“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.”
It isn’t surprising that American Gods is regarded as one of the genre-bending novels of all time.
Over the course of 500 pages Neil Gaiman deftly blends together fantasy, sci-fi, horror, noir, myths, history, theology, as well as physical, spiritual, and emotional road-trip. The end result is an incredibly imaginative novel, on that is quite unlike anything else I’ve read.
In the preface to the tenth anniversary edition Gaiman describes his novel as ‘meandering’: “I wanted it to be a number of things. I wanted to write a book that was big and odd and meandering, and I did and it was.” It is indeed meandering, wonderfully so. Gaiman’s consistently entertaining storytelling more than makes up for it. Also, given how many different storylines and characters there are in American Gods, it’s safe to say that I was never bored.
“We do not always remember the things that do no credit to us. We justify them, cover them in bright lies or with the thick dust of forgetfulness.”
Summarising this novel isn’t easy. The first time I read it I didn’t know much about it so I found myself experiencing a lot of ‘what the f*ck is going’ moments. This second time, even if I knew what was coming and where Shadow’s story was headed, I still managed to get lost in Gaiman’s heady prose.
The novel’s protagonist, Shadow, gets out of prison and is hired by the mysterious and relentlessly charismatic Mr. Wednesday. We soon realise that Shadow’s new boss is an endlessly scheming conman, and not quite human.
What follows is an epic journey in which Shadow meets many disgruntled and modernity weary gods and deities, some of whom share snippets of their history or lore with Shadow, while others remain far more unknowable. Interspersed throughout the novel are chapters recounting their arrival to America. From heroic battles and bloody sacrifices to tales of worship and faith that span centuries and cultures, these sections were thoroughly interesting.
Over the course of his road trip Shadow comes across a lot of weird stuff. We have the sense that these encounters are leading to something far more big. Yet, Gaiman keeps his cards close to his chest, and it is only after many many pages that we start to understand where the story is leading Shadow, and us, towards.
There are plenty of things that will keep us engaged in Shadow’s story. A dead wife, coin tricks, cons, sex (with divine beings…so things get pretty freaky), some horrific scenes (of slavery, of war, of death), satire, a small town which gives some serious Twin Peaks vibe, a hubbub of different cultures and voices…and so much more. There is also an ongoing juxtaposition between the past and present, ancient customs and modernity, old lore and modern believes which provided some serious food for thought.
Gaiman presents us with a narrative that is wickedly funny, frequently mischievous, and always brimming with energy. I loved the way he writes about myths and how distinctive and morally ambiguous his characters are. As interesting and beguiling as the various gods and deities are, once again I found myself caring the most for Shadow.
Gaiman’s dialogues and scenes too are memorable and compelling. And while his narrative does wander into obscure and mystical terrains, it always held my undivided attention.
American Gods gives its readers a bonanza of flavours. It is funny, moving, clever, and constantly surprising.
My rating: ★★★★★ 5 stars
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