Castellinaria, and Other Sicilian Diversions

In Short

Part travelogue, part affectionate social history, this book traces an English writer’s immersion in early twentieth-century Sicily. Moving from the marionette theaters of Catania to coastal villages and mountain weddings, the narrative records conversations with puppeteers, local priests, barbers, and travelers. Rather than focusing on standard tourist sights, it centers on traditional storytelling, folk religion, regional customs, and daily camaraderie. The book endures because of its sharp, precise observation and genuine, unpatronizing warmth toward the Sicilian people, capturing a vanished world of folk theater and communal life with quiet humor and meticulous detail.

The Story

The narrative follows the author’s extended travels through Sicily, organized around his returns to familiar cities, mountain towns, and coastal communities. Opening with a reflective preface that corrects minor details from previous journeys—such as theater seating arrangements and the state lottery’s exact yield—the writer sets an unhurried, conversational tone. From the outset, the journey is defined by human encounters rather than rigid itineraries. In Catania and Palermo, he frequents marionette theaters, listening intently to the buffo (the puppet show reader) and local playgoers who explain the complex lore of chivalric romances, legendary steeds, and sorcerers like Malagigi. The author engages in long, playful debates with his companion over artistic conventions, anachronisms, and the way distant centuries blur together in the popular imagination.

As he travels onward to places like Mount Eryx, the writer immerses himself in the rhythms of local life. He attends the multi-stage celebration of a friend’s wedding, observing local customs, the proper dress for different types of ceremonies, and the community’s social expectations. He visits local shops, gets shaved by a barber-surgeon whose mirrors have been borrowed to decorate a wedding feast, and listens to locals detail the history of chivalry, old codes of honor, and the gradual degeneration of ancient cristiani into modern criminal networks.

Throughout the journey, everyday moments bleed into dramatic storytelling. A friend recounts a tragic tale of murder and passion, which leads to a confusing side story about an acquaintance met in London. At a local inn, the author transcribes the dramatic, absurd dialogue of a puppet play featuring Don Giovanni. On another leg of his journey, he records the harrowing, firsthand account of a refugee who survived the devastating 1908 earthquake in Messina, documenting their escape on a German steamer to Naples.

In Catania, he witnesses the vibrant, grueling procession of I Nudi during the festival of Saint Alfio, where barefoot devotees run through the night carrying massive wax candles. He shares simple meals at local taverns, eats prickly pears in the market, buys dried bergamot snuff-boxes, and debates the philosophical nature of usefulness over a decorative piece of Mount Etna’s lava. The voyage closes in Syracuse near the Fountain of Arethusa, where a street youth tries to sell him a worthless coin. Reflecting on the encounter with lighthearted resignation, the author bids farewell to an island where time is barely recognized and human connection remains paramount.

How It Unfolds

The voyage begins The author sets out across Sicily, establishing his focus on local culture, marionette shows, and everyday encounters rather than static tourist monuments. He corrects past travel notes and dives straight into the social life of the island's bustling cities.

In the marionette theaters Attending puppet performances in Catania and Palermo, the narrator records the dramatic scripts and discusses chivalric legends with the show's reader. They debate the nature of art, historical accuracy, and why audiences connect deeply with traditional tales.

Life on the Mountain Arriving at Mount Eryx, the author prepares for a local wedding, getting shaved at a barber-surgeon's shop that has lent its mirrors for the reception. He observes the intricate etiquette, clothing, and rituals surrounding Sicilian marriage ceremonies.

Reflections on honor and tragedy Conversations with local friends reveal dramatic tales of family vengeance, as well as historical accounts of old chivalric codes. The author translates local perspectives on how historic men of honor evolved into modern criminal factions.

Voices from the earthquake The narrative presents a stark, firsthand written account from a survivor of the 1908 Messina earthquake. The document details days of cold, hunger, constant shocks, and eventual rescue by a German steamer bound for Naples.

Festival of the saints In Catania, the author watches the nocturnal procession of Saint Alfio, where barefoot runners carry heavy candles toward Trecastagne. The celebration brings together painted carts, crowds, and country feasts along the slopes of Mount Etna.

Farewell at the fountain The journey concludes in Syracuse, where a boy attempts to trick the writer with a counterfeit coin near the Fountain of Arethusa. The author takes the minor loss in good humor, musing on time, commerce, and the charm of his Sicilian journeys.

The People

• The Author, an observant, kindly English gentleman who travels Sicily to record its folkways, puppet plays, and conversations. He wants to understand local culture on its own terms without imposing foreign prejudices, though his practical English nature occasionally clashes with Sicilian idealism. He ends up deeply attached to his hosts, viewing the island as a second homeland.

• The Buffo, a passionate, articulate marionette show reader and narrator in Catania. He desires to convey moral and imaginative truths through his puppet theater rather than strict historical accuracy. Through his debates with the author, he reveals a sophisticated artistic philosophy, viewing the public with a mixture of professional realism and artistic pride.

• Peppino, a talkative local friend and storyteller who guides the author through Catanian life and social nuances. He wants to entertain and instruct his English companion, though his meandering, chaotic stories often confuse the writer. He maintains an optimistic, resilient humor despite life's tragic turns.

• Berto, a friend on Mount Eryx whose impending marriage brings the author into the heart of Sicilian family life. He wants a proper, traditional wedding that honors his community's social rules. His celebration showcases the generous hospitality of the mountain inhabitants.

• Turiddu Balistrieri, a young survivor of the Messina earthquake who writes down his harrowing escape. He wants to preserve a true record of his family's survival for the author. His narrative provides a quiet, dignified testimony to human resilience in the face of disaster.

In Its Own Voice

"Art is trying to get the people to realise that a thing happened, not to teach them precisely when."

A local puppeteer explains to the author why historical anachronisms in the marionette theater do not bother the audience.

"This piece of lava will be for me an object of eternal beauty, and when I contemplate it I shall think of the happy time we have spent here together."

The author's companion defends buying a decorative block of Mount Etna's lava despite having no practical use for it.

"Fancy boxing the ears of a young Greek god off a dolphin's back within sound of the Fontana Aretusa!"

The narrator reacts with wry amusement after a rough local steps in to stop a street youth from pestering him for cigarettes.

What It's Really About

At its core, the book examines the divide between formal history and living culture. Through discussions on puppet plays, local saints, and traditional folklore, the text argues that imaginative truth often holds more power for a community than cold, factual accuracy. It explores how isolated societies preserve dignity and meaning through storytelling, rigid social codes, and communal rituals.

The narrative constantly juxtaposes English rationality with Sicilian romanticism. Whether debating the utility of a souvenir block of lava or analyzing historical codes of chivalry, the book asks what is lost when society prioritizes pure usefulness over emotional and aesthetic beauty. It captures a transitional era where ancient traditions, regional dialects, and local theater face the steady encroachments of modern unification, industry, and early cinema.

Why Read It Today

This travelogue appeals to readers who enjoy quiet, humorous travel writing focused on human character rather than list-like tourist itineraries. Reading it feels like taking an unhurried evening stroll through early twentieth-century piazzas in the company of a witty, warm, and remarkably unobtrusive guide.

What lingers long after reading is the book's genuine affection for its subjects. The author never treats the Sicilians as exotic oddities; instead, he grants them full agency as artists, philosophers, and friends. The prose is clean, unpretentious, and full of dry English humor that balances the dramatic, operatic nature of Sicilian life.

Modern readers should be aware of a few period difficulties. The book assumes a gentle, leisurely pacing that may feel slow to those accustomed to high-action narratives. It frequently references classic Italian literary figures, regional geography, and local puppet lore without lengthy introductions. Additionally, it records early twentieth-century social attitudes and regional poverty with straightforward realism. Yet for those willing to match its relaxed rhythm, it offers a beautifully preserved portrait of Sicilian warmth and culture.