William Watson (6) (1931–2005)

César un gran noble del sur de Francia enloquecido tras asesinar a su propio hijo durante una batalla, vive con su esposa Bonne y su hija Flore refugiado en un castillo en ruinas, en un país devastado por las guerras entre Roger Trencavel y su señor feudal. A partir de estos personajes, Watson transporta al lector a una época en la que la imperaba el código del amor cortés y desarrolla una profunda reflexión sobre la melancolía, el amor y la locura, temas que no son exclusivos de la época histórica en la que se desarrolla la acción, sino que son universales.… (altro)

Enjoyed this perhaps the most of medieval novels I've read. After the final defeat of the Crusaders at Acre in 1291, Beltran, a Templar, Treasurer of the Order and Keeper of the Rule, brings their treasure out of the Holy Land and keeps it with him. He and other faithful Templars journey to several islands in the Mediterranean [Cyprus, Crete, Ruad] for years, then arrive in France, travelling up the Rhône to give it over to headquarters. The Templar Order is condemned as heretical, destroyed through efforts of the French king and the Pope, its members burnt at the stake. Now an old man, after years of living as a hermit, Beltran makes his way to the wilds of Scotland to keep a promise made years before....

Drenched in melancholy, the passing of a way of life. Gorgeous writing.

Highly recommended. Variant [and original] title: Beltran in Exile.… (altro)

A different beast than his 'other' historical, The Last of the Templars... you may not care for both. As a tragedy merchant, I'm more for Templars. This was odd. Comedy. Gormenghasty mad people away in a castle; history happens elsewhere, without specifics. In fact, this was more an emblem-book of medieval themes: like the knight on the bridge. A troubadour stumbles on a step forward in love lyrics. The peasants revolted, and killed a Jew. Every medieval trope found its way into this book. The Making of the Middle Ages? But it isn't a straight historical like his other. It's farcical and ends happily. There is pornography and humorous Tarantino violence. Wait up: I said his last was equivalent to Tasso, who is criticised for soft porn and aestheticization of violence. His tragedy and his comedy may not be so dissimilar.

Ornately written, as his other is. Perhaps for Peake fans?… (altro)