Neverwhere (Mass Market Paperback)

~ (Author) "SHE HAD BEEN RUNNING FOR FOUR DAYS now, a harum-scarum tumbling flight through passages and tunnels..." (more)
Key Phrases: market truce, leather woman, floating market, Old Bailey, Mister Vandemar, Richard Mayhew (more...)

Editorial Reviews

Amazon.com Review

Neverwhere's protagonist, Richard Mayhew, learns the hard way that no good deed goes unpunished. He ceases to exist in the ordinary world of London Above, and joins a quest through the dark and dangerous London Below, a shadow city of lost and forgotten people, places, and times. His companions are Door, who is trying to find out who hired the assassins who murdered her family and why; the Marquis of Carabas, a trickster who trades services for very big favors; and Hunter, a mysterious lady who guards bodies and hunts only the biggest game. London Below is a wonderfully realized shadow world, and the story plunges through it like an express passing local stations, with plenty of action and a satisfying conclusion. The story is reminiscent of Douglas Adams's The Hitchhiker's Guide to the Galaxy, but Neil Gaiman's humor is much darker and his images sometimes truly horrific. Puns and allusions to everything from Paradise Lost to The Wonderful Wizard of Oz abound, but you can enjoy the book without getting all of them. Gaiman is definitely not just for graphic-novel fans anymore. --Nona Vero --This text refers to the Hardcover edition.

From Publishers Weekly

Starred Review. Gaiman assumes the role of narrator for his latest book, offering an intimate reading that steals one's attention almost immediately and keeps the listener involved throughout. As the story is based in the United Kingdom, Gaiman is a quintessential raconteur for the tale, with his charming Scottish brogue instilling life and spirit into the central character of Richard Mayhew. Pitch perfect, with clear pronunciation, Gaiman invites listeners into his living room for a fireside chat, offering a private and personal experience that transcends the limitations of traditional narration. The author knows his story through and through, capturing the desired emotion and audience reaction in each and every scene. His characters are unique, with diverse personalities and narrative approaches, and Gaiman offers a variety of dialects and tones. The reading sounds more like a private conversation among friends with Gaiman providing the convincing and likable performance the writing deserves. A Harper Perennial paperback (Reviews, May 19, 1997). (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Audio CD edition.

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Product Details

• Mass Market Paperback: 400 pages
• Publisher: Avon (November 1, 1998)
• Language: English
• ISBN-10: 0380789019
• ISBN-13: 978-0380789016
• Product Dimensions: 6.7 x 4 x 0.9 inches
• Shipping Weight: 8 ounces (View shipping rates and policies)
• Average Customer Review: 4.4 out of 5 stars  See all reviews (632 customer reviews)
• Amazon.com Sales Rank: #18,724 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

109 of 116 people found the following review helpful:

5.0 out of 5 stars Mind the Gap, December 5, 2004

By	Friederike Knabe (Ottawa, Ontario Canada) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

Everybody traveling in London by Tube, is familiar with the loudspeaker's warning "Mind the Gap", that is the space between platform and train carriage. Reading Gaiman, "gaps" take on a much more complex meaning... People can fall through the gaps/cracks, literally, not only down onto the rails but much deeper, ending up in "London Below". Richard Mayhew, a young man with nothing much happening in his life, is an unlikely Samaritan. Still, when confronted with a choice he follows his charitable instinct and assists a wounded rag girl he finds lying in the street. To save her from her apparent killers he goes on a quest and from this moment his life turns into a rollercoaster of discovery and danger.

"Neverwhere" is a brilliant yarn of life in the underbelly of the city, with shady human characters, speaking rats and special "guides". There is more than one reality for sure. In London Above, Richard and the rag girl, named appropriately "Door", can be seen but not recalled beyond the moment. The real-life maze of London underground tunnels, hidden passageways and dead ends provide the existent, yet twisted, backdrop to the story. Time and distances have no meaning. The names of tube stations acquire new relevance: the Earl resides at Earl's Court, the black Friar monks are in Blackfriars and Islington is an Angel. Following Door and her unusual companions, Richard discovers the limits of his endurance. He has to question his existence and reality. While his desire to get back to his normal life keeps him going, his chances to shake loose from the shadowy underworld increasingly appear to diminish...

The novel, which expands on Gaiman's successful tv production, is a great read, whether you know London or not (yet). His style is fluid and engaging, his characters are very much alive and moving the various layers of intrigue along at a good pace. [Friederike Knabe]

43 of 48 people found the following review helpful:

3.0 out of 5 stars An entertaining but not overly memorable fantasy novel, December 28, 2003

By	P. Nicholas Keppler "rorscach12" (Pittsburgh, Pennsylvania United States) - See all my reviews (REAL NAME)

This review is from: Neverwhere (Hardcover)

In the field of Science-Fiction/Fantasy, there is no greater accomplishment than creating a unique and intriguing universe. Although well-written books, The Hobbit and Foundation are classics less for perfect prose than for the creatures, landscapes and societies they introduced. The appeal of the universe ranges outside books, though. It is why Attack of the Clones grossed millions on its opening day and why a lot of people know more about Marvel Comics than they do about any foreign country.

Neverwhere by Neil Gaiman is a pretty unmistakable attempt at creating a universe. The novel was Gaiman's first major project after finishing the acclaimed Sandman comic series (which could be described as his first universe, but is more of an amalgamation of Biblical scripture, Gaelic and other folk tales and the larger world of DC Comics). Because of Sandman's success, Gaiman is sometimes considered a new Tolkien or Asimov, but he fails to reach his potential on Neverwhere because, despite his ambition, his universe-creating powers at not at a prime.

The universe of this novel is London Below, a dark and outlandish world existing beneath the UK's sprawling capital. It is inhabited by a feudal aristocracy, lonesome warriors and a religious cult that talks to rats. After two ruthless mercenaries slaughter one of London Below's most prominent families, the only survivor, a young woman named Door (for her ability to open mystic gates), escapes to London Above, where reluctant yuppie Richard Mayhew takes her in. Joined by the mordant Marquis de Carabas and a grim female bodyguard called (get this) Hunter, Richard and Door journey through London Below to find-out who ordered the deaths of Door's family and why.

Gaiman is an outstanding writer who eases readers into the strangeness of London Below and keeps them reading with intrigue that unfolds at just the right pace. I was must admit I was entertained while reading the book, but I doubt it is one that will stay with me for long.

This is for two reasons. The first is that Gaiman is apparently used to pencillers supplying the visuals to his stories. The descriptions of London Below were never vivid or colorful enough to leave an overly memorable picture in my mind. The second is that Gaiman fails to completely develop London Below. We never fully learn how this society functions, what separated it from London Above and how its strange customs came to be. Perhaps Gaiman was considering a sequel that would explain such, but still Neverwhere does not lay enough groundwork for readers to fully connect to this universe.

Neverwhere is smartly written and highly entertaining, but for works such as this the creation of a memorable universe is the deciding factor and it falls short on that criteria. Gaiman's best post-Sandman work will probably be another project.

79 of 94 people found the following review helpful:

5.0 out of 5 stars Morpheus who?, April 11, 2002

By	Michael Battaglia - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

Before he broke out full time into the world of novel writing Gaiman's reputation mostly rested on a relative handful number of comic books he had written, most notably (though not his best stuff) The Sandman series which showed his ability to toy with fantasy and myth to a near demented degree previously not expected for comic books. At best it was flat out amazing, at worst it was merely pleasant. Name recognition alone probably drove a lot of Gaiman starved Sandman fans to this book but fortunately it has much broader appeal as a contemporary fantasy. In this tale normal guy Richard Mayhew helps a stranger and winds up falling through the cracks into "London Below" a quasi-mystical world that coexists and yet can't be seen by "London Above". Now Richard, with a bizarre cast of comrades has to help the lady Door figure out how killed her family and what it all means, while dodging all sorts of unpleasantness that keeps popping up. The idea of a fantastic dark London overlapping the normal London isn't anything new (DC Comics' Hellblazer went over that concept all the time and "Midnight Nation" applies it to the entire US) but the key to a story like this is imagination which Gaiman has in spades. Every texture of the London Below feels real, and almost every page has some bizarre occurance or some off kilter social commentary disguised as fantasy coming from all sides. He has more good ideas than any man should possibly have and these ideas and his brilliant descriptions are what carry the novel, for the most part, you can read the whole thing like a travelogue and just become immersed in this strange and amazing world. The plot doesn't hold up so well and at times requires some dubious leaps of logic to connect two points together and for some reason, even though the whole story is executed brilliantly, the emotional center feels a bit hollow, most of the characters are painted with broad strokes and while I was incredibly interested in their plights, I didn't really care as deeply as I should have. Gaiman succeeds best when he's trying to darkly whimsical (most of the story), creepy (the scenes with Vandermar and Croup are sporadically effective, though the "ruthless killers who talk like Oxford graduates" has been done by everyone from Hannibal Lecter on down) or sentimental, which for the most part were the same problems with dogged the weaker Sandman stories. But his boundless imagination carries everything even through the slower moments when it just seems like one of those useless fantasy "Point A to Point B" quests and the ending is absolutely pitch-perfect, even though you suspect it's coming, watching him pull it off is definitely watching a genius at work. Gaiman fans will find this the greatest novel of all time of course (sorry, best fantasy novel is still "Little, Big", folks) others not exposed to him will find this an absolutely pleasant and quick read that immerses them in a world that if not for the danger (and hey even then) most of us wouldn't mind living in. Or at least visiting.