The Lost Symbol (Robert Langdon)
The Lost Symbol (Robert Langdon) book cover

The Lost Symbol (Robert Langdon)

Hardcover – Illustrated, September 15, 2009

Price
$9.91
Format
Hardcover
Pages
510
Publisher
Doubleday
Publication Date
ISBN-13
978-0385504225
Dimensions
6.25 x 1.58 x 9.5 inches
Weight
1.72 pounds

Description

Let's start with the question every Dan Brown fan wants answered: Is The Lost Symbol as good as The Da Vinci Code ? Simply put, yes. Brown has mastered the art of blending nail-biting suspense with random arcana (from pop science to religion), and The Lost Symbol is an enthralling mix. And what a dazzling accomplishment that is, considering that rabid fans and skeptics alike are scrutinizing every word. The Lost Symbol begins with an ancient ritual, a shadowy enclave, and of course, a secret. Readers know they are in Dan Brown territory when, by the end of the first chapter, a secret within a secret is revealed. To tell too much would ruin the fun of reading this delicious thriller, so you will find no spoilers here. Suffice it to say that as with many series featuring a recurring character, there is a bit of a formula at work (one that fans will love). Again, brilliant Harvard professor Robert Langdon finds himself in a predicament that requires his vast knowledge of symbology and superior problem-solving skills to save the day. The setting, unlike other Robert Langdon novels, is stateside, and in Brown's hands Washington D.C. is as fascinating as Paris or Vatican City (note to the D.C. tourism board: get your "Lost Symbol" tour in order). And, as with other Dan Brown books, the pace is relentless, the revelations many, and there is an endless parade of intriguing factoids that will make you feel like you are spending the afternoon with Robert Langdon and the guys from Mythbusters . Nothing is as it seems in a Robert Langdon novel, and The Lost Symbol itself is no exception--a page-turner to be sure, but Brown also challenges his fans to open their minds to new information. Skeptical? Imagine how many other thrillers would spawn millions of Google searches for noetic science, superstring theory, and Apotheosis of Washington . The Lost Symbol is brain candy of the best sort--just make sure to set aside time to enjoy your meal. --Daphne Durham More from Dan Brown The Da Vinci Code Angels & Demons Deception Point Digital Fortress From Publishers Weekly Starred Review. After scores of Da Vinci Code knockoffs, spinoffs, copies and caricatures, Brown has had the stroke of brilliance to set his breakneck new thriller not in some far-off exotic locale, but right here in our own backyard. Everyone off the bus, and welcome to a Washington, D.C., they never told you about on your school trip when you were a kid, a place steeped in Masonic history that, once revealed, points to a dark, ancient conspiracy that threatens not only America but the world itself. Returning hero Robert Langdon comes to Washington to give a lecture at the behest of his old mentor, Peter Solomon. When he arrives at the U.S. Capitol for his lecture, he finds, instead of an audience, Peter's severed hand mounted on a wooden base, fingers pointing skyward to the Rotunda ceiling fresco of George Washington dressed in white robes, ascending to heaven. Langdon teases out a plethora of clues from the tattooed hand that point toward a secret portal through which an intrepid seeker will find the wisdom known as the Ancient Mysteries, or the lost wisdom of the ages. A villain known as Mal'akh, a steroid-swollen, fantastically tattooed, muscle-bodied madman, wants to locate the wisdom so he can rule the world. Mal'akh has captured Peter and promises to kill him if Langdon doesn't agree to help find the portal. Joining Langdon in his search is Peter's younger sister, Kathleen, who has been conducting experiments in a secret museum. This is just the kickoff for a deadly chase that careens back and forth, across, above and below the nation's capital, darting from revelation to revelation, pausing only to explain some piece of wondrous, historical esoterica. Jealous thriller writers will despair, doubters and nay-sayers will be proved wrong, and readers will rejoice: Dan Brown has done it again. From Bookmarks Magazine "Together again," proclaimed the Wall Street Journal , "an exciting thriller and a tedious sermon"—a view shared by many critics, who remarked on Brown's ability to build suspense into a dizzying, ever-accelerating narrative through short chapters and breathless cliffhangers, but panned his philosophical ruminations and his "habit of turning characters into docents" ( Washington Post ). Several critics also noted that, while The Lost Symbol shares many of The Da Vinci Code 's shortcomings, including melodramatic prose, stock characters, and far-fetched plot devices, it lacks the former novel's emotional punch and audacity. Those who appreciated Symbol most were able to overlook its flaws and lose themselves in the story. Da Vinci Code fans may experience some déjà vu, but they should find this latest novel just as entertaining. “Impossible to put down.... Another mind-blowing Robert Langdon story.”xa0— The New York Times “Robert Langdon remains a terrific hero, a bookish intellectual who’s cool in a crisis and quick on his feet.... The codes are intriguing, the settings present often-seen locales in a fresh light, and Brown keeps the pages turning.” — Entertainment Weekly “Thrilling in the extreme, a definite page-flipper.” — New York Daily News “[The] Indiana Jones of intellectuals, Robert Langdon, rides again.... Revelations connecting faith and science...add dimension to this page-turner’s thrills.” — People “Call it Brownian motion: a comet-tail ride of beautifully spaced reveals and a socko unveiling of the killer’s true identity.” — Washington Post “The wait is over. The Lost Symbol is here—and you don’t have to be a Freemason to enjoy it.... Thrilling and entertaining, like the experience on a roller coaster.” — Los Angeles Times “A roaring ride.... A caper filled with puzzles, grids, symbols, pyramids and a secret that can bestow ‘unfathomable power.’” — San Francisco Chronicle “A fascinating pleasure.... Upends our usual assumptions about the world we think we know.” — Newsweek “Dan Brown is a master of the breathless, puzzle-driven thriller.” — Richmond Times-Dispatch DAN BROWN is the author of numerous #1 international bestsellers, including The Da Vinci Code, Inferno , The Lost Symbol , Angels & Demons , Deception Point, and Digital Fortress . Excerpt. © Reprinted by permission. All rights reserved. PrologueHouse of the Temple8:33 P.M. The secret is how to die.Since the beginning of time, the secret had always been how to die.The thirty-four-year-old initiate gazed down at the human skull cradled in his palms. The skull was hollow, like a bowl, filled with bloodred wine. Drink it, he told himself. You have nothing to fear. As was tradition, he had begun this journey adorned in the ritualistic garb of a medieval heretic being led to the gallows, his loose-fitting shirt gaping open to reveal his pale chest, his left pant leg rolled up to the knee, and his right sleeve rolled up to the elbow. Around his neck hung a heavy rope noose—a "cable-tow" as the brethren called it. Tonight, however, like the brethren bearing witness, he was dressed as a master.The assembly of brothers encircling him all were adorned in their full regalia of lambskin aprons, sashes, and white gloves. Around their necks hung ceremonial jewels that glistened like ghostly eyes in the muted light. Many of these men held powerful stations in life, and yet the initiate knew their worldly ranks meant nothing within these walls. Here all men were equals, sworn brothers sharing a mystical bond.As he surveyed the daunting assembly, the initiate wondered who on the outside would ever believe that this collection of men would assemble in one place . . . much less this place. The room looked like a holy sanctuary from the ancient world.The truth, however, was stranger still. I am just blocks away from the White House. This colossal edifice, located at 1733 Sixteenth Street NW in Washington, D.C., was a replica of a pre-Christian temple—the temple of King Mausolus, the original mausoleum . . . a place to be taken after death. Outside the main entrance, two seventeen-ton sphinxes guarded the bronze doors. The interior was an ornate labyrinth of ritualistic chambers, halls, sealed vaults, libraries, and even a hollow wall that held the remains of two human bodies. The initiate had been told every room in this building held a secret, and yet he knew no room held deeper secrets than the gigantic chamber in which he was currently kneeling with a skull cradled in his palms. The Temple Room. This room was a perfect square. And cavernous. The ceiling soared an astonishing one hundred feet overhead, supported by monolithic columns of green granite. A tiered gallery of dark Russian walnut seats with hand-tooled pigskin encircled the room. A thirty-three-foot-tall throne dominated the western wall, with a concealed pipe organ opposite it. The walls were a kaleidoscope of ancient symbols . . . Egyptian, Hebraic, astronomical, alchemical, and others yet unknown.Tonight, the Temple Room was lit by a series of precisely arranged candles. Their dim glow was aided only by a pale shaft of moonlight that filtered down through the expansive oculus in the ceiling and illuminated the room's most startling feature—an enormous altar hewn from a solid block of polished Belgian black marble, situated dead center of the square chamber. The secret is how to die, the initiate reminded himself."It is time," a voice whispered.The initiate let his gaze climb the distinguished white-robed figure standing before him. The Supreme Worshipful Master. The man, in his late fifties, was an American icon, well loved, robust, and incalculably wealthy. His once-dark hair was turning silver, and his famous visage reflected a lifetime of power and a vigorous intellect."Take the oath," the Worshipful Master said, his voice soft like falling snow. "Complete your journey."The initiate's journey, like all such journeys, had begun at the first degree. On that night, in a ritual similar to this one, the Worshipful Master had blindfolded him with a velvet hoodwink and pressed a ceremonial dagger to his bare chest, demanding: "Do you seriously declare on your honor, uninfluenced by mercenary or any other unworthy motive, that you freely and voluntarily offer yourself as a candidate for the mysteries and privileges of this brotherhood?""I do," the initiate had lied."Then let this be a sting to your consciousness," the master had warned him, "as well as instant death should you ever betray the secrets to be imparted to you."At the time, the initiate had felt no fear. They will never know my true purpose here. Tonight, however, he sensed a foreboding solemnity in the Temple Room, and his mind began replaying all the dire warnings he had been given on his journey, threats of terrible consequences if he ever shared the ancient secrets he was about to learn: Throat cut from ear to ear . . . tongue torn out by its roots . . . bowels taken out and burned . . . scattered to the four winds of heaven . . . heart plucked out and given to the beasts of the field— "Brother," the gray-eyed master said, placing his left hand on the initiate's shoulder. "Take the final oath."Steeling himself for the last step of his journey, the initiate shifted his muscular frame and turned his attention back to the skull cradled in his palms. The crimson wine looked almost black in the dim candlelight. The chamber had fallen deathly silent, and he could feel all of the witnesses watching him, waiting for him to take his final oath and join their elite ranks. Tonight, he thought, something is taking place within these walls that has never before occurred in the history of this brotherhood. Not once, in centuries. He knew it would be the spark . . . and it would give him unfathomable power. Energized, he drew a breath and spoke aloud the same words that countless men had spoken before him in countries all over the world. "May this wine I now drink become a deadly poison to me . . . should I ever knowingly or willfully violate my oath." His words echoed in the hollow space.Then all was quiet.Steadying his hands, the initiate raised the skull to his mouth and felt his lips touch the dry bone. He closed his eyes and tipped the skull toward his mouth, drinking the wine in long, deep swallows. When the last drop was gone, he lowered the skull.For an instant, he thought he felt his lungs growing tight, and his heart began to pound wildly. My God, they know! Then, as quickly as it came, the feeling passed.A pleasant warmth began to stream through his body. The initiate exhaled, smiling inwardly as he gazed up at the unsuspecting gray-eyed man who had foolishly admitted him into this brotherhood's most secretive ranks. Soon you will lose everything you hold most dear. Chapter 1 The Otis elevator climbing the south pillar of the Eiffel Tower was overflowing with tourists. Inside the cramped lift, an austere businessman in a pressed suit gazed down at the boy beside him. "You look pale, son. You should have stayed on the ground.""I'm okay . . ." the boy answered, struggling to control his anxiety. "I'll get out on the next level." I can't breathe. The man leaned closer. "I thought by now you would have gotten over this." He brushed the child's cheek affectionately.The boy felt ashamed to disappoint his father, but he could barely hear through the ringing in his ears. I can't breathe. I've got to get out of this box! The elevator operator was saying something reassuring about the lift's articulated pistons and puddled-iron construction. Far beneath them, the streets of Paris stretched out in all directions. Almost there, the boy told himself, craning his neck and looking up at the unloading platform. Just hold on. As the lift angled steeply toward the upper viewing deck, the shaft began to narrow, its massive struts contracting into a tight, vertical tunnel."Dad, I don't think—"Suddenly a staccato crack echoed overhead. The carriage jerked, swaying awkwardly to one side. Frayed cables began whipping around the carriage, thrashing like snakes. The boy reached out for his father."Dad!"Their eyes locked for one terrifying second.Then the bottom dropped out.Robert Langdon jolted upright in his soft leather seat, startling out of the semiconscious daydream. He was sitting all alone in the enormous cabin of a Falcon 2000EX corporate jet as it bounced its way through turbulence. In the background, the dual Pratt & Whitney engines hummed evenly."Mr. Langdon?" The intercom crackled overhead. "We're on final approach."Langdon sat up straight and slid his lecture notes back into his leather daybag. He'd been halfway through reviewing Masonic symbology when his mind had drifted. The daydream about his late father, Langdon suspected, had been stirred by this morning's unexpected invitation from Langdon's longtime mentor, Peter Solomon. The other man I never want to disappoint. The fifty-eight-year-old philanthropist, historian, and scientist had taken Langdon under his wing nearly thirty years ago, in many ways filling the void left by Langdon's father's death. Despite the man's influential family dynasty and massive wealth, Langdon had found humility and warmth in Solomon's soft gray eyes.Outside the window the sun had set, but Langdon could still make out the slender silhouette of the world's largest obelisk, rising on the horizon like the spire of an ancient gnomon. The 555-foot marble-faced obelisk marked this nation's heart. All around the spire, the meticulous geometry of streets and monuments radiated outward.Even from the air, Washington, D.C., exuded an almost mystical power.Langdon loved this city, and as the jet touched down, he felt a rising excitement about what lay ahead. The jet taxied to a private terminal somewhere in the vast expanse of Dulles International Airport and came to a stop.Langdon gathered his things, thanked the pilots, and stepped out of the jet's luxurious interior onto the foldout staircase. The cold January air felt liberating. Breathe, Robert, he thought, appreciating the wide-open spaces.A blanket of white fog crept across the runway, and Langdon had the sensation he was stepping into a marsh as he descended onto the misty tarmac."Hello! Hello!" a singsong British voice shouted from across the tarmac. "Professor Langdon?"Langdon looked up to see a middle-aged woman with a badge and clipboard hurrying toward him, waving happily as he approached. Curly blond hair protruded from under a stylish knit wool hat."Welcome to Washington, sir!"Langdon smiled. "Thank you.""My name is Pam, from passenger services." The woman spoke with an exuberance that was almost unsettling. "If you'll come with me, sir, your car is waiting."Langdon followed her across the runway toward the Signature terminal, which was surrounded by glistening private jets. A taxi stand for the rich and famous. "I hate to embarrass you, Professor," the woman said, sounding sheepish, "but you are the Robert Langdon who writes books about symbols and religion, aren't you?"Langdon hesitated and then nodded."I thought so!" she said, beaming. "My book group read your book about the sacred feminine and the church! What a delicious scandal that one caused! You do enjoy putting the fox in the henhouse!"Langdon smiled. "Scandal wasn't really my intention."The woman seemed to sense Langdon was not in the mood to discuss his work. "I'm sorry. Listen to me rattling on. I know you probably get tired of being recognized . . . but it's your own fault." She playfully motioned to his clothing. "Your uniform gave you away." My uniform? Langdon glanced down at his attire. He was wearing his usual charcoal turtleneck, Harris Tweed jacket, khakis, and collegiate cordovan loafers . . . his standard attire for the classroom, lecture circuit, author photos, and social events.The woman laughed. "Those turtlenecks you wear are so dated. You'd look much sharper in a tie!" No chance, Langdon thought. Little nooses. Neckties had been required six days a week when Langdon attended Phillips Exeter Academy, and despite the headmaster's romantic claims that the origin of the cravat went back to the silk fascalia worn by Roman orators to warm their vocal cords, Langdon knew that, etymologically, cravat actually derived from a ruthless band of "Croat" mercenaries who donned knotted neckerchiefs before they stormed into battle. To this day, this ancient battle garb was donned by modern office warriors hoping to intimidate their enemies in daily boardroom battles."Thanks for the advice," Langdon said with a chuckle. "I'll consider a tie in the future."Mercifully, a professional-looking man in a dark suit got out of a sleek Lincoln Town Car parked near the terminal and held up his finger. "Mr. Langdon? I'm Charles with Beltway Limousine." He opened the passenger door. "Good evening, sir. Welcome to Washington."Langdon tipped Pam for her hospitality and then climbed into the plush interior of the Town Car. The driver showed him the temperature controls, the bottled water, and the basket of hot muffins. Seconds later, Langdon was speeding away on a private access road. So this is how the other half lives. As the driver gunned the car up Windsock Drive, he consulted his passenger manifest and placed a quick call. "This is Beltway Limousine," the driver said with professional efficiency. "I was asked to confirm once my passenger had landed." He paused. "Yes, sir. Your guest, Mr. Langdon, has arrived, and I will deliver him to the Capitol Building by seven P.M. You're welcome, sir." He hung up.Langdon had to smile. No stone left unturned . Peter Solomon's attention to detail was one of his most potent assets, allowing him to manage his substantial power with apparent ease. A few billion dollars in the bank doesn't hurt either. Langdon settled into the plush leather seat and closed his eyes as the noise of the airport faded behind him. The U.S. Capitol was a half hour away, and he appreciated the time alone to gather his thoughts. Everything had happened so quickly today that Langdon only now had begun to think in earnest about the incredible evening that lay ahead. Arriving under a veil of secrecy, Langdon thought, amused by the prospect.Ten miles from the Capitol Building, a lone figure was eagerly preparing for Robert Langdon's arrival. Read more

Features & Highlights

  • #1 WORLDWIDE BESTSELLER • An intelligent, lightning-paced thriller s
  • et within the hidden chambers, tunnels, and temples of Washington, D.C.,
  • with surprises at every turn.
  • “Impossible to put down.... Another mind-blowing Robert Langdon story.” —
  • The New York Times
  • Famed Harvard symbologist Robert Langdon answers an unexpected summons to appear at the U.S. Capitol Building. His plans are interrupted when a disturbing object—artfully encoded with five symbols—is discovered in the building. Langdon recognizes in the find an ancient invitation into a lost world of esoteric, potentially dangerous wisdom. When his mentor Peter Solomon—a long-standing Mason and beloved philanthropist—is kidnapped, Langdon realizes that the only way to save Solomon is to accept the mystical invitation and plunge headlong into a clandestine world of Masonic secrets, hidden history, and one inconceivable truth ... all under the watchful eye of Dan Brown's most terrifying villain to date.

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Most Helpful Reviews

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A Fair Review and Some Advice

I want to be fair to Dan Brown.

Elitist literary critics say that Brown is not a good writer, and that his stories are bland. I personally think that if you manage to genuinely entertain and awe your audiences, then you have accomplished something worthy of reading. I also think that "The Da Vinci Code" was nearly an impossible act to follow. People will have all sorts of crazy expectations for your next book that you won't be able to fulfill. As such, I write this review as fair as I can, trying to assess it on its own merits, but comparisons are inevitable.

The Lost Symbol isn't a bad book, but it is a letdown. I didn't like this one for the same reason I didn't like Angels and Demons as much. Also, Brown doesn't advance the story at a good pace. A good two-thirds of the book (I'm not exaggerating, I counted the pages) was filled with variations on such a scene:

Character A: Have you heard of X?
Character B (usually Langdon): Yes, but I thought that was just a myth.
Character A shows or tells B something.
Character B reacts with shock.
Then, insert scenes of people walking from one place to another, being chased.
Then, insert the sentence "Suddenly everything made sense." At least for the next ten pages.
Repeat.

After reading this, I had to wonder whether Brown is a writer on Lost, where people can't seem to give straight answers, and where scenes never resolve any questions.

Here's my advice to Dan Brown:

1. Fire your editor. There were some whole passages, even chapters, that served no purpose other than to inflate your book to an unnecessary size. I don't mind reading big books, but I do mind reading through unnecessary words. Ch. 69, for example, is unnecessary. If your editor didn't ask you to take it out, then he should be fired. Sorry.

2. We don't need to know exactly how every character moves from one location to the next, which turn they took, what street they walked across. If it serves the plot, if the geography is important (as it was in Angels and Demons), then fine. Geography was crucial at certain moments in this book, but many times, the passages when you describe how someone moves from one part of a house to another part, what door they opened and closed, all that is boring and tedious.

3. Don't write your novel like a screenplay. Whether you've done it consciously or not, your short chapters read as if you had in mind exactly what camera shots you expect out of an inevitable movie adaptation. Leave that to the screenwriter. If they can adapt a book like "Naked Lunch," they can surely adapt your book as well. Write your novel as a novel.

4. Be careful of hubris. You're in a unique and rare position that, I'm sure, many authors dream of: your books will sell millions by default and you will get a multi-million dollar movie deal without question. Good for you! Some authors handle that well (e.g. J.K. Rowling), some don't (e.g. Stephen King, Michael Crichton). It's not that the latter are bad writers, but that they are capable of writing some really bad stuff. Having said that, I'm not saying that The Lost Symbol is bad, just that it needs to lose about 100-pages of unnecessary, repetitive scenes. Speaking of Crichton, the reason I stopped reading him is that he became too formulaic. All his books are about a bunch of mismatched experts going to some remote location and something goes wrong. Formula isn't bad per se. Rowling is formulaic too. Most of her books revolve around the Hogwarts school year, but she puts enough story in there to make it work. You should do more of that.

5. Know what you're good at. You know your technology, which makes your book authentic. You also know that your readers are likely to go Google a painting or artist you mentioned and be awed by what you described. That's great! I bet that also saves you the pain of having to request reprint permissions of artwork and such. Also, since most people don't know their history, let alone the etymology of words they use everyday, you have literally an endless supply of stories. That's what you're good at. I'd say, forget the science stuff. It's interesting, but, as with Angels and Demons, it's an awkward fit. I don't recall there being any modern science in The Da Vinci Code and I was fine with that.

6. Try a recurring character. Langdon is fine, but consider having a character or two that returns in subsequent books. Make them interesting, of course, and don't make them a love interest.

So, here's the good news. Dan Brown hasn't nuked the fridge, at least not for me. Also, now that this book is out in the open, readers are likely to give his next book a much fairer assessment. So, I look forward to reading that, but, I probably won't be buying it on the first day it's out.
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All Too Familiar...

Have to agree with many of the posters here. Too many cliched characters: the diminutive Japanese CIA lady straight out of "The Incredibles"; the tatooed protagonist just the albino from DVC in reverse; the evil Turkish prison guard from "Midnight Express," the wise religious man who sees with his hands...I could go on and on. Forget the so-called science. You can see the plot twists coming a mile away. Is there ANYONE who didn't know the true identity of the villain immediately? Or the location where it would all end? Or what was inside the box Langdon was given? But I think when it got to the "drowning" scene, I lost it completely. I simply could not believe he would re-create a scene from a 20-year-old movie.

What hasn't been mentioned here is the absolute idiocy of the characters' behavior. A brilliant scientist lets a stranger into her secret lab because she receives a TEXT message? Who wouldn't question that? By her own admission, her brother didn't even know how to text! The use of phone messages throughout is maddening. A major CIA director hears someone saying, "I'll be there in 20 minutes" and never questions that he might be lying? Langdon flies off at a moment's notice without any confirmation that the person he's speaking to represents the person he says he does? And SURE, I'll bring along this sacred thing that I've been told to keep hidden for years just because you say so! DB keeps using this same device over and over and it simply defies all sense. "Oh, well, this person says he's my brother's doctor--my brother who's been MISSING--so, sure, I'll just run right over there and have a chat with him." In a private home that looks nothing like a doctor's office. "Sure, I'll have some tea!" And why on EARTH would a wealthy and powerful man like Peter Solomon not have some kind of security around to begin with? Would the guard at his building really let a limousine pass through without seeing who was in the back seat? No video cameras anywhere to capture him carrying out an unconscious man? Too much...just, too much.

Plus the repetition. I wish someone would count the number of times Langdon says something like, "But the blah-blah is just blah-blah," only to be shown a few pages later that--OMG, I NEVER THOUGHT OF IT THAT WAY! After the fiftieth time it happens, wouldn't Langdon maybe keep his mouth shut or learn that things "aren't always what they seem"? And the ending. Without giving anything away, what exactly is the point of the pyramid and the secret codes and symbols if the answer is already known? Doesn't that make the entire plot pointless to begin with? It's not really such a big secret after all, is it? Why wouldn't everyone be screaming it from the rooftops instead of shrouding it in secrecy? I literally could go on and on. You could teach a course in senseless plot points based on this book.
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Fast-paced, but annoyingly manipulative and too long

The pages turned quickly, but this was in part because I found myself skimming the vast sections of religious philosophy, psuedo scientific mumbo-jumbo and pedantic exposition, all of which seemed to go on endlessly.

The book builds and builds until the shockings truths are finally revealed. Without disclosing any details, one of these shockers had been painfully obvious for some time and I was impatient for Brown to just get it over with. When the other shocker was revealed, my reaction was "so what".

I enjoyed the cliff-hanger chapter endings in Angels & Demons and The Da Vinci Code, but they quickly became annoying in "The Lost Symbol". Worse, much of the book felt like padding. The last 50 or so pages was like an infomercial -- the story is over, but wait, there's more! I kept hoping the book would have an interesting conclusion, but it ended with a wimper, not a bang.
252 people found this helpful
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The Further Adventures of Robert Langdon

When I have the luxury of time, I browse the shelves of a real bricks and sticks bookstore, collect a pile of books to take a closer look at and then settle into one of the comfy chairs so kindly provided by management for me to do so and start reading. With some books I need only read a page or two, with others the first couple of chapters. "Buy" and "don't buy" piles are made, money changes hands and I feel happy and excited about the adventures in store as I drive home.

*sigh* I love books...

My point? If I'd never heard of Dan Brown and if The Lost Symbol had been one of those books I decided to take a closer look at, it would have gone into the "don't buy" pile.

The use of "adorned" twice and "the skull cradled in his palms" three times in the 3 page prologue would have had me wincing a little and doubting the skill of both the writer and the editor. And I probably wouldn't have given it a chance.

But I have heard of Brown and I read the DaVinci Code. While it didn't convince me that Brown was an amazing writer, it did convince me that he could tell an entertaining tale; one that engaged my mind and made me curious about historical events I was previously only vaguely aware of. Some repeated phrases in The Lost Symbol's prologue weren't going to keep me from seeing if this story might be similarly engaging.

It is - nearly.

The Lost Symbol is as fast paced as The DaVinci Code and, while the subject matter didn't strike quite the same note of interest for me, I still found it engrossing. Brown (who seems to identify quite closely with his protagonist) continues to utilize the annoying device he used repeatedly in The DaVinci Code of telling us that someone has knowledge we need but refusing to reveal it to us for pages and pages. I managed to avoid letting that spoil my enjoyment.

I know very little about the Freemasons and have never previously heard of the Invisible College. Certainly, I don't have the knowledge to know how much Brown twisted history and fudged facts in The Lost Symbol. (I'm sure I'll be reading about every inaccuarcy in the next few days, though - over and over and over...) But, to be perfectly honest, I don't care. The Lost Symbol is a novel and I read it as such. For the historical events alluded to in the story that piqued my interest - and happily, there were a number of them - I can do my own research. Doing just that after reading The DaVinci Code was half the fun of that book. So, it could be argued that my enjoyment of The Lost Symbol, now that I've finished reading it, is just beginning

Is The Lost Symbol great literature? Alas, most would concede that it is not. But is it an entertaining read? Why yes, yes it is.
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Just like Ralphie's secret decoder

Do you remember the scene in "A Christmas Story" when Ralphie anxiously deciphers his secret message with his Little Orphan Annie secret decoder and all he comes up with is "Eat More Ovaltine?" I feel his pain.
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Previously Successful Formula Gone Bad

I was very excited when I saw that this book would be available for my Kindle. I'd be able to download it as soon as it was released, and I wouldn't have to wait in line at a bookstore or wait several days for deliverly like all of the suckers without a Kindle. That was the plan, but I learned my lesson. I would have saved myself a lot of pain if I had waited for the reviews to pour in.

What does one expect from a Dan Brown book? An ominious conspiracy, a threat to end the world as we know it, a relentless villain, a search for a McGuffin that requires the decoding of obscure clues, and a convoluted plot that ties all of these elements together. One doesn't expect good writing, but in The DaVinci Code and Angels and Demons, the books strengths were enough to overcome Mr. Brown's weak writing.

For the first few chapters, the Lost Symbol seemed as if it would be equally successful. However, as the pages wore on, it became apparent that much was missing. The conspiracy seemed more pathetic than ominous. In view of what has been happening in Washington D.C. recently, the threat to end the world as we know it seemed like it would be met with a shrug rather than a look of horror. And the villain, while certainly relentless, was driven only by irrational 'roid rage.

The biggest disappointment was the revelation of the McGuffin after all of the clues had been decoded. Robert Langdon, the expert on symbols who is the book's primary protagonist, could have discovered it by simply checking into his hotel, thereby saving himself and the rest of us a lot of time and effort.

When you reach the climax of the book (which puts an exclamation point on the irrationality of the villain), you will notice that there are quite a few pages remaining. Mr. Brown has managed to stuff those pages with religous apologetics and pseudo-scientific nonsense, and even masochists who were willing to read John Galt's monologue in Atlas Shrugged in it's entirety will not be able to bear the finale of The Lost Symbol.

The entire book is full of the stench of pseudo-science, and Robert Langdon was put into the role of skeptic. In addition to the many incidents of idiotic decisions made by Langdon and the other protaganists throughout the book, Langdon has to be the most ineffective skeptic in the history of the world. As the book's proponents of pseudo-science babble on, any reader will be virtually begging Langdon to ask the right question or raise the right objection, but there is no hope. Langdon is the ultimate in gullability.

Everybody has read versions of the religious apologetics that appear at the end of the book hundreds of time. But there is something new there. The conclusion of the apologetics is different from normal, and it will certainly be confusing to many Christians where the arguments went off the track. The characters were relieved at the end of the story - finally, there is hope in the world. I was relieved as well as soon as I pressed the Delete button.
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This Book Makes Zero Sense!

First, let me tell you what's positive about DB's latest: The nuggets of symbology, D.C. architecture, and history are great. For me, it was by far the best aspect of The Lost Symbol and I completely enjoyed learning about them.

Now, here is my list of things (in order of how much they irritated me) that ruined this book for me (SPOILERS!!!):

1. The ending is the anticlimactic ending to end them all. The entire plot revolves around the Ancient Mysteries. We are led to believe that it's the single most powerful thing on the planet. The fate of every character in the book is seemingly tied to it. The forefathers and old Masons concocted a prodigiously cryptic, complex, arcane system of codes to keep it secret and to make sure that it doesn't fall into the wrong hands. People in the story DIE because of it. And, drum roll please! The Ancient Mysteries turn out to be...the Bible. What?! All of this hoopla to protect something that millions of people have sitting on their shelves in the first place? This "secret" could have been published on the front page of every newspaper in the world with explicit instructions on how to obtain enlightenment and it still wouldn't have had that great of an impact overall; people would just continue to go on with their lives. What a disappointment.

2. We eventually find out why the CIA is involed (which, as other people have pointed out, would not be the agency involved to begin with). We know that it has something to do with a video or image on Sato's laptop which severely shakes up people like Warren Bellamy, so it must be VERY serious and damaging. However, it turns out that it's only a video of Masonic initiation rites that show the faces of very important and powerful U.S. citizens. Uh, in reality, if this indeed got out to the public it would be news for a day, maybe two, then people would promptly forget about it. After all, how can a bunch of men playing dress-up and putting on plays be so damaging? I don't know, but the CIA sure thinks it can be.

3. What exactly was Mal'akh's goal? I thought I had this understood: he wanted to find the Ancient Mysteries and become all-powerful. Ok, sounds reasonable. Yet, at the end, without even finding the Mysteries, he gives himself his final tattoo and then decides to sacrifice himself. Wait a second, he never found what he was looking for the entire time! How did he accomplish his goal?! THIS MAKES NO SENSE!! And furthermore, why was everyone trying to prevent him from finding the Ancient Mysteries anyway? All it was was a Bible which couldn't even be dug up in the end. He literally could have done no damage with this information, yet people like Peter Solomon, Warren Bellamy, and Robert Langdon went through pains to prevent him from finding this out. Am I missing something?

4. You would think that after Langdon's adventures in Angels & Demons and The Da Vinci Code he would be pretty open to "fantastical" claims made by other, intelligent, credible people. However, here we are, with Mr. Langdon still being the biggest skeptic out there. I can't even estimate how many times he said something such as, "Surely you don't believe that, it's only a legend!" only to have himself be proven wrong moments later. Just believe Robert, you'll save everyone alot of time!

5. I understand the connection that Noetic Science has with the power of the mind and the "Ancient Mysteries", but it really served no purpose here. I thought something big concerning it would occur but nothing does. What was the point of Brown even mentioning it at all in the book other than he wanting to throw in another "esoteric" facet for the heck of it? In a related gripe, how did Mal'akh even know about Katherine Solomon's lab and research, and why was he determined to destroy it? Why would her research have mattered to him if he alone had access to the Ancient Mysteries and became all-powerful? Did the research seriously threaten his plans (which would have been monumentally coincidental since his own aunt was carrying it out), or did he just want revenge on his aunt even though she never slighted him in any way? Either way, it makes no sense. The lack of explanation with this thread was unbelievable.

6. In every one of Brown's novels, there is always a pair that team up, and together they have all the answers without fail. This time around it's Robert and Katherine trying to decipher the pyramid. Robert doesn't know what to do next? Don't fear, Katherine will undoubtedly know the obscure answer! Katherine is stumped the next chapter? Don't fret, Robert will know the answer only three people in the world know. Good thing those exact two people teamed up or else the plot would have come to a standstill.

7. The dialogue is purely painful at times. The worst are the classroom flashback scenes in which Robert/Peter interact with students. You can't help but put your head in your hands when reading some of those exchanges...Also, there were numerous times when, during an urgent moment, Robert, Katherine, or someone else had to stop and give the other character a dissertation on something. "My brother Peter will most likely die tonight, the CIA is hot on our heels, we're running out of precious time, but let me pause for a moment so I can explain to you, Robert, an enigmatic piece of history that will help us advance the plot." This happens CONSTANTLY.

8. Having a mini cliffhanger at the end of every short chapter is wearily played out. Stop doing it! When you do it over and over and over again, it loses its effectiveness.

9. Peter: "Hey Robert, my hand was cut off just hours ago and I found out that the son I thought had died years ago was really the lunatic that tried to kill my family and I witnessed his gruesome death before my eyes, you were drowned in some sort of breathable liquid and were knocked out cold after having your head smashed against the floor and undoubtedly have a concussion, and Katherine had most of the blood drained out of her - but let's forget about all that for the moment and go sightseeing at the top of the Washington Monument. Then, afterwards, you and Katherine can take this key and watch a romantic sunrise from atop the Capitol Building. I'd join you, but I suppose I really should get to the hospital considering a madman cut my right hand off. Hmmm, I wonder why no medical personnel forced all of us to go before in the first place? Oh well, enjoy your time here in Washington!"...A ridiculous ending to a ridiculous story.

10. Why didn't Katherine, Trish and Peter just use a damn flashlight when walking through Pod 5 on the way to the lab? Just buy one for 5 bucks at Walmart instead of walking for hundreds of feet through the pitch dark. They're supposed to be brilliant scientists?

That's about all I can think of. Although TLS started promising, it just dissolved into a hodgepodge of nonsensical drivel. It's a shame because there's a good book buried here somewhere. But I think I may be through with Dan Brown, there are too many other good books out there.
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Really?

As someone who enjoyed The Da Vinci Code and Angels and Demons, I'd just like to say the following:

Dear Reader:
Wait for the paperback....really!!! You know how some authors write some enjoyable novels that make a fortune then throw out some mediocre fluff because they know with their name on the cover it will fly off the shelf? Well, it happened again. Really!
Signed,
Wasted anticipation and money

Dear Dan Brown:
Six years of waiting for this? Really! Here's what I think happened...you had a contract to get a new novel out this year but you spent the last 5 1/2 years enjoying yourself with all the money you made...okay, you earned it...enjoy! But wait, now you have to hustle and get a novel to the publisher. No problem, you think as you take out the outline for the previous books. Instead of the grail, you'll make it some "Lost Symbol" mainly because you're at a lose as to how you're going to meet that deadline. For the female role, you'll turn her into a scientist in some unknown field. Just so you can have another female star in the movie, you'll throw in a CIA agent. Instead the crazy priest, you'll make that role just a plain psycho that another Hollywood hunk can play. You'll go through the motions but this time Langford won't be as sharp as before which makes sense because you aren't either. Instead of the Catholic church, you'll use the Masons because you can Google Masons and get all kinds of alledged secrets and mysteries as you sit by the pool and sip on some expensive scotch. You'll use Washington DC because, like the Masons, it's easy to Google and maybe you've seen National Treasure. Okay, that takes care of the first 2/3 of the book. You're almost there and you can see the money rolling in so you just wrap up the whole package with your optimism and hope that you can pull it off. Well, congratulations. It worked and I was amoung the million that were suckered on the 15th. I give you one star for the book and one star for the balls. I hope you enjoy my money but, Mr. Brown, please know that I don't believe you earned it and I don't think even you do. Really.
Signed,
Disappointed
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TERRIBLE and DISAPPOINTING...gets more and more stupid the more you read.

Dan Brown and the publishers should be embarrassed...this was one of the STUPIDEST and frankly DISAPPOINTING books I've ever read. DON'T WASTE YOUR MONEY.

I don't normally write reviews on Amazon, but I was so disappointed and upset at how bad this book was that I felt compelled to write one (NOTE: a couple of spoilers in here, so if you do want to waste your money and read this book anyway, be aware that I have to mention a few points in here).

The book was completely over-hyped, and it feels like I've wasted hours and hours of my time having read it. Can I request a refund?

Dan Brown's previous books have been riveting and well thought out...this one was NOT.

It starts out with mysterious teasers to get you hooked, but you only keep reading with the HOPE that it will get better, and have some kind of twist or other excitement....but it doesn't get any better. In fact, it gets progressively worse, with the quarter of the book being simply idiotic. The ending is about as lame and disappointing as it could be (and was frankly a cop out). If I had known how stupid the ending was, I would have stopped reading mid-way through.

The characters are all complete caricatures (e.g., an evil genius who tattoos his entire body by himself, but covers himself with makeup that nobody can detect, except to think it's an artificial tan), and they completely unsympathetic. These supposedly "brilliant" characters take some of the stupidest actions ever...almost as if they are characters in a teen horror flick, and not the supposedly educated people they are described as...such as a Harvard Professor, the head of the Smithsonian, very senior CIA officer, etc).

The "scientific" aspects are also unbelievable....come on - a isolation chamber filled with super oxygenated fluid that you can breathe? And having spent hours "dead" in this fluid, Langdon can still run around afterwards like a superhero and "solve" the "hidden mystery"? Or the heroine being drained of almost all her blood, but being quickly resuscitated and then able to join Langdon in his frantic search (rather than being taken to a hospital emergency room)? And how about a holographic computer memory containing a person's entire life work of scientific research, but she didn't think to make a back up copy of her own?

Dan Brown found some interesting tidbits about Masonic lore, and tied them together with a loose plot about "Ancient Mysteries", and tried to make it compelling to the reader by "revealing" some "profound secrets" to the characters at the end of a chapter, but without telling the reader what the secret is (and that it supposed to make it a compelling "mystery"??). As a plot device, someone in a high school creative writing class could do better.

Don't waste your time and money and find something else to read.
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A Poor Shadow of "The Da Vinci Code"

Now, if you've read any of Dan Brown's prior works (such as "Angels and Demons", or his better known "The Da Vinci Code"), you know that you're not exactly expecting a masterpiece. Like "The Da Vinci Code", "The Lost Symbol" is a heavily plot-driven page-turner chock-full of whatever Mysterious Secretive Thing Dan Brown happened to be fascinated by when he was writing his novel (in this case Freemasonry). It centers around Robert Langdon, the protagonist from the prior two novels (who by now should be rather wary of mysterious invitations), who, with the Standard Pretty Female Sidekick (another "scientist", if you can call Noetic pseudoscience a "science"), explores a mystery in Washington D.C. while being pursued by the authorities and dealing with your friendly Large Fanatic Character (like Silas from "The Da Vinci Code").

The problem is that this book, unlike the "Da Vinci Code", is just not particularly fun to read. The Brown Formula for Chapter Writing is omnipresent (basically, have Langdon talk about something, have a realization, and end with a "what the . . ." chapter cliff-hanger), and the book is too long - by the time it finally reaches the conclusion, your reaction isn't "Well, that's interesting"; it's "finally! Is it over?".

It doesn't help that Brown goes over-board on exposition on Freemasonry and Noetic Science (or rather, his beliefs about both- Brown's "facts" usually don't correspond to reality) even by his standards, and adds a healthy dose of pseudoscience (which is actually new for him - "Angels and Demons" and "The Da Vinci Code" were both physically possible, even if you thought the plots were improbable).

I strongly, strongly suggest you avoid buying this book, or reading it. But if you can't resist, do yourself a favor and wait till you can get it in the library.
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