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Inferno: (Robert Langdon Book 4), by Dan Brown
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NOW A MAJOR MOTION PICTURE
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Harvard professor of symbology Robert Langdon awakens in an Italian hospital, disoriented and with no recollection of the past thirty-six hours, including the origin of the macabre object hidden in his belongings. With a relentless female assassin trailing them through Florence, he and his resourceful doctor, Sienna Brooks, are forced to flee. Embarking on a harrowing journey, they must unravel a series of codes, which are the work of a brilliant scientist whose obsession with the end of the world is matched only by his passion for one of the most influential masterpieces ever written, Dante Alighieri's The Inferno.
Dan Brown has raised the bar yet again, combining classical Italian art, history, and literature with cutting-edge science in this captivating thriller.
- Sales Rank: #4864704 in Books
- Published on: 2014-05-08
- Original language: English
- Number of items: 1
- Dimensions: 7.80" h x 1.50" w x 5.00" l, 1.59 pounds
- Binding: Paperback
Amazon.com Review
Amazon Exclusive: Inside Inferno Explore the sights of Inferno alongside Robert Langdon in this exclusive first look at Dan Brown's latest thriller.
As Langdon continued on toward the elbow of the square, he could
see, directly ahead in the distance, the shimmering blue glass dial of the
St. Mark’s Clock Tower—the same astronomical clock through which
James Bond had thrown a villain in the film Moonraker.
The Tetrarchs statue was well known for its missing foot, broken
off while it was being plundered from Constantinople in the thirteenth
century. Miraculously, in the 1960s, the foot was unearthed in Istanbul.
Venice petitioned for the missing piece of statue, but the Turkish authorities
replied with a simple message: You stole the statue—we’re keeping our
foot.
Amid a contour of spires and domes, a single illuminated facade dominated
Langdon’s field of view. The building was an imposing stone fortress
with a notched parapet and a three-hundred-foot tower that swelled
near the top, bulging outward into a massive machicolated battlement.
Langdon found himself standing before a familiar face—that of Dante Alighieri.
Depicted in the legendary fresco by Michelino, the great poet stood before
Mount Purgatory and held forth in his hands, as if in humble offering,
his masterpiece The Divine Comedy.
- The Divine Comedy: Volume 1: Inferno—(Penguin Classics)
- The Singularity Is Near: When Humans Transcend Biology—Ray Kurzweil (Author)
- Brunelleschi's Dome—Ross King (Author)
- The Lives of the Artists Volume 1—Giorgio Vasari (Author), George Bull (Translator)
- The Book Of Symbols: Reflections On Archetypal Images—ARAS
Q. Inferno refers to Dante Alighieri´s The Divine Comedy. What is Dante’s significance? What features of his work or life inspired you?
A. The Divine Comedy—like The Mona Lisa—is one of those rare artistic achievements that transcends its moment in history and becomes an enduring cultural touchstone. Like Beethoven’s Ninth Symphony, The Divine Comedy speaks to us centuries after its creation and is considered an example of one of the finest works ever produced in its artistic field. For me, the most captivating quality of Dante Alighieri is his staggering influence on culture, religion, history, and the arts. In addition to codifying the early Christian vision of Hell, Dante’s work has inspired some of history’s greatest luminaries—Longfellow, Chaucer, Borges, Tchaikovsky, Liszt, Monteverdi, Michelangelo, Blake, Dalí—and even a few modern video game designers. Despite Dante’s enduring influence on the arts, however, most of us today have only a vague notion of what his work actually says—both literally and symbolically (which, of course, is of great interest to Robert Langdon). A few years ago, I became very excited about the prospect of writing a contemporary thriller that incorporated the philosophy, history, and text of Dante’s timeless descent into The Inferno.
Q. Where did do your research for Inferno? How long did you spend on it?
A. Researching Inferno began with six months of reading, including several translations of The Divine Comedy, various annotations by Dante scholars, historical texts about Dante’s life and philosophies, as well as a lot of background reading on Florence itself. At the same time, I was poring over all the new scientific information that I could find on a cutting edge technology that I had decided to incorporate into the novel. Once I had enough understanding of these topics to proceed, I traveled to Florence and Venice, where I was fortunate to meet with some wonderful art historians, librarians, and other scholars who helped me enormously.
Once this initial phase of research was complete, I began outlining and writing the novel. As is always the case, when a book begins to take shape, I am drawn in unexpected directions that require additional research. This was also the case with Inferno, which took about 3 years from conception to publication.
With respect to the process, the success of these novels has been a bit of a Catch-22. On one hand, I now have wonderful access to specialists, authorities, and even secret archives from which to draw information and inspiration. On the other hand, because there is increased speculation about my works in progress, I need to be increasingly discreet about the places I go and the specialists with whom I speak. Even so, there is one aspect of my research that will never change—making personal visits to the locations about which I’m writing. When it comes to capturing the feel of a novel’s setting, I find there is no substitute for being there in the flesh...even if sometimes I need to do it incognito.
Q. What kind of adventure will Robert Langdon face this time? Can you give us any sneak peak at the new novel?
A. Inferno is very much a Robert Langdon thriller. It’s filled with codes, symbols, art, and the exotic locations that my readers love to explore. In this novel, Dante Alighieri’s ancient literary masterpiece—The Divine Comedy—becomes a catalyst that inspires a macabre genius to unleash a scientific creation of enormous destructive potential. Robert Langdon must battle this dark adversary by deciphering a Dante-related riddle, which leads him to Florence, where he finds himself in a desperate race through a landscape of classical art, secret passageways, and futuristic technology.
Q. What made Florence the ideal location for Inferno?
A. No city on earth is more closely tied to Dante Alighieri. Dante grew up in Florence, fell in love in Florence, and began writing in Florence. Later in life, when he was exiled for political reasons, the longing he felt for his beloved Florence became a catalyst for The Divine Comedy. Through his enduring poem, Dante enjoyed the “last word” over his political enemies, banishing them to various rings of Inferno where they suffered terrible tortures.
From Publishers Weekly
The threat of world overpopulation is the latest assignment for Brown's art historian and accidental sleuth Robert Langdon. Awakening in a Florence hospital with no memory of the preceding 36 hours, Langdon and an attractive attending physician with an oversized intellect are immediately pursued by an ominous underground organization and the Italian police. Detailed tours of Florence, Venice, and Istanbul mean to establish setting, but instead bog down the story and border on showoffmanship. Relying on a deceased villain's trail of clues threaded through the text of Dante's The Divine Comedy, the duo attempt to unravel the events leading up to Langdon's amnesia and thwart a global genocide scheme. Suspension of disbelief is required as miraculous coincidences pile upon pure luck. Near the three-quarters point everything established gets upended and Brown, hoping to draw us in deeper, nearly drives us out. Though the prose is fast-paced and sharp, the burdensome dialogue only serves plot and back story, and is interspersed with unfortunate attempts at folksy humor. It's hard not to appreciate a present day mega-selling thriller that attempts a refresher course in Italian literature and European history. But the real mystery is in the book's denouement and how Brown can possibly bring his hero back for more. Agent: Heide Lange, Sanford J. Greenberger Associates. (May)
From Booklist
That Robert Langdon. He goes through more machinations in 72 hours than a phalanx of folk would in several lifetimes. This time out, the professor wakes up in a Florence hospital unable to remember the last several days. A bullet has grazed his head, and some bad people are after him, but with the help of the lovely Dr. Sienna Brooks, he’s able to escape—and escape and escape, as he slowly comprehends that a plague is quite deliberately about to be released, and it’s his job to figure out the puzzles and symbols that lead to its location. All of Brown’s books have a big idea underpinning them—the family of Jesus, freemasonry—and here one of them is Dante’s Inferno, a theme that will probably resonate more with readers familiar with the work, though many pages are spent explaining the man, his muse, and the influences that shaped the epic poem. The other theme sharing center stage concerns population control and humanity’s determination to be fruitful and multiply itself into oblivion. Is it a worthwhile endeavor to cull the human herd in order to save it? In posing this and other troubling questions, Brown weans himself away from the guidebook atmosphere that permeates the story, as Langdon and Brooks race from Florence to Venice to Istanbul, and asks readers to think about their own answers to the overpopulation dilemma. Fans will once more enjoy the through line of the Langdon formula—the race to find a find an iconic object at the corner of deadly thrills and plot twists. The negatives are here, too: paper-thin characters and windy descriptions. But for those hungry for more Brown, this has some meat on its bones. --Ilene Cooper
Most helpful customer reviews
126 of 129 people found the following review helpful.
which was excellent from the start to the end
By Michael Tatay
This is the first time that I have read Mr. Brown’s book and I found I just can’t help loving it. It is a complex tale in very interesting language, which was excellent from the start to the end. Dan Brown uses a lot of history and art into the story, which in a way feels like having an art lesson at house. The interesting subject, compelling characterizations, an appealing plot that moves easily from one scene to the next, also remind me of thinking about the world where we live in. What really hit me most is that it also presents some really interesting and deep questions, such as, the future of humanity and a legitimate threat to the species. A good book is not only excellent in its characters and its plots, but also able to inspire its readers to think, to ponder and to make progress. Therefore, I give this five stars and highly recommend you to read it.
2 of 2 people found the following review helpful.
A dissapointment of excess
By Jack Gates
I had enjoyed the first two books of this series, but I did not enjoy this one. It was not the plot at fault, because this was clever with unexpected twists. My reason was that there is a huge amount of detail about art and its history, Florence and Venice. At times it seems an entire page at a time is taken up with detail which often is not necessary for the plot. I grew bored as details of who crafted what and why and its relevance to what the characters were doing, or the detailing of the architecture of a building they were running past. By the midway point I had had enough. From then on I began skimming just to find out what happens in the end. No doubt those with a greater interest in art would have reveled in it, I was just bored. I was also irritated at having to search for the odd nugget to do with the plot amongst a wash of "stuff".
If the author produces another book like this I will not buy it.
1 of 1 people found the following review helpful.
Dan Brown writes a book that is a slide show.
By Douglas D. Love
I have read all four of Dan Brown's Robert Langdon novels. The synopsis of Mr. Brown's oeuvre can be summarized as follows: Robert Langdon stops the Illuminati, Robert Langdon solves the mystery of the Holy Grail, Robert Langdon saves Freemasonry from destruction by a man with "Daddy issues" and finally, Robert Landon fails to save the world from a pandemic. For a symbologist and art history professor, Robert Langdon sure gets around.
At least Angels and Demons, The Da Vinci Code and The Lost Symbol had some interesting puzzles even if Brown's solutions and interpretation of various literary and art works are facile, to say the least. (Holy Grail=San Graal=Sang Real=Holy Blood,really Dan?) In the first three books, the puzzles were an integral part of the plot. But not so with "Inferno". Here, the puzzles are simply a MacGuffin inserted to give Langdon something to do.
The basic plot is that a mad genetic engineer is going to unleash a pandemic which will reduce the Earth's population by a third and avoid the Malthusian Apocalypse. The mad Geneticist succeeds. Yay. Meanwhile, Langdon, the WHO, and some others try to either stop the pandemic or assure that it occurs by following clues that the Geneticist left based on Dante's Inferno.
Why is this a problem? If I were going to wipe out a third of the Earth's population, you can bet that I would not leave any clues. None, Nolo. Second, our protagonists ultimately fail. So, the entire "solving the puzzle" plot line is ultimately meaningless as well as unnecessary. The book reads more like Dan Brown's "Cool things I saw in Florence, Venice and Istanbul" and less like a thriller. Ultimately, it reminds me of watching a slide show of your Uncle's European vacation.
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