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ISSN 1409-6900 | UDK 82+7     Blesok no. 111 | volume  | January, 2017



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                     Peer-reviewed journal
Blesok no. 111January, 2017
Reviews

Numero Zero – Eco’s Last Rose or the Fading Away of the Mysterious Flame

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p. 1
Milan Damjanoski

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Numero Zero – Eco’s Last Rose or the Fading Away of the Mysterious Flame

Translated by the author
      
    Umberto Eco is not only one of the seminal writers, but is also one of the seminal intellectuals of the 20th century. There’s no need to talk in length about his contributions to the fields of literature and semiology, as well as about the impact of his work on countless generations in the second half of the 20th century. His encyclopedic knowledge, renaissance curiosity and openness to all aspects of modern life are reflected in the multitude of genres in which he tried his pen during his life. This is attested by the fact that he was a productive writer to the end, as if all the knowledge that he had accumulated during his rich and fruitful life as a scholar and writer could never cease combining, communicating and creating new meanings, i.e. new stories. His last book Numero Zero was published in 2015, only a year before he departed from this world. The Macedonian reading public, thanks to the efforts of the publishing house Ars Lamina, had the opportunity almost at the same time as the rest of the world to read his last ever book in the translation by Maria Grazia Cvetkovska. Thus, we thought it would be interesting to check out whether Eco has maintained his usual high writing and intellectual standards in his last document as a writer.  
    
    The Echo of the Novels Before

    Even during the first reading, Eco’s approach to the subject of Numero Zero seems quite familiar to us. One can make various parallels to his previous novels, as well to many of his more essayistic texts. Yet, the novel to which it is most closely connected and it most resembles is Foucault’s Pendulum, whether it is because of the similar theme, the modes of the genres and narrative techniques it uses, or the similarities in the characters that populate both novels. This is not so odd as it might seem at first, having in mind Eco’s own statement in a recent interview that he had already the idea for the novel at the time of the publication of the Foucault’s Pendulum, though obviously putting it onto paper was left for a more convenient time in the future.
    We can see that all the best features of Eco’ novels are also present in Numero Zero, but






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