Jonathan Strange & Mr Norrell - Reception

Reception

To promote Jonathan Strange & Mr Norrell, Bloomsbury—who also published the Harry Potter series—launched what The Observer called "one of the biggest marketing campaigns in publishing history". Their campaign included plans for newspaper serialisations, book deliveries by horse and carriage, and the placement of "themed teasers", such as period stationery and mock newspapers, in United States coffeeshops. Seven thousand-five hundred advance readers’ copies were sent out, a limited number wrapped in paper and sealed with wax. These sold for more than US$100 each on eBay in England in the weeks leading up to publication. By 2005, collectors were paying hundreds of pounds for signed copies of a limited edition of the novel.

The book debuted at No. 9 on the New York Times bestseller list, rising to No. 3 two weeks later. It remained on the list for eleven weeks. Four weeks after the book's initial publication, it was in Amazon's top ten. Clarke went on a 20-city tour to promote the novel, after its near-simultaneous publication in 20 countries. Endorsements from independent booksellers helped the book sell out its first printing; by the end of September 2004, it had gone through eight printings.

The novel met with "a crackle of favorable reviews in major papers". The New Republic hailed it as "an exceptional work", both "thoughtful and irrepressibly imaginative". The Houston Chronicle described Clarke as "a superb character writer", and the Denver Post called her a "superb storyteller". The reviews praised Clarke's "deft" handling of the pastiche of styles, but many criticised the novel's pace, The Guardian complaining that "the plot creaks frightfully in many places and the pace dawdles". In his review for Science Fiction Weekly, Clute suggested that "almost every scene in the first 300 pages should have been carefully and delicately trimmed" (emphasis in original) since they do little to advance the story. He argued that, at times, Clarke's Austenesque tone gets in the way of plot development. On the other hand, The Baltimore Sun found the novel "a quick read". Complaining that the book leaves the reader "longing for just a bit more lyricism and poetry", The Washington Post reviewer noted, with others, that "sex plays virtually no role in the story ... one looks in vain for the corruption of the innocent". The New Statesman reviewer, Amanda Craig, praised the novel as "a tale of magic such as might have been written by the young Jane Austen – or, perhaps, by the young Mrs Radcliffe, whose Gothic imagination and exuberant delicacy of style set the key." However, she also criticised the book: "As fantasy, it is deplorable, given that it fails to embrace the essentially anarchic nature of such tales. What is so wonderful about magicians, wizards and all witches other than Morgan le Fay is not just their magical powers, but that they possess these in spite of being low-born. Far from caring about being gentlemen, wizards are the ultimate expression of rank's irrelevance to talent". However, reviewers were not in universal agreement on any of these points. Maguire wrote in the New York Times:

What keeps this densely realized confection aloft is that very quality of reverence to the writers of the past. The chief character in Jonathan Strange and Mr. Norrell isn't, in fact, either of the magicians: it's the library that they both adore, the books they consult and write and, in a sense, become. Clarke's giddiness comes from finding a way at once to enter the company of her literary heroes, to pay them homage and to add to the literature.

While promoting the novel, Neil Gaiman said that it was "unquestionably the finest English novel of the fantastic written in the last 70 years", a statement which has most often been read hyperbolically. However, as Clute explains, what Gaiman meant was that Jonathan Strange is "the finest English novel of the fantastic since Hope Mirrlees's great Lud-in-the-Mist (1926), which is almost certainly the finest English fantasy about the relationship between England and the fantastic yet published" (emphasis in original). Clute writes that "a more cautious claim" would be: "if Susanna Clarke finishes the story she has hardly begun in Strange ... she may well have then written the finest English novel of the fantastic about the myth of England and the myth of the fantastic and the marriage of the two ever published, bar none of the above, including Mirrlees."