The Great Gormenghast Read discussion

For discussion of chapters 11-20 and any related information.

Ah, Titus' reverie in Bellgrove's class (chapter 14): wonderful. I'm sure this chapter is exactly what some people dislike about Peake's writing: a whole chapter in which nothing at all happens, except a bored boy pondering on the nature of colour, by looking at a marble?! On the other hand, it's a whole chapter in which nothing at all happens, except a bored boy pondering on the nature of colour, by looking at a marble!

If you hadn't previously known that Peake was a wonderful artist and illustrator, this would make it plain. I want to quote bits, but which to choose?

Cecily wrote: "Ah, Titus' reverie in Bellgrove's class (chapter 14): wonderful. I'm sure this chapter is exactly what some people dislike about Peake's writing: a whole chapter in which nothing at all happens, ex..."

I've not read up to here yet but I look forward to it now. I find it interesting that so many complain about Peake doing nothing, because the question must be raised: should art do something? Or is the value of art raised by how we observe it? Does Peake's writing actually do something by merely doing nothing but be lavishly wonderful?

Ah, yes Cecily. I had forgotten how enjoyable I found chapter 14 to be. Such a vivid painting of words!

"Nine hundred seconds! Oh, marvellous! marvellous! Seconds are so small. One-two-three-four- seconds are so huge."

Jonathan wrote: "...I find it interesting that so many complain about Peake doing nothing, because the question must be raised: should art do something? Or is the value of art raised by how we observe it? Does Peake's writing actually do something by merely doing nothing but be lavishly wonderful? "

I think the only thing art should do is provoke a response in the viewer, reader or listener. For me, the "lavishly wonderful" prose provokes a very strong (and positive) response.

I'm nearly at the end of this section, and one of the aspects I'm more aware of this time is that it's not just Titus struggling with the implications of power: at the other end of the age spectrum, Bellgrove has very mixed feelings as well, albeit in a more comical way. Nevertheless, the juxtaposition works well, I think.

If not much happens in Chapter 14 (and I agree with Cecily in being completely untroubled by that), the rest of the section is crammed full of happenings. The Professors are introduced in greater detail, the Headmaster is replaced, Titus runs away, Irma plans a party, ... A lot of the key elements are set in motion.

(view spoiler)[I found myself disappointed that Peake doesn't do more with the Professors - after creating a bunch of unique characters, he largely lets them coalesce into an undifferentiated mass of robes. (hide spoiler)]

Titus' escape I found forced. It creates an opportunity to see the Thing and meet Flay, but it seems far too purpose-built for me. It would have worked better to have this be his second escape, or to have spotted the Thing (view spoiler)[ among the Bright Carvers (hide spoiler)] from the wall, and followed her.

Irma's party, on the other hand, is genius from start to finish. The ludicrous nature of it, and the insight we finally get into the Doctor's true character, are some of the strengths of this book.

B. wrote: "...Titus' escape I found forced... It would have worked better to have this be his second escape,..."

There are earlier mentions of him straining at the leash since babyhood, and even in this book, of him bunking off school and wandering where he shouldn't, when he shouldn't, so it didn't strike me as particularly forced.

I agree that Titus' desire to leave is signposted, but the fact that this actual escape is both so long, and so seemingly directed didn't work for me. Despite what we're told, It didn't feel as if he got lost in the woods and Flay found him. It felt as if Peake just kept throwing in filler until the meeting with Flay. The only real leavening was the Thing. I'd have liked it better if Titus had exulted in his freedom, or felt really lonely and scared. Instead, it felt to me like he went out, and said "I'll just keep going. Look, trees. Hello, Flay."

I think titus running away signifies his hate for the rituals of gormenghast.Also the professors make me a bit confused due to their weird names.Also Irma throwing party to bachelors shows that she still lives in dreamland.

I agree with both of you. Titus fights against the oppression of duty and ritual all his life - even as a tiny baby (ripping the book at his christening and throwing things in the lake at his Earling). However, the episode in the forest does drag a bit. But maybe that's in part because I want to be back in Gormenghast.

I forgot to mention in this chapter but Gertrude is definitely more intelligent than she is shown in first book because she has started suspecting that someone is plotting in the castle.

Yes, indeed. You see Gertrude in a whole new light in this, and the reasons for it are quite interesting, imo.