I liked Angels and Demons and I really liked The DaVinci Code but this latest of Dan Browns thrillers was barely worth the time, and definitely not worth the money.
The Lost Symbol follows the familiar Dan Brown formula - an ominous conspiracy, a threat to end the world as we know it, a relentless villain, and a search for hidden secrets which require the decoding of obscure clues. This formula has given us a couple of fine thrillers, and has taken advantage of the authors familiarity with arcane history, philology, symbolism, art and architecture. But even this intriguing texture would not be terribly interesting without the intrepid symbologist Robert Langdon to lead us through the perilous labyrinth at high speed. This time, Langdon must find the Freemason’s grand secret hidden in Washington, D.C. and evade both the CIA and a brilliant but scary villain, while rescuing a kidnapped friend and his sister.
The DaVinci Code and Angels and Demons were both intriguing and thrilling enough to overcome Mr. Brown's weak writing. But because The Lost Symbol’s plot is so much weaker, Brown’s sophomoric writing becomes much more obvious and ever more bothersome as the work progresses. For example, the formulaic mini-cliffhangers at the end of nearly every chapter became trite and annoying manipulations. Brown also employed several set-pieces of lecture and discovery that annoyingly repeat themselves. This book is full of Brownian cliches.
I think that the credibility of this work is further undermined by using characters who are simultaneously brilliant and clueless. For instance, the intrepid and brilliant professor Langdon, who by now should be rather wary of mysterious invitations, flies to Washington D.C. at a moment's notice supposedly at a friend's request but without actually speaking to his friend. And even less credible, is that without direct confirmation, he brings with him a top-secret package that he swore to keep hidden at all costs.
Similarly, the brilliant scientist Katherine doesn’t think to back up her life’s work of scientific research, and she allows a man she's met only once into her "top secret" laboratory because she receives a TEXT message purportedly from her brother who she admits doesn’t even know how to text. And these are not the only naive, and clueless people who should know better. The police and security guards are all hapless,and even the CIA director fails to question whether a suspect is lying when he says "I'll be there in 20 minutes."
More disappointing still is that the main character of Robert Langdon seems to have been dumbed down in this book. He repeatedly is adamant about thus and such only to be subsequently shocked when the true meaning is revealed. He always requires two attempts to decipher the true meaning of clues - the first one which is obvious and turns out to be wrong, followed by the shocking epiphany. One would think that a Harvard professor would eventually learn that things are not always what they seem. In this work Robert Langdon spends more time being lectured than he does solving mysteries or puzzles. My recollection is that he figured out absolutely nothing critical in the last third of the book.
Even more troubling than Brown’s weak and cliched characterization is that as the thriller reaches its climax, it becomes clear that the pieces do not fit together well. For instance, for most of the story, both the villain, and the CIA insist the stakes couldn't be higher, but in the end we learn that the potential danger is merely some bad public relations for a few powerful Masons. Why then is the CIA involved in this extortion plot - especially since it is legally barred from domestic law enforcement? The author simply fails to provide justification for all the black opps of the CIA counter- conspiracy despite their central role in the story.
There are lots of problems with this book, but perhaps the its greatest flaw is Dan Brown’s failure to ever explain the main premise for the book, something he calls the Ancient Mysteries. The primary force that propels the plot is the implicit promise that in the end, a tangible secret will be uncovered. While the protagonist keeps asking if this grand secret is merely metaphorical, he is assured by friends, enemies and even the CIA that the secret is literal and potentially dangerous. But, in the end we learn that the grand secret for which people are willing to sacrifice their lives and fortunes doesn’t really exist. What exactly is the point of the pyramid and the secret codes and symbols if the grand mystery is already found in every church, in nearly every home, and in even in all the hotel rooms in the country? Doesn't that make the entire plot pointless to begin with?
OK, if it’s not clear yet, HERE IS THE BIG SPOILER: The great Masonic secret is the most widely published and read book in history - it is the Bible. Brown’s thesis is that the Bible is loaded with hidden wisdom, and once these biblical secrets are pointed out, people are going to be shocked that they didn't see them before. And then they are going to be transformed because they now know that they're one with God, or they're the same as God, or they are made of God, or some such new age mumbo-jumbo. So in the end the whole purpose of all the elaborate secrecy is that a few people think mankind may not be ready for a new age when human potential will be finally unleashed. So for centuries the inner circle of Masons have concocted elaborate means to hide this enlightenment from a world not ready for apotheosis. And so despite all the symbols and codes, the grand secret is really kept hidden in plain sight. So pay no attention to the coded mysteries behind the curtain.
The ending of this story is an embarrassment. It may be the most anti-climactic, unsatisfying ending I have ever read. While the story kept claiming that earth shattering secrets were soon to be revealed, in the end all the paintings, pyramids, talismans, and other clues turned out to lead to nothing. They resolved nothing, they didn’t even leave us with a mystery yet unsolved. The mystery was solved, and it was an inconsequential whimper instead of a revelatory bang. It is my opinion that the author could not pull together the novel in the last chapters simply because there was nothing to pull together. There was no sweeping statement to be made and no grand secret to be revealed. This left me very unsatisfied at the story’s end.
Theological addendum:
Many Christians are offended by the idea of apotheosis which seems to be a core premise of Brown’s Masonic heroes. Though the idea of human deification has a long and ancient history in Christian thought, these critics have disowned the notion that Man can become like God, and consequently are offended when Brown places this mystery at the apex of his new-age amalgam of Masonry, religion and pseudo-science.
As a Latter-day Saint (Mormon), I believe that having been literally created in God’s image, we each have the innate potential to become glorified and exalted through obedience to the Gospel of Jesus Christ. My belief that man can become like god, is akin to the belief of Christian writers through the ages from Irenaus to C.S. Lewis. So deification doesn’t offend me at all. Ironically, however, I find myself in strong agreement with Christian critics who accuse Brown of idolatry for claiming that this apotheosis can occur merely through our own mystical consciousness raising efforts.
The central message of the Bible, and most especially the New Testament is that such a dramatic transformation can only occur on God’s terms and by means of his power and grace. In contrast, Brown attempts to “spiritualize” or metaphorize all particularity and literal meaning out of the biblical text. To Brown’s heroes, the real meaning of the text is whatever the true mystic wants to find hidden within. His new-age hodge podge of religion is very convenient,non-demanding, self-asserting and self-serving. It is the opposite of God’s revealed truth which requires self-less obedience and devotion to God and our fellow men. The Bible’s central message of obedience and faith is not found in Brown’s mystical amalgam, nor in any other brand of humanism.
Brown ironically attempts to bolster his view of an impersonal God and a godless salvation by selectively quoting the Bible, a book which persistently and powerfully testifies of a personal God - a Father in Heaven who knows us individually, and cares about helping us overcome our sins more than developing our mental, or psycho-kinetic capacities. I agree with those critics who claim that the God described, or implied by Brown is an idolatrous invention of man as surely as that of Odin, Zeus, Baal, or the God of the Greek philosophers whose center is everywhere and whose circumference is nowhere.
In my view, Brown’s mishmash of new age nonsense intending to avoid dogma and doctrine, has very little point except to highlight that humans have enormous untapped potential. I don’t see anything revealing or revolutionary about this truism. I cannot conceive of such a benign observation creating any paradigm shift, nor can I imagine it unleashing pent-up human capacity. On the contrary, I think it is mankind’s persistent attempts to ignore the substantive teachings of the Bible that have bound us to telestial mediocrity.
Even so, I suspect this theological critique is probably a bit over-the-top when you consider that this book is just a work of adventure fantasy. The Lost Symbol ought not to be taken too seriously. I don’t imagine that it will shape many people’s views of God, the Bible, or even religion in general. I don’t see The Lost symbol as much of a threat to my sacred beliefs, even though I thought I might as well throw in my two bits on the matter.