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American Gods
Reviewed by Foo Sek Han

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The story starts out simple enough. A silent protagonist, Shadow, loses everything he has in the world. Released early from imprisonment for a stupid crime, we quickly learn that the reason for the early release lies in the death of Shadow's wife, Laura, and his best friend, who had promised him a job.

On his way home he keeps meeting an eccentric old gentleman in a number of strange chances, and he persists in offering him a job as his bodyguard. He calls himself Wednesday, and, like almost everyone in the story, knows more than he will tell and hides as many skeletons in his closet.

This is Neil Gaiman's American Gods: A novel based in the land of the free, but not "a good land for Gods".

The story's premise is set that every immigrant who enters America will bring his own beliefs along, and his belief - in turn, a God - will create a manifestation of that God to live amongst the people. It comes as no surprise that for every country that holds that worshipping symbol, some form of that effigy lives among the people there. America the melting pot of culture certainly holds every sect of the world, as can be seen from the number of diverse characters in the book - the Slavic dark-half Czernobog, the three Russian Zoryas, the African trickster ("Mr. Nancy"), a couple of Egyptian morticians, and even the Ifrit, a version of the Arabian Jinn which had been forsaken by the Muslims. (In contrast, a rather popular "god", referred to as the "lucky son of a virgin", has only one line dedicated to him.)

Because Gods tend to exist with the power of belief and worship, modern items of "worship" too emerge as Gods in their own way. The new Gods' crew include a well-dressed goddess speaking in clichés calling herself Media, the men in black called "The Agency", The technical boy (whom could be considered a caricature of Neo from "The Matrix", if the stereotypical "fat and antisocial" computer nerd is used in the movie), and the all-too-indispensable television, which makes soap opera characters peer out of the screen and do unthinkable things. In some way, the last one is ironic: For is not television the image of worship in uncountable homes, letting it influence our lives and experiences?

After Wednesday (whose name should be considered significant: Do check out the history behind the word to see his real identity) succeeds in hiring Shadow, he allows him to know the true agenda. There is going to be a war between the Old Gods and the New Gods. Wednesday realises the importance to strike now, for the New Gods, hating the old ones for occupying space, are slowly eradicating them one by one. As Shadow accompanies Wednesday in recruiting members, he discovers more about himself than he ever wanted to know. Even in his dreams a minotaur and various other Gods - forgotten ones - appear constantly, showing him without telling what is to be his destiny.

The book's strength lies in the protagonist, something which is often neglected in a number of popular fantasy and science fiction stories. Gaiman has taken good measures in maintaining Shadow's importance in the book, and makes sure that none of the other characters could eclipse him. While this may not seem apparent in the beginning chapters, Shadow's rediscovery of himself is enough proof that he is not an "everyman" character, or more insincerely, a Luke Skywalker. This is quite unlike Richard Mayhew, from Gaiman's previous novel "Neverwhere", where most of the other characters outshine the protagonist in grabbing the reader's interest.

Details have certainly been done in constructing the landscape of America, including a few holy places such as The Middle of the United States and The House on the Rock, showing - not without a wink - that not all places of worship are considered the holiest. The people of America are well-written about without Gaiman resorting fully to stereotypes.

Perhaps some of the best scenes of the novel are the interludes and dream sequences. These little anecdotes showcase the stories of certain less-popular folklores and their current versions - do try to read through the one detailing the Kobold, which is quite unlike what a modern novel's defnition (I somehow suspect WoTC has also its own definition, which is almost as different from the real legend).

One of American Gods' many great strengths lies in its ending - a good surprise, which let the readers heave the "oh, that's all right" sigh. There are also a number of hidden surprises waiting to enchant the reader who look out for them, and also to look for their meanings. A good read for everyone; try to detach from the usual sword-and-sorcery fare to try this - you won't regret it.

Rating: 4.5 fairies
Author: Neil Gaiman
Official Website: http://www.neilgaiman.com/
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