A while back I got a great deal on an Audible membership, $7 for three months instead of $45. Winning! At the end of the three months I had credits to spend before I could cancel, and so into my collection went the radio adaptation of Neverwhere because Benedict Cumberbatch and because I couldn’t find it for free (legally) anywhere else.
I waffled about whether to listen to it immediately (see: Benedict Cumberbatch) or finally get around to reading this book, and I might still be waffling about it except that in a room full of my sister-in-law’s books, this one was sitting on top of a precarious pile, just waiting to be read. So I did.
It was… not what I was expecting. I was thinking it would be American Gods-like, maybe, or, better, Good Omens-y, but it reminded me more of Stardust than anything else. It has that sort of slow, dreamy, fairy-tale quality to it, as well as some very obvious morals and dubious motives.
It’s not quite what I wanted, but I still liked it, for sure. I was drawn into the weird world of Richard Mayhew, your standard bumbling British fellow with terrible girlfriend and improbable lack of any social graces, and moreso of Door, your standard, uh, magical creature slash creator of portals to other worlds. As one is.
Richard, having done an exceptionally good deed, is punished for it because magic is rude like that and finds himself rather unmoored from reality, no longer welcome in our regular world and yet not welcome in the world of London Below, where things are magic and danger is lurking in every corner, especially for Door. But, having almost literally nothing to lose, he bumbles his way into Door’s quest for answers and revenge, and, probably not a spoiler, learns some stuff about himself along the way.
It is kind of an epically standard boy-meets-magic story, but of course Gaiman sells it with his writing, which is as ever poetic and darkly humorous and full of the tiniest and most important details. I hadn’t realized when reading it how early it falls in Gaiman’s writing career, so much earlier than almost anything of his I’ve read save Good Omens and Sandman that it’s hard to adequately judge this book on its own merits. I am definitely more inclined toward his more contemporary novels and stories, but I can see the bits and pieces in this novel that, twenty years later, make a Gaiman book a Gaiman book and that’s always a cool thing.
And, of course, now I’m ready to bust out my radio adaptation and see what can be done with this book with four hours and a bevy of amazing voices. I am looking forward to reporting back on that!
Recommendation: For fans of Gaiman and weird London-based fantasy stories.