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Loving Venice

de Petr Kral

MembresRessenyesPopularitatValoració mitjanaMencions
232976,373 (4)2
Kr#65533;l’s passion for Venice enriches us, all the more because, like all great loves, it appears to be forever on the point of dissolving. A portrait both intimate and universal, as elusive as Venice itself, this is a worthy successor to his highly successful Working Knowledge, published by Pushkin Press in 2008.… (més)
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3.5*

For Antal Szerb "La Serenissima" is a woman, an enchantress who casts her spell over those who roam her back streets at night. A vaguely similar metaphor opens "Loving Venice" (1999), Czech writer Petr Král's essay/travelogue/love-prose-poem to the city.

Král was a leading surrealist in his early years and, not surprisingly, his book contains many arresting images which sometimes lean towards the bizarre. At the Palazzo Fortuny, a ray of light penetrates through the coloured-glass windows "spattering him with paint". During a religious ceremony, the green vestments of the priest seem to absorb all of Venice. A storm heralds "aqua alta" and turns the city into a shipwreck. A man carefully decorates the facade of his place of residence with small windmills whilst opposite, a small heap of cast-off items burns. A confectioner displays his sweet wares in front of a church shaped like a chocolate box.

Král has an eye for the treasures of Venice, but is equally (or, perhaps, more) intrigued by the daily life of its residents : the barman who arranges the coffee cups on the counter, the dish-washer at the back of a small restaurant, the man surreptitiously reading the newspaper in church, the woman perilously hanging her washing.

I found myself thinking that if film-director Paolo Sorrentino had to do for Venice what he did for Rome in "La Grande Bellezza", the results would be very similar to Král literary tribute. The gorgeous and the banal, the sacred and the profane, the extraordinary and the mundane rub shoulders. Král also shares one of Sorrentino's shortcomings - his prose (here rendered by veteran novelist and translator Christopher Moncrieff) is often self-indulgent. A sentence could take a whole paragraph crammed with dense metaphors. As with Sorrentino (or Venice itself), the book should be taken in small doses as it could otherwise prove overwhelming. ( )
  JosephCamilleri | Feb 21, 2023 |
3.5*

For Antal Szerb "La Serenissima" is a woman, an enchantress who casts her spell over those who roam her back streets at night. A vaguely similar metaphor opens "Loving Venice" (1999), Czech writer Petr Král's essay/travelogue/love-prose-poem to the city.

Král was a leading surrealist in his early years and, not surprisingly, his book contains many arresting images which sometimes lean towards the bizarre. At the Palazzo Fortuny, a ray of light penetrates through the coloured-glass windows "spattering him with paint". During a religious ceremony, the green vestments of the priest seem to absorb all of Venice. A storm heralds "aqua alta" and turns the city into a shipwreck. A man carefully decorates the facade of his place of residence with small windmills whilst opposite, a small heap of cast-off items burns. A confectioner displays his sweet wares in front of a church shaped like a chocolate box.

Král has an eye for the treasures of Venice, but is equally (or, perhaps, more) intrigued by the daily life of its residents : the barman who arranges the coffee cups on the counter, the dish-washer at the back of a small restaurant, the man surreptitiously reading the newspaper in church, the woman perilously hanging her washing.

I found myself thinking that if film-director Paolo Sorrentino had to do for Venice what he did for Rome in "La Grande Bellezza", the results would be very similar to Král literary tribute. The gorgeous and the banal, the sacred and the profane, the extraordinary and the mundane rub shoulders. Král also shares one of Sorrentino's shortcomings - his prose (here rendered by veteran novelist and translator Christopher Moncrieff) is often self-indulgent. A sentence could take a whole paragraph crammed with dense metaphors. As with Sorrentino (or Venice itself), the book should be taken in small doses as it could otherwise prove overwhelming. ( )
  JosephCamilleri | Jan 1, 2022 |
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Kr#65533;l’s passion for Venice enriches us, all the more because, like all great loves, it appears to be forever on the point of dissolving. A portrait both intimate and universal, as elusive as Venice itself, this is a worthy successor to his highly successful Working Knowledge, published by Pushkin Press in 2008.

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