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Richard Mayhew's life is forever changed after he rescues a young girl named Door and finds himself living in a city of monsters, saints, murderers, and angels, and he must help Door on her mission to save this strange underworld kingdom from destruction.
souloftherose: Although Neverwhere and The Hitchhiker's Guide (THHG) are different genres (the first is urban fantasy, the second comic science-fiction) I felt there was a lot of similarity between the characters of Richard Mayhew (in Neverwhere) and Arthur Dent (in THHG). Both are a kind of everyman with whom the reader can identify and both embody a certain 'Britishness'. And they're both stonkingly good books by British authors.… (plus d'informations)
riverwillow: Both 'Neverwhere' and 'Rivers of London' (US title 'Midnight Riot') evoke a magical fairy tale London which sometimes feels more authentic then any real life guide to the city.
Phantasma: The nightside novels are a little darker, but if you like the ideas presented in Neverwhere, you'll most likely enjoy the Nightside (actually, I prefer the Nightside and it's gritty dark humor).
ehines: Regular guy stumbles into the secret realm. In Neverwhere this secret realm is very much a London one; in the Mysteries it is decidedly an old Celtic one. Also Never where turns into a full-blown fantasy adventure, while the Mysteries stays mostly realistic.
Du fin fond de sa vie de bureau banale et réglée, Richard ressent une profonde insatisfaction ayant des accents de mal de vivre assez inquiétants. Mais Richard est un « mec bien », généreux et attentif, ouvert sur son environnement. Aussi, quand une jeune fille ensanglantée va se jeter à ses pieds, il ne la contourne pas, et se retrouve vite plongé dans un univers parallèle mais voisin, fait de rats, d’exclus, de rois et de fous. Neverwhere, à défaut de proposer plusieurs niveaux de lecture, mêle des inspirations variées et mixées avec goût. Roman d’apprentissage, il rappelle aussi le conte, et l’aventure de Richard se transforme parfois en quête de héros de mythologie. Ce Londres d’En-Bas a de quoi fasciner, avec ses labyrinthes, ses ghettos, son féodalisme ancré dans une modernité urbaine et sale. Shakespeare, Dickens, le gothique et bien d’autres éléments constituent une toile complexe de références et de clins d’œil qui garde toujours sa cohérence. Le lecteur exigeant regrettera une intrigue pas très bien menée qui accumule bien des rebondissements en un nombre limité de pages, et finalement un propos un peu léger qui ne parvient pas à dépasser l’émerveillement du lecteur devant cette imagination débridée. ( )
Gaiman blends history and legend to fashion a traditional tale of good versus evil, replete with tarnished nobility, violence, wizardry, heroism, betrayal, monsters and even a fallen angel. The result is uneven. His conception of London Below is intriguing, but his characters are too obviously symbolic (Door, for example, possesses the ability to open anything). Also, the plot seems a patchwork quilt of stock fantasy images. Adapted from Gaiman's screenplay for a BBC series, this tale would work better with fewer words and more pictures.
The novel is consistently witty, suspenseful, and hair-raisingly imaginative in its contemporary transpositions of familiar folk and mythic materials (one can read Neverwhere as a postmodernist punk Faerie Queene). Readers who've enjoyed the fantasy work of Tim Powers and William Browning Spencer won't want to miss this one. And, yes, Virginia, there really are alligators in those sewers--and Gaiman makes you believe it.
The millions who know The Sandman, the spectacularly successful graphic novel series Gaiman writes, will have a jump start over other fantasy fans at conjuring the ambience of his London Below, but by no means should those others fail to make the setting's acquaintance. It is an Oz overrun by maniacs and monsters, and it becomes a Shangri-La for Richard. Excellent escapist fare.
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
I have never been to St. John's Wood. I dare not. I should be afraid of the innumerable night of fir trees, afraid to come upon a blood red cup and the beating of the wings of the Eagle. – The Napoleon of Notting Hill, G. K. Chesterton
If ever though gavest hosen or shoon Then every night and all Sit thou down and put them on And Christ receive thy soul
This aye night, this aye night Every night and all Fire and fleet and candlelight And Christ receive thy soul
If ever thou gavest meat or drink Then every night and all The fire shall never make thee shrink And Christ receive thy soul
– The Lyke Wake Dirge (traditional)
Dédicace
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
For Lenny Henry, friend and colleague, who made it happen all the way; and Merrilee Heifetz, friend and agent, who makes everything good.
Premiers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
The night before he went to London, Richard Mayhew was not enjoying himself.
She had been running for four days now, a harum-scarum tumbling flight through passages and tunnels.
Citations
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
"It starts with doors."
"You've a good heart," she told him. "Sometimes that's enough to see you safe wherever you go." Then she shook her head. "But mostly, it's not."
There are four simple ways for the observant to tell Mr. Croup and Mr. Vandemar apart: first, Mr. Vandemar is two and a half heads taller than Mr. Croup; secnod, Mr. Croup has eyes of a faded china blue, while Mr. Vandemar's eyes are brown; third, while Mr. Vandemar fashioned the rings he wears on his right hand out of the skulls of four ravens, Mr. Croup has no obvious jewelry; fourth, Mr. Croup likes words, while Mr. Vandemar is always hungry. Also, they look nothing at all alike.
He continued, slowly, by a process of osmosis and white knowledge (which is like white noise, only more useful)...
It was a good place, and a fine city, but there is a price to be paid for all good places, and a price that all good places have to pay.
Richard had noticed that events were cowards: they didn't occur singly, but instead they would run in packs and leap out at him all at once.
Richard began to understand darkness: darkness as something solid and real, so much more than a simple absence of light. He felt it touch his skin, questing, moving, exploring: gliding through his mind. It slipped into his lungs, behind his eyes, into his mouth...
"I have always felt," he said, "that violence was the last refuge of the incompetent, and empty threats the final sanctuary of the terminally inept."
"As old as my tongue," said Hunter, primly, "and a little older than my teeth."
So the day became one of waiting, which was, he knew, a sin: moments were to be experienced; waiting was a sin against both the time that was still to come and the moments one was currently disregarding.
"With cities, as with people, Mister Vandemar," said Mr. Croup, fastidiously, "the condition of the bowels is all-important."
"Have you ever got everything you ever wanted? And then realized it wasn't what you wanted at all?"
"I thought I wanted a nice, normal life. I mean, maybe I am crazy. I mean, maybe. But if this is all there is, then I don't want to be sane. You know?"
Derniers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
And they walked away together through the hole in the wall, back into the darkness, leaving nothing behind them; not even the doorway.
Richard Mayhew's life is forever changed after he rescues a young girl named Door and finds himself living in a city of monsters, saints, murderers, and angels, and he must help Door on her mission to save this strange underworld kingdom from destruction.
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