I think I would rather be a man than a god. We don’t need anyone to believe in us. We just keep going anyhow. It’s what we do.
American Gods is about 200,000 words long, and I'm sure there are words that are simply in there 'cause I like them. I know I couldn't justify each and every one of them.
People believe, thought Shadow. It's what people do. They believe, and then they do not take responsibility for their beliefs; they conjure things, and do not trust the conjuration. People populate the darkness; with ghost, with gods, with electrons, with tales. People imagine, and people believe; and it is that rock solid belief, that makes things happen.
As sure as water's wet and days are long and a friend will always disappoint you in the end.
I told you I would tell you my names. This is what they call me. I'm called Glad-of-War, Grim, Raider, and Third. I am One-Eyed. I am called Highest, and True-Guesser. I am Grimnir, and I am the Hooded One. I am All-Father, and I am Gondlir Wand-Bearer. I have as many names as there are winds, as many titles as there are ways to die. My ravens are Huginn and Muninn, Thought and Memory; my wolves are Freki and Geri; my horse is the gallows.
Call no man happy, said Shadow, until he is dead
What I say is, a town isn't a town without a bookstore. It may call itself a town, but unless it's got a bookstore it knows it's not fooling a soul.
I can believe things that are true and things that aren't true and I can believe things where nobody knows if they're true or not.
One describes a tale best by telling the tale. You see? The way one describes a story, to oneself or to the world, is by telling the story. It is a balancing act and it is a dream. The more accurate the map, the more it resembles the territory. The most accurate map possible would be the territory, and thus would be perfectly accurate and perfectly useless. The tale is the map that is the territory. You must remember this.
There are stories that are true, in which each individual's tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it to deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others' pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to.
This is the only country in the world, that worries about what it is. The rest of them know what they are. No one ever needs to go searching for the heart of Norway. Or looks for the soul of Mozambique. They know what they are.
Religions are, by definition, metaphors, after all: God is a dream, a hope, a woman, an ironist, a father, a city, a house of many rooms, a watchmaker who left his prize chronometer in the desert, someone who loves you - even, perhaps, against all evidence, a celestial being whose only interest is to make sure your football team, army, business, or marriage thrives, prospers, and triumphs over all opposition.
He was no longer scared of what tomorrow might bring because yesterday has brought it.
People populate the darkness; with ghosts, with gods, with electrons, with tales.
All we have to believe with is our senses, the tools we use to perceive the world: our sight, our touch, our memory. If they lie to us, then nothing can be trusted. And even if we do not believe, then still we cannot travel in any other way than the road our senses show us; and we must walk that road to the end.
I believe that anyone who claims to know what's going on will lie about the little things too.
The best thing—in Shadow's opinion, perhaps the only good thing—about being in prison was a feeling of relief. The feeling that he'd plunged as low as he could plunge and he'd hit bottom. He didn't worry that the man was going to get him, because the man had got him. He was no longer scared of what tomorrow might bring, because yesterday had brought it.
American Gods was designed to be if not open-ended, at least a trilogy kind of shape, so there's definitely one more book, probably another couple of books there to get written.
A life that is, like any other, unlike any other.
Chicago happened slowly, like a migraine. First they were driving through countryside, then, imperceptibly, the occasional town became a low suburban sprawl, and the sprawl became the city.
Gods die. And when they truly die they are unmourned and unremembered. Ideas are more difficult to kill than people, but they can be killed, in the end.
I believe that anyone who says that sex is overrated just hasn't done it properly.
Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
I would not describe myself as a political writer except in the sense that the personal is political, which is something that I do strongly believe. And in that sense American Gods is a very personal novel and a political novel. I was trying to describe the experience of coming to America as an immigrant, the experience of watching the way that America tends to eat other cultures.
Chicago happened slowly, like a migraine.
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