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Jonathan Strange & Mr. Norrell: A Novel by Susanna Clarke
Book Summary InformationAuthor: Susanna Clarke Edition: Hardcover Audio: English (Unknown); English (Original Language); English (Published) Published: 2004-09-08 ISBN: 1582344167 Number of pages: 800 Publisher: Bloomsbury USA Product features:
Book Reviews of Jonathan Strange & Mr. Norrell: A NovelBook Review: A Magical Tome for Thaumatomanes Summary: 5 Stars
The term "thaumatomane" is referenced in Chapter 28 of Clarke's novel as coming from Samuel Johnson's "Dictionary of the English Language". It means "a person possessed of a passion for magic and wonders". This book is for those special, patient thaumatomanes who are bibliophiles with a refined sense of humor and who like to linger and savor the descriptive, literary alchemy in Clarke's prose, even when magic isn't the immediate topic at hand... and don't mind an occasional wandering into sub-stories. Many reviews have already given the general storyline, so I won't repeat that here. What I will focus on is the unusual, mysterious nature of the magic that Clarke portrays. When she was asked whether she believed magic really exists, she said: "The answer would have to be no. The magic in Strange & Norrell is purely literary. It's not based on the work of actual magicians of the time. (I read a book about eighteenth/nineteenth-century occult scholarship recently; it was very dull and rather hard to follow.)." Although it is true that the magic is only literary, there are short references to real historical figures who are implied to be magicians. For example, in a footnote on consulting dead magicians as a magical procedure, the Raven King supposedly had conversations with Merlin, the Witch of Endor, Moses and Aaron, Joseph of Arimathea and "other venerable and ancient magicians". Also, reference is made in a couple places to Valentine Greatrakes who, in reality, was an Irish healer who toured England in 1666 and cured people by the laying on of hands. Aside from these references, genuine historical figures such as Wellington, Napoleon, and Lord Byron play more notable, non-magical roles.
In addition to the genuine historical figures that make an appearance, a genuine occult item does as well: the Marseilles Tarot deck. Childermass, steward to Norrell, owns a crude, self-created version of one that he occasionally uses for "fortune telling" to the dislike of Norrell who, strangely, despises them and actually believes that the future cannot be predicted. In fact, what Norrell has in common with theoretical magicians such as Segundus and Honeyfoot is the lack of belief in prophecies which they associate with charlatans. Yet, interestingly, both Norrell and Strange are essential parts of a prophecy (and spell!) of the Raven King, the founder of English magic! What makes the story even more interesting as well as comical is that Vinculus, a street "sorcerer" and charlatan who is despised by Norrell, apparently has the only magical book written by the Raven King and can quote the King's prophecies by heart. Significantly, it is Vinculus who plays the crucial yet seemingly haphazard role of introducing Jonathan Strange to magic as a profession.
The magic in the novel is mysteriously, fantastically, even humorously portrayed (For example, in 1138, the Raven King himself is reputed to have caused the moon to disappear from the sky and travel through all the lakes and rivers of England. Hmmm... how big did they think the moon was back then? Perhaps some of the magic was illusory, like our modern-day legerdemain, but who knows.) Relocating landscapes (including buildings, towns, troops, etc.) is learned more quickly than other feats which some may think should be easier. Fairies (feet tall, not inches) have an influential, magical role. According to Richard Chaston (1620 - 95; yes, he's fictional), "men and fairies both contain within them a faculty of reason and a faculty of magic. In men reason is strong and magic is weak. With fairies it is the other way round: magic comes very naturally to them, but by human standards they are barely sane." This footnote occurs in Chapter 25, over 200 pages into the novel. It partially explains why Strange later tries to use madness to contact a fairy. The influential role fairies play is seen in the fact that the Englishman John Uskglass (later known as "The Raven King") learned magic from fairies after he was stolen as a child and taken to Faerie (a.k.a. "The Other Lands" by magicians) where he eventually became a powerful leader. According to Strange, the Raven King is the most mysterious of the Mediaeval AUREATE (Golden Age) magicians. He came out of Faerie to establish his kingdom of Northern England some time ago, then several centuries later he "departed" (Norrell says "abandoned") England in 1434, going who-knows-where and leaving the influence and practice of English magic in decline.
Scattered throughout the book, especially in the footnotes, are details regarding the Raven King and magicians/magic in general. One learns that magicians only applied themselves to writing books when magic was already in decline (the AUREATE magicians learned their magic experientially and with the help of fairies, not books). The AUREATE magicians included, along with the Raven King, Thomas Godbless, Ralph Stokesey, and Catherine of Winchester. Martin Pale (1485 - 1567) was the last of the AUREATES and he was tutored by Catherine of Winchester, a student of the Raven King, 200 years AFTER her death. Next in practical magic's decline came the ARGENTINE (Silver Age) magicians who were scholars first, magicians second. Some of the names given for these include Thomas Lanchester (1518 - 90), Jacques Belasis (1526 - 1604), Nicholas Goubert (1535 - 78), and Gregory Absalom (1507 - 99). When exactly practical magic left England isn't entirely clear, although the first thing a student of magic learns is that there are books OF magic, written before magic ended in England, and books ABOUT magic, written later. Norrell's 19th century claim-to-fame was that he's a genuine practical magician, not a theoretical one like every other so-called magician of his time. It is he who hoards all the books OF magic which forces Strange to learn practical magic primarily the way the AUREATES did: through experience. In fact, before Norrell decides to accept Strange as an apprentice, he is fascinated by a magical act performed by Strange who isn't entirely sure how he did it!
The book implies that the greatest magic (used by the Raven King and some if not all of the other AUREATES) is innovative and rooted in a type of nature mysticism where natural objects like trees, stones, water, sky and even birds (incl. ravens, of course) can speak and be spoken to as spirits in a mystical way to form alliances, something that the rationalistic and book-dependent Norrell calls "mystical nonsense". Norrell can do some startling things, but how much of his magic is really based on his own innovations and alliances rather than those of others via books? "Shape-changing" is also mentioned as something generally employed by the AUREATES during their travels in Faerie or other lands beyond England, but it isn't given prominence in the book. It is said, however, that the AUREATES were aware of its liability to abuses.
Norrell, unlike Strange, has animosity towards the Raven King, partially because he failed to magically make contact with him in his early years. Also, he doesn't like the idea of depending on fairies or the King to do magic, although he depends on magical books and secretly summons a fairy via a book (which becomes a nuisance to others throughout the remainder of the novel) to raise Lady Pole from the dead so he can make a name for himself as the one who will restore practical magic to England.
Clarke has revealed some of the literary magicians that inspired her own. Included are the magicians in C. S. Lewis's Narnia stories, although she says her closest model was Ursula Le Guin's Earthsea stories. She liked the idea of a magician with no name such as Earthsea's magician: "the Grey Mage of Paln, whose magic was so dubious, his name was forgotten" and the magician in The Lord of the Rings, "right at the very end, who comes out of Mordor to do battle against our heros and no one knows his name because he himself has forgotten it." However, since she wasn't sure what to do with a major character with no name, the Raven King "acquired more names than most people" such as John Uskglass, The Black King, the King of the North, and the fairy name no one can pronounce. Although Clarke doesn't mention Edward Bulwer-Lytton's magical English novel Zanoni (published in 1824) as an influence, I wouldn't be surprised if she read it since it involves two different-natured magicians like Norrell and Strange, both with longevity of life like the Raven King. I can see a few very general similarities between it and her novel.
A movie of Clarke's magical tome is under production. Unlike Le Guin who didn't have much of a say in how the Earthsea movie turned out, Clarke has a hand in producing her book-based movie. I look forward to it and consider Jonathan Strange & Mr Norrell one of my favorite novels.
Summary of Jonathan Strange & Mr. Norrell: A NovelEnglish magicians were once the wonder of the known world, with fairy servants at their beck and call; they could command winds, mountains, and woods. But by the early 1800s they have long since lost the ability to perform magic. They can only write long, dull papers about it, while fairy servants are nothing but a fading memory. But at Hurtfew Abbey in Yorkshire, the rich, reclusive Mr Norrell has assembled a wonderful library of lost and forgotten books from England's magical past and regained some of the powers of England's magicians. He goes to London and raises a beautiful young woman from the dead. Soon he is lending his help to the government in the war against Napoleon Bonaparte, creating ghostly fleets of rain-ships to confuse and alarm the French. All goes well until a rival magician appears. Jonathan Strange is handsome, charming, and talkative-the very opposite of Mr Norrell. Strange thinks nothing of enduring the rigors of campaigning with Wellington's army and doing magic on battlefields. Astonished to find another practicing magician, Mr Norrell accepts Strange as a pupil. But it soon becomes clear that their ideas of what English magic ought to be are very different. For Mr Norrell, their power is something to be cautiously controlled, while Jonathan Strange will always be attracted to the wildest, most perilous forms of magic. He becomes fascinated by the ancient, shadowy figure of the Raven King, a child taken by fairies who became king of both England and Faerie, and the most legendary magician of all. Eventually Strange's heedless pursuit of long-forgotten magic threatens to destroy not only his partnership with Norrell, but everything that he holds dear.
Sophisticated, witty, and ingeniously convincing, Susanna Clarke's magisterial novel weaves magic into a flawlessly detailed vision of historical England. She has created a world so thoroughly enchanting that eight hundred pages leave readers longing for more.
It's 1808 and that Corsican upstart Napoleon is battering the English army and navy. Enter Mr. Norrell, a fusty but ambitious scholar from the Yorkshire countryside and the first practical magician in hundreds of years. What better way to demonstrate his revival of British magic than to change the course of the Napoleonic wars? Susanna Clarke's ingenious first novel, Jonathan Strange & Mr. Norrell, has the cleverness and lightness of touch of the Harry Potter series, but is less a fairy tale of good versus evil than a fantastic comedy of manners, complete with elaborate false footnotes, occasional period spellings, and a dense, lively mythology teeming beneath the narrative. Mr. Norrell moves to London to establish his influence in government circles, devising such powerful illusions as an 11-day blockade of French ports by English ships fabricated from rainwater. But however skillful his magic, his vanity provides an Achilles heel, and the differing ambitions of his more glamorous apprentice, Jonathan Strange, threaten to topple all that Mr. Norrell has achieved. A sparkling debut from Susanna Clarke--and it's not all fairy dust. --Regina Marler
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