Abstract
The partial absence and fragmented presence of the mafia in the first of the Montalbano novels, La forma dell'acqua is central to the interpretation of the series. Mafia violence and crime becomes secondary to the depiction of sexual passion or exploitation within the family, especially its connections with the corrupt political system. Quasi-incestuous relations are the sign of the decay of social values but with the proviso that in one case (Giorgio and his uncle) it provides the seemingly only outlet for the emotions. The ‘uncivil’ behavior of the ruling class is condemned through the representation of the dysfunctional family: love and onestà are generally lacking here. La forma dell'acqua is in part an exploration (and perhaps critique) of Sciascia's analysis of the Sicilian family and mafia crime. Camilleri paradoxically makes himself vulnerable to criticism by reinstating the crime passionnel and backgrounding the mafia. One of Saciascia's objectives in writing Il giorno della civetta was to illustrate the centrality of mafia crime and how it is covered up by creating a crime of passion. Against these corrupted values Camilleri sets up a working-class family that acts as a contrast; however, this family has to leave the island to go abroad. Thus, Montalbano's actions in helping this exceptional family underlines the notion that principled behavior is possible despite difficult circumstances.
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