The city of Venice is truly beautiful, yet it remains very perplexing to outsiders who lack an understanding of its history and native culture.

John Berendt delves into Venice through a series of stories that revolve around the petty feuds and the arduous struggle to safeguard its cultural heritage from the threats of fire and the encroaching sea water.

I found many of the narratives quite engaging, but I believe the author could have incorporated more native perspectives rather than relying so much on outsider views.

Similar to his previous work, Midnight in the Garden of Good and Evil, this book offers the reader a plethora of entertaining tales about this captivating and mysterious city.

It provides a unique window into the inner workings and idiosyncrasies of Venice, allowing readers to gain a deeper appreciation for its charm and complexity.

However, by presenting a more balanced view that includes the voices and experiences of the local people, the book could have offered an even more comprehensive and authentic portrayal of this remarkable place.

Wow. There are just way too many characters in this story that never really connected back to the fire. It's quite interesting, no doubt, but it feels so long and drawn out.

You find yourself getting lost in the details that seem to lead nowhere in particular. However, the one saving grace is definitely the chapter on Ezra Pound.

That chapter stands out like a bright light in the midst of a rather convoluted narrative. It offers a fresh perspective and a touch of excitement that the rest of the story sometimes lacks.

Perhaps if the other parts of the story could have been more tightly woven around the central theme of the fire or had more direct connections to it, it would have been a more engaging read from start to finish. But as it is, we have to give credit to that one chapter on Ezra Pound for adding some much-needed interest and depth to the overall work.

“Intersting book but a very slow read”

This short description piques one's curiosity. It seems that the book in question has some interesting aspects that draw the reader in. However, the pace at which it unfolds is rather slow, perhaps causing the reader to have a somewhat different experience than expected.

Maybe the author has chosen to develop the story and characters in a more deliberate and detailed manner. This could lead to a deeper understanding and appreciation of the book's content, but it also requires the reader to be patient and willing to invest time in the reading process.

Despite the slow pace, the interesting elements within the book might still make it worth reading. It could offer unique perspectives, thought-provoking ideas, or engaging plotlines that keep the reader intrigued.

Overall, this description suggests that the book has both its strengths and weaknesses, and it would be up to the individual reader to decide if the interesting aspects outweigh the slow pace.

The first problem I had with this book is that it clearly states right on the cover "by the author of 'Midnight in the Garden of Good and Evil.'" Naturally, this led me to expect it to be an absolute masterpiece. However, to my slight disappointment, it's not. That being said, it is still quite interesting.

The narrative is cleverly framed by the tragic burning of the Fenice Opera House in 1996. As the story unfolds, we are introduced to a diverse range of Venetians. Most of them, however, seem to reflect the author's particular taste, which leans towards the aristocratic. We encounter a descendant of doges, an esteemed multi-generation family of glassblowers, and a leading European rat poison manufacturer. We also learn about who socialized with Henry James and who was involved with Ezra Pound. One thing that stands out is that everybody seems to be feuding with somebody.

Just like in "Midnight," there is an element of mystery here. There is the question of how exactly the Fenice burned down, and one of the subplots revolves around who profited from the sale to Yale of Ezra Pound's mistress's letters. Personally, I would have preferred a more in-depth and complete recounting of one or two of the stories rather than the somewhat disjointed jumping around from one to the next.

I read "The City of Falling Angels" after returning from a few wonderful days in Venice. Undoubtedly, this experience significantly increased my appreciation of the book, as it allowed me to better envision the settings and understand the context.

This is by the same author of Midnight in the Garden of Good and Evil: A Savannah Story.

After leaving Savannah, Berendt embarked on a new adventure and lived in Venice, Italy for a decade.

Similar to his earlier novel, he once again immersed himself in a coastal city following a significant event. This time, instead of a murder, he delved into the investigation of the burning of a historical opera house.

Just like in the Savannah book, he skillfully exposes the decadence, selfishness, and occasional absurdity of socialites and royalty, both real and pretend.

His writing is excellent, presented in a journalistic yet conversational tone, making it highly entertaining.

For the second time... it's a bit much really. I never got into it though I would like to finish it.

On 19/11/2008, I just visited Venice for the second time. And this novel entered into my head (for a millisecond only, thank god). However, I can't find it any more. It's quite frustrating. I had this brief moment of inspiration, but now it seems to have vanished into thin air. Maybe it was just a passing thought, but it made me curious. I wonder what the novel would have been like if I could have held onto that idea.

I keep racking my brain, trying to recall any details about the novel that entered my mind. But it's like trying to catch a wisp of smoke. It's so elusive. I hope that one day, it will come back to me, and I can actually start working on this novel and bring it to life.

I was first introduced to John Berendt's work as an author when I saw the movie based on his earlier book "Midnight in the Garden of Good and Evil" (1997). The book that prompted the screenplay for that movie was Berendt's "Midnight in the Garden of Good and Evil: A Savannah Story." Based on the eccentric characters of the movie Midnight, along with the suspense of the underlying mystery with the city as a strong central character, I was intrigued to get to know a different story as observed and told by John Berendt that would have me as intrigued.

Walking the shelves of a local independent bookseller last fall, I struck upon Berendt's "The City of Falling Angels," which came out roughly 11 years after the first. This book reflects not a case of suspected murder with different classes of the city of Savannah, Georgia, but instead it focused on the fire that gutted the opera house Teatro La Fenice in Venice, Italy. The city, its people, the stage that the city is for those who live there and visit were all put under a review that in part felt like a tabloid tale and part investigative travelogue.

The concept of Venice, its history, and the efforts that many have undertaken to maintain the antiquities of the city was a large theme underpinning the story of "Midnight." Additionally, there was the story of the fire and the assignment of cause and culpability. There was also the story of the papers of expatriate authors who lived in Venice, including the intrigue surrounding the possession of the papers once they had died. Tales of property holders, conservators of fundraising organizations intent on preserving art and architecture in Venice, and even the death of a homosexual poet in the city all were scrutinized into a large focal point on the character of Venice as tied together by an American who visited, interviewed, and observed over a period of months extending into parts of multiple years.

Berendt worked at his craft not so much as a police detective, an art historian, or a mystery writer as much as he aimed to tell the story of a city from a few interesting mysteries tied together to show the mask and intrigue underlying how the city of Venice functioned with its eccentricities and eccentrics. The basic formula that applied in "Midnight in the Garden of Good and Evil: A Savannah Story" was applied to "The City of Falling Angels," but for the mystery being a question of arson, who benefited, and why. Add a similarly strong sense of local color and random unrelated history.

In all honesty, I never read "Midnight in the Garden of Good and Evil: A Savannah Story" while having only seen the movie that was later based on it. I found much of the conjecture in "The City of Falling Angels" interesting, though I do not find a great desire to go back and read the first book after having read the second. "The City of Falling Angels" follows a similar formula and premise as the first movie (and presumably book). It feels like the second suffers from using the same premises again. Another way of saying this is that the problem of sequels applies. You lose your audience when you perform the same notion more than once, even if the story deals with different subject matter. For "The City of Falling Angels," my rating is 3.0-stars out of 5.0-stars.

A muito custo consegui acabar. It was with great difficulty that I managed to finish.
Depois de ter desistido, decidi dar uma segunda oportunidade ao livro. After having given up, I decided to give the book a second chance. Valia mais não o ter feito, não gostei! It would have been better not to have done it, I didn't like it!
Demasiadas histórias que não estão directamente relacionadas com o incêndio... There are too many stories that are not directly related to the fire...
Nem mesmo o facto de ser passado em Italia me fez gostar um pouco do livro. Not even the fact that it is set in Italy made me like the book a little.
In conclusion, this book was a disappointment for me. Despite my initial hope when I decided to give it a second chance, it failed to capture my interest. The numerous unrelated stories detracted from the overall narrative, and the setting in Italy did little to enhance my enjoyment. I would not recommend this book to others.

Page 109
It took a full three months just to clean the floor. What has now emerged from the grime is a truly brilliant example of eighteenth-century terrazzo, and it is in perfect condition. As I have always said: Nothing preserves like neglect. This statement holds true in this case, as the terrazzo has endured the test of time and neglect, only to reveal its true beauty once the dirt was removed.

Page 131
“There will always be master glassblowers,” said Gino. “Whether or not they are Segusos. But one needs artists as well. There are masters and there are artists. An artist has an idea, and a master translates that idea into glass. Very few master glassblowers are also artists. My father is a rare exception. When he dies, our glassblowers will continue to produce his classic designs, and new artists will come up with fresh ideas that the glassblowers will then execute.” This shows the importance of both masters and artists in the world of glassblowing, and how they work together to create beautiful and unique pieces.

Page 142
“My view is that I belong to a great relay race of Murano glassmakers. In my opinion, the last runner does not exist. The only race you can run is part of a larger effort. The challenge is to be recognized as someone who has added something to the tradition along the way.” This statement emphasizes the importance of传承 and innovation in the field of Murano glassmaking. Each generation builds on the work of the previous generation, adding their own unique contributions to keep the tradition alive and evolving.

Page 155
“Well, you know we’re inundated by people doing research on Henry James or John Singer Sargent or Tiepolo,” he said. “It can be such a bore. They ask ridiculous questions. I could care less whether Henry James wore a bow tie or a cravat when he wrote The Aspern Papers.” This shows the frustration that some people feel when dealing with researchers who ask seemingly trivial or unimportant questions.

Page 173
“I’ve seen many actors, many directors, many film crews come to this house to make movies,” said Daniel Curtis, the son of Patricia and the namesake and great-great-grandson of the Daniel Sargent Curtis who bought Palazzo Barbaro in 1885. “And every time it’s been like being, not exactly stabbed in the back, but scratched badly.” This statement reflects the feelings of some homeowners when their properties are used for filming. While it can be exciting to see a movie being made, it can also be disruptive and invasive.

Page 229
One letter was of particular, if ironic, interest. It was from Mary in Brunnenburg to Olga in Venice, in August 1959. Disciples and scholars had been coming to the castle and foraging through Pound’s papers like “hogs after truffles.” Mary was growing weary of it and wrote to her mother, “Have re-read The Aspern Papers last night, God I have a mind to make a big bonfire and burn up every single scrap of paper.” This shows the frustration that Mary felt towards the constant invasion of her privacy by scholars and disciples.

Page 235
It’s always the same. The powerful always win, and the weak always come back to be victims all over again. This statement reflects a common theme in society, where the powerful often take advantage of the weak and the powerless.

Page 331
Their melancholy message was always the same: LONELINESS IS NOT BEING ALONE; IT’S LOVING OTHERS TO NO AVAIL (Solitudine non è essere soli, è amare gli altri inutilmente). This statement captures the essence of loneliness, which is not just about being physically alone, but also about feeling a sense of isolation and unfulfillment in one’s relationships.

Page 333
“All the cats have disappeared from the streets in Venice. That’s because the old ladies who used to feed them are gone. I miss the old ladies who wore shawls and had delicate gold chains that got caught in the wool. One of my favorite old ladies used to come into the bar and order grappa. She would say, ‘Gimme two grappas. One for me and one for Franca.’ She would pay and drink hers, all the while looking around and saying, ‘Franca? Where’s Franca? She must have gone to buy something. . . . Madonna, I’m tired of waiting. I guess I’ll have to drink hers, too.’ This scene would be repeated daily, and Franca never showed up. The old lady would always drink both grappas. Where is she now? I miss her.” This passage provides a vivid and touching description of the old ladies in Venice and the role they played in the lives of the cats and the people in the community.

Page 392
In addition, Napoleon’s agents saw to the listing for confiscation of twelve thousand paintings, a great many of which were sent to Paris to enrich the collections of something called the Musée Napoleon. I trust if any of you have been to Paris you have been to the Musée Napoleon. Today it’s rather better known as the Louvre, and of course it is the single greatest monument to organized theft in the history of art! This statement highlights the controversial history of the Louvre and the role that Napoleon played in amassing its collection.

Page 393
Three years later, James wrote to Ariana Curtis, “Poor, grotesque little Pen—and poor sacrificed little Mrs. Pen. There seems but one way to be sane in this queer world, but there are many ways of being mad!” This letter reflects James’ thoughts and feelings about the characters in his story and the strange and often crazy world in which they live.

First book back from my 2-month reading drought! Lol. I really enjoyed this one. There were a lot of full circle moments that made the story so engaging. It was like coming full circle in a way that added depth and a sense of completion to the narrative.

And let's not forget, we love Venice! The descriptions of the beautiful canals, the charming architecture, and the unique atmosphere of the city really brought the story to life. It felt like I was right there in Venice, experiencing it all along with the characters.

This book was a great way to break my reading drought and get back into the wonderful world of books. I can't wait to see what other amazing stories are out there waiting for me to discover.

Not unreadable, not uninteresting, but a sad disappointment.

There are three major flaws in this non-fiction novel. Firstly, Berendt wrongly assumed that the success of "Midnight in the Garden of Good and Evil: A Savannah Story" was due to his narration and structure rather than the unique Southern-Gothic horror tale. As a result, "Falling Angels" attempts to replicate "Midnight" closely. However, while this approach worked in "Midnight" to create a sense of slow horror and conspiracy, it fails in "Falling Angels" to establish a proper mood, resulting in a fragmented tourist's view of the city. Berendt's best contacts in the city are expatriates, yet he refuses to limit his scope to their perspective. His insistence on equating the expatriates' opinions with those of the native Venetians and his failure to understand the native Venetians' repeated observation about the impossibility of outsiders truly understanding the city is frustrating.

The second issue is that Berendt had no real story to tell. The book is centered around the fire that destroyed the Venice Opera House (La Fenice). Berendt arrives shortly after the fire and hopes the suspicious circumstances will provide material for another book. But the investigation and eventual arrest yielded nothing of real interest. Instead, Berendt collected side stories to flesh out his picture of Venice society. Ten years later, these side stories were all he had to write about, and the book was published to cash in on the success of "Midnight".

The third issue is that this book is told almost entirely in Berendt's voice. The word choice, meter, and sentence length are all the same, regardless of whether it's a translation of an Italian conversation or Berendt's own narrative. This gives the impression of an endless transcription of Berendt's conversations with himself. To hide this, Berendt uses a journalistic trick of adding a "tell" to the speaker, which works in short pieces but not in a long-form work. Additionally, the book is filled with frequent and lengthy mentions of other famous long-term tourists in Venice, such as Browning and James, which seem like filler. Overall, the book is readable but not really worth the effort.

There are simply far too many "stories" that are swirling around the canals in a mad and chaotic manner.

It seems as if there is an overabundance of tales and accounts that are constantly in a state of frenzy, perhaps vying for attention or trying to make an impact.

However, the prosecco writing that attempts to capture and convey these stories is disappointingly flat. It lacks the vividness, the excitement, and the engaging quality that one would hope for.

Instead of bringing the stories to life and making the reader feel as if they are right there in the midst of the action, the writing falls short and fails to leave a lasting impression.

It is a pity that such potentially interesting stories are being presented in a way that does not do them justice.