Product Description

Fat Charlie Nancy's normal life ended the moment his father dropped dead on a Florida karaoke stage. Charlie didn't know his dad was a god. And he never knew he had a brother.

Now brother Spider's on his doorstep—about to make Fat Charlie's life more interesting . . . and a lot more dangerous.

Product Details

• Amazon Sales Rank: #8235 in Books
• Published on: 2006-10-01
• Released on: 2006-09-26
• Original language: English
• Number of items: 1
• Binding: Mass Market Paperback
• 416 pages

Features

• ISBN13: 9780060515195
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.

From Publishers Weekly
Starred Review. If readers found the Sandman series creator's last novel, American Gods, hard to classify, they will be equally nonplussed—and equally entertained—by this brilliant mingling of the mundane and the fantastic. "Fat Charlie" Nancy leads a life of comfortable workaholism in London, with a stressful agenting job he doesn't much like, and a pleasant fiancée, Rosie. When Charlie learns of the death of his estranged father in Florida, he attends the funeral and learns two facts that turn his well-ordered existence upside-down: that his father was a human form of Anansi, the African trickster god, and that he has a brother, Spider, who has inherited some of their father's godlike abilities. Spider comes to visit Charlie and gets him fired from his job, steals his fiancée, and is instrumental in having him arrested for embezzlement and suspected of murder. When Charlie resorts to magic to get rid of Spider, who's selfish and unthinking rather than evil, things begin to go very badly for just about everyone. Other characters—including Charlie's malevolent boss, Grahame Coats ("an albino ferret in an expensive suit"), witches, police and some of the folk from American Gods—are expertly woven into Gaiman's rich myth, which plays off the African folk tales in which Anansi stars. But it's Gaiman's focus on Charlie and Charlie's attempts to return to normalcy that make the story so winning—along with gleeful, hurtling prose.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–Charles Fat Charlie Nancy leads a normal, boring existence in London. However, when he calls the U.S. to invite his estranged father to his wedding, he learns that the man just died. After jetting off to Florida for the funeral, Charlie not only discovers a brother he didn't know he had, but also learns that his father was the West African trickster god, Anansi. Charlie's brother, who possesses his own magical powers, later visits him at home and spins Charlie's life out of control, getting him fired, sleeping with his fiancée, and even getting him arrested for a white-collar crime. Charlie fights back with assistance from other gods, and that's when the real trouble begins. They lead the brothers into adventures that are at times scary or downright hysterical. At first Charlie is overwhelmed by this new world, but he is Anansi's son and shows just as much flair for trickery as his brother. With its quirky, inventive fantasy, this is a real treat for Gaiman's fans. Here, he writes with a fuller sense of character. Focusing on a smaller cast gives him the room to breathe life into these figures. Anansi is also a story about fathers, sons, and brothers and how difficult it can be to get along even when they are so similar. Darkly funny and heartwarming to the end, this book is an addictive read not easily forgotten.–Matthew L. Moffett, Northern Virginia Community College, Annandale
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The Washington Post
With Anansi Boys, Neil Gaiman's delightful, funny and affecting new novel, the bestselling author has scored the literary equivalent of a hole in one, employing the kind of self-assured storytelling that makes it all look so easy. One can imagine Gaiman's legion of fans putting down the book and rushing en masse to pen their own riffs on traditional folklore and contemporary pop culture. But it's hard to imagine anyone topping Anansi Boys, if only because it's a tall tale to end all tall tales, inspired by the trickiest of all trickster gods, Anansi the Spider, whose origins lie in Ghana.

Tales of the West African deity traveled with slaves to North America, where the clever spider became the anthropomorphic figure known as Aunt Nancy, Anancy, or Bre'r Ananse (a counterpart to Bre'r Rabbit, another African American trickster). In Gaiman's last full-length novel, American Gods, Anansi made an appearance as the (mostly) human Mr. Nancy. In Anansi Boys, Mr. Nancy cedes center stage to his sons, Fat Charlie and Spider. As the novel's catchphrase puts it, "God is dead. Meet the kids."

Only Anansi isn't exactly God; he's a god, sort of the god next door: "In the old stories, Anansi lives just like you do or I do, in his house. He is greedy, of course, and lustful, and tricky, and full of lies. And he is good-hearted, and lucky, and sometimes even honest. Sometimes he is good, sometimes he is bad. He is never evil. Mostly, you are on Anansi's side. This is because Anansi owns all the stories." Anansi isn't exactly dead, either, though it's true that Fat Charlie's troubles begin when he attends his estranged father's burial. Fat Charlie "was only ever fat for a handful of years. . . . But the name Fat Charlie clung to him, like chewing gum to the sole of a tennis shoe." He grew up in Florida but now lives in London, where he is engaged to a nice girl named Rosie, who won't sleep with him until after they're married. He works for the loathsome, weaselly Grahame Coats, a talent agent who for years has been fleecing his clients, including the delectable Maeve Livingstone, widow of Morris Livingstone, "once the most famous short Yorkshire comedian in Britain."

Fat Charlie's pre-marital and career woes work in tandem with his chronic insecurity and a constant, slow-burning sense of embarrassment, guaranteeing that nothing very exciting will ever happen to him -- until, that is, he goes to Florida for Mr. Nancy's funeral.

Afterwards, Charlie visits some family friends, four little old ladies who just happen to be witches. The most formidable of these is Mrs. Dunwiddy: "As a boy, Fat Charlie had imagined Mrs. Dunwiddy in Equatorial Africa, peering disapprovingly through her thick spectacles at the newly-erect hominids. 'Keep out of my front yard,' she would tell a recently evolved and rather nervous specimen of Homo habilis, 'or I going to belt you around your ear-hole, I tell you.' "

There's also Mrs. Higgler, who tells Fat Charlie that his father was a god.

" 'He was not a god. He was my dad.'

" 'You can be both,' she said. 'It happens.' "

And Mrs. Higgler informs Fat Charlie that, if he wants to see the brother he never knew he had, all he has to do is tell a spider. Charlie, who obviously never learned that it is extremely unwise to scoff at witchy old ladies, returns to London and rescues a spider from his bathtub. Perhaps it was the devil in him. Probably it was the alcohol. " 'If you see my brother,' said Fat Charlie to the spider, 'tell him he ought to come by and say hello.' " And of course, his brother -- nicknamed Spider -- does just that.

Spider is everything Charlie is not: lucky, debonair, smoothly confident, possessed of their father's silver tongue and gift for wooing women. Before you can say ouch, Spider has stolen his brother's job, his fiancée, the best room in Fat Charlie's house. Rosie doesn't just tumble into Spider's arms: She tumbles into bed with him and shows few signs of ever getting out again. Worse, the awful Grahame Coats frames Fat Charlie for embezzlement and has him thrown in jail.

Now, you might think that none of this could possibly be Fat Charlie's fault. But you would be wrong. He summoned Spider; now he realizes he has to get rid of him. Fat Charlie returns to Florida and the four old ladies, who concoct a ritual that gains him entry to the spirit world where totemic animal-gods dwell.

And that's when things get really interesting.

Gaiman first came to prominence in the late 1980s with The Sandman, the brilliant series that helped reinvent comics and put graphic novels on the map as Literature with a capital L. His previous full-length books, while wildly popular, are hit-or-miss, hobbled by epic ambitions that can occasionally seem pretentious and clever conceits that overpower other concerns such as characterization and pacing.

In Anansi Boys, he gets it all right: Here, Gaiman's storytelling instincts are as remarkable and assured as Anansi's own. As Fat Charlie frantically attempts to undo the damage he's caused and save his brother Spider, and the world, from the forces he's unwittingly loosed, Anansi Boys becomes darker, richer, wiser than any of Gaiman's earlier works.

Here's old Mr. Nancy, in his ghostly guise: " 'Now, Anansi stories, they have wit and trickery and wisdom. Now, all over the world, all of the people they aren't just thinking of hunting and being hunted any more. Now they're starting to think their way out of problems -- sometimes thinking their way into worse problems. They still need to keep their bellies full, but now they're trying to figure out how to do it without working -- and that's the point where people start using their heads. . . . That's when they start to make the world.' "

Lewis Hyde titled his noted study of the trickster mythos Trickster Makes This World. With Anansi Boys, Neil Gaiman has made it his own world, too, and given readers a first-class ticket for the journey there.

Reviewed by Elizabeth Hand
Copyright 2005, The Washington Post. All Rights Reserved.

Customer Reviews

The web of our life is of a mingled yarn
good and ill together. That line from Shakespeare's All's Well that Ends Well captures the essence of Neil Gaiman's latest creation, Anansi Boys.

Charlie Nancy is one of life's more passive characters. He is perpetually embarrassed by those around him. He grew up in Florida embarrassed by his father who had an eye for the ladies, never seemed to have a job, and who bestowed upon Charlie the nickname "Fat Charlie". It is a name that stuck to Charlie like glue and has followed him everywhere he goes, even to England where he now lives and works. More than anything else, Fat Charlie is embarrassed by himself. His life is an endless stream of self-conscious needless apologies for his life. As one would expect from a character like Charlie he is timid in front of his boss and can't seem to convince his fiancé that there is nothing wrong with consummating their relationship prior to their marriage. The word perpetually frustrated comes to mind here.

As the story opens, Fat Charlie is back in Florida for the funeral of his father. Charlie no doubt hopes his dad's death, which occurred while singing a song in a Karaoke bar much to Charlie's embarrassment, will put an end to his own state of perpetual embarrassment. That is the closure Charlie seeks. But the old ladies who made up his Dad's circle of friends tell Fat Charlie that their father was something of a god, in fact a spider god. They also tell Fat Charlie he has a brother. Fat Charlie, of course, will have none of this nonsense and returns to England.

Of course, life is never so simple for any character drawn by Neil Gaiman. It turns out Fat Charlie does have a brother, Spider, who is everything Charlie is not. Spider is personable, charming, glib, and has the ability to charm the pants off just about anyone he desires. As the name Spider implies, Charlie is soon drawn into the parallel world inhabited by Spider a world of small gods and vengeful animals. Fat Charlie is introduced to a whole new universe of characters and his ability to distinguish between fact and fantasy grows increasingly thin.

Anansi Boys worked on two levels for me. First, I actually grew attached to the character of Fat Charlie. I was surprised that I developed such empathy for Fat Charlie. Generally, I do not find `passive' characters all that attractive, but, as the book wore on I felt myself rooting for him. Second, Anansi Boy is, at its heart a story about a dysfunctional (but very funny) family and explores how its members try to reach some accommodation with their past and their present relationships. This is not meant to imply that the book is weighed down with ponderous statements on the meaning of life or families; far from it. The great success of Gaiman's writing in my opinion is that he can handle a topic with both humor and sensitivity. The story does not bog down in `deep thoughts'. Gaiman spins his yarn and leaves it up to the reader to read between the laughs. I found the conclusion to be particularly well done.

Anansi Boys, like the spiders that form its conceptual heart, draws you inexorably into its web until you cannot get out. Fortunately, Gaiman has spun such a fine yarn that you don't mind being ensnared at all. This was a book worth reading.

Some stories are better heard than read
I have a comment on the CD version because, frankly, it was much more magical and interesting than the written work by itself. Anansi stories were made to tell around a fire at night, or out on the trail to pass the time, or, ever so quietly, while casting in a line to fish.

They are stories for people who do things, not just read things.

You can't read "Evil-doers beware!" and not think it's all a bit silly. But when you hear it around the fire, and thrill to the sound in your own blood, it doesn't sound silly at all. THAT's the power of stories told instead of read.

More importantly, Lenny Henry's voice captures every character as a unique creation. At first, the island accents are a little hard to follow, but then you get into the spirit of the thing. I know Lenny Henry as a comedian. I think the best comedians are observers and Henry has clearly observed a lot.

I enjoyed Mrs. Higler and Graham Coates the best, I suppose. Mrs. Higler is the voice of every well-meaning-but-meddling old woman who ever lived. Graham Coates is a fat weasel of a man who wants to be a big man. We've all met their type before. Lenny Henry takes us into their hearts with just a little bit of pacing and a fake accent or two.

Truthfully, though, I liked the stories BEHIND the stories, the original African tales worked into the novel, most of all. I played them for the toughest audience in the world-- my five-year old son. My son listened to the Anansi stories with a smile on his face that could outshine the sun. At the end of the tar-baby story he laughed and asked for more.

(Unfortunately, some of the book is a little too intense for young kids. So, I'm probably going to spend a fortune on e-bay to find some tapes Lenny Henry made of Mother Goose Tales. If they're half as good as Gaiman's & Henry's tale, it'll be worth it.)

I saw that a lot of people didn't like the book and all of those reviews compared this book unfavorably with American Gods. I suppose that's so. American Gods is a dark ride through the landscape and the psyche. It's magic at it's most threatening. A tale of terrors long-forgotten. A tiger tale. And those have their place.

If that's the only type of tale you like -- then neither this book nor this recording are for you.

But if there's a little "flexibility" in how you view the world. . . if you like to hear someone new tell an old story. . . if you think Br'er Rabbit and Bugs Bunny are zen philosophers in disguise. . . .

Well, then, this might be the best story you've ever heard.

It's all in how you sing your song
Anansi Boys started off a little slowly, I thought. Fat Charlie was such a drab anti-hero, but I found myself wondering how this guy was going to become interesting, because I genuinely liked the character despite his awkwardness. Neil Gaiman does a fantastic job pacing this story. We get sucked into the eccentricities of Charlie's brother, Spider, right along with Charlie. I found myself getting frustrated with Spider, much as I imagine Charlie was.

By the second half of the story, you could see the brothers' relationship changing. They were feeding off each other in a way, taking on characteristics of each other. Brilliantly done.

An interesting addition to the book was the 2 or 3 fables about Anansi that were spaced out in the first half of the tale. It made for a great lead-in to the interaction at the beginning/end of the world. I especially liked the scene with Tiger and the weasel. More so than in American Gods and Neverwhere, I felt Neil's writing was up to the task of his creativity. Definitely recommended to anyone with an imagination.