SKEPTICISM AND FAITH
6 Provocative Things Dan Brown’s Sensational Novels Actually Teach You
Are these world-renowned books any good or a total disservice to society?
Over the past decades, there hasn't been a fictional book series that has had a more tremendous opinion-forming influence over society than the adventures of Robert Langdon.
Dan Brown, a world-renowned thriller author from New England, has successfully created a literary world where historical facts, religious truths, human concepts, actual places, and real names get all mingled into an electrifying escapade no mainstream reader can resist.
You either saw the Ron Howard movies starring Tom Hanks or at least went through Angels & Demons around the time it came out.
Don't tell me you've never heard of The Da Vinci Code before, or had an inception of a thought of some of the preposterous theories the story offers (at least on a symbolic/narrative level).
If we fully realize how craftily and deliberately Brown works with the information at his disposal (whether real or fictitious) and combine that with the enormous influence his books have, could we just scrape off any pedagogical value and enjoy the literary Big Mac?
From a normie standpoint, I enjoyed the book rides so much. But looking at it through the lens of a young man with great potential, there is a lot to learn apart from how not to write a novel about Catholicism.
Here are the 6 things Dan Brown’s sensational novels actually teach you.
Study interesting stuff, but avoid unnecessary sensationalism
“Skepticism has become a virtue. Cynicism and demand for proof have become enlightened thought. Is it any wonder that humans now feel more depressed and defeated than they have at any point in human history?”
The series' brutally startling reputation has served as a sharpened and deadly double-edged sword since Angels & Demons. The “sensationalization” of religious themes, history, stories, and the Holy Scriptures has been the price for highlighting the insane popularity of Brown's works.
After finishing A&D, say, you’re left with a million thoughts swirling in your head and heart. You can appreciate the work’s compelling aspects — yet at the same time, you can’t shake off all those provocative questions, thoughts, and images that the author presents.
Add the captivating narration, and your mental confusion will inevitably lead you to further study, if you're honest. Because Vatican's history, science, or secret societies are undoubtedly interesting topics.
But of what avail would it be to genuinely curious minds to voluntarily struggle through the fog of ascribed sensational nonsense — like trying to link a conspiracy behind almost every piece of old Christian art?
Packaging makes half the product.
Once you eat through the bitter-salty meat of Brown's flagship (I don't recommend, though)— the Da Vinci Code- you get a chance to realize something the 'free-thinking' world doesn't want to hear.
There are still dangerous books circulating.
If one cares for his soul, he should definitely beware of such material and content. The Index of Forbidden Books existed for over 4 centuries, and there was a reason for that.
Brown masterfully plays on curiosity. The action is cut up as if we were watching a feature film, and the open-ended conclusion of the chapters compels us to keep reading.
The Da Vinci Code shows us how things can go south once the content becomes openly anti-Catholic, filled with conspiracies peppered with true history and then presented as a serious and groundbreaking publication.
Should there be one particular aspect that guaranteed Brown's success, by no doubt we could point our fingers at the packaging. I'd go for more than 50%.
It does matter what you believe in
One of the key features Brown does with his characters is that he uses them as vehicles for a moral inversion. Practically, he recasts historically controversial secret societies as the good guys while positioning, say, traditional religious authority as the primary antagonist.
Let's speak about The Lost Symbol.
There is not a single bit of virtue in organized naturalism. So presenting Freemasons as ones concerned with the natural welfare of humanity seems like a damn disservice to the reader.
Add some crazy stuff about hidden knowledge, and you can even intellectually go over the top. And you don't even have to engage with a Bible print on top of the Washington Monument.
God already revealed himself to man absolutely clearly. Thus, there is no need for ‘hidden knowledge’ to find and recreate the human notion of the Creator which has somehow been lost.
Ancient mysteries as hidden super-knowledge, with Freemasons guarding secrets and the power of the mind (stretched to the fantasy level of Ancient Aliens), can make for a captivating combination—but what’s the point when it’s presented as one big… well, not so pure fiction.
It makes a difference what you believe in; no universal religion we've forgotten ever existed over the centuries.
Reach for the classics.
Particularly in the fourth book, in Inferno, it's fascinating to observe the author’s style, in which he engages with a work of Catholic literature and, in a thematic way, connects it to a contemporary issue in a popular manner.
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In this story, he basically exploits what doomsayers have been falsely claiming for hundreds of years — that we are on the verge of running out of natural resources due to overpopulation. Just change the runout for a disease; the same manufactured drama.
The settings, backdrops, landmarks, and connections between historical sites function as they should — they spark the reader’s interest in learning more not only about the 'scientific' topics mentioned, but about the source pieces of literature — Dante's Inferno, in this case.
However, we cannot avoid Brown’s tendency to use his power as a writer to slip a “so-called” controversy past the reader without taking a clearly stated stance, even though it is not that difficult to sense his bias. The author clearly knows both sides of the argument — the moral question is which side will emerge as “the good one” in the story.
When it comes to overpopulation, he clearly does not lean toward the Catholic vision.
And yet, despite this, his novels provide the perfect opportunity to finally offer the modern reader an authentic Christian thriller within the mainstream.
Or at least point to authentic Christian pieces which were once celebrated in the mainstream. And still are, to a certain extent.
You can't beat the dead horse forever
Science vs. religion. The most popular 'conflict' which never existed.
I like how Brown's writing evolved into his uniquely recognizable style. The repetitive formula has its functional merit and partially contributes to the novel’s success. Incorporating extremely interesting, varied, and thought-provoking topics does its job too. But you just can't do it all the time in the more-or-less same way.
On page 58, I felt like closing the book and leaving it at that. But I stuck with it anyway until the end after all. However, what led to that initial impulse?
Origin is a dark book, filled with Brown’s signature blend of thriller and mysticism, where you follow different plots and storylines that unravel and lead to a relatively open ending.
I enjoyed reading it, but given the decidedly naturalistic world and the repeated portrayal of the Church as science’s greatest adversary (along with other exceptionally glaring blunders), it once again stirred up mixed feelings in me.
We've got here Franco’s Spain, artificial intelligence, sedevacantism, evolution, Gaudí, all the way to Muskian transhumanism.
But essentially, the main theme he keeps repeating (once again) is the claim that if science can explain a process, then God becomes unnecessary.
Scientific naturalism. Or philosophical materialism, if you will.
Back to Angels and Demons, I guess.
We've heard it a million times, and it's just cringe when you know it's a false conflict. One that never really existed anyway.
However, The Origin, like some of the other books, is difficult to evaluate; it has its good and bad aspects. Ultimately, it is a thriller-entertainment without any relevant philosophical value, although it plays hard on it.
If you've got your fantasy world rolling, you can't do it the same way for all those years. Especially when you're trying to shake firm grounds for like the umpteenth time.
A Reminder for Mankind
While Dan Brown has been striving to provide a shocking discovery that would instantly flip our deep-rooted paradigms about both the natural and supernatural, I believe that the last key lesson his books teach us is rather a type of alarming reminder for mankind.
We've seen how effectively an exciting plot works on our dopamine receptors. The Secret of Secrets doesn't fail in this aspect at all. Not to mention the rolling, almost cinematic pace of the chapters.
Combining different topics — ranging from serious mysteries of our past, through archeological or religious curiosities, or just places in plain sight which are covered in an awe-provoking “aura”- also stimulates our brains and soul for a solid thinking session.
Why does Robert Langdon also function so popularly?
The characters' lines and thought lanes are relatable. And the reader wants to relate in a story.
That's precisely what he is looking for, if not just second to an intellectual escapade or honest spiritual nourishment.
The reminder for mankind is this: We need good stories.
Stories that would educate us, but that would not lead into vainglorious sensationalism.
Art pieces where the package would not deceive us, but rather sell the real content for our greater appreciation.
Exciting plots and ideas which would lead souls to the true faith and point to the real supernatural ideals for us to attain.
Topical references leading readers to reach out for the great classics of our Western legacy–teaching how to appreciate and savor that in its fullness!
Adventures that would make us care for them and teach the traditional values our civilization has so bravely treasured for all of the centuries, not made-up conflicts.
Last but not least — we need stories, because we ourselves want to create great art and thus, reflect the face of the One in whose image we were created.
