Few living novelists have shaped a genre as precisely as Daniel Gerhard Brown, born in New Hampshire in 1964 and known to two hundred million readers simply as Dan Brown. The formula is his own invention and has barely changed since Angels and Demons in 2000: a symbologist, a corpse, a cipher, and roughly twenty-four hours in which to unpick a secret that powerful institutions would rather keep.
The Da Vinci Code turned that formula into one of the publishing events of the century in 2003, and the argument it provoked about Christian history was, in its way, part of the appeal. Brown has always maintained that his novels are entertainments meant to prompt discussion rather than attacks on faith. The Lost Symbol, Inferno and Origin followed, three of the books reached cinemas, and his work has been translated into more than fifty languages.
What keeps him readable is the research habit. Brown builds his puzzles out of real architecture, real art and real cryptography, then bends each one just far enough to serve the plot.