Angels & Demons - Movie Tie-In Mass Market Paperback – Bargain Price, March 31, 2009

I read "Angels & Demons" after reading Dan Brown's "The Da Vinci Code," and I have to say that I do not think it matters what order you read the two books although there are clear indications this book was written first (Brown does several examples of blatant foreshadowing, including early on the idea that one square yard of drag will slow a falling body's rate of descent by twenty percent). The two books are similar in that Harvard symbologist Robert Langdon deciphers clues to try and solve one murder while trying to prevent others in a mystery that involves the secrets of the Catholic Church. In this book a physicist is murdered at CERN, the Swiss research facility, and branded will a symbol representing the Illuminati, the centuries old underground organization of scientists who have a vendetta against the Catholic Church. The ancient secret brotherhood has acquired a devastating new weapon of mass destruction and intends to bring down the Vatican (literally).
Which book is better? My initial reaction would be that I liked "The Da Vinci Code" a bit more because so many of the clues were written out. When Langdon has to look over paintings, statues and other visual clues I find myself wishing Brown had supplied photographs in his book so that I could play along looking for clues (he does provide most of the requisite images at his website, but I did not know this until after the fact and I suspect most readers will not want to stop and go online to call up the photographs). Not that I had much success in my endeavors, but I did know that Leonardo Da Vinci wrote in his journals backwards so that I was ahead of Langdon for a half a page at one point. "Angles & Demons" is played out on a larger and more public stage than "The Da Vinci Code," and when you get to the conclusion of this novel you might find it a bit much, but that is one of the reasons they call it fiction.
The biggest question in the debate over these books seems to be whether Brown is attacking the Catholic Church in his novels, which strikes me a bit odd after reading "Angels & Demons" since the Vatican is the target this time around. This novel is more about the long struggle between science and religion than anything else, and the position Brown takes seems to be that the two are ultimately compatible. I did my dissertation on the Scopes "Monkey" Trial of 1925 and in the spectacle of Clarence Darrow cross-examining William Jennings Bryan that is codified by the fictional "Inherit the Wind," history has forgotten that the original position of the Scopes defense was that there Genesis and evolution were compatible. Consequently, I have a lot of sympathy for Brown's position and I think a careful reading of the text offers as strong a critique of science as it does of religion. Certainly that ideal is represented by the man who is murdered to start off the story and whatever faults in the history and theology of the Catholic Church might be discussed, there are just too many men of devout faith in the narrative to support the idea Brown is out to get the Church.
Nor do I have any real concerns with the extent to which Brown is playing with historical "facts." The whole idea here is to create a sense that the pieces of the puzzle fit together. I do not think for a second that these novels are true; all I need is to believe that they are plausible, so telling me that some statue's finger is pointed in the wrong direction if you go to Rome and see it for yourself is not going to matter to me because I understand how far the rules of the game apply to the real world. Even so, I think that Brown's factual foundation is more substantial than we will usually find under such circumstances, which would end up being a plus rather than a minus. Besides, I like all of the flashbacks to Langdon's discussions with his students (more classroom scenes in the future, please).
Solving the puzzles is the key enjoyment of these novels and that part of the creative process makes up for Brown's tendency to overplay his red herrings and to hide his true villains in plain sight. Ultimately the game matters more than the characters or the plot. As soon as you know that there will be four more murders you realize that at least three of them have to happen because the game has to be played out to the end, so it is not until the frantic end game that your attention really perks up and it is at that point that Brown starts unloading a whole lot of really big surprises on his characters and his readers. In the final analysis the point here is neither history nor theology, but to tell an exciting adventure yarn where the hero gets by mainly on his intelligence rather than good looks and/or weaponry. This is a hero I can actually identify with for once and that is fine with me too.

Harvard professor Robert Langdon and CERN scientist Vittoria Vetra have just one night to prevent the Vatican from being destroyed by an antimatter bomb. Can they do it? Of course. But the fun lies in how and why.
A sample of antimatter has been stolen from physics center CERN by the Illuminati -- the all-powerful group made so famous by Robert A. Wilson's books. Here, they are represented as being an ancient order of scientists upset with the way the Church has treated science and scientists. (Me, I always liked the bankers-as-secret-force or blood-relatives-of-Jesus explanation of the Illuminati, but this will do.) This provides for plenty of science vs. religion conversations, and Brown does a good job with them.
ANGELS AND DEMONS is a fast, but satisfying read. It rolls along unstoppably, not the least of which because the action takes place over a 24-hour span. Even if -- as I did -- you guess what's really happening half-way through the book, you'll never guess what happens in the last 40 pages.
The book is laced with fun facts about electing a pope and the Vatican, like that St. Peter's bones are not in the golden casket in St. Peter's Basilica, but two stories under it. Brown knows the layout. And that the artist Raphael's last name was Santi. He also knows how marble statues were carved. Brown's no Irving Stone (THE AGONY AND THE ECSTACY), but he does manage to inform without being pedantic.
As Vittoria and Langdon race around Rome, we get quite a tour, with great descriptions. (Pick up a paperback copy next summer and bring it to Rome. Take the Brown tour.) What's interesting is that all the places and pieces of art in this book really exist. So Brown has played a version of the Sherlockians' Great Game by linking them all with his "history" of the Illuminati and their doings. No small feat.
Several of the plot elements have to be taken with a grain of salt. First, there is the fact that everyone in this book is absolutely amazed by amibgrams (these are words which can be ready the same upside-down as right-side up -- the book's dust jacket has the title in ambigram). They play an important role in the story, and everyone who encounters them is practically struck dumb the fact that even exist. They "seem utterly impossible." I guess no one else in the story (including symbol expert Langdon) remembers that OMNI magazine ran an ambigram contest in the 1980s and published dozens of the thousands of entries they received, I imagine that by now there must be a software program or web site that can make them for you (and make an acrostic that spells out your girlfriend's name). In short: they aren't that amazing. Then there are things like the fact that Vittoria (a physicist) isn't familiar with the classical four elements of earth, air, fire, and water. Come on.
Great literature? No, but you sure keep turning the pages to see what happens next.