![]() “Number symbolism, alchemical secrets, the language of gems, pagan love charms, a linguistic Quasimodo, and the clockwork of a life ordered by the Benedictine rule further enhance the supernatural atmosphere,” wrote the Washington Post critic Michael Dirda. It featured a series of deceptions, cabals and occult mysteries, including a lost work of Aristotle thought to be inspired by the Devil. It purported to be a rediscovered Latin manuscript written by an aging cleric who his youth had assisted William de Baskerville as he investigated a series of monastic murders. It all started from there, from that one image. Later the image of a poisoned monk suddenly emerged in my mind. “That day, returning home, I began making a list of names of fictional medieval monks. He turned that down, but immediately conceived of what would become The Name of The Rose. ![]() Its genesis had begun several years earlier when an Italian publisher approached him with the idea of writing a detective story. Read more Umberto Eco, Italian author of The Name of the Rose, dies at 84. ![]()
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