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The Lost Symbol

Introduction

Dan Brown's "The Lost emblem" is really two books. The first is a thriller replay of Mr. Brown's "The Da Vinci Code," except that it is set in Washington rather than of Paris and Masons feature as the star mystery humanity, rather than of Opus Dei. The other publication, within "The Lost Symbol," is a tedious sermon, generally coming from the mouth of Mr. Brown's perennial protagonist, Harvard "symbology" professor Robert Langdon. He moves on and on about how all religions are really the identical belief, so why are devout people (that mainly means Christians) so intolerant? "The Da Vinci cipher" preached that the Christian place of worship has endeavoured to suppress "the eternal feminine" personified by Jesus' supposed wife, Mary Magdalene. In "The Lost Symbol," the Christian place of worship is endeavouring to stifle the detail evidently a tenet of Freemasonry that we all furtively adoration the E gyptian sun-god Ra (Brown, pp: 13).

As a thriller, "The Lost Symbol" is stimulating, whereas readers of "The Da Vinci cipher" will observe that some of the identical supply individual features and creaky plot devices pop up. There's the gorgeous but brainy female who becomes Langdon's partner-in-sleuthing. Here she is Katherine Solomon, a researcher at the Smithsonian nstitution specializing in "noetics," a New Age agency of physics that draws on string idea and to try to prove that "mind over issue" is a technical reality. There's a conversing head to explain all the underlying esoterica, too. In "The Da Vinci Code," it was Holy Grail expert Leigh Teabing; here's it's Langdon himself, in addition to Colin Galloway, an ultra-liberal priest at the Washington nationwide Cathedral who appears to have granted up Jesus Christ for Ra (Chivers, pp: 44).

Conflict in Novel

Dan Brown publishing side-show does best, however ...