I have previously talked about my interest in books that authors write after completing a masterpiece, and Anansi Boys fits that description. It is the semi-sequel to Gaiman’s 2001 novel American Gods, which won the Hugo Award for Best Novel and was adapted into a TV series. The African trickster god Anansi appears in that book, and Anansi Boys was written to further explore the character.
The book follows Fat Charlie Nancy, who learns two things after his father’s death: one, that his father was Anansi, and two, he has a long lost twin brother, Spider, who was sent away when they were both children. He is reunited with Spider, who has inherited their father’s godlike powers, but Spider very quickly starts taking over his life. Charlie takes matters into his own hands, and strikes a bargain to get rid of him that will have unforeseen consequences for them both.
Anansi Boys is a book of two distinct halves. The first is much more grounded, mostly taking place in the real world with the odd dash of magic here and there, while the second delves into fantasy, morphing into something darker and stranger. Though the first half wasn’t bad, I much preferred the second, since that’s the area where Gaiman really excels.
The storytelling is strong, and the reader quickly gets to know and like Fat Charlie (who’s not actually fat, only gaining that nickname through his father’s mischievousness). It’s much more of a comedy than most of Gaiman’s other work, which, seeing as it’s about Anansi, is appropriate. However, there are still scenes of his trademark creepiness, particularly involving a character called the Bird Woman, and a rich and satisfying depiction of myth.
It’s also notable for featuring predominantly black characters, which is less of a rarity in fantasy literature now than 2005, but still worth pointing out. Gaiman draws on Afro-Caribbean culture in many elements of the book, doing so in a way that is respectful rather than appropriative. As an author he has always been devoted to inclusiveness, and it’s good to see that principle extend to a whole book.
Where it falls short is in holding the reader’s interest in the early sections. While the setup is good, the book takes a while to find its feet, initially feeling as though it has a limited scope. However, once the story gets going, its as good as anything in Gaiman’s oeuvre.
Neil Gaiman has long been one of my favourite authors, but Anansi Boys has been the one book of his that had somehow slipped through the cracks. I’m glad to have finally remedied that. Like Murakami’s Tsukuru Tazaki, it’s a book written after a masterpiece that’s not the author’s best, but is a perfect example of their own specific tendencies. For Gaiman, this means that it has magic, gods, humour, horror, a welcoming spirit, and a compassionate and humane outlook. In the end, I enjoyed it a lot. It’s a fine example of everything he does best.
Review by Charlie Alcock
Anansi Boys is a book of two distinct halves. The first is much more grounded, mostly taking place in the real world with the odd dash of magic here and there, while the second delves into fantasy, morphing into something darker and stranger. Though the first half wasn’t bad, I much preferred the second, since that’s the area where Gaiman really excels.
The storytelling is strong, and the reader quickly gets to know and like Fat Charlie (who’s not actually fat, only gaining that nickname through his father’s mischievousness). It’s much more of a comedy than most of Gaiman’s other work, which, seeing as it’s about Anansi, is appropriate. However, there are still scenes of his trademark creepiness, particularly involving a character called the Bird Woman, and a rich and satisfying depiction of myth.
It’s also notable for featuring predominantly black characters, which is less of a rarity in fantasy literature now than 2005, but still worth pointing out. Gaiman draws on Afro-Caribbean culture in many elements of the book, doing so in a way that is respectful rather than appropriative. As an author he has always been devoted to inclusiveness, and it’s good to see that principle extend to a whole book.
Where it falls short is in holding the reader’s interest in the early sections. While the setup is good, the book takes a while to find its feet, initially feeling as though it has a limited scope. However, once the story gets going, its as good as anything in Gaiman’s oeuvre.
Neil Gaiman has long been one of my favourite authors, but Anansi Boys has been the one book of his that had somehow slipped through the cracks. I’m glad to have finally remedied that. Like Murakami’s Tsukuru Tazaki, it’s a book written after a masterpiece that’s not the author’s best, but is a perfect example of their own specific tendencies. For Gaiman, this means that it has magic, gods, humour, horror, a welcoming spirit, and a compassionate and humane outlook. In the end, I enjoyed it a lot. It’s a fine example of everything he does best.
Review by Charlie Alcock
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