![]() His purpose was to see “people who actually lived there, going about their business purposefully, casting familiar glances at sites that still had the power to stop me in my tracks.” He rents an apartment and begins interviewing residents about the Fenice Opera House fire. In early February of 1996, Berendt arrived in Venice during its brief off-season between New Year’s Day and Carnivale for a six-week vacation. ![]() ![]() He attempts to peek underneath these masks for a better look, with varying degrees of success.īerendt wants to unravel a great mystery: what is it like to live and work in Venice? How do the citizens of a complex 21st century European city view the world from a city without automobiles or even mopeds? What does it feel like to run errands in a city composed entirely of walk streets? Imagine a floating city, geographically isolated and packed with tourists, slowly sinking - six inches each year. In a series of chapters, each of which easily works as its own complete story, Berendt revels in the ornate masks, both interior and exterior, worn by Venetians. parties, dances, spectacles, games, and walking around Venice behind masks, incognito.” Berendt’s latest work, City of Falling Angels, explores how closely the day-to-day life of Venetians resembles a never ending Carnivale. ![]() ![]() Wandering through the twisting labyrinthine walk streets and bridges during Carnivale in Venice, Italy, John Berendt observes “…the height of decadence…. ![]()
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