Will

Mr Segundus usually has a smily face but tries not to laugh out loud because he thinks that’s ungentlemanly. I often imagine Mr Segundus unexpectedly struck by a laughing fit when he’s in conversation with his colleagues, and after a while he starts to feel embarrassed. But he just could not stop laughing and continued laughing while embarrassed, his cheeks flushing from joy and shame, profusely apologising. And yes this random imagination is my daily source of energy

I never not speak about the fact that when Segundas and Honeyfoot met Strange for the first time, Strange’s brother-in-law (Henry Woodhope) was also present but he did not participate in their conversation and instead looked out the window. Mr Segundus ‘feared that he might feel himself neglected’ and talked to him about Strange. How thoughtful and observant. Of course, he is a kind person and surely an amazing teacher

Mr Honeyfoot defending Mr Segundus against Strange’s downright rude remarks upon their first encounter — ‘Sir!’ ‘I must be you to speak to this gentleman with more respect’ —- made me appreciate their friendship so much. He is basically doing ‘he said no pickles’ routine (he is not)

‘Childermass knew the world’ oh so you knew no one loved old documents more than Mr Segundus? Reader you need to pick his brain for deciphering King’s book

I do think that growth is about first assuming that Segundus and Childermass only have a limited interaction and then realising they are in a parallel state, which is absolutely fundamental to the story, and has such a unique, fascinating dynamic that is destined to carry on even after the story ends, and losing sht over it. Also loved that TV series started with Segundus and Childermass and ended with them too, they got it

Also loved the fact that the most goth, brooding, sort of romantic, magician-looking man in jsamn was beautifully played by an Italian Yorkshireman. I think that was neat.

But seriously, Jonathan Strange and Mr Norrell is an excellent example that a historically accurate historical book can be critical of racism, imperialism, colonialism, sexism, and class division. Stephen Black, Lady Pole, and John Childermass all embodied the unfair and brutal nature of the English society (ofc not limited to that) - its structural violence embedded into the society. Susanna Clarke’s other works also feature these themes. I only wish there were an insight into queer beings. It is still possible to analyse and do a queer reading, but that aspect is less explicit than the others.