World Without End: A Novel (Kingsbridge)
World Without End: A Novel (Kingsbridge) book cover

World Without End: A Novel (Kingsbridge)

Paperback – October 7, 2008

Price
$12.91
Format
Paperback
Pages
1014
Publisher
Penguin Books
Publication Date
ISBN-13
978-0451224996
Dimensions
6.05 x 1.74 x 8.95 inches
Weight
2.55 pounds

Description

“[A] well-researched, beautifully detailed portrait of the late Middle Ages . . . Follett’s no-frills prose does its job, getting smoothly through more than a thousand pages of outlaws, war, death, sex, and politics to end with an edifice that is as well constructed and solid as Merthin’s bridge.” — The Washington Post “Follett tells a story that runs the gamut of life in the Middle Ages, and he does so in such a way that we are not only captivated but also educated. What else could you ask for?” — The Denver Post “So if historical fiction is your meat, here’s a rare treat. A feast of conflicts and struggles among religious authority, royal governance, the powerful unions (or guilds) of the day, and the peasantry . . . With World Without End , Follett proves his Pillars may be a rarity, but it wasn’t a fluke.” — New York Post “A work that stands as something of a triumph of industry and professionalism.” — The Guardian (UK) “The four well-drawn central characters will captivate readers as they prove to be heroic, depraved, resourceful, or mean. Fans of Follett’s previous medieval epic will be well rewarded.” — The Union (CA) “Populated with an immense cast of truly remarkable characters . . . this is not a book to be devoured in one sitting, tempting though that might be, but one to savor for its drama, depth, and richness.” —Library Journal “Readers will be captivated.” —Publishers Weekly Ken Follett is one of the world’s best-loved authors, selling more than 160 million copies of his thirty books. Follett’s first bestseller was Eye of the Needle , a spy story set in the Second World War.xa0In 1989 The Pillars of the Earth was published, and has since become the author’s most successful novel. It reached number one on bestseller lists around the world and was an Oprah’s Book Club pick.xa0Its sequels, World Without End and A Column of Fire , proved equally popular, and the Kingsbridge series has sold 38 million copies worldwide.xa0Follett lives in Hertfordshire, England, with his wife Barbara. Between them they have five children, six grandchildren, and three Labradors. Excerpt. © Reprinted by permission. All rights reserved. 1 Gwenda was eight years old, but she was not afraid of the dark. When she opened her eyes she could see nothing, but that was not what scared her. She knew where she was. She was lying on the floor in a bed of straw at Kingsbridge Priory, in the long stone building they called the hospital. Her mother lay next to her, and Gwenda could tell, by the warm milky smell, that Ma was feeding the new baby, who did not yet have a name. Beside Ma was Pa, and next to him Gwenda’s older brother, Philemon, who was twelve. The hospital was crowded, and though she could not see the other families lying along the floor, squashed together like sheep in a pen, she could smell the rank odor of their warm bodies. When dawn broke it would be All Hallows, a Sunday this year and therefore an especially holy day. By the same token the night before was All Hallows Eve, a dangerous time when evil spirits roamed freely. Hundreds of people had come to Kingsbridge from the surrounding villages, as Gwenda’s family had, to spend Halloween in the sanctified precincts of the priory, and to attend the All Hallows service at daybreak. Gwenda was wary of evil spirits, like every sensible person; but she was more scared of what she had to do during the service. She stared into the gloom, trying not to think about what frightened her. She knew that the wall opposite her had an arched window. There was no glass—only the most important buildings had glass windows—but a linen blind kept out the cold autumn air. However, she could not even see a faint patch of gray where the window should be. She was glad. She did not want the morning to come. She could see nothing, but there was plenty to listen to. The straw that covered the floor whispered constantly as people stirred and shifted in their sleep. A child cried out, as if woken by a dream, and was quickly silenced by a murmured endearment. Now and again someone spoke, uttering the half-formed words of sleep talk. Somewhere there was the sound of two people doing the thing parents did but never spoke of—the thing Gwenda called grunting because she had no other word for it. Too soon, there was a light. At the eastern end of the long room, behind the altar, a monk came through the door carrying a single candle. He put the candle down on the altar, lit a taper from it, and went around touching the flame to the wall lamps, his long shadow reaching up the wall each time like a reflection, his taper meeting the shadow taper at the wick of the lamp. The strengthening light illuminated on the floor rows of humped figures, wrapped in their drab cloaks or huddled up to their neighbors for warmth. Sick people occupied the cots near the altar, where they could get the maximum benefit from the holiness of the place. At the opposite end, a staircase led to the upper floor, where there were rooms for aristocratic visitors: the earl of Shiring was there now with some of his family. The monk leaned over Gwenda to light the lamp above her head. He caught her eye and smiled. She studied his face in the shifting light of the flame and recognized him as Brother Godwyn. He was young and handsome, and last night he had spoken kindly to Philemon. Beside Gwenda was another family from her village: Samuel, a prosperous peasant with a large landholding, and his wife and two sons, the youngest of whom, Wulfric, was an annoying six-year-old who thought that throwing acorns at girls and then running away was the funniest thing in the world. Gwenda’s family was not prosperous. Her father had no land at all, and hired himself out as a laborer to anyone who would pay him. There was always work in the summer, but after the harvest was gathered in and the weather began to turn cold, the family often went hungry. That was why Gwenda had to steal. She imagined being caught: a strong hand grabbing her arm, holding her in an unbreakable grip while she wriggled helplessly; a deep, cruel voice saying, “Well, well, a little thief”; the pain and humiliation of a whipping; and then, worst of all, the agony and loss as her hand was chopped off. Her father had suffered this punishment. At the end of his left arm was a hideous wrinkled stump. He managed well with one hand—he could use a shovel, saddle a horse, and even make a net to catch birds—but all the same he was always the last laborer to be hired in the spring, and the first to be laid off in the autumn. He could never leave the village and seek work elsewhere, because the amputation marked him as a thief, so people would refuse to hire him. When traveling, he tied a stuffed glove to the stump, to avoid being shunned by every stranger he met; but that did not fool people for long. Gwenda had not witnessed Pa’s punishment—it had happened before she was born—but she had often imagined it, and now she could not help thinking about the same thing happening to her. In her mind she saw the blade of the ax coming down on her wrist, slicing through her skin and her bones, and severing her hand from her arm so that it could never be reattached; and she had to clamp her teeth together to keep from screaming out loud. People were standing up, stretching and yawning and rubbing their faces. Gwenda got up and shook out her clothes. All her garments had previously belonged to her older brother. She wore a woolen shift that came down to her knees and a tunic over it, gathered at the waist with a belt made of hemp cord. Her shoes had once been laced, but the eyelets were torn and the laces gone, and she tied them to her feet with plaited straw. When she had tucked her hair into a cap made of squirrel tails, she had finished dressing. She caught her father’s eye, and he pointed surreptitiously to a family across the way—a couple in middle age with two sons a little older than Gwenda. The man was short and slight, with a curly red beard. He was buckling on a sword, which meant he was a man-at-arms or a knight: ordinary people were not allowed to wear swords. His wife was a thin woman with a brisk manner and a grumpy face. As Gwenda scrutinized them, Brother Godwyn nodded respectfully and said: “Good morning, Sir Gerald, Lady Maud.” Gwenda saw what had attracted her father’s notice. Sir Gerald had a purse attached to his belt by a leather thong. The purse bulged. It looked as if it contained several hundred of the small, thin silver pennies, halfpennies, and farthings that were the English currency—as much money as Pa could earn in a year if he had been able to find employment. It would be more than enough to feed the family until the spring plowing. The purse might even contain a few foreign gold coins, florins from Florence, or ducats from Venice. Gwenda had a small knife in a wooden sheath hanging from a cord around her neck. The sharp blade would quickly cut the thong and cause the fat purse to fall into her small hand—unless Sir Gerald felt something strange and grabbed her before she could do the deed…. Godwyn raised his voice over the rumble of talk. “For the love of Christ, who teaches us charity, breakfast will be provided after the All Hallows service,” he said. “Meanwhile, there is pure drinking water in the courtyard fountain. Please remember to use the latrines outside—no pissing indoors!” The monks and nuns were strict about cleanliness. Last night, Godwyn had caught a six-year-old boy peeing in a corner, and had expelled the whole family. Unless they’d had a penny for a tavern, they would have had to spend the cold October night shivering on the stone floor of the cathedral’s north porch. There was also a ban on animals. Gwenda’s three-legged dog, Hop, had been banished. She wondered where he had spent the night. When all the lamps were lit, Godwyn opened the big wooden door to the outside. The night air bit sharply at Gwenda’s ears and the tip of her nose. The overnight guests pulled their coats around themselves and began to shuffle out. When Sir Gerald and his family moved off, Pa and Ma fell into line behind them, and Gwenda and Philemon followed suit. Philemon had done the stealing until now, but yesterday he had almost been caught, at Kingsbridge Market. He had palmed a small jar of expensive oil from the booth of an Italian merchant; then he had dropped the jar, so that everyone saw it. Mercifully, it had not broken when it hit the ground. He had been forced to pretend that he had accidentally knocked it off the stall. Until recently Philemon had been small and unobtrusive, like Gwenda, but in the last year he had grown several inches, developed a deep voice, and become awkward and clumsy, as if he could not get used to his new, larger body. Last night, after the incident with the jar of oil, Pa had announced that Philemon was now too big for serious thieving, and henceforth it was Gwenda’s job. That was why she had lain awake for so much of the night. Philemon’s name was really Holger. When he was ten years old, he had decided he was going to be a monk, so he told everyone he had changed his name to Philemon, which sounded more religious. Surprisingly, most people had gone along with his wish, though Ma and Pa still called him Holger. The family passed through the door and saw two lines of shivering nuns holding burning torches to light the pathway from the hospital to the great west door of Kingsbridge Cathedral. Shadows flickered at the edges of the torchlight, as if the imps and hobgoblins of the night were cavorting just out of sight, kept at a distance only by the sanctity of the nuns. Gwenda half expected to see Hop waiting outside, but he was not there. Perhaps he had found somewhere warm to sleep. As they walked to the church, Pa made sure they stayed close to Sir Gerald. From behind, someone tugged painfully at Gwenda’s hair. She squealed, thinking it was a goblin; but when she turned, she saw Wulfric, her six-year-old neighbor. He darted out of her reach, laughing. Then his father growled, “Behave!” and smacked his head, and the little boy began to cry. The vast church was a shapeless mass towering above the huddled crowd. Only the lowest parts were distinct, arches and mullions picked out in orange and red by the uncertain torchlight. The procession slowed as it approached the cathedral entrance, and Gwenda could see a group of townspeople coming from the opposite direction. There were hundreds of them, Gwenda thought, maybe thousands, although she was not sure how many people made a thousand, for she could not count that high. The crowd inched through the vestibule. The restless light of the torches fell on the sculpted figures around the walls, making them dance madly. At the lowest level were demons and monsters. Gwenda stared uneasily at dragons and griffins, a bear with a man’s head, a dog with two bodies and one muzzle. Some of the demons struggled with humans: a devil put a noose around a man’s neck; a foxlike monster dragged a woman by her hair; an eagle with hands speared a naked man. Above these scenes the saints stood in a row under sheltering canopies; over them the apostles sat on thrones; then, in the arch over the main door, St. Peter with his key and St. Paul with a scroll looked upward adoringly at Jesus Christ. Gwenda knew that Jesus was telling her not to sin, or she would be tortured by demons; but humans frightened her more than demons. If she failed to steal Sir Gerald’s purse, she would be whipped by her father. Worse, there would be nothing for the family to eat but soup made with acorns. She and Philemon would be hungry for weeks on end. Ma’s breasts would dry up, and the new baby would die, as the last two had. Pa would disappear for days, and come back with nothing for the pot but a scrawny heron or a couple of squirrels. Being hungry was worse than being whipped—it hurt longer. She had been taught to pilfer at a young age: an apple from a stall, a new-laid egg from under a neighbor’s hen, a knife dropped carelessly on a tavern table by a drunk. But stealing money was different. If she were caught robbing Sir Gerald, it would be no use bursting into tears and hoping to be treated as a naughty child, as she had once after thieving a pair of dainty leather shoes from a softhearted nun. Cutting the strings of a knight’s purse was no childish peccadillo—it was a real grown-up crime—and she would be treated accordingly. She tried not to think about it. She was small and nimble and quick, and she would take the purse stealthily, like a ghost—provided she could keep from trembling. The wide church was already thronged with people. In the side aisles, hooded monks held torches that cast a restless red glow. The marching pillars of the nave reached up into darkness. Gwenda stayed close to Sir Gerald as the crowd pushed forward toward the altar. The red-bearded knight and his thin wife did not notice her. Their two boys paid no more attention to her than to the stone walls of the cathedral. Gwenda’s family fell back and she lost sight of them. The nave filled up quickly. Gwenda had never seen so many people in one place: it was busier than the cathedral green on market day. People greeted one another cheerfully, feeling safe from evil spirits in this holy place, and the sound of all their conversations mounted to a roar. Then the bell tolled, and they fell silent. Sir Gerald was standing by a family from the town who all wore cloaks of fine cloth, so they were probably rich wool dealers. Next to the knight stood a girl about ten years old. Gwenda stood behind Sir Gerald and the girl. She tried to make herself inconspicuous but, to her dismay, the girl looked at her and smiled reassuringly, as if to tell her not to be frightened. Around the edges of the crowd, the monks extinguished their torches, one by one, until the great church was in utter darkness. Gwenda wondered if the rich girl would remember her later. She had not merely glanced at Gwenda, then ignored her, as most people did. She had noticed her, had thought about her, had anticipated that she might be scared, and had given her a friendly smile. But there were hundreds of children in the cathedral. She could not have got a very clear impression of Gwenda’s features in the dim light…could she? Gwenda tried to put the worry out of her mind. Invisible in the darkness, she stepped forward and slipped noiselessly between the two figures, feeling the soft wool of the girl’s cloak on one side and the stiffer fabric of the knight’s old surcoat on the other. Now she was in a position to get at the purse. She reached into her neckline and took the little knife from its sheath. The silence was broken by a terrible scream. Gwenda had been expecting it—Ma had explained what was going to happen during the service—but, all the same, she was shocked. It sounded like someone being tortured. Read more

Features & Highlights

  • In 1989 Ken Follett astonished the literary world with
  • The Pillars of the Earth
  • , a sweeping epic novel set in twelfth-century England centered on the building of a cathedral and many of the hundreds of lives it affected. Critics were overwhelmed—“it will hold you, fascinate you, surround you” (
  • Chicago Tribune
  • )—and readers everywhere hoped for a sequel.
  • World Without End
  • takes place in the same town of Kingsbridge, two centuries after the townspeople finished building the exquisite Gothic cathedral that was at the heart of
  • The Pillars of the Earth
  • . The cathedral and the priory are again at the center of a web of love and hate, greed and pride, ambition and revenge, but this sequel stands on its own. This time the men and women of an extraordinary cast of characters find themselves at a crossroad of new ideas— about medicine, commerce, architecture, and justice. In a world where proponents of the old ways fiercely battle those with progressive minds, the intrigue and tension quickly reach a boiling point against the devastating backdrop of the greatest natural disaster ever to strike the human race—the Black Death. Three years in the writing, and nearly eighteen years since its predecessor,
  • World Without End
  • breathes new life into the epic historical novel and once again shows that Ken Follett is a masterful author writing at the top of his craft.

Customer Reviews

Rating Breakdown

★★★★★
60%
(21.4K)
★★★★
25%
(8.9K)
★★★
15%
(5.4K)
★★
7%
(2.5K)
-7%
(-2497)

Most Helpful Reviews

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I quit after the third rape.

I don't mind a bit of sex in a novel, but this reads like cheesy soft core porn. What's really confounding is that Follett has some brilliant, independent women...and others who are just rape bait. Worse, one of the protagonists seems to enjoy the second time she is raped. This could have been a serious, well researched, historical novel, instead it's full of puns about 'moist clefts'. (ostensibly about masonry). And many anachronisms: I sort of doubt that even the most forward 14 century women felt 'sexy'. Some of the other plots and characters are quite interesting, but I just gave up
144 people found this helpful
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A few dissenting comments

I'm enjoying this book, and have almost finished it, but I have noticed two odd things while reading it.

The first odd thing is that Follett has apparently recycled all the major characters from "The Pillars of the Earth." Of course, they have different names, family origins, and circumstances, but they are still the same-old same-old. To wit, the duelling Cain and Abel brothers, with one brother incredibly good in all aspects, and the other brother incomprehensibly bad in all aspects. As I recall, in "The Pillars of the Earth" these were the children of John Builder. In the present work, they are Merthin and HIS brother. The main heroes, John Builder and the Lady Aliena, reappear here as Merthin and Caris. And so does the evil, repellent woman who is incredibly gifted in power politics, forced to tell her stupid male relatives what they must do in order to gain power.

The second area of concern will probably (like the first) not matter much to most readers: anachronism. Basically, this means "contradicting the time-frame of the story." If you are filming a tale about Ancient Greece, it is a major anachronism if the camera catches someone wearing a watch.

The problem here goes much deeper than extras with a Rolex. All of the major heroes of this allegedly medieval saga are deeply concerned with issues which belong to modern times, most particularly feminism. The problem here does not lie with feminism, or the attitude towards slavery, but with ANACHRONISM. A woman in the Middle Ages would hardly have obsessed over the choice between career and marriage, but the heroine of this novel does. She also obsesses about the unequal status of men and women -- a concern which had not even been verbalized in medieval times.

A counterexample would be Mary Renault, who did her level best to try to capture and present actual people from Ancient Greece, in her many excellent historical novels. She worked hard at it, to the point of trying to make her English prose echo, somehow, the sounds and rhythms of Attic Greek.

Ken Follett didn't even try to do something like this with regard to the Middle Ages in Europe. He gave us, instead, a bunch of 21st century people dressed up in medieval finery, and so, in my opinion, he fails as a writer of historical novels.

In fact, I suddenly suspect that the incredibly verbose Anne Rice is better at recreating ancient worlds than Ken Follett.

Nevertheless, I'll undoubtedly finish reading "World Without End." This review has concentrated on two negative points, but neglecting the positive aspects: Ken Follett can really tell a tale, and his characters really capture your heart and your imagination.
33 people found this helpful
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This started off fantastic. Then it became really familiar

This started off fantastic. Then it became really familiar, like reading the first one with different character names and a bridge instead of a cathedral. Then you get annoyed because he keeps repeating himself in descriptions of things and characters, and I mean using the exact same words several times in the book to describe something or someone. It becomes tedious. Finishing it becomes an extreme challenge because it is just a lot of words going nowhere and you just want it to end. Hard to rate, since I really liked it when I started it, and did not by the end. Doesn't quite hold up to the first one.
13 people found this helpful
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That's All She Read

[...]

As someone who reads medieval era historical novels almost constantly, I had a very hard time seeing this novel and Follett's earlier as someone new to the genre might. There were lots of little distractions, like anachronistic names and details, but I decided my own position of laissez-faire about such things in other people's books should kick in. So other than this undoubtedly unworthy preface, I am not going to get into this issue.

As Pillars of the Earth was about the building of the great cathedral at the fictional town of Kingsbridge, this sequel is about its later maintenance and rebuilding and a great deal more. Descendants of characters in the earlier novel are central to this one. In fact they are almost identical to them. That was the oddest thing about this book. Pillars had Jack Builder, the stonemason, who rocked his era with his vision and innovation. World has Merthen Bridger, a carpenter turned architect who does precisely the same thing... and is his descendant. Jack had a lady love, Aline, who defied convention, became a savvy business woman, and Merthen has Caris, who defies convention and revolutionizes the cloth trade in Kingsbridge too. Jack had his incompetent brother Alfred who undermines his plans for the cathedral and other building jobs in order to land them for himself and then does such a bad job the buildings collapse. Merthen has his master Atheric who does precisely the same thing. Finally, Pillars of the Earth's voyeuristic sexual predator nobleman has his own doppelganger in World Without End, Merthen's brother Ralph. Two hundred year's later to boot. If every single person who reads these books doesn't notice and comment on this, then they are, in my humble opinion, letting Follett's star power influence them. It struck me as nothing less than inept authorship and editing.

That is not to say I did not enjoy this book. My praise goes to Follett's handling of the Great Plagues of 1348-50 and its re-appearance in the early 1360s. It's spread in a time when news traveled as slowly as the means of transport the developing awareness of the threat is well drawn. It's impact not only on mortality but on social development, the psyches of the people, on religion and on commerce is wonderfully dealt with. The book's central theme is how stick in the mud concepts and practices had to give way in some part to economics and medical observation. The main female character, Caris, is a scientific observer of illness and figures out the basics of contagion, thus helping lessen the spread of the plague, though opposed by medical traditionalists all the way. The decimation of the population and the resulting labor shortage rocks the feudal system. The Church's clinging to old learning and support of the feudal system in the face of common sense weakens people's willingness to slavish devotion to the rule of the institution of the Church in general. Follett skillfully demonstrates these changes in the lives of the characters of the book who come from all social classes of the time.

It is a long, long book with such an involved plot I hesitate to try to summarize it. The opening sequence introduces all the main characters. Four children playing in the woods see a knight chased and attacked by men wearing the livery of Queen Isabella, the recent widow of and possible killer of her royal husband, Edward II. Thomas, the man being attacked, has a secret that others are trying to kill him for. Merthen is the boy he trusts with where he buries the letter he is carrying. Merthen's brother Ralph shows his sociopathic colors early by killing Gwenda's dog, Gwenda being a peasant firl that Kerris befriends. Kerris herself h as fascinated Merthen by being brave, bright and independent, though a girl. Merthem by the way, is carrying a bow he designed and built himself. There you have it.. the whole story. Caris's Independence and courage as she fights corruption in the city and priory, Fwenda's dependence on those with influence to help her survive, Ralph whose cruelty makes him mess up everyone else's lives, and Merthen, the clever innovator whose honesty makes him vulnerable to the unscrupulous.

I found the writing repetitive. I understand how that could happen now that I have a novel of my own out. You honestly forget what you told the reader. But I don't think that's what happened here. Ken Follett has editors who should catch this. I had to catch my own gaffes. In so many places Follett seems to feel he needs to remind you what someone looked like or what happened to them in the past.. for the fourth or twentieth time. I also felt he unnecessarily explained a character's actions after having illustrated them quite well already.

The one sequence I have to take issue with is Kerris's journey to find the bishop in France during Edward III's campaign that culminated in the Battle of Crécy. I think the two unescorted nuns would never have made such a journey for such a weak reason -- the prior had stolen money from the convent -- but I also j ust found the introduction of the famous battle into this story irrelevant. It's like Follett just couldn't resist adding a battle scene even though it had little impact on the rest of the story.

The other thing that bugged me was how repeatedly in this novel crises built to a fever pitch and were then just shrugged off. It was like "Oh my god, we're ruined! We're ruined!" was followed by "Well, it's a month or two later and we found a way around it." It almost felt like a manipulative cliffganger style serial.

So, I recommend you read this novel for the sheer enjoyment but don't believe a word of it, don't be surprised if you have a strong sense of literary déja vu, and get ready to make your own scorecard of whose kids is whose. You'll need it.

I read this book as a text file on my Kindle2. It is also available in hardback, paperback, audio download and probably disc and through[...] and your local (US) Library for the Blind.
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One of the longest books I've ever read, and excellent.

Those looking for a quick read should look elsewhere, but then, the product description could have told you that. I read most of the text in the course of a day (with a lot of time devoted).

This is, of course, a sequel to Ken Follett's 80s classic "The Pillars of the Earth"; "Pillars" wrapped up its characters stories quite neatly, so Follett wisely decides to keep the setting, 200 years in the future, and trace the development of Kingsbridge. The first novel, set in the Anarchy that followed the death of Henry I, saw the area go from a monastery on a backroad on the edge of being usurped by the town of Shiring to a cathedral town with a bustling population, all under the wise guidance of the visionary Prior Phillip, while the displaced children of the Earl of Shiring struggled mightily to regain their birthright. Since then, the town continued to grow, until the reign of Edward III, but the main characters' sacred blood and institutions have, to a great extent, rotted. While some of the main good characters are in fact descendants of Jack and Aliena, the main line, the holders of the Shiring earldom, mostly seem to have become arrogant jerks typical of their social class (excepting Earl William, partly due to having a good wife); meanwhile, the Kingsbridge priory, which under Phillip was a force for good out to forge a new community and advance the cause of God and civilization, has become hidebound, held in the course of the novel by a series of conservatives liable to quash progress. Both are entirely realistic outcomes, and it's a nice bit of unsentimentalism (actually, there are a couple of elements here that almost feel like Follett cynically commenting on some of "Pillars"' more optimistic moments; here, there is also a devout, hardworking monk without selfish motives, but he is ruthlessly sidelined instead of advancing to the priorship through good fortune, as Phillip did). Even the foundations of the cathedral are flawed.

Our main characters are two brothers, Merthin and Ralph; Caris, the daughter of a prosperous merchant; and Gwenda, the daughter of a convicted thief. While playing in woods one day, they witness a battle between a knight named Sir Thomas Langley and some footsoldiers of Isabella, Queen-consort of the recently-deceased Edward II of England; Langley trusts Merthin to guard the location of a secret letter (as a sidenote, as an historian, I was absolutely convinced I knew what the secret was (indeed, the characters speculate about it), but I was surprised; well done, Mr. Follett), and then secludes himself in the monastery. Unlike the mystery of Jack's father's death in "Pillars", this mystery is pretty slight, but the individual characters' stories are fairly strong.

As others have noted, one can certainly see certain character types recurring (some, such as the similar profession and proficiency of Jack and his descendent Merthin, are actually noted in-text). One can line up Aliena and Caris (and, to a certain extent, Gwenda); William and Ralph (although Ralph seems somewhat more sympathetic, although he is ultimately just as vile); Warren Bigod and Godwyn, etc. The last of those is rather interesting, since he initially seems to be a good monk in the style of Phillip in the first book, and is even something of a viewpoint character early on, but he quickly becomes a ruthless obstacle. Merthin and Caris' (extremely) lengthy, (extremely) troubled courtship is very similar to Jack and Aliena's, including each having a sojourn to the continent (apart, in the case of this novel), and lengthy periods where marriage is impossible; Caris has an additional wrinkle, since, like many romance heroines, she isn't sure marriage is what she wants, with this taking on particular significance in an era when women became property (many have noted that there's a lot of 21st century feminism present here, and that's true, to be sure, much as with most modern entertainment). Gwenda (despite some similarities with Aliena) is a very different character than can be found in "Pillars of the Earth" however, and she often seems to suffer for it in the narrative (that's on top of all her literal sufferings in the narrative); she doesn't really belong in the same world as Merthin, Caris and Ralph, all ambitious middle-classmen with big dreams success (building England's tallest structure, independence, earldom), while Gwenda, the luckless serf, just wants freehold tenantry (which is as big a dream as most in her class will ever realize). Her narrative coequals reach epic heights and depths; she goes as low, but never gets nearly as high, and she is mostly separate from the lives of Merthin and Caris, the latter nominally being her close friend. Through her, Follett does chronicle a revolution in the land organization of England, brought on by the Black Death.

The first book was heavy on cathedral architecture description (something Follett has an evident passion for); there's less of that here, but a lot of talk about bridges, which is actually quite interesting. Follett's writing style is about the same as always, familiar to those who've read "Pillars" or any of his past work; as many, many other reviewers have noted, there's a lot of explicit sex (as "Canterbury Tales" will tell you, people in Edward II's time were as randy as today), and some very gruesome violence, most notably a graphic description of a man being flayed alive. It's compulsively readable.

This is a five-star book; not a five-star in the way that "The Pillars of the Earth" was, perhaps, but still an excellent read.
11 people found this helpful
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A huge waste of time

Since I wasted enough time reading the book, I am not going to waste too much time on a review. I only have this to say: I loved "The Pillars of the Earth" I HATED "World Without End"
It is just simply a bad book.
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Flat characters, no plot, and a total disregard for social history

Ken Follett may have done a lot of research on medieval buildings, but he obviously did very little research on marriage and families in the 14th century. The utter disregard for historical accuracy eventually jarred and irritated me so much that I skipped several hundred pages of the book.

Some examples:
There is significant discussion between Merthin and Caris about Lolla, Merthin's 16 year old daughter. She is described as being at the age where she is "between a child and adult" and Caris chides Merthin for assaulting her "self-esteem." (Yes, Follett has a character in 14th century England use the phrase "self-esteem." Never mind that the concept of self-esteem didn't enter psychology until the late 19th century, at the earliest.) In fact, the concept of adolescence as the period between childhood and adulthood did not develop until the mid 19th century. There is great concern on Merthin and Caris' part that Lolla may be sexually active. In the 14th century, girls were eligible for marriage at 14. At 16 years old, people might have been asking rather why she wasn't married or at least betrothed. In the final chapters of the book, the main characters are all in their 40s, portrayed as in the prime of life. In the 14th century, men and women were old at 40. Very few people lived into their 50s or beyond (a little over a century later, Henry VII and Henry VIII were considered old men when they died, both in their early to mid-50s). The bottom line is that marriage, children, and family relationships in the 14th century were simply not the way Follett portrays them.

None of the main characters is very appealing. Merthin comes closest, but he is very nearly a Mary Sue (or Gary Stu, in this case): brilliant, overcoming one tragic episode after another, misunderstood yet always saving the day (or he would, if it weren't for the jealousy of the lesser beings around him). The rest of the characters are static, never developing, rehashing the same situations and character flaws over and over without ever learning anything. No explanation, or the thinnest of reasons at best, is given for characters' motivations. Why, for instance, did Ralph lust after Gwenda for decades? Especially when he thought she was ugly. We are simply told that he does and expected to believe it.

There is no actual plot. There is only a series of unfortunate events loosely strung together by the reader's hope that one of these days, the bad guys will get what's coming to them.

I've certainly read worse books, but this is a long book and a serious commitment to make to such a historically inaccurate and unsatisfying story.
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Deja vu, all over again

I liked PoE so much I was thrilled to pick WWE up. And I never felt any anxiety at all about the ending... just as before. In fact I sort of feel you could substitute in a bridge for a cathedral and the book would write itself. The books, to me, are about 80% the same.

I liked it but... some new relationship models could help. Not much growth here over all these years of waiting for this book to come out.
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Book Without End

Lousy book. How could he stand to write so many words so poorly?

Has anyone in history had as eventful a life as the main characters, Follett's Merthin & Caris? At least Forrest Gump was sweet and funny. This was ponderous, boring and wildly unbelievable. Mindnumbing trash, I only finished it because I bought it at the airport to read on a transatlantic flight.
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World Without End

I rarely give up on a book -- especially when it is loaned to me by a good friend who enjoyed it -- but by page 222, I had experienced enough. The plot was repetitive with the same characters experiencing the same mistakes, beatings, betrayals, and plots over and over again, never learning from their own histories and, therefore, destined to repeat the same history over again. Even the "exciting" parts were passive! I really didn't think I could handle another 80% of the same so I moved on to something else. I do not recommend this book unless you are looking for bedtime stories to put you to sleep. Sorry Oprah.
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