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Possibility of Detective Fiction in Sicily: Sciascia, Camilleri

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Possibility of Detective Fiction in Sicily: Sciascia, Camilleri The (Im)possibility of Detective Fiction in Sicily: Sciascia, Camilleri and Piazzese by Maximiliana Henze A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Italian Studies University of Toronto © Copyright by Maximiliana Henze 2018 The (Im)possibility of Detective Fiction in Sicily: Sciascia, Camilleri and Piazzese Maximiliana Henze Doctor of Philosophy Department of Italian Studies University of Toronto 2018 Abstract This thesis examines the detective fiction of the Sicilian writers Leonardo Sciascia (1921-1989), Andrea Camilleri (1925-) and Santo Piazzese (1941-). All of the works discussed are detective novels set the south-western part of Sicily. The authors chosen for analysis use a traditional, formulaic and popular template of the detective story, or some variation thereof, and their novels all contain the figure of the detective as a protagonist and organizing narrative device. The contemporary Sicilian detective novel, as demonstrated by the works of the three selected writers, reveal the importance of place. This thesis compares and contrasts the manner in which the Sicilian locale or setting is depicted, related to, constructed, invented and contextualized by each author. The idea of Sicily as a simulacrum is also discussed. As each author recreates his settings in novel form, these simulacra go on to form connections with, overlap or negate other literary spaces, not all of them located in Sicily or even Italy. The places of the novels are examined with reference to real cities, towns and communities. Furthermore, the emphasis is on how these fictional representations are created or fit into relationships with other texts and genres. There is also the relationship between the detective and the city or community in which ii he operates. Familiar tropes and connections between writing and walking, and interpretation and pursuit that compare the detective to the reader are also examined. The novels are read as investigations of Sicily, in addition to the investigations of specific murders or cases outlined in each mystery, and the detectives illuminate their readings and observations of the place and the people who inhabit it, as much as they solve crime. Finally, I consider the familiar lineage of investigative forefathers and literary predecessors, not necessarily Sicilian or Italian, featured in the novels of all three authors. The manner in which each author uses and struggles against the detective genre and these traditions is another of the main topics of this investigation. iii Table of Contents Abstract ........................................................................................................................................... ii Introduction ..................................................................................................................................... 1 Comparisons ..............................................................................................................................................6 Leonardo Sciascia ......................................................................................................................................9 Andrea Camilleri .....................................................................................................................................11 Santo Piazzese .........................................................................................................................................14 Chapter One: Leonardo Sciascia ................................................................................................... 17 Sciascia and Sicily ...................................................................................................................................19 The Impossibility of Detective Fiction in a Sicilian Setting – Sciascia’s Plots ......................................25 The Detective or the Owl that Hunts by Daylight ...................................................................................39 Sciascia’s Sicilian Substratum and Intertextuality ..................................................................................51 Chapter Two: Andrea Camilleri’s Montalbano Series .................................................................. 72 Introducing Montalbano ..........................................................................................................................74 The Man of Honour .................................................................................................................................92 Montalbano’s Little Grey Cells .............................................................................................................103 “It is only a paper moon …” ..................................................................................................................110 Chapter Three: Vigàta and Language ......................................................................................... 118 Camilleri and Language(s) ....................................................................................................................128 Chapter Four: Santo Piazzese ..................................................................................................... 151 The detective-flâneur .............................................................................................................................152 Life in the “ex-crime-capital” and all that it implies .............................................................................155 iv The Streets of Palermo ..........................................................................................................................176 The mafia in Piazzese’s Palermo ...........................................................................................................182 La Marca the Reader .............................................................................................................................191 Conclusion .................................................................................................................................. 203 Works Cited ................................................................................................................................ 208 v Introduction In 1961 Leonardo Sciascia published Il giorno della civetta and founded the contemporary Sicilian crime novel. While the actual beginning of the literary genre of detective fiction in an Italian setting and written by an Italian author has to be back-dated to sometime in the last century1, and even the first Sicilian mystery or crime novel2, preceded Sciascia’s mystery, by about sixty years, Sciascia’s first novel was deeply influential to Sicilian writers who followed him. The author began writing and publishing in 1950 and his early artistic production consists of a satire on fascism, poetry, a work on Pirandello, an autobiographic novel inspired by his experience as an elementary school teacher in his home town, works about Sicily and his views on communism, the influence of the U.S.A. and the unification of Italy. His political engagement and his ruminations about Sicily, his native island, and its people are evident from his very first books. It was not until 1961, after living for one year in Rome, that he published his 1 Crime fiction in Italy officially began in 1929, the year the Milanese publishing house Arnoldo Mondadori issued its first yellow covered paperback. The first books in the Mondadori series were English novels in translation by, S.S. Van Dine, Edgar Wallace, Anna Katharine Green and Robert Louis Stevenson. Leonardo Sinisgalli, the poet and art critic, in an article reviewing the four novels in December of 1929 used the term romanzi gialli to define the content and to link the genre to the Mondadori publishing house. The first Italian authors of this new “yellow” genre were published under the Mondadori label in 1931. See Andrea Camilleri, “Difesa di un colore,” www. vigata.org/bibliografia/colore.shtml, consulted September 8, 2017. Prior to Mondadori making the term giallo synonymous with romanzo poliziesco, critics acknowledge some early local practitioners of the crime fiction genre. See Loris Rambelli’s Storia del ‘giallo’ italiano (Milan:Garzanti, 1979), Maurizio Pistelli’s Un secolo in giallo: Storia del poliziesco italiano (1860 – 1960) (Rome: Donzelli, 2005). The earliest real Italian crime novel is usually considered Il cappello del prete by Emilio De Marchi, published in 1888 (see Luca Crovi, Tutti i colori del giallo. Il giallo italiano da De Marchi a Scerbanenco a Camilleri, Venice: Marsilio, 2002). 2 Luigi Capuana’s Il marchese di Roccaverdina published serially in L’Ora of Palermo in 1900 and in book form the year after is the first Sicilian crime novel, set in Spaccaforno. The train of events is set in motion by a homicide perpetrated by the character after which the book is named. It is a reverse mystery, as the guilty party is known, and it tells more of the descent into madness of the title character, in the manner of Dostoyevski’s Crime and Punishment. It is set in rural and feudal Sicily and it does much to bring to the fore of the narration the society of the times. In 1936, Ezio d’Errico was the first Sicilian writer entered the Mondadori stables with Qualcuno ha bussato alla porta. His novels are set in Paris and feature a French police detective. 1 sixth book and his first novel, perhaps one of his most famous and influential
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