After the publication of his latest book, The Lost Symbol, the phrase "Dan Brown has done it again," may require further clarification.
Brown retains his recurrent protagonist, Harvard symbologist Robert Langdon, and sends him on an enigmatic journey, during which he must decipher clues, save a friend, and work with a brainy female sidekick -- sound familiar?
Rather than provide a fresh follow-up to its rather galvanizing predecessors, The Da Vinci Code and Angels & Demons, this novel presents a redundantly modified and almost formulaic version of their plots. Even after the first few pages, it becomes obvious that Brown indeed has done it. Again.
This time, the action occurs closer to home, in Washington, D.C. Langdon receives an unexpected phone call from the office assistant of his beloved mentor, Peter Solomon, summoning him to deliver a speech in the U. S. Capitol Building. But upon arriving there, he discovers that no such lecture has been scheduled. The same office assistant then reveals himself via phone to be the book's evil antagonist, confesses to having kidnapped Solomon, a distinguished Mason, to forcefully uncover Masonic secrets, and tells Langdon that he must help him find a lost portal in order to save his mentor's life. Once Solomon's severed right hand appears -- along with eminent scientist Katherine Solomon, Peter's sister -- the plot delves into these powerful secrets, ancient symbols and other obscure mysteries. Looks like a job for Robert Langdon.
Acknowledging Brown's redundancy should not communicate that The Lost Symbol is boring -- on the contrary, the plot sweeps along with suspense and abounds with cliffhangers. But one must recognize that plot does not constitute a good read by itself. Brown's prose doesn't do justice for the potentially interesting plot he proffers.
First, the style is too easy and unchallenging, encouraging the reader to observe passively, as if an unconcerned bystander. Further, while no fault exists in occasionally using different cases for prose writing, Brown tends to overuse italics to the point of distraction. (This comprises no trivial point; seeing them on almost every page can become quite vexing. Really.)
Additionally, his characterization seems clumsy and at times relies too much on stereotypes, failing to develop each person to an appropriate level of human complexity. The brilliant protagonist, the wicked genius/maniac, the helpful sidekick, the beloved mentor, the tough boss and so on: All appear to depend on the category for which they are designated.
In the end, however, it is likely that if you have read and enjoyed Brown's past novels, you may delight in The Lost Symbol. Similarly, if you haven't enjoyed them, this book may be better left alone. For neutral readers, the novel will provide a few hours' entertainment, but ultimately, its redundancy and shortcomings subjugate it to other books out there on the shelves.
Grade: C-
