I saw it on the shelf and thought, ‘I haven’t read that for a while!’ picked it up and was off…
It’s a wonderful yarn – a romance, I suppose, to be technically correct – set in mediaeval times, where I’ve always felt Eco is at his best. I don’t call it a novel, because I think Eco has deliberately written a story in the style of the times: the plot is linear, centred around the adventures of a central character, with everyone else as companions or incidental to the plot. It’s a Rabelaisian tale for the twentieth century, complete with the fiction of the teller needing someone to whom to tell his story.
Except – there is also the meta-narrative of the power of the storyteller over the hearer or the reader: we know from the outset that Baudolino is a liar, or an inventor; can he be trusted? but then, what author can?
The story centres around the legend or myth of Prester John, allegedly a Christian king with a great empire somewhere in the unknown lands of the East (perhaps India way, or maybe Ethiopia, depending on which source you follow) with whom various Western monarchs are keep to make an alliance of some kind. Baudolino and his companions create and build the myth, believe in it and eventually set off on the quest. Eco is masterly here, in his understanding of mediaeval ways of thinking and reasoning, and attitudes to knowledge, which is so outside our rational(?) paradigm: something must exist because there is no reason for it not to exist, and, abracadabra! – there it is. “There is no better proof of the truth than the continuity of tradition” – what? Thus the Prester John myth is manufactured, documents created to authenticate it, and so, you can set off to find his kingdom, because it must exist! And if we think it’s a mediaeval trait for humans to be prisoners or dupes of their own inventions, what about the evidence of WMD in Iraq before our invasion…. untruth has its part to play in the powerplays of the world; you can make things have existed just by writing them down, such is the power of the written word. Nor has Eco invented everything himself; much of it is taken from mediaeval sources, such as Mandeville’s travels. If it is in Pliny or Isidore, it must be true!
The imagining of other worlds is done under the influence of alcohol and drugs: no change there, then. There is ample documentation of this in Eco’s fascinating tome The Book of Imaginary Lands.
The actual story involves Baudolino’s relationship with his adoptive father, Frederic Barbarossa and his wars of conquest, his (Baudolino’s) education in Paris and his companions there, their search for clues and maps to enable them to get to Prester John, the crusaders’ sack of Constantinople at the end of the twelfth century, and their journey eastwards and the increasingly weirder creatures they encounter, as they make their way to the city of Pndapetzim, the gateway to Prester John’s kingdom. The weird creatures, whose pictures can be seen around the edges of the Mappa Mundi, and in the Nuremburg Chronicle, embody all the different Christian heresies feared at the time, reinforcing the idea that the truth depends on the teller…
Our hero never gets beyond Pndapetzim; no-one there actually knows if the fabled kingdom is actually beyond the last chain of mountains, or what is there: the kingdom is also the kingdom of Heaven, if it exists, and here we are, confronted with all the possible inventions and unknowables of religion in the world; ironically Prester John’s world seems to be the refuge of all the heretics expelled from known Christian lands over the centuries. So, as well as swashbuckling adventure, we are exploring the nature, purpose and meaning of religious faith, the afterlife, and I don’t know what else… there’s even some masterly detective work in the style of William of Baskerville in the closing chapters.
I think Baudolino is an underrated work; it lacks the polish and tightness of The Name of the Rose, true, but it’s as knowledgeable and as challenging, and a compelling read.