Norse Mythology by Neil Gaiman

Introducing an immediate classic – master writer Neil Gaiman presents a dazzling version of the great Norse myths.
Neil Gaiman has actually long been motivated by ancient mythology in developing the fantastical realms of his fiction. Now he turns his attention back to the source, providing a bravura performance of the great northern tales.
In Norse Mythology, Gaiman remains true to the myths in imagining the major Norse pantheon: Odin, the greatest of the high, wise, daring, and cunning; Thor, Odin’s boy, extremely strong yet not the wisest of gods; and Loki– child of a giant– blood brother to Odin and a trickster and unsurpassable manipulator.
Gaiman styles these primeval stories into a novelistic arc that starts with the genesis of the famous nine worlds and explores the exploits of deities, dwarfs, and giants. As soon as, when Thor’s hammer is stolen, Thor needs to camouflage himself as a woman– hard with his beard and big appetite– to take it back. More poignant is the tale where the blood of Kvasir– the most sagacious of gods– is turned into a mead that instills drinkers with poetry. The work culminates in Ragnarok, the golden of the gods and renewal of a new time and individuals.
Through Gaiman’s deft and amusing prose emerge these gods with their fiercely competitive natures, their susceptibility to being duped and to fooling others, and their propensity to let passion spark their actions, making these long-ago myths breathe pungent life again.
” Who else however Neil Gaiman could end up being an accomplice of the gods, utilizing the sorcery of words to make their stories brand-new? The author of American Gods transforms Norse misconceptions into addictive reading for young and old, with high-wattage retellings that maintain the significant splendour of the Nordic universe however likewise turn it into a world that is up close and individual, loaded with antic wit and dark intrigue.”– Maria Tatar, chair, Program in Folklore and Mythology, Harvard University
” The interesting ancient tales in the Prose Edda and Poetic Edda have always required talented writers to revive them from century to century, and who better now than Neil Gailman to retell the tantalizing Norse misconceptions with fantastic gusto. Gaiman has such an extensive understanding of the conflicts of Odin, Thor, Loki, and other gods that he rejuvenates them through his imaginative representations. His analysis of major Norse myths will draw readers into an odd realm that will charm and baffle and result in a new appreciation of Norse folklore.”– Jack Zipes, editor of The Norton Anthology of Children’s Literature
In his intro to a reissue of the beloved kids’s traditional “D’Aulaires’ Book of Norse Myths,” the author Michael Chabon observes that “everything that is stunning, in the Norse world, is something that glints: sparks from calling hammers, stars, gold and gems, the Aurora borealis, tooled swords and helmets and armbands, fire, a lady’s hair, wine and mead in a golden cup.”
To evoke such austere appeal, Neil Gaiman’s “Norse Mythology” utilizes a style that can be, a minimum of at first, rather off-putting to an adult reader. Gaiman’s sentences appear so simple and plain that a person wonders if the book is in fact intended for 9-year-olds. At the same time, the author’s fondness for short paragraphs, a few of just a single sentence, includes an air of portentousness.
This combination of the faux-naif and the melodramatic is then further complicated by the diction of the gods. They speak a bit like comic-book superheroes: Thor is reminiscent of a slow-witted Hulk, while Loki– the charming trickster, the wry and handsome egotist– remembers the smart-alecky Ironman as played in movies by Robert Downey Jr. He is also, I presume, a partial self-portrait of Gaiman himself. After all, Loki– to estimate Chabon again– is the “god of the constantly making complex nature of plot, of storytelling itself.”
If not quite a storytelling god, Gaiman has actually certainly made himself its rock star. Just as Thomas Pynchon increasingly accepts privacy, so Gaiman has actually sought and cultivated popularity. Sternly handsome, he resembles a noir version of Paul McCartney. Fans and fans hold on his every word and tweet. At his talks and signings, the lines stretch out the door and around the block. Even this new book can be seen as promotion for an upcoming TV series based upon Gaiman’s “American Gods,” an unique suffused with Norse mythology.
At this moment, review-savvy readers are most likely expecting a snide termination of both book and author. In fact, in spite of the collection of its styles and the often annoying egregiousness of Gaiman’s star, “Norse Mythology” turns out to be a gripping, suspenseful and quite wonderful reworking of these popular tales. When you fall into the rhythm of its glinting prose, you will gladly read on and on, in thrall to Gaiman’s skillful storytelling.
Once upon a time, and perhaps still, these Northern misconceptions would be familiar to practically anyone who ever participated in grade school. The father-god Odin quits an eye to acquire wisdom. Two dwarfs forge Thor’s magnificent hammer, Mjollnir (although, because of Loki’s mischief, its deal with shows a little too short). We learn the origin of those three great opponents of the gods, the Midgard snake, Hel, the grotesque queen of the dead, and the gigantic wolf Fenrir.
There are slapstick interludes of Thor in drag amongst the giants or of consuming, running and consuming contests with opponents who aren’t rather exactly what they seem. A giant camouflaged as an eagle takes Idunn’s apples of immortality and the Aesir– as the residents of Valhalla are called– begin to age. Balder the gorgeous suffers his odd death, in addition to the promise of his ultimate resurrection. Gaiman relates all these splendidly and when quiet magnificence is needed, as in this description of a magic horn’s purpose, he provides:
” Odin provided the Gjallerhorn to Heimdall, watchman of the gods. On the day the Gjallerhorn is blown, it will wake the gods, no matter where they are, no matter how deeply they sleep.
” Heimdall will blow the Gjallerhorn only as soon as, at the end of all things, at Ragnarok.”
Reserving their exceptional powers, the Norse gods repeatedly discovered as just all too human, prey to covet, squabbling, lust and spitefulness. Gaiman views much of their behavior as basically low comedy:
” Loki, who plotted and prepared as quickly as other folk taken in and out, smiled at Thor’s anger and innocence. ‘Your hammer has been stolen by Thrym, lord of all the trolls,’ he stated. ‘I have actually convinced him to return it to you, however he demands a rate.’
” ‘Fair enough,’ said Thor. ‘What’s the price?’
” ‘Freya’s hand in marital relationship.’
” ‘He just desires her hand?’ asked Thor hopefully. She had 2 hands, after all, and might be convinced to give up among them without excessive of an argument. Tyr had, after all.”
Tyr’s right-hand man, we already know, was bitten off by Fenrir, an unavoidable sacrifice when the gods tricked the wolf into being bound– at least till Ragnarok, when the huge creature will lastly burst the dwarf-made silken ribbon that magically holds him. Already, the ravenous animal will have grown “bigger than the sun, bigger than the moon.” Because apocalyptic fight Loki– leading the forces of darkness– will attack “with fierceness and intelligence and glee.”
Neil Gaiman has actually long been inspired by ancient folklore in developing the fantastical worlds of his fiction. Now he turns his attention back to the source, providing a bravura rendition of the great northern tales.
In Norse Mythology, Gaiman fashions primeval stories into a novelistic arc that starts with the genesis of the famous 9 worlds; explores the exploits of the deities, dwarves, and giants; and culminates in Ragnarok, the twilight of the gods and the rebirth of a brand-new time and individuals.
Gaiman remains real to the myths while clearly reincarnating Odin, the highest of the high, smart, bold, and cunning; Thor, Odin’s kid, incredibly strong yet not the best of gods; and Loki, the kid of giants, a trickster and unsurpassable manipulator. From Gaiman’s deft and amusing prose emerges the gods with their increasingly competitive natures, their vulnerability to being duped and to deceive others, and their propensity to let enthusiasm spark their actions, making these long-ago misconceptions breathe pungent life once again.
Neil Gaiman read to a packed crowd from his brand-new book of stories, “Norse Mythology,” on Thursday night at Town Hall, and he had 15 tales to choose from. He selected one called “The Master Builder.”
The action begins as the Norse gods, stressed that their home in Asgard is vulnerable to alien attacks, debate ways to make its borders more safe and secure. “What do you propose?” one asks Odin, the most powerful of them all.
” A wall,” Odin reacts.
Mr. Gaiman’s comic timing was just right, however the truth is that he could have checked out essentially anything– unpublished juvenilia, the doodled notes in his margins, excerpts from his correspondence with his accountants– and the crowd would have reacted with the same raise-the-roof appreciation. With his 2.5 million Twitter followers, his work across genres and social media, and his abnormally close relationship with his fans, Mr. Gaiman exists in the center of a rare Venn diagram where very popular author meets famous personality fulfills cult figure.
” Norse Mythology” is a playful retelling of ancient northern stories about the production of the world and other pressing matters including Odin; Thor, the not-so-bright god with the hammer; and Loki, the god who makes all the trouble.
It’s of a piece with what Mr. Gaiman prefers to do: find something he believes is interesting and see where it leads him. His work shows his restless spirit, encompassing sci-fi, fantasy, fairy tales, children’s books, adult books, comics, movie scripts, short stories, essays and poetry. His best-known books consist of “Neverwhere,” a city fantasy about a location underneath London for those who fall through the cracks of the routine city; and the pleasantly scary “Coraline,” a kids’s book about a woman who stumbles upon what appears to be, however is not, an ideal alternative household.
Why these particular misconceptions and not, say, Greek ones? Mr. Gaiman, who was presented to the Norse tales through Marvel’s Mighty Thor comic books as a child in England in the 1960s, was drawn in, partly, by their problematic protagonists and satisfyingly dark worldview.
” Greek misconceptions are full of sex and peacocks,” he informed the audience. “There’s great deals of sitting outside and falling for your very own reflection. Nobody’s doing that in Norse mythology. You sit outside in the winter, you’re dead.”
His brand-new book starts with the start of the world and ends with its damage by ice and fire and darkness prior to hope is brought back, gingerly and tentatively, with the starts of a brand-new earth from the ruins of the old one. Its message appears appropriate recently.
” If there’s anything that a research study of history informs us, it’s that things get can become worse, as well as that when individuals thought they were in end times, they weren’t,” Mr. Gaiman said in an interview this winter. Worn black, the only color he ever wears, he had dropped in his publisher’s workplace in New York in the middle of some excessive, multicontinental logistical arrangements ending with, “and after that we’re going to Australia for a couple of months.”
Mr. Gaiman, 56, stated he approached the misconceptions as an artist may do if recording cover variations of 1950s folk songs, or as the comics do with the central joke in the film “The Aristocrats.” The fundamental story exists, but how you handle the information depends on you.
So he consisted of feelings, motivations, snappy discussion, sly Gaimanian flourishes. He beautified the roles of the goddesses, who are traditionally improperly treated by the sexist gods however who defend themselves in his informing. (” What sort of individual do you think I am?” the goddess Freya asks, when she hears about a dubious deal to wed her off to a troll.).
In the intro to this collection of his own retelling of the tales, Neil Gaiman thinks back about very first experiencing the Asgardian pantheon, as a young boy, in the Thor comic created by Stan Lee and Jack Kirby for Marvel in the 1960s. This inspired him to look for the initial myths for himself and triggered a life-long love that has actually manifested more than once in his fiction. Odin, Thor and particularly Loki have functions in Sandman, Gaiman’s celebrated 1990s graphic-novel series. More notably, Odin and Loki, in the guise of Mr Wednesday and Low-Key Lyesmith, are main to his 2001 unique American Gods, where incarnations of ancient divine beings encounter modern-day, freshly developed ones, with the United States as their battleground.
Norse Mythology would seem to be an attempt to pay back a financial obligation– and simply have some enjoyable– by setting down the myths in his own genial, laconic design. Gaiman deals with the Norse pantheon much as the ancient tellers of the legends appeared to do: as never-ceasing beings with mortal characteristics, overstated versions of people one might fulfill in everyday life who just take place to participate in outlandish experiences and have superhuman qualities such as incredible strength and the capability to shape-shift.
Understatement is whatever here, Gaiman anchoring the fantastical with drollness. In “Freya’s Unusual Wedding”, for example, Thor disguises himself as blushing bride to the troll Thrym in order to recover his taken hammer Mjöllnir and, when he has the weapon in his hands, wreaks lethal havoc. “All the giants and ogres fell below Thor’s hammer: the visitors at the wedding event that was never to be,” Gaiman tells us. “Even Thrym’s sibling, who received a bridal gift she had actually not been expecting.”
The dialogue is as sharp and salty as the North Atlantic, while the descriptive passages are as honed and pellucid as ice-sculptures. Thus, in a single, strongly accurate line, does Gaiman conjure a frosty mountaintop scene: “The first snows of winter had fallen on the ice that had not melted from the winter prior to.”
Loki is obviously his preferred character. He gets the best quips and is the topic of the wryest authorial asides (“That was the important things about Loki. You resented him even when you were at your most grateful, and you were grateful to him even when you hated him the most.”). Thor, who features nearly as plainly, is portrayed as well-intentioned, brutish and lusty, a far cry from the noble, blond-tressed, chisel-chinned Marvel superhero the young Gaiman found so entrancing. But Loki– crafty, handsome, a changeling and a trickster– is the common thread running through the tales and, undoubtedly, their linchpin. Most of the time his deceit is what sets a plot in motion, and ultimately it is he who produces the gods’ failure by means of the apocalyptic occasions of Ragnarök.
The problem Gaiman can not quite fix is one that’s endemic to the initial myths: how Loki goes from naughty nuisance to Satanic provocateur of the End Times. There isn’t a clear arc, and no quantity of nifty authorial footwork can persuade us that Loki has actually nursed an animosity because the beginning and that the cumulative insults and indignities gone to upon him have actually boiled sourly within his breast until spite becomes homicidal vengefulness.
But then the misconceptions themselves shun consistency and reliability. They are about gods who act in a relatably contrary manner, and at the same time they savor bombast and flights of unreasonable imagination, whether it is Naglfar the Death Ship, made from the fingernails of the dead, or the dimensions of Valhalla, the hall of fallen heroes that boasts 540 doors, each broad sufficient for 800 warriors to go into side by side.
In reinterpreting the tales so consistently and with such plentiful delight, Gaiman assumes the role of fireside bard, inviting us to sit close on a chilly winter’s night and chuckle and marvel along with him.

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