Dan Brown’s The Lost Symbol is the D-Code but in Washington, D.C.

ARTS-BROWNI want to heartily thank Janet Maslin of The New York Times from saving me the trouble of reading Dan Brown’s latest historical-consipiracy thriller The Lost Symbol.  That is, of course, unless I get a strong bought of constipation and have to make friendly with long boring stretches on the can: “Too many popular authors (Thomas Harris) have followed huge hits (“The Silence of the Lambs”) with terrible embarrassments (“Hannibal”). Mr. Brown hasn’t done that. Instead, he’s bringing sexy back to a genre that had been left for dead.”

Ugh, really?  I think I just threw up a little at the thought of Dan Brown listening to Justin Timberlake while writing his latest novel. 

“The new book clicks even if at first it looks dangerously like a clone. Here come another bizarre scene in a famous setting (the Capitol, not the Louvre), another string of conspiratorial secrets and another freakish-looking, masochistic baddie (tattooed muscleman, not albino monk) bearing too much resemblance to a comic-book villain. “If they only knew my power,” thinks this year’s version, a boastful psycho and cipher calling himself Mal’akh. “Tonight my transformation will be complete.””

Paging Buffalo Bill, paging Buffalo Bill, someone is stealing your transformation meme.  If you do want to buy the book, you can do so like everyone else tomorrow morning or whenever.  It’s not going anywhere.  The book is going to fester like a boil. 

Also?  Don’t be the least bit surprised if I buy a copy, read it on the john and then come back here with a regretable, “ohmygoditsthebestfuckingbookintheentireworldyouhavetoreadthiswritenow” type of review.  Just sayin’.

Comments on this entry are closed.

  • rob breyer September 24, 2009, 11:43 am

    Brown's a skillful enough writer, but the plots in D-Code and Angels and Demons was so dumb it never captured my fancy. A guy that I think out-Browns Brown is Steven Berry (The Amber Room, and more). His books have my favorite feature of historical mysteries, the Author's Notes at the end where you find out that a few of the most ludicrous things you just read ACTUALLY EXIST. The Gears do this brilliantly from a cultural anthropology standpoint in their First North Americans series.

    William Dietrich has combined the genre with a Flashman type lead character named Ethan Gage. His current book, the horribly titled The Dakota Cipher, has Gage nailing Napoleon's sister in Paris, meeting Astor in New York City, preceding Lewis and Clark into the Western wilderness, and being pursued by murderous acolytes of the Egyptian Rite. Incredulity threatens to choke you by the time you get to the end, and then you find those wonderful after notes.

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