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.
