The Da Vinci Code
(Dan Brown)
After sneering at the mere thought of reading such a populist and over-hyped piece of tosh ever since it hit the shelves, I?ve had to perform an embarrassed u-turn after picking it up during a boring evening at a friend?s house and being unable to put it down. Not since ripping through ?The Three Musketeers? at a single sitting many years ago have I found myself in such a situation. I?m a terrible literary snob ? there, I admit it.
Leaving the hackneyed central premise aside (it was covered equally breathlessly almost thirty years ago in ?Holy Blood and the Holy Grail?), it is a model of fast-paced storytelling that grabs you by the throat like a Rottweiler and never lets you go.
As the blurb to the film says, ?A murder in the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years ? which could shake the foundations of Christianity?. And that?s it, really.
The hero gets sucked into a clever plot to play ancient enemies the Priory of Sion and Opus Dei off against each other. I won?t go into what these organisations are, because if you?ve read the book you already know, and if you haven?t it would spoil the fun. Suffice it to say that initial preconceptions and prejudices are overturned, that you have to keep your wits about you, and that it all works out nicely in the end. A lot of more or less interesting information about codes and art history are thrown in for good measure.
As a literary snob, I wouldn?t read it again, but it certainly kept me very pleasantly occupied for two days when the wife was refusing to speak to me over some trivial domestic matter, so I?m deeply grateful to Dan Brown for that.
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