The stunningly inventive new novel from the world’s most popular thriller writer
Robert Langdon, Harvard professor of symbology and religious iconology, arrives at the ultramodern Guggenheim Museum Bilbao to attend a major announcement—the unveiling of a discovery that “will change the face of science forever.” The evening’s host is Edmond Kirsch, a forty-year-old billionaire and futurist whose dazzling high-tech inventions and audacious predictions have made him a renowned global figure. Kirsch, who was one of Langdon’s first students at Harvard two decades earlier, is about to reveal an astonishing breakthrough…one that will answer two of the fundamental questions of human existence.
As the event begins, Langdon and several hundred guests find themselves captivated by an utterly original presentation, which Langdon realizes will be far more controversial than he ever imagined. But the meticulously orchestrated evening suddenly erupts into chaos, and Kirsch’s precious discovery teeters on the brink of being lost forever. Reeling and facing an imminent threat, Langdon is forced into a desperate bid to escape Bilbao. With him is Ambra Vidal, the elegant museum director who worked with Kirsch to stage the provocative event. Together they flee to Barcelona on a perilous quest to locate a cryptic password that will unlock Kirsch’s secret.
Navigating the dark corridors of hidden history and extreme religion, Langdon and Vidal must evade a tormented enemy whose all-knowing power seems to emanate from Spain’s Royal Palace itself…and who will stop at nothing to silence Edmond Kirsch. On a trail marked by modern art and enigmatic symbols, Langdon and Vidal uncover clues that ultimately bring them face-to-face with Kirsch’s shocking discovery…and the breathtaking truth that has long eluded us.
Origin is Dan Brown’s most brilliant and entertaining novel to date.
About Dan Brown
Dan Brown is the author of numerous #1 bestselling novels, including The Da Vinci Code, which has become one of the best selling novels of all time as well as the subject of intellectual debate among readers and scholars. Brown’s novels are published in 52 languages around the world with 200 million copies in print.
In 2005, Brown was named one of the 100 Most Influential People in the World by TIME Magazine, whose editors credited him with “keeping the publishing industry afloat; renewed interest in Leonardo da Vinci and early Christian history; spiking tourism to Paris and Rome; a growing membership in secret societies; the ire of Cardinals in Rome; eight books denying the claims of the novel and seven guides to read along with it; a flood of historical thrillers; and a major motion picture franchise.
The son of a mathematics teacher and a church organist, Brown was raised on a prep school campus where he developed a fascination with the paradoxical interplay between science and religion. These themes eventually formed the backdrop for his books. He is a graduate of Amherst College and Phillips Exeter Academy, where he later returned to teach English before focusing his attention full time to writing.
Brown is currently at work on a new book as well as the Columbia Pictures film version of his most recent novel.
In his international blockbusters The Da Vinci Code, Angels & Demons, and The Lost Symbol, Dan Brown masterfully fused history, art, codes, and symbols. In this riveting new thriller, Brown returns to his element and has crafted his highest-stakes novel to date.
In the heart of Italy, Harvard professor of symbology, Robert Langdon, is drawn into a harrowing world centered on one of history's most enduring and mysterious literary masterpieces...Dante's Inferno.
Against this backdrop, Langdon battles a chilling adversary and grapples with an ingenious riddle that pulls him into a landscape of classic art, secret passageways, and futuristic science. Drawing from Dante's dark epic poem, Langdon races to find answers and decide whom to trust...before the world is irrevocably altered.
Fans of this series have been waiting 4 years for the next installment. Yes, The Lost Symbol came out in 2009. Unfortunately, this does not read like he spent the full 4 years invested in making sure this was a masterpiece (he actually claims in an interview he spent 3 years researching this novel. *cough*bullshit*cough*). Inferno consists of a horribly muddled and dramatic plot, twists in the story that don’t even make sense and a whole slew of sections straight out of an encyclopedia.
This Dante tale is anything but Divine (but is a bit of a comedy) – pun intended. Now, don’t get me wrong. I am a fan. I know most people shun his works but I am admittedly a big fan of The Da Vinci Code. Looking back I can’t say for sure if I would still enjoy the novel today considering I read it ages ago and I’ve become much more of a critical reader, but I do keep picking up these books for some reason or another.
The main issue with Inferno is the fact that this book could easily be half in length if there wasn’t so much unnecessary detailing. He describes where they are in such vivid detail but it isn’t always relevant. With Angels & Demons and The Da Vinci Code, the descriptions were useful in finding their next clue, where they needed to go next to obtain the next piece of the puzzle. While the descriptions are interesting it detracts from the actual story and makes Langdon appear to be some crazed tour-guide while he’s supposed to be in the middle of running for his life. The overall smugness he has bestowed upon Robert Langdon is obnoxious and disrupting.
“…although as an architecture enthusiast, he found it almost unthinkable to rush a trip along the Grand Canal.”
DUDE. PEOPLE ARE TRYING TO KILL YOU. YOU’RE A FUCKING MORON. Yet despite his constant admiring of statuary and architecture he is constantly able to evade capture and certain death. DUN DUN DUN
The second issue was the strange, short chapters. They were always ended on some dramatic discovery that induced more eye-rolling than gasps of shock. The choice of position in breaks made it more melodramatic and annoying than a respite from the intensity of the story. And speaking of melodramatic and annoying, this book possesses one of the most absurd and histrionic endings I have ever had the misfortune of reading. I believe Mr. Brown had an intriguing concept for a story line, but he may have bit off more than he could chew because the execution of this story was truly abysmal.
I could write a full review based on what I like to consider the ‘lines-of-ridiculousness’. While I’ll spare you the majority of them, I couldn’t resist including a few. (I refuse to suffer alone.)
‘Normally, Langdon’s visits to the Palazzo Vecchio had begun here on the Piazza della Signoria, which, despite its overabundance of phalluses, had always been one of his favorite plazas in all of Europe.’
‘The statute before them depicted an obese, naked dwark straddling a giant turtle. The dwarf’s testicles were squashed against the turtle’s shell, and the turtle’s mouth was dribbling water, as if he were ill.’
And I’ll leave you with this fabulous Fifty Shades quip. Yes. You heard me right.
“Robert, we’re in book publishing. We don’t have access to private jets.” “We both know you’re lying, my friend.” Faukman sighed. “Okay, let me rephrase that. We don’t have access to private jets for authors of tomes about religious history. If you want to write Fifty Shades of Iconography, we can talk.”
So why is this #1 on the NYT bestseller’s list? Well, his past works while not of superior literary quality were still enjoyable enough so I’m assuming people just expected more (and expected him to maybe advance as a writer?) And of course, with the digs taken against the Vatican I’m sure it’s only a matter of time until they decide to ban this one too and spur even more sales.
I will occasionally recommend a particular drink that fits well with the book. In this case? I recommend ALL THE DRINKS. You’ll need them to get through this ridiculous disaster of a book.