Issue Date: 10/26/09
'Da Vinci' author's long-awaited sequel proves a disappointment
By Typhanie Sharfner
"The Lost Symbol," Dan Brown's sequel to "The Da Vinci Code," is a long-anticipated disappointment. Think M. Knight Shamalan's "TheHappening:" high expectations for a mediocre follow up.
The Lost Symbol follows Robert Langdon, symbologist, as he tries to find his kidnapped mentor, the prominent Mason Peter Solomon.
Brown's latest thriller finds Langdon unexpectedly summoned to Washington D.C. under later what is discovered to be false pretense.
Brown does a wonderfully redundant job at letting the reader know just how unexpected this adventure begins, the synopsis in a macro sense, is the same as in "The Da Vinci Code." Langdon unexpectedly gets pulled into an adventure by morbid signs leading the way - in this case a hand literally pointing the way.
At some point early on, Langdon draws suspicion of a law enforcement official who threatens to arrest him.
Inevitably Langdon is forced to go on the run and "find the truth before it's too late." Of course, there is a lovely damsel in distress who ends up being integral to the story and Brown leads the characters through a maze of symbols, secrets and religion that makes any conspiracy theorist salivate.
Set in Washington, D.C., the American setting is different from "The Da Vinci Code" and for American readers it is nice to learn about some of the mysterious legends associated with U.S. history-for example the Unfinished Pyramid.
Brown defines the Unfinished Pyramid as "Adorning every one-dollar bill in circulation, the Unfinished Pyramid waits for its shiny capstone, which hovered above it as a reminder of America's yet-unfulfilled destiny and the work yet to be done."
Some of the subject matter is reminiscent of the National Treasure movies, which leaves the reader feeling the book lacks the credibility of its predecessor.
At times, Brown seems to get trapped in the details of the scenery. This happens so much that it can halt the readers focus and gives the impression of importance to things that are not.
The fast pace and page turning magic from his previous works seem to have been replaced by a history professor's lecture.
Partially because Brown takes his time setting the scene, which mainly involves the Capitol Building-or partially because Langdon and his love interest, Katherine Solomon, don't meet up for quite some time, it is not until Chapter 26 - a little less than halfway through the book - that the pace begins to quicken.
It seems to takes Brown this long to get into the groove, but once there, it's Brown as expected.
Finally a reader can experience the edge-of-your-seat action that makes the reader wonder if they are reading a completely different book.
Eventually it does make for a good read, but it's still essentially "The Da Vinci Code" set in Washington.
Catching up with his earlier novels would be more worthwhile, and definitely don't pick up a hardback copy of "The Lost Symbol", wait for it to come out in paperback.
The Lost Symbol follows Robert Langdon, symbologist, as he tries to find his kidnapped mentor, the prominent Mason Peter Solomon.
Brown's latest thriller finds Langdon unexpectedly summoned to Washington D.C. under later what is discovered to be false pretense.
Brown does a wonderfully redundant job at letting the reader know just how unexpected this adventure begins, the synopsis in a macro sense, is the same as in "The Da Vinci Code." Langdon unexpectedly gets pulled into an adventure by morbid signs leading the way - in this case a hand literally pointing the way.
At some point early on, Langdon draws suspicion of a law enforcement official who threatens to arrest him.
Inevitably Langdon is forced to go on the run and "find the truth before it's too late." Of course, there is a lovely damsel in distress who ends up being integral to the story and Brown leads the characters through a maze of symbols, secrets and religion that makes any conspiracy theorist salivate.
Set in Washington, D.C., the American setting is different from "The Da Vinci Code" and for American readers it is nice to learn about some of the mysterious legends associated with U.S. history-for example the Unfinished Pyramid.
Brown defines the Unfinished Pyramid as "Adorning every one-dollar bill in circulation, the Unfinished Pyramid waits for its shiny capstone, which hovered above it as a reminder of America's yet-unfulfilled destiny and the work yet to be done."
Some of the subject matter is reminiscent of the National Treasure movies, which leaves the reader feeling the book lacks the credibility of its predecessor.
At times, Brown seems to get trapped in the details of the scenery. This happens so much that it can halt the readers focus and gives the impression of importance to things that are not.
The fast pace and page turning magic from his previous works seem to have been replaced by a history professor's lecture.
Partially because Brown takes his time setting the scene, which mainly involves the Capitol Building-or partially because Langdon and his love interest, Katherine Solomon, don't meet up for quite some time, it is not until Chapter 26 - a little less than halfway through the book - that the pace begins to quicken.
It seems to takes Brown this long to get into the groove, but once there, it's Brown as expected.
Finally a reader can experience the edge-of-your-seat action that makes the reader wonder if they are reading a completely different book.
Eventually it does make for a good read, but it's still essentially "The Da Vinci Code" set in Washington.
Catching up with his earlier novels would be more worthwhile, and definitely don't pick up a hardback copy of "The Lost Symbol", wait for it to come out in paperback.
Viewing Comments 1 - 1 of 1
Pablo
posted 10/26/09 @ 5:38 PM PST
I don't agree with your assessment at all. If you think this was mediocre, then you must be crazy. I thought this book was excellent. Couldn't put it down. (Continued…)
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