Sciascia, an Italian politician and French-enlightenment writer, utilizes Laurana as an impartial looking-glass; a means for analyzing and assessing “the insular, mafia-saturated culture of Sicily–which [Sciascia] believed to be a metaphor of the world,” (Sciascia III). Laurana, principled as a symbol of innocence, yields a detached atmosphere regarding his acquaintances: “it was something opaque, dense, almost repressed” (Sciascia 43). Sciascia’s use of contrast, subtly established by these shallow observations, introduces the driving force behind the investigation in conjunction with Laurana’s tragic flaw: purblind trust.
Laurana believes in the “supremacy of reason and candor over irrationality and...
... middle of paper ...
...limax of To Each His Own features Rosello’s integrity as a mafioso in sheep’s clothing at juxtaposition with the sleuthing Professor Laurana’s opaque complacency in disengaging his better judgment. Impaired by his loyalty and oblivious to the facade established in the semblance of friendship, he maintains this complacency even after his investigation undeviatingly points him to Rosello, Ragana, and the Branca cigar. Laurana, without comprehension of the danger he is facing. Consequently, the professor is perturbed further by the unforeseen absence of a would-be date, as opposed to the metaphoric noose his delusions of security place around his neck. Ultimately, in the all too noble quest for truth, Laurana’s ship succumbs to the abyss.
Sciascia, Leonardo, Adrienne W. Foulke, and W. S. Di Piero. To Each His Own. New York: New York Review, 2000. Print.
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