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Inferno: (Robert Langdon Book 4)
 
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Inferno: (Robert Langdon Book 4) [Format Kindle]

Dan Brown
3.8 étoiles sur 5  Voir tous les commentaires (49 commentaires client)

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Descriptions du produit

Amazon.fr

Amazon Exclusive: Inside Inferno

Explore the sights of Inferno alongside Robert Langdon in this exclusive first look at Dan Brown's latest thriller.
1

As Langdon continued on toward the elbow of the square, he could
see, directly ahead in the distance, the shimmering blue glass dial of the
St. Mark’s Clock Tower—the same astronomical clock through which
James Bond had thrown a villain in the film Moonraker.

2

The Tetrarchs statue was well known for its missing foot, broken
off while it was being plundered from Constantinople in the thirteenth
century. Miraculously, in the 1960s, the foot was unearthed in Istanbul.
Venice petitioned for the missing piece of statue, but the Turkish authorities
replied with a simple message: You stole the statue—we’re keeping our
foot
.

 
3

Amid a contour of spires and domes, a single illuminated facade dominated
Langdon’s field of view. The building was an imposing stone fortress
with a notched parapet and a three-hundred-foot tower that swelled
near the top, bulging outward into a massive machicolated battlement.

4

Langdon found himself standing before a familiar face—that of Dante Alighieri.
Depicted in the legendary fresco by Michelino, the great poet stood before
Mount Purgatory and held forth in his hands, as if in humble offering,
his masterpiece The Divine Comedy.

 

Amazon Exclusve: Additional Reading Suggestions from Dan Brown

  • The Divine Comedy: Volume 1: Inferno—(Penguin Classics)
  • The Singularity Is Near: When Humans Transcend Biology—Ray Kurzweil (Author)
  • Brunelleschi's Dome—Ross King (Author)
  • The Lives of the Artists Volume 1—Giorgio Vasari (Author), George Bull (Translator)
  • The Book Of Symbols: Reflections On Archetypal Images—ARAS
 

Q&A with Dan Brown

Dan Brown

Q. Inferno refers to Dante Alighieri´s The Divine Comedy. What is Dante’s significance? What features of his work or life inspired you?

A. The Divine Comedy—like The Mona Lisa—is one of those rare artistic achievements that transcends its moment in history and becomes an enduring cultural touchstone. Like Beethoven’s Ninth Symphony, The Divine Comedy speaks to us centuries after its creation and is considered an example of one of the finest works ever produced in its artistic field. For me, the most captivating quality of Dante Alighieri is his staggering influence on culture, religion, history, and the arts. In addition to codifying the early Christian vision of Hell, Dante’s work has inspired some of history’s greatest luminaries—Longfellow, Chaucer, Borges, Tchaikovsky, Liszt, Monteverdi, Michelangelo, Blake, Dalí—and even a few modern video game designers. Despite Dante’s enduring influence on the arts, however, most of us today have only a vague notion of what his work actually says—both literally and symbolically (which, of course, is of great interest to Robert Langdon). A few years ago, I became very excited about the prospect of writing a contemporary thriller that incorporated the philosophy, history, and text of Dante’s timeless descent into The Inferno.

Q. Where did do your research for Inferno? How long did you spend on it?

A. Researching Inferno began with six months of reading, including several translations of The Divine Comedy, various annotations by Dante scholars, historical texts about Dante’s life and philosophies, as well as a lot of background reading on Florence itself. At the same time, I was poring over all the new scientific information that I could find on a cutting edge technology that I had decided to incorporate into the novel. Once I had enough understanding of these topics to proceed, I traveled to Florence and Venice, where I was fortunate to meet with some wonderful art historians, librarians, and other scholars who helped me enormously.

Once this initial phase of research was complete, I began outlining and writing the novel. As is always the case, when a book begins to take shape, I am drawn in unexpected directions that require additional research. This was also the case with Inferno, which took about 3 years from conception to publication.

With respect to the process, the success of these novels has been a bit of a Catch-22. On one hand, I now have wonderful access to specialists, authorities, and even secret archives from which to draw information and inspiration. On the other hand, because there is increased speculation about my works in progress, I need to be increasingly discreet about the places I go and the specialists with whom I speak. Even so, there is one aspect of my research that will never change—making personal visits to the locations about which I’m writing. When it comes to capturing the feel of a novel’s setting, I find there is no substitute for being there in the flesh...even if sometimes I need to do it incognito.

Q. What kind of adventure will Robert Langdon face this time? Can you give us any sneak peak at the new novel?

A. Inferno is very much a Robert Langdon thriller. It’s filled with codes, symbols, art, and the exotic locations that my readers love to explore. In this novel, Dante Alighieri’s ancient literary masterpiece—The Divine Comedy—becomes a catalyst that inspires a macabre genius to unleash a scientific creation of enormous destructive potential. Robert Langdon must battle this dark adversary by deciphering a Dante-related riddle, which leads him to Florence, where he finds himself in a desperate race through a landscape of classical art, secret passageways, and futuristic technology.

Q. What made Florence the ideal location for Inferno?

A. No city on earth is more closely tied to Dante Alighieri. Dante grew up in Florence, fell in love in Florence, and began writing in Florence. Later in life, when he was exiled for political reasons, the longing he felt for his beloved Florence became a catalyst for The Divine Comedy. Through his enduring poem, Dante enjoyed the “last word” over his political enemies, banishing them to various rings of Inferno where they suffered terrible tortures.

Extrait

Chapter 1

The memories materialized slowly . . . like bubbles surfacing from the darkness of a bottomless well.

A veiled woman.

Robert Langdon gazed at her across a river whose churning waters ran red with blood. On the far bank, the woman stood facing him, motionless, solemn, her face hidden by a shroud. In her hand she gripped a blue tainia cloth, which she now raised in honor of the sea of corpses at her feet. The smell of death hung everywhere.

Seek, the woman whispered. And ye shall find.

Langdon heard the words as if she had spoken them inside his head. “Who are you?” he called out, but his voice made no sound.

Time grows short, she whispered. Seek and find.

Langdon took a step toward the river, but he could see the waters were bloodred and too deep to traverse. When Langdon raised his eyes again to the veiled woman, the bodies at her feet had multiplied. There were hundreds of them now, maybe thousands, some still alive, writhing in agony, dying unthinkable deaths . . . consumed by fire, buried in feces, devouring one another. He could hear the mournful cries of human suffering echoing across the water.

The woman moved toward him, holding out her slender hands, as if beckoning for help.

“Who are you?!” Langdon again shouted.

In response, the woman reached up and slowly lifted the veil from her face. She was strikingly beautiful, and yet older than Langdon had imagined—in her sixties perhaps, stately and strong, like a timeless statue. She had a sternly set jaw, deep soulful eyes, and long, silver-gray hair that cascaded over her shoulders in ringlets. An amulet of lapis lazuli hung around her neck—a single snake coiled around a staff.

Langdon sensed he knew her . . . trusted her. But how? Why?

She pointed now to a writhing pair of legs, which protruded upside down from the earth, apparently belonging to some poor soul who had been buried headfirst to his waist. The man’s pale thigh bore a single letter—written in mud—R.

R? Langdon thought, uncertain. As in . . . Robert? “Is that . . . me?”

The woman’s face revealed nothing. Seek and find, she repeated.

Without warning, she began radiating a white light . . . brighter and brighter. Her entire body started vibrating intensely, and then, in a rush of thunder, she exploded into a thousand splintering shards of light.

Langdon bolted awake, shouting.

The room was bright. He was alone. The sharp smell of medicinal alcohol hung in the air, and somewhere a machine pinged in quiet rhythm with his heart. Langdon tried to move his right arm, but a sharp pain restrained him. He looked down and saw an IV tugging at the skin of his forearm.

His pulse quickened, and the machines kept pace, pinging more rapidly.

Where am I? What happened?

The back of Langdon’s head throbbed, a gnawing pain. Gingerly, he reached up with his free arm and touched his scalp, trying to locate the source of his headache. Beneath his matted hair, he found the hard nubs of a dozen or so stitches caked with dried blood.

He closed his eyes, trying to remember an accident.

Nothing. A total blank.

Think.

Only darkness.

A man in scrubs hurried in, apparently alerted by Langdon’s racing heart monitor. He had a shaggy beard, bushy mustache, and gentle eyes that radiated a thoughtful calm beneath his overgrown eyebrows.

“What . . . happened?” Langdon managed. “Did I have an accident?”

The bearded man put a finger to his lips and then rushed out, calling for someone down the hall.

Langdon turned his head, but the movement sent a spike of pain radiating through his skull. He took deep breaths and let the pain pass. Then, very gently and methodically, he surveyed his sterile surroundings.

The hospital room had a single bed. No flowers. No cards. Langdon saw his clothes on a nearby counter, folded inside a clear plastic bag. They were covered with blood.

My God. It must have been bad.

Now Langdon rotated his head very slowly toward the window beside his bed. It was dark outside. Night. All Langdon could see in the glass was his own reflection—an ashen stranger, pale and weary, attached to tubes and wires, surrounded by medical equipment.

Voices approached in the hall, and Langdon turned his gaze back toward the room. The doctor returned, now accompanied by a woman.

She appeared to be in her early thirties. She wore blue scrubs and had tied her blond hair back in a thick ponytail that swung behind her as she walked.

“I’m Dr. Sienna Brooks,” she said, giving Langdon a smile as she entered. “I’ll be working with Dr. Marconi tonight.”

Langdon nodded weakly.

Tall and lissome, Dr. Brooks moved with the assertive gait of an athlete. Even in shapeless scrubs, she had a willowy elegance about her. Despite the absence of any makeup that Langdon could see, her complexion appeared unusually smooth, the only blemish a tiny beauty mark just above her lips. Her eyes, though a gentle brown, seemed unusually penetrating, as if they had witnessed a profundity of experience rarely encountered by a person her age.

“Dr. Marconi doesn’t speak much English,” she said, sitting down beside him, “and he asked me to fill out your admittance form.” She gave him another smile.

“Thanks,” Langdon croaked.

“Okay,” she began, her tone businesslike. “What is your name?”

It took him a moment. “Robert . . . Langdon.”

She shone a penlight in Langdon’s eyes. “Occupation?”

This information surfaced even more slowly. “Professor. Art history . . . and symbology. Harvard University.”

Dr. Brooks lowered the light, looking startled. The doctor with the bushy eyebrows looked equally surprised.

“You’re . . . an American?”

Langdon gave her a confused look.

“It’s just . . .” She hesitated. “You had no identification when you arrived tonight. You were wearing Harris Tweed and Somerset loafers, so we guessed British.”

“I’m American,” Langdon assured her, too exhausted to explain his preference for well-tailored clothing.

“Any pain?”

“My head,” Langdon replied, his throbbing skull only made worse by the bright penlight. Thankfully, she now pocketed it, taking Langdon’s wrist and checking his pulse.

“You woke up shouting,” the woman said. “Do you remember why?”

Langdon flashed again on the strange vision of the veiled woman surrounded by writhing bodies. Seek and ye shall find. “I was having a nightmare.”

“About?”

Langdon told her.

Dr. Brooks’s expression remained neutral as she made notes on a clipboard. “Any idea what might have sparked such a frightening vision?”

Langdon probed his memory and then shook his head, which pounded in protest.

“Okay, Mr. Langdon,” she said, still writing, “a couple of routine questions for you. What day of the week is it?”

Langdon thought for a moment. “It’s Saturday. I remember earlier today walking across campus . . . going to an afternoon lecture series, and then . . . that’s pretty much the last thing I remember. Did I fall?”

“We’ll get to that. Do you know where you are?”

Langdon took his best guess. “Massachusetts General Hospital?”

Dr. Brooks made another note. “And is there someone we should call for you? Wife? Children?”

“Nobody,” Langdon replied instinctively. He had always enjoyed the solitude and independence provided him by his chosen life of bachelorhood, although he had to admit, in his current situation, he’d prefer to have a familiar face at his side. “There are some colleagues I could call, but I’m fine.”

Dr. Brooks finished writing, and the older doctor approached. Smoothing back his bushy eyebrows, he produced a small voice recorder from his pocket and showed it to Dr. Brooks. She nodded in understanding and turned back to her patient.

“Mr. Langdon, when you arrived tonight, you were mumbling something over and over.” She glanced at Dr. Marconi, who held up the digital recorder and pressed a button.

A recording began to play, and Langdon heard his own groggy voice, repeatedly muttering the same phrase: “Ve . . . sorry. Ve . . . sorry.”

“It sounds to me,” the woman said, “like you’re saying, ‘Very sorry. Very sorry.’ ”

Langdon agreed, and yet he had no recollection of it.

Dr. Brooks fixed him with a disquietingly intense stare. “Do you have any idea why you’d be saying this? Are you sorry about something?”

As Langdon probed the dark recesses of his memory, he again saw the veiled woman. She was standing on the banks of a bloodred river surrounded by bodies. The stench of death returned.

Langdon was overcome by a sudden, instinctive sense of danger . . . not just for himself . . . but for everyone. The pinging of his heart monitor accelerated rapidly. His muscles tightened, and he tried to sit up.

Dr. Brooks quickly placed a firm hand on Langdon’s sternum, forcing him back down. She shot a glance at the bearded doctor, who walked over to a nearby counter and began preparing something.

Dr. Brooks hovered over Langdon, whispering now. “Mr. Langdon, anxiety is common with brain injuries, but you need to ...

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Commentaires client les plus utiles
33 internautes sur 37 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Mr Brown, please, do something! 22 mai 2013
Format:Format Kindle|Achat vérifié
I discovered Down Brown via the Da Vinci Code and I also read great books from him (Digital Fortress, Deception point among others). I was a bit disappointed with Angels & Demons having a feeling of copy/paste of Da Vinci (may be because I started with that one). When I saw Inferno I hesitated but still, at the end I gave it a chance. Damn! Wrong choice. I must admit I could not go further than about half the book simply because, I will summarize it easilly: Langdon is chased, he hides, find a last chance exit, gives a lesson in history. Langdon is chased, he hides, find a last chance exit, gives a lesson in history. Langdon........ etc etc etc. This book does not finish from starting! Sorry but this is really too boring and I really do not care now what happens next. Please Mr Dan Brown, you're not worthy of such a book! For the next one be sure I'll wait long enough and will read critics a lot before spending money on a Langdon story. Too bad.
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7 internautes sur 8 ont trouvé ce commentaire utile 
Format:Relié|Achat vérifié
Were we expecting a book by Dan Brown with Dante and his Inferno as the central piece? Probably. But it finally came out and let us totally aghast.

Some simple reasons.

It is fast, multiple as for the point of view, very dynamic, sliced into so short chapters that have a high taste of TV series with some of them sliced up a second time like split hair that we are confronted to a scattered jigsaw puzzle. I don’t really like that kind of massive loaf of bread chopped up so thin we don’t have time to assess a situation before it is already gone, since there never – or nearly never – is a fully developed situation. Just tit bits you have to sort out and assemble the way you want if you are not particular about the story line, or the way you can or should if you want to keep up with some story line.

At the same time the story is multiple with many points of view and that gives a real dynamism to the tale that a more consistent or continuous story telling technique would not necessarily produce, would even very probably not produce. Especially when you know it all plays on the eyes that are used to see a character and speak about her or him, the eyes of another character, and not always the same. Some kind of inner voyeurism from one voyeur into another voyeur who pays the same homage to the first one: reciprocal and crisscrossing voyeur’s points of view. One of these voyeurs is struck by some important loss of memory and some other characters are just superficially identified by this or that momentary and transient voyeur, mostly Langdon who is under complete delusion due to his loss of memory, but several others too.

Then the story is complicated.
Lire la suite ›
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2 internautes sur 2 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Is this a novel or a florence guide book? 9 juillet 2013
Format:Broché|Achat vérifié
A fairly predictable and disappointing scenario pasted over a snobbish guide book of Florence, Venice and Istanbul. Remove the description of the historical buildings and almost nothing is left for you to read.
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3 internautes sur 4 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Lecture de vacances 21 juillet 2013
Format:Format Kindle|Achat vérifié
Se lit facilement et n'use pas le cerveau!
Cependant, longuet et la ficelle Dan Brown commence à avoir été un peu trop tirée.
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2.0 étoiles sur 5 Bon début... mais fin douteuse 8 juillet 2014
Par Nelly
Format:Format Kindle|Achat vérifié
Comme pour ses précédents livres, l'histoire débute dans un univers mystique. Puis vers les deux tiers du livre, tout redevient purement scientifique et un peu tiré par les cheveux.
Donc pas convaincue. Je vais peut-être arrêter avec les Dan Brown...
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5.0 étoiles sur 5 Super 2 juin 2014
Format:Broché|Achat vérifié
Réponds parfaitement à mes attentes. Je le recommande à tous ceux qui ont apprécié les précédents livres de Dan Brown
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5.0 étoiles sur 5 Je recommende 20 mars 2014
Par Magali
Format:Relié|Achat vérifié
Dans la lignée des oeuvres de Dan Brown, on se fait un cour d'histoire et un cours d'histoire de l'art en même temps principalement en Italie.
Et il aborde un thématique importante. Je recommande
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2.0 étoiles sur 5 For me, disappointed! 2 mars 2014
Format:Relié|Achat vérifié
In my opinion Inferno does not live up to the standard set by the first two novels in the Robert Langdon series.
Midway through this infernally boring novel, Dan Brown finally pulls a fast one on the reader, and the story picks up, but by that time it is too little, too late.
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Commentaires client les plus récents
1.0 étoiles sur 5 inferno
Après avoir lu la majeure partie des oeuvres de Dan Brown, j'ai été très déçu par Inferno. Lire la suite
Publié il y a 5 mois par irad
3.0 étoiles sur 5 Pas mal mais ne vaut pas da Vinci code.
Le livre se lit vite et ce n'est pas désagréable. J'ai utilisé le site inferno guide qui permet de visualiser les œuvres et les lieux du livre a chaque... Lire la suite
Publié il y a 5 mois par Ds 15
5.0 étoiles sur 5 Inferno Dan Brown
This was an exciting book to read, I didn't think it could top the last one I read by Dan Brown, but I was wrong, it holds you just till the end. A well written novel
Publié il y a 6 mois par DONALD PETERKIN
3.0 étoiles sur 5 Le Guide Vert en action
60% de guide de voyage, 20% de wikipédia, et 20% d'intrigue policière : vous avez ce roman. Je n'avais jamais lu de Dan Brown. Lire la suite
Publié il y a 6 mois par mlesix
5.0 étoiles sur 5 Cool !!!
Incredible and very interesting as all books of Dan Brown.
Waiting for his next work, hope it will be available soon
Publié il y a 7 mois par Aster
2.0 étoiles sur 5 Tedious and totally unbelievable
I am mid-Inferno and I'm not sure I can be bothered to read to the end. It has introduced me to Ross King's "Brunelleschi's Dome" - maybe that will prove more interesting. Lire la suite
Publié il y a 8 mois par English reader
3.0 étoiles sur 5 Inferno
Although the book doesn't rival The da Vinci Code, we are still immersed in Langon's world made of history, suspense and murders. Cannot be missed!
Publié il y a 8 mois par eli
3.0 étoiles sur 5 Inferno
Démarrage un peu lent . Visite de Florence intéressante , un certain suspense dans un contexte politico socio économique actuel .
Publié il y a 8 mois par mhdereyke
4.0 étoiles sur 5 A lire !!!
Je ne suis pas encore à la fin du livre, mais je le recommande déjà.
Comme pour les autres livres de Dan Brown, on ne s'ennuie pas à le lire.
Publié il y a 8 mois par Yves Magnan
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