I have been reading a fabulous new book called Piranesi by Susanna Clarke, the author of Jonathan Strange & Mr Norrell. The title of her new novel is drawn from the Italian artist Giovanni Battista Piranesi, and it takes place within an enormous and magical flooded House that is reminiscent of some of Piranesi’s art. “The Beauty of the House is immeasurable; its Kindness infinite,” Susanna Clarke writes. Adding to the enjoyment of this wonderful novel has been a series of podcasts by Joy Marie Clarkson (starting here).
There are multiple references to the Narnia stories of C.S. Lewis. One example is the similarity of the Albatross scene to the one in The Voyage of the Dawn Treader. Another is the way that “Valentine Andrew Ketterley” of “an old Dorsetshire family” (Part 4) suggests Uncle Andrew Ketterley from The Magician’s Nephew: “The Ketterleys are, however, a very old family. An old Dorsetshire family ….”
Working through this novel, I’ve been repeatedly struck with a strange sense of déjà vu. Either Susanna Clarke and I read the same books, or she is revealing to me something that, in an inarticulate way, I already knew. Or possibly both. That said, some of the echoes I see to other books are, no doubt, coincidence.
Some fan art of mine, prompted by the novella Rain Through Her Fingers by Rabia Gale, which is set in a flooded city that Piranesi reminds me of
I am reviewing the novel here on ScientificGems because it has a lot to say about Science, Knowledge, and how to relate to the World: “I realised that the search for the Knowledge has encouraged us to think of the House as if it were a sort of riddle to be unravelled, a text to be interpreted, and that if ever we discover the Knowledge, then it will be as if the Value has been wrested from the House and all that remains will be mere scenery. The sight of the One-Hundred-and-Ninety-Second Western Hall in the Moonlight made me see how ridiculous that is. The House is valuable because it is the House. It is enough in and of Itself. It is not the means to an end.” (Part 2). This recalls something that C.S. Lewis wrote in The Abolition of Man: “For magic and applied science alike the problem is how to subdue reality to the wishes of men …” Indeed, Susanna Clarke makes us ask “is Science truly our friend?”
More specifically, Susanna Clarke argues against Reductionist views of the world, and the need to approach the objects of study with Love: “It is a statue of a man kneeling on his plinth; a sword lies at his side, its blade broken in five pieces. Roundabout lie other broken pieces, the remains of a sphere. The man has used his sword to shatter the sphere because he wanted to understand it, but now he finds that he has destroyed both sphere and sword. This puzzles him, but at the same time part of him refuses to accept that the sphere is broken and worthless. He has picked up some of the fragments and stares at them intently in the hope that they will eventually bring him new knowledge.” (Part 7)
One may count the petals of a violet, for example, and grind it up to extract the ionones and anthocyanins responsible for odour and colour. But something has been lost in so doing, and the resulting description does not exhaust everything that can be said about the flower. This problem is amplified for those who do not themselves experience the flower, but rely on descriptions by others.
The novel also references Plato and the importance of universals: “You make it sound as if the Statue was somehow inferior to the thing itself. I do not see that that is the case at all. I would argue that the Statue is superior to the thing itself, the Statue being perfect, eternal and not subject to decay.” (Part 6). As Lewis would say: “It’s all in Plato, all in Plato: bless me, what do they teach them at these schools!”
Expanding on a statement by Tertullian (c. 160–225), Galileo famously said: “[Science] is written in this grand book – I mean the universe – which stands continually open to our gaze, but it cannot be understood unless one first learns to comprehend the language and interpret the characters in which it is written. It is written in the language of mathematics, and its characters are triangles, circles, and other geometrical figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering around in a dark labyrinth.” (Galileo, Il Saggiatore, 1623, tr. Stillman Drake)
This is true, of course, but the House does not speak to us only in mathematical language.
Plato in the Musei Capitolini, Rome (photo: Marie-Lan Nguyen)
There is much more to be said about this wonderful novel. It concludes with a repetition of the words: “The Beauty of the House is immeasurable; its Kindness infinite.” There is a whole philosophy of Science there.
Goodreads rates the novel as 4.3 out of 5, and reviews of the novel are mostly glowing. The Guardian calls it an “elegant and singular novel” while the LA Review of Books says “a work of intellectual intensity.” It made the top ten fantasy novel list for the 2021 Locus Awards (although it did not win). I’m giving it four and a half stars. And let me say to my readers: “may your Paths be safe … your Floors unbroken and may the House fill your eyes with Beauty.”