Susanna Clarke

‘Batter-Sea is not a word,’ I said at last. ‘It has no referent. There is nothing in the World corresponding to that combination of sounds.’

Above all remember this: that magic belongs as much to the heart as to the head and everything which is done, should be done from love or joy or righteous anger

And if we honour this principle we shall discover that our magic is much greater than all the sum of all the spells that were ever taught. Then magic is to us as flight is to the birds, because then our magic comes from the dark and dreaming heart, just as the flight of a bird comes from the heart. And we will feel the same joy in performing that magic that the bird feels as it casts itself into the void and we will know that magic is part of what a man is, just as flight is part of what a bird is

The first is to throw some sort of light on the development of magic in the British Isles at different periods; the second is to introduce the reader to some of the ways in which Faerie can impinge upon our own quotidian world, in other words to create a sort of primer to Faerie and fairies.

The title story, "The Ladies of Grace Adieu", falls into the first category, with a poignant depiction of the difficulties faced by female magicians during the early nineteenth century – a time when their work was simply dismissed by their male counterparts (here amply represented by Gilbert Norrell and Jonathan Strange).

"On Lickerish Hill" and "Antickes and Frets" both describe the somewhat easier, less fraught relationship with fairies and magic which our English and Scottish ancestors once enjoyed.

Women do seem to have fared somewhat better in these perplexing circumstances; the heroine of "Mrs Mabb", Venetia Moore, consistently demonstrates an ability to intuit the rules of Faerie, which the older and more experienced Duke is quite without.

"Tom Brightwind or How the Fairy Bridge Was Built at Thoresby" remains a tale replete with interest for the student of Faerie.

"John Uskglass and the Cumbrian Charcoal Burner" is an example of that genre of stories (much loved by the medievals) in which the rich and powerful are confounded by their social inferiors.

It further occurred to him that he was just as rich as ever and that, though his home already contained one pretty, young woman (his niece and ward, Cassandra Parbringer), he did not believe that another would go amiss.