Read The Prague Cemetery by Umberto Eco Richard Dixon Online

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Lungo il XIX secolo, tra Torino, Palermo e Parigi, troviamo una satanista isterica, un abate che muore due volte, alcuni cadaveri in una fogna parigina, un garibaldino che si chiamava Ippolito Nievo, scomparso in mare nei pressi dello Stromboli, il falso bordereau di Dreyfus per l’ambasciata tedesca, la crescita graduale di quella falsificazione nota come I protocolli deiLungo il XIX secolo, tra Torino, Palermo e Parigi, troviamo una satanista isterica, un abate che muore due volte, alcuni cadaveri in una fogna parigina, un garibaldino che si chiamava Ippolito Nievo, scomparso in mare nei pressi dello Stromboli, il falso bordereau di Dreyfus per l’ambasciata tedesca, la crescita graduale di quella falsificazione nota come I protocolli dei Savi Anziani di Sion, che ispirerà a Hitler i campi di sterminio, gesuiti che tramano contro i massoni, massoni, carbonari e mazziniani che strangolano i preti con le loro stesse budella, un Garibaldi artritico dalle gambe storte, i piani dei servizi segreti piemontesi, francesi, prussiani e russi, le stragi in una Parigi della Comune dove si mangiano i topi, colpi di pugnale, orrendi e puteolenti ritrovi per criminali che tra i fumi dell’assenzio pianificano esplosioni e rivolte di piazza, barbe finte, falsi notai, testamenti mendaci, confraternite diaboliche e messe nere. Ottimo materiale per un romanzo d’appendice di stile ottocentesco, tra l’altro illustrato come i feuilletons di quel tempo. Ecco di che contentare il peggiore tra i lettori. Tranne un particolare. Eccetto il protagonista, tutti gli altri personaggi di questo romanzo sono realmente esistiti e hanno fatto quello che hanno fatto. E anche il protagonista fa cose che sono state veramente fatte, tranne che ne fa molte, che probabilmente hanno avuto autori diversi. Ma chi lo sa, quando ci si muove tra servizi segreti, agenti doppi, ufficiali felloni ed ecclesiastici peccatori, può accadere di tutto. Anche che l’unico personaggio inventato di questa storia sia il più vero di tutti, e assomigli moltissimo ad altri che sono ancora tra noi....

Title : The Prague Cemetery
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ISBN : 13053295
Format Type : Kindle Edition
Number of Pages : 464 Pages
Status : Available For Download
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The Prague Cemetery Reviews

  • Jeffrey Keeten
    2018-11-27 09:38

    In the 1980s I read The Name of the Rose and Foucault's Pendulum and came away from those books knowing that I had been exposed to a brilliant mind. The complexity of the writing and the layers of plot turned many readers away, but I found it so refreshing to have a writer that demanded more from his readers and more importantly had faith in his readership. These are books that need to be read many times and each time the reader will develop a better understanding of the writer's intentions. This brings me to The Prague Cemetery. Typical of an Eco book it took me a little while to settle in and fine tune my thoughts to pay proper attention and to relax so that Eco could take me where he wanted me to go. This book is set in 19th century Europe and explores the underlying conspiracies that surround a series of wars/conflicts that instead of being the work of a group is the nefarious dealings of one man. This man is Simone Simonini. He is a murderer, double agent, triple agent, but more importantly he is the man that can provide the documentation that proves that one side of a conflict is justified in their quest for power. In other words he is a master forger. He finds his calling while apprenticed to a lawyer named Rebaudengo. He learns the fine art of providing the "missing" paperwork for a baptismal record that would allow an inheritance to be obtained or the "missing" will of a family patriarch who may have perished unexpectedly. Rebaudengo explained. "What I produce are not forgeries but new copies of genuine documents that have been lost or, by simple oversight, have never been produced, and that could and should have been produced."Simone becomes so good at the craft that he realizes that the only person between him and a very lucrative income is his mentor Rebaudengo. The proper paperwork miraculously is produced that exposes a "fraud" perpetrated by Rebaudengo and he is swiftly convicted and sent to prison. Simone is the type of gentleman that governments find uses for and he is greedy enough not to be worried about the consequences of his actions. He becomes a forger, mercenary for hire. He provides documents that fan the flames of racism and cultism that leads to genocide and in one case the temporary toppling of a foreign government. He steals from his employers and from his agents working both sides of the equation to net as much money as possible for himself. He is a man without a moral compass except in the case of Abbe Dalla Piccola. Piccola became an inconvenience for Simone during one of his clandestine missions and Simone as he tended to do when cleaning up a problem, killed him. Simone becomes, unknowingly to himself, so out of sorts over the murder of Piccola that Piccola is actually resurrected in his own mind creating for a time a split personality. Simone becomes more aware of the Abbe as they begin sharing a diary and the missing time that Simone is experience is revealed in the dairy entries made by the Piccola personality. The book is liberally sprinkled with sketches of the characters involved really evoking a Victorian Dickens feel to the novel. I found this book much more accessible than other Eco novels and actually laughed out loud a couple of times. Back in 2000 I had planned to meet Umberto Eco. He was touring for Baudolino and was planning to come to the West Coast. Unfortunately due to health reasons he only finished his East Coast engagements and did not come to California. I had spent my last lira appropriating a copy of The Name of the Rose for him to sign, which now would be worth around $800 signed by the author. Well I may not have an $800 copy, but I am still glad that I bought Rose when I did, as even unsigned, The Name of the Rose is going for a couple of hundred dollars. I did pick up a copy of Baudolino from an East Coast bookseller flat signed by Dr. Eco. Flat signed is preferred by collectors because the book was actually in the hands of the author. A book plate, signed by the author, does not have the same value to collectors. If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.comI also have a Facebook blogger page at: https://www.facebook.com/JeffreyKeeten

  • Darwin8u
    2018-11-29 02:53

    “A mystic is a hysteric who has met her confessor before her doctor.” ― Umberto Eco, The Prague CemeterySo, I dropped one star because (first) I was a little disappointed that none of the stars on Goodreads were upside-down pentagrams or hexagrams. Also (second), I left off one star because by about page 400, I was drained of all my anti-Semitic antibodies. The crazy fundamentalism, fractured insanity, and conspiracy rich shadows of anti-Jewish attitudes in Europe during the 100 years from the mid-1800s till Hitler's Final Solution just isn't easy to stomach (for me) after 400 pages. How am I going to ever read The Rise and Fall of the Third Reich? Ugh. OK, so that explains my missing star (relegated to the sewer). Now to what I liked. First, Eco is kinda amazing. This is my second of his novels. I read Foucault's Pendulum years and years ago and love how he folds in the real with his fiction. He makes Dan Brown seem like some half-literate child who can only read travel guides to Europe. Eco is the master of conspiracy, grey history, Jesuits, Freemasons, Carbonari, Garibaldi, Satan and international anarchism to boot. Plus he really knows food.* I disagree with Theo Tate's take on Eco using Updike as a hammer when he says that Eco's "orgy of citation and paraphrase" is unbearable. It wasn't the DETAIL that killed me, but the necessary rantings of Eco's fictional dual narrator(s). The details I quite enjoyed.Anyway, about 100 pages into this novel and I began to see resemblances of the book's protagonist/anti-hero Simone Simonini to Mark Hofman - a famous Mormon forger and bomber. A little creepy how close in someways these two resemble each other (at least to me). It all works with one of my favorite lines of the book and probably one of Eco's main themes: "This led me to think, even then, that if I wanted to sell the story of a conspiracy, I didn't have to offer the buyer anything original, but simply something he already knew or could find out more easily in other ways. People believe only what they already know, and this is the beauty of the Universal Form of Conspiracy." Over 25 years ago Mark Hofman figured this out, when selling documents to the Mormon Church, and those who pimp conspiracy theories now most certainly know too. Don't sell someone something they don't know, sell them what they already believe ... just make sure the it smells vaguely authentic. Creativity isn't a must if you are a forger...or selling a conspiracy, just if you are Umberto Eco.* Eco could teach Jason Matthews the art of how to delicately introduce gastronomes into a novel.

  • Michael May
    2018-11-24 05:47

    Umberto Eco's new novel The Prague Cemetery is a fictional account of the origins of The Protocols of the Elders of Zion, a fake document first published at the turn of the 20th century which claims to reveal a Jewish plot to take over the world. Even though the text was proven to be a forgery in the early 1920s, Adolf Hitler and the Nazis used The Protocols as justification for the Holocaust. The Protocols continued to be published after World War II, and is thought to be "the most the most widely circulated work in the world after The Bible."In The Prague Cemetery, Eco (The Name of the Rose, 1980; Foucault's Pendulum, 1988) imagines The Protocols to be the work of a single man, Captain Simone Simonini, a fictional character Eco describes a bit optimistically as "the most cynical and disagreeable in all the history of literature." Simonini is a 19th century forger who, throughout his career in Italy and France, is entangled in intricate plots involving secret police and criminals, monarchists and revolutionaries, Jesuits and Templars, Freemasons and Satanists, etc. Simonini draws on his own many misdeeds, for example his fabrication of evidence used in the Dreyfus Affair, in composing his penultimate work, a masterpiece forgery which scapegoats Jews for Europe's upheavals.Sounds pretty straightforward, eh? Well, in order to tie all of this together, the story is told by an unidentified narrator who comments wryly on Simonini's diary which in turn includes disconcerting entries by a third character, the Abbe Dalla Piccola, who may or may not be Simonini's split personality. The narrator does not fail to note the humor in this confusion:"Certainly, the papers your Narrator is browsing are full of surprises, and might be worth using one day as the basis for a novel.""The narrator is beginning to find this amoebean dialogue between Simonini and his intrusive abbe rather tiresome.""To be frank, if it were not for the fact that these pages refer to events that actually took place, such alternations between amnesic euphoria and dysphoric recall might seem like a device of the Narrator."On top of it all, Simonini is a gourmand, and much of The Prague Cemetery reads like this:"So he went at the earliest opportunity to Laperouse, in quai des Grands-Augustins, and not downstairs, where they served oysters and entrecotes as they used to, but upstairs, in one of the cabinets particuliers where you could order barbue sauce hollandaise, casserole au riz a la Toulouse, aspics de filets de lapereaux en chaud-froid, truffes au champagne, pudding d’abricots a la Venitienne, corbeille de fruits frais and compotes de peches et d’ananas....""The other place that had immediately seduced me was the Cafe Anglais, on the corner of rue de Gramont and boulevard des Italiens. It had once been a restaurant for coachmen and servants and now served le tout Paris at its tables. There I discovered pommes Anna, ecrevisses bordelaises, mousses de volaille, mauviettes en cerises, petites timbales a la Pompadour, cimier de chevreuil, fonds d’artichauts a la jardiniere and champagne sorbets. The mere mention of these names makes me feel that life is worth living....""With a feeling of relief I invited Golovinsky to dinner at Paillard, on the corner of Chaussee-d’Antin and boulevard des Italiens. Expensive, but superb. Golovinsky clearly appreciated the poulet a l’archiduc and the canard a la presse. But someone who came from the Steppes may well have tucked into choucroute with the same enthusiasm. It would have cost me less, and I could have avoided the waiters’ suspicious looks at a customer who masticated so noisily...."At one point, a skeptical character asks, "How can an American girl who’s only just arrived in France know all the secrets of Italian politics?" I would add, "Or French cuisine?"But I appreciated most, if not all, of The Prague Cemetery, chewing through it as noisily as I did. How can one not enjoy a true-to-life novel which includes "sewers filled with corpses, ships that explode in the region of an erupting volcano, abbots stabbed to death, notaries with fake beards, hysterical female Satanists, the celebrants of black Masses, and so on"? I especially enjoyed the contemporary illustrations, which are reminiscent of Sidney Paget's original drawings of Sherlock Holmes in Strand Magazine.My only criticism is that while The Prague Cemetery focuses on the roots of modern anti-Semitism, Umberto Eco seems uninterested in seriously examining the profound suffering it causes. Instead, Eco is satisfied in his belief that his fiction is more real and devious than Dan Brown's.If, like me, your knowledge of 19th century European politics, religion, and literature is a little rusty, you might start off with the graphic novel The Plot: The Secret Story of the Protocols of the Elders of Zion by Will Eisner. The Plot, with an introduction by Umberto Eco, provides context which makes The Prague Cemetery much more enjoyable.http://carnegiestout.blogspot.com/201...

  • Sawsan
    2018-11-23 03:31

    " لا يمكنك أن تخلق خطرا له ألف وجه, الخطر يجب أن يكون له وجه واحد" أهم ما في الرواية أفكارها الأساسية الواضحة جدا في الواقع والسياسة وهي كراهية الآخر والتزوير واختراع العدويكتب إيكو عن شخصيات ومنظمات وأحداث تاريخية حقيقية في القرن التاسع عشرجاليباردي وتوحيد إيطاليا, الحرب الفرنسية البروسية, كومونة باريس, قضية دريفوس......ويعرض في تفاصيل مُطولة ومتشابكة مؤامرة مخابراتية وتزوير وثائق لإثبات خطر اليهود على العالمويُصور ان هذا الفكر التآمري الأوروبي وما نتج عنه هو الذي أدى إلى محاولة إبادتهم في القرن العشرين فإذا اعتبرنا الرواية ليست عن معاداة السامية في أوروبا في ذلك الوقت فهي في العموم عن العنصرية وكراهية طائفة من البشر – أيا كانوا وفي مختلف العصورومحاولة ابتكار وتزوير الأخبار والوثائق والمستندات لإثبات صفتهم كأعداء

  • Ahmed
    2018-12-02 04:48

    هذه رابع رواية أقرأها لأُمبَرتو إيكو , وللحق فهي ليست بأفضلهم , فاسم الوردة وبندول فوكو يتفوقوا , ولكن مهلًا , لماذا نضع أصلًا مقارانات ؟ لنتركها جانبًا و نركز على الرواية .إيكو مهووس بالجمعيات السرية و المعتقدات الطائفية المنبثقة من عقيدة متينة , كالماسونية والحشاشين وغيرها من تلك المعتقدات السرية التي اتسمت بالغموض الشديد , ولعل من حسن حظنا هوسه هذا , فمن خلاله قدّم لنا وثائق دامغة في هيئة روائية بديعة .هذه الرواية تختلف عن باقي أعمال إيكو , فأحداثها حديثة نسبيًا (جرت في القرن ال19 ) ومن خلاله ركز على الاضطرابات التي حدثت في أوروبا . كما أن كل شخصيات الرواية حقيقة تاريخية باستثناء بطل الرواية والذي من خلاله استطاع الكاتب أن يسرد الأحداث بصورة ممتعة للغاية .الدين هو كوكايين الشعوب , لأن الدين حرّض ويحرّض على الحروب , وعلى تقتيل الكافرين , وهذا صالح سواء بالنسبة إلى المسيحين , والمسلمين أو غيرهم من الوثنيين , وإذا كان سود إفريقيا يتقاتلون فيما بينهم , فإن المبشرين نصّروهم و جعلوا منهم فيالق استعمارية , مؤهلة جدا للموت في الصفوف الأولى , ولاغتصاب نساء البيض عند دخولهم المدن. لا يفعل الإنسان الشر بكمال و حماس مثلما يفعله عندما يصدر عن قناعة دينية . فالفهم الخاطئ للدين والتأويل (المزاجي) للنصوص المقدسة يسمح لصاحبها بارتكاب الفظائع وهو يظن أنه يفعل أعلى درجات الصواب . و أن النعيم في انتظاره عند موته . ولذلك كله لا نستغرب الملايين الذين ماتوا نتيجة لتأويل نص ديني ما أو فهم طائفة معينة لهذا الدين .ولهذا كله كان الضعفاء هم وقود أي حركة عظيمة , فمن السهل السيطرة على عقولهم و تطويعها لخدمة القضية التي تكون فاسدة , وهؤلاء الضعفاء هم أقل المتضريين دائما لأنهم لا يملكون المبادرة فهم فقط يطيعون السادة والقادة :الأشخاص الذين عندهم أفكار قليلة هم أقل عُرضة للخطأ , يتبعون ما يفعله الآخرون ولا يُقلقون أحدًا , وينجحون , و يُثرُون , ويبلغون مراكز سامية , إنهم نوّاب , حاملو أوسمة , أدباء ذائعو الصيت , أكاديميون , صحفيّون . هل إنّ من ينجح على هذا المنوال غبي ؟ الغبي هو أنا , أنا الذي أردتُ مكافحة طواحين الريح.المهم : نحن أمام عمل جيد للغاية , فيه تقمص الكاتب روح الفترة الزمنية المرادة ليوصلها لنا كاملة وقد نجح في ذلك نجاح باهر . فيه سرد مكثف لأحداث تاريخية كثيرة , شمل بعضها الغموض لتداخل كثير من الأطراف فيها .المميز فعلا في العمل دا , وصف الأكل , الطعام , فيه تتجلى روح الطبّاخ المذهل لدى الكاتب الايطالي(المهاوويس بالأكل) فاستطاع أن يجري ريقك و أنت تقرأ وصفه لمختلف وجبات الطعام.نقطة مهمة : أنا متفهم جدا للي يقول على إيكو : إنه مش أديب عظيم , متفهم كدا فعلا , فأعماله لا تنتمي للأدب العظيم(هو مش ماركيز ولا ساراماجو ولا محفوظ ولا غيرهم من الأدباء العظام) , ولكن لون أعماله متفرد للغاية , ففيه يندمج البحث التاريخي وسرد الأحداث المهمة بقالب من الإثارة والمتعة يقدم لك فيجبرك على الاندماج مع كتاباته التي قلدها العديد من الكتاب في مختلف الثقافات واللغات .العمل جيد للغاية , ومفيد جدا لك لتعرف وجهات نظر في طوائف تسمع عنها ومفيد أيضا في معرفة أحداث تاريخ أنت تجهلها .

  • فهد الفهد
    2018-12-01 03:33

    مقبرة براغ ايكو من جديد، هذه هي الرواية الثانية التي اقرأها له بعد (اسم الوردة)، وقد تجاوزت (جزيرة اليوم السابق) و(بندول فوكو) و(باودولينو) المنتظرات على مكتبتي منذ أزمنة، ولكن عنوان هذه الرواية - مقبرة براغ - وأجواءها التي تدور في خضم حروب القرن التاسع عشر ومؤامراته جعلتني أعزلاً أمام الكتاب. ايكو روائي عملاق، ليس موهوباً كيوسا وكاداريه، ولكنه مجتهد، مكافح، يكتب بعناية وباحترام للقارئ فلذا تتركك رواياته بذلك الشعور المرهق، بتلك الرغبة في أن تعيد القراءة من جديد، فقد فاتتك أشياء ولا ريب، وهناك نقاط لم ينورها لك ايكو عمداً، فكما اجتهد في الكتابة، عليك أن تجتهد في القراءة والتأويل. يقول ايكو عن هذه الرواية بأن أحداثها وشخوصها حقيقية ووقعت فعلاً، وأن الشخصية الخيالية الوحيدة فيها هي البطل سيمون سيمونيني، وحتى سيمونيني رغم خياليته إلا أن أفعاله وقعت فعلاً ولكن من قام بها آخرون جمعهم ايكو في هذه الشخصية الفريدة، فسيمونيني عميل مزدوج، مزيف محترف، يضعه ايكو وراء الكثير من الأحداث الفارقة في ذلك القرن، وينسب له عملية التزييف الكبيرة التي انتجت في النهاية (بروتوكولات حكماء صهيون)، حيث ولدت خيالاته ذلك الاجتماع المشؤوم بين الحاخامات اليهود في مقبرة براغ. الرواية حافلة بالأحداث والشخصيات، بالعنصرية الطافحة، بالاغتيالات والخيانات، بانفصام الشخصية، والشخصيات التاريخية، هي بالفعل عمل جبار، يقرأ مراراً، ونخرج منه في كل مرة بتفسيرات مختلفة.

  • Eslam Mohammed
    2018-11-17 05:48

    عن أومبرتو ايكو، ماذا بوسعى أن أقول؟هو الروائى اﻷخطبوط لاشك ف ذلكهو أحد أعقد وأمتع من قرأت لهم ف مجال اﻷدب والكتابة اﻹبداعية لاشك في ذلك أيضا وهو رغم ذلك عصى على التصنيف وأعماله تتأبى على التلخيص والتبسيطملحمة تاريخية ينسج أجواءها وأحداثها أكاديمى راسخوباحث متميز، وسارد عملاق كايكوالقرن التاسع عشر بأكمله مسرحا لعمل روائىتخيل!!مزج بين وقائع مثبتة، وشخصيات حقيقيةوشخصية واحدة جمعت مثالب ابن آدم ف إنسان إلا قليلاسيمونينى المخادع..سيمونينى المزيف..سيمونينى من يعبث مع الجميع وبالجميع..أجواء سوداويةنمط سرد معقد يجعلك طوال الوقت تتساءل عن ماهية الراوى ويختلط عليك اﻷمرثم لا تلبث أن تجد طريقك، ثم تضل من جديد...***************ايكو بخلفيته اﻷكاديميةوجهده البحثى الموسوعى يحضر بكل قوة ف ثنايا أى عمل لهالمشكلة بالنسبة للقارىء العربى، مثلناأو حتى للقارىء اﻷجنبى ممن لا يلم بأبعاد الصراعات التاريخية السياسية منها والمذهبيةوحتى العسكرية ف أوروبا القرن التاسع عشر وفى غيرها حتى ف أعمال ايكو اﻷخرىأنه سيدلف إلى عالم جديد عليه تماماسيتيه بين ربوعهوقد يصاب، وهذا دائماً ما يحدث بالملل وفقدان الرغبة ف المواصلةاﻷمر الذى يضع عبئا إضافيا ف رأيى على المترجموهو هنا القدير أحمد الصمعىفي وضع مقدمة تعريفية أو حتى تذييل مفهرس لبيان أهم الأحداثوالتعريف بكثير من الشخصيات التاريخيةوالفرق والمذاهب الدينية والسياسية خصوصا التى دائما ما يتناولها ايكو ف أعمالهواسم الوردة ليست عنا ببعيدة إذ أن ذلك سييسر كثيرا على قراء العربية خصوصا الولوج لعالم ايكو المتفرد واﻹستمتاع به كما يجدر بمبدع هائل كهذا الرجل...***************أعترف أننى ضللت طريقا أحيانا عبر دروب الروايةوربما استشعرت السآم قليلا للمرور بتفصيلات فرعية أو أحداث ثانوية أطال ف سردها ووصفها المؤلفإلا أن براعة ايكو تجبركوقد شاد عالما بأكمله، وخاض بنا مسارات وعرةوارتحل معنا من تورينو، إلى باريس، الى ميونخ، إلى بالرمو، إلى براغ متخيلاوطوف بنا ف أنحاء أوروبا معرفا بصراعات وكاشفا عن الجانب الخفى ، اﻷمنى، المخابراتى، الدسائسىمن أوروبا القرن التاسع عشرالجانب الذى لا نعرفه، وربما لم نره من قبلأقول إن براعته تجبرك على مواصلة المسير وإن كان شاقااﻹعتراف له بالفذاذة التى تنتج كل مرة عملا إبداعيا من طراز لا يستطيع له سبيلا إلا كبار المبدعين قامة وقيمة*************** وأخيرا أريد أن ألفت اﻹنتباه إلى مغزى فلسفى بطن به الروائى ثنايا عملهويتلخص ف جملة واحدة وردت على لسان بطله المتخيل"يا إلهى أى عالم زائف هذا الذى نحيا فيه"إن أبرز مايرى المؤلف أنه مزيف ومدعى بروتوكولات أحبار مقبرة براغأو بروتوكولات حكماء صهيون كما نعرفها نحن، إلى جانب التأكيد الواضح وإن لم يجهر بذلك، أن التاريخ غالبا يكتبه المنتصرون، وهم فى واقع اﻷمر المزيفون...*************** اقتباسات أعجبتني,,,

  • Araz Goran
    2018-11-19 01:32

    حسناً..هذه الرواية عبارة عن مأزق حقيقي !!طويلة جداً، سرد فوضوي، عبثية زائدة، خلط بين الأزمنة والشخصيات المحورية في الرواية بشكل فظيع ومزعج .. رواية محيرة لدرجة الملل..

  • Scribble Orca
    2018-12-12 02:38

    Eco makes abundant use of his prolific academic training to animate 19th Century history while applying delightful postmodern chicanery to blur fact and fiction as well as finesse the whole with a protagonist suffering an identity crisis which can only be resolved through recourse to the theory and application of one of the 20th Century's greatest freudsters.This is a return to the vivacity of language and ideas paraded in The Name of the Rose and Foucault's Pendulum while simultaneously demonstrating the degree of social manipulation of which individuals and institutions are capable through the exploration of postmodern and metafictional themes.It is every bit as engrossing as these previous novels, but with a subtler and stealthier assault on the reader's intellect and emotions, leaving a nicely open-ended denouement as the reward, coupled with curiosity as to the origins of one of the most widespread and lengthiest perpetrations of ethnic and religious persecution that currently exists.While realist writers have trodden the wearying path of portrayal of 20th Century atrocity, Eco has instead created, in the same vein as Ducornet deals with the topic in Entering Fire, a thoughtful and coherent (despite the seeming discontinuity of narrative) investigation of, and deeply noir satirical response to, enduring genocide.As much a masterpiece as any of the lauded Latin Americans.

  • Owlseyes
    2018-12-11 01:53

    Eco:" We have a limit, a very discouraging, humiliating limit: death. That's why we like all the things that we assume have no limits and, therefore, no end. It's a way of escaping thoughts about death. We like lists because we don't want to die".Interview in Der Spiegel, November 11, 2009 Update; thank you Eco...Umberto Eco, 84, Best-Selling Academic Who Navigated Two Worlds, DiesBy JONATHAN KANDELLFEB. 19, 2016in: http://www.nytimes.com/2016/02/20/art...Eco in an interview of 2011, said he had "put in his [Simone Simonini] mouth a lot of abominous ideas [anti-Semitic,racism]...a repugnant character [Simone Simonini] ...not to be taken seriously"."If not a comic, I am a grotesque writer"Heavy historical novel.Very European context. March 1897, piazza Maubert, near Paris,...by the Bièvre,an affluent of the La Seine river. Paris is not what it used to be, now with this pencil-sharpener called Eiffel Tower...so thinks sixty-seven-year-old Simone Simonini. He wonders about his identity: "who am I"?. He defines himself by reference to others' defects. He bashes rudely at other races and peoples. He repels, grossly, the Germans: their repugnant sweat smell, their language...their addiction to beer...no interesting art; even great composers are depreciated under Simonini:"ordinary" Beethoven, "noisy" Wagner and "no-harmony" in Bach. The Germans took seriously that glutinous monk called Luther.The French, are also criticized: they are lazy and mean ("Ils grognent toujours").Italians as well. And yet, Simone's father was Italian and his mother a French woman. Simonini became French because he could not stand being Italian: Italians are "liars" and "vile" and "traitors". He says (like with plants-crossing), if you cross a French with a Hebrew you have the present Republic III.Nevertheless, he's got "nothing against" the Hebrew people; his grandfather (captain Simonini) taught him: they are the atheist people 'par excellence'. Simone Simonini recalls eighteen centuries of hate, though.But the worst of all are the Jesuits...and the Freemasons. Jesuits are "Masons dressed as women".Thus, he considers himself to be a chaste man since he doesn't like women. He loves food and drink.Simonini is a forgerer of documents and an antiques dealer. Strangely, he's got memory problems; even personality issues: it seems, he cannot distinguish himself from Abbot Dalla Piccola, who happens to live in the same building. There's a corridor connecting the two homes, and one day Simonini finds a wig:... his? Abbot's?... or of one and single person? And this was Chapter Two of Eco's book.Chapter Three deals with acquaintances of the forgerer at the famous restaurant "Magny". 'Chez Magny' he meets a medical doctor,an Austrian Jew called Fröid,[any bell rang??]...thirty years old, studying with Charcot the hysteria phenomenon. Simonini sees Fröid as a "liar"...who studies and uses cocaine for his own sake,...and who suffers from "black billis".Interesting references are made to the study of hysteria, the use of magnetism by some and hypnosis by others for the treatment of the psychiatric condition. Again, the antiques dealer digresses about the Hebrews, their smell...the "fector judaica"...and concludes "they're all communists!"; he's got no Hebrew friends.The case of Diana is introduced: two personalities in the same body; and different memories of the acts perpetrated by these two radically different personalities. Chapter Four: grandfather’s times. Simonini recalls childhood in Turim,…he managed to speak the purest Grenoble French…not the Paris ‘babil’. Grandfather told him about the madness of the Revolution,….and the worldwide complot of the Knights Templar against Christianity.Also about his connections to Augustin de Barruel (1741-1820):a conspiracy theorist. Simone discloses his pleasure wearing the vests of priest Bergamaschi,how he felt superior...and about chocolate and coffee delights.Amazing Chapter Five: because it's penned by Abbot Dalla Piccola. He knows more about Simonini than the other way around. He reveals that Simonini was an active "Mason" (that he belonged to the Carbonaria). A Simonini that in the previous chapter was so critical about Masonnery aims:"Lilia pedibus destrue" (destroy and step on the Fleur-de-Lis of France). The Freemasons wanted to destroy both "altar and throne".And chapter Six? -Here, Simone severely decries about the Abbot: you know too much about me! Simonini envisions the Jesuits meeting at the Jewish cemetery in Prague;... them, conspiring under the moon, to help Napoleon III. Interestingly, Bergamaschi was a counselor to the monarch.The forgerer prides himself of his first masterpiece of forgery; and later, gets his first ("spy") mission: to join writer Alexandre Dumas in his ship Emma;of course, Dumas had joined the liberators, under Garibaldi. A detail: on his mission, the captain cannot avoid taking with him the vests of priest Bergamaschi. Simone is now in Sicily. Through his eyes we see Garibaldi; the leader is not the “Apollo”, as Dumas saw him. He describes him as “of modest stature, blondish but not blond, with short legs…and affected by rheumatism”, he noticed when the leader had to be helped while riding horses. Simonini distrusts heroes….and doesn't wear the Red Shirt of the liberators, but the ecclesiastic vests of priest B.Garibaldi has received from the British Masonry 3 million French Francs (in golden Turkish piastras)....So you think I would go on till chapter Twenty Seven?... No, I won't. Just a few words of closure for this review.(1) The book has marvelous 19th century illustrations (from the author’s archive) that help a lot understanding the plot… or the story, if you will.(2) Due to Simone’s likings the book is truly a cookeries compendium; menus abound. (Protocols´, 1912 edition)(3) It’s really historically thick the plot ahead; Simone will visit many places; will kill Abbot Piccola;…many adventures ahead, even with protestant Diana. But the core of the book may lie in the The Protocols of the Elders of Zion ; in fact, according to several sources, they are a “lie”; Eco refers 1925 Hitler’s book Mein Kampf; and the London Times of 1921; both indicating a “forgery”. (The Times, August 17, 1921) (4) Finally, Eco says: all book characters were real persons, …but Simone.PS About Simone's name. In the book it is indicated why the main character got that name; someone in the family told Simone:"...in memory of Saint Simonino, a martyr kid of Trento, kidnapped by the Jews...that used his blood in their rites". That explains a lot.From wiki:Simon of Trent (German: Simon Unverdorben; Italian: Simonino di Trento); also known as Simeon; (1472 – March 21, 1475) was a boy from the city of Trento, Italy whose disappearance was blamed on the leaders of the city's Jewish community based on their confessions under torture,causing a major blood libel in Europe. (Dec 21st 2011) For fans of Eco: he's been recently interviewed by GR; some of his words may be elucidating about this and other of his books. And, within two months he'll be eighty years old. Nice.

  • Ahmad Sharabiani
    2018-12-18 04:38

    Il Cimitero di Praga = ‭The Prague cemetery, 1st American ed., 2011, Umberto EcoThe Prague Cemetery (Italian: Il cimitero di Praga) is the sixth novel by Italian author Umberto Eco. It was first published in October 2010; the English translation by Richard Dixon appeared a year later. Shortlisted for the Independent Foreign Fiction Prize in 2012, it has been described as Eco's best novel since The Name of the Rose. The main character is Simone Simonini, a man whom Eco claims he has tried to make into the most cynical and disagreeable character in all the history of literature (and is the only fictional character in the novel). He was born in Turin in 1830. His mother died while he was still a child and his father was killed in 1848 fighting for a united Italy. He is brought up by his grandfather, an old reactionary who houses Jesuit refugees and hates the Jews — he claims that the French Revolution was planned by the Knights Templar, the Bavarian Illuminati and the Jacobins, but behind them all, he says, were the Jews. ...تاریخ نخستین خوانش: چهاردهم ماه می سال 2012 میلادیعنوان: گورستان پراگ؛ اثر: اومبرتو اکو؛ برگردان: فریا ارجمند؛ نشر: تهران، روزنه، 1392؛ در ‏‫698 ص، مصور‏‫؛ عنوان: گورستان پراگ، اثر: اومبرتو اکو؛ برگردان: آرش طهماسبی؛ تهران، فرهنگ جاوید، 1390، در ‫536 ص، مصور، شابک: 9786006182148؛ این کتاب از متن انگلیسی به فارسی برگردان شده، موضوع: داستان‌های نویسندگان ایتالیایی -- قرن 20 ماکو در یادداشتی که برای سایت آمازون نوشته درباره‌ ی این کتاب گفته: «قرن نوزدهم پر از اتفاقات اسرارآمیز و ناگوار بود: پرونده‌ ی دریفوس؛ دسیسه‌ چینی‌های متعدد سازمان‌های مخفی کشورهای اروپایی، فرقه‌ های ماسونی، توطئه‌ گران یسوعی و دیگر ماجراهایی که‌ـ اگر حقایقی مستند نبودندـ باورکردن‌شان دشوار می‌شد. پایان نقلقهرمان گورستان پراگ، کاپیتان سیمونه سیمونینی، تبهکاری تمام‌عیار است، از آن‌ها که ریش مصنوعی می‌گذارند و عصا به‌ دست می‌گیرند، نفرت در وجودشان می‌جوشد، با این‌همه در پیگیری اهداف خود بسیار زیرک‌ هستند. او زندگی‌ خویش را در نقش سردفتری که اسناد رسمی جعل می‌کند می‌گذراند، اما شغل دومش خبرچینی برای سرویس‌های مخفی است؛ ابتدا در زادگاهش «پیه‌ مون» و سپس در پاریس. ما با او در اواخر دهه‌ ی شصت زندگی‌ روبرو می‌شویم، درست وقتی که در لحظه‌ ای بحرانی، در شرایطی که دچار فراموشی مقطعی شده و نگران است مبادا گرفتار «شخصیت دوپاره» شده باشد، کار نوشتن دفتر خاطراتش را آغاز کرده است. به‌ نظر می‌رسد کشیشی یسوعی به نام «آبه دالا پیکولا» ساکن آپارتمان کوچکی است که از طریق راهرویی مخفی به محل سکونت سیمونینی راه دارد؛ و وقتی او خوابیده، یادداشت‌هایی در تفسیر دفتر خاطرات او می‌نویسد. سیمونینی، که در پاریس با فروید روان‌شناس مشهور آشنا شده، نوشتن دفتر خاطرات را با هدف خوددرمانی آغاز کرده است. او سعی می‌کند جزئیات گذشته‌ ی خود را به‌ یاد بیاورد تا از این طریق به واقعه‌ ای برسد که او را پریشان و دچار فراموشی مقطعی کرده است و ظاهراً دالا پیکولا نقش نوعی «خودِ برتر» را بازی می‌کند که هر بار سیمونینی از یادآوری گذشته‌ اش اکراه دارد، او را سرزنش می‌کند. این وضعیت به اکو اجازه می‌دهد تا سه رشته روایت را دنبال کند: دو روایت اول‌ شخص سیمونینی و دالا پیکولا، و روایت سوم شخص «راوی»ای که نیتش خلاصه‌‌ کردن نوشته‌ های این‌ دو نفر است؛ مبادا خواننده از درازگویی آن‌ها خسته شود؛ یا سررشته‌ ی داستان را از دست بدهد. اکو با افزودن تعدادی از تصاویر مربوط به دوران روایت، که اغلب از کلکسیون شخصی‌ اش وام گرفته، تاثیر داستان را تقویت کرده است. ... ا. شربیانی

  • Mohamed Shady
    2018-11-28 06:55

    طب هوا انا منبهر .. منبهر بجد .. منبهر حقيقى .. منبهر يا سيدى الرواية دى قتلت جوايا أى احترام لأى رواية تانية إيكو بيه .. أقولك ايه واعيدلك ايه ؟ خلصت فيك كل الكلام يا ابنى والله هاخد نفسى واحاول افوق من الصدمة واحاول اكتب اى حاجة

  • Chip
    2018-12-14 05:28

    Plausible. Witty. Satirical. Challenging. Educational. You should see my Google search history - early in the book I realized I knew a few of the major players (not well) and none of the others at all - so I Googled every name and place I came across and discovered that this is a well-researched book! No wasted words, no ornamentation, tight prose - a well crafted story on many levels. More accessible than earlier books, or maybe I'm getting better at researching. Read this book. Take out your smartphone and put it through its paces for supporting information. There are more connections between the characters than given by the author - as the author/narrator states in the text that (paraphrased) touching on the faint memory of something heard/read before lends plausibility to fiction, and this book is a breathing example of the concept. And yes, there's a poke in the eye of Dan Brown (or his fans, anyway) for the DaVinci Code... almost as if Prof. Eco is saying "if you're going to publish a forgery, this is how you do it..." Learn from the Master. Read this book.

  • Gerald
    2018-12-02 06:57

    Don't consider it a spoiler that in the afterword, Eco claims that most of this book is true, or as true as can be surmised from a patchwork of historical and circumstantial evidence, and oral history. His book is no less than an attempt to trace the origins of anti-Semitism in Europe over the last two centuries. His vehicle is a more-or-less true, but nonetheless implausible, story behind the multiple versions of The Protocols of the Elders of Zion. Eco's account is narrated by the one character he admits to being fictional, Simonini, a master forger who made a living not only creating official documents but also fabricating the facts and stories they contained.Eco has been a lifetime student of occultist movements and secret societies, including the Knights Templar, the Rosicrucians, the Freemasons, and various anti-clerical, anti-Papist, anti-royalist, anarchist, and, yes, anti-Semitic political and religious groups, including their agent provocateurs. (He even throws Madame Blavatsky in there but unaccountably renames her.)The most striking take-away from this exhaustive book is a general conclusion about the nature of conspiracy. At least in this web of loosely woven plots, conspiracy is not a masterfully directed and highly coordinated effort. It is, instead, a monstrous disease that has no direction other than its own propagation. It has no head and no permanently governing body. It goes wherever it feeds best, and it serves whomever will feed and sustain it. It likewise destroys, not a specific enemy, but any person, group, or ideology the persecution of which will benefit, even for the short term, its feeders.In short, it has been convenient for various groups at various times to promote the hatred of Jews. But as Eco demonstrates, at times this agenda has had more to do with unifying or dividing certain opponents that with persecuting or exterminating their victims.Ultimately, it's about political expediency and rousing the emotions of the masses to achieve some end than will benefit, and usually greatly enrich, the vilifiers.A rather tame example in the present day, but one readers are seeing nonstop just now, is the convenient fiction that government is somehow unnecessary. A more malicious story is that people with alternative lifestyles are somehow destroying the nuclear family. I'd humbly suggest that failure of wages to keep pace with expenses - and especially the price of real estate - had a lot more to do with sending Mom into the workforce and relegating Little Johnny to latchkey loneliness, indifferent daycare, and the solitary amusements of digital gaming.I gave this four stars instead of five because, frankly, much of it is as crashing bore. Eco the scholar doesn't want to leave a scrap of research on the floor, even if it is not particularly dramatic or relevant to the highly multifaceted and disjointed plot.

  • ايمان
    2018-12-13 02:33

    حين نقرأ لأمبرتكو إيكو فنحن على موعد مع الدهشة,الأمر غير مرتبط فقط بالموضوع بل باسلوبى السرد وكيفية السرد إختيار الشكل المناسب للرواة و تكثيف العلاقة بينهم إيكو جدد بشكل لافت طريقتههذه في إسم الوردة و جددها أيضا في مقبرة براغ و لا استبعد أن هذا التجديد سنجده مع باقي رواياته التيتنتظرني على الرف,في مقبرة براغ هناك لعبة ثلاثية أن لم أقل رباعية لو أشركنا الكاتب كفاعل في السرد فأول صفحة يظهر الفاعل الأول في السرد يلتقي بعدها بالفاعل الثاني و بعدها بالفاعل الثالث و كأن الأمر اشبه برباعية الجري في الأولمبياد كل راو يمنح الآخر الفرصة لاظهار موهبته فيتفاعل السرد بتفاعل الرواة و أختار إيكو جسد اليوميات كمحتوى أساسي لهذه الطريقة فيكون السرد بطل و شخصية أيضا لها نفس مكانة الأحداث و اليوميات يتصاعد و ينخفض ضمن سياق الحكاية كما تتصاعد الحكاية ذاتها , أجاد ايكو إذن أن يجعل من السرد لعبة بوليسية تتماهى مع الموضوع ذاته معتمدا بشكل كبير على ذكاء القارئ في لم الخيوط التي يلهو بها إيكو لنفهم في الأخير من كان يتحدث فعلا و هل هناك فعلا راو واحد أم تعدد الرواة والمثير في الموضوع أن هذه الاسئلة ترتبط بشدة بموضوع الرواية و طبيعة البطل الأساسي لأننا سنتسائل في الأخير هل كل ما ذكر حدث فعلا أم أن الأمر لا يعدو أن يكون وثيقة مزوة أخرى. بالعودة للموضوع تزداد حيرتنا أكثر لدرجة أعجز معها على تحديد أفكاري أو صياغتها بشكل منظم كتابة,فالموضوع ليس جديدا و تم تناوله كتابة من طرف العديد من الكتاب أدبا و مقالة و إيكو هنا وضع فقط وجهة نظره حول الموضوع مما يجعل عمله هذا أقرب لفن المقالة التاريخية منه الى الرواية يتعلق الأمر ببروتوكولات حكماء صهيون , عمد الغرب الى انكارها جملة و تفصيلا منذ ظهورها كما لجا آخرون الى تأكيدها ووضع افتراضات مؤكدة لكيفية صياغتها و ترجمتها في حين يبدو العرب وحدهم موقنون انها صحيحة,يؤكد إيكو في نهاية الرواية أن كل شخصيات روايته حقيقية و أن ما قامت به من أفعال فهي حقيقية في حين يؤكد أن شخصية سيمونيني شخصية متخيلة لكن مثلها وجد و ما زال حيا بيننا اليوم يتركنا إيكو في حيرة من أمرنا على حافة التصديق المشوب بالشك فكيف نصدق البطل و هو شخص متخيل بمعنى آخر كيف يقوم تاريخ فعلي على تاريخ متخيل و ما هو الحد الفاصل بين العالمين و تزداد حيرتنا حين نعلم أن الشخصية المحورية الحكائية محترفة تزوير و تحريف فما الذي يهدف إليه إيكو في النهاية أن نصدق أو أن ننفي ما حدث عبر لعبة تدوير الحقائق التي لا تتوقف.. تتحدث الرواية عن رجل يبدو فاقدا لنصف ذاكرته فيقرر كتابة مذكراته عله يفهم بعض الأحداث الغريبة التي يمر بها نتعرف على الكابيتان سيمونيني ذو الأصول الغيطالية ونكتشف بعد ذلك أن هناك شخص ثان يتطفل على كتابة اليوميات و هو القس دالا بيكولا فتغدو الكتابة محاولة للتذكر و الاكتشاف , من ايطاليا الغاريبالدية الى روسيا القيصرية مرورا بفرنسا النابلونية و الجمهورية و فرنسا الماسونية يحكي سيمونيني مسار حياته الخصب بالأحداث و الشخصيات السياسية و الكهنوتية و الطبية و الموسيقية و الأدبية مسار مليء بالكره تجاه اليهود و تجاه النساء و تجاه كل الجنسيات تجاه الآخر بشكل عام باستثناء الأكل الذي يمثل للشخصية المتعة البشرية الوحيدة الممكنة,تبدو شخصية إيكو في هذا الكتاب خلاف المتعارف عليه شخصية سلبية جدا منعدمة الأخلاق و الضمير و لا يقف في وجهها شيء سوى المصلحة الذاتية و لا تبدو منتمية لشيء سوى لرسالة تركها له الجد . لا نستطيع أن نصف إيكو بمعاداة السامية و لا نستطيع في ذات الوقت أن نؤكد هذه المعاداة فالطريقة التي كتب بها العمل توحي بالأمرين معا ,كره سيمونيني اليهود كرها بالغا و تعجب من عدم قدرة الناس على فهم هذا الجنس المتكيف مع كل الكوارث البشرية و التاريخية و كيف للناس لم يدركوا بعد أن الأمر يوحي بمؤامرة عالمية تاريخية ضد كل البشر باستثناء اليهود سيمونيني يعتبر نفسه بطلا كونيا على اعتبار أنه سيحرر العالم من الغموض الذي يكتنف هذه المؤامرة يكفيه فقط أن يختلقها ليشعل فتيل الفضول و التقصي الذي آملا أن يقضي بعدها على هذا الجنس المكروه و الصامد رغم هذا الكره الفطري نحوهم. يبقى المرتكز الاساسي للرواية هو النتيجة الختامية , العمل المكلل لمسار سيمونيني تنفيذ وصية جده بالشكل الأسمى و نشر بروتوكولات حكماء صهيون,مع ترتيب للأحداث لا يختلف عما هو متعارف عنه تاريخيا حول البروتوكولات فعلاقة هذا الأخيرة بروسيا ثابتة اكتفى إيكو بأعادة صياغة الأحداث بشكل أدق مع تضمينه لبعض الخيال المكمل للصياغة الأدبية , فحسب ايكو فالفكرة بدأت مع رسالة جد سيمونيني و الذي يؤكد الكاتب أنه شخصية حقيقية و يربطها أيضا برواية اليهودي المتنقل لأوجين سو التي نشرت على حلقات بين 1844و 1845 و هي الرواية التي أرتكز عليها موريس جولي في كتابته للحوار المتخيل الجحيم بين ميكافيللي و مونتسكيو و بعدها كتاب البروسي غودش و هي الرواية التي حسب إيكو مبنية على تخيلات سيمونيني ذاته و هي تلك التخيلات المرتبطة بمقبرة براغ و الأجتماع السري لإثنيعشر حاخام يهودي,مقبرة براغ إذن تحكي بالتفصيل و بشكل بوليسي لا يخلو من دراما جيمس بوند و أوجين سو و بعض تأثير دان براون كيف خلقت "الكذبة" من انخراط سيمونيني بثورة غاربالدي الى قضية درايفوس,إيكو كان متحكما بشكل جيد بالمادة التاريخية التي يظهر من خلال التدقيق أنه تعب في الحصول عليها و منحها لنا بشكل متسلسل جيد لكن الأمر يدفعنا للتساؤل ما المجدي في إعادة خلق كذبة على اعتبار سمونيني مزور ما المجدي من تكرار نفي هذه البروتوكولات بهذه الطريقة و قد سبق للعديد من الكتابات ان فعلت تفس الشيء؟هل كان إيكو فعلا قاصدا أن ينفيها أم قاصدا أن يجعلنا نفكر أن نفي البروتوكولات هو من ناحية أخرى نفي أيضا للاعمال التي نفتها بمعنى بما أن التاريخ يمكن أن يكون كذبة فكل الأعمال التي تحققه هي بدورها من الممكن أن تكون كذبات متقنة فلاشيء في النهاية ثابت مع صيرورة زمنية تجبرنا أن نتغيب عنها قصرا أو اختيارا.

  • Efka
    2018-11-23 01:53

    "Prahos kapinės", kaip ir iš esmės visi kiti U. Eco kūriniai, yra neabejotinai priskirtina prie sunkesnių (sunkiau skaitomų) knygų - jos struktūra griozdiška, perdėtai detali, labai ilgai užtrunka, kol veiksmas įsivažiuoja. Ir net įsivažiavus gan ilgą laiką vistiek nėra aišku, kas, kaip, kodėl vyksta ir kokie tų aprašytų įvykių santykiai su pagrindiniu personažu - Simone Simonini. Turint visa tai omenyje, nenuostabu, kad ir aš pats šią knygą prieš porą trejetą metų jau buvau bandęs skaityti, bet įvardijęs kaip "šlamštą" ir numetęs. Na, šiaip ar taip, dabar ją pabaigiau ir turiu atsiprašyti tiek knygos, tiek tikrai didžiulį darbą rašant šią knygą nuveikusio autoriaus. Matot, ši knyga iš esmės yra net ne tai, kad paremta tikrais faktais, o tiesiog yra viena didelė tikra istorija su vieninteliu įterptu pramanu - tai pačiu romano antiherojumi, jau minėtu S. Simonini. Mane, kaip nuoširdžiai mėgstantį gerai sukurtus antiherojus, Simoninis tiesiog sužavėjo. Sužavėjo savo paprastumu, godumu, suktumu ir abejingumu viskam, kas jo neliečia ar neneša pelno. Tai juk tiesiog tobulai įkūnytas kapitalizmas - viskas, ką Simoninis daro, daroma todėl, kad tai neša naudą jam pačiam. Jis ne radikalas, ne idėjininkas, dokumentus klastoja ir žmones žudo ne todėl, kad kažko nekenčia, yra persisunkęs pykčiu, idealizmu ar fanatizmu, o tiesiog todėl, kad taip sutampa aplinkybės arba jam taip yra patogu. Žodžiu, itin puikus antiherojus. Pati siužetinė linija vystosi gan lėtai, Eco šioje knygoje itin mėgsta aprašinėti restoranus, užeigas, patiekalus, bet tam tikra prasme tą galima suprasti ir tai net savotiškai žavu bei suteikia tam tikro autentizmo. Juk XIX a. viduryje nebuvo nei interneto, nei televizoriaus, tad kur geram sukčiui daugiau reikėjo leisti savo sunkiai susichaltūrintus pinigus, jei ne skrandžio malonumams? Siužetas, kaip jau minėjau, tikrai didelio parengiamojo darbo rezultatas. Kiekvienas asmuo, kurio vardas parašytas, kiekvienas įvykis, kiekvienas restoranas ir nusikaltimas, kiek jų tikrinau, tikrai yra pilnai istoriniai faktai - tuo įspūdingesnis U. Eco talentas į visą šią istoriją logiškai įpinti savo išgalvotąjį asmenį ir sukurti jam visą legendą, dėl kurios jis su minėtais asmenimis ir įvykiais tampa susietas. Tai nėra lengvas atostoginis skaitalas, bet pažadu jums, įveikus apie 150 puslapių, pagaliau viskas įsivažiuoja, įtraukia, ir knyga sušvinta naujomis spalvomis. Ir nors puikiai suprantu, kodėl jos reitingas yra tik 3.37, (pats ilgą laiką svarsčiau, ar čia bus 2*, ar 3*), bet mano pakantumas ir autoriaus nuoseklumas šią knygą paverčia tikrai geru, žaviu, o svarbiausia, įsimintinu potyriu. Galbūt šedevru jos vadinti ir nereikia, bet knyga tikrai gera, o aš ją vertinu, pusę žvaigždutės duodamas avansu dėl tikrai nepagrįstai žemo įvertinimo, rimtu ir solidžiu penketu. Ottimo, maestro!

  • Ben Babcock
    2018-12-07 08:38

    I like to try to pretend I’m not a literature snob. I like to try to pretend that all I care about in a book is a good story, that genres are meaningless, and that authors who are experimental or who go to great lengths to show off their vast intellects are, generally, more trouble than they are worth. I like peeling back the layers of hype and praise piled upon popular books and to get at the soft nougat of story at the centre and judge it based on the quality of that alone.Except all that pretending not to be pretentious falls apart the moment I have to talk about Umberto Eco.I can’t quite call him my favourite author, because that is an absolute I don’t feel comfortable using. How does one necessarily compare and rank two authors whose style and range are completely different? No, Eco is not my all-time favourite, but he is unquestionably a writer of the highest calibre, a literary juggernaut with all the pretentious baggage such a label implies. Whenever I read something by Umberto Eco, I am always struck by how incredibly smart he is. His books are practically saturated with knowledge and intellect in such a way that I am immediately confronted with how little I know—and I love that feeling. More importantly, Eco doesn’t make me feel stupid as a result of this ignorance. Instead, his books display an evident love for knowledge, a joy for life and literature—a feeling so close to what I feel when I read, that it’s probably not a surprise I would feel so at home with these books.For my fourth annual Eco read I chose The Prague Cemetery purely because it was published in English this year. I feel a little more connected by reading a book that is so recent, and it definitely affected how I interpreted the story. The Prague Cemetery seems, almost from the beginning, like it is more accessible than some of Eco’s other novels. It certainly isn’t as lengthy or as dense as The Name of the Rose or Foucault’s Pendulum. Yet there is a dark and very difficult aspect to The Prague Cemetery that almost made me hesitate with it.This book is venomous. It opens with a misogynistic, racist, anti-Semitic rant by the main character, Captain Simonini. Simonini, an expatriate Italian living in France as a forger and sometime-espionage expert begins recounting his childhood in Italy in the form of a diary. We learn the genesis of his hatred for Jews, his first involvement in forgery and espionage, and eventually, how he came to end up in Paris, France. This autobiographical narrative is as fascinating as it is repugnant. Simonini’s anti-Semitism latches onto everything he touches, spreading into his every endeavour like a virulent and pernicious weed. I found several passages difficult to read, because Eco does not cut corners and does not hold back: he creates a main character who is, in no uncertain times, unlikable and unsympathetic. And I still somehow found myself hoping he wouldn’t get killed. (He is really bad at the espionage thing.)Then we come to chapter 5, in which the narration gets taken up by Abbé Dalla Piccola. And here’s where it gets interesting. Who is Piccola? Is he an alter-ego of Simonini’s? Or is he a person in his own right? Simonini keeps waking with gaps in his memories and reading these notes from Piccola, whose apartment is connected to his by a long, dank corridor filled with makeup and costumes. Yet as Simonini recalls his life story, there are mentions of a Piccola external to him. And so the identities of Simonini and Piccola and their relationship is ambiguous, at least at first. Ultimately Eco resolves it with uncharacteristic clarity. Until then, however, Piccola along with the Narrator complete the novel’s triumvirate of (unreliable) narrative voices. Together, these two manage to balance out the vitriolic Simonini and make the narrative more interesting.The Prague Cemetery is intimately connected to European history, particularly that of Italy, Germany, and France, in the late nineteenth century. Those of us whose educations are sorely lacking in this area will feel somewhat lost, which is why Wikipedia is such a valuable resource. Reading about the unification of Italy and France under Napoleon III gave me a glimpse into why Eco might be so fascinated by conspiracy theory. Sensationalist rhetoric of authors like Dan Brown aside, conspiracy underpins much of European history, never far away as one reads about the intricate intrigue that brought down kings and queens, priests and pontiffs. And Eco places Simonini right in the middle of it: first embedding him with the Carbonari and Garibaldi’s red shorts, then transplanting him to France on the eve of the Franco-Prussian war.Simonini’s experience as a forger means that his superiors expected him to produce evidence that would support the agenda of the month. Communists, socialists, or monarchists—it didn’t matter: you name them, and Simonini would fabricate something to implicate them. He goes as far as actually constructing conspiracies of his own in order to expose them to his superiors. Simonini is delightfully devious—much too devious, in fact, for his own good. He invariably incurs the displeasure of his superiors, which is why he found himself in France in the first place.Ultimately Simonini becomes obsessed with marketing a manuscript. This manuscript finally becomes The Protocols of the Elders of Zion, a real fraudulent document. Set in the eponymous and eerie cemetery in Prague, the manuscript purports to disclose the plans of Jewish leaders for world domination. This is Simonini’s masterpiece, a story woven from ideas culled from fiction and non-fiction throughout the past century, created in such a way as to appear legitimate enough for those who might have a use for anti-Semitic propaganda. And though he knows it is his own fabrication, Simonini is utterly convinced of the document’s veracity in spirit. He does not doubt that a Zionist conspiracy for world domination exists and is in motion, and so he feels justified in manufacturing evidence that exposes this “truth”. Eco brilliantly takes us into the mind of a conspiracy theorist and an anti-Semite, exposing the psychology of such a person.The document that becomes The Protocols is but one example of the larger set of conspiracies that bloom in the shadows of European politics. Through Simonini we see how various groups, from intelligence offices to the Jesuits, make use of conspiracy theories and propaganda to suit their own ends—essentially, Eco weaves conspiracies about conspiracies. And the most successful participants in these political games are those who do not have (or at least do not indulge) their personal enmities toward different groups. Simonini’s passionate hatred of Jews is a liability, because it warps his every action and provides a motivation that could sometimes be political inconvenient. Even as his Russian contacts discuss using the Jews as scapegoats because they happen to be around, Simonini’s French handler initially tells him that they aren’t interested in pursuing anti-Semitic propaganda “for now”. There's a cold-blooded, calculated, ruthless side to all this hate speech that often seems to get lost (at least in my opinion) when viewed through the lens of the world after the Second World War. For some of these people, hating Jews wasn’t personal; it was just part of the job, and only when expedient.Although it ends about thirty years prior to the rise of the Nazis, The Prague Cemetery foreshadows the rising wave of anti-Semitism in Europe. World War II is rather like a singularity, in that sometimes it is difficult to look at the history leading up to it and not be influenced by what came after. We concentrated so much on anti-Semitism during and after World War II that we never really discussed how it was already a regular feature in Europe by the time Hitler came on the scene. So I appreciate being reminded of this fact and seeing a depiction of anti-Semitic attitudes prior to the Holocaust. The Prague Cemetery offers an interesting historical perspective in addition to all its fascinating fixations with conspiracy and religion.Finally, we have the mystery surrounding Simonini himself. Who is he, and how is he related to the Abbé Dalla Piccola? The Prague Cemetery reminded me of The Island of the Day Before. Both feature a character who might be imaginary; in both, the narrative is the reconstruction by an unnamed Narrator of papers written by the main character. And there are echoes of Eco’s other works as well, his recurring themes running strongly throughout this book. For all that is recognizably Eco, however, The Prague Cemetery remains fresh and original. Eco’s books are difficult. There’s no question about that. I mean, he’s a semiotician, so he is fascinated by symbols and meaning, and that’s obvious from the way his works experiment with the nature of storytelling and of fiction itself. In his postscript to The Name of the Rose he talks about how the first hundred pages were designed to “construct the reader” he needed for the rest of the novel—and yeah, that’s a little condescending. So I can see why people would be unwilling to invest the mental effort needed to digest Eco’s books, and I don’t blame them. But you don’t know what you might be missing until you try. So at the risk of destroying my illusions that I am anything other than a literature snob, I have to extol Umberto Eco as a writer. Because, for me, the feeling I get reading an Eco book is as close to the feeling I imagine I should have reading any book. I don’t know if that makes any sense … there’s just something about the way Eco writes that makes me hyper-aware of the act of reading yet does not detract from my enjoyment of the text itself. Eco’s books embody the pleasure that should be implicit in the act of reading, and I can think of no higher praise to give a writer.

  • Helle
    2018-12-11 01:27

    (3.5 stars) I have something akin to rock-star admiration for Umberto Eco: he is such an erudite, cultivated, European, aesthetically aware Renaissance man with an encyclopedic knowledge, a reverence for the good life, and the ability to combine high literature with popular mystery. Not to mention – in this novel - sinister characters, opulent prose, abundant sarcasm, Paris, and an homage to Alexandre Dumas – a delectable mix of ingredients in a novel.It is the latter half of the 19th century, and Europe is bristling with conspiracies and religious strife: Jesuits against Freemasons, republicans against priests, Catholics against Jews. At the centre of the novel is a man, a forger, who may be behind many of these (historically real) conspiracies; some of them may even have been conjured up by him and only a few other men, such as the scandalous Dreyfus Affair. It is all a deep, almost medieval, mystery. En route in this intricate, labyrinthine story – with prose to match it every step of the way – we are confronted with a veritable catalogue of everything that has ever been said of vile, discriminating and outlandish things against the Jews. (Though the Germans, the French and the Italians get their share of abuse as well). Towards the end we dip our feet into the occult and the satanic, reminiscent of The Name of the Rose, one of my all-time favourite novels. I wallowed in Eco’s scholarly erudition and lapped up his descriptions of gourmet meals (recipe-style; we’re told exactly how to boil this and add that), which peppered the story at intervals throughout the novel. It positively reeked of aesthetics in the beginning. But it gradually turned into meandering verbiage through which the already slim central plot became couched in a history book, from the Sicilian era of Garibaldi which lead to the unification of Italy, about which I knew very little and so names and dates of battles flew by me largely unrecognized, to the Paris Commune. Historically accurate details abound; many characters who existed at the time enter and exit the scene. Embedded into the story we find social criticism, timeless and wise observations. Take this: For the enemy to be recognized and feared he has to be in your home or on your doorstep. Hence the Jews. Divine providence has given them to us and so, by God, let us use them and pray there is always some Jew to fear and to hate. We need an enemy to give people hope. Someone said that patriotism is the last refuge of cowards. Those without moral principles usually wrap a flag around themselves and the bastards always talk about the purity of the race. National identity is the last bastion of the dispossessed. But the meaning of identity is now based on hatred, on hatred for those who are not the same. Despite the brilliance of observations such as these, and although often a deeply atmospheric read, it felt, at times, weighed down by its own erudition and historical details for it to be completely readable to me, or for me to maintain interest throughout the story.However, Umberto Eco has also said this: When men stop believing in God, it isn't that they then believe in nothing: they believe in everything. For that perceptive and liberating view alone I applaud him, and I appreciate the journey I was on in this novel, despite not loving it. I want to read everything he has written.

  • MwanamaliMari
    2018-12-09 06:43

    I had a month to read this book for the Nairobi 1st Thurs book club To say I was disappointed is a gross understatement. I don't even know where to begin... The incessant ramblings, the disconnected continuation,This was the result of a word happy academic who had a little too much time on his hands. Umberto should have been introduced to phrasing- not the Archer kind. The man has a grudge against short sentences. I'm all for a long winded explanation of a situation, but with this one; The verbal diarrhea can be used a hallucinogenic. After trying countless times to read this, every time I looked up from my reader, all I saw were floating black letters in my vision. The first sentence of the book was so long in fact, it still gives me nightmares. Look at it:A passerby on that gray morning in March 1897, crossing, at his own risk and peril, place Maubert, or the Maub, as it was known in criminal circles (formerly a center of university life in the Middle Ages, when students flocked there from the Faculty of Arts in Vicus Stramineus, or rue du Fouarre, and later a place of execution for apostles of free thought such as Étienne Dolet), would have found himself in one of the few spots in Paris spared from Baron Haussmann's devastations, amid a tangle of malodorous alleys, sliced in two by the course of the Bièvre, which still emerged here, flowing out from the bowels of the metropolis, where it had long been confined, before emptying feverish, gasping and verminous into the nearby Seine.Was this guy for real? That is one sentence. ONE!! The very first welcome. It's like a mat with an entire bear on it instead of just a fine coat of fur. And I was supposed to endure 141,506 words of this?????

  • Nate Q
    2018-11-28 01:48

    This is the Forrest Gump of the conspiracy-theory historical fiction novel. A master forger influenced European history and personally met and inspired the likes of Freud, Victor Hugo, Garibaldi, Napolean III, Dumas, and I'm sure many others. His importance had a lot to do with filling in the blanks on anti-Semite material and conspiracies that influenced world wars and ultimately the holocaust. Some very interesting bits of history, although a bit buried beneath a few layers of multiple-personality disorder and semiotic self-aggrandizement. It's no Foucault's Pendulum, but still kicks Dan Brown down the proverbial Potemkin Steps with great disdain.

  • Gianluca Scacco
    2018-12-08 03:40

    Libro molto interessante. La storia del protagonista è, ovviamente, una scusa per descrivere i tanti moti in atto in quel periodo storico....Completare la lettura di questo libro è stato davvero difficile. Come al solito rimango deluso dai libri di Eco (Nome della Rosa a parte): vedo sempre l'autore intento a mostrarci le sue (indubbiamente) enormi conoscenze.

  • Terry
    2018-11-17 01:37

    3.5 – 4 starsWhile not the masterpiece that was The Name of the Rose, or quite the tour-de-force that was Foucault's Pendulum, _The Prague Cemetery_ is both an excellent read and a worthy addition to the erudite canon of Umberto Eco’s works. I must admit to having been somewhat disillusioned with the books he produced immediately after the first two named, finding The Island of the Day Before interesting though not really compelling, and I could frankly not get past the first chapter of Baudolino despite several attempts. (That being said I think I may need to revisit both of these books someday to see if time will have changed my appreciation of them, especially since we can sadly no longer expect to see any further publications from Eco.) In ‘Prague’ we see Eco treading some familiar territory in the form of vast conspiracies that hinge on the fevered imaginations of those involved and as such I think it can be seen as an excellent companion work to his masterful _Focault’s Pendulum_. While the latter concentrated on the occult and mystical conspiracies that arose from the dissolution of the Templar Order coalescing into the myriad groups claiming to be their spiritual descendants and keepers of the key to an ultimate and mysterious power, ‘Prague’ centres on the political side of the equation, with its preoccupation with the Masonic lodges that were said to be the true powers behind the various thrones and assemblies of eighteenth and nineteenth century Europe. Even more, the novel is concerned with the sinister growth of nineteenth century antisemitism which found its penultimate expression in the form of the spurious ‘Protocols of the Elders of Zion’; a document that harped on all of the fears of ‘mainstream’ society in regards to the Jews, turning them from a downtrodden minority into a vast and powerful coalition bent on the destruction of Christian civilization. At the centre of the conspiracy is the only purely (according to Eco) fictional character of the book: Simone Simonini, an utterly unlikable character who yet manages to be a compelling protagonist. Born in Turin and raised by a grandfather whose virulent hatred of the Jewish people inevitably infected his grandson, Simonini introduces himself to us with a declaration that is nothing less than a virulent hate filled screed attacking nearly every variety of human that he has come across. His hatred of the Jews is particularly venomous, but he has no qualms with castigating the Germans, English, French, Italians, clergy, Christians in general, and (of course) women, to name a few, with his malice. He is, as you can see, an equal opportunity xenophobe, going so far as to even hate his own people (both by birth and adoption). A more complete misanthropist would be difficult to find. Simonini’s story is presented to us in the form of a diary (with occasional intrusions by the narrator who is purportedly editing the document for our consumption, something Eco also did in _The Name of the Rose_). Not a diarist by nature it appears as though Simonini is suffering from lapses in memory due to some kind of moral crisis and his meeting with the fledgling psychoanalyst ‘Dr. Froïde’ (yes, that one) has prompted him to write down his experiences in the hopes that it will lead to the answer to his problem. We soon come to see that there is an additional layer of complexity to this diary as it is intruded upon by another figure, the enigmatic Abbé Dalla Piccola, who often seems to know more about Simonini’s own doings than Simonini himself. This dialogue being pieced together by our narrator leads us to wonder who is writing this document? Is it one man suffering a crisis of identity or two men somehow joined by their participation in the dark underworld of conspiracy and espionage? (view spoiler)[ In the end we find that the answer is what was perhaps the obvious one, but what else can a man with no conscience do when he suffers a moral crisis, but create a conscience for himself? (hide spoiler)]Thus we follow the reminiscences of a hate-filled man whose only true love, indeed the only unalloyed joy of his life, is in food. All else is in Simonini’s life is narrated with a sardonic sneer and an implicit (or more often overt) denigration with the exception only of food which he lovingly describes in the rapturous tones of a true gourmand. Aside from the aforementioned father of modern psychoanalysis the tale is jam-packed with appearances or mentions of famous people of the time from Victor Hugo and Alexandre Dumas to Garibaldi and the ill-fated Alfred Dreyfus. Steeped in the concept of grand conspiracies from his youth (both from his grandfather and the parade of Jesuit priests who were both his teachers and nemeses) it is no surprise that Simonini gravitates towards such things as he grows older and upon coming under the wing of a notary who trains him in the art of forgery and deceit the future path of the unfortunate boy is more or less paved for him. Becoming first involved in the various political intrigues around Garibaldi and the unification of Italy, Simonini is soon forced to flee to Paris and ultimately becomes the spider at the centre of the web which is the vast ‘Jewish conspiracy’ that cements itself in the fraudulent Protocols of the Elders of Zion. Like the three bored book editors from ‘Focault’ that became the grand engineers of the great Templar ‘Plan’, Simonini’s fevered imagination and ingrained hatred are the seeds of something that catapults itself from dream (or nightmare) to reality. Even its own author believes in the truth of his fiction, at least ‘in spirit’ if not in the facts as they are presented.This is obviously not a book that is filled with the milk of human kindness and its primary subject matter is appalling, but I still found this to be an ‘enjoyable’ read. Part of this is likely due to the fact that Eco took as one of his models the feuilletons of writers such as Hugo, Eugene Sue, and Alexandre Dumas, a genre which I particularly enjoy. Eco isn’t shy about this influence making the works of Sue and Dumas direct influences on Simonini in both form and occasionally detail. Added to this is Eco’s scholarly depth and virtuosity which is, as always, touched with his urbane wit. One always learns something when reading Eco, and if you’re anything like me you are constantly amazed at the man’s polymathic mind, but at the same time I don’t find myself feeling that I am being talked down to (I’m looking at you Gene Wolfe). All in all this was a compelling read that I’d recommend to anyone looking for a serving of historical fiction that is full of the twists and turns characteristic of all of Eco’s work. Just be prepared for a large dose of hate and venom.

  • Michael
    2018-12-09 06:29

    Every nation has its own secret service, perpetrating forgeries, plots, and massacres. Simone Simonini is called upon to help create a political conspiracy by forging a document known as The Protocols of the Elders of Zion. Simone is an adventurer, forger and secret agent working for a powerful secret organisation or is he working for himself? Is he playing both sides against each other or will he end up being a scapegoat?I love Umberto Eco; every time I read a book by him, I get a mind crush; how can one man have so much knowledge on Catholicism, Freemasons, the Knights Templar and even the Rosicrucians? First book I ever read of his was Foucault’s Pendulum and will always remain my favourite because I did not know what to expect. I was so surprised with his knowledge that when he started building the conspiracy behind this book I even started to feel convinced by it too. I had to remind myself that it was fiction and that they were trying to create a conspiracy theory that others would believe.Umberto Eco is not the easiest author to read; he jams his books full of facts and in The Prague Cemetery it’s all about Nineteenth-century Europe and conspiracies both real and imagined. You certainly have to have an interest in history of secret societies to enjoy the mystery that Eco creates. Luckily for me, I have that interest and feel like Eco is just encouraging me to learn more about these Secret societies; I still have not worked out how to join the Illuminati yet.The protagonist Simone Simonini is slimy, manipulative and almost an evil genius. This makes him perfect for the role he plays. While it is hard to keep up with all his thoughts and trying to think that many moves ahead, I just enjoyed where this novel took me.They call Umberto Eco the Dan Brown for the intellects, and while I do try to be pretentious and act like an intellectual, I have a lot more to learn. I love this title for Eco because he takes the conspiracy thriller elements and certainly adds his knowledge of history to it, making a truly intelligent novel. There is so much to learn and so much to enjoy from a book like this. This is my third Eco novel (Foucault’s Pendulum & The Name of the Rose) and I’m already looking forward to my forth. While I will need a break from his brilliance, I would love to know which Eco book I should read next?

  • Leonard
    2018-12-13 09:56

    Simonini is a forger who helps the secret services of Piedmont, France, Prussia and Russia implicate the Carbonari, the Republicans, the Freemasons, the Jesuits, and the Jews and his allegiance is only to the paycheck. He travels with Garibaldi as the general defeats the Kingdom of Two Sicilies and unifies Italy. He helps the French and Prussian spy on each other before the Franco-Prussian War. He forges the document that implicated Dreyfus in the famous affair. But his masterpiece is The Protocols of the Elders of Zion, detailing the Jewish leaders’ plot in a Prague cemetery to take over the world by amassing wealth and destroying “Christian” principles.He travels with Garibaldi as the general defeats the Kingdom of Two Sicilies and unifies Italy.He forges the document that implicated Dreyfus in the famous affair.Umberto Eco interleaves European history with Simonini’s exploits and integrates the Freemasons, the Jesuits, and the Jews in multiple conspiracies against each other. Political maneuverings that Machiavelli would applaud. But it is in manipulating the text into a multi-level narrative that Eco shows his genius.But his masterpiece is The Protocols of the Elders of Zion.Umberto Eco interleaves European history with Simonini’s exploits.At the first level are Simonini’s forged documents, including the letter Dreyfus wanted to send to the Germans and The Protocols of the Elders of Zion, which the protagonist knows to be fake and which we the readers believe to be so. At the second level are Simonini’s journal entries—including the fake Dalla Piccola’s writings—which our protagonist believes to be true (the diary describing how he had forged them) and which we the readers know is fiction (Eco’s novel) but aren’t sure whether our hero accurately recorded his exploits. At the third level are the Narrator’s comments throughout the novel to complement the diary and fill in the missing events, as a record of Simonini’s exploits. We the readers don’t know who the Narrator is and can only trust his/her account. But in the section “Useless Learned Explanations” the Narrator outlines the novel and reveals that all the characters beside Simonini are real people. And he/she even provides notes that reveal Hitler read The Protocols of the Elders of Zion. At first, we the readers might believe these to be the author’s notes, but then we realize the Narrator is commenting on these events (Simonini’s narrative) as a historian and the comments are part of the novel. Political maneuverings that Machiavelli would applaud.A truly postmodern narrative, in the spirit of Jorge Luis Borges’s Ficciones, where each layer of narrative comments on a lower one until the reader questions the boundary between fact and fiction. A truly postmodern narrative.

  • Juan-Pablo
    2018-11-23 04:45

    Most readers of Umberto Eco's new book will have great precedents in his earlier works: the mysterious "Name of the Rose" or the magic "Baudolino". Those are great sagas with all the complexity that characterize the author, but with an engaging and unified plot. Unfortunately, "The Prague Cemetery" disappoints in all these fronts (I was also disappointed by "The Mysterious Flame of Queen Loana"). The story follows a man (Simonini) that wakes up with amnesia in late 19th Century Paris. In order to get his memories back, he starts a journal with his biography. Simonin covers a lot of 19th Century History (as Eco explains himself, only the main character is invented, all the rest are historical). This is problematic; it feels rough and strained, with the plot at the service of History and not the opposite. The reader gets lost easily because so much is covered that doesn't really matter, with a consequent lost of interest in the story (I almost dropped it several times). The book has of course some interesting passages (it's Eco after all), but at the end one feels that the story is just a lame pastiche of historical events. Eco still explores topics that come across most of his work, including religion, conspiracy theories (Foucault's Pendulum), deception and reality creation, and of course, semiotics. I believe that this recurrence (obsession) is part of what makes great writers, and this is why I give two stars to "The Prague Cemetery".

  • Stephen Durrant
    2018-12-16 09:54

    Umberto Eco is a great scholar with a formidable intellect. That might be the problem. "The Prague Cemetery" bristles with erudition: all of the characters except the narrator are fully historical and the novel presents a sweeping account of the antisemitic plots and conspiracies floating about during the latter part of the nineteenth century that eventually led to the "Protocols of the Elders of Zion," a document with a horrific influence on subsequent history. But however powerful and even important the topic might be, learning alone does not a great novel make. And this, at least in my opinion, is far from a great novel. Eco is more convincing in his construction of a historical setting than he is in the creation of a character. "The Prague Cemetery" remains very much on the surface as the author moves his characters, especially his central character, around in time and space so as to touch upon the largest possible number of historical events. But in the process, he leaves his characters paper thin. We do know some of them are incredibly evil, but Hannah Arendt's famous comment about the "banality of evil" notwithstanding, it has to be more complex and nuanced than this.

  • Mohamad
    2018-11-17 02:31

    لب‌های گوشتالو،چشم‌های خیس گود رفته،پلک‌های تقریبا بسته،موی تابدار یا فرفری،گوش‌های بیرون زده،بینی قوزدار و هیبت لاشخور.این‌ها تصاویری هستند که سیمونه سیمونینی قهرمان داستان بر اساس قصه‌های پدربزرگِ ضد یهودش از یک یهودی دارد.این تصور که یهودی‌ها طرحی بزرگ برای تسخیر جهان و نابودی مسیحیت دارند باعث به وجود آمدن تنفر در سیمونینی شده استاوایل داستان سیمونینی کشف می کند که وقتی خواب است به کشیشی به نام دالا پیکولا تبدیل می‌شود که کشیش می‌تواند خاطراتی رو به یاد بیاورد که سیمونینی فراموش کرده است.و با یادآوری ملاقاتش با زیگموند فروید تصمیم می‌گیرد برای کشف و درمان علت فراموشی،خاطراتش را از کودکی تا الان که پیر شده بنویسد.اومبرتو اکو داستان را بر اساس دو روایت اول شخص یعنی سیمونینی و دالا پیکولا و راوی سوم شخص پیش می‌برد.تمام اتفاقات تاریخی و شخصیت‌های گورستان پراگ،واقعی‌اند و تنها شخصیت ساختگی سیمونینی است که این اتفاقات تاریخی را به هم وصل می کند!شاید سیمونینی هنوز در میان ما باشد

  • Laura
    2018-11-26 07:48

    The Prague Cemetery is a very erudite book in the sense that many historical facts are absolutely real and others no. However, the author solve this apparent dichotomy by telling two stories in parallel, one of them as a flashback: the plot, which is told by The Narrator and the story where real historical facts are coming up into the narrative itself. No matter what, I am a big fan of Eco’s books, including his non-fiction ones. All illustrations come from the iconography of the author's file.Amazon provides a very interesting A Note from the Author.

  • Justė
    2018-12-02 03:51

    Didelių simpatijų Umberto Eco nepuoselėjau. Privalomų mokyklos skaitymų laikais su „Rožės vardu“ vykusi pirmojo pažintis nebuvo itin sėkminga. Galbūt šiandienos skaitytoja manyje galvotų visiškai kitaip, bet anuomet man skaityti tą kūrinį buvo tikra kančia ir Umberto Eco kūrinių ilgą laiką privengiau. Bet mano knygų iššūkiai būtent ir yra tokiems atvejams, taigi antro šanso kategorijoje įsirašiusi „Prahos kapines“ kaip ir priverčiau save perskaityti šią knygą, nes šiemet į metų pabaigą labai norėjosi suforsuoti su lengvais detektyvais, juolab kad nuo metinių tikslų jau beviltiškai atsilieku. Ir džiaugiuosi, kad nepasidaviau lengvam keliui, nes nors knyga ir yra tų sunkesnių, Umberto Eco reabilitacija įvyko ir knyga man patiko. Romanas tikrai yra sudėtingas – daug veikėjų, daug labai susipynusių siužeto vingių ir dar daugiau įvairiausių karo bei propagandos taktikų ir sąmokslo teorijų, skubriai beriamų puslapiais, kuriuose ne visada pilnai susigaudysi. Bet skaityti jį, stebėtina, man nebuvo sunku – tekstas labai puikiai parašytas ir, panašu, išverstas, akys labai maloniai slysta tekstu ir galėjau mėgautis istorija ir kitomis šio romano detalėmis. O nuotykinio siužeto skraiste apgaubtas pasakojimas apie profesionalų dokumentų klastotoją, šnipą su milijonu veidų, manipuliatorių, kuris visada pirmas prie nešvarių darbelių, susijusiu su bet kokio plauko propaganda ir šiaip baisų žmogų, buvo tikrai įtraukiantis. Pirmiausia jis buvo įsisukęs į Italijos suvienijimą, vėliau teko dalyvauti įvairiausiose Prancūzijos vidaus politikos machinacijose, nepamirštamos ir visokios jėzuitų, masonų, prūsų, rusų ir ko tik nori intrigos. Daug romane tikrų dalykų – sutinki čia ir Garibaldį, Hugo, Froidą, Dumą, visi net ir ne tokie garsūs veikėjai yra tikros istorinės asmenybės ar jų prototipai, o įvykiai daugiau ar mažiau yra paremti faktais. Trumpai tariant, tikrai vienas originalesnių mano skaitytų siužetų. Be kita dar įdomesniu šį pasakojimą darė ir tai, kad tokius dalykus, kaip revoliucijos ir sukilimai, kurie mums yra aiškiai žinomi, kaip teigimai pasaulį pakeitę istoriniai reiškiniai, yra pateikiami iš kitos barikadų pusės, per labai ryškaus blogiuko požiūrį stebint, kaip tiems dalykams yra trukdoma. Romanui visiškai nerūpi visų tų įvykių baigtis, o ypač sėkminga, bet kažkaip vis tiek jauti tą tokį piktdžiugišką jausmą, kad nepaisant visų tų intrigėlių gėris vis tiek nugalėjo, nors matai ir aiškiai labai baisių dalykų tendencijas, kurios jau už šito pasakojimo ribų, bet labai ryškios ir romano realybėje jautiesi lyg matęs užuomazgas to, kas dar bus ir kas jau bus toli gražu ne teigiamas istorinis reiškinys. Mintys dėliojasi kažkokios labai grandioziškai filosofiškos, bet tai grynai šio romano kaltė, kuriame kaip ir žadėta – labai daug erudicijos, paslėptų ar ne taip jau ir paslėptų prasmių. Tam tikra prasme šitas romanas ir propagandos vadovėlis, ir pamokomas pasakojimas, kad bet kokią istoriją galima suklastoti, ir įvairiausių masoniškų, antisemitiškų sąmokslo teorijų ir kitokio mėšlo satyra. Rašytojais įdomiomis formomis ir netikėtais sprendimais varo fundamentalią ir labai būtiną moralinę pamokėlę, kuri buvo priedo dar ir įdomi. Žinoma greta viso to, romane labai daug varymo į vienus vartus, visos tos išgalvotos sąmokslų teorijos kartais jau ir erzinti pradėdavo, vis tiek, rodos, nieko naujo nepasako. Aš gal būčiau dar laimingesnė, jeigu kokio pusšimčio puslapių ir nebūtų buvę, bet šiaip tai visus tuos beprasidedančius erzulio priepuolius kiek apmalšindavo tas per tekstą lyg juntamas autoriaus kritiškumas neva perpasakojamoms nesąmonėms. Prahos kapinės yra tikrai labai įspūdingas kūrinys, kuriame matyti daug autoriaus darbo ir jaučiamas jo rūpestis jį supančia visuomene. Šis romanas turi ką pasiūlyti ir įmantresnių nuotykinių romanų skaitytojui ir gilių prasmių ar alegorijų ieškančiam skaitytojui. Tuo jis mane ir sužavėjo – nuostabioje formoje pateikiamomis universaliomis idėjomis.

  • Bettie☯
    2018-12-14 04:33

    Translated from the Italian by Richard DixonOpening quote: Since these episodes are necessary, indeed forma central part of any historical account, we have included the execution of one hundred citizens hanged in the public square, two friars burned alive, and the appearance of a comet - all descriptions which are worth a hundred tournaments and have the merit of diverting the reader's mind as much as possible from the principal action. (Carlo Tenca, 'La ca´dei cani', 1840)Opening: A passerby on that grey morning in March 1897, crossing at his own risk and peril, place Maubert or the Maub, as it was known in criminal circles (formerly a centre of university life in the middle ages when students flocked there from the Faculty of Arts in Vicas Stramineus or rue de Fouarre, and later a place of execution for apostles of free thought such as Étienne Dolet), would have found himself in one of the few spots in Paris spared from Baron Haussmann's devastations, amidst a tangle of maloderous alleys, sliced in two by the course of the Bièvre which still emerged here, flowing from the bowels of the metropolis, where it had long been confined, before emptying feverish, gasping and verminous into the nearby Seine. That opening sentence is on a par with a George Eliot beginning. by Rudcef