Until “American Gods” swept up most of the significant SF and horror writing awards in 2002, Neil Gaiman was known for his work on the DC comic series “Sandman”. He was writing for print all along. His online biography provides details for the curious.
The premise of “American Gods” is that the gods of all the peoples and cultures who came to America are still around, and that new gods like Media and Technology are rising. The story is that Mr. Wednesday – the Norse god Wotan – enlists recently released convict Shadow as his aide. Wednesday travels across America, meeting several old gods and trying to enlist them in a battle against the new gods.
The premise that the old gods are still active was explored by other SF writers, like Roger Zelazny, to whom the novel is dedicated. Zelazny explored the mythic gods of India in some of his fiction.
Because Gaiman is a good writer, he devotes himself to the story, and avoids the temptation of displaying his erudition through lecturing characters. He does however demonstrate considerable research into myth and folklore, and acute understanding of the importance of myth in culture.
He carries the story at a decent pace, although his continuing effort to get a dark and brooding atmosphere often carry the story into eddies and backwaters. His characters are unusual, bizarre, grandiose, larger than life. Even the human characters live on surface of the deep pools of an implied collective unconscious. The gods have many human attributes, but their needs and motives are mythic and their actions are wildly unpredictable.
The plot becomes cluttered with too many characters and too many subplots, which interferes with a clean climax and conclusion. Gaiman ends up having to keep writing past the natural end of the story to resolve loose ends.
This book deserved the genre awards it earned. It explores ideas – in this case cultural, sociological, psychological ideas – in an engaged and entertaining way.