Soon he finds himself living in a London most people would never have dreamed of: a city of monsters and saints, murderers and angels. It is a world that exists entirely in a subterranean labyrinth of sewer canals and abandoned subway stations. And it is the home of Door, the girl whom Richard rescued, and whom, if he is ever to return home, he must now help in her mission to preserve this strange underworld kingdom from a mysterious figure determined to destroy it.
If Tim Burton rewrote Phantom of the Opera, if Jack Finney had a dark side, if you rolled up the best of Clive Barker, Peter Straub, and Caleb Carr into one, you still wouldn't have Neil Gaiman. In Neverwhere, he delivers one of the most absorbing reads to come along in years.
©1996, 1997 Neil Gaiman; (P)2007 HarperCollins Publishers
"Gaiman's gift for mixing the absurd with the frightful gives this novel the feeling of a bedtime story with adult sophistication. Readers will find themselves as unable to escape this tale as the characters themselves." (Library Journal)
"[Gaiman] is, simply put, a treasure house of story, and we are lucky to have him in any media." (Stephen King)
An excellent read. Slow at the very beginning, the pace quickly picks up and takes you on a wild ride through a London you never though existed. The ending is positively perfect as well.
The author's voice didn't bother me. In fact, I thought he did a good job of modulating it for different characters.
Once or twice character motivations seemed a bit forced in order to keep Richard and Door moving in the right direction, but for the most part the story kept me happily entertained.
This book is of the fantasy genre, which I didn't fully understand when I bought it. It is well written and has an excellent reader. No doubt it will be enjoyed by those who are into fantasy. But after listening to about a quarter of the book, I had to stop because I grew weary of the impossibility of the characters, plot, and setting. Even though it is a fantasy, I wouldn't recommend it for children. It's way too dark.
I listened to Anansi Boys and thought it midly amusing. However, the reviews prompted me to waste my credit on Neverwhere. It's probably an audio for teenagers who want to hear of underworld people cramming their mouths with toads and munching on worms. Nothing intellectualy here for me. Gave up on Neverwhere one-third through.
This is the only audiobook I have ever listened to (out of 60) that I could not finish. This book couldnt get started if you had a train pushing it downhill. Was like watching paint dry. Im a big Orson Scott Card fan and Steven King and if you like these authors then I dont think you'll like this one.
I believe that a lot of people approach a book like they are buying car. But in the same idea just get into the car, don't look at the driver, don't look to see if there is enough gas to get where you need to go, just get in the car and let go
This book started slow, but then it took off and I was walking the people in the book and understood them. This is a wonderful book and people who didn't like it. I thinking perhaps they didn't have a happy childhood or the parents didn't read to them. I was always read to as a child and always went with the ride.
Neverwhere held my attention, but it did tend to "lag" in some spots. Neil Gaiman never fails to spin an immaginitve story with unique characters. His narration is wonderful as always. I would have given this 4-5 stars if it had been a little shorter.
I was very disappointed. I like good science fiction and I'd just finished reading "Spin" by Robert Charles Wilson, which was pretty good sci fi--making you think about "what ifs". I selected Neverwhere because audible listed it as something others who'd liked "Spin" bought. And because of the one line comment (about author not book) by Steven King. I finished 3 hours of it and stopped listening. Silly. Cartoonish. Feathered men and disappearing ladies who live in some "neverwhere" beneath the streets of London. Decidedly NOT science fiction. More like a comic book....and a silly one at that.
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