And people who do care about things like characterization, plausibility, and intelligent prose are going to have problems with his writing. People have problems with Dan Brown’s writing because he so consistently and persistently ‘gets it wrong’.
DAN BROWN BOOKS TORRENT
It took me much longer than I planned on investing in it, and I would hate to see all that effort potentially buried under what I can only expect to be a torrent of downvotes. Secondly, I thought I’d repost my comment from a reddit discussion going on about this very article. Recently I passed the book to another friend, who will add her marginal notes, and then I will pass it to someone else, and then someone else, and on and on until eventually we have written more words in Dan Brown’s book than Dan Brown himself. This seems like the only way to tame the monster at the heart of the Inferno.įirst off, great read, I love this kind of MST3K approach to glossing works, hope to see more of it in the future. We spent most of our time in the margins making fun of Dan Brown.Īnd probably the worst “academic” lecture in the history of fiction.Īlong the way, we managed to isolate the keywords of the Dan Brown lexicon. Sometimes I would miss one and David would catch it for me. They make their first appearance on the dedication page.Īfter a while I started trying to circle all of them, which became a meditative exercise. Basically, ellipses are the hero of the book. Very early in Inferno, I realized that Dan Brown’s career-long fetish for ellipses had reached a whole new level.
WARNING: There are probably Dan Brown spoilers here, but come on, seriously. Usually we agreed, but occasionally we disagreed. David wrote in red pencil, in block letters. It was fun to see someone else’s words next to mine. When I finished, my friend David Rees, the artisanal pencil sharpener, asked if he could borrow it. I purchased and read Inferno, which was inscrutable and interminable, and as I read I scribbled in its margins. Why does he write the way he does? Is he a sneaky genius? How is it possible that he was once in a writing seminar with David Foster Wallace? (One of my dreams is to write a hit Broadway musical about that seminar, in which Dan Brown strides around the stage wearing a tweed jacket with elbow patches singing bombastic anthems about the great masterpieces of Europe while DFW sings introverted atonal fugues with mumbling sotto voce footnotes.) Like most writerers, I am crazy about Dan Brown.
Recently I had a new kind of marginal experience that I would like to share: the pleasure of joint, or (as they say in grad seminars) “dialogic” marginalia. I am on record, both in this magazine and in my local newspaper, as an enthusiastic defacer of books.
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