The Godfather

The Godfather

by

Mario Puzo

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The Godfather: Chapter 23 Summary & Analysis

Summary
Analysis
The narrative flashes back in time. It has been five months since Michael Corleone fled to Sicily. Being in Sicily helps Michael understand why his family became Mafia criminals. In Sicily, “he saw what they would have been if they had chosen not to struggle against their fate.” Most importantly, Michael learns the importance of omerta, “the law of silence.” Upon arriving in Sicily, Michael settled in the town of Corleone under the protection of the local Mafia chief, Don Tommasino, who owed Don Corleone a service. Michael is staying in the home of Don Tommasino’s elderly uncle, Dr. Taza.
Earlier in the novel, Puzo uses a flashback to explain how and why Vito Corleone became a gangster. In the same vein, he now charts Michael’s final transition from civilian to gangster by transplanting the narrative to Sicily, the birthplace of the Mafia. There, Michael finally understands why his father became a Mafia Don and gains a greater perspective on why he must ultimately follow his father’s path in life.
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Don Tommasino controls an extensive estate and oversees the estates of the rich, guarding them against claims from the poor. He also dominates water in the region and vetoes any attempt at dam building by the government in Rome. Dr. Taza is fond of both books and prostitutes, and he entertains Michael with stories of the Mafia’s past exploits. Michael learns that the word “Mafia” originally meant “a place of refuge,” and referred to the secret organization that protected Sicilians from centuries of exploitation by outside invaders.
It is ironic that the Mafia began as an organization that protected ordinary Sicilians from exploitation by more powerful groups, but ultimately became a group that preys on ordinary Sicilians. Puzo emphasizes that the nature of power is such that it ultimately corrupts those who wield it for any significant length of time. In keeping with his emphasis on destiny throughout the novel, Puzo depicts the Mafia as becoming the very monster it set out to kill.
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The Mafia established its power through the code of omerta and its role as an organization that protected the poor from the powerful. Over time, however, the Mafia devolved into “the legal arm of the rich” and a “degenerate capitalist structure […] placing its own taxes on every form of business endeavor no matter how small.” Ironically, Michael learns that men like his father turned to crime as the only way to escape the degradation of being under the Mafia’s thumb, for they assumed that an organization similar to it existed in America.
Again, Puzo depicts the Mafia as the perverse mirror image of capitalism. Capitalists tout such noble virtues as competition and social betterment to justify their exploitation of other people, but the Mafia makes no pretense that its goal is to make money, exploitation be dammed. The tragedy of the Mafia, however, is that it self-perpetuates. By abusing people like Vito Corleone, the Mafia drives these very same people into its ranks.
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Michael’s facial bones never properly healed after McCluskey’s attack, leaving his left cheek misshapen. Dr. Taza offers to repair it, but Michael refuses because Taza “read everything but his medical literature” and only passed his medical exams “through the good offices” of a Mafia chief. This demonstrates why the Sicilian Mafia is “cancerous to the society it inhabited.” Under Mafia rule, “Merit meant nothing. Talent meant nothing. Work meant nothing. The Mafia Godfather gave you your profession as a gift.” Michael contrasts Sicily’s natural beauty—botanical flowers, sunshine, and Roman architecture—with the ugliness of the Mafia.
Dr. Taza utterly embodies the cancerous nature of the Mafia in Sicilian society. By gradually eroding trust in and infiltrating legitimate institutions, the Mafia has established itself as the sole authority in the land. Thus, mob bosses, rather than medical professionals, grant medical degrees. This form of social rot proves devastating to the ordinary people left beholden to the Mafia’s cruel whims. It also demonstrates why legitimate law and institutions are the only real safeguard against the Mafia’s rot.
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Quotes
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Michael is protected by two shepherd bodyguards armed with lupera shotguns. He passes time by reading, taking long walks, and thinking about Kay. The pain in his face grows stronger, which Dr. Taza attributes to a damaged facial nerve (a favorite spot on the body for Mafia torturers). Don Tommasino is dealing with delinquent Mafia thugs in Palermo who view him as a Moustache Pete. One morning, Michael hikes across a field with his bodyguards. The older shepherd is called Calo, the younger, a former sailor with a distinctive tattoo of a man murdering his wife and her lover, is named Fabrizzio.
Given Michael’s eventual role as the savior of the Corleone Family, it is fitting that shepherds flank him during his time in Sicily. Like Jesus, another young savior whose arrival was heralded by a star in the nighttime sky that shepherds first behold, Michael must first wander the wilderness before he can embrace his true destiny as the new Don of his father’s crime Family. Fabrizzio’s tattoo depicting violence and betrayal, however, hints at his eventual role as Judas—the man who betrayed Jesus in exchange for silver coins—to Michael’s Jesus.
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Despite Sicilians’ relative poverty, their country is “a land of gushing plenty, carpeted with flowers scented by lemon blossoms.” As Michael walks and observes the beauty, his injured face distracts him. The improperly healed bone is pressing on his sinuses, causing his nose to run continually. It is the heaviness in his head, rather than the mucus or the pain, which bothers Michael the most. A group of flower-picking girls near an ancient Roman villa, however, distracts Michael and the shepherds.
The contrast between Sicily’s natural beauty and the ugly corruption of its society further highlights the Mafia’s cancerous nature. Even Michael himself, a naturally handsome man, has been deformed by his role in the Mafia’s operations in the form of his now disfigured jaw.
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One of the girls is so beautiful and catches Michael’s eye so forcefully that Fabrizzio claims he has been “hit by the thunderbolt.” The girl’s oval-shaped eyes, long lashes, and her dark, creamy skin entrance Michael. Unlike his love for Kay, which was fueled in part by her sweetness and her status as his equal partner, Michael’s attraction to the peasant girl is “an overwhelming desire for possession […] and he knew she would haunt his memory every day of his life if he did not possess her.”
Michael’s descent into the Mafia lifestyle profoundly reshapes his approach to women. Earlier, when he tries to escape the confines of his family, Michael views his relationship with Kay as one of equality. This is a direct rejection of his family’s traditionally patriarchal style of courtship. Now that he is embedded in Sicily’s Mafia culture, however, Michael’s approach to women becomes obsessively possessive. He does not want to be the peasant girl’s partner; he wants to be her owner.
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Fabrizzio and Calo take Michael to the girl’s village in order to speak with her. They stop to rest at a café porch, where the elderly owner serves them his homemade wine mixed with oranges and lemons. Michael asks the owner if he knows the girl with “creamy skin,” to which the owner curtly replies “no” and vanishes into the café. Fabrizzo learns that the girl they seek is actually the owner’s daughter, and he has threatened to send his burly sons their way if they do not leave. Michael, however, gives the shepherds an icy stare worthy of a “man of respect.”
Like the fragrant wine and fruits that Michael and the shepherds consume at the café, Michael likens the beautiful girl with “creamy” skin to yet another delicious thing he is free to consume. Only upon learning that the girl’s father owns the café does Michael adopt a façade of respect. This respect, however, is a tactic to win the graces of the girl’s father—not the girl herself—whom he views as an obstacle to his goal of “possessing” the girl.
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Michael brings the café owner out to the porch and apologizes to him for disrespecting his daughter. He then identifies himself and asks for permission to meet the girl. “I am an American hiding in Sicily, from the police of my country […] you can inform the police and make your fortune but then your daughter would lose a father rather than gain a husband,” he tells the man. The café owner’s confidence sinks as he asks Michael if he is “a friend of the friends,” meaning the Mafia.
Michael’s “respect” towards the café owner is an act of hollow formality: he follows it up with a threat on the café owner’s life. For all of his understanding about the Mafia’s corrosive nature, Michael is now too seduced by the power that being “a friend of the friends” entails. Not only does Mafia membership give Michael power over other men’s lives, it also gives him the power to take a woman as he sees fit.
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Although Michael denies being a member of the Mafia, the café owner surmises otherwise. He identifies himself as Signor Vitelli and tells Michael to return on Sunday to meet his daughter. Later that evening, Michael reveals to Don Tommasino that he plans to marry the peasant girl with or without the approval of Don Corleone. Don Tommasino knows the Vitelli family and gives Michael his blessing. He also gives the Vitellis his word that Michael is to be treated with respect.
Signor Vitelli knows that Michael is lying about his membership in the Mafia and wisely fears him. Moreover, the fact that Michael has chosen to marry the girl before even meeting her properly and giving her a say in things speaks to Sicily’s deeply patriarchal domestic culture. The Mafia embraces this culture because it gives men total dominance over the women in their lives.
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Dr. Taza gives Michael a drug to stop the mucus from running from his nose. On Sunday, Michael visits Signor Vitelli and Signora Vitelli and gives them presents before meeting their daughter, Apollonia. Michael quivers in her presence, and “nothing was going to stop him from owning this girl, possessing her, locking her in a house and keeping her prisoner, only for himself.” He presents her with “a heavy gold chain.” The next day, Michael again meets Apollonia at her father’s café.
Michael’s first meeting with Apollonia is a purely commercial exchange. It demonstrates the negligible amount of control that Sicilian women have over their own destinies. Michael offers Apollonia a “gift” of a “heavy gold chain,” but in reality, the chain acts as currency with which he purchases Apollonia from her parents like a common commercial good. The “heavy gold chain” also speaks to Michael’s desire to “lock[] her in a house and keep[] her prisoner, only for himself” chaining her down to the domestic sphere and linking her only to himself.
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Over the next few weeks, Michael and Apollonia court. Michael brings her gifts each day and she becomes less shy. With Don Tommasino ensuring proper safety precautions, the couple soon gets married. Calo and Fabrizzio serve in the wedding party. After the ceremony, the newlyweds settle into Dr. Taza’s fortified villa with Signora Vitelli. When Michael and Apollonia are finally alone in their large bedroom, Michael looks over the bride that he “legally possessed.” They make love to the point where “falling away from each other was like the tremble before death.”
Michael continues his purchasing of Apollonia’s flesh over the course of several weeks before she finally accepts the inevitable and “agrees” to marry him—something she had no choice in whatsoever. Now that he possesses her, he is free to do whatever he wants to her. For Mafia men, women are yet another commodity to lust over and own, much like the flashy cars and suits, which they collect in order to display their powerful status.
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Living with Apollonia instills in Michael a new appreciation for virginity, which gives him “a sensuality mixed with a feeling of masculine power.” Apollonia brings a woman’s touch to Don Tommasino’s villa, and they make many trips into the countryside. The marriage, however, has made Michael’s presence there known to the Corleone Family’s enemies. Necessary precaution restricts the couple inside the villa’s walls, but Michael relishes his days as a newlywed and spends the time teaching Apollonia English and instructing her to drive a car.
Following the wedding ceremony, Michael completes his conquest of Apollonia by deflowering her in a bout of intense lovemaking. It is not coincidental that his conquest of her happens before his ascent into the highest level of power in his Mafia Family. Mafia men mold their dominating natures by first conquering and owning the women in their lives. They then then exercise that same dominance over other men through their criminal activity.
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One evening, an old Sicilian woman named Filomena visits Michael and asks if he is Don Corleone’s son. She says that the Don once saved her life, and when she learns that Luca Brasi is dead, she curses his soul to “roast in hell for eternity.” She tells Michael the story of when she worked as a midwife in New York City. One night, Luca Brasi called on her to come to his hideout to deliver a baby.
Filomena’s flashback elaborates on a point that Puzo has already established: Luca Brasi was a man devoid of any feeling, empathy, or compassion for other human beings.
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The baby’s father was Brasi, and its mother was an Irish prostitute. After Filomena delivered the child, Brasi instructed her to “take it down to the basement and throw it in the furnace.” Filomena at first refused, but Brasi threatened her with a knife, his face “the gargoyle of the devil” against the furnace’s flames. She murdered the child as instructed, and two days later, Brasi murdered the child’s mother. Terrified for her own life, Filomena went to Don Corleone, who then recruited Brasi to prevent him from going after Filomena. The morning after hearing this story, Michael learns that Sonny is dead.
The casualness with which Luca Brasi commits infanticide is characteristic of his demonic nature. He is the logical result of criminality that is devoid of all conscience and morality. Yet the fact that he refused to murder the child himself, and instead forced Filomena to perform the abominable deed, suggests that Brasi did indeed fear something. Brasi feared himself, and the child reminded him of this fear.
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