DISLAIMER: i wrote this review prior the allegations so it reflects a view of gaiman that i no longer have. i know some people are able to divorce a work from its author, while others go full on full on damnatio memoriae...i for one am no longer interested in engaging with the work of someone as vile as gaiman "allegedly" is.

“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.

n  “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.”n

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.

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This is an exceptional tale. And the idea of this tale, the central concept, might even be better than the tale itself. Yet, it’s still a masterfully-written, wonderful book, which tells you just how fantastic a concept it is. It was published in 2001 and won the 2002 Hugo and Nebula (and yes, I’m just now reading it). I read the ten-year anniversary edition with the extra 12,000 words.

Compared to Europe, America has no mythology and hardly a history. Norse mythology can be traced back to the 13th century. Sources for Irish Folklore have been dated to the 11th or 12th century, but oral history might be as old as the 6th century. Greek myths date all the way back to 18th century B.C. The central theme of American Gods is that while Europe has old, strong, powerful gods, America is not a good land for gods. Yes, immigrants brought their beliefs with them and, in a sense, created weak incantations of the European gods. You see in Gaiman’s universe, a facsimile of a European god could exist simply due to the beliefs of settlers. This backdrop allows Gaiman to create a rich story of god and god-like characters that exist solely due to worship and idolization, whether that be an incarnation of an ancient god such as Oden, or the create of a new god, such as media or technology.

The plot is that a small group of new gods (technology boy, media, and the intangibles – modern stock market worship), along with the help of Black Hats, sort of government thugs, are plotting to overthrow the old gods, who are becoming ever weaker due to fading beliefs. Our protagonist is Shadow Moon, an ex-con, who is hired by an old god, mysteriously named, “Mr. Wednesday”. Mr. Wednesday assisted by Shadow is journeying across the country to gather support of the old gods for an impending battle against the new gods. This plot allows Gaiman to explore the county and provides rich locations from “The House On the Rock” in Wisconsin, to Las Vegas, to the meatpacking yards of Chicago, and to Rock City (See Rock City!).

While Gaiman’s appreciation of the new world shows through, especially in small town America, he by no means pulls any punches concerning the vices, corruption, and depravity of America. Shadow spends time in a small Wisconsin town, which Gaiman lovingly describes, but underneath there are dark forces at work, even in this simple place. He explores the historical horrors of slavery, native American atrocities, the sex trade, as well as the modern greed and gluttony of Las Vegas and the Stock Market. I was surprised that Gaiman missed our Sports worship, as this would have made another excellent and interesting new god. So, this is no whitewashed love letter of America, but I still took away a sense of appreciation of small-town America and the amazing blend of cultures in the United States.

The journey though America and the interaction with the supernatural allowed Gaiman to fully display his mastery of language. At times the prose is almost lyrical or poetic. At others it’s purposely pedestrian and workmanlike, which creates a differentiation between the ordinary events and the mystical occurrences.

I knew this book was good, based on its awards and reputation which often leads to high expectations and disappointment for me. Well, not in this case. I enjoyed it, I admired it, and I respected it. It deserves all the awards and acclaim it received, imho. I read that Gaiman actually toured the U.S. while writing this book and that makes it even more epic in my mind. America may not have as rich, long, or complex lore, mythology, or legend as Europe, but Gaiman adds a bit to our nation’s tale. Ultimately, it’s an amazingly inventive and masterful story.

In the preface of this edition of American Gods which is the Author's Preferred Text for the 10th anniversary, Neil Gaiman says that much of what is included in this version was cut for the original publication. He says it wanders more, but he wanted to include them anyway. I found that to be a poor decision. I felt that much of the book was filler, and while entertaining on its own, added very little to the core of the story.

"What is the core of the story?" you ask. We follow a man conveniently named Shadow who, after getting released from jail, gets swept up in an 'adventure' (I'm skeptical to call it such because it feels more like a pilgrimage or nomadic wandering) with some American Gods. Shadow is himself a shadow of a real person: he has little personality, he follows blindly much of what he is told to do, and ultimately he doesn't really show up as a character until the stage lights are blinding on him and he has no other option but to perform. He's a likeable enough guy, but not memorable. I did enjoy his interaction with other people though, and there were certain parts where I pitied the guy, but never fully empathized.

The story, like I mentioned above, wanders. It takes you all across America, to its forgotten places. But the structure of the story wanders as well. There are interludes and 'Coming to America' chapters--they tell one-off stories of the different ways immigrants bring their gods to America, and there are random conversations thrust in here or there that are meant to bring a greater scope to the story. But in the end it's a pretty straightforward story of Shadow and his involvement with the gods.

My main complaint was really the length of the novel. There were, in my opinion, many unnecessary or at least unnecessarily long portions that could've been cut (and probably were in the original). I was a bit frustrated in the middle because, while Shadow is learning everything as he goes, so are you. And that doesn't lend itself to a very forward-moving plot. You are just as confused by and unsure of what is going as Shadow himself.

I've come to realize I'm more a fan of Gaiman's middle grade & children's books. When he fully commits to fantasy, I enjoy it much more. But the blending of fantasy with a sort of didactic analysis of American culture didn't really work for me in this instance.

No denying that this one is a big boi. A long boi. Extra extra page boi.

But was it worth all that paper?

Click the link for my video review of the big bois in my life.

The Written Review:

n  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.n

The Old Gods - brought over by immigrants. Wild, fantastical tales of elephant-headed men and trickster spiders. Of power and lust. Of fear and worship.

The New Gods - created by the immigrants' descendants. Gods of money, media and might. Newly formed out of the hopes, dreams and desires of a people who've long since forgotten the Old Gods.

n  A storm is coming.n

The New Gods, though young and foolhardy, know what they want and they want to n  take the world from the Old Gods.n

Caught in the crossfires is one, very human, ex-prisoner named Shadow.

The ideas Neil Gaiman comes up with are simply stunning.

It's hard to describe this book - it's all-encompassing. This story feels so old and established - almost like it's a legend, passed down from generation to generation.

It crossed every genera - from romance to murder mystery to mythology - absolutely seamlessly.

I really loved all of the New Gods that Gaiman created.

There's The Technical Boy - God of the internet and computers.

The Black Hats - Gods of Conspiracy theories and shady ideas.

And, my personal favorite, Media - the Goddess of the Television.

n  "The TV's the altar. I'm what people are sacrificing to."
"What do they sacrifice?" asked Shadow.
"Their time."n

And of course, because it's Neil Gaiman...there's a bunch of weird sex thrown in...because reasons.

Literally, one of the Old Goddesses ate a man alive with her "womanhood". Another time, Shadow was really injured and was healed through painfully descriptive sex magic.

Aside: Does anyone really know why Gaiman always does this? Can't we have one book where everyone keeps their clothes on?

And, if that wasn't confusing enough, in between the man-eating labia and sex-bandaids...we get absolutely adorable quotes like this:

n  What I say is, a town isn’t a town without a bookstore. It may call itself a town, but unless it’s got a bookstore, it knows it’s not foolin’ a soul.n

or this:

n  The house smelled musty and damp, and a little sweet, as if it were haunted by the ghosts of long-dead cookies.n

Sometimes, I really want to know what goes through this man's head...and then again...maybe not.

Still, this was an extremely interesting read and one of the few Gaiman books that I enjoyed from cover to cover!

Audiobook Comments
Extremely well-read by Dennis Boutsikaris, Daniel Oreskes, Ron McLarty, and Sarah Jones. Each major character had a different voice actor/actress and it really enhanced the audio. The accents sounded accurate (to my untrained ear) and the whole book was immensely enjoyable to listen to!

The Finer Books Club - 2018 Reading Challenge: A book based in your home state

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I read this when it was first released, and I think it's time for a re-read. This is one of those stories that stay in your mind long after you've read the book, and the pages are getting dusty on the shelf.

I bought a used copy of this book a couple of years ago and started it with great anticipation, but stuttered to a stop in the second chapter when I got to the infamous (and explicitly described) man-eating vagina. This book has been sitting on my shelf ever since. I keep thinking maybe sometime I'll give it another shot, but I haven't been able to bring myself to open it back up again. Friends who've read it are about equally divided between "loved it" and "tedious and over-long," and the idea of tedious combined with gross has been enough to keep me away.

4.5 stars

Heya folks! Thanks for stoppin’ in to this re-read review of American Gods. With the upcoming Stars TV show, I thought it would be a good time for me to revisit a book I read almost 7 years ago before diving into an entirely new interpretation. Here are a few helpful review pointers for first-time readers/viewers and the more seasoned American Gods’ fans.

1.tThis review is SPOILER-FREE. American Gods is an enigmatic story, so I won’t even discuss anything other than the most cursory of plot details. Anything revealed herein is minor, revealed on the back of the book, or vague enough to keep you fresh for a read or the season premiere of the new show.
2.tThis is my first re-read review. So, I’ll be talking a bit about what I remember of my initial impression as well as how I feel about the book now.
3.tI’m trying to read a bunch of Neil Gaiman in 2017. You can see my reviews for n  The View From the Cheap Seatsn and n  Norse Mythologyn in the links!

American Gods is really the book that's got all that you'd expect from an investigation of Americana. There's a road trip, murder mystery, all kinds of crime, sex, violence, love story, and more motels and hotels than you could ever have imagined.

When I read American Gods in the summer of 2010, I remember being fairly unimpressed with it. I had just come off reading the entirety of Gaiman’s Sandman in four, door-stopping volumes that together took a few weeks’ pay from my summer job. Still, I was snapping at the bit for more Gaiman, and I was told by many Internet resources that American Gods was the way to go. Ultimately, I was disappointed by the book, though I rated it four stars when first signing up for Goodreads in an ill-conceived attempt to look cool.

In many ways, my re-read has allowed me to forgive and understand my lack of appreciation for American Gods on my first go-around. In many ways it’s a book that wouldn’t have scratched the itch I had for adventure and was, indeed, a much more complex novel than I was used to dealing with at the time. This read had me astonished more often, more appreciative at the craft, and really digging the mythological deep-cuts that Gaiman leaves around the novel like gumdrops for the mythology nerds. Having said that, some of the problems I remember having with American Gods cropped up again on this read.

Though I remembered some of the plot, I discovered that I had forgotten a great deal about it. A scattered scene was seared into my brain, the big twists and turns I remembered, but there was a great deal more that I had forgotten. In broad strokes, American Gods follows newly released convict Shadow Moon who is offered a job by a mysterious stranger on the night of his wife’s funeral, and a road-trip across America ensues. The road-trip, I should mention, happens to be more fantastical in nature than Shadow initially suspected it would be and mythological madness adapted to the American countryside ensues.

Some non-spoiler-y stuff that still pestered me through this read: Shadow, a meandering plot, mythology reference-laden scenes. Shadow turns out to be one of the most appealing parts of the book as it goes on, but at first he’s a bit of a bore. He doesn’t reveal much about himself, he doesn’t react to much, and he is somewhat a passenger on a ride for more than half the book. This ride, it turns out, actually is a bit tedious to follow in its first few crests and troughs. The novel keeps its cards so close to the chest for such a long time that the most compelling reason to go on is just to know, What the fuck is going on here? Either of these issues on their own wouldn’t be too bad, but when it’s tough to get a handle on the plot AND the main character? It makes for a bit of a plodding opening despite some really good scenes.

The peculiar scenes that pepper the novel appealed more to me now than they had in the past, but they also frustrate. Having recently read Gaiman’s Norse Mythology, I was well-primed for the nitty-gritty of the Norse references throughout American Gods. Even though I got a lot more on this read than I could have possibly gotten on my first round, there was still a lot of Gods, folk heroes, and the like that I didn’t recognize. It makes for scenes that have cool visuals, but more often than I’d like to admit I was like, Am I supposed to know this goddess? However, it might be fun in another almost-decade to come back to this novel and see what other new stuff I can find.

Oh, and I loved discovering the Sandman Easter eggs littered through the novel that I missed on first pass. I heard a rumor that all the Endless make an appearance? I spotted two!

The ending, and the twists that precede it in the final 200 pages, I appreciated much more this time around. I remember being frustrated and thinking that all the cool stuff littered throughout was for naught. This time I appreciated the conclusion a lot more. It provides an ending that is true to its themes and, in my opinion, nails the character arcs in a way that is really satisfying. Also, I was less focused on the overall mysteries that drive the novel on this read, which let me appreciate all the smaller scenes along the way.

I’m really glad I decided to re-read American Gods. It’s an American novel written by a British lad. I was impressed to read that Gaiman had changed his writing to better suit the American style. I think that the story is an important one in these times too: it is a story, inherently, about immigrants, immigration, and the boiling pot of America. It’s a novel that’s got a lot of depth to it, and I’m really glad I was able to explore those depths on this second go-around.

I may have initially given American Gods four stars to look good, but this time the novel earned it.


NOTE ON TV SHOW: Here's me returning with my promise to offer some thoughts on the show!

1) Brian Fuller was an inspired and powerful choice. This adaptation is the perfect follow up to Hannibal: Fuller is able to go weirder and it works every time.

2) The casting is sublime! Does Shadow not look and sound like you'd expect him to? Is Wednesday not exactly the grifter you pictured?

3) Deviations from the novel are welcome and the fourth episode shows that the writers have a handle on the world and characters and can expand appropriately.

American Gods by Neil Gaiman, by the author’s own description, is a work that has inspired strong emotions and little in between – readers have either liked it a lot, or loathed it entirely.

Reading some of the reviews bears witness to this dichotomy.

I liked it, liked it a lot, but I can also understand why someone may dislike the work. Gaiman, in his storyteller way, has stepped over boundaries and stepped on toes. And not just religious or theological ideas, but nationalistic ideals as well. Gaiman has painted a portrait of America that is not photographic, but impressionist enough to grasp a resemblance of us as maybe we are, and maybe he gets closer to the truth of the matter than some are comfortable with. And I’m not talking about myths, but rather, as he puts it, the myths we have lived with, tangled into the skein of our culture and even formed ourselves.

Like many great works, and I do count this work among that group, the story works on multiple levels. It is on its surface a fantasy, rich in detail and fun to read, but also on the level of metaphor with complicated ideas and symbols thrown in, a novel that leaves the reader satisfied but still with a lot to consider once the book is put down.

Like almost all great works, putting the book down is not an easy thing, and difficult to admit that the story is over.

***** 2017 re-read

“What I say is, a town isn’t a town without a bookstore. It may call itself a town, but unless it’s got a bookstore, it knows it’s not foolin’ a soul.”

“Hey," said Shadow. "Huginn or Muninn, or whoever you are."
The bird turned, head tipped, suspiciously, on one side, and it stared at him with bright eyes.
"Say 'Nevermore,'" said Shadow.
"Fuck you," said the raven.”

“Every hour wounds. The last one kills.”

“I believe that life is a game, that life is a cruel joke, and that life is what happens when you're alive and that you might as well lie back and enjoy it.”

“The house smelled musty and damp, and a little sweet, as if it were haunted by the ghosts of long-dead cookies.”

“Religions are, by definition, metaphors, after all: God is a dream, a hope, a woman, an ironist, a father, a city, a house of many rooms, a watchmaker who left his prize chronometer in the desert, someone who loves you—even, perhaps, against all evidence, a celestial being whose only interest is to make sure your football team, army, business, or marriage thrives, prospers, and triumphs over all opposition. Religions are places to stand and look and act, vantage points from which to view the world. So none of this is happening. Such things could not occur. Never a word of it is literally true.”

******* 2019 reread – So I had to reread this because I watched the Starz series.

Liked it. Liked the direction, liked the casting. Good adaptation.

The pace of the series is too slow, though, and moving in odd directions, I’m ready to get to Chattanooga!

Anytime I get to read about or see something in my state I get as excited as a dog riding in a car and looking out the open window.

“Hey! I know that place, I’ve been there! Hey everybody, you can see my house from there!” and so on. I turn into a six-year-old when I eat too – “Why yes! I did have spaghetti with red sauce for lunch, how on Earth did you guess??”

One other thing all my GR friends should know about us Tennesseans. Doesn’t matter if we’re a hillbilly from East Tennessee or a Blues Traveler from Memphis, we all agree on one thing: anybody disrespects Dolly Parton, and you’re looking for a fight.

OK.

So.

On to the 2019 reread of Gaiman’s masterpiece.

I love this book, enjoy the story immensely. What Gaiman has done is to create an urban fantasy that blends elements of myth and legend into a realizable whole, deftly combining theology with mystery.

This time around I paid closer attention to the characters, not just Shadow and Wednesday, but also Laura, and Anansi, and Easter and Mad Sweeney, and Bilquis and Czernobog, and Whiskey Jack. I liked how the Starz series developed Laura’s character (though I did not like the casting) and also Mad Sweeney’s storyline.

I have picked out seven books that are my favorite and this is one of them, and I’ll read this again.

This book turned me over completely to Neil Gaiman and made me drooly and ga-ga for his writing like a Twilight fangirl on too much fairy dust. I've read a few of Gaiman's works before (The Sandman Vol. 1: Preludes and Nocturnes, Neverwhere, Anansi Boys, and Stardust), but none have blown me so completely out of the boiling seas like American Gods.

American Gods is one of the quirkiest books on American culture and belief that I've read. Told from the perspective of a particularly insightful non-American, American Gods takes a long, hard look at how cultures and religions mesh, change, and fade in the states. How do Americans define and create faith? What gods does a godless nation--or maybe an excessively god-full nation--have with not even 300 years of national existence under its belt? With ghosts, murders, gods (both forgotten and barely worshipped), Naiman weaves a tale that suspends previous conceptions of the American psyche, turns it up on its head, and makes you question, Who really is that homeless crazy in the subway station calling himself Mr. Wednesday?

Like the questions it poses, the story is not straightforward. Rather, it's a meandering road trip that takes numerous pit stops at creepy carnivals and random road-side attractions. Only, you have old worn-out gods and cranky demons for company.

Highly recommended, and definitely one of my favorite novels of all time!

Great theme, great concept! The writing is the usual Neil Gaiman writing, engaging and alive. But after some point it slowed down a bit. I wanted things to run faster. I thought I should watch the tv series instead. But dang. Even the tv show is slow. But I still liked the book for it's concept.

Always willing to try something new, I turned to this cult classic by Neil Gaiman. I chose to read what is called the 'author preferred' edition, actually going so far as to take the audio route, which offers a full cast of narrators. Gaiman explains in an introduction that this edition is the longer and more detailed version that mixes the first published draft with one that he felt was best before the editorial cuttings required by the publisher. What's left is surely an epic ride that takes readers on an adventure like no other. While I may not have picked it up on my own, I am pleased that I agreed to read it. I have my book club of three to thank for it.

Shadow Moon is a convicted felon who has almost served his time. The warden calls him to his office to explain that there's been a car accident. Shadow's wife and best friend have both died and he's being released a few days early so that he can travel to put the affairs in order. While Shadow is thankful, he cannot yet process the news and departs in a quasi-haze.

After a series of odd events, Shadow finds himself sitting in first-class on an airplane next to a man who seems to know a lot about him. That man calls himself Mr, Wednesday, but admits it's not his real name. After a little bantering, Shadow is offered work by Wednesday. He declines and hopes that when they part in Chicago, this will be the last they see of one another.

Shadow finds himself travelling along a dusty road, unsure what to do next. He stops in at a roadside tavern and sees Wednesday is there with some friends. After much convincing and losing a coin toss, Shadow agrees to work for Mr. Wednesday. To celebrate, Shadow's offered an odd drink that is apparently something usually reserved for the gods. While it does not taste good at all, it seems to seal the deal with Wednesday and makes everyone happy.

Shadow soon learns that he is to be a jack of all trades for Wednesday, doing whatever needs doing and asking no questions. Wednesday makes it clear that he will ensure everyone is safe and no laws are broken, but Shadow must follow the path laid out for him. Shadow is not one for vagueness, but does not see the harm and agrees to the terms. It soon becomes apparent that Wednesday runs cons and gets people to do what he wants, His style is such that no one is the wiser and this seems to work well for Wednesday. Shadow takes some mental notes, unsure how long the partnership will last, but still intrigued.

A chance encounter with an odd Irishman leaves Shadow feeling slightly perplexed. The man, Mad Sweeney, purports to be a friend of Wednesday's but is also quite independent minded. Shadow receives a gold coin and is shown an odd trick that appears almost magical. Sweeney offers the coin to Shadow, who thanks him. At the grave, Shadow offers it up and tosses the coin alongside his wife, hoping it will bring her some luck in the afterlife. If he only knew!

Shadow is visited by his wife that night, somehow risen from the dead through the power of that coin. It is then that Shadow realises that Wednesday is actually the reincarnation of the Norse god, Odin, which leads to the appearance of other 'washed up' gods. They all bemoan the same thing, that the world has turned its eyes from the true gods, choosing instead to focus on technology and shiny baubles. This symbolism reappears throughout the story, as things take more turns for Shadow and those he encounters.

Shadow is soon kidnapped by two men acting on behalf of these New Gods. He's rescued by his wife, who murders them as they sleep. Shadow is sure to be blamed for the killings, though he is careful not to leave any evidence that could be tied to him. Still, things are getting more and more complicated for Shadow, forcing him to wonder if this is all a dream or some altered state of reality. Shadow continues to follow the path laid out for him by Wednesday, settling for a time in Michigan, but always ready to be sent out on missions at the drop of a hat. The New Gods try numerous times again to lure Shadow to their side, promising him riches and excitement. Shadow continues to refuse, but does appear curious as to what might wait for him on the other side.

Through a series of events and happenings, Shadow learns that there is to be a battle between the New and Old Gods, the winner of which will be able to claim control over humanity. Shadow is to be a bystander, but has strong visions about what is to come and how he fits into everything. Shadow sees his place in the world and tries to ensure he does not tip the scale, while the War of the Gods takes place before him. The end result is sure to baffle many, but it will require the reader to take the plunge for themselves.

This was certainly not the type of book I would usually see myself reading, though I can admit that I thoroughly enjoyed it. There was a great deal going on throughout, which left me needing to pace myself, but the end result proved to be a well-crafted piece that opened my mind to many aspects of life I had not previously considered. With a handful of vignettes sandwiched between the chapters, the reader is treated to some additional subplots about America and how those who came saw it through their own eyes.

Shadow Moon would be the presumptive protagonist of this piece. He proves to do a stellar job at this, always evolving and developing as he makes his way through the piece. There is a great deal for the reader to learn about Shadow, from his compassionate ways through to his love of coin tricks. A man with little to call his own, Shadow comes into his own while trying to reveal his place in the world. Much of what he says and does makes him appear docile, but there is certainly a mean streak within him, one that makes itself known on occasion.

There are so many wonderful supporting charadfcters throughout this piece, it is hard to name a favourite. I thoroughly enjoyed some of the darker depictions that Gaiman creates, offering up villains when they were needed, but constrasting them with some light-hearted and more innocent folks at other times in the story. I felt a connection to many of them, on one level or another, but also enjoyed wartching them develop on their own. Each brought something impoirtant to the story without distracting from some of the larger themes or plots. I was eager to see how many of them blended together, keeping the story moving and on point.

Neil Gaiman's writing style is quite unique. It cobbles together a mixture of many forms, keeping the reader on their toes and never knowing what is to come. I enjoyed the meandering style of writing, as the story progressed, which left the door open for a great deal of interpretation. The banter and character dialogue was quite well done and left me wanting more as I never knew what was about to happen or how the interactions would influence the larger story. Long and detailed chapters left the story trudging along, while forcing the reader to stick it out and see how things would resolve themselves. Oddly enough, I did not want things to end, preferring to see where things were headed next and trying to guess what to expect in the next plot twist. I'd read another Gaiman novel for sure, though I may need some time to get myself ready for such an epic journey!

Kudos, Mr. Gaiman, for such a wonderful piece of writing. There was so much in here about which I need to reflect!

This book fulfils the November 2020 requirement of the Mind the Bookshelf Gap Reading Challenge.

Love/hate the review? An ever-growing collection of others appears at:
http://pecheyponderings.wordpress.com/

A Book for All Seasons, a different sort of Book Challenge: https://www.goodreads.com/group/show/...