From Dante's Inferno for pandemic Designer virus

Dan Brown takes back in the box probater literary tricks. The most effective trick is - as always - the mystification: His erkorener hero, Harvard professor Robert Langdon, this time at venues Florence, Venice and Istanbul active, encounters symbols that - apparently - not be decrypted, it has with persons do that can not be identified, and is entangled in events that seem puzzling - a puzzle whose pieces do not want to entirely match. So the reader is for pages in the dark about what actually drives Langdon in the Renaissance city. Apparently, he is looking for something that has to do with Dante Alighieri, Italy's Nationalpoet No. 1,. But what remains mysterious. Only one dawns: The viewfinder itself is searched: agents of various stakeholders have it in for him, without that he knew why. And it creates a hunt through a maze of gardens, caves, stairs, dungeons, chapels, corridors, alleys and galleries. We are moving on with history, highly symbolic terrain where teem with cryptic characters and momentous symbols where Langdon tried its decoding capability. Ominous quotes, statues, sculptures and other testimonies of the Renaissance will "come to life". Their focus is the world of Dante, as he described it in the "Divine Comedy", especially his dark vision of the "Inferno", in which the poet condemned the corrupt-sinful companions of his time.
Finally, the gains in Browns novels indispensable conspiracy shape: The geneticist Bertrand Zobrist sees an analogy between the risk of the Black Plague time of Dante and the current problem of overpopulation of the earth. A designer-Virus will save humanity by the fact that one-third made infertile and the exponential growth is slowed down. The virus is released, a planetary pandemic threatens, and the World Health Organization has a tangible problem.
How exciting for Brown novices to read and how refined and applied - the novel shows for Brown connoisseurs wear effects, because the knitting pattern, the work will inevitably lead to a deja vu. Greetings from James Bond, and Umberto Eco frowns. The literary scam exhausted, and tired of the reader. One wonders how many times it Brown still manages time and again to exploit his success formula. And: With all due respect to its cultural and historical knowledge that lengthy lecturing on art and architecture to the reader moves on to the spirit. Hundreds of pages have been good for the less than 460-page work.