The Cat of Portovecchio, Corfu Tales
The Cat of Portovecchio is usually available at PLUS bookshop in Corfu Town, or on Amazon.
What they say about THE CAT OF PORTOVECCHIO
"The Cat of Portovecchio is a deeply sensual novel, you can almost smell the sea brine, the diced garlic, the fresh bread, and even the metallic blood scent wafting from the nearby slaughterhouse...the book has colour and passion to recommend it." Thuy On, The Age, Melbourne, January 19, 2008.
‘In The Cat of Portovecchio Maria Strani-Potts has produced a genuinely charming book...The charm consists in the book's wholeness of view...the writer's generosity in letting everything in; her allowing a place for all sorts of ordinary human follies and indiscretions, for bad humour as well as good, but with a sense that what all this makes up is a picture of the way we are… She takes us inside a whole world, lovingly created, that is like no other we have been invited into, but with an eye that can be savage as well as loving. Just when we think we know some of these characters, and feel comfortable with them—too comfortable in fact—she catches them for us in a new and altogether less easy light...She has the writer's eye for detail: for the small, unnoticed aspect of a thing that makes it immediately alive to us; the writer's sense of pace, that makes time, and room in the writing, so that everything finds its place; and the writer's unsparingness that makes truth more important to her than any desire to please.’
David Malouf, 13 November 2007, launching the book
‘This book enthralls with its depiction of life in Corfu in the 1950s…Maria-Strani Potts takes you back in time, so that you feel you have yourself experienced the Corfu of that era.
It’s like the best bits of Captain Corelli’s Mandolin rolled into one; and if a single book deserves to be read on all Corfu’s beaches this summer, The Cat of Portovecchio must be the one.” (
The Corfiot, May 2008)
“Maria Strani-Potts, in a style reminiscent of Louis de Bernières (Captain Corelli’s Mandolin) and Joanne Harris (Chocolat),weaves tales about the inhabitants of a Corfiot fishing village in the 50s and the cat which makes itself part of their lives, whether they like it or not. Right from page one Strani-Potts manages to captivate the reader as the individual stories unwind and intertwine, gradually revealing extraordinarily real characters…It is refreshing to read a fictional account of village life in Corfu, written from the point of view of the locals and not from that of the foreigner in their midst. The Cat of Portovecchio isn’t trying to present a glossy, tourist-ready Corfu- instead it charms us with the inner workings of its people and traditions.” (Book Review,
ISLAND magazine, Summer/Autumn 2008).
"But now comes Maria Strani-Potts' captivating Corfu tales, The Cat of Portovecchio and I eat my words- not a bad image since, if your appetite for the writing flags (which it won't), the stories themselves are laced with scrumptious local recipes. It's about a Corfu fishing village...Read it, it'll change your life and the way you love (and live) the Corfu idyll. Grab it soon because it'll sell out fast and you don't want to be left out of the fashionable chit-chat. Also, get yourself copies for the spitaki, for the London townhouse- and, hey, one for your posh QueasyJet visitors to ease the tedium of rubbing shoulders with us proles."
ISLAND (Corfu's Lifestyle Magazine), March/April 2008
“Maria Strani-Potts is incisive in her observations of her locale…Strani-Potts’ writing is characterized by a relentless and seductive intelligence which can be cruel, compassionate and ironically amusing- often all at the same time. She is never less than provocative. A pleasure to read and, even for Corfiots, an education”. Richard Pine,
The Anglo-Hellenic Review, Spring 2009.
Lives ripple among mesmerising aromas
Many of us enjoy a recipe, and The Cat of Portovecchio is a work of fiction that moves with confident ease between the world of the cookbook and the tale.
It is a hybrid that announces itself early. Straight after the contents page of The Cat of Portovecchio is another, headed, Food in Portovecchio.It's an idiosyncratic sequence and also an important indicator of the source of the book's charm, which drifts from its pages in a heady and beguiling combination of aroma, texture and colour.
Avgolemono, frigathelia, bourdeto, yiaprakia, mayiritsa. Fish stew, just picked summer vegetables in tomato sauce, octopus and salami. Strani-Potts conjures a world that assaults the senses and her affectionate descriptions of recipes and food preparation of the kind authentic to Corfu are so vivid and mesmerising, so imbued with social custom and occasion they are a unifying thread running through the fractured, passionate and often difficult lives of her characters.
Together with the cat of the title, a black-and-white stray who moves "like a fashion model on a platform", the author's attention to food brings a dimension of sociability and geniality to tales of a world where celebration, incidents of violence and grim compromise work themselves out in a landscape notable for its abundant gardens, shady squares and the fizzing effervescence of sunshine on the port.
With the exception of Louisa, who loses her mother at the age of six, and who never ceases to struggle throughout the tales to hang on to vestiges of her memory and her affection, Strani-Potts's characters are presented as cameos, flares of energy and of conflict without resolution. Inevitably their lives intersect, for the community is small. A young couple falls in love; the local priest, Father Anthony, spends his time maliciously skewing reality to his personal advantage; the ample, middle-aged Blossom is married off to Louisa's father, Tony.
Poor Blossom: her wiry hair, bulging dark brown eyes, flat nose and thick lips had left her stranded in the family house. She has spent her life being told what to do and now marries during a thunderstorm "with a forced smile" to fulfil a financial arrangement and provide Tony with a housekeeper. Subsequently her married life is a gruelling mix of housework, cooking, needlework and a resignation of nearly heroic proportions.
Another character, Joy, married to a mostly absent seaman, instigates an explosive and accusatory confrontation with Father Anthony in the church vestry after a mass for the patron saint of Kerkyra (Corfu). Wearing her best stilettos and a fur coat from Vladivostock, Joy strikes at his pseudo self-possession with panache, confronting him with such a terrible and accurate account of his misdemeanours that it is hard to imagine how he could ever again lift his head in the village or officiate in his church. But he does…
The Cat of Portovecchio is not a novel that concerns itself much with the fine brushstrokes of the individual psyche, its choices and its fate.
This would matter more if the overall canvas and its characters did not spring to life with such vividness and sensuality, and one's eye were not always being drawn onwards and elsewhere. The tales are persistently eventful, and as they scroll across the feast days and holy days, the cycles of the seasons, births, marriages and deaths, any number of subplots appear and then disappear, traced so swiftly and impressionistically that they ripple across the page and sink without a trace…
The Cat of Portovecchio is notable for its freshness, warmth and spontaneity. Strani-Potts invites us to step into the lives and over the thresholds of this island community with charm and generosity. She leaves us with a seaside village and a landscape so vibrant that it stays in the mind long after the book is closed.’
Cathy Peake
The Weekend Australian, February 09, 2008.
‘It has everything—it’s like eating a full thirty-course dinner. Maria Strani-Potts is like a river that has burst its banks. Everything is included in her work, and she’s not afraid to put it down—no matter whose toes she steps on. Brilliant!’ D.Toteras, Greek American critic, writer and philosopher
"Cats go where they like. Even if they are chased away, they still come back. In Portovecchio, the small fishing village in Corfu, with its slaughterhouse by the sea, its old stone church, vile priest, sexy women, wild weather, fascinating food and wondering children, the cat goes everywhere, sees everything. Gerald Durrell used to be my eyes on Corfu, my only information about one of the legendary places of the world. I think I see it better now. Australians who come from Greece will recognise their roots, their ancient life, in this Corfu of 50 years ago. Readers who know Greece from afar will see it close here. I thank the cat, who moves through these very Greek joys and dreams, for opening my eyes."
Tony Troughear,
The Newcastle Herald, Weekender Books Section, February 2008.
‘When I read The Cat of Portovecchio, I was immediately drawn to the apparently laid-back way of life of the characters. But it is boiling under the surface in the little village! Every character has a story to tell, and very often their lives cross. You will find passion, lost love, a child missing her mother, grown-ups caught in their own sorrow, incapable of helping others, a priest with bad intentions and secrets ready to be unveiled…and a lot of strong women. It is a book full of warm and understanding people who take care of each other and who are doing the best they can with the life God has given them. There are many original recipes. Most of all, the cat Mamee gives an unusual and enjoyable angle to the story.
It has that little extra. I immediately visualized it as a film. This is a story that will attract many readers. I also think that the timing is right. We need well-written stories with a universal message.’
Gunilla Sandin, Head of the International Seminar Program,
Gothenburg International Book Fair.‘Evocative and charming...her extensive knowledge of Greek culture informs these fictional tales featuring the widowed Tony, his daughter Louisa, the philandering island priest Father Anthony and the object of his longing, the beautiful Zoë. The cast of characters are thoughtfully created, but it is the author's understanding of the subtleties of village life—the rhythm of the sea, religious ceremonies and unspoken rules—that is most appealing.’
The Sun-Herald, 13 January 2008
‘Tales of sun-drenched life in Corfu are blended with authentic recipes in Maria Strani-Potts' novel, The Cat of Portovecchio...each of the 10 chapters has a recipe blended into the narrative. “I wanted to give people a sense of what it was like in the 1950s and 1960s...when everything was easy and beautiful,” she said. Wherever she is in the world, Corfu is always with Strani-Potts.’
The Wentworth Courier, 19 December 2007
‘Nourished by, and full to the marrow with delicious Corfiot spirit, but also with caustic humour and satire, in The Cat of Portovecchi: Corfu Tales Maria Strani-Potts reveals her intimate knowledge of the Corfiot mentality, customs, idiosyncrasies and ways of thinking. At first glance it's a tragic story enriched with comic elements, but Maria Strani-Potts also offers us a philosophical framework for the tragic social events which have an immediate impact on the inhabitants of the island.’
Sophia Ralli-Kathariou,
Kosmos, 7 December 2007
‘“It’s a book about the landscape of the place, about its history, its food and the way of thinking of its people,” [Strani-Potts] said. “It describes how things were done then.” [She] said it was important because deep in the souls of Corfiots lay three primary concerns: the sea, olive trees and their very long and complicated history.’
The Manly Daily, 2 November 2007
‘Maria Strani-Potts takes readers directly into the lives of the inhabitants of a bustling Corfu fishing village. Every character has a story to tell. Easter and Christmas, saints’ days and name days, marriages and funerals, are celebrated with feasts and through these stalks the Cat of Portovecchio, imperious and opportunistic, both loved and reviled.’
Gleebooks Gleaner, November 2007.
A clever Corfu cat
JONATHAN CARR ,
THE ATHENS NEWS, 24.10.2008 :
Mamee is the black-and-white moggie that slinks through the pages of Maria Strani-Potts' The Cat of Portovecchio, set in Corfu in the mid-1950s. Abandoned by the owner of what was once the biggest house in a small, tight-knit community in the fishing village of Portovecchio, Mamee roams the neighbourhood at will. She knows who cooks what best (this is a place where everyone boasts a culinary speciality) and her appetite is seemingly inexhaustible. Slipping in through open doors and windows she helps herself to the most succulent dishes, usually before they have been served, creating havoc in the process. She raises smiles, she exasperates and she always - when necessary - escapes. Some love her, others don't. But Mamee turns out to be more than just a controversial community pet. She acts as a moral guardian for the human society she observes. Befriending the weak and oppressed, she exposes and punishes human wickedness.
1950s Portovecchio is quaint and attractive. Its gardens flourish with jasmine, honeysuckle, oranges and lemons; fish is plentiful and cheap; the climate is mostly forgiving. But it is made clear from the outset that the village does not represent an idyllic lost world. The local slaughterhouse turns the sea red three times a week, and the stench of its activities mixes with that of boiling tar from the shipyards to fill the air with a noxious odour. The scent of a popular kebab, the frigatheli, is far more alluring but it is not allowed to dominate.
And sin, of a sort, never lies far beneath life's surface. Fish is not Portovecchio's only business. The village is used as a conduit for smuggling cigarettes and, far more intriguingly, it supplies "an endless supply of good-looking mistresses" to Corfu town. Fat Foni, the only such mistress we meet, has managed to save travel expenses by finding herself a man in town. At the local church, actually. And it is telling that her man, handsome Father Anthony, is the only person in the village who really detests Mamee the cat, and behaves don't worry, Mamee is not so prudish that she exacts retribution for a bit of ordinary philandering, however hypocritical it is for the father to go directly from prayer to paramour. His crimes, we will discover, run much deeper than that.
Central to the world Strani-Potts has imagined is ten-year-old Louisa. She lost her mother when she was six, and arrives in Portovecchio four years later with her father Tony and her new stepmother, the far-from-blossomy Blossom. It is not a happy family. Nobody is participating in this union because they really want to be there. Tony has taken his new wife for her money, Blossom has been pushed into the match by a scheming sister-in-law and Louisa is caught helplessly in the middle. She misses her real mother, dislikes her stepmother and has no friends. It is a decidedly unpromising start. And that means there is plenty of room for improvement.
Sure enough, Louisa is soon making friends, not just with Mamee, but also with the other children in the neighbourhood. Blossom's enthusiasm for cooking provides something of an introduction to a community obsessed by the kitchen, and even snobbish Tony ends up doing a bit of socialising with people he considers beneath him. An omniscient narrative voice reassures us, from time to time, that there is a bright future in store for one or other character, but within these tales themselves only Mamee seems to achieve much lasting control over her life, and happiness ahead that might endure.
This is a quirky book. Strani-Potts was born in Corfu (in the same year as her character Louisa) and she is presumably drawing on childhood memories in her evocation of the island in those postwar years. She does this very well. Portovecchio itself is fictional, but the rhythm of life, the evocation of place and period details (the presence of the royal family in summer, the treatment of communists) give it an authentic feel. There are plenty of humorous ways in which cooking is so central to the life of the community, and hence the book. Over twenty recipes (including ones for religious ceremonies), that range from trahana soup to yiaprakia, a meat-and-rice concoction wrapped in cabbage leaves, are described fully enough for a reader to have a go himself.
It is right that a book with a cat at its centre, who tracks wrongdoing and metes out punishment, should have a touch of the fabulous to it.
And The Cat of Portovecchio does….Strani-Potts has created a vivid world in Portovecchio, full of interest and conflict and detail, and Mamee pulls off enough tricks to leave herself, and us, grinning like that fictional forebear of hers, the Cheshire-Cat.
* The Cat of Portovecchio: Corfu Tales by Maria Strani-Potts (276pp) is published by Brandl and Schlesinger via
http://www.brandl.com.au/
Madonna Magazine (Jesuit Publication), May/June 2007:
Mamee, the abandoned cat, is an unspeaking observer of the lives of people in Portovecchio. We see her in people’s homes and in the streets. At one moment she leads a religious procession as if the most important character in town; at another she creeps through the shrubbery to comfort a woman who herself feels abandoned years after her husband’s execution.
Just as nothing happens without Mamee, nothing happens without food. The tastes and smells of sikomaida, bourdeto and loukoumades waft through the pages as ingredients are listed and methods explained. Not everyone is a good cook however as indicated by this title chapter: ‘The cat steals, eats and sleeps well, while Joy cooks an inedible pastitsada.’
But this is more than a bit of tourist-style nostalgia about life, cats and food in an old fishing village. Maria Strani-Potts, a native of Corfu, writes with an insider’s honesty and clear-sightedness.
When launching The Cat of Portovecchio in November 2007, David Malouf described it as a ‘genuinely charming book’ whose writer allows for ‘all sorts of ordinary human follies and indiscretions, for bad humour as well as good, but with a sense that what all this makes up is a picture of the way we are.’ All this also makes for a very satisfying read!
“A Novel Way of Looking at Corfu”, Angela Papageorgiou and Hilary Paipeti,
The Corfiot, January 2009:
In 'The Cat of Portovecchio', an enthralling depiction of life in a seaside suburb of Corfu Town,
Maria Strani-Potts brings us her own experiences of the mores and customs of the early 1950s. With caustic wit, she spares no-one, from Camilla, an interfering English animal lover who wants to 'save the entire Hellenic animal kingdom', to glamourous Joy, who 'drew long, curvy lines above her dark brown eyes where her eyebrows had been before she plucked them out.' In each chapter, one of the characters cooks, and the recipe becomes part of the motivation or the plot; for example, Father Antony's Savouro is the reason why Mamee, the cat of the title, always follows him - which has repercussions in the very last paragraph of the book.
