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Chapters (50)
  1. ABOUT THE BOOK
  2. ABOUT THE AUTHOR
  3. TITLE PAGE
  4. INTRODUCTION
  5. A NOTE ON THE ILLUSTRATIONS
  6. TITUS GROAN
  7. The Hall of the Bright Carvings
  8. The Great Kitchen
  9. Swelter
  10. The Stone Lanes
  11. ‘The Spy-Hole’
  12. Fuchsia
  13. ‘Tallow and Birdseed’
  14. A Gold Ring for Titus
  15. Sepulchrave
  16. Prunesquallor’s Knee-Cap
  17. The Attic
  18. The Frivolous Cake
  19. ‘Mrs Slagg By Moonlight’
  20. Keda
  21. ‘First Blood’
  22. ‘Assemblage’
  23. ‘Titus is Christened’
  24. Means of Escape
  25. ‘A Field of Flagstones’
  26. ‘Over the Roofscape’
  27. ‘Near and Far’
  28. ‘Dust and Ivy’
  29. ‘The Body by the Window’
  30. ‘Ullage of Sunflower’
  31. Soap for Greasepaint
  32. At the Prunesquallors
  33. A Gift of the Gab
  34. While the Old Nurse Dozes
  35. Flay Brings a Message
  36. The Library
  37. In a Lime-Green Light
  38. Reintroducing the Twins
  39. ‘The Fir-Cones’
  40. Keda and Rantel
  41. The Room of Roots
  42. ‘Inklings of Glory’
  43. ‘Preparations for Arson’
  44. The Grotto
  45. Knives in the Moon
  46. ‘The Sun Goes Down Again’
  47. ‘Meanwhile’
  48. ‘The Burning’
  49. And Horses Took Them Home
  50. COVER

‘Gormenghast’, he said, and his voice was like the noise of boulders rolling through far valleys, and as he had said ‘Gormenghast’ the intonation was such as implied reverence. This was the greeting of the Dwellers to any who were of the Castle and once that word had been spoken the person to whom it was addressed replied – ‘The Bright Carvers’. Conversation could then proceed. This response, deaf as the Dwellers were to any flattery, holding themselves to be the supreme judges of their work and indifferent to the outside interest, was in its way a palliative in the sense that it put them where they felt in their bones they belonged – on a spiritual if not a worldly or hereditary level. It introduced a certain concord at the outset. It was a master stroke of judgement, a tower of tact, in the seventeenth Earl of Groan, when hundreds of years before he had introduced this tenet into the ritual of the Castle.

Very, very far from bright were the Carvers themselves. They were uniformly dressed in dark grey cloth, tied about the waist with tough thongs which were stripped from the outer surface of the jarl root, whose inner hard white flesh they ate. Nothing was bright about their appearance, save one thing. The light in the eyes of the younger children. Indeed, in the youths and maidens also up to the age of nineteen and sometimes twenty. These young Dwellers were in such contrast to their elders, even to those in their mid-twenties, that it was difficult to imagine that they were of the same stock. The tragic reason was that after they had come to their physical maturity of form their loveliness crumbled away and they became withered as flowers after their few fresh hours of brilliance and strength.

No one looked middle aged. The mothers were, save for the few who had borne their children in their late teens, as ancient in appearance as their own parents.

And yet they did not die as might be imagined, any earlier than is normal. On the contrary, from the long line of ancient faces at the three tables nearest the great wall, it might be imagined that their longevity was abnormal.

Only their children’s had radiance, their eyes, the sheen on their hair, and in another way, their movements and their voices. Bright with a kind of unnatural brightness. It was not the wholesome lustre of a free flame, but of the hectic radiance that sheet-lightning gives suddenly to limbs of trees at midnight; of sudden flares in the darkness, of a fragment that is lit by torchlight into a spectre.