Umberto Eco (1932–2016)
Author of The Name of the Rose
About the Author
Umberto Eco was born in Alessandria, Italy on January 5, 1932. He received a doctorate of philosophy from the University of Turin in 1954. His first book, Il Problema Estetico in San Tommaso, was an extension of his doctoral thesis on St. Thomas Aquinas and was published in 1956. His first novel, show more The Name of the Rose, was published in 1980 and won the Premio Strega and the Premio Anghiar awards in 1981. In 1986, it was adapted into a movie starring Sean Connery. His other works include Foucault's Pendulum, The Island of the Day Before, Baudolino, The Prague Cemetery, and Numero Zero. He also wrote children's books and more than 20 nonfiction books including Serendipities: Language and Lunacy. He taught philosophy and then semiotics at the University of Bologna. He also wrote weekly columns on popular culture and politics for L'Espresso. He died from cancer on February 19, 2016 at the age of 84. (Bowker Author Biography) show less
Series
Works by Umberto Eco
From the tree to the labyrinth: historical studies on the sign and interpretation (2007) 250 copies, 1 review
The People's Comic Book: Red Women's Detachment, Hot on the Trail, and Other Chinese Comics (1973) 27 copies, 1 review
Povero Pinocchio: Giochi linguistici di studenti del Corso di comunicazione (Libri di Comix) (Italian Edition) (1995) 18 copies
The Bond Affair — Editor — 10 copies
La Nueva edad media (El Libro de bolsillo ; 524 : Seccion Humanidades) (Spanish Edition) (1974) 9 copies
L'énigme de la Hanau 1609: Enquête bio-bibliographique sur "l'Amphithéâtre de l'éternelle sapience--" de Heinrich Khunrath, suivie… (1990) 7 copies
La bellezza 6 copies
Trent'anni di costume: parte prima 4 copies
Riflessioni sulla bibliofilia 4 copies
L'Antichità - 1. Le civiltà del vicino Oriente Storia, politica economica e sociale 4 copies, 1 review
[unidentified works] 3 copies
Trent'anni di costume: parte seconda 3 copies
Carmi 3 copies
Il cimitero di Praga. 2 copies
Entwicklungsperspektiven der Unternehmensfrung und ihrer Berichterstattung : Festschrift f Helmut Kuhnle anlslich seiner Emeritierung (2006) 2 copies
SPIEGEL Interview with Umberto Eco: 'We Like Lists Because We Don't Want to Die' - SPIEGEL ONLINE 2 copies
Vero, falso, segreto, finto 2 copies
Costumi di casa 2 copies
La fabrique de l'ennemi 2 copies
Il complotto 2 copies
Narratologia 2 copies
プラハの墓地 2 copies
Reazionari e moderati 2 copies
LA GRANDE STORIA. L'ANTICHITA'. LE CIVILTA' DEL VICINO ORIENTE. STORIA POLITICA, ECONOMICA E SOCIALE. VOL. 1 (2011) 2 copies
L'antichità 2 copies
薔薇の名前 2 copies
16: Testi Novecento 2 copies
9: Testi Grecia e Roma 2 copies
10: Testi Il Medioevo 2 copies
11: Testi Quattrocento e Cinquecento 2 copies
Informazione: consenso e dissenso 2 copies
Le ragioni della retorica: atti del Convegno Retorica: verità, opinione, persuasione: Cattolica, 22 febbraio-20 aprile 1985 (1986) 2 copies
Una tromba sulle colline 2 copies
Antichità - Il Vicino Oriente – Storia: Storia della Civiltà Europea a cura di Umberto Eco - 1 (2014) 2 copies
O nome da rosa - Graphic Novel (Vol. 2) (O nome da rosa — Graphic novel) (Portuguese Edition) 1 copy
6 نزهات في غابة السرد 1 copy
Le Figure del Tempo. 1 copy
La Grande Storia – L’Antichità. Volume 14: Vicino Oriente, Grecia, Roma – Temi trasversali, Indici 1 copy
L’età moderna e contemporanea. Volume 17: Il Novecento, il secolo breve – Scienze e tecniche I 1 copy
L’età moderna e contemporanea. Volume 18: Il Novecento, il secolo breve – Scienze e tecniche II 1 copy
L’età moderna e contemporanea. Volume 12: L’Ottocento, l’età del Romanticismo – Arti visive, Musica 1 copy
L’età moderna e contemporanea. Volume 9: Il Settecento, l’età dell’Illuminismo – Filosofia, Musica 1 copy
Isem il-Warda 1 copy
Tree Planting 1 copy
Sulla guerra e sulla pace 1 copy
L'opinione corrente 1 copy
Costumi d'Italia 1 copy
Troppo internet? 1 copy
Feeding Wild Birds 1 copy
Minunea sfîntului Baudolinio 1 copy
O Nome da Rosa 1 copy
EMRI I TRËNDAFILIT 1 copy
VARREZA E PRAGËS 1 copy
SI TË UDHËTOSH ME NJË SALMON 1 copy
PËR LETËRSINË 1 copy
MBINJERIU I MASËS 1 copy
I promessi sposi - la storia 1 copy
COMO SE HACE UNA TESIS 1 copy
前日島 (下) 1 copy
MC-106 A Escolha do Tema 1 copy
LAVJERRËSI I FUKOIT 1 copy
Pilotnumurs 1 copy
Махалото на Фуко 1 copy
前日島 (上) 1 copy
История Средневековья 1 copy
Teorie dell'architettura 1 copy
Triumph des Barock 1 copy
La guerre du faux - traduit de l'italien par Myriam Tanant, avec la collaboration de Piero Caracciolo (1986) 1 copy
La Edad Media 1 copy
A Indústria da Cultura 1 copy
Ecrivains Du Brésil 1 copy
OBRA ABIERTA I VOLUMEN 1 copy
L'alto Medioevo volume 1-2 1 copy
"A poética da obra aberta". In: Obra Aberta: forma e indeterminação nas poéticas contemporâneas 1 copy
Lo Zen 1 copy
Alımlama Göstergebilimi 1 copy
Trent'anni di costume 1 copy
Middelalderens genkomst 1 copy
Autori e Autorita 1 copy
De Biblioteca 1 copy
Psicologia do vestir 1 copy
Πολιτιστικά κοιτάσματα : Προτάσεις για τη διατήρηση και τη διαχείριση της πολιτιστικής… (1992) 1 copy
Umberto Eco 1 copy
Due chiacchiere fra barbari 1 copy
Autori ed autorità 1 copy
Eroe sarà lei e sua sorella 1 copy
C'è vita e vita 1 copy
Segno e inferenza 1 copy
L'Antichità - Grecia 1 copy
Elogio del riassunto 1 copy
HOW TO SPOT A FACIST 1 copy
L'Antichità - 4 Grecia 1 copy
Eco Umberto 1 copy
Umberto Eco: Der Name Der Rose, Literarische Hermeneutik, Die Insel Des Vorigen Tages, Baudolino, Das Foucaultsche Pendel (2010) 1 copy
Il ruolo dell'intellettuale 1 copy
Për foto të bëra mureve 1 copy
Razgovor o kraju vremena 1 copy
Tratado Geral da Semiótica 1 copy
Du 519: Die Fünfzigerjahre 1 copy
ensaios sobre a literatura 1 copy
Encyclomedia 1 copy
Ιστορία του Σύγχρονου Ευρωπαϊκού Πολιτισμού τ. 1: Η ιστορία των ευρωπαϊκών κρατών του εικοστού… 1 copy
O nombe da rosa 1 copy
Associated Works
Homo Ludens: A Study of the Play-Element in Culture (1938) — Introduction, some editions — 1,416 copies, 13 reviews
American Fascists: The Christian Right and the War On America (2006) — Contributor, some editions — 1,272 copies, 14 reviews
The Plot: The Secret Story of The Protocols of the Elders of Zion (2005) — Introduction, some editions — 799 copies, 28 reviews
The Key to The Name of the Rose: Including Translations of All Non-English Passages (1987) 537 copies, 7 reviews
The Meaning of Meaning: A Study of the Influence of Language Upon Thought and of the Science of Symbolism (1923) — Preface, some editions — 323 copies, 2 reviews
The Graphic Canon, Vol. 3: From Heart of Darkness to Hemingway to Infinite Jest (2013) — Contributor — 162 copies, 1 review
Bread of Dreams: Food and Fantasy in Early Modern Europe (1980) — Introduction, some editions — 129 copies, 4 reviews
Lapham's Quarterly - Lines of Work: Volume IV, Number 2, Spring 2011 (2011) — Contributor — 32 copies, 2 reviews
LINUS. Settembre 2023 (Vol 09. 2023): Vol. 9 — Author — 3 copies
Tagged
Common Knowledge
- Canonical name
- Eco, Umberto
- Birthdate
- 1932-01-05
- Date of death
- 2016-02-19
- Gender
- male
- Education
- University of Turin (Laurea | 1954 | Philosophy and Literature)
- Occupations
- philosopher
semiotician
university professor
critic - Organizations
- Scuola Superiore di Studi Umanistici
University of Bologna
Milan Polytechnic
University of Florence
University of Milan
University of Turin (show all 9)
Radiotelevisione Italiana / RAI
Gruppo '63
Bopiani - Awards and honors
- Austrian State Prize for European Literature (2001)
Kenyon Review Award for Literary Achievement (2005)
Premio Príncipe de Asturias (2000)
Royal Society of Literature (1991)
Premio Strega (1981)
Prix Medicis Etranger (1982) (show all 14)
Italian Grand Cross of Merit (Knight)
American Academy of Arts and Letters (1999)
Accademia dei Lincei (2010)
Anghiari Prize (1981)
McLuhan Teleglobe Prize (1985)
Kenyon Review Award for Literary Achievement (2005)
Gutenberg Prize (2014)
Associate Member, Royal Academy of Belgium - Relationships
- Ramge, Renata (wife)
- Short biography
- Umberto Eco was born in the city of Alessandria in the Italian region of Piedmont, right in the middle of the Genova, Milan, Turin triangle. Before he was drafted to fight in 3 wars, his father, Giulio Eco, was an accountant. Young Umberto and his mother, Giovanna, moved to a small village in the Piedmontese mountainside during the Second World War. Eco received a Salesian education, and he has made references to the order and its founder in his works and interviews. His family name is supposedly an acronym of ex caelis oblatus (Latin: a gift from the heavens), which was given to his grandfather (a foundling) by a city official. His father came from a family of thirteen children, and was very keen of Umberto to read Law, but instead he entered the University of Turin in order to take up medieval philosophy and literature. Umberto's thesis was on the topic of Thomas Aquinas and this earned him a BA in philosophy in 1954. In that period, Eco abandoned the Roman Catholic Church after a crisis of faith. Following this, Eco worked as a cultural editor for RAI, Radiotelevisione Italiana, the state broadcasting station, he also became a lecturer at the University of Turin (1956–64). A group of avant-garde artists—painters, musicians, writers—whom he had befriended at RAI (Gruppo 63) became an important and influential component in Eco's future writing career. This was especially true after the publication of his first book in 1956, Il problema estetico di San Tommaso, which was an extension of his doctoral thesis. This also marked the beginning of his lecturing career at his alma mater. In September 1962, he married Renate Ramge, a German art teacher with whom he has a son and a daughter. He divides his time between an apartment in Milan and a vacation house near Rimini. He has a 30,000 volume library in the former and a 20,000 volume library in the latter.
- Cause of death
- pancreatic cancer
- Nationality
- Italy
- Birthplace
- Alessandria, Piedmont, Italy
- Places of residence
- Rimini, Italy
Milan, Lombardy, Italy
Urbino, Italy - Place of death
- Milan, Italy
- Map Location
- Italy
Members
Discussions
Umberto Eco in Legacy Libraries (December 2025)
Umberto Eco / The Name of the Rose in Someone explain it to me... (July 2025)
test in Christopher's LT Testing Group (October 2020)
May Group Read - The Name of the Rose (Umberto Eco) in 75 Books Challenge for 2016 (September 2016)
Umberto Eco dead at 84 in Book talk (February 2016)
**Umberto Eco in 2014 Category Challenge (June 2014)
Bibliographie in Zwischen �t�p� und Wirklichkeit: Konstruierte Sprachen für die gl�b�l�s�rt� Welt (June 2012)
[The Name of the Rose] in Historical Mysteries (September 2006)
Reviews
Eco enjoys himself writing a spoof late-nineteenth-century adventure story, complete with ingeniously repurposed period engravings, that sends up all the great conspiracy theories of the period (freemasons, Jesuits, Dreyfus, satanism, Protocols of the elders of Zion, communists, etc.) by ingeniously linking them all to a single fictional character, the professional police-informer and forger of legal documents Simone Simonini, a Piedmontese exile living in Paris. (It's a kind of inversion of show more the plot of Foucault's pendulum.)
Simone is trying to get to the bottom of a strange memory loss he's been experiencing, which seems to have something to do with the occasional visits to his apartment of the Abbé Dalla Piccola. Maybe he can achieve something by applying techniques he's been told about by a young Austrian doctor he chatted to in a restaurant — what was he called, Froïde or something like that...?
All very silly, and as overcomplicated as only Eco can achieve, but of course it does also have a serious point to make about how the effects of a story in the real world can be entirely unrelated to its truth, or even plausibility, or to the circumstances of its creation. If you write something that sustains and reinforces the prejudices of (some of) the public, there's a good chance they will believe it and act on it, even if it's later exposed as a forgery or a cynical falsification. show less
Simone is trying to get to the bottom of a strange memory loss he's been experiencing, which seems to have something to do with the occasional visits to his apartment of the Abbé Dalla Piccola. Maybe he can achieve something by applying techniques he's been told about by a young Austrian doctor he chatted to in a restaurant — what was he called, Froïde or something like that...?
All very silly, and as overcomplicated as only Eco can achieve, but of course it does also have a serious point to make about how the effects of a story in the real world can be entirely unrelated to its truth, or even plausibility, or to the circumstances of its creation. If you write something that sustains and reinforces the prejudices of (some of) the public, there's a good chance they will believe it and act on it, even if it's later exposed as a forgery or a cynical falsification. show less
The most earnest and simultaneously one of the most intellectually demanding yet satisfying novels I've ever read. Umberto Eco has given us a book that, to me, reads as an ode to the written word and to the knowledge inherent with it. Intertwined with that is a melancholic agreement that human knowledge, written or otherwise is inherently limited. And that everything we do with it, no matter how grand, is tantamount to all of us thinking we can grab the sun just by reaching for it. And that show more this applies to all knowledge, secular or religious, intellectual or bare basic, only salts the wound opening again and again and again.
It's long, it nearly drowns itself in the sheer number of allusions to Catholic history and study, and the various lines upon lines of untranslated Latin, German, French, certainly make this a challenging text. Is it any wonder that Eco is apparently a James Joyce scholar? There are definite echoes (god help me I didn't mean that as a pun). Eco and Joyce both know their respective peoples and regions very well and have, putting it lightly, mixed feelings towards them. There's pride along with shame. Constant questioning with no answers at best and horrific answers or even violent opposition at worst. But in the end they both realize the uniqueness of their respective positions as, more or less, 'self' (by way of a certain awareness) imposed outsiders who chronicle the trials and travails of the people who, incidentally, share their heritage. Definite echoes (again, sorry) of Shai Agnon here minus some of the overinflated (and to me) somewhat artificially pious egotism.
Now, Eco has been classed as a postmodernist...but I don't quite agree with that label as he reads more like a high modernist. Hell, the story itself can easily be read as an allegory for modernist thought. We have a mountain fortress of sacred and unquestionable knowledge far and away removed from the secular or incorrectly religious life 'down there' that is in the process of the story torn apart from without and within and that finally (spoilers) burns down and caves in on itself. The knowledge and the security that came with it has been dashed and now all who remain have the choice to either pack up and run or attempt to create something left of the detritus. William and Adso's final exchange during the (SPOILER) fiery destruction of the library affirms the weakness of human knowledge and leaves the reader at a sobering, but enlightening, impasse. What do we do when our long held beliefs are shown to be nothing if not fallible? When so much of what we think written in stone (or in a book) is just as likely to spring from chaos or happenstance? Eco the modernist leaves us here, now if as a postmodernist he picks up the ball and runs with it in later novels this I can't say...but I certainly look forward to finding out.
One more thing that deserves mentioning. The secret text discussed and eventually discovered in the story (SPOILER, again) Aristotle's oft discussed and sorely missed missing chapter 'On Comedy', is the crown jewel of this book. Eco masterfully ties it in as not only the potential for the furthering of human knowledge beyond the stagnation of dogmatism (be it theological, philosophical, or both) but as also a beautiful metaphor for human kind's consistent folly in how it feels reason, thought, and feeling, 'should' be dictated, as opposed to how they 'could' be. In essence we have an entire novel of the human mind and its relationship to knowledge, in this case the knowledge gleaned from the printed word but it may as well be from any source.
I loved this book and recommend it wholeheartedly to any and all who crave a great story that will drive them, stir them, and make them think about the possibilities and impossibilities, the frustrations and the joys that come with being a sentient being. show less
It's long, it nearly drowns itself in the sheer number of allusions to Catholic history and study, and the various lines upon lines of untranslated Latin, German, French, certainly make this a challenging text. Is it any wonder that Eco is apparently a James Joyce scholar? There are definite echoes (god help me I didn't mean that as a pun). Eco and Joyce both know their respective peoples and regions very well and have, putting it lightly, mixed feelings towards them. There's pride along with shame. Constant questioning with no answers at best and horrific answers or even violent opposition at worst. But in the end they both realize the uniqueness of their respective positions as, more or less, 'self' (by way of a certain awareness) imposed outsiders who chronicle the trials and travails of the people who, incidentally, share their heritage. Definite echoes (again, sorry) of Shai Agnon here minus some of the overinflated (and to me) somewhat artificially pious egotism.
Now, Eco has been classed as a postmodernist...but I don't quite agree with that label as he reads more like a high modernist. Hell, the story itself can easily be read as an allegory for modernist thought. We have a mountain fortress of sacred and unquestionable knowledge far and away removed from the secular or incorrectly religious life 'down there' that is in the process of the story torn apart from without and within and that finally (spoilers) burns down and caves in on itself. The knowledge and the security that came with it has been dashed and now all who remain have the choice to either pack up and run or attempt to create something left of the detritus. William and Adso's final exchange during the (SPOILER) fiery destruction of the library affirms the weakness of human knowledge and leaves the reader at a sobering, but enlightening, impasse. What do we do when our long held beliefs are shown to be nothing if not fallible? When so much of what we think written in stone (or in a book) is just as likely to spring from chaos or happenstance? Eco the modernist leaves us here, now if as a postmodernist he picks up the ball and runs with it in later novels this I can't say...but I certainly look forward to finding out.
One more thing that deserves mentioning. The secret text discussed and eventually discovered in the story (SPOILER, again) Aristotle's oft discussed and sorely missed missing chapter 'On Comedy', is the crown jewel of this book. Eco masterfully ties it in as not only the potential for the furthering of human knowledge beyond the stagnation of dogmatism (be it theological, philosophical, or both) but as also a beautiful metaphor for human kind's consistent folly in how it feels reason, thought, and feeling, 'should' be dictated, as opposed to how they 'could' be. In essence we have an entire novel of the human mind and its relationship to knowledge, in this case the knowledge gleaned from the printed word but it may as well be from any source.
I loved this book and recommend it wholeheartedly to any and all who crave a great story that will drive them, stir them, and make them think about the possibilities and impossibilities, the frustrations and the joys that come with being a sentient being. show less
This was the fun kind of postmodernist novel. Not as ebullient as Calvino or Borges, but more deliberate, more focused. Clever, but not insufferably so.
The island of the day before is set in the 1630s-40s. Its frame story deals with Roberto de la Grive, minor Italian nobleman, who is shipwrecked in the Pacific Ocean, but manages to end up on board of an abandoned vessel anchored between two islands. Because he can’t swim, he is confined to its decks, thus prompting him to comment he has show more been shipwrecked on a ship (f you like that sort of snarkiness, this book has plenty of that). Fortunately, the ship is well-stocked with food, water, a scientist’s collection of birds and plants, and a room full of clocks. Roberto settles in for a few weeks. In order to maintain his sanity, he starts writing letters to the girl he loves, which soon becomes a diary of sorts, which turns into his biography, which turns into a thriller of 17thC mercantile espionage.
Eco has a lot of fun with this setup, and spins it off into an astonishing diversity of chapters. Portions of the book read like a dramatic episode in the history of the city of Casale, in northern Italy, where Roberto served in his father’s army. The chapters most like a spy thriller feature Roberto’s long-lost evil twin, who may or may not be imaginary, and a supporting character from Dumas’ The Three Musketeers (which is set in the 1620s). There’s editorial chapters and asides, where an unnamed editor tries to make sense of Roberto’s writings as his state of mind deteriorates. Particularly enjoyable, I thought, were the chapters where Eco positively wallows in imitations of 17thC writings, their styles and their tropes -- I adore the exhaustive compilation of things that may be symbolized by the dove and the attempt to present all of that as one coherent idea. Finally, and, perhaps most impressively, many chapters deal with debates and conflicts from contemporary philosophy, theology and science, presented as learned discussions by experts in their respective fields. These chapters are where Eco really captured 17thC mentalities: how people thought, and why they did so, and why that adds up to a coherent worldview, dove-metaphors and all.
All of this adds up to a wonderful book that revels in its erudition and its own cleverness, and that has absolutely earned that right. It’s uneven in places -- Eco does sometimes let his obsessions go on for a tad too long -- but it’s never boring. show less
The island of the day before is set in the 1630s-40s. Its frame story deals with Roberto de la Grive, minor Italian nobleman, who is shipwrecked in the Pacific Ocean, but manages to end up on board of an abandoned vessel anchored between two islands. Because he can’t swim, he is confined to its decks, thus prompting him to comment he has show more been shipwrecked on a ship (f you like that sort of snarkiness, this book has plenty of that). Fortunately, the ship is well-stocked with food, water, a scientist’s collection of birds and plants, and a room full of clocks. Roberto settles in for a few weeks. In order to maintain his sanity, he starts writing letters to the girl he loves, which soon becomes a diary of sorts, which turns into his biography, which turns into a thriller of 17thC mercantile espionage.
Eco has a lot of fun with this setup, and spins it off into an astonishing diversity of chapters. Portions of the book read like a dramatic episode in the history of the city of Casale, in northern Italy, where Roberto served in his father’s army. The chapters most like a spy thriller feature Roberto’s long-lost evil twin, who may or may not be imaginary, and a supporting character from Dumas’ The Three Musketeers (which is set in the 1620s). There’s editorial chapters and asides, where an unnamed editor tries to make sense of Roberto’s writings as his state of mind deteriorates. Particularly enjoyable, I thought, were the chapters where Eco positively wallows in imitations of 17thC writings, their styles and their tropes -- I adore the exhaustive compilation of things that may be symbolized by the dove and the attempt to present all of that as one coherent idea. Finally, and, perhaps most impressively, many chapters deal with debates and conflicts from contemporary philosophy, theology and science, presented as learned discussions by experts in their respective fields. These chapters are where Eco really captured 17thC mentalities: how people thought, and why they did so, and why that adds up to a coherent worldview, dove-metaphors and all.
All of this adds up to a wonderful book that revels in its erudition and its own cleverness, and that has absolutely earned that right. It’s uneven in places -- Eco does sometimes let his obsessions go on for a tad too long -- but it’s never boring. show less
What a curious, maddening book. Certainly a great example of creative writing and, it seems to me, a brilliant piece of translating by William Weaver. It seems like Eco has used this book as a way to demonstrate his erudition ....and he does this remarkably well. What is the plot? Well it's certainly convoluted.....it purports to be the work of somebody who came across an ancient manuscript dating back to the mid 1600's. And the original author of the manuscript was ostensibly keeping show more something like a diary of his misfortunes....plus enough of his background and history to make a decent story: Born in Italy to minor nobility, involved in the siege of Casale where his father died, thence to Paris were he became involved in intellectual and subversive circles, arrested by Cardinal Richelieu for his apparent knowledge of the "powder of sympathy" and sent on a secret mission to elucidate what the English are up to (in terms of measuring longitude using this powder). Shipwrecked and washed up on the 180degree of longitude to a deserted ship......a ship with a room of clocks and a hold full of birds....and a rather maniacal Jesuit Priest who is pursuing the secret of longitude with the "specula melitensis". Because they are (according to the priest) on the meridian line the island to the left is the day before and to the right it is today....so one can go back in time!!
The island of the day before holds both the specula melitensis and a spectacular orange dove and the long boat from the deserted ship......Roberto, the author of the manuscript, and the priest being unable to swim.....the island is unattainable ...but they try in many different ways to get to it. Overlaying this narrative is a second story arising from Roberto's imagined evil twin, Ferrante, who is hell bent on destroying Roberto....and an unattainable love for Lilia in Paris. To rid himself of this imaginary evil twin, Roberto writes a story wherein Ferrante impersonates him in Paris, wins Lilia, and escapes on a twin ship to the Daphne on which Roberto is marooned. Eventually, Ferrante comes to a satisfyingly, unpleasant end. But woven into this dual tale there is speculation about; the various ways of determining latitude, whether the earth revolves around the sun or vice versa, the use of the powder of sympathy to cure wounds, then nature of time, Various medieval inventions for walking or working underwater, The nature of doves and the realm of hell...and the psychological torment and nature of jealousy of the absent lover. Eco can captivate with his writing: for example on describing the sight of coral for the first time: "He was above a garden, no, he was mistaken, now it seemed a petrified forest, and at the next moment there were mounds, folds, shores, gaps and grottoes, a single slope of living stones on which a vegetation not of this earth was composed in squat forms, or round, or scaly, that seemed to wear a granulated coat of mail, or else gnarled, or else coiled,. But, different as they were, they were all stupendous in their grace and loveliness, to such a degree that even those worked with feigned negligence, roughly shaped, displayed their roughness with majesty; they were monsters, true but monsters of beauty......
Cypress-polyps, which in their vermicular writhing revealed the rosy colour of a great central lip, stroked plantations of albino phalli with amaranth glandes; pink minnows dotted with olive grazed ashen cauliflowers sprayed with scarlet, striped tubers of blackening copper....And he could see the saffron liver of a great animal, or else an artificial fire of mercury arabesques, wisps of thorns dripping sanguine and finally a kind of chalice of flaccid mother of pearl......."
Sometimes this erudition becomes a bit "over the top" ....is he really just showing off ....or over-working his thesaurus? But whenever I went to cross check on some obscure word or reference ...they all fitted. Sometimes...I found myself getting a bit bored but he deftly swings between the various narratives to maintain the interest despite some rather wordy passages.
One thing fascinated me and that was the medieval reasoning for such things as the rotation of the planets, and what happened to the water after Noah's flood? And the importance of "devices" (such as those used on flags).
But I've always enjoyed Eco's books and this one is no exception. Five stars from me. show less
The island of the day before holds both the specula melitensis and a spectacular orange dove and the long boat from the deserted ship......Roberto, the author of the manuscript, and the priest being unable to swim.....the island is unattainable ...but they try in many different ways to get to it. Overlaying this narrative is a second story arising from Roberto's imagined evil twin, Ferrante, who is hell bent on destroying Roberto....and an unattainable love for Lilia in Paris. To rid himself of this imaginary evil twin, Roberto writes a story wherein Ferrante impersonates him in Paris, wins Lilia, and escapes on a twin ship to the Daphne on which Roberto is marooned. Eventually, Ferrante comes to a satisfyingly, unpleasant end. But woven into this dual tale there is speculation about; the various ways of determining latitude, whether the earth revolves around the sun or vice versa, the use of the powder of sympathy to cure wounds, then nature of time, Various medieval inventions for walking or working underwater, The nature of doves and the realm of hell...and the psychological torment and nature of jealousy of the absent lover. Eco can captivate with his writing: for example on describing the sight of coral for the first time: "He was above a garden, no, he was mistaken, now it seemed a petrified forest, and at the next moment there were mounds, folds, shores, gaps and grottoes, a single slope of living stones on which a vegetation not of this earth was composed in squat forms, or round, or scaly, that seemed to wear a granulated coat of mail, or else gnarled, or else coiled,. But, different as they were, they were all stupendous in their grace and loveliness, to such a degree that even those worked with feigned negligence, roughly shaped, displayed their roughness with majesty; they were monsters, true but monsters of beauty......
Cypress-polyps, which in their vermicular writhing revealed the rosy colour of a great central lip, stroked plantations of albino phalli with amaranth glandes; pink minnows dotted with olive grazed ashen cauliflowers sprayed with scarlet, striped tubers of blackening copper....And he could see the saffron liver of a great animal, or else an artificial fire of mercury arabesques, wisps of thorns dripping sanguine and finally a kind of chalice of flaccid mother of pearl......."
Sometimes this erudition becomes a bit "over the top" ....is he really just showing off ....or over-working his thesaurus? But whenever I went to cross check on some obscure word or reference ...they all fitted. Sometimes...I found myself getting a bit bored but he deftly swings between the various narratives to maintain the interest despite some rather wordy passages.
One thing fascinated me and that was the medieval reasoning for such things as the rotation of the planets, and what happened to the water after Noah's flood? And the importance of "devices" (such as those used on flags).
But I've always enjoyed Eco's books and this one is no exception. Five stars from me. show less
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