The Barnes & Noble Review
In the introduction to his 1973 collection, Deathbird Stories, Harlan Ellison stated that "when belief in a god dies, the god dies," yielding, inevitably, to deities who reflect the character and obsessions of their respective eras. Twenty-eight years later, Neil Gaiman (Stardust, Neverwhere, the Sandman series) has co-opted this notion, using it as the basis for his ambitious, altogether brilliant new novel, American Gods.

Gaiman's hero is a troubled ex-convict named, appropriately, Shadow. When we first meet him, Shadow is serving a three-year sentence for aggravated assault. Just days before his parole takes effect, Shadow's wife, Laura, dies in a grotesque automobile accident. Alone and adrift, Shadow signs on as driver and bodyguard for an enigmatic grifter who calls himself, simply, Wednesday.

Wednesday, we learn, is a diminished, Americanized incarnation of the Norse god Odin. He is one of a vast pantheon of transplanted gods carried to the New World in the minds and hearts of the endless waves of immigrants. Like most of his fellow gods, Odin/Wednesday has been largely forgotten, replaced by the gods of television, technology, and other icons of a changing world. With Shadow's assistance, Wednesday takes steps to organize these displaced deities, to lead them in a war to the death with the gods of the new Millennium.

American Gods tells the story of that war, and of the hidden personal agendas that lie beneath it. It also tells the story of Shadow's discovery -- and gradual reclamation -- of his own divided soul. Part road novel, part bildungsroman, part revisionist mythology, the narrative ranges across the American landscape, from the magical roadside attraction called The House on the Rock to a Wisconsin town whose picture-perfect surface conceals an ancient, grisly secret. It also takes behind the scenes of the mundane, everyday world, and introduces a credible gallery of gods, demons, and ordinary humans, some of them living, some dead.

Like all such extravagant epics, American Gods is -- as Gaiman clearly acknowledges -- a vast, multi-colored metaphor that has much to say about our ongoing need for meaning and belief and about the astonishing creative power of the human imagination. The result is an elegant, important novel that illuminates our world -- and the various worlds that surround it -- with wit, style, and sympathetic intelligence, and stands as one of the benchmark achievements in a distinguished, constantly evolving career. (Bill Sheehan)

Bill Sheehan reviews horror, suspense, and science fiction for Cemetery Dance, The New York Review of Science Fiction, and other publications. His book-length critical study of the fiction of Peter Straub, At the Foot of the Story Tree, has been published by Subterranean Press.

Nothing short of an odyssey . . . Gaiman shows readers that wisdom can be found in all kinds of tales.

A crackerjack suspense yarn . . . juicily original . . . Wagnerian noir.

. . . By turns thoughtful, hilarious, disturbing, uplifting, horrifying and enjoyable — and sometimes all at once.

Neil Gaiman enters Stephen King territory . . . with American Gods.

Mystery, satire, sex, horror, poetic prose — American Gods uses all these to keep the reader turning the pages.
—The Washington Post

Saying Neil Gaiman is a writer is like saying Da Vinci dabbled in the arts.

With his latest novel, Gaiman has created an engrossing mythology already begging for new installments. In this fiercely imagined tale, gods from Norse and Native American folklore are fallen beings wandering the backwaters of America; made to exist by the faith of followers, they are quickly being replaced by modern idols. Shadow, the protagonist of this fantastical book, is a just-released convict who has been informed that his wife was killed in a car accident. On the way back to his hometown, he falls in with a mysterious man by the name of Wednesday, only to discover that Wednesday is not mortal. Distraught over his wife's death, Shadow feels he doesn't have much to lose when Wednesday offers to hire him, as a henchman of sorts, to help out in a fast-approaching war between the gods of ancient folklore and the gods of technology. With time running out, Shadow is sent bouncing across the Midwest through a series of confrontations during the inexorable buildup to the epic battle of the gods.
—Chris Barsanti

Shadow Moon, recently released from prison and dealing with his wife's death, accepts a job offer from the mysterious Mr. Wednesday. Together they travel across America gathering up Mr. Wednesday's creepy friends. Soon Shadow discovers this road trip involves the upcoming epic battle between the old gods of the immigrants and today's new gods credit cards, TV, and the Internet. He also experiences repeat visits from the reanimated corpse of his dead wife, Laura. Shadow's personal tale and the details of American small-town life are well developed compared with the not-well-defined plot. The focus shifts from the gods' Armageddon to Shadow's life, to subplots about secondary characters. The book has wit but is too busy and not very engaging and includes some graphic language, sex, and disturbing events. George Guidall's clear, well-articulated narration contributes to a positive listening experience. Fans will no doubt enjoy the subject matter and the mythic scope. Denise A. Garofalo, Mid-Hudson Lib. Syst., Poughkeepsie, NY Copyright 2001 Cahners Business Information.

An ex-convict is the wandering knight-errant who traverses the wasteland of Middle America, in this ambitious, gloriously funny, and oddly heartwarming latest from the popular fantasist (Stardust, 1999, etc.). Released from prison after serving a three-year term, Shadow is immediately rocked by the news that his beloved wife Laura has been killed in an automobile accident. While en route to Indiana for her funeral, Shadow meets an eccentric businessman who calls himself Wednesday (a dead giveaway if you're up to speed on your Norse mythology), and passively accepts the latter's offer of an imprecisely defined job. The story skillfully glides onto and off the plane of reality, as a series of mysterious encounters suggest to Shadow that he may not be in Indiana anymore—or indeed anywhere on Earth he recognizes. In dreams, he's visited by a grotesque figure with the head of a buffalo and the voice of a prophet—as well as by Laura's rather alarmingly corporeal ghost. Gaiman layers in a horde of other stories whose relationships to Shadow's adventures are only gradually made clear, while putting his sturdy protagonist through a succession of tests that echo those of Arthurian hero Sir Gawain bound by honor to surrender his life to the malevolent Green Knight, Orpheus braving the terrors of Hades to find and rescue the woman he loves, and numerous other archetypal figures out of folklore and legend. Only an ogre would reveal much more about this big novel's agreeably intricate plot. Suffice it to say that this is the book that answers the question: When people emigrate to America, what happens to the gods they leave behind? A magical mystery tour through the mythologies of allcultures, a unique and moving love story—and another winner for the phenomenally gifted, consummately reader-friendly Gaiman. Author tour

“American Gods manages to reinvent, and reassert, the enduring importance of fantastic literature itself in this late age of the world. Dark fun, and nourishing to the soul.” — Michael Chabon

“Provocative yet fun . . . Gaiman has applied his vast breadth of knowledge about all things mythological to a truly high concept.” — Entertainment Weekly

“Gaiman returns to the fertile killing ground that nourished The Sandman: that peculiarly American crossroads where pop culture intersects with religion, violence and death.” — Village Voice Literary Supplement

“Immensely rewarding . . . . Suffused with . . . powerful imagery and deftly painted characters . . . . A finely crafted novel of weight and significance [with] poetic descriptions, sharp-eyed criticism, and first-rate storytelling. There is much to enjoy, to admire, and to ponder in this unforgettable tale.” — Cleveland Plain Dealer

“Pointed, occasionally comic, often scary, consistently moving and provocative . . . . American Gods is strewn with secrets and magical visions.” — USA Today

“Mystery, satire, sex, horror, poetic prose-American Gods uses all these to keep the reader turning the pages.” — Washington Post

“Original, engrossing, and endlessly inventive.” — George R. R. Martin

American Gods is sexy, thrilling, dark, funny and poetic." — Teller, of Penn & Teller

"American Gods is like a fast run downhill through a maze -- both exhilarating and twisted." — Jane Lindskold, author of Changer and

Mystery, satire, sex, horror, poetic prose-American Gods uses all these to keep the reader turning the pages.

Gaiman returns to the fertile killing ground that nourished The Sandman: that peculiarly American crossroads where pop culture intersects with religion, violence and death.

American Gods manages to reinvent, and reassert, the enduring importance of fantastic literature itself in this late age of the world. Dark fun, and nourishing to the soul.

Immensely rewarding . . . . Suffused with . . . powerful imagery and deftly painted characters . . . . A finely crafted novel of weight and significance [with] poetic descriptions, sharp-eyed criticism, and first-rate storytelling. There is much to enjoy, to admire, and to ponder in this unforgettable tale.

Original, engrossing, and endlessly inventive.

Provocative yet fun . . . Gaiman has applied his vast breadth of knowledge about all things mythological to a truly high concept.

Pointed, occasionally comic, often scary, consistently moving and provocative . . . . American Gods is strewn with secrets and magical visions.

American Gods is sexy, thrilling, dark, funny and poetic."

"American Gods is like a fast run downhill through a maze — both exhilarating and twisted."

Pointed, occasionally comic, often scary, consistently moving and provocative . . . . American Gods is strewn with secrets and magical visions.

Mystery, satire, sex, horror, poetic prose-American Gods uses all these to keep the reader turning the pages.

Gaiman understands the shape of stories.

"Original, engrossing, and endlessly inventive; a picaresque journey across America where the travelers are even stranger than the roadside attractions."

American Gods is sexy, thrilling, dark, funny and poetic."