Listening to the Road

This week, I finished Neil Gaiman's novel, American Gods, which I decided to re-read after a recent conversation with a friend about some of my travel experiences out west. In particular, I was trying to describe the oddly discomfiting experience of driving east on I-80 through Wyoming. She mentioned a friend who'd had a similar experience once, and the conversation then shifted to Mr. Gaiman's book, in which the main character undergoes many peculiar adventures in a series of road trips. One of the novel's conceits is that roadside attractions in America often disguise places of ancient power, places where people feel compelled to stop without knowing why.

In my case, the drive through Wyoming, a harsh landscape with (to my Eastern eyes, anyway) remarkably few people, was punctuated by road signs referring to a place called Little America, which seemed to be the Western version of Stuckey's, those gift shops (famous for peanut brittle) one used to encounter off the interstate on trips to Florida. I couldn't quite make out what Little America was known for, though it seemed to be a kind of inn. It may have been a trick of the winter light or tired eyes, but all the signs I saw were a bit on the oafish side, as if the advertising agency had a strange sense of humor. I later read on someone's blog that Little America is known for ice cream, admittedly not a big draw in winter.

When at last I came up to Little America, it was on the opposite side of the road, and--as happened frequently on my trip across Wyoming--there wasn't a person in sight, just a sort of sprawling building. I hurried past it, but that wasn't the only time that day that I passed some small town or other and wondered, "Where are all the people?" Often, these tiny burgs had the look of ghost towns or movie sets, a phenomenon that persisted across much of Colorado and Kansas. I stayed on the road rather than spend the night in any of these places--so I actually had the opposite experience from the tourists in Mr. Gaiman's book.

I wasn't really sure re-reading American Gods would give me insight into my experience, but I was mildly curious to see what Mr. Gaiman made of the American road trip. It's been many years since I first read American Gods, and I didn't remember it well. As it turns out, the book I read this time was not even the same book, not entirely, since Mr. Gaiman put out a revised author's preferred edition some time ago, and that's the one the library had. I'm not even sure where the differences are, though the preface mentions that the preferred edition is longer than the original. The experience of revisiting a familiar book after a long period of time to find it utterly changed is compounded in this case by the fact that the text actually has changed. So, that's one thing.

I remembered American Gods as being offbeat and strange but humorous; this time I found it much less funny. When I first read it, I hadn't yet made a formal study of mythology but was interested in any story that incorporated mythological characters. Mythology is quite trendy these days, but when I first read the book there didn't seem to be that many people doing it, or doing it well; I found American Gods to be wildly imaginative and original. I still think that, though I am somewhat surprised not to have realized back then that the genre of the book isn't really fantasy but rather horror. It's one of those stories that are hard to categorize, and I believe it has won major awards in several categories, but still--it's a horror story more than it's anything else.

The novel is complex and sprawling, with a large number of characters, and Mr. Gaiman seems to be doing several things at once. The protagonist, a man named Shadow, becomes entangled in the plot of a character called Wednesday (actually a god) to round up all the old gods of culture and religion, living in American under assumed names and disguises, for an epic confrontation with the new gods of media and technology. His ostensible purpose is not his true one, and Shadow realizes this in time to foil Wednesday's ultimate design, though his own life has in the meantime completely unraveled--due, it turns out, to Wednesday's machinations.

Much is made in the novel about America being "a bad place for gods," which is not perhaps surprising, since most of the gods in the story are transplants from other cultures, arriving here in the minds and hearts of immigrants from those lands and trying to make a go of it on foreign soil. One implication seems to be that American culture is too shallow to support them, that Americans are too taken up by television, pop culture, and other diversions to give proper consideration to the sacred. While recognizing that pervasive materialism is a fact of American life (though not the only fact), I'm much less convinced this time around that most of these gods deserve any pity. Their main raison d'etre is a constant need for attention and adoration, which becomes the excuse for all kinds of bloody-mindedness and cruelty. If we're supposed to think it's a tragedy that they've been diminished, I must say I came away with the opposite feeling.

Shadow is a curious kind of a hero. Though he ostensibly saves the day by averting the war between the old gods and the new, he takes the ruin of his own life with much less bitterness than you might expect. It's not clear in the end that he himself is still human . . . he seems to have gone at least partially over to the other side. He solves the mystery of what has been happening over the years to the children who have disappeared from the small Wisconsin town he settles in and in the process reveals the crusty town father to be just another murderous divinity in disguise. After so much death and destruction at the hands of these folks, you might think Shadow would be delighted to get away from them for good, but it's not entirely clear that he feels that way. It's a bit like Chaucer's narrator disavowing, at the very end, all the bawdy stories he's repeated in The Canterbury Tales. You suspect him of being disingenuous.

The name "Shadow" could be taken as an indicator that the character, largely unconscious of what is happening around him in the beginning, is much less so by the end of the story. It might be going too far to say that he's an "Everyman," standing in for the average American consumer who lives in a shallow, material world and grows in consciousness by getting in touch with the ancient powers both around him and within him--but there are some indications that this is the point. It's less clear what Shadow has actually accomplished. There are many images of suffering and death in the book, and much gruesomeness, and it all seems rather gratuitous after a while. I finished the book with the feeling that I had something on the bottom of my shoe that needed to be scraped off.

Mr. Gaiman mentions some roadside attractions that are apparently quite real, though Little America isn't one of them. There is a scene in which some mysterious characters temporarily imprison Shadow in a cell until he is freed by his wife, who's been turned into a zombie (don't ask if you don't want to know). When he escapes, he realizes he's been on a train parked in a remote area. Coincidentally, I noticed a freight train out in the wilds of Wyoming, the only thing moving in the whole landscape aside from the vehicles on the interstate, and wondered where it was going in all that remoteness. It might have been the train to nowhere and would easily have fit into Mr. Gaiman's story. The bleakness that adheres to many of Mr. Gaiman's locales matched what I saw through my car window, though I suspect my experience might have been different under different circumstances. If I ever revisit that area, I may try a Native American blessing--maybe that would frame things differently.

Next time I'm trying to put my own travels in perspective, I'll have to remember not to turn to a horror story. Things are bad enough without that. I feel sure there are other narratives out there, other ways to look at the land that neither sugarcoat the past or excuse it but allow us to see it for itself. If Mr. Gaiman's book is a map of a certain kind of journey, I feel sure it's not the only one available. It certainly isn't one I want to take.