Re-visit the life of history’s most notorious lover, from childhood to Casanova’s daring escape from the State Inquisition’s prison. Using eighteenth-century poetic conventions that Casanova himself would have cherished, Kildare Dobbs infuses this renegade’s legacy with a modern, witty and very hilarious bite.
Here is a twenty-first century riposte to Lord Byron’s Don Juan. Casanova in Venice leads the reader on a fast-paced, deliriously raunchy journey in pursuit of that infamous lover and liar, Casanova. The rhythm gallops and the imagery bucks as Casanova grows out of innocence and into the daring, deceitful legend that has since become the subject of fascination, envy and art -- and Kildare Dobbs reveals every tantalizing detail in a meter that begs for recitation.
Or rather, almost every detail. For the narrator of Casanova in Venice has a mind of his own and a decidedly modern agenda in this particular re-telling: from complaints about the excessive sanitation of women today, to opinions on the Big Bang Theory, the lively banter between narrator, audience and Casanova himself turns this mock-heroic epic into an equally thoughtful commentary on modern life.
The narrative frame is based loosely on Casanova’s own Memoires and uses the same classical eighteenth-century poetic conventions that Casanova might have used, and so nymphs, gods, lyres and Muses all make the occasional appearance. Most sections are headed by a translated epigraph quoted from the Memoires and are written entirely in light-hearted rhyming couplets. Accompanied by Wesley Bates’ magical, irreverent illustrations throughout, the result is, finally, a worthy contribution to modern mythology: ‘Arthur, Cu, Scarface, move over, / make room for hero Casanova!’