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Good Omens
Good Omens is the gleefully funny apocalypse comedy Terry Pratchett and Neil Gaiman wrote together: an angel and a demon who've grown rather fond of Earth team up to stop Armageddon, mostly because they'd miss the restaurants and the rare books.
The Review
Our take
The setup is pure mischief. After several thousand years stationed on Earth, the fussy angel Aziraphale and the slinky demon Crowley have gone comfortably native, and when the Antichrist is finally delivered to kick off the End of Days, neither of them actually wants the world to end. The only problem is that the baby has been misplaced, the four Horsemen are saddling up, and a satanic nun, a hereditary witch, a deeply unlucky witchfinder, and an eleven-year-old boy with a hellhound are all converging on the same English village. It's a farce with the stakes of a doomsday clock, and the authors play it for every laugh it's worth.
What makes the book sing is the voice, that unmistakable Pratchett-and-Gaiman fusion of dry English wit, footnoted absurdity, and sudden, sneaky warmth. The jokes come constantly, in the dialogue, in the narration, in throwaway asides about the nature of evil or the horrors of the M25 motorway, and an astonishing number of them land. But the comedy never feels weightless, because underneath it is a genuinely humane argument: that humanity, left to its own devices, is more interesting and more redeemable than either Heaven or Hell gives it credit for. The double act of Aziraphale and Crowley, an old-married-couple friendship across the cosmic divide, is the beating heart of the whole thing.
It is, admittedly, a lot of book. The cast is large, the plot deliberately chaotic, and the narrative keeps cutting between half a dozen storylines as they spiral toward collision. Readers who like a tight, linear plot may find the first half sprawling, and the density of jokes and references means it rewards a slightly slower read than its breezy tone suggests. This is satire that wants you to savor the footnotes, not skim them.
Stick with it and the threads pull together with real satisfaction, building to an ending that's both very silly and quietly moving. The two authors' sensibilities mesh so seamlessly that you stop trying to guess who wrote what; it simply reads like a single, very funny, very wise mind.
Why you should read
- Great if you love witty, joke-dense British comedy
- Great if you enjoy satire with real warmth underneath
- Great if you like sprawling ensemble fantasy
- Great if an angel-and-demon odd couple sounds delightful
What to expect
- Constant jokes, footnotes, and absurdist asides
- A large cast and deliberately chaotic plotting
- A central friendship that anchors the comedy
- Satire with a genuinely hopeful streak
It helps that the satire has targets worth hitting. The book is very funny about bureaucracy, about the way both Heaven and Hell behave like rival corporations, about prophecy that's technically accurate and completely useless, and about the small everyday decencies that turn out to matter more than any grand cosmic plan. The supporting players, the witch Anathema, the hapless witchfinder Newt, the doomed and dwindling order of nuns, each get their own comic runway, and the Horsemen of the Apocalypse are reimagined with a wit that's become genuinely iconic. None of it would work if the jokes didn't have a point of view, and this one does. It's a comic fantasy with a soul, equally happy to riff on prophecy and to argue, sincerely, that the world is worth saving. Come for the angel-and-demon comedy; stay for the surprisingly big heart underneath the apocalypse.
Reviewed by Rowan
As an Amazon Associate we earn from qualifying purchases.