Authors: Mario Puzo
The Dark Arena (35 page)
It was all familiar to him, the farewells to time and place and memory, and he felt no sorrow, no desolation, that finally there was no one, no human being to speed him on his way, only the wind which swept'across the ruined continent he could never leave. Before him he saw the round bright glare that was the headlight of the
Strossenbahn
and heard the cold crystal clanging erf its bell. Out of habit he began to run to catch it, the suitcase bumping against his leg, but after a few steps halted, knowing it made no difference whether he caught this one or the next
Q. When did you first read
The Godfather?
A. When I was about twelve. Like a lot of kids who grow up to be writers, I started reading books meant for adults, looking for the dirty parts. I had good reason to believe there might be worthwhile moments there. When I heard Random House was looking for an author, I read it again with new appreciation.
Q. Why did you want to write it?
A. I feel like my entire body of work has been about the mythology of America, and this book fits squarely within that. It's a magnificent opportunity to write about characters that people already know and are invested in, and in some ways, it's as big a thrill as if I were writing about Jesse James or Abraham Lincoln. Particularly when I saw how much more story there was to be told, and how little
The Godfather
had touched on the glory years of the mob in the late 1950s, I was thrilled to have the chance to take a whack at all of that.
Q. Are you nervous about what the reaction will be?
A. I've been writing almost every day of my life for the past twenty years, and it's a wonderful thing to be the author of a book people are waiting for, whether they're sharpening their knives for it or drooling for it. A lot of writers are working away, saying, “Who will ever read this? Who will ever publish this?” The book will come out and either people will like it or not, but it's going to be read, and I'll move on and write other books after this one. There's no downside.
Q. Is this a sequel to the novel or the movies?
A. The novel, definitely. Mario Puzo's book ends in 1955.
The Godfather Returns
will cover the period from 1955 to 1965.
Q. But what about
The Godfather II?
Isn't there some overlap?
A. The parts that weren't in Mario Puzo's novel covered only one year, 1958-1959. A lot of other wicked things were going on that can be revealed only now. I don't address events in the films that aren't in the novel, but I don't contradict them, either. Everything fits together, and I hope readers will be surprised to discover some of these unexplored avenues. It turns out there's a lot we didn't know about the Corleone family.
Q. Like what?
A. Sorry. I must obey the laws of
omerta.
Q. You're a creative writing professor and you're not Italian. Are you qualified to be writing about the Mafia?
A. I'm not Sicilian, it's true. Not even Italian American. I'm just a novelist with a vision of how to continue this American saga. I understand I am, however, German Irish, same as Tom Hagen. And he did just fine in this world.
Q. What would you like the book to accomplish?
A. I want it to be a good book, first and foremost. I was always impressed with the way Random House approached this book—that they always seemed quite interested in this not being any kind of publishing gimmick, but a good, literary, page-turner, and I want it to be that. All things being equal, an author shouldn't think too deeply about the the-matics of his own book. I'm out to write the best book humanly possible.
Q. Why has
The Godfather
become an American myth?
A. A Jot of people have pointed out the story of this family
in particular and the mob in general has superseded the western as the core American mythological story. It's something that I was circling around in my last two novels, and I'm glad to have a chance to come in this time for the kill.
The Dark Arena
is a work of fiction. Names, characters, places, and incidents are the products of the author's imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
A Ballantine Book
Published by The Random House Publishing Group
Copyright © 1953, 1955 by Mario Puzo
Copyright renewed 1981, 1983 by Mario Puzo
All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Ballantine Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
Ballantine and colophon are registered trademarks of Random House, Inc.
eISBN: 978-0-307-48355-3
v3.0