Naturally, there are the usual Brown tropes: there are cliffhangers at the end of almost every chapter jolting split-screen shifts to different settings exhausting historical references entire encyclopedias of symbols and an incredulous tone throughout.Д«rown is also a slave to italics as a mechanism for highlighting a realisation or revelation, or to conclude a piece of real action, adding even more to the unnecessary staccato feel throughout.Д«ut as Dolly Parton once said, it takes a lot of money to look this cheap. ThereвЂ™s a veiled Stieg Larsson reference with Vayentha, a spiky haired gun-wielding female motorcyclist, and the bones of the plotвЂ™s beginnings are undoubtedly Bourne trilogy territory, as dodgy government forces initially chase our amnesiac hero. The shadowy Consortium and its key member The Provost are nowhere near as iconic as some of BrownвЂ™s villains. The parallel baddie plot falters almost immediately. Ten years after the Opus Dei-bating Da Vinci propelled him to fame, selling more than 80 million copies, Inferno is the closest heвЂ™s got to replicating its formula successfully. With Deception Point and Digital Fortress, Brown failed to reach the heights of The Da Vinci Code, but Inferno bristles with so much energy, fun and ridiculousness that thereвЂ™s a sense that heвЂ™s really going for it. A mysterious silver object is in a new pocket in his tweed jacket (where did that come from?). An attractive ponytailed doctor genius called Sienna Brooks is tending to his needs. HeвЂ™s in Florence, and he doesnвЂ™t know how he got there. We begin with the tweed-loving professor of symbology in hospital, suffering from amnesia, a bullet wound in his head, hallucinating a silver-haired woman with an amulet. The plot is achingly familiar, with Robert Langdon racing around Florence as if the city is a pinball machine of light-up symbols, blinking codes and beeping messages within which Langdon and only Langdon can get the high score. Inferno travels at breakneck speed, yanking the reader from chapter to chapter and from hidden passage to painting. So who or what is вЂњThe ConsortiumвЂќ? Manchester United? Starbucks? Scientology? KPMG? The intrigue-o-meter is already turned up to 11 before the first page is turned, and it barely subsides until the final pages. ItвЂ™s the kind of style that has historians blue in the face, and pulp-loving holiday-novel readers flipping the pages of his books with glee. The brilliance of Dan Brown is that he builds a world within what already exists, blurring the lines between ludicrous conspiracy and legitimate references. Its name has been changed for considerations of security and privacy,вЂќ followed by an explication of inferno as, вЂњthe underworld as described by Dante AlighieriвЂ™s epic poem The Divine Comedy. вЂThe ConsortiumвЂ™ is a private organisation with offices in seven countries. Dan BrownвЂ™s latest novel Inferno is prefaced with an ingenious page stating вЂњFact: All artwork, literature, science, and historical references in this novel are real.

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