Gormenghast is the sequel to Peake's earlier work Titus Groan. Despite the deaths and disappearances of many of the previous book's cast, life in the castle continues: like a colony of insects, the system is far more important than the insects that make it up. However, things are not well.

There is a disease and its name is Steerpike. Throughout the book he contrives to climb even higher than he managed in Titus Groan. He has his sights set on the Earldom. His plan involves many steps: firs

Gormenghast is the sequel to Peake's earlier work Titus Groan. Despite the deaths and disappearances of many of the previous book's cast, life in the castle continues: like a colony of insects, the system is far more important than the insects that make it up. However, things are not well.

There is a disease and its name is Steerpike. Throughout the book he contrives to climb even higher than he managed in Titus Groan. He has his sights set on the Earldom. His plan involves many steps: firstly, to kill Barquentine and take his position, thus gaining control of the rituals by which Gormenghast is run. Though his murder is successful, Steerpike is burned and disfigured by the act, and this has dire consequences later on. While delirious and recovering, he lets slip the clue 'and the twins will make it five', rousing his former master Doctor Prunesquallor's suspicions.

Seducing Lady Fuchsia is the next part of his scheme: thus he hopes to gain her support and legitimise his claim to power, using the threat of scandal to keep her at bay. Boldest of all is his plan to kill Titus. He sets about this task with all the audacity of a Fantômas or Zenith the Albino, but all it takes is for one thing to go wrong and the whole plan unravels. Luck is not on his side.

But what of Titus? In the last book we saw him grow from a baby to a toddler. In this book we see his childhood and adolescence, and the development of a young rebel. His resentment of the role his birthright has thrust upon him is tangible: the rituals seem increasingly tedious and pointless and his desire to be free of it all grows throughout the book.

Meanwhile, Steerpike grows increasingly unstable. Though he has taken Barquentine's position, Prunesquallor and Titus's mother are thoroughly suspicious of him. Flay's secret return to the castle to watch over Titus makes Steerpike's life and schemes even harder.

Unsurprising, then, that things go wrong for him. His attempt to seduce Fuchsia backfires and his deeds are found out. Forced to go rogue, he brings his bid for power forward, attempting to murder Titus and evading capture. Only when the castle is flooded are they able to corner him, and Titus manages to kill him, more by luck than judgement.

The body count continues to climb throughout the novel: Nannie Slagg, Flay, Cora and Clarice, Barquentine; small wonder that at the end of it Titus wants to put it all behind him. The book closes with Titus abdicating and riding away from the castle.

So much for the plot.

On the whole it's a gripping read, much like the book that came before it. The same evocative language, the same vivid images: it's one of Peake's most famous books and deservedly so. Although I didn't mention it in the summary of the plot, my favourite part of the story is Irma Prunesquallor's manic pursuit of a husband. Her decision to court the professors is one of the most hysterical things I've read in a novel; with two people in their late middle years, who, owing to the cloistered nature of their upbringings or professions, have had a bare minimum of contact with the opposite sex. Bellgrove is one of the more likable characters in the book, and seeing him try to handle his insolent staff is always good for a laugh.