So I like to read. It's no secret, no deep confession. I like to read. I take books pretty-much everywhere I go - to work, to church, to games. If I have a couple minutes (like at lunch or between games), you can probably find me buried in whatever book I'm working on.
I just recently finished Dan Brown's latest effort,
Inferno. Although Brown will probably never win a prize for great literature, he can write an entertaining page turner. And
Inferno fits that bill.
We ride along with Robert Langdon, Brown's most famous protagonist. He's the symbologist who solved
The DaVinci Code, figured out the clues in
Angels and Demons and roamed Washington, D.C., looking for
The Lost Symbol. You'd think you know Langdon by now, after more than 2,000 pages. But in
Inferno, Langdon's battling a new foe - himself. He wakes up in a Florence hospital with amnesia.
Interesting premise, but I've heard it before. Anne Perry used that device to introduce one of her protagonists, William Monk. Monk, though, can't remember anything of his past. Langdon is just missing the last couple days. He doesn't know how he came to be in Florence, what he's doing there or what happened to land him in the hospital.
Brown works a little bit backwards in
Inferno, giving us why and what before we really know who and long before we know where. We follow along with Langdon as he tries to piece together what's going on. The character twists are pretty intense and leave Langdon, and the reader, shaking their heads. I'm not sure if that was a good thing, but the twists certainly drew me up short and made me ask "What? Wait, what?!"
As you may have guessed, Brown hangs this story on another great classic work. After focusing mainly on art and architecture in his previous works, he chose to go the literary route this time, taking his cues from Dante Alighieri's most famous piece,
The Inferno. He brings in artwork, music and other literature based on
The Inferno and uses them to frame the story.
For those of you who haven't read
The Inferno, it's Virgil (yes, the Roman poet), guiding Dante through hell. Dante's hell has nine circles, with the bottom-most reserved for the worst sinners. His top, or bottom in this case, three are Satan, Judas and Brutus, all of whom betrayed those closest to them. Each level leading down to Cocytus (the ninth circle) is reserved for certain groups of people, and Dante chose punishments he felt fit the crimes.
Brown doesn't try to reinvent the wheel here, although his sections of exposition can get heavy-handed, as I have come to expect. Langdon tends to lecture, even in his memories, and that can bog down even the most exciting of stories. Even when his audience is fascinated by what he has to say, we're still reading a lecture.
Brown does keep the action moving most of the time with short chapters and lots of chases. Of course, Langdon uses his knowledge of symbols and classic works to solve the puzzle. Did he save the world, though? That's a question I'll leave for you to answer.