![]() ![]() Sebald, all of whom write about how the landscape is haunted not in any literal sense, but by “the turbulence of England in the era of late capitalism. Rather it is a realm that snags, bites and troubles.” MacFarlane looks forward to musicians such as P.J. ![]() Landscape, in James, is never a smooth surface or simple stage-set, there to offer picturesque consolations. James have lasted because James understands “landscape – and especially the English landscape – as constituted by uncanny forces, part-buried sufferings and contested ownerships. He argues that the creepy stories of M.R. In a 2015 essay, Robert MacFarlane recognizes or helps create a genre of work about the eerieness of the English landscape. It’s usefully read (as Clarke herself suggested in her contribution to the seminar we ran with her), as a book about the weirdness of the English landscape, and in a backhanded way about Piranesi too. Because it is so funny and charming, people tend to read it as whimsical, but beneath the whimsy lies the weird. ![]() ![]() Norrell is deeply beloved, as it damn well ought to be. The short version – Clarke’s first book, Jonathan Strange and Mr. This is a post I’ve been meaning to write for a few years, and the impending publication of Susanna Clarke’s new book, Piranesi, has finally prompted me to get off my arse and do it. ![]()
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