Mario Puzo Criticism
Mario Puzo, an American novelist renowned for his exploration of organized crime, is widely recognized as "the godfather of Mafia fiction," a title R. Z. Sheppard fittingly bestowed upon him. His seminal work, The Godfather (1969), stands as a cornerstone of American literature, acclaimed for its portrayal of an Italian-American crime family and its swift ascent to best-seller status. Puzo's body of work, including The Sicilian and The Last Don, alongside his notable screenplays such as The Godfather, The Godfather: Part II, and The Godfather: Part III, has solidified his influence on the public's perception of the Mafia.
Born in New York City's Hell's Kitchen, Puzo's upbringing in a strict Italian immigrant household and subsequent life experiences, including service in World War II and studies in literature, deeply informed his writing. His early works, The Dark Arena and The Fortunate Pilgrim, while not initially celebrated, laid the groundwork for his exploration of themes like power, revenge, and the American Dream. These themes are further developed in The Godfather, where Puzo intricately details the dynamics of the Corleone family, drawing parallels between criminal and corporate structures and exploring the moral ambiguities of organized crime as a self-sufficient entity.
Puzo's narratives are marked by vivid portrayals of power struggles and the dark aspects of human nature. The Sicilian extends the Corleone saga, intertwining Sicilian history with American Mafia themes, while The Last Don introduces the Clericuzio family, exploring the tension between crime and legitimacy. Puzo's foray into genres beyond crime, including the political thriller The Fourth K and the Las Vegas-centered Fools Die, showcases his versatility in exploring corruption and power across different settings.
Critically, Puzo's early works received modest praise, but The Godfather remains his most celebrated achievement, despite critiques of glamorizing crime and reinforcing stereotypes. As noted by John G. Cawelti, the novel's portrayal of the Mafia as a familial entity and its mythic quality, as discussed by Fred L. Gardaphe, have cemented its status in popular culture. Puzo's straightforward depiction of ambition and survival in a capitalist society, often through the lens of sex, drugs, and violence, has drawn both criticism and admiration for its honest reflection of the American experience.
Contents
- Principal Works
-
Puzo, Mario (Vol. 107)
-
Pasta with Gusto
(summary)
In the following review, Boroff offers a favorable assessment of The Fortunate Pilgrim.
-
One Man's Family
(summary)
In the following review, the critic provides a generally favorable review of The Godfather.
-
Mafia Mia
(summary)
In the following review, Kingsland approves of Puzo's self-revelatory writings in The Godfather Papers and Other Confessions.
-
Mario Puzo
(summary)
In the following excerpt, Green examines the major themes of The Godfather and discusses Puzo's contribution to Italian-American literature.
-
The New Mythology of Crime
(summary)
In the following excerpt, Cawelti examines Puzo's depiction of the criminal organization as a family unit in The Godfather.
-
The Godfather
(summary)
In the following essay, Sutherland discusses the publishing history of The Godfather and the source of the novel's wide popular appeal.
-
A review of The Sicilian
(summary)
In the following review, Sheppard offers praise for The Sicilian, noting that while Mario Puzo remains one of America's best popular storytellers, the chapters in The Sicilian seem spindly compared to those in The Godfather.
-
The Sicilian
(summary)
In the following review, Royal notes that in The Sicilian, "Puzo has returned to some of his richer human material that won him critical acclaim for his early novels."
-
The Godfather as the World's Most Typical Novel
(summary)
In the following excerpt, Torgovnick examines the place of The Godfather in Italian-American literature, identifying its conventional bildungsroman and epic themes as a source of its popularity.
-
A Bad Week for the President
(summary)
In the following review, Galbraith provides a tempered assessment of The Fourth K, praising Puzo's narrative ability but finding the novel's plot implausible.
-
Blood in the Marketplace: The Business of Family in The Godfather Narratives
(summary)
In the following excerpt, Ferraro examines the 'business of family' in The Godfather and the godfather figure as a cultural icon.
-
Leaving Las Vegas
(summary)
In the following review, Patrick offers praise for The Last Don, highlighting Mario Puzo's skill in creating memorable characters and an entertaining narrative that showcases his storytelling talents.
-
The Last Don
(summary)
In the following review, Sheppard asserts that The Last Don shows Puzo "in top form." Attention mafianados! at the age of 75, and more than 20 years after Don Vito Corleone and the rest of the Godfather gang abandoned the page for a more glamorous life on the screen, Mario Puzo has started a new family. The Last Don introduces the Clericuzios, a crime clan based in the Bronx, New York, and at the peak of its dark powers. Fortunately, Puzo too is in top form.
-
Mario Puzo: The Don of Bestsellers Returns
(summary)
In the following essay, Jeff Zaleski discusses Mario Puzo's reflections on his literary success, the themes of wealth and power in his works, and the creation of his novel The Last Don, highlighting Puzo's enduring influence and his perspective on writing as an escape from poverty and a form of storytelling devoid of moral judgment.
-
The Middle Mythic Mode: Godfathers as Heroes, Variations on a Figure
(summary)
In the following excerpt, Gardaphe examines elements of myth and cultural assimilation in The Godfather, contending that it has done more to create a national consciousness of the Italian American experience than any work of fiction or nonfiction published before or since.
-
Pasta with Gusto
(summary)
- Puzo, Mario (Vol. 1)
- Puzo, Mario (Vol. 2)
- Puzo, Mario (Vol. 6)
- Further Reading