A 1500's Florence murder mystery in an epistolary format, cycling between what we are to believe are a stack of letters that have all found themselves together in a perfectly-constructed narrative.

Don't get me wrong, as an art and art history person, this book should have been right up my alley. I wrote a 25-page paper on Michelangelo in college. And it was, in a lot of parts. But for me, and maybe this is because if the epistolary format, I just didn't get enough voice from some to differentiate from others. One of the pros of the format, I will say, is that it was very easy to dip in and out of, which helped me get through it more quickly. That said, by the 50% mark, I could see where it was going and was just sort of riding it out.

The book shone in the moments where Binet was able to lean into recounting action like a chase through the pieces of 1500's architecture. I was, obviously, drawn to the letters where the characters were given the space to flesh out their recounting of events. But so often the letters are short, with the writer addressing that the brevity of the letter was the result of a need to convey the message quickly, for whatever reason. Which is fair, but I became a bit tired after letter 100+.

All this said, I really appreciated, once I got into the meat of the story, the musings on perspective, and the fact that this book gave me an excuse to revisit the mannerists of Florence and enjoy their use of color and liberal use of perspective. It was fun to sit with these characters, and I guess my main complaint is that I didn't get to for longer. But I think it's purely a limitation of format, for me.

I'm a sucker for historical fiction during Italy's Renaissance. I'm even more of a sucker for a murder-mystery of a famous artist during the time period.

This is written in the form of letters to and from famous people and artists of the time period, including the Medici and Michelangelo, Because of this style, the pacing doesn't suffer from historical background. This lends a quick pace full of action. The perspectives of each persons creates that nuanced version of the murdered artist and what could have happened. It's such an interesting take on Florence, art and power.

Who is allowed to have all the power? Who is allowed to deem what is art and what is allowed? Again, the perspectives explored in this book far out reach the murder of Jacobo. It questions the world and if there is a right perspective at the heart of art.

I truly engaged with this story and will definitely read more from this author.

Thank you to Netgalley for the ARC!

When I read [book:The Seventh Function of Language|36031246] I reflected on Laurent Binet's clear affection for the work of Umberto Eco, and this feels a little like another run at Eco (in the <i>Name of the Rose</i> mold rather than the <i>Foucault's Pendulum</i> mode). Binet is still no Eco, and isn't making as big of a swing as Eco did (with accordingly fewer intellectual, philosophical, and theological digressions); this book is a bit more focused on the mystery at hand (who killed the artist Jacopo Pontormo?) and the associated political subplots ramifying off of that murder (the theft of a scandalous portrait, French meddling in Italian politics, the eloping of the Duke of Florence's daughter, etc.). What philosophical content there is, is pretty directly related to the high-art-world milieu of the main murder (e.g. the debate over nudity in art).

And, it's all told in a quite-well-done epistolary style, presented as a classic found-media setup where some separate narrator in the 1800s found a bundle of all of the letters comprising the book (which starts to strain credulity if you think about it too much, but that's probably true of all found-letters epistolary novels of the era). I liked the epistolary style a lot, although I feel like there was still meat on the bone there where Binet could have played a little bit more with the unreliable-narrator (or correspondent?) idea - I noticed one very obvious place where one writer was obviously fabulating and was gratified to have correctly predicted a subsequent letter was going to puncture that (although, that did mean it was a pretty predictable note). I wonder if a closer reader than I would notice further use of unreliability, or not; perhaps Binet didn't want to lean too heavily on the idea given that the underlying "point" of the book is to solve a mystery, and he wanted a mostly-objective record of the mystery-solving.

One major disappointment, though: no author's note or afterword or historical note, aside from the in-fiction preamble describing finding the fictional letters. Given that this is by the author of [book:HHhH|7992363], which I think of as if an author's historical afterword metastasized and overtook the entire preceding novel, this felt like a substantial absence. It may be that Binet thought it would have undermined the fictional conceit of the frame narrative (such as it is) to have Binet himself intrude as the "real" author at the end, but I always love to know what's real and what's imagined (or fictionalized from real inspiration). I found no indication through a cursory Google search that Jacopo Pontormo was actually murdered (much less in the manner described), so there's one obvious fictionalization, but some other things (such as a proto-Marxist trade union agitator that keeps popping up) I'd love to know how much is historically accurate.

I received a digital advance copy of Perspective(s), and it was not at all what I expected - in a good way. The story is entirely told through short letters (a total of 180) written by the characters/correspondents to each other, among them the great Michelangelo and members of the Medici family. Thus the story develops from different perspectives, as the title suggests, but we also learn about different perspectives in art given that the murder victim and many of the characters are famous painters and sculptors. In a fascinating mixture of history and fiction, the author transports us to Renaissance Florence and ‘paints’ a great picture of life, religion and politics in the 16th century with bold characters and a good portion of humor. First and foremost though, this is a murder mystery. In the book, Jacopo Pontormo, one of the city’s greatest artists is found dead on New Years Day 1557 under mysterious circumstances. His last painting goes missing, and unfortunately it is discrediting the Duke of Florence’s family. He commissions his nobleman Giorgio Vasari, none other than the author of ‘Lives of the Artists’, to solve the murder and find the painting.
Delightful intrigues, plenty action and the mystery itself make this novel a fun and quick read. The unique epistolary writing style proves perfect for the story and rendered a more personal impression of the correspondents. Some of the stories are hilarious and show the author’s exceptional wit and humor. I truly enjoyed this novel and loved that most of the characters were actual historical figures. Thus this novel is not only highly entertaining but also educational. I admit I did have to look up many names and references but the book held my interest from start to end and the big twist toward the end blew me away. I can’t wait to read more from this author and hope that it will be just as unique as Perspective(s). A 5⭐️read for me. Initially published in 2023 in French, the publication date for the English edition is April 8, 2025.
I’d like to thank Netgalley, Farrar, Straus and Giroux as well as Mr Laurent Binet for gifting me the digital ARC. It was a pleasure and honor to read it. The above is my honest review and my own opinion.

For me, this novel rated somewhere between a 3.5 and a 4. This is a fictional murder mystery set in Florence in 1557. The characters are a mixture of real and fictional people of that era, ranging from Michelangelo and Cellini to Medici family members. An artist has been found murdered in the church where he was painting frescos and Duke Medici launches an investigation into his murder. I liked the setup, which involved the contemporary author finding a bundle of antique letters and discovering that they revealed this mystery. After the initial preface, the remainder of the plot is relayed through the letters themselves. For me, this structure was what reduced the appeal of the book. The letters jumped between characters and keep straight who was who was not always easy. The author includes a character chart at the start of the book, but it is not always easy to flip back to and study if you are reading on kindle, as I was. The letters also meant that the author's ability to describe settings, smells, and lives of everyday people is more limited. You get the voices of particular characters, their thoughts about things, and their descriptions of art works. You don't get as much of a three-dimensional sense of the feel of life back then. I would have prefered that the book move between letters and the characters themselves (that is, more traditional author narrative). The letters somehow kept most of the characters feeling two dimensional. I found my interest in completing the book ebbing and flowing and may have put it aside before finishing it if I had not been obliged to read the full book and write a review for Net Galley. One of the reasons I am drawn to historical fiction is that I like to feel I am learning something while being entertained. Did I learn something here to warrant sticking with the slower parts of the book? Perhaps...but not as much as I'd have hoped. I was also frustrated that the author did a quick and dirty tying up of plot lines. We learn that a particular important character subsequently died, but not how or why. You learn that someone else managed to survive, but not how that happened either. So, after sticking with the book to see how things turn out, one is a bit disappointed. Again, this was not a terrible book--it had its merits. It was just not strong enough to have me looking forward to reading it each night.

I was excited to read the new Binet, but “Perspectives” was kind of a disappointment. It is an epistolary detective story is set in 1550s Medici Florence and revolves around the murder of Jacopo Pontormo. (“His work,” Wikipedia tells me, “represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance.”) The plot and sub-plots that sprout from it are fun, and the epistolary conceit works well at first, with the correspondents including the ever-so-dysfunctional Medicis, Giorgio Vasari, the “divine” Michelangelo, as well as some weird nuns. Narrated with a very post-modern wink and a nudge, the story moves along nicely— it is something that professional reviewers will almost certainly call a “romp” and may even use the phrase “literary hijinx.” Problem is, it all feels kind of lightweight—the potential to explore “perspective” as a central allegory is left badly underexplored; instead, it ends up being fodder for a Tarantino-esque joke in one of the late scenes. My hope for a nervy, self-examining voice that made “HHhH” so distinctive was disappointed.

— with thanks and apologies to Farrar, Straus & Giroux for an ARC via NetGalley

A really interesting and unique plot that turns a mystery into a history lesson. I really loved the format of the book, reading letters from different narrators can be very difficult to pull of but it kept the pages turning! I think the period of the novel was also very interesting, especially for those who are interested in history and art. Overall, this book was a great read!

Nope not for me, will appeal to many. History and in a letter writing format didn’t quite grab my attention. Thank you to the author. Thank you to #netgalley and the publisher for an ARC.

Unfortunately this book did not live up to the excitement and intrigue promised in the blurb! Although it was fast-paced and clearly, incredibly well-researched I would not recommend it to fellow readers or customers unless they were already interested in art, art history, or the Italian Renaissance period. But for people looking for a captivating historical thriller - I could not find it here. I struggled to form any attachment to the characters or curiosity about where the plot was going, and instead felt that it just delivered a very factual play-by-play of real time events leading to a somewhat anticlimactic twist/whodunnit reveal. I really had high hopes for this based on quotes and reviews I'd seen but felt that maybe it just wasn't meant for me!

I recently finished Perspective(s) by Laurent Binet, and I have to say, it was unlike any book I’ve read before. The novel weaves together history, fiction, and philosophy in a way that feels both intellectual and engaging. It follows a writer’s journey as he embarks on an exploration of various historical events, constantly shifting perspectives on the people and moments that shaped them.

What really stood out to me about this book was the narrative style. Binet doesn’t just tell a story—he invites the reader to question the very nature of storytelling itself. The blending of real events with imagined scenarios, and the constant interplay of different viewpoints, creates a thought-provoking and sometimes dizzying experience. I found myself reflecting on the subjective nature of history and the ways we perceive truth.

The pacing was interesting, as it’s not a fast-paced thriller but more of an intellectual journey. It took a little time to settle into the rhythm of the narrative, but once I did, I was fully immersed. The characters, or rather the historical figures presented, are complex and multi-dimensional, and I appreciated the way Binet brought them to life in unexpected ways.

Overall, Perspectives is a novel that will make you think long after you finish it. It’s not for everyone, especially if you prefer more straightforward plots, but for those who enjoy books that challenge the way we view history, storytelling, and perspective, it’s a fascinating read. Binet’s writing is sharp and clever, and I’m excited to see what he comes up with next.

I love epistolary novels. Something about the format—though I am sure it’s incredibly challenging for authors—gives me a sense of reality that straight exposition rarely does. Epistolary novels drop readers right into the story, leaving them to figure out what’s going on from context clues, and the plots race from letter to letter. I’m glad some contemporary authors are using emails, texts, and other digital ephemera to bring the genre back to life. Laurent Binet’s Perspective(s) is an epistolary novel in the old style, complete with an introduction in which B. finds and purchases a packet of letters and translates them for a contemporary audience.

B. offers only their brief introduction and a dramatis personae before leaving the letters to tell a strange story about a murdered artist, his scandalous frescoes, an even more scandalous painting, politics, intrigue, love, and loathing. (It’s truly astonishing how Binet develops so many subplots using only letters.) The letters begin in January 1557, when the body of Jacopo Pontormo is found in San Lorenzo, where he had been working on a series of frescoes that are rumored to rival what Michelangelo created in the Sistine Chapel. There are also rumors that the frescoes are full of nude figures, much to the displeasure of the Duchess of Florence, Eleanor of Toledo. When Pontormo’s lodgings are searched for clues, a painting of Venus and Cupid sparks an even bigger controversy because the face of Venus looks an awful lot like Eleanor’s daughter, Maria.

Eleanor, however, is never considered the murderer. Instead, suspicion falls on Pontormo’s assistants or perhaps a rogue artist. Florence in the 1550s is full of artists at loose ends, all clamoring for commissions and fame. Duke Cosimo de’ Medici commissions Giorgio Vasari to find out what happened to Pontormo. Vasari’s letters to and from Michelangelo, Agnolo Bronzino, and Benvenuto Cellini, among others provide further clues about what happened that night in San Lorenzo. Meanwhile, we also get letters to and from Maria de’ Medici to her relative, Catherine de’ Medici, and between Catherine and Pierro Strozzi, add a highly entertaining scheme involving the Venus and Cupid to discredit Cosimo. Further letters from Pontormo’s pigment grinder introduce a scheme to launch a proletarian rebellion in Florence. There’s a lot going on and, yet, I had no trouble keeping track of all of this—even when I hopped online to try and figure out how much was actual history and how much was Binet coloring outside of the lines.

As much as I enjoyed Perspective(s), I have major issues with the conclusion. I’m not going to spoil the mystery for readers who are intrigued by the premise and the cast of characters. There really is a lot to admire in this novel, so I’ll only say that I found the revelation of the murderer and their motive too implausible to make sense. I recommend reading this book for the history and the art, rather than the mystery itself.

Perspective(s) – Laurent Binet
Binet once again proves himself a master of intellectual storytelling, weaving a narrative that challenges the way we see the world. With his signature wit and philosophical depth, Perspective(s) plays with multiple viewpoints—both literal and figurative—to create a reading experience that feels fresh and thought-provoking. Fans of metafiction and mind-bending narratives will appreciate the clever twists and expertly crafted prose.

"A pulse-quickening murder mystery set in Renaissance Florence by the renowned author of HHhH.

As dawn breaks over the city of Florence on New Year's Day 1557, Jacopo da Pontormo is discovered lying on the floor of a church, stabbed through the heart. Above him are the frescoes he labored over for more than a decade - masterpieces all, rivaling the works of Michelangelo in the Sistine Chapel. When guards search his quarters, they find an obscene painting of Venus and Cupid - with the face of Venus replaced by that of Maria de' Medici, the Duke of Florence's oldest daughter. The city erupts in chaos.

Who could have committed these crimes: murder and lèse-majesté? Giorgio Vasari, the great art historian, is picked to lead the investigation. Letters start to fly back and forth - between Maria and her aunt Catherine de' Medici, the queen of France; between Catherine and the scheming Piero Strozzi; and between Vasari and Michelangelo - carrying news of political plots and speculations about the identity of Pontormo's killer. The truth, when it comes to light, is as shocking as the bold new artworks that have made Florence the red-hot center of European art and intrigue.

Bursting with characters and historical color, Laurent Binet’s Perspective(s) is a whodunit like no other - a labyrinthine murder mystery that shows us Renaissance Florence as we've never seen it before. This is a dark, dazzling, unforgettable read."

I'm here for everything Florence, but throw in Catherine de' Medici, and I'm wild for it!

PERSPECTIVE(S)

Our storyteller, while vacationing in Tuscany, purchases a bundle of dusty old letters from an antique shop. They tell a fantastical tale.

Set in 1557 Renaissance Florence Italy, the artist Jacopo da Pontormo is found dead in the chapel of San Lorenzo. He had almost completed the beautiful frescoes that he had been commissioned to paint by Cosimo de’ Medici, Duke of Florence. They are said to rival the artwork of Michelangelo’s Sistine Chapel. What follows is the unraveling of a complex murder mystery, lead by famous author Giorgio Vasari. To complicate matters, a distorted and compromising portrait of the Duke’s young daughter, Maria, is discovered and is being used for political blackmail.

Filled with palace and political intrigue, the story is told entirely through the correspondence among an eclectic cast of royals, artists, assistants, rebels, nuns and even Pope Paul IV. Each of the 176 letters is a page or two and it is written in a current, easy to read style. Drama, humor, and salacious details add to the historical background making this a fun and educational read.

I would like to thank NetGalley, Laurent Binet, Farrar, Straus, and Giroux for the opportunity to read and review this book.

Wow, I have never read a book like this before! I had so much fun reading all the letters (though admittedly at some point I started taking notes to track who was who), and, as it takes place in a time and place I know very little about, I found the book incredibly informative even when that wasn't the point. A surprisingly fast-paced and political mystery. I had a wonderful time.

For me “Perspective(s)” was clever and, although perhaps a bit confusing at the start, became easy to follow as the narrative progressed. I have a deep love for history, art, and the humanities in general, so was quite excited at the opportunity to read this novel in advance. I loved that the story was told in a series of letters from a variety of historical correspondents. I felt that the tone of the time and the details included were accurate for the period during which the novel was set. I’ve seen some reviewers remark that the political aspects were too heavy-handed or confusing, but to me they felt relevant and necessary for the narrative, especially considering the setting. The inclusion of a murder and a whodunnit element provided additional incentive for me to fly through the story, which I finished in one sitting. I highly recommend this novel to lovers of art and history.

Someone on Goodreads compared reading Perspective(s) to being a tennis ball smacked back and forth on the Florentine court, and I can’t think of anything else better to describe what it was like reading this book. The way this book is set up is so unique compared to every other book I’ve ever read, formatted in letters sent to and from classic Renaissance painters, royalty, nuns, and other entertaining figures to discover who murdered painter Jacopo da Pontormo. The only issue I found was testing my memory on who was writing to whom. 😅

This story is a classic “who-dun-it” set in Florence 1557, and I couldn’t help but think about the Spider-man meme where all 3 versions are pointing at each other. True to its name, this story is full of perspectives as to who could possibly be the murderer as it all “floods” (😉) to one singular perspective: who dun it!

Made up of 180 short letters, this story is an easy page turner full of action, humor at all the right places, and so much research that I almost feel like I need to do my own research into each of the correspondents (not characters!).

Thank you so much to Netgalley and the publisher for my advanced copy of Perspective(s).

This had all the makings of a brilliant historical murder mystery—Renaissance Florence, political intrigue, and real historical figures caught up in the drama. The setting and historical details were top-notch, and the use of letters to unravel the mystery was a nice touch. It really captured the art and chaos of the time.

But while the premise was solid, the execution didn’t quite hit the mark. The story got bogged down in political maneuvering, making it more about power plays than the actual murder. The shifting perspectives and dense historical context made it feel more like a history lesson than a mystery at times. And while the characters were interesting, they didn’t always feel fully fleshed out, making it hard to stay invested.

A solid read for those who love Renaissance history, but as a murder mystery, it lacked the tension and momentum to make it truly gripping.

Thank you to Netgalley for this arc. This is Historical Fiction and a murder mystery all wrapped into one. If either of those are your vibe then I highly suggest reading this book.

Laurent Binet always writes novels I want to read, whether it's about Heydrich, Atahualpa or Michaelangelo.

This latest one is a detective story, and may not be for everyone, but for me few things are more exciting than an epistolary murder mystery set among the top politicians and artists of Renaissance Florence.

The year is 1557, Duke Cosimo de Medici rules Florence and the painter Jacopo Pontormo is found murdered in the San Lorenzo chapel, where he had been working for ten years on frescoes that were supposed to become Florence's answer to Rome's Sixtine Chapel. In the chapel, a portrait of a nude Venus with the head of Maria de Medici, the Duke's daughter, is also found.

The Duke tasks Vasari (yes, the author of 'the Lives') with the investigation, who in turn questions a host of painters, including Michelangelo. In parallel, the queen of France Catherina de Medici and her loyal condottieri Strozzi and Benvenuto Cellini (what a character!) believe there is political gain to be had from the murder and the compromising portrait.

The novel consists of 180 short letters, which make it a propulsive and quick read.

It is full of action, it's fun to read, the research is impressive and Binet's writing is as good as ever. Especially recommended if you love Florence!