His journals are addressed to a hypothesised 16th person, but itвЂ™s not until he finds evidence that this person вЂ“ this 16 вЂ“ exists that he starts to really grasp how much he desires contact with another living being. He looks forward to his twice-weekly meetings with the Other, who he considers a great friend, listens to the messages provided by the birds, and takes good care of the bones of the dead вЂ“ the remaining 13 people he knows definitely lived in the House at some point вЂ“ but he is, essentially, alone in the House. Across these entries he details the wonders of the House, the nature of his life therein, and the scientific work he undertakes alongside the Other, and much of the story is taken up with his gentle musings on life, and whether the total population of the world might possibly exceed the 15 people he knows to have lived.ДЇor all PiranesiвЂ™s comfort and contentment with his life in the House, thereвЂ™s a strong sense of sadness and loneliness throughout his story. Piranesi lives a quiet, diligent life, and the story is told by way of his meticulous journals, written in an endearing voice thatвЂ™s equal parts naive and childlike, and carefully scientific, each entry dated using his idiosyncratic calendar (which uses contextual references like вЂњthe Year I discovered the Coral HallsвЂќ or вЂњthe Year I named the ConstellationsвЂќ). To Piranesi, the House is the world вЂ“ outside its seemingly infinite halls are only the sun, moon and stars, and for all its strangeness it provides virtually everything he needsвЂ¦and anything else, the Other supplies. He thinks of himself as вЂthe Beloved Child of the HouseвЂ™, though the only living person he shares his halls with вЂ“ who he calls вЂthe OtherвЂ™ вЂ“ refers to him as Piranesi. Essentially itвЂ™s the story of a man who resides in what he calls the House, a vast labyrinth of halls, passageways, vestibules and staircases populated by thousands upon thousands of statues, with its own strange climate and ecosystem вЂ“ clouds gather in the upper halls, tides surge up from the depths, birds make their nests on statues and fish teem in the waters. As it turns out, Piranesi is beautifully written but unconventional and difficult to describe, the sort of book that plunges you straight into the deep end of a fully-formed world with its own unique rules, systems, style and terminology, which only reveals its secrets slowly and carefully as you dig beneath the surface. I wasnвЂ™t sure what to expect, when I started listening вЂ“ I donвЂ™t think anyone knew what to expect, after such a long gap between books. IвЂ™m not going to try and talk objectively like I would usually, because this is a book I loved so much I just want to sing its praises!

I had no intention of reviewing Piranesi, so I made no notes or took down any quotations, but after finishing it and spending some time mulling it over, I canвЂ™t help but want to talk about it.

It took me some time to get round to reading it, but I eventually settled on the audiobook edition, narrated by the wonderful Chiwetel Ejiofor, and listened to it over the space of a weekвЂ™s worth of walks around Southeast London, at first pleasantly puzzled and then gradually, increasingly beguiled by its quiet, dreamlike depths. I adored Susanna ClarkeвЂ™s debut novel Jonathan Strange and Mister Norrell when I read it back inвЂ¦I donвЂ™t know, 2004 or 2005, and I had been hearing great things about her second novel, Piranesi, since it was announced in 2020.

Susanna clarke piranesi