I think there are some people who might really enjoy this book.

It is truly well written, with a certain charm that can draw readers in.

Moreover, it contains a few good stories that have the potential to engage and entertain.

However, for me personally, a book that focuses on socialites in Venice is simply not my cup of tea.

I have my own preferences when it comes to reading materials, and this particular theme doesn't quite resonate with me.

But please don't let my review stop you from giving it a try.

Everyone has different tastes, and what might not appeal to me could be a real gem for you.

You might discover something truly wonderful and captivating within the pages of this book that I simply overlooked.

So go ahead and take a chance, you might be pleasantly surprised.

I have a deep affection for his book Midnight in the Garden of Good and Evil. It holds a special place in my heart. When I picked up this new work, I think I was unconsciously expecting the same level of brilliance and allure that Midnight had. And indeed, it was an interesting story. It had its own charm and engaging elements that kept me turning the pages. However, it just wasn't quite on par with Midnight. There was something about Midnight that made it truly stand out and capture my imagination completely. I LOVED Midnight with all my heart. It was a literary masterpiece that left an indelible mark on me. While this new book had its merits, it couldn't quite replicate the magic and impact that Midnight had.

Berendt's previous work, Midnight in the Garden of Good and Evil, was an international sensation, and I adored it. This, rather than my being a second-generation Italian American, led me to pick up The City of Falling Angels. However, I deeply regret that choice.

The City of Falling Angels employs the same formula as its predecessor. Berendt presents a city's biography through the lives of its most colorful inhabitants, all set against a criminal backdrop – a sordid murder in the former and a high-profile arson in the latter. While this formula worked wonders in Midnight, this time it fails miserably. Perhaps the people of Venice are intrinsically less captivating than those of Savannah, but I highly doubt it. Instead, I believe Berendt, capitalizing on the success of Midnight, chose to live the high life in one of the world's most glamorous cities and decided to write a book about his adopted city of exile to justify his expatriate lifestyle. Yet, he didn't find the same charm and magic there as he did in Savannah. Without that spark, the rest of the book falls short.

Comparing two books about vastly different places and cultures may not be entirely fair, but I can't help but feel resentful that the author seemed to phone it in on this one, hoping for lightning to strike twice. It didn't, and as a reader, I was disappointed. I don't think Berendt put in as much effort this time.

In contrast, Berendt appeared more interested in highlighting the upper echelons of Venetian life rather than fully immersing himself in the middle-class Southern culture of Savannah. As a result, we are subjected to several long, tedious chapters focused on the petty disputes of a fundraising committee called Save Venice. The members of Save Venice are disgustingly wealthy and excel at throwing extravagant parties to raise funds for the restoration of Venetian landmarks. They are universally repugnant and bureaucratic. Towards the end of the lengthy explanation of their inane infighting, I actually shouted out loud, "SOME PEOPLE HAVE REAL PROBLEMS." Seriously, I can't fathom why or how Berendt thought Save Venice was worthy of inflicting on his readers. My best guess is that, since they threw the best parties in Venice, Berendt used them as an excuse to attend and made them a prominent feature in his book. To which I say: I hope sipping cocktails with European nobility was worth robbing me of four hours of my life, Berendt. Thanks a lot.

A less blatant example of the author's incorrect assumption that the rich and famous are more interesting than the working class and poor of Savannah was his focus on Ezra Pound and his mistress. Granted, Ezra Pound is a significant figure... if you're interested in poetry and find the drama of a staid upper-class affair captivating. During the description of the greedy machinations of some random socialite trying to take financial advantage of the late Pound's elderly mistress, I was reminded of the Eddie Izzard sketch where he describes the subdued nature of British television dramas. "What is it Sebastian? I'm arranging matchsticks." "Oh... I'd better go." "Yes, I think you better had."

Sorry, I just took a break from this review to watch ten minutes of Eddie Izzard's Dress to Kill. It was worth it.

Anyway, Berendt does get a few things right. When he condescends to talk about average Venetians – the plant seller, the rat poison chef, the glassblower, the Curtises... though I suppose only one of those people is actually less than a millionaire – it all comes together. I came for the stranger-than-fiction conversations with eccentric individuals who can only be found in Venice. And when Berendt provides that, it works.

Finally, the centerpiece: the burning of La Fenice, the famous opera house of Venice. The book started and ended strongly with this cultural landmark. However, instead of the intrigue and complex court battle of the murder trial in Midnight, the arson case of La Fenice is disappointingly underwhelming. It doesn't占据足够的篇幅 in the book, very little evidence is actually revealed, and the culprits are inexplicably uninteresting. I cared about La Fenice and was truly affected by reading about its destruction. But everything that followed – the investigation, the trial, the rebuilding – was too sparse and abbreviated in the text to actually make me care. And quite frankly, I don't think Berendt cared either.

Look, I'm giving this one three stars because if you've never been to Venice before, it does paint a fairly clear picture. But it was not a great book, and unlike its predecessor, it doesn't make me eager to immediately read the author's next work.

But now I do want to go back to Italy, so that's something.

While technically a work of non-fiction,

the narrative structure of this book makes it seem more like an interwoven collection of short vignettes.

True to life, they often have somewhat incomplete endings.

However, the author has skillfully worked them together in a way that gives the satisfaction of an overall complete story.

This story tells the real tale of Venice beneath the glitter and glamour of the tourist culture.

Although the picture is presented by an outsider to Venetian culture, his view appears to be honest and has been developed through real relationships with the true residents.

The focus on different people and their stories, rather than on abstract histories and facts, makes the subject matter easy to identify with.

Consequently, it is more accessible despite the extensive research put into the book.

As one would anticipate from Venetian tales, there is an abundance of gossip and intrigue.

Yet, the magic lies in the personalities developed through a strong connection with the history of the remarkable republic of Venice.

This book offers a unique and engaging perspective on the city, making it a captivating read for anyone interested in Venice or its history.