The Pillars of the Earth

See, I was misled. I'm not a big fan of melodrama, and this doorstop (900+ pages) is a genre-defining example. But I was told by friends that this was A Great Novel, you know, literary, thoughtful, philosophical, enlightening. I was told that it was the Harry Potter of its time, turning reluctant readers into enthusiastic consumers of historical fiction and high romance, sparking the boom in equally thick historical tomes by such writers as Philippa Gregory, Bernard Cornwell, Diana Gabaldon and Sara Waters (among many others). I was told it was relentlessly suspenseful and exciting, exceedingly clever in its many twists and turns, and even inspirational (and somewhat anticipatory) for its portrayal of strong, independent women who defy societal expectations and do what suits themselves best.

So, where to begin? I guess with the plot and story structure. For its length this is a book with a surprisingly thin story: the smart, young and industrious (and it must be said, prideful) new prior of Kingsbridge (Phillip) wants to build a cathedral in his backwater village where nobody goes. Hijinks ensue. That's it. That's the story. Highly episodic and cyclical, the novel takes us through a simple pattern:

1. Big problem
2. Clever solution
3. Incremental success
4. Complication and setback
5. Repeat

This pattern repeats, I don't know, eight, ten times and each time we are meant to sigh in relief as the clever Phillip overcomes complications to get his cathedral done (and, sorry, it's no spoiler to say he does. I mean, this wouldn't be one of the most beloved novels of all time (no, seriously) if the whole purpose for the book were never realized).

And what are the obstacles and complications? Two unidimensional guys, Bishop Waleran Bigod (and there's a name dripping with Signifance: the priest who serves two gods, get it?) and William Hamleigh, the villainous, ham-fisted, moustache-twirling Earl of Shiring, both of whom oppose the cathedral because it thwarts their own ambitions and offends their pride and they don't like Phillip because, in customary good guy-bad guy rivalry fashion, he makes them look stupid. They conspire repeatedly to stop the construction using means legal (trumped-up charges), illegal (murder), political (changing allegiance in the civil war), physical (attack and plunder) and ecclesiastical (trumped-up charges again but this time churchy), but each time good Prior Phillip outwits, outlasts and outplays them. Sometimes he gets mad and yells, but most of the time he is serene, urbane, sensible and wise.

The story plays out over 54 years of 12th century English history, beginning in 1120 with the sinking of the White Ship (a maritime disaster that killed the heir to the English throne) and ending in the aftermath of the murder of Thomas Beckett, the martyred Archbishop of Canterbury. We get a Forrest Gump's eye view of this period as our main characters, despite being in the aforementioned backwater village of Kingsbridge, find themselves central to the political and religious intrigue of this period known as The Anarchy. Along the way we are treated to micro-credential courses such as Gothic Architecture for Dummies, Introduction to Feudal Capitalism, Pre-Industrial Labour Relations and Collective Bargaining, and, most critically, Medieval Gender Equity and Feminist Theory. Seriously, at various points throughout the novel, the too-clever-by-half (and highly articulate) characters lay the groundwork for socio-economic developments that took centuries to manifest in Western Europe and North America. I was actually a little surprised that Follett didn't have Prior Phillip invent banking and the stock market.

I can't really offer an in-depth look at all the main characters because they are really just character types. Strong and decent Tom Builder, the stone mason. Alfred, his bullying, thick-headed son who also becomes a stone mason. Ellen the mysterious, incredibly beautiful, forest-dwelling woman who carries a dark secret. Aliena (another Significant Name), the also incredibly beautiful, willful daughter of the original Earl (deposed for backing the wrong side in the civil war). Richard, Aliena's thumb of a brother, good for fighting wars but little else. William the sadist. Bigod the corrupt. Jack Shareburg, hanged mysteriously in the prologue, and father of Jack Jackson who was raised by Tom to be the Greatest Builder Ever. There are more but you get the picture. It's a clockwork novel, and though you hear the machinery creaking, it keeps its steady time and plodding pace, the action rising and falling until we reach the big concluding scene where the righteous get their reward, the unrighteous their punishment, the cathedral its grand opening and the future its path forward. It's easy to see why fans clamoured for more but hard to understand why it took Follett another 20 years to accommodate them. Once he did, he figured out what butters his bread and now there's no stopping him as he has written 5 or so sequels in 14 years.

This book will appeal to readers who like their lines between good and evil clearly marked, their heroes unambiguously good, their villains irredeemably bad, and their plots linear and well lit like an airport runway. Those who seek something focussing more on the conflict between church and crown, or the complex role of religion in medieval life will want to look elsewhere.

See, I was misled. I'm not a big fan of melodrama, and this doorstop (900+ pages) is a genre-defining example. But I was told by friends that this was A Great Novel, you know, literary, thoughtful, philosophical, enlightening. I was told that it was the Harry Potter of its time, turning reluctant readers into enthusiastic consumers of historical fiction and high romance, sparking the boom in equally thick historical tomes by such writers as Philippa Gregory, Bernard Cornwell, Diana Gabaldon and Sara Waters (among many others). I was told it was relentlessly suspenseful and exciting, exceedingly clever in its many twists and turns, and even inspirational (and somewhat anticipatory) for its portrayal of strong, independent women who defy societal expectations and do what suits themselves best.

So, where to begin? I guess with the plot and story structure. For its length this is a book with a surprisingly thin story: the smart, young and industrious (and it must be said, prideful) new prior of Kingsbridge (Phillip) wants to build a cathedral in his backwater village where nobody goes. Hijinks ensue. That's it. That's the story. Highly episodic and cyclical, the novel takes us through a simple pattern:

1. Big problem
2. Clever solution
3. Incremental success
4. Complication and setback
5. Repeat

This pattern repeats, I don't know, eight, ten times and each time we are meant to sigh in relief as the clever Phillip overcomes complications to get his cathedral done (and, sorry, it's no spoiler to say he does. I mean, this wouldn't be one of the most beloved novels of all time (no, seriously) if the whole purpose for the book were never realized).

And what are the obstacles and complications? Two unidimensional guys, Bishop Waleran Bigod (and there's a name dripping with Signifance: the priest who serves two gods, get it?) and William Hamleigh, the villainous, ham-fisted, moustache-twirling Earl of Shiring, both of whom oppose the cathedral because it thwarts their own ambitions and offends their pride and they don't like Phillip because, in customary good guy-bad guy rivalry fashion, he makes them look stupid. They conspire repeatedly to stop the construction using means legal (trumped-up charges), illegal (murder), political (changing allegiance in the civil war), physical (attack and plunder) and ecclesiastical (trumped-up charges again but this time churchy), but each time good Prior Phillip outwits, outlasts and outplays them. Sometimes he gets mad and yells, but most of the time he is serene, urbane, sensible and wise.

The story plays out over 54 years of 12th century English history, beginning in 1120 with the sinking of the White Ship (a maritime disaster that killed the heir to the English throne) and ending in the aftermath of the murder of Thomas Beckett, the martyred Archbishop of Canterbury. We get a Forrest Gump's eye view of this period as our main characters, despite being in the aforementioned backwater village of Kingsbridge, find themselves central to the political and religious intrigue of this period known as The Anarchy. Along the way we are treated to microcredential courses such as Gothic Architecture for Dummies, Introduction to Feudal Capitalism, , Pre-Industrial Labour Relations and Collective Bargaining, and, most critically, Medieval Gender Equity and Feminist Theory. Seriously, at various points throughout the novel, the too-clever-by-half (and highly articulate) characters lay the groundwork for socio-economic developments that took centuries to manifest in Western Europe and North America. I was actually a little surprised that Follett didn't have Prior Phillip invent banking and the stock market.

I can't really offer an in-depth look at all the main characters because they are really just character types. Strong and decent Tom Builder, the stone mason. Alfred, his bullying, thick-headed son who also becomes a stone mason. Ellen the mysterious, incredibly beautiful, forest-dwelling woman who carries a dark secret. Aliena (another Significant Name), the also incredibly beautiful, willful daughter of the original Earl (deposed for backing the wrong side in the civil war). Richard, Aliena's thumb of a brother, good for fighting wars but little else. William the sadist. Bigod the corrupt. Jack Shareburg, hanged mysteriously in the prologue, and father of Jack Jackson who was raised by Tom to be the Greatest Builder Ever. There are more but you get the picture. It's a clockwork novel, and though you hear the machinery creaking, it keeps its steady time and plodding pace, the action rising and falling until we reach the big concluding scene where the righteous get their reward, the unrighteous their punishment, the cathedral its grand opening and the future its path forward. It's easy to see why fans clamoured for more but hard to understand why it took Follett another 20 years to accommodate them. Once he did, he figured out what butters his bread and now there's no stopping him as he has written 5 or so sequels in 14 years.

This book will appeal to readers who like their lines between good and evil clearly marked, their heroes unambiguously good, their villains irredeemably bad, and their plots linear and well lit like an airport runway. Those who seek something focussing more on the conflict between church and crown, or the complex role of religion in medieval life will want to look elsewhere.