The great Norse myths, which have inspired so much of modern fiction, are dazzlingly retold by Neil Gaiman. Tales of dwarfs and frost giants, of treasure and magic, and of Asgard, home to the gods: Odin the all-father, highest and oldest of the Aesir; his mighty son Thor, whose hammer Mjollnir makes the mountain giants tremble; Loki, wily and handsome, reliably unreliable in his lusts; and Freya, who spurns those who seek to control her.
From the dawn of the world to the twilight of the gods, this is a vivid retelling of the Norse myths from the award-winning, bestselling Neil Gaiman.
Gaiman on kirjoittanut joukon norjalaiseen mytologiaan pohjautuvia tarinoita, joissa jumalat, jättiläiset, kääpiöt ynnä muut sankarit seikkailevat melko klassisissa myyttisissä merkeissä. Ihan käypäisiä tarinoita, ja tällaiselle norjalaista mytologiaa lähinnä pintapuolisesti tuntevalle nämä menevät ihan täydestä. Se tietenkin häiritsee, että kaikki nimet on survottu nykyenglannin 26 aakkosmerkin puitteisiin.
Entertaining, sometimes gruesome, sometimes funny and sometimes sad
4 stars
collection of stories about the gods of Asgard and the elves, dwarves and giants around them, book-ended by the Norse creation myth and the world-ending battle of Ragnarok. It’s a storytelling approach, not a scholarly description. And it’s not the shiny, techno-magical Asgard of Marvel’s Thor, or the ethereal Olympus we’ve come to think of with Greek myths. For all the magic and impossible feats that get tossed around, it’s still a gritty, harsh world with wars, murders, lust, deception and betrayal.
The stories are mostly separate, but a pattern emerges: not just when stories refer back to earlier events, but the slow transformation of Loki from the kind of trickster who steals Sif’s hair, tricks rival smiths into creating fantastic gifts, and generally outwits his opponents (while finding ways to embarrass the other gods if he can) to the kind of trickster who thinks it would be hilarious to …
collection of stories about the gods of Asgard and the elves, dwarves and giants around them, book-ended by the Norse creation myth and the world-ending battle of Ragnarok. It’s a storytelling approach, not a scholarly description. And it’s not the shiny, techno-magical Asgard of Marvel’s Thor, or the ethereal Olympus we’ve come to think of with Greek myths. For all the magic and impossible feats that get tossed around, it’s still a gritty, harsh world with wars, murders, lust, deception and betrayal.
The stories are mostly separate, but a pattern emerges: not just when stories refer back to earlier events, but the slow transformation of Loki from the kind of trickster who steals Sif’s hair, tricks rival smiths into creating fantastic gifts, and generally outwits his opponents (while finding ways to embarrass the other gods if he can) to the kind of trickster who thinks it would be hilarious to trick a blind man into killing his own brother.
In his introduction, Gaiman notes that we don’t actually have a thorough record of the stories. Like most myths, they were told and retold and changed through oral storytelling. The Norse didn’t write them down until well after Christianity had established itself in the region. And so there are a lot of figures who are mentioned in passing in one tale or another that we don’t really know much about.
And I realized that most of what I know of the mythology comes from modern works influenced by it. Comic books of course, not just Marvel’s Thor, but Vertigo’s Sandman and the manga and anime Ah! My Goddess. The Ring Cycle (by way of Bugs Bunny). Oddly enough, a lot of it by way of Neil Gaiman himself: Sandman, American Gods, Odd and the Frost Giants, probably a handful of short stories too.
