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A Search for the King
The fabulous tale of treachery and friendship, of romance and mystery, as Blondel the troubadour searches for his captured friend and king, Richard of England.
With the memory of a peasant girl burning in his heart, Blondel moves through danger toward ever-more danger. He is bewitched by a dazzling unicorn and breaks bread with a poetic giant; he is captured by a vampire countess and trapped in the arms of a lascivious lady...
Gore Vidal has brilliantly fused legend with history to recreate the fury and splendor of the world of Richard Lion-Heart.
With the memory of a peasant girl burning in his heart, Blondel moves through danger toward ever-more danger. He is bewitched by a dazzling unicorn and breaks bread with a poetic giant; he is captured by a vampire countess and trapped in the arms of a lascivious lady...
Gore Vidal has brilliantly fused legend with history to recreate the fury and splendor of the world of Richard Lion-Heart.
196 pages, Mass Market Paperback
First published January 1, 1950
3 people are currently reading
360 people want to read
About the author
Gore Vidal
423 books1,866 followersWorks of American writer Eugene Luther Gore Vidal, noted for his cynical humor and his numerous accounts of society in decline, include the play
The Best Man
(1960) and the novel
Myra Breckinridge
(1968) .
People know his essays, screenplays, and Broadway.
They also knew his patrician manner, transatlantic accent, and witty aphorisms. Vidal came from a distinguished political lineage; his grandfather was the senator Thomas Gore, and he later became a relation (through marriage) to Jacqueline Kennedy.
Vidal, a longtime political critic, ran twice for political office. He was a lifelong isolationist Democrat. The Nation, The New Yorker, Vanity Fair, The New York Review of Books, and Esquire published his essays.
Essays and media appearances long criticized foreign policy. In addition, he from the 1980s onwards characterized the United States as a decaying empire. Additionally, he was known for his well publicized spats with such figures as Norman Mailer, William F. Buckley, Jr., and Truman Capote.
They fell into distinct social and historical camps. Alongside his social, his best known historical include Julian, Burr, and Lincoln. His third novel, The City and the Pillar (1948), outraged conservative critics as the first major feature of unambiguous homosexuality.
At the time of his death he was the last of a generation of American writers who had served during World War II, including J.D. Salinger, Kurt Vonnegut, Norman Mailer and Joseph Heller. Perhaps best remembered for his caustic wit, he referred to himself as a "gentleman bitch" and has been described as the 20th century's answer to Oscar Wilde
Also used the pseudonym Edgar Box.
+++++++++++++++++++++++
Gore Vidal é um dos nomes centrais na história da literatura americana pós-Segunda Guerra Mundial.
Nascido em 1925, em Nova Iorque, estudou na Academia de Phillips Exeter (Estado de New Hampshire). O seu primeiro romance, Williwaw (1946), era uma história da guerra claramente influenciada pelo estilo de Hemingway. Embora grande parte da sua obra tenha a ver com o século XX americano, Vidal debruçou-se várias vezes sobre épocas recuadas, como, por exemplo, em A Search for the King (1950), Juliano (1964) e Creation (1981).
Entre os seus temas de eleição está o mundo do cinema e, mais concretamente, os bastidores de Hollywood, que ele desmonta de forma satírica e implacável em títulos como Myra Breckinridge (1968), Myron (1975) e Duluth (1983).
Senhor de um estilo exuberante, multifacetado e sempre surpreendente, publicou, em 1995, a autobiografia Palimpsest: A Memoir. As obras 'O Instituto Smithsonian' e 'A Idade do Ouro' encontram-se traduzidas em português.
Neto do senador Thomas Gore, enteado do padrasto de Jacqueline Kennedy Onassis, primo distante de Al Gore, Gore Vidal sempre se revelou um espelho crítico das grandezas e misérias dos EUA.
Faleceu a 31 de julho de 2012, aos 86 anos, na sua casa em Hollywood, vítima de pneumonia.
People know his essays, screenplays, and Broadway.
They also knew his patrician manner, transatlantic accent, and witty aphorisms. Vidal came from a distinguished political lineage; his grandfather was the senator Thomas Gore, and he later became a relation (through marriage) to Jacqueline Kennedy.
Vidal, a longtime political critic, ran twice for political office. He was a lifelong isolationist Democrat. The Nation, The New Yorker, Vanity Fair, The New York Review of Books, and Esquire published his essays.
Essays and media appearances long criticized foreign policy. In addition, he from the 1980s onwards characterized the United States as a decaying empire. Additionally, he was known for his well publicized spats with such figures as Norman Mailer, William F. Buckley, Jr., and Truman Capote.
They fell into distinct social and historical camps. Alongside his social, his best known historical include Julian, Burr, and Lincoln. His third novel, The City and the Pillar (1948), outraged conservative critics as the first major feature of unambiguous homosexuality.
At the time of his death he was the last of a generation of American writers who had served during World War II, including J.D. Salinger, Kurt Vonnegut, Norman Mailer and Joseph Heller. Perhaps best remembered for his caustic wit, he referred to himself as a "gentleman bitch" and has been described as the 20th century's answer to Oscar Wilde
Also used the pseudonym Edgar Box.
+++++++++++++++++++++++
Gore Vidal é um dos nomes centrais na história da literatura americana pós-Segunda Guerra Mundial.
Nascido em 1925, em Nova Iorque, estudou na Academia de Phillips Exeter (Estado de New Hampshire). O seu primeiro romance, Williwaw (1946), era uma história da guerra claramente influenciada pelo estilo de Hemingway. Embora grande parte da sua obra tenha a ver com o século XX americano, Vidal debruçou-se várias vezes sobre épocas recuadas, como, por exemplo, em A Search for the King (1950), Juliano (1964) e Creation (1981).
Entre os seus temas de eleição está o mundo do cinema e, mais concretamente, os bastidores de Hollywood, que ele desmonta de forma satírica e implacável em títulos como Myra Breckinridge (1968), Myron (1975) e Duluth (1983).
Senhor de um estilo exuberante, multifacetado e sempre surpreendente, publicou, em 1995, a autobiografia Palimpsest: A Memoir. As obras 'O Instituto Smithsonian' e 'A Idade do Ouro' encontram-se traduzidas em português.
Neto do senador Thomas Gore, enteado do padrasto de Jacqueline Kennedy Onassis, primo distante de Al Gore, Gore Vidal sempre se revelou um espelho crítico das grandezas e misérias dos EUA.
Faleceu a 31 de julho de 2012, aos 86 anos, na sua casa em Hollywood, vítima de pneumonia.
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Displaying 1 - 30 of 43 reviews
March 18, 2016
If you know anything about the story of Robin Hood, you probably know that it ends with good King Richard returning from the crusades just in time to save England from the clutches of wicked King John. What is perhaps less well known is just what kept him away for so long: on the way home from Palestine, Richard was captured by the Duke of Austria, who accused him of murdering a relative, and he was kept prisoner for a couple of years until he was eventually ransomed and released. Another legend grew up around him at this time: that a travelling bard named Blondel travelled Europe looking for the king, with the aim of somehow aiding in his release. And this is the story of A Search for the King, an early novel by Gore Vidal.
‘Early’ means different things to different writers, of course; published in 1950, this was Vidal’s fifth novel, one of many in a publishing career which looks now seems incomparably long and varied. Prior to this I had never actually read any of his books, and this one seems like an odd place to start; though it’s not without charm, it isn’t an exceptional book either, and had it been written by anyone else it would probably have quietly disappeared into the silent halls of the great library stacks in the sky. But encountered today, it has a certain appeal on its own merits.
The prose is for the most part quite plain: it’s historical fiction written in the flatly modern, realistic style of the mid-twentieth century literary novel. There’s no attempt to mimic contemporary dialect or to say much about societal or political mores. It feels like something that could have been written over the course of a long weekend, using only one or two books for reference. Most of what is good here would make for nice writing in any novel. There’s a lot of pleasant descriptions of travel through sparse rural landscapes. The world has a strange sort of calm to it.
Blondel himself is a somewhat vague creation. He feels like a fairly typical example of a lost young man (who is no longer really young) in a novel from fifty years ago. He wants to find his way back to Richard almost because there is nothing really else for him to do and, aside from that, he seems to have barely any reason for existing. Mostly he’s just mooching along and responding to the things that happen to him along the way. There’s the inevitable unattractive lady of the castle who wants to sleep with him; the boorish knights and handsome young peasants met along the way; the werewolves and vampires and unicorns met along the way.
Oh yes, there are supernatural elements involved. They’re underplayed, in a way that sometimes suggests they might only be a ‘tall tale’ version of a real world occurrence. But they also seem to betray an uncertainty about the plot, as if the author were never quite sure how to progress to the next sequence without invoking some kind of crazy episodic occurrence. None of it has much consequence. Indeed, the most memorable passages here are probably the most realistic; the recurring sense is of a rather lonely man, one who is intelligent and artistic, forced to live amongst a high class of brutish philistines for whom he harbours a faint resentment. And while I don’t know much about the author himself, I couldn’t help but wonder if he put some of his own sense of youthful restlessness into this character.
‘Early’ means different things to different writers, of course; published in 1950, this was Vidal’s fifth novel, one of many in a publishing career which looks now seems incomparably long and varied. Prior to this I had never actually read any of his books, and this one seems like an odd place to start; though it’s not without charm, it isn’t an exceptional book either, and had it been written by anyone else it would probably have quietly disappeared into the silent halls of the great library stacks in the sky. But encountered today, it has a certain appeal on its own merits.
The prose is for the most part quite plain: it’s historical fiction written in the flatly modern, realistic style of the mid-twentieth century literary novel. There’s no attempt to mimic contemporary dialect or to say much about societal or political mores. It feels like something that could have been written over the course of a long weekend, using only one or two books for reference. Most of what is good here would make for nice writing in any novel. There’s a lot of pleasant descriptions of travel through sparse rural landscapes. The world has a strange sort of calm to it.
Blondel himself is a somewhat vague creation. He feels like a fairly typical example of a lost young man (who is no longer really young) in a novel from fifty years ago. He wants to find his way back to Richard almost because there is nothing really else for him to do and, aside from that, he seems to have barely any reason for existing. Mostly he’s just mooching along and responding to the things that happen to him along the way. There’s the inevitable unattractive lady of the castle who wants to sleep with him; the boorish knights and handsome young peasants met along the way; the werewolves and vampires and unicorns met along the way.
Oh yes, there are supernatural elements involved. They’re underplayed, in a way that sometimes suggests they might only be a ‘tall tale’ version of a real world occurrence. But they also seem to betray an uncertainty about the plot, as if the author were never quite sure how to progress to the next sequence without invoking some kind of crazy episodic occurrence. None of it has much consequence. Indeed, the most memorable passages here are probably the most realistic; the recurring sense is of a rather lonely man, one who is intelligent and artistic, forced to live amongst a high class of brutish philistines for whom he harbours a faint resentment. And while I don’t know much about the author himself, I couldn’t help but wonder if he put some of his own sense of youthful restlessness into this character.
December 4, 2025
How to explain Gore Vidal’s early novel A Search for the King? Perhaps I can take a note from its fantastical elements and describe it as a sort of chimera — it has a head of historical fiction, a tail of legend, and a body made up of unexceptional mid twentieth century realism prose. And while this odd amalgamation makes this novel a curiosity, it unfortunately does not make it particularly interesting.
While Richard I of England and his kidnapping by Duke Leopold of Austria were historical (giving the novel its thin claim to historical fiction) Richard’s rescue by his troubadour Blondel was distinctly legend rather than history. Vidal leaned heavily into the legend, not only making Blondel the book’s protagonist, but including such fantastical and legendary elements as a dragon, the king of the werewolves, a sophisticated, cannibalistic giant, and, in a nod to Walter Scott, Robin Hood. Yet, strangely, Vidal neutered these fantasy elements by dulling it with mundane, mid twentieth century realism. While Richard the Lionhearted and his party fighting a dragon in a dense, European wood may sound like a unique and fascinating concept, the fact that it reads more like John Updike than J.R.R. Tolkien destroys any panache the idea might otherwise have held.
While Richard I of England and his kidnapping by Duke Leopold of Austria were historical (giving the novel its thin claim to historical fiction) Richard’s rescue by his troubadour Blondel was distinctly legend rather than history. Vidal leaned heavily into the legend, not only making Blondel the book’s protagonist, but including such fantastical and legendary elements as a dragon, the king of the werewolves, a sophisticated, cannibalistic giant, and, in a nod to Walter Scott, Robin Hood. Yet, strangely, Vidal neutered these fantasy elements by dulling it with mundane, mid twentieth century realism. While Richard the Lionhearted and his party fighting a dragon in a dense, European wood may sound like a unique and fascinating concept, the fact that it reads more like John Updike than J.R.R. Tolkien destroys any panache the idea might otherwise have held.
July 31, 2023
I actually rlly enjoyed this! Yes, it’s not as delightful and fluent as his later novels but for a 25 year-old this is pretty good. Also top marks for including all my favourite things: dragons, poetry loving giants, riding bareback on unicorns, vampires, uncool werewolves, medieval rap battles, and a homoerotic narrative throughout!
November 3, 2023
A Search for the King (1950) could be described as Gore Vidal’s first “historical novel,” but it’s as much a legend as it is history. Set in the tumultuous 12th century, it’s the mythic tale of King Richard, his trusted troubadour, Blondel, and their exploits across medieval Europe and the middle east during the Crusades. Richard is kidnapped by rival monarchs, and the novel follows Blondel as he tries to find his King, interacting with many interesting people, places, and creatures along the way. Blondel encounters dragons, giants, menacing queens, and a young man named Karl, whose small-farm life leaves him desiring adventure and gallantry. Ultimately, King Richard, known as “Richard the Lionheart”, is set free and leads Blondel, Karl, and his army into battle against King John for control of England. Right at the end of the novel, we even meet Robin Hood, whose hatred of King John and desire for freedom in Nottingham leads to an alliance with King Richard. Richard’s army wins the day, but not without consequences; Karl, the young man whose thirst for adventure set him on a path with Blondel, dies in battle. It is with Karl’s death that Blondel realizes his own mortality and the sacrifices he’s made in his life in service to his king.
This is the first novel I’ve read of Vidal’s that I felt was just “ok.” Its prose is fine, even brilliant in some spots, but it doesn’t have the same passion or wit as some of his early novels, like The City and the Pillar (1948) and Messiah (1954). It reads more like something he wrote because he thought it would sell well, which made sense considering the critical and cultural backlash he received for The City and the Pillar. Nevertheless, I found A Search for the King an enjoyable read, and if you’re a Gore Vidal die-hard, definitely check it out. Otherwise, skip it and check out his more iconic and substantive work.
This is the first novel I’ve read of Vidal’s that I felt was just “ok.” Its prose is fine, even brilliant in some spots, but it doesn’t have the same passion or wit as some of his early novels, like The City and the Pillar (1948) and Messiah (1954). It reads more like something he wrote because he thought it would sell well, which made sense considering the critical and cultural backlash he received for The City and the Pillar. Nevertheless, I found A Search for the King an enjoyable read, and if you’re a Gore Vidal die-hard, definitely check it out. Otherwise, skip it and check out his more iconic and substantive work.
April 8, 2019
I can imagine Vidal, suffering the New York Times anathema, wondering if maybe he should turn to genre fiction. A Search for the King is an early attempt at the historical fiction with which Vidal developed such stunning expertise, and I found the references to dragons, unicorns, and Robin Hood oddly acceptable.
July 17, 2021
Colección Grandes Éxitos de la Novela Histórica
ÍNDICE
Nota……………………………………………………………… 9
I. La captura (Otoño de 1192)………………………… 11
II. La búsqueda (Invierno de 1192-1193)………… 65
III. El regreso (Primavera de 1193)………………… 167
IV. La batalla (28 de marzo de 1194)……………… 213
ÍNDICE
Nota……………………………………………………………… 9
I. La captura (Otoño de 1192)………………………… 11
II. La búsqueda (Invierno de 1192-1193)………… 65
III. El regreso (Primavera de 1193)………………… 167
IV. La batalla (28 de marzo de 1194)……………… 213
October 25, 2023
Vidal takes the legends surrounding Richard the Lionheart and crafts a story that mixes the gritty reality of violence with the freedom of a wandering man and the magic found in out-of-the-way places. He makes Richard’s troubadour the protagonist and takes him through the fractious world of European courts in the age of the crusades. He explores the joys and limits of the peasant life as well as the illusion and reality of war. As with his other historical novels, Vidal is able to communicate a cohesive worldview that is alien to the modern reader but that resonates with the same aims of finding purpose in a senseless world.
August 21, 2015
I have read several novels by Gore Vidal, and found them all to be enjoyable, especially those in the series that deals with the history of the USA. “A Search for the King” began promisingly, but began to drag on.
The story deals with the kidnapping of Richard the Lion-Heart on his return from the Third Crusade, and in particular the search for him that his troubadour, Blondel, made subsequently. We follow Blondel across a wintry Europe and join him in encounters with bandits, giants, and witches. Blondel has numerous hair-raising adventures that get him into awkward situations. In each case, they are resolved too easily to be even remotely credible.
The novel is padded out with excessive descriptive passages, all of which felt ‘clichéd’ to me, and none of which added much to the story. In brief, I was disappointed by this fictionalised version of an event which really happened. I did not feel that the glowing praises for the novel that plastered the cover of the edition which I read were deserved.
The story deals with the kidnapping of Richard the Lion-Heart on his return from the Third Crusade, and in particular the search for him that his troubadour, Blondel, made subsequently. We follow Blondel across a wintry Europe and join him in encounters with bandits, giants, and witches. Blondel has numerous hair-raising adventures that get him into awkward situations. In each case, they are resolved too easily to be even remotely credible.
The novel is padded out with excessive descriptive passages, all of which felt ‘clichéd’ to me, and none of which added much to the story. In brief, I was disappointed by this fictionalised version of an event which really happened. I did not feel that the glowing praises for the novel that plastered the cover of the edition which I read were deserved.
August 19, 2017
I can only give Vidal 5 stars. For the reviewers who lament that this story does not keep up with "Creation," know that Creation was published in 1981, this in 1950 when Vidal as only 25. Creation is Vidal's personal favorite, this merely the retelling of a story he was fond of as a boy. Indeed, as several reviewers have noticed, Vidal seems to be trying too hard at times to write poetically, profound and prophetic. That was Gore Vidal, right up to the bitter end.
July 31, 2018
Este es mi primer acercamiento a Gore Vidal después de ver el fantástico documental "Best of enemies" donde se relatan sus enfrentamientos en debates televisivos con William F. Buckley.
Me ha parecido bastante bello en las diversas descripciones de momentos intrascendentes, donde a veces se recrea sin ningún aparente motivo.
La historia en si es una leyenda ya conocida, así que no hay mucho misterio, pero aún así, la adereza con algunos momentos de fantasía curiosamente relatados.
Me ha parecido bastante bello en las diversas descripciones de momentos intrascendentes, donde a veces se recrea sin ningún aparente motivo.
La historia en si es una leyenda ya conocida, así que no hay mucho misterio, pero aún así, la adereza con algunos momentos de fantasía curiosamente relatados.
October 30, 2022
Vidal is enjoying himself here, telling tall and lushly imagined stories. But the stories are offset by the stark realism of the elements, the landscape, the duplicity and machinations of men.
The central story: Blondel's search for his lord and master and friend, Kind Richard, who has been arrested and imprisoned while returning from crusade, becomes an everyman journey for meaning. We all need one, Vidal feels.
The story of Blondel and Richard has, perhaps inevitably, homosexual overtones. Vidal doesn't take it in that direction here (although himself bisexual, Vidal was not afraid to write frankly of gay desire elsewhere). Instead the focus is on homosociability, of friendship between men that is full of love, affection, closeness, but ultimately stays chaste. The king, after all, is an ideal. And this idealised friendship ultimately allows Blondel to ride through his trials, and eventually succeed.
The fourth part, after Richard's ransom, always seemed to me superfluous.
The interesting, creative, picaresque episodes are over. The quest is done. Now there's just a scrummy battle in which there's lots of bloodshed, and this seems to be the ultimate conception of mediæval masculinity. Fighting, and killing form the bedrock of what it means to be a mediæval man. Does Vidal think this himself, or is this pastiche from an urbane and sophisticated writer of a later time?
At the end, Karl, Blondel's young friend, lies dead, and Blondel's youth itself is now over. (The friendship between Karl and Blondell too strays very close to gay but Vidal is at pains to introduce reminders of each character's heterosexuality periodically.) The fun, innocence, and magic has left the world. No more unicorns, giants or vampires. And that's a heavy loss. What's left for Blondel now but old age and apparent self-centredness? What's Vidal saying here? What are we to make of it?
I think Vidal ends his glorious mediaveal story with such brutality and loss to remind us to be wary of the sweet, attractive, romantic tales of glory, of nationhood, of chivalry. I am reminded of all those poor young men (boys really) who were pumped full of exciting romantic stories of god and nationhood, then packed off to fight in the 20th century wars.
I never used to see the point of Part IV, but now I think it is both necessary and unavoidable.
Read the first three parts for a hugely vivid and enjoyable story. Read the last part for the black coffee to go!
***** Great
**** Good
*** Fair
** Poor
* Aiiii!
The central story: Blondel's search for his lord and master and friend, Kind Richard, who has been arrested and imprisoned while returning from crusade, becomes an everyman journey for meaning. We all need one, Vidal feels.
The story of Blondel and Richard has, perhaps inevitably, homosexual overtones. Vidal doesn't take it in that direction here (although himself bisexual, Vidal was not afraid to write frankly of gay desire elsewhere). Instead the focus is on homosociability, of friendship between men that is full of love, affection, closeness, but ultimately stays chaste. The king, after all, is an ideal. And this idealised friendship ultimately allows Blondel to ride through his trials, and eventually succeed.
The fourth part, after Richard's ransom, always seemed to me superfluous.
The interesting, creative, picaresque episodes are over. The quest is done. Now there's just a scrummy battle in which there's lots of bloodshed, and this seems to be the ultimate conception of mediæval masculinity. Fighting, and killing form the bedrock of what it means to be a mediæval man. Does Vidal think this himself, or is this pastiche from an urbane and sophisticated writer of a later time?
At the end, Karl, Blondel's young friend, lies dead, and Blondel's youth itself is now over. (The friendship between Karl and Blondell too strays very close to gay but Vidal is at pains to introduce reminders of each character's heterosexuality periodically.) The fun, innocence, and magic has left the world. No more unicorns, giants or vampires. And that's a heavy loss. What's left for Blondel now but old age and apparent self-centredness? What's Vidal saying here? What are we to make of it?
I think Vidal ends his glorious mediaveal story with such brutality and loss to remind us to be wary of the sweet, attractive, romantic tales of glory, of nationhood, of chivalry. I am reminded of all those poor young men (boys really) who were pumped full of exciting romantic stories of god and nationhood, then packed off to fight in the 20th century wars.
I never used to see the point of Part IV, but now I think it is both necessary and unavoidable.
Read the first three parts for a hugely vivid and enjoyable story. Read the last part for the black coffee to go!
***** Great
**** Good
*** Fair
** Poor
* Aiiii!
This entire review has been hidden because of spoilers.
July 4, 2022
Richard Inimă-de-Leu, regele Angliei, este capturat la ordinele ducelui Leopold de Austria pe când se întorcea din a Treia Cruciadă. Dar trubadurul său preferat și din fericire fidel, pe numele său Blondel începe imediat o odisee prin jumătate din Europa creștină pentru a găsi castelul unde regele este ținut prizonier de către dușmanii săi malefici. Un pretext excelent pentru a experimenta viața medievală din secolul XII condimentată și cu câteva elemente fantastice.
Faimosul și controversatul autor american avea doar 25 de ani în 1950 când a scris acesta, cel de-al cincilea roman al său, bazându-se pe o sumă de legende folclorice medievale. Punctele forte ale operei sunt brevitatea și simplitatea în exprimare. Punctele extrem de slabe sunt lipsa oricărui focus, un fel de pretențiozitate pe care nu-l pot pune decât în seama vârstei autorului și a unei probabile nevoi de a demonstra lumii literare adevăratele sale capacități. Intenționate sau nu, unele elemente ar trebui să se subînțeleagă automat când citești un roman de ficțiune istorică (chiar și unul în care mai apar uneori balauri, vârcolaci, vampiri și inorogi) - dacă personajele creionate au un vocabular modern și oralitatea lor este orice în afară de arhaică asta va dăuna garantat imersiunii în epocă, nu? De asemenea, mi s-a părut că în afara cronologiei și a geografiei autorul nu a depus deloc efort în a aduce lumea medievală la viață, probleme precum șerbia, feudalismul, diferențele de clase dintre nobili și țărani, precum și condiția femeii în societate fiind înlăturate în grabă pentru a face loc unui șir nesfîrșit de pățănii la care personajul principal este în cel mai bun caz doar martor pasiv. Mă gândesc că cel mai probabil și apoteotica bătălie cu care se încheie romanul nu a fost pusă acolo decât pentru conformitate, fiind evident o linie epică separată de cea principală (capturarea și găsirea lui Richard) și cu cât spunem mai puține despre felul în care este pictată bătălia cu atât mai bine.
O maximă pop-culturală spune că cele mai bune cărți sunt cele care au ori punctaj maxim ori punctaj minim. Deci, ori la bal cu zece stele, ori în spital cu una - iar cele mai proaste sunt temutele cărți de mijloc, de 3/5 stele sau de nota 5-6. Din fericire, romanul acesta trage spre cea de-a doua parte a baricadei. Nu este de mijloc, nu este atât de prost încât să fie bun, dar suficient cât să rămână memorabil ca o pierdere aproape plăcută de timp.
Faimosul și controversatul autor american avea doar 25 de ani în 1950 când a scris acesta, cel de-al cincilea roman al său, bazându-se pe o sumă de legende folclorice medievale. Punctele forte ale operei sunt brevitatea și simplitatea în exprimare. Punctele extrem de slabe sunt lipsa oricărui focus, un fel de pretențiozitate pe care nu-l pot pune decât în seama vârstei autorului și a unei probabile nevoi de a demonstra lumii literare adevăratele sale capacități. Intenționate sau nu, unele elemente ar trebui să se subînțeleagă automat când citești un roman de ficțiune istorică (chiar și unul în care mai apar uneori balauri, vârcolaci, vampiri și inorogi) - dacă personajele creionate au un vocabular modern și oralitatea lor este orice în afară de arhaică asta va dăuna garantat imersiunii în epocă, nu? De asemenea, mi s-a părut că în afara cronologiei și a geografiei autorul nu a depus deloc efort în a aduce lumea medievală la viață, probleme precum șerbia, feudalismul, diferențele de clase dintre nobili și țărani, precum și condiția femeii în societate fiind înlăturate în grabă pentru a face loc unui șir nesfîrșit de pățănii la care personajul principal este în cel mai bun caz doar martor pasiv. Mă gândesc că cel mai probabil și apoteotica bătălie cu care se încheie romanul nu a fost pusă acolo decât pentru conformitate, fiind evident o linie epică separată de cea principală (capturarea și găsirea lui Richard) și cu cât spunem mai puține despre felul în care este pictată bătălia cu atât mai bine.
O maximă pop-culturală spune că cele mai bune cărți sunt cele care au ori punctaj maxim ori punctaj minim. Deci, ori la bal cu zece stele, ori în spital cu una - iar cele mai proaste sunt temutele cărți de mijloc, de 3/5 stele sau de nota 5-6. Din fericire, romanul acesta trage spre cea de-a doua parte a baricadei. Nu este de mijloc, nu este atât de prost încât să fie bun, dar suficient cât să rămână memorabil ca o pierdere aproape plăcută de timp.
December 16, 2017
2.5 stars.
Some years ago, I read and enjoyed Gore Vidal’s Julian, which tells the story of the young pagan who becomes Emperor in a post-Constantine, Christian world. Since then, I’ve been keen to try more of his historical fiction and this book was the first to come into my hands. I had high hopes for it, as I’ve always been fascinated by Richard the Lionheart – probably due to my childhood fondness for Robin Hood stories: Richard’s own record as an indifferent King of England certainly doesn’t do him any favours. Vidal focuses on a particular episode from Richard’s life: the King’s famous capture in Austria on his return from the Crusades, and the faithful (and probably fictional) quest of Richard’s troubadour Blondel, who sets out to find his master’s prison, armed only with his viol, his voice and a good deal of faith...
For the rest of the review, please see my blog:
https://theidlewoman.net/2017/12/11/a...
Some years ago, I read and enjoyed Gore Vidal’s Julian, which tells the story of the young pagan who becomes Emperor in a post-Constantine, Christian world. Since then, I’ve been keen to try more of his historical fiction and this book was the first to come into my hands. I had high hopes for it, as I’ve always been fascinated by Richard the Lionheart – probably due to my childhood fondness for Robin Hood stories: Richard’s own record as an indifferent King of England certainly doesn’t do him any favours. Vidal focuses on a particular episode from Richard’s life: the King’s famous capture in Austria on his return from the Crusades, and the faithful (and probably fictional) quest of Richard’s troubadour Blondel, who sets out to find his master’s prison, armed only with his viol, his voice and a good deal of faith...
For the rest of the review, please see my blog:
https://theidlewoman.net/2017/12/11/a...
August 15, 2017
Después de andar el Camino de Santiago, este libro se acomodó muy bien a mi mente peregrina. Desde luego, en él encontramos esa fascinación por las cualidades varoniles. Las formas de los cuerpos de hombres hermosos, los actos viriles, la amistad masculina.
Se advierte bien, como lo dice en la introducción, que no se trata de una novela histórica. Es una fantasía que incluso no nos dice nada acerca de las subjetividades del tiempo en que se desarrolla. Es como si hubiera revestido a personas modernas con los atuendos de la época medieval. Con todo, adoré encontrarme con Leonor de Aquitania, aunque ya viejita, con todo su poder. Y el regalo mayor, creo, fue la vampira Valeria.
Es hermosa la conjunción de vampiros, hombres lobo, gigantes, dragones, ¡el unicornio! y hasta Robin Hood. Disfruto mucho al Gore éste, aunque evidentemente es una lectura muy dominguera.
Se advierte bien, como lo dice en la introducción, que no se trata de una novela histórica. Es una fantasía que incluso no nos dice nada acerca de las subjetividades del tiempo en que se desarrolla. Es como si hubiera revestido a personas modernas con los atuendos de la época medieval. Con todo, adoré encontrarme con Leonor de Aquitania, aunque ya viejita, con todo su poder. Y el regalo mayor, creo, fue la vampira Valeria.
Es hermosa la conjunción de vampiros, hombres lobo, gigantes, dragones, ¡el unicornio! y hasta Robin Hood. Disfruto mucho al Gore éste, aunque evidentemente es una lectura muy dominguera.
April 6, 2025
This is a mostly fictionalized version drawing together two famous names, Richard the Lion-Hearted and Blondel. Richard the Lion-Hearted is kidnapped by European kings, held for ransom, and Blondel has to find his whereabouts to rescue him. There is a plot to have Richard murdered by his captors, at heart the creation of Prince John who can become King of English upon Richard`s demise. After many adventures, Blondel succeeds in locating Richard and leading his English forces to his rescue. However, that is not the end of the tale.
This story interested me with its depiction of a historical era I only remember from a single history course in high school. Vidal is an excellent writer, and some of his books are based on exhaustive and careful research. This book was more of a tale told to entertain rather than elucidate. His other books are better.
This story interested me with its depiction of a historical era I only remember from a single history course in high school. Vidal is an excellent writer, and some of his books are based on exhaustive and careful research. This book was more of a tale told to entertain rather than elucidate. His other books are better.
July 12, 2017
Se trata de un libro extraño. Por un lado parece una novela histórica aunque en el prefacio el autor reconoce que sigue una leyenda popular en el siglo XVIII sobre el trovador Blondel y como halló a Ricardo Corazón de León cautivo del emperador germano. El inicio de la narración nos situa Croacia en 1192 cuando Ricardo vuelve de la Tercera Cruzada. Todo transcurre dentro de las premisas de la novela histórica hasta que, como si Gore Vidal hubiese oido hablar del realismo mágico sin tener muy claro en que consiste, . La sensación es de no haber sabido encontrar el tono de la novela. Perdemos seriedad sin ganar maravilla. Una pequeña decepción.
July 14, 2019
There was the kernel of a good story here but I'm not sure what happened, it didn't really amount to much overall. I found the English strangely pedestrian, the plot repetitive. There were a couple of interesting moments, like the encounter with the vampire countess. Things seemed to make more sense towards the end, with the introduction of the young Frenchman.
That seems to be the key to understanding the story, the gay subtext, which also puts the figure of Richard in sharper focus. I think the characterisation and the language are a bit superficial for the whole thing to be successful. I was bored in parts but it wasn't too difficult to get going, luckily the sections were short.
That seems to be the key to understanding the story, the gay subtext, which also puts the figure of Richard in sharper focus. I think the characterisation and the language are a bit superficial for the whole thing to be successful. I was bored in parts but it wasn't too difficult to get going, luckily the sections were short.
January 10, 2021
The legend of Richard the Lion-Heart and his troubadour Blondel is here crafted into an unusual but affecting story centred on Blondel himself through Richard’s capture, Blondel’s search for Richard and the return to England for a showdown with Prince John. Giants, unicorns, werewolves and vampires, amongst others, feature pretty plausibly and the impact of the giant was especially powerful. Blondel and Richard are fascinating figures, all characters are realistic and the medieval mindset is vividly captured
October 22, 2020
Novela historica sobre el secuestro del rey Ricardo Corazón de León que narra el viaje de su trovador Blondel hasta encontrarlo y la posterior guerra contra su hermano Juan.
Me recuerda a El rey Arturo por su carácter fantástico al aparecer seres mitológicos como gigantes, vampiras, unicornios...pero sin dejar de ser una novela historica y no fantástica.
En ocasiones hace una sutíl crítica a la Iglesia y a su moral.
En general me ha parecido un libro distraído.
Me recuerda a El rey Arturo por su carácter fantástico al aparecer seres mitológicos como gigantes, vampiras, unicornios...pero sin dejar de ser una novela historica y no fantástica.
En ocasiones hace una sutíl crítica a la Iglesia y a su moral.
En general me ha parecido un libro distraído.
December 25, 2017
Se lleva una sola estrella porque no me ha gustado. Nada de esos horrorosos cuya lectura se convierte en un suplicio. No es un mal libro pero pensando en si de verdad me gustó ni tan siquiera es un “It was OK” de dos estrellas. Simplemente no es mi libro y no me ha gustado.
March 31, 2018
Complete fantasy/fairytale. A confusing but fun mix of fantastical elements like giants, vampires, witches and werewolves thrown in with poetry and philosophy. Not a historical novel by any means, except that King Richard was a real man and he was captured.
May 9, 2019
I really liked this book. I never read anything by Gore Vidal before, but his writing style is very smooth and the story made me laugh various times. It is pretty light reading and perhaps not a great literary event, but it helped that I liked the historical setting.
June 30, 2017
a retelling of the Legend of King Richard the Lion Hearted; with werewolves, dragons, Vampires, giants, and a unicorn all thrown in the mix
June 7, 2023
enjoyable and interesting "memoir" with lots of historical details and some fantasy elements
December 26, 2024
Loved this. A very enjoyable historic tale well written.
July 5, 2025
it grew on me by the end. it had the potential to be a lot richer and deeper but never quite reached it. also i know nothing about this period of history so i can’t speak on the accuracy at all.
September 17, 2025
Gore Vidal is my favourite novelist. And this is my favourite of his early novels. I can't imagine anyone reading this and not enjoying it.
September 13, 2012
3.5 stars.
I wasn't sure what to expect from this book, a slim little novel from literary great Gore Vidal that promised an old fashioned adventure from a time of knights and dragons. In general the real "literary" writers tend to leave me cold, but I figured you can't go too far wrong with knights, a prisoner king and adventure.
For the most part, this was a pretty good straightforward historical fiction tale. When King Richard the Lionheart is captured by enemies, his friend and troubadour Blondel searches for him across the wilds of Europe. With the main character spending so much time alone traipsing through enchanted forests and treacherous villages, we are prone to long stretches of musings about the essential meanings of life and death, time, nature, existence. Vidal shines there, with lovely passages of poetic thoughts elegantly presented. At times this can be a tad tedious.
Sprinkled throughout this perfectly fine narrative are jarring encounters with the supernatural. A dragon attacks the king's party as they travel though the forest. Werewolf bandits, vampires, and other magic seem out of place in the simple world of the first chapters. I am sure English professors and the like have many theories as to the symbolic meanings of these creatures, as they do tend to scream of Literary Significance.
Overall, a good tale, told with some nice flair. Bonus points for a cameo by my favorite forest archer.
I wasn't sure what to expect from this book, a slim little novel from literary great Gore Vidal that promised an old fashioned adventure from a time of knights and dragons. In general the real "literary" writers tend to leave me cold, but I figured you can't go too far wrong with knights, a prisoner king and adventure.
For the most part, this was a pretty good straightforward historical fiction tale. When King Richard the Lionheart is captured by enemies, his friend and troubadour Blondel searches for him across the wilds of Europe. With the main character spending so much time alone traipsing through enchanted forests and treacherous villages, we are prone to long stretches of musings about the essential meanings of life and death, time, nature, existence. Vidal shines there, with lovely passages of poetic thoughts elegantly presented. At times this can be a tad tedious.
Sprinkled throughout this perfectly fine narrative are jarring encounters with the supernatural. A dragon attacks the king's party as they travel though the forest. Werewolf bandits, vampires, and other magic seem out of place in the simple world of the first chapters. I am sure English professors and the like have many theories as to the symbolic meanings of these creatures, as they do tend to scream of Literary Significance.
Overall, a good tale, told with some nice flair. Bonus points for a cameo by my favorite forest archer.
May 23, 2013
The 13th-century legend of the troubadour Blondel's search to find his imprisoned liege and friend, Richard the Lionhearted has been told many times many ways. Citing his boyhood enjoyment of the legend, Vidal takes his own stab at it, and is quite successful. Following the Third Crusade, Richard and his entourage were forced ashore somewhere in the Adriatic (in Vidal's version, near the Croatian port of Zadar) and split up. Incognito, Richard and three of his knights, including Blondel, make their way across central Europe, only for him to fall into the hands of his enemy, Duke Leopold of Austria. This action takes up the first third of the book.
In the middle third, Blondel is separated from Richard and goes on a quest to locate his liege lord so that he can bear the news of his capture to his court and have him freed (although in real life, his capture and location were well known). This middle section is a great series of picaresque vignettes, as Vidal introduces droll versions of werewolves, voracious women, and even a vampire. Then the melancholy final third of the book sees Blondel acquire a mentee, make his way to Richard's court, and eventually reunite with him to do battle with his brother John near Nottingham.
It's a quick read in which Vidal is clearly having fun with the form and time period, but in a way that's very assured. There's a good deal of depth and texture to Blondel's search, which is literally for his friend, but thematically much grander.
In the middle third, Blondel is separated from Richard and goes on a quest to locate his liege lord so that he can bear the news of his capture to his court and have him freed (although in real life, his capture and location were well known). This middle section is a great series of picaresque vignettes, as Vidal introduces droll versions of werewolves, voracious women, and even a vampire. Then the melancholy final third of the book sees Blondel acquire a mentee, make his way to Richard's court, and eventually reunite with him to do battle with his brother John near Nottingham.
It's a quick read in which Vidal is clearly having fun with the form and time period, but in a way that's very assured. There's a good deal of depth and texture to Blondel's search, which is literally for his friend, but thematically much grander.
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