Umberto Eco
Il cimitero di Praga

Eco is Eco, a necessary legend for a legend that has never let us down.
The Prague Cemetery, a novel played out with citations, one of which recurrent in our author's works, the Protocols of the Elders of Zion, also richly recalled in Foucault's Pendulum.
It all begins with the story of the Templars and their legendary end, around the massacre willed by Philip the Fair and around the other legend of the Rosicrucians and the birth of Freemasonry, the characters are constructed.
From that birth onwards, and the subsequent modification into an occultist and Templar version, the characters' intrigue unfolds.
A Captain Simonini, actively involved in drafting the Protocols, is the grandfather of the main character, indicating in the Templars and thus in the Freemasons, the architects of the French revolutionary movements.
Naturally, the book is a fictional fraud, the grandson, following in his grandfather’s footsteps, will learn the art of forgery from the notary Rebaudengo, which will be a source of income and an additional reason to change identity if circumstances require it.
After the Expedition of the Thousand, with citations from Dumas, Bixio, with a clear Masonic intention to conquer the Kingdom of the Two Sicilies, for interests not exactly crystal-clear about and on the Savoy, then conflicting with Mazzinian ideas.
The plot twist, with the interaction of the Russian secret services, moves the scene to Paris, the contact with the Soviets allows our protagonist to recall the readings on cemetery rites and thus, the Prague cemetery becomes a stage for Jews ready to govern the world.
To give the novel a single characterization is reductive and unorthodox, the narrative effort is clearly directed toward the explanation of how, in recent times, certain theses have been heavily drawn upon to justify the massacres of concentration camps and widespread anti-Semitism.
Underlying emerges also the "hunt" for the different, for the non-aligned, the author manifests this theory in the change of attire that Simone carries out while walking through a corridor, a scenographic and psychological suggestion on how the same person can be multiple people, if we wish, a nod to Pirandello's One, No One, and One Hundred Thousand or Right You Are (If You Think So)