From Sicily: An Island at the Crossroads of History, by John Julius Norwich (Random House, 2015), Kindle pp. xxv-xxvii:
The celebrated words from The Leopard, by Giuseppe di Lampedusa, that form the epigraph to this book—words spoken by Prince Don Fabrizio Salina to a Piedmontese officer in 1860, some months after the capture of Sicily by Garibaldi—encapsulate the island’s history to perfection and explain the countless differences that distinguish the Sicilians from the Italians, despite the almost infinitesimal distance that separates them. The two differ linguistically, speaking as they do what is essentially another language rather than a dialect, a language in which the normal final o is replaced by u and which nearly all Italians find incomprehensible. In their place names, they have a passion for five-syllable words with a tum-ti-ti-tum-ti rhythm—Caltanissetta, Acireale, Calascibetta, Castelvetrano, Misterbianco, Castellammare, Caltagirone, Roccavaldina—the list is almost endless. (Lampedusa gives Don Fabrizio’s country estate the wonderful name Donnafugata.) They differ ethnically, a surprising number having bright red hair and blue eyes—characteristics traditionally attributed to their Norman forebears, though it seems likelier that the credit should be given first to the British during the Napoleonic Wars and more recently to the British and Americans in 1943. They even differ gastronomically, with their immense respect for bread—of which they have seventy-two separate kinds—and their passion for ice cream, which they even demand for breakfast.
Wine is also a speciality; Sicily is now one of the most important wine-producing areas in all Italy. It is a well-known fact that the very first grapevine sprang from under the feet of Dionysus as he danced among the foothills of Etna. This slowly developed into the famous Mamertino, the favorite wine of Julius Caesar. In 1100 Roger de Hauteville established the winery at the Abbazia S. Anastasia near Cefalù; it is still in business. Nearly seven hundred years later, in 1773, John Woodhouse landed at Marsala and discovered that the local wine, which was aged in wooden casks, tasted remarkably like the Spanish and Portuguese fortified wines that were then extremely popular in England. He therefore took some home, where it was enthusiastically received, then returned to Sicily, where by the end of the century he was producing it on a massive scale. He was followed a few years later by members of the Whitaker family, whose descendants I well remember and whose somewhat oppressive Villa Malfitano in Palermo can be visited on weekday mornings. So too can the nearby Villino Florio, a riot of art nouveau and much—in my opinion, at least—to be preferred.
Any conversation about Sicily is bound to produce a question about the Mafia; and questions about the Mafia are notoriously difficult to answer, largely because it contrives to be everywhere and nowhere at the same time. We shall look at it rather more closely in chapter 16; here, the important thing to be said is that it is not a bunch of bandits—the average foreign visitor will be as safe in Sicily as anywhere in western Europe. Indeed, he is extremely unlikely to come into contact with the organization at all. It is only if he decides to settle on the island and starts negotiating for a property that he may receive a visit from an extremely polite and well-dressed gentleman—he could well be a qualified lawyer—who will explain why the situation might not be quite as straightforward as it first appeared.
Finally, a word or two about Sicily’s writers. Two Sicilians have won the Nobel Prize for Literature, Luigi Pirandello and Salvatore Quasimodo (the pen name of Salvatore Ragusa). Pirandello’s play Six Characters in Search of an Author was an early example of the Theater of the Absurd and provoked such an outcry at its premiere in Rome in 1921 that he was forced to escape through a side entrance; since then, however, it has become a classic and is now performed the world over. Pirandello himself became an ardent Fascist and enjoyed the enthusiastic support of Mussolini. Quasimodo’s poems are hugely popular in Italy and have been translated into over forty languages. But if you want the true feel of Sicily, you should go not to these giants but to Leonardo Sciascia (pronounced Shasha) and Giuseppe Tomasi di Lampedusa. Sciascia was born in 1921 in the little town of Racalmuto, between Agrigento and Caltanissetta, and lived there for most of his life. His best novels—The Day of the Owl, To Each His Own, Sicilian Uncles—are first-rate detective stories with a distinctive Sicilian flavor; but they also analyze the tragic ills that beset his island, such as political corruption and—as always—the Mafia. Lighter, but still irresistibly Sicilian, are the crime novels of Andrea Camilleri, which have recently been adapted to make a superb television series about his hero, Detective Inspector Salvo Montalbano, chief of police in the fictional city of Vigata. So popular has the series been that Porto Empedocle, Camilleri’s birthplace, has recently had its name formally changed to Porto Empedocle Vigata.
As for Giuseppe Tomasi di Lampedusa, he is for me in a class by himself. The Leopard is certainly the greatest book about Sicily that I have ever read; indeed, I would rank it with any of the great novels of the twentieth century. To anyone interested, I would also enthusiastically recommend David Gilmour’s admirable biography, The Last Leopard. Several other works of interest are listed in the bibliography.
Far Outliers 