THE PUPPET MASTER - OUT ON 28TH AUGUST!
Sicily somehow feels a little different to the rest of Italy. Maybe it's the architecture. Maybe it's the people. Or maybe it's the feeling that around almost every corner the looming bulk of Etna is never far away. Even the dust of a hot breezy day, or the gentle movement of bright hillside flora, speak to me of a distinctly different strain of civilisation in this part of the world.
Either way... I'd like to share some of my experiences in 2019 while touring the islands, large and small, and share a few photos of places that Nico, Edo, their family and friends lived and worked in. I've also offered a few accompanying facts that shape some of the backdrop to events in the novel.
PALERMO, TRAPANI & LEVANZO (to be added)
It was while staying in a hotel in Lipari Town, and being drawn into an almost surreal window display of some authentic Sicilian puppets that I began to believe the Islands would be a great place to base my next novel.
A small cove, in which our hiking group stopped for a tasty picnic lunch, inspired the location in the book where Edo and Nico go swimming as young boys. Its tall surrounding cliffs offer all the seclusion that kids thrive in when playing, away from adult eyes. And it will also offer Edo his perfect landing spot, years later, when returning to the island to attempt to rescue his father and Fara.
In the two photos of Lipari Town, both the Cathedral, which Nico is shown by his father on one of his early visits to the town, and the walls of the castle, into which many of the citizens of the island rush during Barbarossa's attack, are visible.
The view overlooking the strait to Vulcanello is taken from Crepazza Point, the location of the Bellomo farm. I took the photo from the exact spot where the young Nicola and Simona Cusmano sit, while expecting first Nico then Edo. As the boys grow up, it is here where their father shares and re-enacts all his favourite stories. When hiking on Vulcano a few days later we enjoyed a great view north back to The Point.
The small harbour in front of Grandpa Cusmano's workshop is still in use, although most of the houses nearby are now restaurants, and the main arrival point by sea is now a mile away, north of the castle.
Finally, to the right, is a picture of the window display of the puppets at the hotel in which we stayed.
Before anyone asks - yes, the image opposite IS a lazy cop-out. But in my defence, it's a cracking postcard, and it was on sale at Lipari harbour on the day we took the boat across for our hike!
Vulcano, then — the ancient home of Vulcan, the Roman god of fire. Semi-dormant, but still packing a sulphorous punch when ascending to and then walking around its main crater rim. The day of our visit was a real hot and humid one, hence my slightly stern (ok, equally semi-dormant) expression. Our first time on an active volcano, and great preparation for Stromboli and Etna.
Vulcano Island is the location of The Cusmano Puppet Company's first touring failure, but also of their subsequent triumph.
Another touring location of the Puppet Company, the island is the best example of (you guessed it) Strombolian volcanic activity: it rarely erupts, but makes up for it by constantly exploding. You can hear the explosions from Ginostra all day, every day, often several times a minute. And the sign just down from our hotel suggests there's always the chance of a big 'un going off!
We took a late afternoon hike on the day of our arrival up one of the volcano's side trails, enjoying a beautiful sunset into the bargain. PS Does anyone recognise that dog?
The next evening, however we joined a larger group and hiked up onto the ridge itself. The noise was pretty intimidating. As night fell, we all sat on the edge of the main caldera and watched the intermittent explosions from about six or seven active areas of the volcano. Every couple of minutes, one of them emitted a huge flare of pressurised gas. Ever been punched in the chest by a sonic boom? Extraordinary. Check out the video, with the volume set on high!
The Cusmano's toured here a number of times before moving to work for the Baron Guanotta in Taormina.
OK — I admit it, I'm just showing off at how I was there to witness this.
The Cusmano Brothers spend eleven years on the Sicilian mainland building their reputations as performers, first in Taormina and then in Palermo. During the period, they complete many tours, initially with their protector and friend Giovi Puleo. Our own shorter tour enjoyed better roads then they had to use.
The main shipping port that serves the entire collection of the volcanic islands, Milazzo lies on the north east coast of mainland Sicily, about 20 miles west of the Straits of Messina.
This is the home town of the puppeteers that the Cusmanos meet on the quay in Lipari. Papa and his troupe arrive here by fishing boat to travel through the mountains to their new role with the Baron.
The day we arrived to make the same but reverse nautical journey, the winds were at gale force, and all sailings were cancelled. So we spent the afternoon and evening walking around the ruined castle that overlooks the harbour: the highest point of the town. Not blowy at all, then! From the castle ramparts, a view can be gained to the mountains that sit between Milazzo and Taormina which, as can be seen were having a pretty wild day of their own. It is through these that the Cusomano puppet troupe travels to reach their new employment.
To quote from THE PUPPET MASTER, Taormina "sits in the folds of an eastern coastline, with steep rocky heights at its back... Manicured gardens. Palazzos and villas. The amphitheatre of the Greeks and Romans and the Duomo of Saint Nicholas quietly, though not humbly, insisting on their permanence."
On our visit here, we completed a three-hour walk down from the Castello di Mola (from which this picture is taken) down to the coast. On arrival, just as for Nico and Edo, the streets beyond the South Gate were packed.
Despite sharing the the amphitheatre with perhaps 300 other tourists, it was still possible to see why the brothers would visit it when wishing to get away from the pressure of the Baron's palazzo.
Catania is a gorgeous, bustling city, full of eye-catching Renaissance/Baroque architecture and, more importantly, eye-watering pastries. While many of the buildings on view now would have been impressive when The Cusmano's visited on their first Summer Tour, they would have probably looked considerably less ornate - the city has been reconstructed in part a number of times due to its proximity to Etna and its intermittent destructive urges (if you look carefully, you'll see the volcano looming at the end of the street).
We had a great time wandering around the Centro storico area, visiting a few bars not entirely dissimilar perhaps to those frequented by Nico during his more petulant and 'ornery visits.
So, full disclosure...Joanne and I are yet to make it across to the northwest corner of the mainland, or indeed to Trapani or the Egadi Islands, so I'm not yet able to share any local flavour.
But give me time, and we'll get there.
I thank you.
My previous historical novel, THE QUARANT concluded with an historical sidenote and a bibliography. While choosing not to do the same for THE PUPPET MASTER, I thought I'd share a few salient nuggets here.
- The cathedral in Lipari Town had only just finished completion by the time Nico is taken to see it as a young boy. It was claimed to house the relic of St. Bartholomew's thumb, and there was an annual procession through the town to celebrate the saint and his magical digit.
- The view across the water to Vulcano from Crepazza Point is genuinely stunning, although I chose not to mention the intervening smaller island of Vulcanello that sits between them. Vulcano is best known for its large deposits of pumice and obsidian.
- In the absence of dedicated ferries travelling to or between the Aeolian Islands, anyone wishing to move around on the water would need to arrange lifts or one-off payments with merchants or local fishermen.
- The invasion of Lipari by Barbarossa, and the enslavement and abduction of thousands of local residents, did in fact occur in 1544.
- There were strict rules regarding who could live in or own property within the city gates.
- Major eruptions on Mount Etna occurred in March 1536 (Middle southern flank, strong explosions. Lava flow overwhelmed monastery of St. Leo), and May 1537 (Lava flow travelled for 15km reaching the village of Torre de Grifo near Mascalucia).
- The riots mentioned in Barrafranca occurred in response to the Baresi family deciding to change the name of the original Roman fortification called Calloniana.
- In 1197, the Teutonic Knights received from Henry VI, Emperor of Germany, the Cistercian Monastery in Palermo. They remained there until 1492, on Papal orders based on a request of the King of Spain.
- Ferrante Gonzaga was in fact the Viceroy of Palermo during the years that Nico and Edo were there. In 1535 Gonzaga led armies for Charles V against the Turks in Tunis and again in 1541 in Algiers. Charles V, who resided in Cologne, was the Holy Roman Emperor
- The patron saint of Palermo is indeed Santa Rosalia, whose feast day is celebrated on 15th July. Ulivia de Palermo, a Christian martyr, is also venerated as a local patron saint. Her feast day is on 10th June, and she is represented as a young woman with olive branches surrounding her, holding a cross in her right hand.
- The population of Agrigento was on a general decline during the medieval period and later.
- The annual arrival of huge numbers of tuna, and the spectacle of the large annual catch continued for many more centuries after the period in which the book is set. Watch this video, shot in 1949, of how this practice remained largely unchanged and fraught with peril for a further four hundred years.
- The climate on Levanzo, and the Egadi Islands in general, is much drier than that of the Aeolian Islands.
- The walls around Milan that are mentioned in the book were indeed erected by the same man who was Viceroy of Palermo, Ferrante Gonzaga, who governed Milan from 1546 to 1554.
- By 1564, Milan boasted 83 confraternities.
- The two battles in which Leandro fought on the Spanish side were the defence of the Spanish garrison of the port of Brill, or Brielle, in the western Netherlands in April 1572, and the Siege of Mons, an attack on another Spanish garrison in the same year. In both cases the Spanish lost.
- The Spanish Inquisition was established in Sicily in 1513.
- The role of Promoter Fiscal, or prosecuting officer, was next in rank to the Inquisitor himself.
- By 1516, Inquisition documents in the 'secreto files' could be accessed by inquisitors, notaries or the fiscal only.
- The Alguazil was an executive officer of each tribunal, and conducted all arrests.
- The role of the Censor existed in every major Inquisition Office. They would pronounce on charges before arrest, and on whether acts or words (written or spoken) might be deemed heresy.
- Inquisition gaolers often served as torturers, although later the role of torturer was taken on by the pblic executioner.
- Familiars were unpaid, and worked part time only. Often acting as spies on their neighbours, they might be rewarded by immunity from prosecution.
- In the years prior to Nico and Edo arriving in Palermo, the incomes of the Inquisition office in the city had indeed been falling.
- Purity of blood needed to be demonstrated. This drove much record keeping, and offered a lucrative income to the Inquisition.
- The mechanisms of the Edict of Faith and the associated Auto de Fe were broadly as described. For those arrested, a Term Of Grace might be published, giving the prisoner 40 days to infrm on others. Once men and women were found guilty they were handed over, or 'relaxed' to the municipal authorities for punishment.
- On May 30th, 1541, an Auto de Fe was celebrated in Palermo, in which twenty-two men appeared, nineteen convicted of 'Judaising', and three for Lutheranism. Fra Perruccio Campagna, one of the Luterans, was burned at the stake as an impenitent heretic.
-In Greek mythology, the Three Fates were Clotho (the Spinner), Lachesis (the Measurer/Apportioner), and Atropos (the Unbending/Inflexible one)
- Boiardo wrote his Orlando Innamorato in the 1470's, seeing it first printed in Modena in 1483. Thirteen years later, a new edition was published, including the beginning of a third book.
- Ariosto began writing the Orlando Furioso in 1505. It will take him twenty-five years to complete. The first edition of Orlando Furioso was published in Ferrara in 1516. A second slightly revised edition was published in 1521 in Ferrara. His third edition, published in 1532 (just a year before his death) featured six additional cantos. After 1533, a total of five further cantos were pubished, entitled I Cinque Canti.
- In Arab folklore, a nasnas was "half a human being; having half a head, half a body, one arm, one leg, with which it hops with much agility"; the Shadhavar was a mythical creature resembling a unicorn; Zarqa' Al Yamama was the story of a blue-eyed tribal matriarch with the gift of foreseeing the future.
- The modern versions of todays Sicilian puppet theatre originate in the early 19th century, but the origins of the Opera dei Pupi go back to the 15th century. There are no records of puppet theatre performances of the Orlando stories in Sicily in the 16th century, but some performances of Orlando Innamorato in Rome were recorded in 1833.
- The oldest surviving documents on puppet theatre repertory date from 1845-46.
- The Commedia, or Commedia Dell'Arte, is an Italian form of theatre that rose to prominence in the 16th century.
- The mystery plays, or sacred plays, of Florence emerged in the mid-1400's, and were based on biblical or other religious texts. Each play was opened and closed by an angel character.
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