Colleen Scheck, Producer
I’m intrigued by the wildfire surrounding Dan Brown’s new novel. Frugal people I know who detest buying hardcover books have already purchased The Lost Symbol, have finished reading it, and are now wondering what hairstyle Tom Hanks will sport in the movie version. Even our own host — among illness, travel, multiple interviews, and other production duties — already has read it. Much to her surprise, she sent an enthusiastic e-mail to staff about the book saying we should consider a program on noetics, which she said is not uninteresting, just never well articulated beyond stereotypical New Age speak.
Confession: I never read The Da Vinci Code or Angels & Demons, nor did I see the movies (I know, appalling), but I still enjoyed our program, “Deciphering The Da Vinci Code” with Luke Timothy Johnson and Bernadette Brooten, for its exploration of early Christianity that helps put Brown’s suspenseful mix of fact and fiction in perspective. The History major in me feels the authors of historical fiction have a cultural duty to get it right, even while employing artistic and dramatic license.
A Prince Hall Freemasons sign in Atlanta, Georgia. (photo: Erica Joy/Flickr)
While I ponder picking up my husband’s copy of The Lost Symbol, I’ve kept an eye out for similar thoughtful context for this latest popular culture phenomenon. This week I found an example in an article by Samuel Biagetti. A Columbia grad student in American history, Biagetti studies Freemasonry and uses his academic expertise to evaluate Brown’s treatment of this mysterious movement that is central to the founding lore of the United States. “However naive the novel may be,” he writes, “it testifies to the myths that helped to make the modern world, myths in which Brown places zealous faith. In so doing, it reads like a love letter to Masonry.”
If you’re one of the bazillions enjoying The Lost Symbol, I think his article will help keep you grounded while you enjoy Brown’s clandestine world of Masonic secrets.