![]() The paratext is worth attention before diving in. (An excellent resource on these is The Digital Piranesi project at the University of South Carolina, which is a digitised archive of their complete set of his posthumous Opere, with its own online index.)įrom the first pages of Piranesi the novel, it is clear that we are in a different world. The reader doesn’t need to know this to enjoy the novel, but even a quick look at Piranesi’s artwork, particularly his ‘Imaginary prisons’ (1761), affords a good insight into the weird world about to be entered. The real Giovanni Battista Piranesi was an eighteenth-century Italian artist, archaeologist and architect, known for his intricate engravings of Rome and of real and fictional buildings. The title itself gives an initial clue to the contents. That was the day to start reading it.Ĭlarke’s previous publications have been set in a world of magic, and Piranesi continues this theme. Piranesi was nearing the top of my to-read pile when I saw a tweet saying that it should appeal to anyone interested in the history of the book, paratext and indexes. The book comes 16 years after her debut bestselling novel Jonathan Strange and Mr Norrell, and 14 years after her last publication, the short story collection The ladies of Grace Adieu. One of the most highly anticipated titles of the autumn 2020 publishing boom was Piranesi, the new novel by Susanna Clarke. The final published version is available online at Piranesi. The submitted version is self-archived here with permission and in accordance with LUP green open-access guidelines. 113–117, copyright © 2021 Society of Indexers, Liverpool University Press. This review article was first published as ‘Book review: Piranesi by Susanna Clarke’, Paula Clarke Bain, The Indexer, vol.
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