Anonymous user: It's a great collection all around but the kicker is this collection includes a novella about Shadow a couple years after the events of American Gods
    moonstormer: Fragile Things contains a short story with the same character as is in American Gods. Both are highly recommended.
  2. 232
    Neverwhere: A Novel by Neil Gaiman (WilliamPascoe)
    WilliamPascoe: Phenominally brilliant fantasy .
  3. 222
    Anansi Boys by Neil Gaiman (infiniteletters)
  4. 166
    Small Gods by Terry Pratchett (MyriadBooks)
    MyriadBooks: For the necessity of belief.
  5. 111
    Night Watch by Sergei Lukyanenko (citygirl)
    citygirl: When the supernatural collides with modern life. One in Moscow, one in the US.
  6. 102
    The Master and Margarita by Mikhail Bulgakov (klarusu)
    klarusu: The same sense of unreality layered over a real-world setting, the same undercurrent of humour but this time it's the Devil that lands in Moscow
  7. 70
    Fables, Volume 1: Legends in Exile by Bill Willingham (sbuehrle)
  8. 93
    The Stand by Stephen King (clif_hiker)
  9. 71
    Last Call by Tim Powers (grizzly.anderson, MyriadBooks)
    grizzly.anderson: Both are about old world gods making their place in the new world.
    MyriadBooks: For aspiring to win in a bargain with gods.
  10. 72
    Un Lun Dun by China Miéville (bertyboy)
    bertyboy: Alternative London for alternative fantasy. Have a go!
  11. 61
    King Rat by China Miéville (Runkst)
  12. 62
    Eight Days of Luke by Diana Wynne Jones (guyalice)
    guyalice: Neil Gaiman was surprised to discover that the concept of Eight Days of Luke was very similar to what he had initially planned for the plot of American Gods. He dropped the day-theme to avoid too many similarities and gave props to Wynne Jones.
  13. 40
    The Wood Wife by Terri Windling (Larkken)
  14. 107
    The Long Dark Tea-Time of the Soul by Douglas Adams (WoodsieGirl)
  15. 30
    Angelmaker by Nick Harkaway (BookshelfMonstrosity)
  16. 41
    Rivers of London by Ben Aaronovitch (Chricke)
  17. 30
    The Bone Clocks by David Mitchell (sturlington)
    sturlington: The Bone Clocks reminded me strongly of Neil Gaiman and David Mitchell has said that Gaiman was an influence.
  18. 30
    Someplace to be Flying by Charles de Lint (MyriadBooks)
  19. 42
    The Lost Continent: Travels in Small-Town America by Bill Bryson (rockhopper_penguin)
    rockhopper_penguin: I read these two books one after another. It wasn't a deliberate decision, but the two did seem to work well together. The books visit a few of the same places, and it's interesting to note how differently they are portrayed in each.
  20. 20
    Dreams and Shadows by C. Robert Cargill (kqueue)
    kqueue: Dark urban fantasies/horror.

(see all 42 recommendations)


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English (618)  Dutch (4)  German (3)  Spanish (3)  Italian (2)  French (2)  Finnish (2)  Portuguese (1)  Swedish (1)  Portuguese (Brazil) (1)  All languages (637)
Showing 1-5 of 618 (next | show all)
I find it really weird how many American media products have the word "American" in the title. Obviously, this; a few weeks back I also read American Rust. You've got your American Beauty, American Ninja, An American Werewolf in London. American Psycho. American Sniper. American Pie, American Dad, American Graffiti. What is going on here, what are they trying to prove?? I really don't understand it. I mean you'd never get "British Beauty", "French Psycho", would you? That just seems completely laughable.

Anyway, I really didn't get this book. It made no sense to me at all. I mean it's a fun conceit, that gods are living among men in modern day America, desperate to regain the faith they once commanded, but I just felt like it wasn't thought through properly. It presents itself as being predicated on the idea that ‘America is a bad land for gods’ – this is something that characters keep saying to one another, moodily, that America is a really bad land for gods – and this is apparently why all the gods are now living hand-to-mouth existences as drifters or menial labourers.

Only – huh? Are we talking about the same America here? The one where 51 percent of the population think that humans were created by a divine being, and a further 40 percent think they were created by evolution which was set in motion by a divine being (leaving, as Tim Minchin said, a very small percentage of Americans who are right)? Is that the America that is supposed to be a bad land for gods? Do me a favour, it must be one of the most religious countries in the western world. I've driven through my share of rural Tennessee, where much of American Gods takes place, and one of the most striking things about these communities is the fact that there seems to be one church for every six or seven houses. God is invoked on the currency, on the news, by the head of state, and in schoolrooms every morning by little kids.

This is what is so frustrating about the book, because it seems like a brilliant chance to examine religion in the US in a cool and interesting way – but it doesn't. It either doesn't dare or it doesn't bother. I mean – if you're going to run with this idea that gods are walking around, with the more powerful deities being those who have the most believers, then where the fuck is Yahweh? I'm supposed to believe that Anubis is twatting around driving a hearse in fucking Cairo, IL. – despite the fact that no one in the history of America has ever worshipped Anubis – and yet Jesus doesn't make a single appearance? Somehow it's OK to play around with foreign gods that seem quaint or folkloric, but monotheism's off the table. It just didn't make any sense to me.¹

Instead, what we have to propel the narrative along is just a kind of comic-book war that we're supposed to care about. So although there were quite a few scenes that had me flipping the pages with engagement, there was always this nagging feeling that none of it really meant anything and that I didn't really care very much what happened to anyone. It doesn't help that the protagonist (with the dreadful name of ‘Shadow Moon’) is, for a central character, annoyingly passive and lacking in personality (although the goddesses he encounters still have a remarkable habit of wanting to have sex with him).

As for the writing style, well, it's fine, but it has absolutely no flair. There's quite an interesting bit in the Acknowledgements where Gaiman thanks many of his beta-readers and editors for spotting ‘stray and unintentional anglicisms’, presumably so he could remove them; this I think is something that contributes to the featureless blandness of his style. I'm not saying he is unentitled to this voice or anything like that – his wife is American, he lives in America, this is totally an authentic voice for him. It's just not one that has any character. It works in a kind of tab-A-into-slot-B way.

This is certainly not a bad book and it's quite readable – I think I'm just disappointed because I had unfairly high hopes, and I liked the concept, and I have a lot of friends who really enjoyed it. For me it was just a bit baffling and cartoony. In the same way that His Dark Materials is like a children's story for grown-ups, American Gods felt like an adult story for children. This is my third Neil Gaiman book (after Sandman and Smoke and Mirrors) and they have all been underwhelming; I think I'll just leave him alone now, since I'm sure they deserve higher ratings than I'm prepared to give them, but that's what you get when I try and squeeze in a review at 01:23 am in a foreign city when I still have another two hours' work to do before I can go to bed.

¹This "Tenth Anniversary Edition" includes in its appendices a brief section in which Jesus does, in fact make a brief appearance. This was cut from the original published version, and you can see why; it is very short and it raises more questions than it answers. The problem is, these are the questions the book should have been about. ( )
1 vote Widsith | Oct 5, 2015 |
Loved this book. Read the 10th anniversary edition. The audio version, full cast recording. ( )
  Big_Blue | Sep 29, 2015 |
Welcome to yet another BOTM club analysis. Sometimes I am forced to read a book that drags and makes me pull my hair out to read, but this month is a winner. Where have I been that I missed a) this book and b) this author. American Gods is my favorite type of book one that takes something we think we know (in this case the classic myths) and adds a new twist. I loved this read, even though my comments are taking a little bit to post because I had mommy duties get in the way.
American Gods is a strange road-trip story wrapped around a deep examination of the American belief system. The main character Shadow gets out of prison early when his wife is killed in a car crash. Shadow then takes up with a mysterious character called Mr. Wednesday, who is much more than he appears. Together they travel America rounding up forgotten Gods in preparation for an epic battle against the upstart deities of the Internet, credit cards, television, and all that is wired. Armed only with some coin tricks and a sense of purpose, Shadow travels through, around, and underneath the visible surface of things, digging up all the powerful myths Americans brought with them in their journeys to this land as well as the ones that were already here.
I think the Gods exist because of our faith, but they are tied to our Faith and as it fails and fades so do they. Let’s look at the new Gods, the television was created, people began to take time out of their day to watch it, i.e. worship it, and the TV god was created. She remains strong because people spend hours watching it every day. The Technology god seems computer based, and so let’s says he was created with the first computer. Look at how much we rely on our computers, we use them at home and work constantly, and become more dependent on them every day. We have faith that they will work, and will allow us to do our work faster so we can have more free time to do things like worship the TV god. Of them all that we haven't met I think the most powerful new god would be the internet god, it is everywhere, on our computer, our phones, our gaming systems. In fact I bet if this book was written now, there would be a Facebook god.
The first section is introducing us to the characters and getting the story of the new vs. old Gods set up. The second section of the book seemed a little ho hum. The running around and getting the gods on board with the plan just seemed like filler. The third section moved along much better, the war and the conclusion felt very solid.
I like Gaiman’s style of writing from the start – easy flow of the narrative. When I do sit down to read, the pages have just flown by and I’m way further in the story than it feels like. What does slow me down is writing down who the gods are and looking them up, if I was more disciplined I would have waited until the end of the reading to look them up, but then I think I would have missed some of the innuendos Gaiman put in, such as Odin being called Mr. Wednesday. I won’t list all my research here, because it would take up way too much time and room. All I will say is I am having lots of fun with it! Also I am loving all the quote potentials in this book, most of my notes are “quote – pg. blah blah” LOL I won’t bore you all with my notes on that front either.
I do want to make a comment on Mr. Wednesday, strangely, I have a mental picture of my high school drama teacher with red hair and I have no idea why, but as I read about him that is who I see. Although somehow I missed that Mr. Wednesday had only one eye until Chapter 4.
I like that Shadow’s last name is moon. I thought maybe he was a hidden hero from a myth, but when I looked him up all I could get was a reference to Japanese film Character from the Kamen Rider series and a book by Chris Claremont and George Lucas. The book was the continuation of the movie Willow (The Chronicles of the Shadow War), which makes me happy to know about and I will be looking to read the series, but still leaves me a little unfulfilled. I feel like with a great name of Shadow Moon there should be some mythological reference, like the shadow of the moon is where the Gods reside or something. Drat!
Shadow is special to the old Gods because of his acceptance, he doesn't fight against Mr. Wednesday and the things he see, he just accepts that is the way the world is and that I think gives the Old Gods a power, not as much power as belief and worship, but he still accepts them. I think that if the new Gods had reached out to Shadow first, I think he would have worked for the opposition; he doesn't have a stand besides getting paid. Again I think that is a part of what makes Shadow special, his acceptance, he accepted the old gods and he accepts the new gods, and he doesn’t take sides.
I have mixed feelings about Shadow and his dead wife Laura, who happens to be a walking corpse. Shadow talked to her 5 days before he was to be released and they exchanged “I love you’s.” Which is great and all because he got to tell her that before she died, and she did say that she wasn’t going to leave Shadow for Robbie. But still she was a cheater, I mean she died giving another guy a blow job, so leave poor Shadow alone already. I know that she is coming back because of Mad Sweeny’s coin, although I’m not a hundred percent sure why. But anyways back to Laura’s death, I find it interesting that Shadow had made up this whole story about Robbie being drunk, and in actuality he had it all backwards, Laura was the drunken one. It is like Shadow had his life with Laura backwards, I wonder if what he remembers ties to the reality of their relationship. And how does Laura follow him? I mean is this dead woman walking the highways following her husband, or does she manifest wherever he is? I think Shadow wants to bring Laura back because he feels it is his fault she is there. He thinks it has something to do with Mad Sweeney’s coin. And also, there was something in the first section after he talked to Zorya Polunchnayay about listening to the Dead and it is important to give them what they ask for, but I can’t find the passage. I don’t think he should do it, I think it will mess with the balance of the world, although he isn’t given the option he just kills her by taking back the coin in the end, so no balance upsets here.
What is up with all the coins being given: Low Key Lysmith, gives Shadow the coin he uses for all his coin tricks; Mad Sweeney gives him the coin that brings Laura back from the dead, Zorya Polunchnayay gives him a Silver Liberty Coin – Moon which is the moon. I am sure that there is a theme here that I have missed somehow, or that will be explained later, but all I seem to have noticed that Shadow collects coins not just does tricks with them.
And finally something that is mundane but really bothers me, isn’t Shadow on probation, I mean he just got out of prison early he should be and if so doesn’t he need to check in with his probation officer, and he couldn’t be traveling so much if he is on probation, to many permissions needed to go places. I mean I know it is fiction, but it just glares at me every time Shadow hits a new town. Which is why in Lakeside when Shadow got busted for skipping parole I did find it a little justifying; I even said out loud “I told you so!” Not my finest moment, but it still felt good to know Gaiman didn’t just forget the parole factor.
Although, I do really like all of Mr. Himzelman’s tall tales. Lakeside reminded me of the town from Gilmore Girls, very close knit and quirky in an idyllic setting, but instead of Luke’s they have Mabel’s. I think there is more to Lakeside and the disappearing children, but it seems like that should be a different story almost, it just didn’t fit well with me. I would read a book about the mystery of the Lakeside missing children, but it didn’t fit with this story. Mr. Himzelman being a kobold, or whatever he is did surprise me, I didn’t see that one coming at all. And I really liked his character too, I felt very betrayed.
Again this whole section felt like filler to me rather than moving the story along. I really felt like there must be more to Sam Black Crow, she didn’t seem as random as I thought she was as the hitchhiker. Although I was sad to find out that she really wasn’t all that important in the end.
In the third section when it talked about the Gods camped at lookout rock seemed a little jumbled to me, but I think that was because the Gods are half-forgotten and jumbled anyways. Also they are a very disorganized crew.
At the start of part 3, I went back to the first section and refreshed my memory of Mr. Wednesday and Shadow’s bargain. Mr. Wednesday would take care of Shadows needs and Shadow would:
Protect Mr. Wednesday.
2. Transport Mr. Wednesday.
3. Run errands for Mr. Wednesday.
4. Hurt people for Mr. Wednesday, emergency situations only.
5. Hold a vigil for Mr. Wednesday.
It was the vigil that made me look it up; I wanted to know if the section talked anymore about the vigil. It didn’t I did see that Mr. Wednesday said “in the unlikely event of my death” when he made the bargain, it wasn’t an unlikely event. Mr. Wednesday knew full well that he was going to die. So if the bargain was made under false pretenses, did it null the bargain? How was Shadow supposed to protect Mr. Wednesday, if Mr. Wednesday had already planned his own death?
I looked up Louise Brooks, just because I wanted to know if she was real, apparently she was the iconic flapper from the 20’s and her signature was the bob haircut. She worked in silent films, and I recognized her picture, she also did one of the first lesbian scenes in a movie. Who knew that silent films could be so controversial? I feel like I should see if I can find one of her movies on TMC or Netflix or something, just to see what all the hype is about.
The fact that the whole war was a two man con thing, it didn't really surprise me, but I didn't predict it either. And we had definite foreshadowing of it. Mr. Wednesday was right, that his death did more for the cause than his life had. Mr. Wednesday did say it would take him 9 days to come back, 3 days in the tree, 3 days in the underworld, and 3 days to find his way back. That seems a little excessive, jeez Christ only took 3 days total to be resurrected. And how long was Shadow hanging in the tree? 9 days or years?
I liked the death of shadow, the journey was great, we got lots of stuff cleared up and answered. One thing that stuck with me was when Bast took his heart; it was the color or pigeon blood. Am I missing something, is pigeon blood a different color than other types of blood? I just feel like it was a weird simile, why pigeon blood? Oh and the squirrel, what was the point of the squirrel? So which way do we think Bast sent Shadow? The way that makes him wise or the way that makes him whole? I think he went the way that killed him, I mean he did die and all. Did Shadow become a Shadow, is that the result of him giving up his true name or the result of him taking the middle path?
Shadow being Mr. Wednesday's son didn't faze me either, again not surprised but didn’t predict either. I did have to look up the part where Mr. Wednesday said "Unfortunately for the most part people like me fire blanks....nowadays it’s possible, but so unlikely as to be almost unimaginable." So I guess we had foreshadowing, hehe fore shadowing. Sorry couldn’t help myself.
In the epilogue I was confused as to why Shadow was in Iceland, but I think it has to do with his powers. He made the Lakeside Sherriff, Chad forget what happened with Himzelman, then he gave Sam the flowers and she never saw him. I think he did become somewhat of a shadow.
Another thing I noticed was that when Laura killed Low Key that she said, “I dedicate this death to Shadow.” Low Key was supposed to say “I dedicate this battle to Odin” so they could absorb the power from the battle. I think he still did. But what does that mean for Shadow, because Laura dedicated the death to him, is he some semi-demi-god that could absorb Loki’s death power?
Overall I really like this book I was very excited to discover this author and I would defiantly recommend it as a read, just have your Google handy.
On separate side note, for those of you who do research, I was able to download a free version of the Histories of Herodotus from www.classics.mit.edu. This is the book from prison that Low Key gave to Shadow.
For additional reviews please see my blog at www.adventuresofabibliophile.blogspot.com
  Serinde24 | Sep 27, 2015 |

Still love this book on the re-read. In many ways it can be read as a sequel of sorts to the graphic novels about the endless. I am sure I even spotted Delirium in a cameo.

Having grown up in Norway, I felt the portrayal of the norse pantheon was a bit off-kilter to the one I have been brought up with. None of the Norse entities resonated in a way that felt right. As if they were written about by someone who had never really met them. Which is true, but very forgivable.

( )
1 vote StigE | Sep 15, 2015 |
@american_gods +anansi_boys
  Lorem | Sep 4, 2015 |
Showing 1-5 of 618 (next | show all)
Neil Gaiman nagyszerű mesélő: a helyszínek megelevenednek, igazi emberek élnek a városkákban (főként Lakeside-ban), megismerünk a szemben álló felet vezető szándékokból is valamennyit. Nincs egyértelmű jó és rossz.
This might all sound like a bit much. But Gaiman -- who is best known as the creator of the respected DC Comics ''Sandman'' series -- has a deft hand with the mythologies he tinkers with here; even better, he's a fine, droll storyteller.
This is a fantastic novel, as obsessed with the minutiae of life on the road as it is with a catalogue of doomed and half-forgotten deities. In the course of the protagonist Shadow's adventures as the bodyguard and fixer of the one-eyed Mr Wednesday, he visits a famous museum of junk and the motel at the centre of the US, as well as eating more sorts of good and bad diner food than one wants especially to think about.
added by mikeg2 | editThe Independent, Roz Kaveney (Jul 18, 2001)
Part of the joy of American Gods is that its inventions all find a place in a well-organised structure. The book runs as precisely as clockwork, but reads as smoothly as silk or warm chocolate.
added by stephmo | editThe Independent, Roz Kaveney (Jul 18, 2001)
Gaiman's stories are always overstuffed experiences, and ''American Gods'' has more than enough to earn its redemption, including a hero who deserves further adventures.

» Add other authors (22 possible)

Author nameRoleType of authorWork?Status
Neil Gaimanprimary authorall editionsconfirmed
Boutsikaris, DennisNarratorsecondary authorsome editionsconfirmed
Guidall, GeorgeNarratorsecondary authorsome editionsconfirmed
Jones, SarahNarratorsecondary authorsome editionsconfirmed
Kivimäki, MikaTranslatorsecondary authorsome editionsconfirmed
McLarty, RonNarratorsecondary authorsome editionsconfirmed
Oreskes, DanielNarratorsecondary authorsome editionsconfirmed
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One question that has always intrigued me is what happens to demonic beings when immigrants move from their homelands. Irish-Americans remember the fairies, Norwegian-Americans the nisser, Greek-Americans the vryókolas, but only in relation to events remembered in the Old Country. When I once asked why such demons were not seen in America, my informants giggled confusedly and said, "They're scared to pass the ocean, it's too far," pointing out that Christ and the apostles never came to America.
—Richard Dorson, "A Theory For American Folklore", American Folklore and the Historian
The boundaries of our country sir? Why sir, on the north we are bounded by the Aurora Borealis, on the east we are bounded by the rising sun, on the south we are bounded by the procession of the Equinoxes, and on the west by the Day of Judgement
—The American Joe Miller's Jest Book
They took her to the cemet'ry
In a big ol' cadillac
They took her to the cemet'ry
But they did not bring her back.
—old song
For absent friends—Kathy Acker and Roger Zelazny, and all points between
First words
Shadow had done three years in prison.
Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
"A town isn't a town without a bookstore. It may call itself a town, but without a bookstore it knows it's not fooling a soul."
When people came to America they brought us with them. They brought me, and Loki, and Thor, Anansi and the Lion-God, Leprechauns and Kobalds and Banshees, Kubera and Frau Holle and Ashtaroth, and they brought you. We rode here in their minds, and we took root. We travelled with the settlers to the new lands across the ocean.
The land is vast. Soon enough, our people abandoned us, remembered us only as creatures of the old land, as things that had not come with them to the new. Our true believers passed on, or stopped believing, and we were left, lost and scared and dispossessed, only what little smidgens of worship or belief we could find. And to get by as best we could.
'So that's what we've done, gotten by, out on the edges of things, where no-one was watching us too closely.'
Gods die. And when they truly die they are unmourned and unremembered. Ideas are more difficult to kill than people, but they can be killed, in the end.
All we have to believe with is our senses, the tools we use to perceive the world: our sight, our touch, our memory. If they lie to us, then nothing can be trusted. And even if we do not believe, then still we cannot travel in any other way than the road our senses show us; and we must walk that road to the end.
There's never been a true war that wasn't fought between two sets of people who were certain they were in the right. The really dangerous people believe they are doing whatever they are doing solely and only because it is without question the right thing to do. And that is what makes them dangerous.
Last words
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Disambiguation notice
There are at least two different editions of this book.   The original was published in 2001, and the tenth anniversary edition (Author's preferred text)  was published in 2011.   Please do not combine.
Please note: the author's name is Neil Gaiman. If this is your book, please put his name in place of "Kindle Edition" and it will combine correctly with other copies of this work. Thank you.
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Book description
The book follows the adventures of ex-convict Shadow, who is released from prison a few days earlier than planned on account of the death of his wife, Laura, in a car accident. Shadow finds work as the escort and bodyguard of the confidence man Mr. Wednesday, and travels across America visiting Wednesday's colleagues and acquaintances. Gradually, it is revealed that Wednesday is an incarnation of Odin the All-Father (the name Wednesday is derived from "Odin's (Woden's) day"), who in his current guise is recruiting American manifestations of the Old Gods of ancient mythology, whose powers have waned as their believers have decreased in number, to participate in an epic battle against the New American Gods, manifestations of modern life and technology (for example, the Internet, media, and modern means of transport). Laura comes back in the form of a sentient animated corpse due to a special coin Shadow had placed in her coffin, and is instrumental in eliminating several of the New Gods' agents.

AR 5.3, 28 Pts
Haiku summary
New gods, and old ones
All across America
- A storm is coming

Gods, starving, lose faith;
Easy marks for Odin's scheme.
Shadow holds his breath.

Shadow, with help from
wife, finds fickle gods and beats
them at their own game.

Amazon.com Amazon.com Review (ISBN 0060558121, Paperback)

American Gods is Neil Gaiman's best and most ambitious novel yet, a scary, strange, and hallucinogenic road-trip story wrapped around a deep examination of the American spirit. Gaiman tackles everything from the onslaught of the information age to the meaning of death, but he doesn't sacrifice the razor-sharp plotting and narrative style he's been delivering since his Sandman days.

Shadow gets out of prison early when his wife is killed in a car crash. At a loss, he takes up with a mysterious character called Wednesday, who is much more than he appears. In fact, Wednesday is an old god, once known as Odin the All-father, who is roaming America rounding up his forgotten fellows in preparation for an epic battle against the upstart deities of the Internet, credit cards, television, and all that is wired. Shadow agrees to help Wednesday, and they whirl through a psycho-spiritual storm that becomes all too real in its manifestations. For instance, Shadow's dead wife Laura keeps showing up, and not just as a ghost--the difficulty of their continuing relationship is by turns grim and darkly funny, just like the rest of the book.

Armed only with some coin tricks and a sense of purpose, Shadow travels through, around, and underneath the visible surface of things, digging up all the powerful myths Americans brought with them in their journeys to this land as well as the ones that were already here. Shadow's road story is the heart of the novel, and it's here that Gaiman offers up the details that make this such a cinematic book--the distinctly American foods and diversions, the bizarre roadside attractions, the decrepit gods reduced to shell games and prostitution. "This is a bad land for Gods," says Shadow.

More than a tourist in America, but not a native, Neil Gaiman offers an outside-in and inside-out perspective on the soul and spirituality of the country--our obsessions with money and power, our jumbled religious heritage and its societal outcomes, and the millennial decisions we face about what's real and what's not. --Therese Littleton

(retrieved from Amazon Thu, 12 Mar 2015 18:16:03 -0400)

(see all 10 descriptions)

Just released from prison, Shadow encounters Mr. Wednesday, an enigmatic stranger who seems to know a lot about him, and when Mr. Wednesday offers him a job as his bodyguard, Shadow accepts and is plunged into a dark and perilous world.

» see all 12 descriptions

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