Jonathan Strange and Mr. Norrell » (First Edition)

Her first novel Jonathan Strange and Mr Norrell establishes Susanna Clarke as a new fantasy writer to watch. The story of two magicians in early nineteenth-century London is a fanciful, absorbing book that promises to gain fans outside the dedicated fantasy audience.

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"Ravishing…Combines the dark mythology of fantasy with the delicious social comedy of Jane Austen into a masterpiece of the genre that rivals Tolkien."—Time

At the dawn of the nineteenth century, two very different magicians emerge to change England's history. In the year 1806, with the Napoleonic Wars raging on land and sea, most people believe magic to be long dead in England—until the reclusive Mr Norrell reveals his powers, and becomes a celebrity overnight.

Soon, another practicing magician comes forth: the young, handsome, and daring Jonathan Strange. He becomes Norrell's student, and they join forces in the war against France. But Strange is increasingly drawn to the wildest, most perilous forms of magic, straining his partnership with Norrell, and putting at risk everything else he holds dear.

"What kind of magic can make an 800-page novel seem too short? Whatever it is, debut author Susanna Clarke is possessed by it."—USA Today

"From beginning to end, a perfect pleasure."—Neil Gaiman

The New Yorker

This vast début fantasy novel, cast somewhat in the Harry Potter mold, is set in early-nineteenth-century England, where two men, Gilbert Norrell and his pupil Jonathan Strange, revive the once-thriving practice of the dark arts. After aiding the British against Napoleon, the magicians fall out over interpretations of wizardly philosophy. Meanwhile, a malevolent fairy accidentally set loose by Norrell enchants, among others, Strange’s wife. Clarke’s ability to construct a fully imagined world—much of it explained in long, witty footnotes—is impressive, and there are some suspenseful moments. But her attempt to graft a fantasy narrative onto such historical realities as the Battle of Waterloo is more often awkward than clever, and the period dialogue is simply twee. Worse, the tension between the forces of good and evil—crucial in any magical tale—is surprisingly slack; the arch-villain is a cartoonish fop whose petulant misdeeds lack menace.