Lindsay Marie Morris

Sicily is steeped in multicultural heritage, and navigating the island's complex history can be challenging. Thanks to historians like Palermo-based Louis Mendola, we have several comprehensive yet approachable books to serve as a road map. A leading medievalist, Louis leads his readers through the island's layered past, challenging stereotypes, unearthing hidden and forgotten histories, and giving voice to descendants. 

I recently reached out to Louis after reading The Peoples of Sicily: A Multicultural Legacy, which he co-authored with Jacqueline Alio. The book serves as an essential starting point for exploring the region's roots, highlighting the many conquerors, wayfarers, and rulers who left their mark on its food, architecture, and language. Louis, who grew up in Upstate New York, has called Sicily home for the past 30 years. It's a return to the place of his ancestors and a base for first-hand research. He shared with me how he got his start, surprising discoveries, his favorite historical period, challenges, future projects, and his hopes for his readership.

 

What led you to specialize in Sicilian history?

Mostly because I'm Sicilian. I've been reading a lot of these things since I was a teenager. So, in my case, I like to say that I didn't look to join the field, but the field kind of sought me. It makes sense that somebody would study a field of history that pertains to their own ancestry instead of, let's say, just choosing someplace else. 

 

What are some of the most surprising discoveries you've made in your research?

It's the holy grail for historians to find original stuff that nobody else has published. In my case, some of the original things I've found have been slightly arcane. For example, I found a reference in the Vatican Library in an uncataloged manuscript to the Assizes of Ariano of 1140. We have two manuscripts of that, two codices that were discovered after 1700: one at Monte Casino, the other at the Vatican. And I actually found a reference to them. It was written about four or five years after that, which was rather interesting. So, it wasn't an earth-shattering discovery, but it reinforced the dating of the documents. 

 

How has Sicilian history shaped the island's identity?

In my books, I make the point that by 1300, we had what I refer to as a monoculture. It was essentially Latin. It's what you see today.  

We have to consider that the Jews of Sicily were expelled or converted in 1493, a year after Spain. So from that point onward, we ended up with the monoculture, and you might even refer to it sometimes as an ethnocracy, which is a government or a place based on one ethnic group instead of many.

In some of my recent books, I discussed whether there's a philosophy to the study of Sicilian history. Many of us believe that there is, and part of it is the multicultural element. Sicily had all kinds of different ethnic cultures, and for some periods, you had them all at one time.

During the Norman period, up until about 1200, there were Muslims, Jews, Latin Christians, and Orthodox Greek Christians. So, there were four essential societies.

 

Which period is your favorite?

I would say the Norman-Swabian period. It was more interesting than a lot of other periods of Sicilian history. It also represented a period when the Kingdom of Sicily was actually independent because in 1266, with the Battle of Benevento, the Hohenstaufen Dynasty of Frederick II was defeated. The capital was transferred under the Angevins to Naples from Palermo. And then a little bit after that, in 1282, with the War of the Vespers, it actually split. So, you ended up with the Kingdom of Naples and the Kingdom of Sicily. That was true sovereignty and with kings in the case of Roger II, then Frederick II, his grandson, and all the others. These were people born in Southern Italy, even though their dynasties had come from elsewhere.

 

What challenges do you face researching and writing about Sicilian history?

Oddly enough, the greatest challenge is not the research or even the writing, which is very labor-intensive. That's not even it. The real issue is that you end up either debunking misconceptions to set the record straight, looking into things more profoundly, or expressing it in a cohesive way. Those are the real challenges. The work itself, a lot of people can do, and a lot of people do. It's a question of presenting the work in a cohesive, understandable way. That's the biggest challenge. 

 

Where is the biggest gap in understanding Sicilian history?

A few years back, there was a book that was written, and I remember verbatim the first lines in the prologue: "What's the first thing you think of when you think of Sicily? If you're like most people, you think of the mafia."

 

The mafia has only existed since about 1800, and it's evolved from that. So it was tantamount to somebody writing a book about Germany or the Germans and only talking about Hitler.

 

That's really rather recent, and for that matter, Fascism in Italy is frankly rather recent. So it's unfortunate that people look at this, and even a lot of Italian Americans, because there are people—screenwriters like David Chase writing The Sopranos and people on social media—who seem to promote this mafia-thug type of culture. It's not just professional actors and actresses. I could give them a pass because they have to work. But a lot of this ties in with the Guido macho, tough-guy mentality. I think it's just extremely unfortunate that in those circles, mostly in the U.S. and Canada, it has developed in that way. Because if you look at the diasporic Italians in places like Argentina or England—for example, I have cousins in England—it's nothing like that.

 

It's a very different view of the culture of Sicily or Southern Italy. So that's a matter of concern over time because some people in these other categories that seem to glorify that lifestyle or that limited view of Southern Italy can be very vociferous. They're adamant about their beliefs. They can even be obnoxious. And I've seen that on social media. That's extremely unfortunate because they've been sold a bill of goods and deceived. And it's not just the mafia stereotypes; it's even the idea that the unification of Italy saved Italy and that Garibaldi was greater than he really was and Meucci invented the telephone. These are ideas that, unfortunately, a lot of even Italian-American organizations support.

 

What's more, they have nothing to do with the people of Southern Italy. Southern Italy had a kingdom of its own until 1860. A lot of people who don't study history don't know that.

 

What future projects are you working on?

The first one is called Sicily by Sicilians. It's going to be 17 or 20 chapters, each written by a different person. And what they have in common is that they all have roots in Sicily or Southern Italy. So it's autohistory, which is what I promote in my other work. It's people writing about their own history and their own ancestors. The topics range from philology, which is a study of linguistic origins, to music, to the history of women, which doesn't get as much attention as it deserves. And it's a very interesting group of people, some of whom have not really written that much in these fields before, even though they're experts. And as it stands right now, three-quarters of the work is going to be written by women, which, again, is a little bit unusual.

 

Another project after that will be a general history of Sicily, which goes from pre-history up until the present. 

 

How do you hope your work influences the understanding of Sicilian history and culture?

The greatest impact of my work is in anglophone circles because I don't usually publish in Italian. My work until now—the books themselves—is in English. Most of the readers are not actually Italian descendants, but that is the growing percentage that we see—for example, Canadian Italians, Italian Americans, and Australian Italians. So there's certainly an interest there. And it's gratifying that, in some cases, we're setting the record straight about the history of Sicily because people don't always get that from other things that have been published in English. 

 

 

 

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One of my favorite Sicilian treats as a child was torrone, a nut-filled nougat candy my Sicilian grandmother always had on hand, especially for the holidays.

I recently encountered a recipe for torrone in the pages of Giovanna Bellia La Marca's Sicilian Feast, recently reissued as an expanded edition of her 2004 book. 

"Torrone is such a part of Sicilian cuisine that no holiday goes by without it," says Giovanna. "It's delicious. Children love it; adults love it. So it's just part of our culture and kind of a symbol of Sicily."

Giovanna La Marca, who came to the U.S. from Sicily when she was 10 years old, also runs the Kitchen on the Cliff YouTube channel. The name is a nod to the fact that her kitchen is actually on a cliff overlooking Manhattan. 

Giovanna shared with me the history of torrone, how the Sicilian recipe differs from that of mainland Italy, and how this nougat treat has become a Sicilian symbol.

 

 

What is torrone?

Torrone is a nougat candy, and in Sicily, we make it with almonds and sugar or almonds and a combination of sugar and honey. 

It is very much tied to our history. Since antiquity, many people have invaded Sicily. There were the Greeks who made settlements all over Sicily, and they, of course, brought the trees.

The myth is that a boat carrying almond trees and grapevines was going to Puglia, the heel of Italy, which is very close to Greece. And the wind blew it to Sicily. 

But the sweets! Sicily is quite famous for its sweets. One of the great sweets is torrone, and another one is marzipan, which are little sculptures of fruits that are so lifelike that when you see them in the window of the pasticceria, it is just amazing to see the likeness and the artistry with which they are made. 

To achieve that, Sicilians already had almonds, but the sugar was brought by the Arabs around 700, and they planted sugarcane in Sicily.

An interesting side note of that is that the sugar industry in Sicily was dominated by the resident Jews. There was quite a large Jewish colony in Sicily, and they developed the sugar industry. 

Now unfortunately, in 1492, when Spain expelled the Jews, they expelled them not only from their own country but from all the places that they controlled as well, which included Sicily. The Sicilians had no quarrel with the Jews. In fact, the Jewish people really ran the sugar industry. So they waited six months. They didn't want to expel them. But Spain prevailed. And that ended the sugar industry in Sicily, which is a little-known fact but a very interesting one, I think.

 

How does Sicilian torrone differ from torrone found elsewhere in Italy?

Well, the typical torrone of Italy is white, and it's made with a meringue of sugar and almonds and sometimes other nuts and sometimes bits of citron and so on. It is poured on edible rice paper, and that's how it's served and cut. 

In Sicily, it is really almonds surrounded by crunchy caramel. It's very, very crunchy. It's actually a brittle. You can cut it with a knife, and you get all the cross sections of the almonds, which is very pretty. But you can also break it. It breaks in odd shapes, and that's another way that we usually serve it.

 

As a child, I had trouble with it because I didn't have the patience to let it melt in my mouth. I wanted to chew it, and chewing it was a job because it was really quite hard. 

I'm not talking about the soft caramel we all know. I'm talking about true caramel, which, if you pour into a greased bowl and turn the bowl upside down, you end up with a bowl made of caramel.

It's used that way for very high cuisine. In Sicily, we have two cuisines. We have home cooking, which is extremely rich and wonderful because it's influenced by all the invasions. Our invaders did contribute a great deal; they didn't just invade. They contributed to the language. They contributed to music, and they contributed to the food. 

 

What developed in Sicily in the Renaissance was a cuisine for the aristocrats. The cooks were generally trained in France, then came back to Sicily and became the monzu. These professional chefs worked for two entities: the church and the aristocracy. And that was an extraordinary cuisine. 

 

What does torrone symbolize for Sicily?

Well, it's something delicious, and sweets are generally the food that you get at festivals. They're always served at Christmas and for all of the feasts. Every Sicilian town has a patron saint and a feast for the patron saint. 

It really represents Sicily in its products because of the almonds of Sicily, particularly the city of Avola. Avola produces almonds that are called pizzuta, which means pointy almonds. They are very, very fragrant and very flavorful. That, of course, is due to the climate and the soil. In Sicily, the volcanic soil produces fruits and nuts with flavors you don't get otherwise.

Almonds are part of a very important festival in Agrigento. The almonds fruit in February. So, in February, Agrigento is filled with almond trees in bloom. The almond trees in bloom have such a heady perfume that you almost feel enveloped by the scent of the almonds and the almond trees. So there's a lot of folklore around it.

 

What was your goal with your cookbook, and what do you hope readers will take away?

I think I had very specific reasons for writing a book. I am a cook. I am a passionate cook. I have always loved to cook. I started when I was 10 years old. 

My mother cooked well, but she wasn't passionate about it. She had to have a perfectly orderly house and a floor that you could eat off of. My father did a lot of cooking, and he was very good, and I was his assistant. So if he made, say, risotto, I was the one who chopped the mushrooms. And the mushrooms for the risotto had to be about the same size as the grains of rice. So, I had a very good beginning. 

I met Italian Americans and Sicilian Americans, and they always said, "I remember my grandmother's cooking. It was so delicious. It was so wonderful. But she didn't leave any recipes, and I was too young to ask for recipes."

I heard this over and over again, so I thought, "I would like to write a cookbook that gives them Nonna's recipes."

 

My aim was to give typical and original recipes—not versions of, but the original recipes, the recipes that we all came up with and that our grandmothers cooked.

 

>>Get your copy of Sicilian Feast here!<<

 

 

 

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