February 3, 2009

HE EVEN MAKES SEAFOOD SOUND SEDUCTIVE:

Italian mystery writer Andrea Camilleri keeps Montalbano on the case: At 83, the retired playwright provides a steady stream of suspense with the Sicilian police commander series. The author's historical novels round out his passions. (Sebastian Rotella, February 3, 2009, LA Times)

Americans have Philip Marlowe and Raymond Chandler. Britons have Sherlock Holmes and Arthur Conan Doyle. And Italians have Salvo Montalbano and Andrea Camilleri.

Camilleri, a bespectacled, gravel-voiced 83-year-old, has become a national character as beloved as his Montalbano, a shrewd, resolutely Sicilian police commander who solves crimes in the fictional town of Vigata.

Remarkably, Camilleri's career didn't take off until he was nearly 70, when he retired as a playwright and screenwriter. Since then, he has published an astonishing 40-plus books and sold 20 million copies internationally, inspiring a series of made-for-TV movies and, in Sicily, guided tours and a statue of his sleuth. [...]

Despite stereotypes of the island, more than half of the best Italian writers of the last 120 years have been Sicilian, says Stephen Sartarelli, an American poet who is Camilleri's translator. They have included Nobel laureate Luigi Pirandello, a playwright, and Leonardo Sciascia, a cerebral, politically engaged novelist.

This is the result of a cultivated intellectual class, a folk-tale tradition and a dark reality that, as in Latin America or Russia, lend themselves to fiction, Sartarelli says.

"When you live in more violent surroundings, you have more moral decisions to make," he says. "The Russians lived that in the 19th century. Moral dilemmas create the most interesting literature."

But a sense of humor comes with the territory as well. Camilleri has a playwright's ear for the language of subcultures, regions and historical periods. He delights in the "verbal inventiveness" of early Italian immigrants in the United States who said "backahouse" for outhouse and "robbachoos" for galoshes.

His approach does not seem a prototype for mainstream success. He writes not in standard Italian but a pastiche of Sicilian dialects, a language of his own concoction.

"It's a difficult kind of Italian because it's very much my own language," he says. "And it's even sometimes not very comprehensible for my own Sicilian countrymen. . . . I confess there are also invented words."

Only half in jest, Camilleri says the stardom of his sleuth mystifies him. The middle-aged Montalbano is no action hero. Resentful of authority but slow to violence, gruff but sentimental, he commands a station-house ensemble featuring Catarella, an endearingly bumbling front-desk officer, and Mimi Augello, a skirt-chasing deputy commander.

Rather than cop-show realism, Camilleri lingers on details of place, personality and meals, which are near-religious experiences for Montalbano.

"I wanted a character who one could invite tranquilly to dinner knowing that he would not talk about a case unless you asked him about it," he said. "A person you can trust, who respects his word in friendship. With his private troubles, but nothing exceptional. Maybe it was this lack of the exceptional that struck a chord in Italy."


As funny as the books are, like Donna Leon's Commissario Brunetti series they depict an Italy that is so profoundly corrupt and supine in the face of that corruption that justice is impossible except in fiction, and not always there either.


Posted by Orrin Judd at February 3, 2009 8:36 AM
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