Which is Mostly About
Names and Family Relationships

It begins, as most things begin, with a song.

In the beginning, after all, were the words, and they came with a tune. That was how the world was made, how the void was divided, how the lands and the stars and the dreams and the little gods and the animals, how all of them came into the world.

They were sung.

The great beasts were sung into existence, after the Singer had done with the planets and the hills and the trees and the oceans and the lesser beasts. The cliffs that bound existence were sung, and the hunting grounds, and the dark.

Songs remain. They last. The right song can turn an emperor into a laughing stock, can bring down dynasties. A song can last long after the events and the people in it are dust and dreams and gone. That's the power of songs.

There are other things you can do with songs. They do not only make worlds or recreate existence. Fat Charlie Nancy's father, for example, was simply using them to have what he hoped and expected would be a marvelous night out.

Before Fat Charlie's father had come into the bar, the barman had been of the opinion that the whole karaoke evening was going to be an utter bust; but then the little old man had sashayed into the room, walked past the table of several blonde women with the fresh sunburns and smiles of tourists, who were sitting by the little makeshift stage in the corner. He had tipped his hat to them, for he wore a hat, a spotless green fedora, and lemon-yellow gloves, and then he walked over to their table. They giggled.

"Are you enjoyin' yourselves, ladies?" he asked.

They continued to giggle and told him they were having a good time, thank you, and that they were here on vacation. He said to them, it gets better, just you wait.

He was older than they were, much, much older, but he was charm itself, like something from a bygone age when fine manners and courtly gestures were worth something. The barman relaxed. With someone like this in the bar, it was going to be a good evening.

There was karaoke. There was dancing. The old man got up to sing, on the makeshift stage, not once, that evening, but twice. He had a fine voice, and an excellent smile, and feet that twinkled when he danced. The first time he got up to sing, he sang "What's New Pussycat?" The second time he got up to sing, he ruined Fat Charlie's life.




Fat Charlie was only ever fat for a handful of years, from shortly before the age of ten, which was when his mother announced to the world that if there was one thing she was over and done with (and if the gentleman in question had any argument with it he could just stick it you know where) it was her marriage to that elderly goat that she had made the unfortunate mistake of marrying and she would be leaving in the morning for somewhere a long way away and he had better not try to follow, to the age of fourteen, when Fat Charlie grew a bit and exercised a little more. He was not fat. Truth to tell, he was not really even chubby, simply slightly soft-looking around the edges. But the name Fat Charlie clung to him, like chewing gum to the sole of a tennis shoe. He would introduce himself as Charles or, in his early twenties, Chaz, or, in writing, as C. Nancy, but it was no use: the name would creep in, infiltrating the new part of his life just as cockroaches invade the cracks and the world behind the fridge in a new kitchen, and like it or not -- and he didn't -- he would be Fat Charlie again.

The foregoing is excerpted from Anansi Boys by Neil Gaiman. All rights reserved. No part of this book may be used or reproduced without written permission from HarperCollins Publishers, 10 East 53rd Street, New York, NY 10022.