Magical Britain has been dormant for centuries; there have been no practicing magicians in living memory. Until now that is. The magician Mr. Norrell is brought from seclusion by a combination of a vain, scholarly desire for recognition, an irritable contempt for so called ‘theoretical magicians’, amateur historians with a passion for the supposedly vanished magical arts, and an ambitious plan to restore magic to the British Isles. He is soon joined by Jonathan Strange, his younger, more glamorous pupil. As partner and rivals they shape the events of the early 19th century around them. From influencing the poetry of Lord Byron to aiding the war effort on the continent the two stride through an intricate recreation of history. And though the plot wallows in occasional doldrums, the story does not begin in earnest until around page 200; this is the result of an admirable conceit and is entirely excusable. Clarke creates a complete pastiche of Regency literature, from Austen to Walter Scott in an impressive display of artistry. Alongside the classical style and setting tropes from British mythology and fantasy infuse this historical and literary resurrection. It is from these sources that the central conflict of the novel is drawn, beside which the Napoleonic Wars are but a side show. Both Strange and Norrell see a world in decline whose vitality may only be restored by a magical renaissance, but the question of how becomes divisive; should modern magicians aim to bury the past or recreate it? At times both also consort with the fae, whimsical, capricious, duplicitous beings whose dreamlike world is a mad counterpoint to our own and who sow chaos in the lives of the characters.

Complementing this body of allegory and allusion is the superb cast that inhabits Clarke’s England, including historical figures like the Duke of Wellington and King George III. Norrell and Strange, the books titular characters, dominate the narrative, Norrell receiving the lion’s share of attention the first half while Strange is brought to the fore for the second. Norrell is an interesting choice in a protagonist; he’s vain, arrogant, dictatorial, a scholar who buries history and discredits rivals in an effort to make reality conform to his preferences. And the author makes no attempt to obscure these traits. Instead she writes for him on a peculiar journey from protagonist, through a period as the fatally flawed hero of a minor tragedy, to a petty and sad villain and back again. His way of dealing with the theoretical magicians is typical Norrell; he’s basically a bully, but one with a grandiose style and self-righteousness it’s easy to buy into. And those false magicians were kind of annoying anyway, so we find ourselves forgiving him his cruelty and instead enjoy the spectacle. But as he follows his peculiar trajectory he loses that grandiose style, but remains a bully. And as times goes on his choice in victims become less fortunate, his targets are more sympathetic, his causes more petty and his actions become geared towards his personal ambitions. But by the end he finds, if not redemption, then at least the potential for it. Strange is a better hero, or at least one who is easier to like. He’s a simple character to start with, naïve and ignorant of hardship. And while his hubris leads inevitably to tragedy his courage and his willingness to strive for his grand ambitions are endearing. And he, unlike his mentor, grows up over the course of the novel; he finds love and loss, faces war and fights madness and emerges a hero worthy of our admiration. Perhaps the starkest difference between the two is that, while both desire respect and recognition, Strange is willing, indeed eager, to earn it while Norrell simply demands it of the world. Thankfully it is Strange’s story which forms the core of the book, with Norrell acting as a foil for him.

Contributing much colour to the proceedings is a collection of supporting characters whose stories serve to drive or illuminate the main plot. Of particular note is Stephen Black, a servant and son of a slave who attracts catches the eye of a mysterious figure identified only as “the gentleman with thistle-down hair.” The latter’s obsession with, in his eyes, helping Black despite his protests creates a dynamic rich in social commentary, as well as humour and despair. There’s also Vinculus, an impoverished street magician and part time prophet who earns the antipathy of Norrell early on but whose prescient verse shapes the novel’s third section. With every peripheral character we get a glimpse of English society from a different perspective, each distinct and some quite unique; what, after all, is the place of a black child of a slave, himself a servant in 19th century England? The portrait of Regency society as a stratified arena for petty ambition is crafted in a comprehensive and compelling fashion.

The anachronistic style of the novel can be tiresome at times, in particular during the novel’s early stages, and will likely alienate some readers. It’s certain that by the end of it many readers will find themselves with an irrational hatred of drawing rooms and the private lives of the English upper crust. But Clarke goes to great lengths to enliven every scene. Her subtle, dry wit is everywhere; equal parts ironic commentary on social norms and understated descriptions of the novels more fantastical elements it infuses the novel with a feeling reminiscent of Jane Austen. The novel also employs detailed and surprisingly interesting footnotes of a scholarly bent, describing the historical background of particular events or statements. The short dissertations on magic and its history help bring the setting to life and give the world a historical depth. Clarke’s descriptions of the faerie world are perfect, an engaging combination of dreamlike surrealism viewed through a prism of madness. And when humans enter the faerie world we are shown the hollowness of dreams, the stagnation of a melancholic life.

This novel certainly isn’t for everybody; for some the beginning will be too slow and many would suggest that a more thoroughgoing editor would lead to a marked improvement. Perhaps they’re correct. But for those willing to take the time it will prove to be an entirely worthwhile experience. Anyone who is looking for a fresh take on the fantasy genre, a touching, character driven epic with an eccentric emphasis on scholarship and madness should take a look. Fans of historical romance or period fiction wanting to see a fascinating piece of British history through new eyes should likewise keep their eyes peeled for a copy.

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Tags: books with faries, fairy tale fantasy books, fantasy book reviews, joanathan strange & Mr. Norrell, susanna clarke