I recently read through Piranesi by Susanna Clarke, who is best known for writing the epic historical fantasy Jonathan Strange & Mr. Norrell more than 15 years ago. Piranesi is very different from its predecessor, as it is short and dreamlike in tone while Jonathan Strange was lengthy and arch; I found the novel surprisingly affecting in its simplicity and in the emotional journey of its protagonist.The book unfolds as a series of journal entries written by the protagonist, who is sometimes called Piranesi even though he is aware that it is not his name, as he chronicles his solitary exploration of a mysterious environment called the House.
The House is described as a seemingly infinite space full of halls and vestibules, littered with symbolic statues, encroached upon by clouds and coral reefs, and desolate except for the occasional albatross. The protagonist regards the House an almost-religious reverence, and has learned to gain sustenance from the resources it provides. It becomes clear that “Piranesi’s” perspective on his surroundings is atypical and innocent; for example, because he has only seen 14 skeletons, he only believes that a small handful of people had lived before him. It also becomes clear that the House has a strange effect, leading to amnesia and instability in those who remain inside for too long.
The House is described as a seemingly infinite space full of halls and vestibules, littered with symbolic statues, encroached upon by clouds and coral reefs, and desolate except for the occasional albatross. The protagonist regards the House an almost-religious reverence, and has learned to gain sustenance from the resources it provides. It becomes clear that “Piranesi’s” perspective on his surroundings is atypical and innocent; for example, because he has only seen 14 skeletons, he only believes that a small handful of people had lived before him. It also becomes clear that the House has a strange effect, leading to amnesia and instability in those who remain inside for too long.
The narrator will occasionally meet with “the Other,” who, as the moniker implies, he regards as the only other living person in his world. The Other has engaged “Piranesi” in studying the House in order to unlock its mysteries, and, while the protagonist regards the Other highly and sees the two of them as partners in a scientific endeavor, the Other’s contempt is clear to an outside observer. The Other manipulates “Piranesi” into doing his bidding, threatening to leave forever if “Piranesi” abandons their project and instilling fears that terrible things will happen if “Piranesi” seeks outside information. Over the course of the novel, the narrator uncovers the mysteries surrounding the House, the Other, and his own identity.
Many have embraced Piranesi because its story reflects the isolation we have all experienced during 2020 and 2021, during which we were cooped up and exploring our homes, and getting trapped inside our own minds. I also find the novel interesting as a metaphor for an emotionally abusive relationship, with a naive protagonist becoming isolated in a disorienting, yet strangely compelling, world, and also becoming vulnerable to the desires and manipulations of the only other person who shares that world with him. However it is understood, the protagonist’s naïveté and innocence make the book’s emotional dynamic raw and involving, and the descriptions of the environment in the House are likewise intriguing.
Although the book was not what I expected in the aftermath of Jonathan Strange, I was intrigued by Piranesi and am glad I picked it up.
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