Aquest lloc utilitza galetes per a oferir els nostres serveis, millorar el desenvolupament, per a anàlisis i (si no has iniciat la sessió) per a publicitat. Utilitzant LibraryThing acceptes que has llegit i entès els nostres Termes de servei i política de privacitat. L'ús que facis del lloc i dels seus serveis està subjecte a aquestes polítiques i termes.
Shadow is a man with a past. But now he wants nothing more than to live a quiet life with his wife and stay out of trouble. Until he learns that she's been killed in a terrible accident. Flying home for the funeral, as a violent storm rocks the plane, a strange man in the seat next to him introduces himself. The man calls himself Mr. Wednesday, and he knows more about Shadow than is possible. He warns Shadow that a far bigger storm is coming. And from that moment on, nothing will ever he the same.… (més)
Usuari anònim: It's a great collection all around but the kicker is this collection includes a novella about Shadow a couple years after the events of American Gods
moonstormer: Fragile Things contains a short story with the same character as is in American Gods. Both are highly recommended.
klarusu: The same sense of unreality layered over a real-world setting, the same undercurrent of humour but this time it's the Devil that lands in Moscow
guyalice: Neil Gaiman was surprised to discover that the concept of Eight Days of Luke was very similar to what he had initially planned for the plot of American Gods. He dropped the day-theme to avoid too many similarities and gave props to Wynne Jones.
rockhopper_penguin: I read these two books one after another. It wasn't a deliberate decision, but the two did seem to work well together. The books visit a few of the same places, and it's interesting to note how differently they are portrayed in each.
Segon llibre de Neil Gaiman després de Neverwhere, i m'han quedat sensacions molt semblants. Què està bé? La construcció del món. Un món on els antics déus segueixen existint gràcies a la fe que se'ls professa, això porta a l'extinció d'alguns déus antics però també a la creació de déus nous com els Mitjans de Comunicació o els Cotxes.
En aquest món, les aventures de'n Sombra que és contractat pel misteriós Wednesday per a què l'ajudi en una feina indefinida que el portarà a l'enfrontament entre els vells déus i els nou, són pràcticament el de menys.
No és que l'argument no tingui sentit, però passen moltes coses al llibre que no hi tenen cap mena d'impacte i que la veritat no colen ni com a "viatge de creixement" per al protagonista que és un pobre nano que es passeja per la vida sense adonar-se de res. Tampoc l'excusa de dibuixar aquest món ocult acaba colant. La sensació sovint és que l'autor ha posat juntes escenes interessants amb personatges interessants i després inventar-se un fil que mínimanent les lligui. PEr acabar, el final és possiblement l'antíclimax més bèstia que m'he trobat des de fa molt temps.
Si us agarda molt la mitologia en general, podeu gaudir reconeixent els personatges amagats, però més enllà d'això, no ho proveu. ( )
This is a fantastic novel, as obsessed with the minutiae of life on the road as it is with a catalogue of doomed and half-forgotten deities. In the course of the protagonist Shadow's adventures as the bodyguard and fixer of the one-eyed Mr Wednesday, he visits a famous museum of junk and the motel at the centre of the US, as well as eating more sorts of good and bad diner food than one wants especially to think about.
Part of the joy of American Gods is that its inventions all find a place in a well-organised structure. The book runs as precisely as clockwork, but reads as smoothly as silk or warm chocolate.
Gaiman's stories are always overstuffed experiences, and ''American Gods'' has more than enough to earn its redemption, including a hero who deserves further adventures.
"American Gods" is a juicily original melding of archaic myth with the slangy, gritty, melancholy voice of one of America's great cultural inventions -- the hard-boiled detective; call it Wagnerian noir. The melting pot has produced stranger cocktails, but few that are as tasty.
Sadly, American Gods promises more than it delivers. The premise is brilliant; the execution is vague, pedestrian and deeply disappointing. It's not bad, but it's not nearly as good as it could be. There are wonderful moments, but they are few and far between. This should be a massive, complex story, a clash of the old world and the new, a real opportunity to examine what drives America and what it lacks. Instead, it is an enjoyable stroll across a big country, populated by an entertaining sequence of "spot the god" contests.
American Gods is easily Gaiman's most amusing and entertaining work since Good Omens, his brilliant collaboration with Terry Pratchett. Interestingly, there are some plot points in common between the two novels -- here is clearly a theme that Gaiman tackles with glee and aplomb. If his name is not a household word yet, this book could well be the one that lands him that status.
With brilliance, Gaiman has painted a portrait of the American, as well as of America itself, and, in so doing, created a tale worthy to be placed alongside the finest of American literature. He has presented a mirror whereby, perhaps, Americans can better understand themselves.
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
One question that has always intrigued me is what happens to demonic beings when immigrants move from their homelands. Irish-Americans remember the fairies, Norwegian-Americans the nisser, Greek-Americans the vryókolas, but only in relation to events remembered in the Old Country. When I once asked why such demons were not seen in America, my informants giggled confusedly and said, "They're scared to pass the ocean, it's too far," pointing out that Christ and the apostles never came to America.
—Richard Dorson, "A Theory For American Folklore," American Folklore and the Historian (University of Chicago Press, 1971)
CHAPTER ONE The boundaries of our country sir? Why sir, on the north we are bounded by the Aurora Borealis, on the east we are bounded by the rising sun, on the south we are bounded by the procession of the Equinoxes, and on the west by the Day of Judgement —The American Joe Miller's Jest Book
CHAPTER TWO They took her to the cemet'ry In a big ol' cadillac They took her to the cemet'ry But they did not bring her back. —old song
Dedicatòria
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
For absent friends—Kathy Acker and Roger Zelazny, and all points between
Primeres paraules
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
Shadow had done three years in prison.
Citacions
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives. "A town isn't a town without a bookstore. It may call itself a town, but without a bookstore it knows it's not fooling a soul."
When people came to America they brought us with them. They brought me, and Loki, and Thor, Anansi and the Lion-God, Leprechauns and Kobalds and Banshees, Kubera and Frau Holle and Ashtaroth, and they brought you. We rode here in their minds, and we took root. We travelled with the settlers to the new lands across the ocean. The land is vast. Soon enough, our people abandoned us, remembered us only as creatures of the old land, as things that had not come with them to the new. Our true believers passed on, or stopped believing, and we were left, lost and scared and dispossessed, only what little smidgens of worship or belief we could find. And to get by as best we could. 'So that's what we've done, gotten by, out on the edges of things, where no-one was watching us too closely.'
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.
All we have to believe with is our senses, the tools we use to perceive the world: our sight, our touch, our memory. If they lie to us, then nothing can be trusted. And even if we do not believe, then still we cannot travel in any other way than the road our senses show us; and we must walk that road to the end.
There's never been a true war that wasn't fought between two sets of people who were certain they were in the right. The really dangerous people believe they are doing whatever they are doing solely and only because it is without question the right thing to do. And that is what makes them dangerous.
* There is a secret that the casinos possess, a secret they hold and guard and prize, the holiest of their mysteries. For most people do not gamble to win money, after all, although that is what is advertised, sold, claimed, and dreamed. But that is merely the easy lie that gets them through the enormous, ever-open, welcoming doors. The secret is this: people gamble to lose money. They come to the casinos for the moment in which they feel alive, to ride the spinning wheel and turn with the cards and lose themselves, with the coins, in the slots. They may brag about the nights they won, the money they took from the casino, but they treasure, secretly treasure, the times they lost. It's a sacrifice, of sorts.
People imagine, and people believe: and it is that belief, that rock-solid belief, that makes things happen.
“Gods are great,” said Atsula, slowly, as if she were comprehending a great secret. “But the heart is greater. For it is from our hearts they come, and to our hearts they shall return…”
Darreres paraules
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
There are at least two different editions of this book. The original was published in 2001, and the tenth anniversary edition (Author's preferred text) was published in 2011. Please do not combine.
Editor de l'editorial
Informació del coneixement compartit en anglès.Modifica-la per localitzar-la a la teva llengua.
Shadow is a man with a past. But now he wants nothing more than to live a quiet life with his wife and stay out of trouble. Until he learns that she's been killed in a terrible accident. Flying home for the funeral, as a violent storm rocks the plane, a strange man in the seat next to him introduces himself. The man calls himself Mr. Wednesday, and he knows more about Shadow than is possible. He warns Shadow that a far bigger storm is coming. And from that moment on, nothing will ever he the same.
Google Books — S'està carregant…
(4.07)
Book Discussion: American Gods Chapters 14-18
14
En aquest món, les aventures de'n Sombra que és contractat pel misteriós Wednesday per a què l'ajudi en una feina indefinida que el portarà a l'enfrontament entre els vells déus i els nou, són pràcticament el de menys.
No és que l'argument no tingui sentit, però passen moltes coses al llibre que no hi tenen cap mena d'impacte i que la veritat no colen ni com a "viatge de creixement" per al protagonista que és un pobre nano que es passeja per la vida sense adonar-se de res. Tampoc l'excusa de dibuixar aquest món ocult acaba colant. La sensació sovint és que l'autor ha posat juntes escenes interessants amb personatges interessants i després inventar-se un fil que mínimanent les lligui. PEr acabar, el final és possiblement l'antíclimax més bèstia que m'he trobat des de fa molt temps.
Si us agarda molt la mitologia en general, podeu gaudir reconeixent els personatges amagats, però més enllà d'això, no ho proveu. (