Dan Brown - the Lost Symbol

Topics: The Lost Symbol, Robert Langdon, Dan Brown Pages: 203 (81744 words) Published: January 22, 2013
Dan Brown’s The Lost Symbol by Nigel Tomm

ISBN/ISBN13: 1449569382 / 9781449569389

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DESCRIPTION. "Dan Brown's The Lost Symbol by Nigel Tomm" is an exceptional book in numerous ways. Firstly, it is not actually Nigel Tomm's book. This is not Dan Brown's book either. It is "The Picture of Dorian Gray" by Oscar Wilde (published in 1891) with a difference that the names of the main characters are interchanged with those from "The Lost Symbol", i.e., Dorian Gray now is Robert Langdon, Lord Henry Wotton is Lord Peter Solomon and Basil Hallward is Zachary Solomon. The author of the book, Nigel Tomm calls it a textual installation art where such phenomenon as authorship, perception, cognition and law are being questioned. The book also questions the role of the author and its significance in the contemporary world of mashups. Can you imagine Robert Langdon in 1891? Nigel Tomm gives you a try.

© 2009 Nigel Tomm All rights reserved. This work may not be translated or copied in whole or in part without the written permission of Nigel Tomm, except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. This book is a work of fiction. No characters are based on real people, whether living or dead. Any resemblance to a real person is pure coincidence.

Cover and book design by © Nigel Tomm

Dan Brown’s The Lost Symbol by Nigel Tomm

CHAPTER 1 The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn. From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Peter Solomon could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ. In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Zachary Solomon, whose sudden disappearance some years ago caused, at the time, such public excitement and gave rise to so many strange conjectures. As the painter looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake. "It is your best work, Zachary, the best thing you have ever done," said Lord Peter languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar.


Dan Brown’s The Lost Symbol by Nigel Tomm

Whenever I have gone there, there have been either so many people that I have not been able to see the pictures, which was...
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