To this end I have travelled as far as the Nine-Hundred-and-Sixtieth Hall to the West, the Eight-Hundred-and-Ninetieth Hall to the North and the Seven-Hundred-and-Sixty-Eighth Hall to the South. “I am determined to explore as much of the World as I can in my lifetime. No entrances or exits, just the House that is the World, both decrepitude and perfection. Imagine a labyrinthine partially ruined “House” with endless procession of interconnected enormous Halls and Vestibules, with bottom levels flooded by the ocean somehow held inside, and top layers covered in thick clouds, with enormous marble staircases covered by clashing Tides, and thousands upon thousands of marble statues. This is like a dream, slow, strange and intensely atmospheric, unbelievably immersive and engrossing. Regrettably, there’s not a single piranha in sight. “The Beauty of the House is immeasurable its Kindness infinite.”First of all, for those who - like me - read the blurb for this book, noted the mention of “the house with the ocean imprisoned in it” and automatically assumed that “Piranesi” has something to do with piranhas (because ocean = fish, right?) - yeah, that’s certainly not what the story is about. She lives in Cambridge with her partner, the novelist and reviewer Colin Greenland. Another, "Mr Simonelli or The Fairy Widower," was shortlisted for a World Fantasy Award in 2001. One, "The Duke of Wellington Misplaces His Horse," first appeared in a limited-edition, illustrated chapbook from Green Man Press. She has published seven short stories and novellas in US anthologies. There she began working on her first novel, Jonathan Strange & Mr Norrell.įrom 1993 to 2003, Susanna Clarke was an editor at Simon and Schuster's Cambridge office, where she worked on their cookery list. She returned to England in 1992 and spent the rest of that year in County Durham, in a house that looked out over the North Sea. The following year she taught English in Bilbao. In 1990, she left London and went to Turin to teach English to stressed-out executives of the Fiat motor company. She was educated at St Hilda's College, Oxford, and has worked in various areas of non-fiction publishing, including Gordon Fraser and Quarto. A nomadic childhood was spent in towns in Northern England and Scotland. ![]() Eco’s fabulous medieval library maze and Hogwarts’ stairwell are vintage Piranesi.Susanna Clarke was born in Nottingham in 1959. It becomes even more explicit in the film adaptations. The influence is also discernible in Umberto Eco’s The Name of the Rose and the Harry Potter books. An etching from the Carceri series hung in his office and the scenes in heaven in The Discovery of Heaven (and in its film adaptation) are clearly inspired by it. Harry Mulisch (one of the great Dutch novelists) was also a fan. Huxley’s Brave New World (1932) and George Orwell’s 1984 (1948) are dystopian novels in which the menacing world of Piranesi is recognisable. A tyranny of order and efficiency that reduces humanity to a predictable cog in a process. He compares Piranesi’s prisons to the panopticism that was so popular in architecture at the time. Aldous Huxley wrote an essay accompanying an edition of Piranesi’s prints in 1949. That started early on with writers and poets such as Johann Wolfgang von Goethe, Samuel Taylor Coleridge, Thomas de Quincey, Lord Byron, John Keats, Honoré de Balzac, Victor Hugo and Edgar Allan Poe. Like Escher, Piranesi was an artist who infuses his prints with both order and chaos, thus garnering mass appeal. For many artists it is an abiding source of inspiration, particularly in terms of its utopian and dystopian character. Piranesi’s oeuvre not only influenced M.C. Conversely, Escher’s prints lack the dark, menacing element that characterises Piranesi’s series. But in terms of abandoning gravity and creating truly impossible buildings and spaces, he never goes to the extreme to which Escher would eventually go. Piranesi exaggerates the perspective and renders his spaces hugely impressive with dramatic lighting and a beautiful light/dark contrast. Here he creates a threatening, hidden world full of ominous caverns and hanging pulleys and cables, in which man is occasionally present yet markedly insignificant and vulnerable. Labyrinths filled with an infinite number of stairs, ladders, bridges, gates and galleries, none of which seem to lead anywhere. The Carceri is a series of etchings with colossal, vertiginous spaces that seem to never end. ![]() Giovanni Battista Piranesi, Carceri d'invenzione (plate 7, The Drawbridge), second version, etching, 1761 Giovanni Battista Piranesi, Carceri d'invenzione (title plate), second version, etching, 1761
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