Pillars of the earth / Ken Follett.

Enhanced descriptions from Syndetics:

Ken Follett is known worldwide as the master of split-second suspense, but his most beloved and bestselling book tells the magnificent tale of a twelfth-century monk driven to do the seemingly impossible: build the greatest Gothic cathedral the world has ever known.

Everything readers expect from Follett is here: intrigue, fast-paced action, and passionate romance. But what makes The Pillars of the Earth extraordinary is the time--the twelfth century; the place--feudal Engl∧ and the subject--the building of a glorious cathedral. Follett has re-created the crude, flamboyant England of the Middle Ages in every detail. The vast forests, the walled towns, the castles, and the monasteries become a familiar landscape. Against this richly imagined and intricately interwoven backdrop, filled with the ravages of war and the rhythms of daily life, the master storyteller draws the reader irresistibly into the intertwined lives of his characters--into their dreams, their labors, and their loves: Tom, the master builder; Aliena, the ravishingly beautiful noblewoman; Philip, the prior of Kingsbrid≥ Jack, the artist in sto≠ and Ellen, the woman of the forest who casts a terrifying curse. From humble stonemason to imperious monarch, each character is brought vividly to life.

The building of the cathedral, with the almost eerie artistry of the unschooled stonemasons, is the center of the drama. Around the site of the construction, Follett weaves a story of betrayal, revenge, and love, which begins with the public hanging of an innocent man and ends with the humiliation of a king.

At once a sensuous and endearing love story and an epic that shines with the fierce spirit of a passionate age, The Pillars of the Earth is without a doubt Ken Follett's masterpiece.

Excerpt provided by Syndetics

The Pillars of the Earth Chapter One In a broad valley, at the foot of a sloping hillside, beside a clear bubbling stream, Tom was building a house. The walls were already three feet high and rising fast. The two masons Tom had engaged were working steadily in the sunshine, their trowels going scrape , slap and then tap , tap while their laborer sweated under the weight of the big stone blocks. Tom's son Alfred was mixing mortar, counting aloud as he scooped sand onto a board. There was also a carpenter, working at the bench beside Tom, carefully shaping a length of beech wood with an adz. Alfred was fourteen years old, and tall like Tom. Tom was a head higher than most men, and Alfred was only a couple of inches less, and still growing. They looked alike, too: both had light-brown hair and greenish eyes with brown flecks. People said they were a handsome pair. The main difference between them was that Tom had a curly brown beard, whereas Alfred had only a fine blond fluff. The hair on Alfred's head had been that color once, Tom remembered fondly. Now that Alfred was becoming a man, Tom wished he would take a more intelligent interest in his work, for he had a lot to learn if he was to be a mason like his father; but so far Alfred remained bored and baffled by the principles of building. When the house was finished it would be the most luxurious home for miles around. The ground floor would be a spacious undercroft, for storage, with a curved vault for a ceiling, so that it would not catch fire. The hail, where people actually lived, would be above, reached by an outside staircase, its height making it hard to attack and easy to defend. Against the hail wall there would be a chimney, to take away the smoke of the fire. This was a radical innovation: Tom had only ever seen one house with a chimney, but it had struck him as such a good idea that he was determined to copy it. At one end of the house, over the hall, there would be a small bedroom, for that was what earls' daughters demanded nowadays--they were too fine to sleep in the hall with the men and the serving wenches and the hunting dogs. The kitchen would be a separate building, for every kitchen caught fire sooner or later, and there was nothing for it but to build them far away from everything else and put up with lukewarm food. Tom was making the doorway of the house. The doorposts would be rounded to look like columns--a touch of distinction for the noble newlyweds who were to live here. With his eye on the shaped wooden template he was using as a guide, Tom set his iron chisel obliquely against the stone and tapped it gently with the big wooden hammer. A small shower of fragments fell away from the surface, leaving the shape a little rounder. He did it again. Smooth enough for a cathedral. He had worked on a cathedral once--Exeter. At first he had treated it like any other job. He had been angry and resentful when the master builder had warned him that his work was not quite up to standard: he knew himself to be rather more careful than the average mason. But then he realized that the walls of a cathedral had to be not just good, but perfect . This was because the cathedral was for God, and also because the building was so big that the slightest lean in the walls, the merest variation from the absolutely true and level, could weaken the structure fatally. Tom's resentment turned to fascination. The combination of a hugely ambitious building with merciless attention to the smallest detail opened Tom's eyes to the wonder of his craft. He learned from the Exeter master about the importance of proportion, the symbolism of various numbers, and the almost magical formulas for working out the correct width of a wall or the angle of a step in a spiral staircase. Such things captivated him. He was surprised to learn that many masons found them incomprehensible. After a while Tom had become the master builder's right-hand man, and that was when he began to see the master's shortcomings. The man was a great craftsman and an incompetent organizer. He was completely baffled by the problems of obtaining the right quantity of stone to keep pace with the masons, making sure that the blacksmith made enough of the right tools, burning lime and carting sand for the mortar makers, felling trees for the carpenters, and getting enough money from the cathedral chapter to pay for everything. If Tom had stayed at Exeter until the master builder died, he might have become master himself; but the chapter ran out of money--partly because of the master's mismanagement--and the craftsmen had to move on, looking for work elsewhere. Tom had been offered the post of builder to the Exeter castellan, repairing and improving the city's fortifications. It would have been a lifetime job, barring accidents. But Tom had turned it down, for he wanted to build another cathedral. His wife, Agnes, had never understood that decision. They might have had a good stone house, and servants, and their own stables, and meat on the table every dinnertime; and she had never forgiven Tom for turning down the opportunity. She could not comprehend the irresistible attraction of building a cathedral: the absorbing complexity of organization, the intellectual challenge of the calculations, the sheer size of the walls, and the breathtaking beauty and grandeur of the finished building. Once he had tasted that wine, Tom was never satisfied with anything less. That had been ten years ago. Since then they had never stayed anywhere for very long. He would design a new chapter house for a monastery, work for a year or two on a castle, or build a town house for a rich merchant; but as soon as he had some money saved he would leave, with his wife and children, and take to the road, looking for another cathedral. The Pillars of the Earth . Copyright © by Ken Follett. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold. Excerpted from The Pillars of the Earth by Ken Follett All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

A radical departure from Follett's novels of international suspense and intrigue, this chronicles the vicissitudes of a prior, his master builder, and their community as they struggle to build a cathedral and protect themselves during the tumultuous 12th century, when the empress Maud and Stephen are fighting for the crown of England after the death of Henry I. The plot is less tightly controlled than those in Follett's contemporary works, and despite the wealth of historical detail, especially concerning architecture and construction, much of the language as well as the psychology of the characters and their relationships remains firmly rooted in the 20th century. This will appeal more to lovers of exciting adventure stories than true devotees of historical fiction. Literary Guild dual main selection.-- Cynthia Johnson Whealler, Cary Memorial Lib., Lexington, Mass. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

Tom Builder's dream is to build a cathedral, but in the meantime, he must scrounge about to find a lord that will hire him. His search pulls him and his family into the politics of 12th-century England, as different lords vie to gain control of the throne in the wake of the recently deceased king. Prior Phillip, a man raised in the monastery since childhood, also finds himself drafted into the brewing storm as he must protect the interests of a declining church. Richard E. Grant seduces readers early on with a soft and deliberate voice that is like a loud whisper. However, his full range quickly reveals itself as he delves into characters with animated voices that exert their true essence. Even throughout the narrative, Grant musters a lively voice that imbues energy into the story. The only shortcoming is that the abridgment of Follett's 1989 novel proves to be too choppy. Though the story appears complete, there still remain abrupt moments throughout the tale. Penguin Audio's unabridged version is read by John Lee and runs 41 hours. (Dec.) (c) Copyright PWxyz, LLC. All rights reserved

Booklist Review

A mystifying puzzle involving the execution of an innocent man is interwoven into this monumental story of medieval intrigue and ingenuity.

Kirkus Book Review

Here, Follett sets the thrillers aside for a long, steady story about building a cathedral in 12th-century England. Bloodthirsty or adventure-crazed Follett readers will be frustrated, but anyone who has ever been moved by the splendors of a fine church will sink right into this highly detailed but fast-moving historical work--a novel about the people and skills needed to put up an eye-popping cathedral in the very unsettled days just before the ascension of Henry II. The cathedral is the brainchild of Philip, prior of the monastery at Kingsbridge, and Tom, an itinerant master mason. Philip, shrewd and ambitious but genuinely devout, sees it as a sign of divine agreement when his decrepit old cathedral burns on the night that Tom and his starving family show up seeking shelter. Actually, it's Tom's clever stepson Jack who has stepped in to carry out God's will by secretly torching the cathedral attic, but the effect is the same. Tom gets the commission to start the rebuilding--which is what he has wanted to do more than anything in his life. Meanwhile, however, the work is complicated greatly by local politics. There is a loathsome baron and his family who have usurped the local earldom and allied themselves with the powerful, cynical bishop--who is himself sinfully jealous of Philip's cathedral. There are the dispossessed heirs to earldom, a beautiful girl and her bellicose brother, both sworn to root out the usurpers. And there is the mysterious Ellen, Tom's second wife, who witnessed an ancient treachery that haunts the bishop, the priory, and the vile would-be earl. The great work is set back, and Tom is killed in a raid by the rivals. It falls to young Jack to finish the work. Thriller writing turns out to be pretty good training, since Follett's history moves like a fast freight train. Details are plenty, but they support rather than smother. It's all quite entertaining and memorable. Copyright ©Kirkus Reviews, used with permission.