The Illustrated Gormenghast Trilogy

by Mervyn Peake

The castle was as silent as some pole-axed monster. Inert, breathless, spread-eagled. It was a night that seemed to prove by the consolidation of its darkness and its silence the hopelessness of any further dawn. There was no such thing as dawn. It was an invention of the night’s or of the old-wives of the night – a fable, immemorially old – recounted century after century in the eternal darkness; retold and retold to the gnomic children in the tunnels and the caves of Gormenghast – a tale of another world where such things happened, where stones and bricks and ivy stems and iron could be seen as well as touched and smelt, could be lit and coloured, and where at certain times a radiance shone like honey from the east and the blackness was scaled away, and this thing they called dawn arose above the woods as though the fable had materialized, the legend come to life. It was a night with a bull’s mouth. But the mouth was bound and gagged. It was a night with enormous eyes, but they were hooded. The only sound that Flay could hear was the tapping of his heart.