One of the most surprising finds in my journey into the world that is Sicily was discovering the works of American journalist Theresa Maggio, her concise poetic prose distills the true essence of Sicily from its ancient traditions in Mattanza; love and death in the sea of Sicily, to isolated ancient towns in The stone boudoir; travels through the hidden villages of Sicily.
I was thrilled to get into contact with Theresa Maggio recently to talk about her work.
Your first two books Mattanza and Stone Boudoir came from part of your own personal family history and experience tell us about how they came together.
Yes, my first connection to Sicily was through my family. I first went there when I was still in college to see where my paternal grandparents had come from and to meet the relatives who were still there.
Back home years later I actually started writing about the little towns I had visited in 1986, when I lived in Mondello, where Piero the fisherman would take care of my dog while I went off on bus joy rides into the hinterlands. Santa Margherita Belice, my ancestral town, was one of my destinations. But so was Favignana. My friend, writer Joyce Marcel (joycemarcel.com) , was my first reader, God bless her, and when she read the Favignana chapter I guess it popped and she said, “Here’s your book. Write this.” And that was how Mattanza was born. But I still had all these stories I wanted to tell about beautiful little medieval mountain towns, so as soon as Mattanza was finished I wrote a five-page proposal for Stone Boudoir and Perseus Books, Mattanza’s publisher, bought that too.
How would you describe your books to someone who has never read them?
Colorful narrative nonfiction that makes you feel like you were there.
Was it difficult to find an audience/publisher for these books at all?
HAH. For the first one? You bet. I had given up. It took years. I saved all my rejection notes. A simple “no thanks” would have sufficed, but one editor wrote back something like ,”WhatEVER made you think I or anyone else would POSSIBLY be interested in reading a book about men killing tuna?” You’ve got to have a thick skin. No matter, I used it for fuel (“I’ll show HIM!) and forged ahead.
Years later when the book was about to be published I asked my friend and journalism school classmate (and your compatriot) Geraldine Brooks to read it and write a blurb. She, without knowing about that editor’s stinging comment, came up with this opening line: “If you think you do not want to read a book about the death of tuna, think again….”
I was so pleased with my editor and publisher, Perseus Books, distribution and general treatment at Perseus Books that I offered my second book exclusively to them and they took it with just a mini-proposal and a few sample chapters.
What advice would you give to someone who wants to write a book based on their own family history or heritage?
As for any book, figure out what makes you passionate about your subject and use that for your motor. If your people immigrated, learn the foreign language you need to learn to do the research on site.
You are working on a new book about Palermo, tell us about this new work?
It’s about good people in the historic center who love their city, be it the people or the stones, and how they show that love by their actions.
Do you consider yourself an Italo-American writer or does this classification bother you?
I am Siculo-American (and German–American) whether I like or not, and so far all my books have been about Sicily, so I really couldn’t complain even if it did bother me.
Your writing style is beautifully precise, intense and almost poetic, are you at all influenced by the poetic genre and if so by who.
Thanks for such a wonderful compliment. You know, back in grade school the nuns had us memorize and recite stanzas of nineteenth-century poems. I think something rubs off. I learned to appreciate rhythm and rhyme. Robert Frost is my favorite, but I also liked John Donne. I used to compose poems when I was a kid, but then I quit because I wasn’t very good at it, and for other reasons, but I thought that from then on I would turn my energy to write better declarative sentences.
Also, in journalism school, one professor advised us to read a favorite author the night before writing a piece, because that author will flavor your writing. It is true, and it works.
I actually do write a poem in the morning these days, with my left hand, as a warm up, and to connect to the right hemisphere of my brain. I think it works and sometimes the poems are funny.
Do you visit Sicily often? How would you describe contemporary Sicily?
Well, legally, without a visa, I can only be there for three months out of the year. So recently it has been nearly once a year, for three months at a time to get the most value out of a plane ticket.
The second question – too big for my brain.
You have a background as a journalist, do you think this has influenced your writing if so how?
Definitely. You know being classified as an Italian-American writer doesn’t bother me but having my books reviewed as memoirs really grates. Because in memoirs you can filch and make up quotes and facts you supposedly remember from long ago, whereas I consider my books first-person narrative non-fiction. Every word is true. I wrote Mattanza in such a way that it could be fact-checked by the New Yorker, just in case they ever wanted to publish an excerpt. (Never happened.) They might have had a hard time fact-checking the dream I reported, but I do keep a dream journal.
Why do you find yourself returning to Sicily as subject for your books, I’m sure it’s quite personal, but what captivates you so much about this island?
Sicily has been a good muse, that is true. You cannot beat it for natural beauty, climate, strata of history, cuisine and character of the people. Sicily is also affordable. I don’t have a lot of money and when I go there I can rent a room in an apartment share or stay with friends who put me up in Catania. I speak Italian, understand a lot of dialect, I’ve done the reading, I have the contacts, I know and love the territory, so it is fertile ground for me. Like I said, you can peel Sicily like an onion and have an ever-deeper understanding of and appreciation for the island. Yes, if I had more money I would expand my territory. I never made it to Corsica in 1986 when I was sidetracked by a Mondello fisherman; I’d still like to go there and explore. I’d like to spend a year on the Isle of Jura, in Scotland’s inner Hebrides, with 5,000 red deer and not 200 people, where George Orwell holed up to write 1984 because the place was “un-get-attable”. But there is a satisfaction in knowing one place really well.
Do you have a favorite Italian or Sicilian author you want to share with us?
I’ve read Lampedusa’s The Leopard four times. I loved Vitaliano Brancati’s Don Giovanni in Sicilia. But Andrea Camilleri’s Inspector Montalbano series I just devour like popcorn. And immediately want more.
Are you working on any other interesting projects?
On the back burner until I sell this book (wish me luck): My video documentary about the incredible feast of Saint Agatha in Catania. It is ready to be edited, and is partially edited, but needs a professional touch and funding.
A million thanks to Theresa Maggio for answering my questions and for the gift of her beautiful books about Sicily.
Her first two books Mattanza; love and death in the sea of Sicily is currently out of print but can be tracked down through your local public library while The stone boudoir; travels through the hidden villages of Sicily is available on Amazon.
While her new book about Palermo is something to look forward to.
Theresa Maggio says:
I was raised in Carlstadt, NJ, went to Catholic schools from K through 12. Double majored in French and English at Wells College, worked summers at a lodge cum stable in Vermont. Hitchhiked the states and some of Europe, learned to tend bar, cocktail waitressed, became a laser optics technician in Vermont, then was recruited by Los Alamos National Laboratory to work in their captive optics shop. Went to Columbia University Graduate School of Journalism and returned to Los Alamos as a science writer, covering, among other divisions, the nuclear weapons designers and the Nevada Test Site. Quit to go live with a fisherman I met on vacation in Mondello, Sicily and the rest is history.