A building that fills a whole world; an endless sequence of halls, all filled with statues. Here and there the sea has broken in and flooded or destroyed some of the great marble figures and massive stairways. And here lives one resourceful man who has contrived to live off fish, befriending the albatross and other birds who also live here. He is not quite alone. He regularly meets the Other, a man in smart suits, and together they try to obtain powerful magic. The Other jokingly calls him ‘Piranesi’; he knows this not his real name but does not mind. Piranesi believes there are probably only fifteen people in the world; the rest are all skeletons that he cares for respectfully.
This is the new novel from Susanna Clarke that we fans of Jonathan Strange and Mr Norrell have been waiting for so eagerly. We had The Ladies of Grace Adieu to keep us going, but nothing more substantial. Are we satisfied?
Well, the new novel is not a sequel, and as we eventually discover, it is set in the twenty-first century. There are no delightful footnotes, and it is relatively short. However, it clearly comes from the same imagination as Strange and Norrell. There are no fairies, but the underlying conception of magic as a dialogue with the powers of Nature is still here. The fascination with (the real) Piranesi’s bizarre architectural fantasies is obviously here, too. Even if our hero were not given the tell-tale nickname we should recognise that these halls owe something to the dream-like images of the Italian architect and artist, though for many readers they will call up faint echoes of Borges’ total library, too. These visions presumably shaped the King’s Roads in Strange and Norrell and explicitly provide the design for the tremendous Thoresby Bridge in Grace Adieu. There are some other signs of kinship with Strange and Norrell. We might say (slight spoiler) that both books feature a resourceful black man with a false friend who inadvertently inherits an enchanted realm.
One of Clarke’s great achievements in Strange and Norrell was to provide a really satisfying conception of magic which chimed well with folklore yet got everything to make sense. Here we don’t quite get that. Piranesi’s world is explained, partly by a kind of guru who seems to be a cross between Julian Jaynes and Aleister Crowley; but there’s a certain amount of handwaving involved. In some ways I almost feel it would have been better to leave the modern world out of it and simply give Piranesi adventures in his own self-justifying world.
Overall, this isn’t the further volume of Strange and Norrell that many of us would have liked, but it’s a great book and very welcome. More please, more!