![]() ![]() Montalbano is arrogant, devious, easily provoked by the puffed up and uncomfortable with too much attention. We see just as much of the mind behind the eyes too. We see a succession of querulous old men and resolute young women, of show-offs and the uprightly generous, and the loose network of friends and connections that makes it all. Through Montalbano we see such a rich, vibrant world. It is briefly tempting to share such a view of the Sicilian detective’s mercurial nature and yet ultimately, not at all. At one point Montalbano’s boss scolds him for giving too much of his attention to a case that seems frivolous, historic. You see, there are two, maybe three, distinct mysteries in The Terracotta Dog, intertwined only in a loose sense. In many ways The Terracotta Dog, the second book in Andrea Camilleri’s Montalbano series, is less a murder mystery and more an examination of how Montalbano handles these matters. When Inspector Montalbano is approached by a mafioso named Tano the Greek, it is because he has a reputation for understanding how certain matters are handled. ![]()
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