American Gods

2001 novel by Neil Gaiman

This article is about the novel. For the television adaptation, see American Gods (TV series). For other uses, see List of Native American deities.

American Gods

Cover of first edition (hardcover)

Author| Neil Gaiman
Language| English
Genre| Fantasy
Publisher| William Morrow, Headline

Publication date

| 19 June 2001
Publication place| United Kingdom
Media type| Print (hardback & paperback)
Pages| 465
Awards| Hugo Award for Best Novel (2002), Locus Award for Best Fantasy Novel (2002), Nebula Award for Best Novel (2002)
ISBN| 0-380-97365-0
OCLC| 46393953

Dewey Decimal

| 813/.54 21
LC Class| PR6057.A319 A84 2001
Followed by| Anansi Boys

American Gods (2001) is a novel by British author Neil Gaiman. The novel is a blend of Americana, fantasy, and various strands of ancient and modern mythology, all centering on the mysterious and taciturn Shadow.

The book was published in 2001 by Headline in the United Kingdom and by William Morrow in the United States. It gained a positive critical response and won the 2002 Hugo and Nebula awards.[1]

A special tenth anniversary edition, which includes the "author's preferred text" and 12,000 additional words, was published in June 2011 by William Morrow. Two audio versions of the book were produced and published by Harper Audio: an unabridged version of the original published edition, read by George Guidall, released in 2001; a full cast audiobook version of the tenth anniversary edition, released in 2011. In March 2017, The Folio Society published a special collector's edition of American Gods, with many corrections to the author's preferred text version.[2]

In April 2017, Starz began airing a television adaptation of the novel. Bryan Fuller and Michael Green served as showrunners,[3] and Gaiman is an executive producer.[4] Fuller and Green departed the show after the first season.[5]

## Plot summary

[edit]

Shadow Moon is an ex-convict set to be released from prison. Just as he is released, he learns that his wife, Laura, has been killed in a car accident. Shadow is devastated by her death, and is distraught to learn that she died alongside his best friend Robbie, with whom she had been having an affair. As he was supposed to get a job from Robbie upon his release from prison, Shadow is out of luck and has to figure out what to do now. With nowhere to go, Shadow takes a job as a bodyguard for a mysterious con man, Mr. Wednesday, and travels with him across the United States. Shadow meets a leprechaun named Mad Sweeney, who gives Shadow a magical gold coin after Shadow beats him in a fight. Shadow later tosses the coin into Laura's grave at her funeral, inadvertently bringing her back from the dead as a revenant. Shadow meets Czernobog and the three Zorya Sisters. One of the sisters gives Shadow a silver coin, coming from the Moon, to protect him. Shadow learns that Wednesday is an incarnation of Odin the All-Father, and that he is recruiting American manifestations of the Old Gods, whose powers have waned as their believers have decreased in number, to participate in a battle against the New Gods – manifestations of what humanity now worships, such as technology, media, pop-culture, and modern means of transport. Shadow meets many of Wednesday's allies, including Mr. Nancy, Easter, Whiskey Jack, and John Chapman.

The New Gods henchmen, the Spooks, abduct Shadow; Laura rescues him, killing several Spooks in the process. Wednesday tells Shadow to hide with Mr. Ibis and Mr. Jacquel, who run a funeral parlor in Cairo, Illinois. Sweeney appears and asks Shadow to give back the coin, which holds all of Sweeney's power. Shadow admits that he no longer has the coin and Sweeney dies. His body is tended to by Ibis and Jacquel, who lament the loss of another Old God. On the way to the Wisconsin community of Lakeside, Shadow picks up the hitchhiker Samantha Black Crow and drops her off at her house. Once in Lakeside, Shadow hides under the alias "Mike Ainsel" and spends time with several Lakeside residents who all live simple but happy and prosperous lives. Wednesday periodically takes Shadow on jobs to meet other gods. They are pursued all the while by the Spooks, particularly Mr. Town, who blames Shadow for the death of his friends. When a teenager in Lakeside goes missing, Shadow helps the other residents search for her, to no avail. Shadow learns that children and teenagers often go missing from Lakeside. He is then arrested for breaking his parole, but escapes with help from Czernobog and Mr. Nancy.

The New Gods seek to parley with Wednesday, but murder him at the meeting. This act is witnessed by and galvanizes the Old Gods, and they rally to face their enemies in battle at Rock City. While retrieving Wednesday's body, Shadow is surprised to discover his old prison cellmate and mentor, Low Key Lyesmith, is working as a driver for the New Gods. Shadow is bound by his contract with Wednesday to hold his vigil by re-enacting Odin's time hanging from a "World Tree" while pierced by a spear for nine days. During these nine days, he is visited by Horus, who has become mad from living too long as a hawk. Shadow dies and visits the land of the dead, where he is judged by Anubis. Shadow learns that he is Wednesday's (Odin's) son, conceived as part of the deity's plans. During this time, Mr. Town arrives at the World Tree, ordered by Mr. World to cut a branch from it.

Horus finds Easter and convinces her to bring Shadow back to life. Shadow realizes Mr. World is actually Low Key (Loki) Lyesmith, and that Odin and Loki have been working a "two-man con". They orchestrated Shadow's birth, his meeting of Loki in disguise in prison, and Laura's death. Loki had arranged for Odin's murder, thus making the battle between the New and Old Gods a sacrifice to Odin, restoring Odin's power, while also allowing Loki to feed on the chaos of the battle.

Laura chooses to hitchhike to Rock City and meets Mr. Town, who does not realize who she is, and they agree to travel together. During their travels, Laura learns who Mr. Town is and, once they arrive at their destination, kills him and takes the branch he took from the World Tree. She meets with Loki and manages to stab him with the World Tree branch, which turns into a spear as she stabs.

Shadow arrives at Rock City and confronts Loki, now gravely wounded, and the ghost of Odin, who reveal their plans. Shadow travels to the site of the battle and explains that both sides have nothing to gain and everything to lose, with Odin and Loki as the only true winners. Shadow tells them the United States is a bad place for Gods, and he recommends they return to their original homelands. The gods depart, Loki dies, and Odin's ghost fades. Laura asks Shadow to take the coin from her, which he does, and she finally dies.

After resting with Mr. Nancy, Shadow remembers a dream where the Hindu god Ganesha told him to "look in the trunk". He returns to Lakeside and walks onto the thinning ice toward the car resting there. He picks the lock and opens the trunk to find the body of the missing teenager inside. He falls through the ice and, while trapped beneath, sees cars from past winters resting on the lake floor. Each one presumably has a child's body locked inside. Shadow is saved by Hinzelmann, who takes him to his house and treats him for hypothermia. Shadow realizes that Hinzelmann is a god and is also responsible for the children's kidnappings and deaths. Hinzelmann explains that he regretfully must take one child as a sacrifice each year in exchange for the town's prosperity. The townspeople are unaware of this and Hinzelmann's control of the town as he tries to sacrifice children that no one will greatly miss. Shadow thinks of killing Hinzelmann, but finds he cannot as Hinzelmann saved his life. However, Chad Mulligan overhears the conversation and shoots Hinzelmann, killing him. Shadow and Chad drive away, with Chad guilty to the point of suicide. Shadow concludes this is a fail-safe created by Hinzelmann so that whoever killed him would die soon after. Using magic, Shadow takes Chad's memory of overhearing Hinzelmann and the killing. He leaves Chad and Lakeside behind, understanding that the town's prosperity will likely wither away without Hinzelmann's protection.

In Iceland, Shadow meets another incarnation of Odin (created by the belief of the original settlers of Iceland), who is much closer than Wednesday to the Odin of mythology. Shadow accuses Odin of Wednesday's actions, but Odin retorts: "He was me, yes. But I am not him." He indicates that Wednesday was the part of him that went with his followers when they traveled to the new world and became corrupted as he was gradually forgotten. Shadow gives Wednesday's glass eye to Odin, which Odin places in a leather bag as a keepsake. Shadow performs a simple sleight-of-hand coin trick, which delights Odin, who asks for a repeat performance. Shadow then performs a small piece of real magic, pulling a golden coin from nowhere like Mad Sweeney did when they first met. He then flips the coin up into the air and walks away, wondering if the coin will ever come back down.

## Characters

[edit]

### Mortals

[edit]

* Shadow Moon – an ex-convict who becomes the reluctant bodyguard and errand boy of Mr. Wednesday (Odin).
* Laura Moon – Shadow's wife, who dies in a car crash at the beginning of the novel, a few days before Shadow is due to be released from prison.
* Samantha "Sam" Black Crow – a hitchhiking college student whom Shadow meets during his journey.
* Chad Mulligan – a kind-hearted chief of police in the town of Lakeside.

### Old Gods

[edit]

* Mr. Wednesday – an aspect of Odin, the Old Norse god of knowledge and wisdom.
* Low-Key Lyesmith – Loki, the Old Norse god of mischief and trickery. He was a close acquaintance of Shadow Moon whilst incarcerated.
* Czernobog – the Slavic god of darkness and twin brother to Belobog, the god of light.
* The Zorya Sisters – relatives of Czernobog, sisters who represent Dawn (Zorya Utrennyaya), Dusk (Zorya Vechernyaya), and the Midnight Star (Zorya Polunochnaya). In Slavic lore, they are servants of Dažbog who guard and watch over the doomsday hound, Simargl. Simargl is said to be chained to the star Polaris in the constellation Ursa Minor (the "Little Bear") and, according to legend, if the chain ever breaks the hound will devour the world.
* Mr. Nancy – Anansi, a trickster spider god from Ghanaian folklore. He often makes fun of people for their stupidity, a recurring aspect of his personality in his old stories.
* Mr. Ibis – Thoth, the Ancient Egyptian god of knowledge and writing. He runs a funeral parlor with Mr. Jacquel in Cairo, Illinois. He often writes short biographies of people who brought folkloric beings with them to the United States.
* Mr. Jacquel – Anubis, the Ancient Egyptian god of the dead and mummification. He is an expert at preparing bodies for the wake at funerals.
* Bast – Bastet, the Ancient Egyptian cat goddess. Often appears as a small house cat and heals Shadow's bruises and aches after he has been beaten.
* Horus – the Ancient Egyptian god of the sky.
* Easter – Ēostre, the Germanic goddess of the dawn.
* Mad Sweeney – Suibhne, a king from an old Irish story. Though not portrayed as such in his story, he calls himself a "Leprechaun" despite his description as being nearly 7-feet-tall. Sweeney is foul-mouthed and a frequent drinker.
* Whiskey Jack – Wisakedjak, a trickster figure of Algonquian mythology. He lives near a Lakota reservation in the badlands with John Chapman, where he is mistaken for Iktomi, a trickster of their culture.
* John Chapman – Johnny Appleseed, described as a "culture hero" rather than a god. He loathes Paul Bunyan (who he incorrectly describes as an advertising ploy) for diverting belief away from him.
* Elvis – Alvíss, a dwarf in Norse mythology. The King of the Dwarves, he is of average height for humans but has dwarfish proportions.
* Elegba and Great Mawu – The gods worshipped by those enslaved coming to America.
* Gwydion – Gwydion fab Dôn, a trickster god of Welsh mythology.
* Hinzelmann – Hinzelmann, a kobold who was formerly revered as a tribal god by ancient Germanic tribes. He protects the town of Lakeside in the guise of an old man.
* Bilquis – the ancient Queen of Sheba, who endures by absorbing her sexual partners, turning them into worshippers
* Mama-Ji – Kali, the Hindu goddess of time and destruction.
* The Jinn – an ifrit taxi-driver that swaps lives with an Omani businessman after a sexual encounter.
* The Land – a buffalo-headed man, the personification of the land as worshipped by Native Americans, who appears to Shadow in his dreams to give him guidance.
* Bearded man – A character similar to Jesus speaks to Shadow in a dream sequence while he is hanging from the world tree. Shadow states that, compared to the other old Gods, he still has a lot of influence. However, the bearded man worries that his teachings have been applied to everything, and as a result also apply to nothing. Gaiman has removed and replaced this section of the book numerous times.[6]
* The Elephant God – Ganesha, the Hindu god of new beginnings; appears to Shadow during the world tree dream sequences. Shadow eventually realizes Ganesha's role is to remove obstacles, and that his cryptic message to 'look in the trunk' is in fact a clue to the location of Alison McGovern's body.
* The Forgettable God – An unknown god whom Mr. Wednesday meets in Las Vegas along with Shadow, whose name slipped from Shadow's mind whenever Mr. Wednesday said it. He has a liking for Soma, a Vedic ritual drink. Gaiman has never confirmed the identity of this god.[7][8]

### New Gods

[edit]

* Technical Boy – New God of technology and the Internet, personified as an adult-sized fat child.
* Media – New Goddess of television and pop culture. She often communicates by hijacking whatever is showing on television, for example communicating with Shadow via Lucy Ricardo from I Love Lucy and the cast of Cheers.
* The Black Hats – Mister Road, Mister Town, Mister Wood, and Mister Stone represent beliefs in conspiracy theories, taking the form of men in black. They work as spooks for the New Gods.
* The Intangibles – New Gods of the modern stock market, they are a personification of the "Invisible hand of the market".
* Mr. World – leader of The Black Hats and the New God of globalization.
* Other New Gods mentioned include those of automobiles, locomotives, heavier-than-air flight, cosmetic surgery, and various drugs.

## Style and Setting

[edit]

### Genre

[edit]

Story elements in American Gods cause it to fall into many different genres that can be seen throughout the novel (Rata 109).[9] Firstly, American Gods falls into the fantasy genre. This genre is used to trick the reader by playing into their expectations for it. For example, the reader is led to believe that Wednesday is a wise old mentor figure for Shadow since that would be the role he would fit into in a normal fantasy novel. However, Wednesday betrays Shadow and the other gods in the hopes of gaining power (Carroll 318). [10]Additionally, through its form and content the book can be classified as an epic, Gaiman uses this genre to compare past literary takes on the gods to his postmodern one (Gorman 165).[11] The book is also considered an Americana since it is about America (Rata 109).[9] While simultaneously falling into the urban fantasy genre because of the importance it puts on the urban setting and landscape (Carroll 316/317).[10] Lastly, the book has parts that resemble gothic fiction, science fiction, detective fiction and horror, with the last two elements being present in the mystery of Lakeside that is unraveled near the end of the book (Rata 109-110).[9]

### Point of view

[edit]

The narration style in American Gods is omniscient third person point of view, with the narrator knowing and being able to describe everything that is going on. However, there are also two character narrators (Blomqvist 8).[12] These two narrators are Mr. Ibis and Wednesday, they are character narrators because they are both important characters in the texts that have moments where their work and comments take on an important narrative role in the book. For instance, Mr. Ibis’s Notebooks and narration of certain passages make him seem like a reliable narrator because of his ability to know the history of America and analyze it. On the other hand, while the readers are led to believe that Wednesday is an unreliable character because of his cons, he can lose his bias and become a reliable narrator. Wednesday is a character narrator through his comments that give insight into the world of American Gods, and the reader believes these comments because they learn of his role as the All-Father and the amount of time he has been in America watching its development (Blomqvist 8-9).[12] Moreover, while the point of view does follow Shadow, it is often interrupted with tales of other people, people who are not always a part of the told origins of America (Carroll 322).[13] Some of these tales are titled “Coming to America” and they tell the reader about some of the old gods' journeys to America through the beliefs of people (Gorman 166).[14] Including the tale of men bringing Odin to America through a sacrifice (Gaiman 38-40).[15]

Shadow’s point of view or attitude towards the events in the book changes as the book continues. In the beginning, when he meets Wednesday and is shown the world of the gods, Shadow's attitude is one of acceptance, with a lack of a will of his own (Blomqvist 10).[12] Yet, he still tries to do what he thinks is right (Hill 22).[16]At this point, Shadow has no place he can connect to, not even the town he lived in with his wife. But, his future trips with Wednesday provide hope for Shadow that he will be able to reconnect with America (Carroll 319).[13] Also, during Shadow’s adventures with Wednesday, he is strictly on the side of the old gods (Hill 23).[16] Eventually, Wednesday dies and Shadow is free to make his own decisions, however, he has trouble doing so after relying on Wednesday for so long (Blomqvist 11).[12] But, when Shadow dies on the World tree not only does he learn the truth about Wednesday but he also perceives the gods in a new light (Hill 23/24),[16] choosing to look at both sides as “dependent upon belief.” (Hill 24).[16] In the end, Shadow finds himself searching for his own will (Blomqvist 18),[12] while still unable to find a place to call home (Carroll 320).[13]

### References to well-known figures

[edit]

American Gods often reference other media and texts to symbolize America’s complicated culture (Rata 103)[17]. A recurring reference is to the historian Herodotus (Rata 110).[17] He was first mentioned in the book when his work is quoted with the line, ‘“Call no man happy,” said Shadow, “until he is dead.”’ (Gaiman 7).[18] Shadow quoted him because of the Herodotus, Histories book Loki gave him while they were in prison (Gaiman 7).[18] This same quote is mentioned several times throughout the novel, with the next time being said by Loki to Shadow when the old gods are collecting Wednesday’s corpse from the new gods (Gaiman 232).[18] Herodotus is last mentioned when Shadow quotes that same line again, wrapping it up by explaining the quote saying, ‘“It means that you can’t judge the shape of someone’s life until it’s over and done."' (Gaiman 284).[18] Besides quoting his works, Herodotus’s name was also mentioned when Shadow was talking to Sam and she mistakenly referred to Herodotus as “the father of lies” (Gaiman 91),[18] when in actuality that title goes to the Devil (Rata 110).[17] Apart from that conversation, the Bible was alluded to in several other instances throughout the book. Mainly in reference to the Devil and Jesus (Rata 110),[17] with Jesus’s name being mentioned many times in the novel. Furthermore, parts of Shadow’s journey are shown to parallel Jesus’s expedition. Such as the idea of a son getting sacrificed to his father (Rata 110),[17] which is further played out when Shadow gets resurrected after his sacrifice by Easter (Blomqvist 17).[19] While Jesus was not directly in the book he was in the appendix of the 10th anniversary version of the book in which he has a conversation with Shadow about the meaning of being a god (Gorman 175-176).[20]

### Important Locations

[edit]

* Under the Earth – Shadow would regularly have dreams where he visited a buffalo-headed man under the Earth, during these meetings the Buffalo-headed man would often give Shadow advice or reveal truths about America. Such as telling him to believe in everything (Gaiman 13/14),[21] or that America is not a good place for gods (Gaiman 130).[21] During one of his last meetings with Shadow, the Buffalo-headed man revealed that he was the land of America (Gaiman 286).[21]
* Hall of Forgotten Gods – One night Shadow had a dream where he was in a hall of forgotten gods (Gaiman 33),[21] a space filled with different statues of gods who are considered forgotten. The hall introduces the idea that the gods can die by being forgotten (Gaiman 34).[21] Shadow would again see this place as one of the possible paths that he chose not to take during his journey after his death (Gaiman 248).[21]
* Roadside attractions – In the novel, there are three important roadside attractions: the House on the Rock, the center of America, and Rock City on Lookout Mountain. A diorama in the House on the Rock where a drunk can see the ghosts that a priest can not exposes Shadow to the idea that persists throughout the novel, that the people who can see the reality of American culture are the ones who are outside of it (Blomqvist 12).[22] Then, the center of America is used as a neutral meeting place between the old and new gods when the old gods need to pick up Wednesday’s dead body (Gaiman 220/223).[21] The center of America shows how a place can have symbolism and meaning if people build it up to be (Blomqvist 13).[22] Lastly, Rock City and Lookout Mountain provide a gathering place for the old and new gods before they fight one another (Gaiman 253/256).[21]
* The House of the Dead – The House of the Dead run by Mr. Ibis and Mr. Jacquel, who are funeral directors, is a place that provides Shadow momentary safety and relief from the work he was doing with Wednesday (Gaiman 107/122). [21]
* Lakeside – The town in which Wednesday hides Shadow so the old gods will not find him (Gaiman 153).[21] The real-life geographical town of Lakeside has been widely debated, due to Gaiman having crafted an American town that everyone from readers to people in the book seems enamored by (Jeunesse 46).[23] Lakeside helps show the limits of faith in the book, by slowly showing the dark side of an American utopia till Shadow can no longer believe in it (Jeunesse 62).[23]
* The graveyard in Lakeside – In a Lakeside graveyard Shadow meets up with a decaying Laura (Gaiman 191).[21] During their meeting Laura explains that she cheated on Shadow because he felt hollow and numb, leading him to search for his own will (Blomqvist 15).[22]
* Tree of life – Once Wednesday died Shadow grieved him by holding his vigil (Gaiman 235).[21] By doing so Shadow was tied around the tree of life where he went mad and eventually died (Gaiman 241-243).[21] Allowing him to journey to the afterlife and be guided and tested by different gods. In doing so he gave up his name to Zorya Polunochnaya to learn the truth (Gaiman 244-245),[21] and then his heart to Bast for it to be judged (Gaiman 247).[21] The scales judging his heart balanced, allowing him to go to the afterlife of nothingness he chose (Gaiman 251).[21]
* Iceland – At the end of the novel Shadow takes a trip to Iceland. This trip represents Shadow’s newfound freedom because he no longer desires to define himself simply by a place (Carroll 319/324).[24]

## Influences

[edit]

The novel's dedication reads "for absent friends – Kathy Acker and Roger Zelazny and all points in between."[25]

Gaiman has discussed the origin point for American Gods as a novel, citing his experience as an immigrant in America in 1992, where he began to form the vague idea of the book in his mind. Additionally, while experiencing a layover in an airport in Reykjavik in 1998, Gaiman states that he thought “I wonder if they brought their gods with them, when they went to America?”[26]

The Discworld novel Small Gods explores a similar origin of deities (thoughtform). While Gaiman says that he did not read the book by Terry Pratchett, he thought they shared a worldview due to their same geographic origins and, more importantly, their daily phone conversations. He had also sought advice from Pratchett on resolving plot elements of American Gods.[27]

According to Gaiman, American Gods is not based on Diana Wynne Jones's 1975 novel Eight Days of Luke, "although they bear an odd relationship, like second cousins once removed or something." When working on the structure of a story linking gods and days of the week, he realised that this idea had already been used in Eight Days of Luke. He abandoned the story, but later used the idea when writing American Gods to depict Wednesday and Shadow meeting on the god's namesake day.[28]

Of John James' 1966 novel Votan, Gaiman stated: "I think probably the best book ever done about the Norse was a book that I couldn't allow myself to read between coming up with the idea of American Gods and finishing it. After it was published, I actually sat down and allowed myself to read it for the first time in 15 years, and discovered it was just as good as I thought it was."[29]

In his introduction to Fritz Leiber's The Knight and Knave of Swords, Gaiman acknowledges Leiber's portrayal of Odin and Loki had "definitely smudged into" and informed his take on the characters.[30]

## Writing and promotion

[edit]

> The fifteenth word of American Gods is "fuck", which is to help inform readers of a nervous disposition that they can stop reading there, or at least by the end of the extremely peculiar sex scene that closes Chapter 1.

Neil Gaiman, writing on Tumblr[31]

While Gaiman was writing American Gods, his publishers set up a promotional web site featuring a weblog in which Gaiman described the day-to-day process of writing, revising, publishing, and promoting the novel.[32] After the novel was published, the website evolved into a more general Official Neil Gaiman Web Site. As of 2021,[update] Gaiman sporadically adds to the weblog, describing the writing, revising, publishing, or promoting of his current projects; but tends to use social media like Tumblr[33] or Twitter[34] for more personal details or reader questions.

On 28 February 2008, Gaiman announced on his journal that for one month the complete text of American Gods would be available to the public on his publisher's website.[35]

## Reception

[edit]

The book won the 2002 Hugo, Nebula, Locus,[1] SFX and Bram Stoker Awards, all for Best Novel, and likewise received nominations for the 2001 BSFA Award,[36] as well as the 2002 World Fantasy,[1] International Horror Guild and Mythopoeic, and British Fantasy[1] awards. It won the 2003 Geffen Award. According to Book Marks, based on American publications, the book received "positive" reviews based on nine critic reviews, with two being "rave" and four being "positive" and two being "mixed" and one being "pan".[37]

In May 2010, American Gods was selected in an online poll to be the first "One Book One Twitter" book.[38] In 2014, when the television show adaptation was announced, author Abraham Riesman criticized the move as being a "bad idea", highlighting the aspects of the book that did not age well or were offensive to some cultures.[39] Beyond this, academics have claimed the work has ontological and epistemic implications,[40] and, as part of the body of Gaiman's work, explored the appropriative style.[41]

## Publishing history

[edit]

The book was published in 2001 by Headline in the United Kingdom and by William Morrow in the United States.

A special tenth anniversary edition, which includes the "author's preferred text" and 12,000 additional words, was published in June 2011 by William Morrow. The tenth anniversary text is identical to the signed and numbered limited edition released in 2003 by Hill House Publishers, and to the edition from Headline, Gaiman's publisher in the UK since 2005.[2] The tenth anniversary edition marked the first time the author's preferred text had been available in wide release outside the UK.[42]

Two audio versions of the book were produced and published by Harper Audio: an unabridged version of the original published edition, read by George Guidall, was released in 2001. A full cast audiobook version of the tenth anniversary edition, including the author's preferred text and 12,000 additional words, was released in 2011.

A comic book series, American Gods: Shadows, was published by Dark Horse Comics starting in March 2017.[43] A book of the same name, collecting issues 1 through 9 of the comic book series, was published by Dark Horse Books in February 2018.[44]

In March 2017, The Folio Society published a special collector's edition of American Gods, with many corrections to the author's preferred text version. Gaiman described this edition as 'the cleanest text there has ever been' of the novel.[2]

## In other media

[edit]

### Comics

[edit]

Main article: American Gods (Comic)

Dark Horse Comics publishes a series of comic books based on the novel.[45] The comic books were co written by Gaiman and P. Craig Russell. With art by Russell and Scott Hampton, among others.[44]

### Television

[edit]

Main article: American Gods (TV series)

Starz developed a television series from the novel with Bryan Fuller and Michael Green.[46] The series debuted in April 2017. At the end of season 1, Fuller stepped down as showrunner and was replaced by Jesse Alexander. The two had previously worked together on Star Trek: Discovery and Hannibal.[47]

### Music

[edit]

The power metal band Blind Guardian wrote a song titled "Secrets of the American Gods" based on the novel, on their 2022 album The God Machine.[48]

## Related works

[edit]

Gaiman's next novel, Anansi Boys (2005), was conceived before American Gods and shares a character, Mr. Nancy (Anansi, the spider god of African legend).

In an interview with MTV News published on 22 June 2011, Gaiman said that he had plans for a direct sequel to American Gods. Gaiman had plans for a sequel even while writing the first book and has said that he is likely to focus on the New Gods in the sequel.[49]

In addition to the planned sequel, Gaiman has written two short story sequels featuring Shadow Moon. "The Monarch of the Glen", a novella first published in the 2003 anthology Legends II, takes place in Scotland two years after American Gods. The second short story, "Black Dog", was collected in Gaiman's 2015 Trigger Warning. It takes place a year later in Derbyshire's Peak District.[50] In the introduction for Trigger Warnings Gaiman said that he had one final standalone story that would take Shadow to London before he returns to the US and the start of American Gods 2.

## Translations

[edit]

* Amerikāņu dievi (Latvian), ISBN 978-9934-0-2282-1
* Ameerika jumalad (Estonian), ISBN 9985-62-181-6
* Amerykańscy bogowie (Polish), ISBN 83-89004-10-0
* Zei Americani (Romanian), ISBN 973-733-070-6
* אלים אמריקאים (Elim Amerikaim) (Hebrew)
* American Gods (Italian), ISBN 88-04-52083-3
* Deuses Americanos (Portuguese), ISBN 85-87193-59-7
* Američtí bohové (Czech), ISBN 80-85911-98-1
* Americkí bohovia (Slovak), ISBN 978-80-556-0754-2
* Unohdetut jumalat ("Forgotten Gods") (Finnish), ISBN 951-1-18055-X
* Amerikai istenek (Hungarian), ISBN 9786155049705
* American Gods (Spanish), ISBN 84-8431-627-0
* Američki Bogovi (Croatian), ISBN 953-220-126-2
* Ameriški bogovi (Slovenian), ISBN 978-961-274-129-7
* Aмерички Богови (Serbian), ISBN 86-7436-039-4
* Американские Боги (Russian), ISBN 5-17-019844-2
* Amerikos dievai (Lithuanian), ISBN 9986-97-101-2
* Amerikan Tanrıları (Turkish), ISBN 978-975-10-1904-2
* American Gods (German), ISBN 3-453-40037-2
* Amerikanska gudar (Swedish), ISBN 91-37-12227-4
* Amerikanske guder (Norwegian), ISBN 978-82-93059-50-9
* Amerikanske guder (Danish), ISBN 978-87-71375-44-2
* 美國眾神 (Traditional Chinese), ISBN 978-986-7399-84-7, ISBN 9789863593492
* 美国众神 (Simplified Chinese), ISBN 978-753-6459-50-2, ISBN 978-7-5502-9714-2
* Ο Πόλεμος των Θεών (O Polemos ton Theon, "The War of the Gods") (Greek)
* American Gods (French), ISBN 978-2-290-33041-8
* Американски богове (Bulgarian), ISBN 954-585-519-3
* 신들의 전쟁 (상), 신들의 전쟁(하) (Korean), ISBN 978-89-6017-268-5, ISBN 978-89-6017-269-2
* Amerikaanse Goden (Dutch), ISBN 90-245-4261-8, ISBN 978-90-245-4261-1
* ამერიკელი ღმერთები (Georgian) ISBN 978-9941236631
* アメリカン・ゴッズ (Japanese), ISBN 978-4047916081, ISBN 978-4047916098
* Американские боги (Russian), ISBN 978-5170454716, ISBN 978-5971354659
* Американські боги (Ukrainian), ISBN 978-617-7498-66-6
* อเมริกัน ก็อดส์ (Thailand), ISBN 978-616-9187-39-4

## References

[edit]

1. ^ a b c d "2002 Award Winners & Nominees". Worlds Without End. Archived from the original on 20 April 2009. Retrieved 5 August 2009.
2. ^ a b c "American Gods: Is Nothing Sacred?". NeilGaiman.co.uk. Archived from the original on 9 May 2009. Retrieved on 13 June 2009.
3. ^ Shepherd, Jack (20 March 2017). "Neil Gaiman gives verdict on American Gods TV series". The Independent. London. Archived from the original on 25 April 2019. Retrieved 12 August 2017.
4. ^ Croll, Ben (12 June 2017). "Even Neil Gaiman Was Surprised by the Reaction to 'American Gods'". Variety. Archived from the original on 6 April 2019. Retrieved 12 August 2017.
5. ^ Patten, Dominic; Andreeva, Nellie (29 November 2017). "'American Gods': Michael Green & Bryan Fuller Exit As Showrunners of Starz Series". Deadline. Archived from the original on 30 November 2017. Retrieved 30 November 2017.
6. ^ Gaiman, Neil (2020). "Appendix A". In Klinger, Leslie S. (ed.). The Annotated American Gods. William Morrow. p. 611\. ISBN 9780062896261.
7. ^ Gaiman, Neil (22 October 2007). "Neil Gaiman's Journal: The Flowers of Romance". journal.neilgaiman.com. Retrieved 24 April 2023. "As for withholding information... before the Internet, I'd tell anyone anything they wanted to know. ('Who's the missing member of the Endless?' 'Destruction.' 'Oh.') After the Internet, I would try and avoid answering some direct questions because it might spoil things for people. 'Why did Delight become Delirium?' 'Who's the Forgotten God?' -- they're questions I would happily have answered for anyone who asked at a signing 20 years ago, because it wouldn't have gone any further, not in any way that mattered. Not any longer, because one day I may tell those stories. (If I knew for sure I wouldn't tell them, then I'd happily answer people now.)"
8. ^ Gaiman, Neil. "FAQs | Books, Short Stories, and Films". neilgaiman.com. Retrieved 24 April 2023.
9. ^ a b c Rata, Irina (2015). "The Role of Intertextuality in Neil Gaiman's American Gods". Cultural Intertexts. 3: 106–115.
10. ^ a b Carroll, Siobhan (1 January 2012). "Imagined Nation: Place and National Identity in Neil Gaiman's American Gods". Extrapolation. 53 (3): 307–326. doi:10.3828/extr.2012.17. ISSN 0014-5483.
11. ^ Gorman, Susan (15 October 2018). "Neil Gaiman's American Gods: A Postmodern Epic for America". Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature. 37 (1). ISSN 0146-9339.
12. ^ a b c d e Blomqvist, Rut (15 April 2012). "The Road of Our Senses: Search for Personal Meaning and the Limitations of Myth in Neil Gaiman's American Gods". Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature. 30 (3). ISSN 0146-9339.
13. ^ a b c Carroll, Siobhan (1 January 2012). "Imagined Nation: Place and National Identity in Neil Gaiman's American Gods". Extrapolation. 53 (3): 307–326. doi:10.3828/extr.2012.17. ISSN 0014-5483.
14. ^ Gorman, Susan (15 October 2018). "Neil Gaiman's American Gods: A Postmodern Epic for America". Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature. 37 (1). ISSN 0146-9339.
15. ^ Gaiman, Neil (2001). American Gods. William Morrow.
16. ^ a b c d Hill, Mark (August 10. 2005). "Neil Gaiman's American Gods: An Outsider's Critique of American Culture". Retrieved November 11, 2024. `{{cite web}}`: Check date values in: `|date=` (help)
17. ^ a b c d e Rata, Irina (2015). "The Role of Intertextuality in Neil Gaiman's American Gods". Cultural Intertexts. 3: 106–115.
18. ^ a b c d e Gaiman, Neil (2001). American Gods. William Morrow.
19. ^ Blomqvist, Rut (15 April 2012). "The Road of Our Senses: Search for Personal Meaning and the Limitations of Myth in Neil Gaiman's American Gods". Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature. 30 (3). ISSN 0146-9339.
20. ^ Gorman, Susan (15 October 2018). "Neil Gaiman's American Gods: A Postmodern Epic for America". Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature. 37 (1). ISSN 0146-9339.
21. ^ a b c d e f g h i j k l m n o p Gaiman, Neil (2001). American Gods. William Morrow.
22. ^ a b c Blomqvist, Rut (15 April 2012). "The Road of Our Senses: Search for Personal Meaning and the Limitations of Myth in Neil Gaiman's American Gods". Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature. 30 (3). ISSN 0146-9339.
23. ^ a b Jeunesse, Jake La (1 January 2016). "Locating Lakeside, Wisconsin: Neil Gaiman's American Gods and the American Small-town Utopia". Mythlore. 35 (1): 45–64.
24. ^ Carroll, Siobhan (1 January 2012). "Imagined Nation: Place and National Identity in Neil Gaiman's American Gods". Extrapolation. 53 (3): 307–326. doi:10.3828/extr.2012.17. ISSN 0014-5483.
25. ^ Dornemann, Rudi; Kelly Everding (Summer 2001). "Dreaming American Gods: an Interview With Neil Gaiman". Rain Taxi Online Edition. Rain Taxi, Inc. Archived from the original on 9 April 2015. Retrieved 28 September 2009.
26. ^ Gaiman, Neil (2 September 2011). "Week three: Neil Gaiman on writing American Gods". The Guardian. ISSN 0261-3077. Retrieved 13 November 2024.
27. ^ "Neil Gaiman Responds". Slashdot. 3 November 2003. Archived from the original on 19 February 2019. Retrieved 18 November 2018.
28. ^ Gaiman, Neil (25 September 2001). "Neil Gaiman – September 2001". Neil Gaiman's Journal. Archived from the original on 10 December 2006. Retrieved 3 January 2007.
29. ^ "Interview with Neil Gaiman". Shadow Writer. 2005. Archived from the original on 21 October 2016. Retrieved 18 November 2018.
30. ^ Gaiman, Neil The Knight and Knave of Swords: The Adventures of Fafhrd and the Gray Mouser ASIN: B001EBHEMG
31. ^ Gaiman, Neil. "Mr Gaiman, why do you mention breasts so much in". Retrieved 23 October 2021 - via Tumblr.
32. ^ Neil. "American Gods Blog, Post 2". Retrieved 19 September 2024.
33. ^ "Home". neil-gaiman.tumblr.com.
34. ^ "@neilhimself" on Twitter
35. ^ Gaiman, Neil (28 February 2008). "Kids! Free! Book!". Neil Gaiman's Journal. Archived from the original on 2 March 2008. Retrieved 29 February 2008.
36. ^ "2001 Award Winners & Nominees". Worlds Without End. Archived from the original on 22 July 2012. Retrieved 5 August 2009.
37. ^ "American Gods". Book Marks. Retrieved 16 January 2024.
38. ^ Flood, Alison (4 May 2010). "'One Book, One Twitter' launches worldwide book club with Neil Gaiman". The Guardian. Archived from the original on 2 June 2012. Retrieved 18 November 2018.
39. ^ Riesman, Abraham. "Why Adapting Neil Gaiman's American Gods for TV Is a Bad Idea". Vulture. Retrieved 24 March 2021.
40. ^ Blomqvist, Rut (2012). "'The Road of Our Senses: Search for Personal Meaning and the Limitations of Myth in Neil Gaiman's American Gods'". Mythlore. 30 (3/4 (117/118)): 5–26. JSTOR 26815498. Retrieved 20 May 2024.
41. ^ Smith, Clay. "Get Gaiman?: PolyMorpheus Perversity in Works by and about Neil Gaiman". ImageTxt: interdisciplinary Comics Studies.
42. ^ Gaiman, Neil (5 May 2011). "Neil Gaiman's Journal – May 2011". Neil Gaiman's Journal. Archived from the original on 24 June 2011. Retrieved 15 July 2011.
43. ^ Sava, Oliver (23 January 2017). "Neil Gaiman's American Gods comes to comics in this exclusive preview". A.V. Club. Archived from the original on 18 November 2018. Retrieved 18 November 2018.
44. ^ a b "American Gods Volume 1: Shadows HC". Dark Horse Comics. Archived from the original on 26 June 2020. Retrieved 18 November 2018.
45. ^ Nieves, Davey (23 January 2017). "INTERVIEW: P. Craig Russell on bringing American Gods from the page to the panel". The Beat. Retrieved 18 September 2024.
46. ^ Goldberg, Lesley (1 July 2014). "Starz, Bryan Fuller Board Neil Gaiman's 'American Gods'". The Hollywood Reporter. Archived from the original on 18 November 2018. Retrieved 18 November 2018.
47. ^ Petski, Denise (2 February 2018). "'American Gods' Hires New Showrunner For Season 2". Deadline Hollywood. Archived from the original on 5 November 2018. Retrieved 18 November 2018.
48. ^ "Blind Guardian Studio Report 3". Mark Miranovic. Archived from the original on 18 March 2022. Retrieved 20 May 2022.
49. ^ Marshall, Rick (22 June 2011). "Neil Gaiman Reflects On 'American Gods,' 10 Years Later". MTV News. Archived from the original on 14 June 2012. Retrieved 18 November 2018.
50. ^ Flood, Allison (1 September 2014). "Neil Gaiman brings American Gods back to life". The Guardian. London. Archived from the original on 25 February 2019. Retrieved 25 February 2019.

* Gaiman, Neil (1 March 2007). "More Mysteries of the Oracle". Neil Gaiman's Journal. Retrieved 3 January 2007.

## External links

[edit]

Wikiquote has quotations related to American Gods.

* The first five chapters of American Gods, released by HarperCollins Archived 1 April 2016 at the Wayback Machine
* "Only the gods are real", a listing of all the gods and mythical beings featured in American Gods
* "Full-length Commentary on American Gods". Archived from the original on 6 October 2011. Retrieved 10 August 2011.

* v
* t
* e

Neil Gaiman bibliography

Novels|

* Good Omens
* Neverwhere
* Stardust
* The Sandman: The Dream Hunters
* American Gods
* Coraline
* Anansi Boys
* InterWorld
* Odd and the Frost Giants
* The Graveyard Book
* The Silver Dream
* The Ocean at the End of the Lane
* Eternity's Wheel

Short story
collections|

* Angels and Visitations
* Smoke and Mirrors
* Fragile Things
* M Is for Magic
* A Little Gold Book of Ghastly Stuff
* Trigger Warning

Picture books|

* The Day I Swapped My Dad for Two Goldfish
* The Wolves in the Walls
* Blueberry Girl
* Crazy Hair

Short fiction|

* "Murder Mysteries"
* "We Can Get Them for You Wholesale"
* "Snow, Glass, Apples"
* "How to Talk to Girls at Parties"
* "A Study in Emerald"
* "I, Cthulhu"

Comic books and
graphic novels|

* Violent Cases
* Black Orchid
* character
* The Sandman
* Signal to Noise
* Marvelman
* The Books of Magic
* The Last Temptation
* Angela
* Death: The High Cost of Living
* The Tragical Comedy or Comical Tragedy of Mr. Punch
* Sandman Midnight Theatre
* Lady Justice
* Mr. Hero the Newmatic Man
* Death: The Time of Your Life
* Midnight Days
* "Green Lantern/Superman: Legend of the Green Flame"
* The Sandman: Endless Nights
* Marvel 1602
* Eternals
* "Batman: Whatever Happened to the Caped Crusader?"

Screenplays and
adaptations|

* Neverwhere
* Babylon 5
* "Day of the Dead"
* A Short Film About John Bolton
* MirrorMask
* Stardust
* Beowulf
* Coraline
* Doctor Who
* "The Doctor's Wife"
* "Nightmare in Silver"
* Lucifer (TV series)
* American Gods (TV series)
* How to Talk to Girls at Parties
* Good Omens (TV series)
* The Sandman (TV series)
* Dead Boy Detectives (TV series)
* Anansi Boys (TV series)

Miscellaneous|

* Ghastly Beyond Belief
* Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion
* The Sandman: Book of Dreams
* A Walking Tour of the Shambles
* Two Plays for Voices
* Kirby: King of Comics (introduction)
* Neverwhere (radio play)
* 8in8 (lyrics)
* Where's Neil When You Need Him?
* InterWorld series
* Neil Gaiman: Dream Dangerously
* Norse Mythology

Links to related articles

* v
* t
* e

Hugo Award for Best Novel

Retro|

* The Sword in the Stone by T. H. White (1939)
* Slan by A. E. van Vogt (1941)
* Beyond This Horizon by Anson MacDonald (1943)
* Conjure Wife by Fritz Leiber (1944)
* Shadow Over Mars by Leigh Brackett (1945)
* The Mule by Isaac Asimov (1946)
* Farmer in the Sky by Robert A. Heinlein (1951)
* Fahrenheit 451 by Ray Bradbury (1954)

1950s|

* The Demolished Man by Alfred Bester (1953)
* They'd Rather Be Right (aka: The Forever Machine) by Mark Clifton and Frank Riley (1955)
* Double Star by Robert A. Heinlein (1956)
* The Big Time by Fritz Leiber (1958)
* A Case of Conscience by James Blish (1959)

1960s|

* Starship Troopers by Robert A. Heinlein (1960)
* A Canticle for Leibowitz by Walter M. Miller, Jr. (1961)
* Stranger in a Strange Land by Robert A. Heinlein (1962)
* The Man in the High Castle by Philip K. Dick (1963)
* Here Gather the Stars (aka: Way Station) by Clifford D. Simak (1964)
* The Wanderer by Fritz Leiber (1965)
* Dune by Frank Herbert / ...And Call Me Conrad (aka: This Immortal) by Roger Zelazny (1966)
* The Moon Is a Harsh Mistress by Robert A. Heinlein (1967)
* Lord of Light by Roger Zelazny (1968)
* Stand on Zanzibar by John Brunner (1969)

1970s|

* The Left Hand of Darkness by Ursula K. Le Guin (1970)
* Ringworld by Larry Niven (1971)
* To Your Scattered Bodies Go by Philip José Farmer (1972)
* The Gods Themselves by Isaac Asimov (1973)
* Rendezvous with Rama by Arthur C. Clarke (1974)
* The Dispossessed by Ursula K. Le Guin (1975)
* The Forever War by Joe Haldeman (1976)
* Where Late the Sweet Birds Sang by Kate Wilhelm (1977)
* Gateway by Frederik Pohl (1978)
* Dreamsnake by Vonda N. McIntyre (1979)

1980s|

* The Fountains of Paradise by Arthur C. Clarke (1980)
* The Snow Queen by Joan D. Vinge (1981)
* Downbelow Station by C. J. Cherryh (1982)
* Foundation's Edge by Isaac Asimov (1983)
* Startide Rising by David Brin (1984)
* Neuromancer by William Gibson (1985)
* Ender's Game by Orson Scott Card (1986)
* Speaker for the Dead by Orson Scott Card (1987)
* The Uplift War by David Brin (1988)
* Cyteen by C. J. Cherryh (1989)

1990s|

* Hyperion by Dan Simmons (1990)
* The Vor Game by Lois McMaster Bujold (1991)
* Barrayar by Lois McMaster Bujold (1992)
* A Fire Upon the Deep by Vernor Vinge / Doomsday Book by Connie Willis (1993)
* Green Mars by Kim Stanley Robinson (1994)
* Mirror Dance by Lois McMaster Bujold (1995)
* The Diamond Age by Neal Stephenson (1996)
* Blue Mars by Kim Stanley Robinson (1997)
* Forever Peace by Joe Haldeman (1998)
* To Say Nothing of the Dog by Connie Willis (1999)

2000s|

* A Deepness in the Sky by Vernor Vinge (2000)
* Harry Potter and the Goblet of Fire by J. K. Rowling (2001)
* American Gods by Neil Gaiman (2002)
* Hominids by Robert J. Sawyer (2003)
* Paladin of Souls by Lois McMaster Bujold (2004)
* Jonathan Strange & Mr Norrell by Susanna Clarke (2005)
* Spin by Robert Charles Wilson (2006)
* Rainbows End by Vernor Vinge (2007)
* The Yiddish Policemen's Union by Michael Chabon (2008)
* The Graveyard Book by Neil Gaiman (2009)

2010s|

* The Windup Girl by Paolo Bacigalupi / The City & the City by China Miéville (2010)
* Blackout/All Clear by Connie Willis (2011)
* Among Others by Jo Walton (2012)
* Redshirts by John Scalzi (2013)
* Ancillary Justice by Ann Leckie (2014)
* The Three-Body Problem by Cixin Liu, translated by Ken Liu (2015)
* The Fifth Season by N. K. Jemisin (2016)
* The Obelisk Gate by N. K. Jemisin (2017)
* The Stone Sky by N. K. Jemisin (2018)
* The Calculating Stars by Mary Robinette Kowal (2019)

2020s|

* A Memory Called Empire by Arkady Martine (2020)
* Network Effect by Martha Wells (2021)
* A Desolation Called Peace by Arkady Martine (2022)
* Nettle & Bone by T. Kingfisher (2023)
* Some Desperate Glory by Emily Tesh (2024)

* v
* t
* e

Locus Award for Best Fantasy Novel

1970s and 1980s|

* The Silmarillion by J. R. R. Tolkien (1978)
* Harpist in the Wind by Patricia A. McKillip (1980)
* Lord Valentine's Castle by Robert Silverberg (1981)
* The Claw of the Conciliator by Gene Wolfe (1982)
* The Sword of the Lictor by Gene Wolfe (1983)
* The Mists of Avalon by Marion Zimmer Bradley (1984)
* Job: A Comedy of Justice by Robert A. Heinlein (1985)
* Trumps of Doom by Roger Zelazny (1986)
* Soldier of the Mist by Gene Wolfe (1987)
* Seventh Son by Orson Scott Card (1988)
* Red Prophet by Orson Scott Card (1989)

1990s|

* Prentice Alvin by Orson Scott Card (1990)
* Tehanu by Ursula K. Le Guin (1991)
* Beauty by Sheri S. Tepper (1992)
* Last Call by Tim Powers (1993)
* The Innkeeper's Song by Peter S. Beagle (1994)
* Brittle Innings by Michael Bishop (1995)
* Alvin Journeyman by Orson Scott Card (1996)
* A Game of Thrones by George R. R. Martin (1997)
* Earthquake Weather by Tim Powers (1998)
* A Clash of Kings by George R. R. Martin (1999)

2000s|

* Harry Potter and the Prisoner of Azkaban by J. K. Rowling (2000)
* A Storm of Swords by George R. R. Martin (2001)
* American Gods by Neil Gaiman (2002)
* The Scar by China Miéville (2003)
* Paladin of Souls by Lois McMaster Bujold (2004)
* Iron Council by China Miéville (2005)
* Anansi Boys by Neil Gaiman (2006)
* The Privilege of the Sword by Ellen Kushner (2007)
* Making Money by Terry Pratchett (2008)
* Lavinia by Ursula K. Le Guin (2009)

2010s|

* The City & the City by China Miéville (2010)
* Kraken by China Miéville (2011)
* A Dance with Dragons by George R. R. Martin (2012)
* The Apocalypse Codex by Charles Stross (2013)
* The Ocean at the End of the Lane by Neil Gaiman (2014)
* The Goblin Emperor by Katherine Addison (2015)
* Uprooted by Naomi Novik (2016)
* All the Birds in the Sky by Charlie Jane Anders (2017)
* The Stone Sky by N. K. Jemisin (2018)
* Spinning Silver by Naomi Novik (2019)

2020s|

* Middlegame by Seanan McGuire (2020)
* The City We Became by N. K. Jemisin (2021)
* Jade Legacy by Fonda Lee (2022)
* Babel, or the Necessity of Violence by R. F. Kuang (2023)
* Witch King by Martha Wells (2024)

* Best Novel (1971–1981)
* Best SF Novel (1980–present)
* Best Fantasy Novel (1978–present)
* Best First Novel (1981–present)
* Best Horror Novel (1989–1997, 1999, 2017–present)
* Best Young Adult Book (2003–present)
* Best Novella (1973–present)
* Best Novelette (1975–present)
* Best Short Story (1971–present)

* v
* t
* e

Nebula Award for Best Novel

1966–1980|

* Dune by Frank Herbert (1966)
* Babel-17 by Samuel R. Delany and Flowers for Algernon by Daniel Keyes (1967)
* The Einstein Intersection by Samuel R. Delany (1968)
* Rite of Passage by Alexei Panshin (1969)
* The Left Hand of Darkness by Ursula K. Le Guin (1970)
* Ringworld by Larry Niven (1971)
* A Time of Changes by Robert Silverberg (1972)
* The Gods Themselves by Isaac Asimov (1973)
* Rendezvous with Rama by Arthur C. Clarke (1974)
* The Dispossessed by Ursula K. Le Guin (1975)
* The Forever War by Joe Haldeman (1976)
* Man Plus by Frederik Pohl (1977)
* Gateway by Frederik Pohl (1978)
* Dreamsnake by Vonda N. McIntyre (1979)
* The Fountains of Paradise by Arthur C. Clarke (1980)

1981–2000|

* Timescape by Gregory Benford (1981)
* The Claw of the Conciliator by Gene Wolfe (1982)
* No Enemy But Time by Michael Bishop (1983)
* Startide Rising by David Brin (1984)
* Neuromancer by William Gibson (1985)
* Ender's Game by Orson Scott Card (1986)
* Speaker for the Dead by Orson Scott Card (1987)
* The Falling Woman by Pat Murphy (1988)
* Falling Free by Lois McMaster Bujold (1989)
* The Healer's War by Elizabeth Ann Scarborough (1990)
* Tehanu: The Last Book of Earthsea by Ursula K. Le Guin (1991)
* Stations of the Tide by Michael Swanwick (1992)
* Doomsday Book by Connie Willis (1993)
* Red Mars by Kim Stanley Robinson (1994)
* Moving Mars by Greg Bear (1995)
* The Terminal Experiment by Robert J. Sawyer (1996)
* Slow River by Nicola Griffith (1997)
* The Moon and the Sun by Vonda N. McIntyre (1998)
* Forever Peace by Joe Haldeman (1999)
* Parable of the Talents by Octavia E. Butler (2000)

2001–2020|

* Darwin's Radio by Greg Bear (2001)
* The Quantum Rose by Catherine Asaro (2002)
* American Gods by Neil Gaiman (2003)
* Speed of Dark by Elizabeth Moon (2004)
* Paladin of Souls by Lois McMaster Bujold (2005)
* Camouflage by Joe Haldeman (2006)
* Seeker by Jack McDevitt (2007)
* The Yiddish Policemen's Union by Michael Chabon (2008)
* Powers by Ursula K. Le Guin (2009)
* The Windup Girl by Paolo Bacigalupi (2010)
* Blackout/All Clear by Connie Willis (2011)
* Among Others by Jo Walton (2012)
* 2312 by Kim Stanley Robinson (2013)
* Ancillary Justice by Ann Leckie (2014)
* Annihilation by Jeff VanderMeer (2015)
* Uprooted by Naomi Novik (2016)
* All the Birds in the Sky by Charlie Jane Anders (2017)
* The Stone Sky by N. K. Jemisin (2018)
* The Calculating Stars by Mary Robinette Kowal (2019)
* A Song for a New Day by Sarah Pinsker (2020)

2021–present|

* Network Effect by Martha Wells (2021)
* A Master of Djinn by P. Djèlí Clark (2022)
* Babel, or the Necessity of Violence by R. F. Kuang (2023)
* The Saint of Bright Doors by Vajra Chandrasekera (2024)

List of joint winners of the Hugo and Nebula awards

* v
* t
* e

Bram Stoker Award for Best Novel

1987–2000|

* Misery by Stephen King and Swan Song by Robert R. McCammon (1987)
* The Silence of the Lambs by Thomas Harris (1988)
* Carrion Comfort by Dan Simmons (1989)
* Mine by Robert R. McCammon (1990)
* Boy's Life by Robert R. McCammon (1991)
* Blood of the Lamb by Thomas F. Monteleone (1992)
* The Throat by Peter Straub (1993)
* Dead in the Water by Nancy Holder (1994)
* Zombie by Joyce Carol Oates (1995)
* The Green Mile by Stephen King (1996)
* Children of the Dusk by Janet Berliner & George Guthridge (1997)
* Bag of Bones by Stephen King (1998)
* Mr. X by Peter Straub (1999)
* The Traveling Vampire Show by Richard Laymon (2000)

2000–2009|

* American Gods by Neil Gaiman (2001)
* The Night Class by Thomas Piccirilli (2002)
* Lost Boy, Lost Girl by Peter Straub (2003)
* In the Night Room by Peter Straub (2004)
* Dread in the Beast by Charlee Jacob and Creepers by David Morrell (2005)
* Lisey's Story by Stephen King (2006)
* The Missing by Sarah Langan (2007)
* Duma Key by Stephen King (2008)
* Audrey's Door by Sarah Langan (2009)
* A Dark Matter by Peter Straub (2010)

2011–2020|

* Flesh Eaters by Joe McKinney (2011)
* The Drowning Girl by Caitlín R. Kiernan (2012)
* Doctor Sleep by Stephen King (2013)
* Blood Kin by Steve Rasnic Tem (2014)
* A Head Full of Ghosts by Paul G. Tremblay (2015)
* The Fisherman by John Langan (2016)
* Ararat by Christopher Golden (2017)
* The Cabin at the End of the World by Paul G. Tremblay (2018)
* Coyote Rage by Owl Goingback (2019)
* The Only Good Indians by Stephen Graham Jones (2020)

2021-2030|

* My Heart Is a Chainsaw by Stephen Graham Jones (2021)
* The Devil Takes You Home by Gabino Iglesias (2022)
* The Reformatory by Tananarive Due (2023)

Authority control databases

International|

* VIAF

National|

* Germany
* Spain

Other|

* MusicBrainz work

*[OCLC]: Online Computer Library Center number
*[LC Class]: Library of Congress Classification
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