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Faith, reason and imagination
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The world of Neil Gaiman’s novel American Gods is a place where gods are brought into existence by the belief of humankind but also where they fade away into nothingness if that belief dies. All the deities from human myth and religion are able to exist, but only if there are people who are around who truly worship them. In the words of Wednesday, one of the gods of the story, “That’s what it’s like for my kind of people…we feed on belief, on prayers, on love” (Gaiman 225). In American Gods, Gaiman emphasizes America’s position as a place without any unique religious culture to call its own. Instead, it is country filled with the religions and myths of the many ethnic groups who carried their own culture with them when they arrived to the New World. American Gods is not just a novel about gods in America, however. This is also a story about how the gods reflect the best and worst attributes of American society. American Gods explores America’s lack of original religious traditions and analyzes the nature of religious belief in America.
The main portion of the book is about convict Shadow Moon. The story begins with Shadow learning that he will be released from prison early, but only because his wife Laura and best friend and employer, Robbie, have died in a car wreck. On the flight to his wife’s funeral, Shadow takes a very vaguely described job offered to him by a peculiar man named Wednesday. Events irreversibly take a turn toward the supernatural as Shadow realizes his boss is something more than human. As the story progresses, Shadow learns that he is actually working for Odin, an old god brought over by a group of Vikings in America’s distant past. He encounters many supernatural beings throughout his work for Odin and l...
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...aiman, Neil. American Gods: A Novel. 1rst Ed. New York: William Morrow, 2001. Print.
Gaiman, Neil. American Gods: Tenth Anniversary Edition (Author’s Preferred Text). Tenth anniversary Ed. New York: HarperCollins Publishers Inc., 2011. Nook.
Roncevic, Mirela, and Mark T. Bay. "American Gods (Book Review)." Library Journal 126.14 (2001): 153. Academic Search Premier. Web. 12 Feb. 2014.
Slabbert, Mathilda, and Leonie Viljoen. "Sustaining the Imaginative Life: Mythology and Fantasy in Neil Gaiman's American Gods." Literator 27.3 (2006): 135-155.Humanities International Complete. Web. 9 Feb. 2014.
“Thoth.” The Hutchinson Dictionary of World Mythology. Abingdon: Helicon Pub, 2005. EBook Collection (EBSCOhost). Web. 12 Feb. 2014.
Wagner, Hank, Christopher Golden, and Stephen Bissette. Prince of Stories: The Many Worlds of Neil Gaiman. New York: St. Martin's, 2009. Kindle.
Harris, Stephen L., and Gloria Platzner. Classical Mythology: Images and Insights. 2nd ed. Mountain View: Mayfield, 1995
As human beings, we are designed to belive in something. Although the belief in a higher power or religion is diverse, many theologies share common themes. “The Epic of Gilgamesh” and the Hebrew book of “Genesis” are seemingly polar opposites. Christianity, demonstrated in Genesis, is monotheistic, and the Hebrews base their faith on their relationship with God. On the other hand, Sumerian philosophy, found in Gilgamesh, is polytheistic, and the Sumerian people base their theology on fear. Ancient polytheistic literature forms an archetypical pattern of the mortals trying desperately to please the gods. A mortal’s entire existence rests in the hands of the sometimes childish gods. In spite of this, these two stories
Campbell, Joseph. The Masks of God: Creative Mythology. New York: The Viking Press, Inc., 1968.
Ancient world literature and early civilization stories are mostly centered on human’s relationship with higher beings. Ancient civilizations were extremely religious, holding the belief that their very lives were in the hands of their almighty god or goddess. This holds true for both the people of biblical times as well as those of the epic era. However, their stories have some differences according to cultural variation but the main structure, ideas, and themes are generally found correlative. It is hard to believe that one work did not affect the others. The first great heroic epic poem of Gilgamesh and the Old Testament are parts of two cultures that are hundreds of years apart. Whereas Gilgamesh is a myth and the book of Genesis is the basis of many religions, they both have notably similar accounts of symbols, motifs, meaningful events according to the relationship between the divine and humans in literature.
The myths which prove the contradictory behavior of the gods, acting as both benefactors and tormentors of man, can readily be explained when viewed in light of the prime directive for man, to worship the gods and not “overstep,” and the ensuing “Deus ex Mahina” which served to coerce man to fulfill his destiny as evidenced by the myths: “Pandora,” “Arachne, and “Odysseus.” Humankind and it’s range of vision over the gods beauty and power portrayed them to be benefactors but unseemingly it depicted their affliction towards humans.
Rosenburg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Third Edition. Chicago: NTC/Contemporary Publishing Group, Inc., 1999. Text.
Machen, Arthur. The Great God Pan and The Hill of Dreams. Mineola, New York: Dover Publications, Inc., 2006.
Rosenberg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Illinois: Passport Books, 1988.
Shadow, a released convict from the Midwest, and the protagonist in American Gods by Neil Gaiman, seems to stumble into the middle of a mysterious war between the gods of America. After being released from prison, Shadow is hired by Mr. Wednesday, as his bodyguard, and begins a journey into the realm of the gods, leading him to eventually uncover his true identity. Shadow soon began to meet many of the gods living throughout America. He learns of an impending battle from Mr. Wednesday, one where the old and new gods will fight for power. Shadow and Wednesday meet many gods from all corners of the United States who try to recruit them to help them fight the battle against other gods. Shadow is accompanied at times by his now-dead wife
A close examination of the way Zora Neal, the author of “How the Snake got its Poison,and “How the World was made” by Katharine Berry Judson. Both inflict the same style of writing as well as genre. In this case being Myths,this allows the author to go beyond the extremities and in both these excerpts they do it so swiftly.These two stories both use similar concepts of talking to a higher power being God in this case.
The protagonist, John, until the end of the story, discovers that the world he thought was full of gods was destroyed. Even more importantly, these so-called “gods” were humans from the past. John states, “Perhaps, in the old days , they ate knowledge too fast.” As humans make more advanced technology, they do not stop and think what the repercussions of their inventions might be.
With the use of the genealogical method, Asad discovers that terms such as myth and sacred are not only terms that find themselves intertwined in our understanding of the developments of religion, but also terms that constitute the “secular” and come to shape the political doctrine of secularism. Asad reveals that the definition of the term mythos held by poets came to be opposed by Sophists, who consequently generated a new understanding of the “supernatural” and “natural” world. Asad explains that poets once used mythos— meaning an inspiration from the gods— to authorize their speech, while Sophists opposed this godly authorization (27). Sophists countered the poets by stating that speech did not originate from a “supernatural” world but instead from humans who lived “in this world” (Asad 27).
Cicero , John Ross, and Horace McGregor. The Nature of the Gods. Penguin Classics, 1972. Print.
Rosenberg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Illinois: Passport Books, 1988.
Supernatural elements – religious figures and activities, ghosts, witches, and anthropomorphized animals among others – have been used throughout the history of literature from its origins in oral folktales to Shakespeare’s plays to Tolkien’s Lord of the Rings series. Throughout the history of literature, supernatural elements have been useful in developing themes that reflect the nature of humanity. Supernatural elements are often used to outline and comment on conflict and power struggles: both within the plot of the work and within society at the time of the work’s publication. These otherworldly components are also commonly used to adapt, expand upon, and make a work of literature more applicable to its settings. Supernatural elements also play a r...