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The Witch of Portobello
Cover of The Witch of Portobello
The Witch of Portobello
Borrow Borrow

How do we find the courage to always be true to ourselves—even if we are unsure of who we are?

That is the central question of international bestselling author Paulo Coelho's profound new work, The Witch of Portobello. It is the story of a mysterious woman named Athena, told by the many who knew her well—or hardly at all. Like The Alchemist, The Witch of Portobello is the kind of story that will transform the way readers think about love, passion, joy, and sacrifice.

How do we find the courage to always be true to ourselves—even if we are unsure of who we are?

That is the central question of international bestselling author Paulo Coelho's profound new work, The Witch of Portobello. It is the story of a mysterious woman named Athena, told by the many who knew her well—or hardly at all. Like The Alchemist, The Witch of Portobello is the kind of story that will transform the way readers think about love, passion, joy, and sacrifice.

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  • Chapter One

    Before these statements left my desk and followed the fate I eventually chose for them, I considered using them as the basis for a traditional, painstakingly researched biography, recounting a true story. And so I read various biographies, thinking this would help me, only to realize that the biographer's view of his subject inevitably influences the results of his research. Since it wasn't my intention to impose my own opinions on the reader, but to set down the story of "the Witch of Portobello" as seen by its main protagonists, I soon abandoned the idea of writing a straight biography and decided that the best approach would be simply to transcribe what people had told me.

    Heron Ryan, forty-four, journalist

    No one lights a lamp in order to hide it behind the door: the purpose of light is to create more light, to open people's eyes, to reveal the marvels around.

    No one sacrifices the most important thing she possesses: love.

    No one places her dreams in the hands of those who might destroy them.

    No one, that is, but Athena.

    A long time after Athena's death, her former teacher asked me to go with her to the town of Prestonpans in Scotland. There, taking advantage of certain ancient feudal powers that were due to be abolished the following month, the town had granted official pardons to eighty-one people—and their cats—who were executed in the sixteenth and seventeenth centuries for practicing witchcraft.

    According to the official spokeswoman for the Barons Courts of Prestoungrange & Dolphinstoun: "Most of those persons condemned ...were convicted on the basis of spectral evidence—that is to say, prosecuting witnesses declared that they felt the presence of evil spirits or heard spirit voices."

    There's no point now in going into all the excesses committed by the Inquisition, with its torture chambers and its bonfires lit by hatred and vengeance; however, on our way to Prestonpans, Edda said several times that there was something about that gesture which she found unacceptable: the town and the Fourteenth Baron of Prestoungrange & Dolphinstoun were "granting pardons" to people who had been brutally executed.

    "Here we are in the twenty-first century, and yet the descendants of the real criminals, those who killed the innocent victims, still feel they have the right to grant pardons. Do you know what I mean, Heron?"

    I did. A new witch hunt is starting to gain ground. This time the weapon isn't the red-hot iron, but irony and repression. Anyone who happens to discover a gift and dares to speak of their abilities is usually regarded with distrust. Generally speaking, their husband, wife, father, or child, or whoever, instead of feeling proud, forbids all mention of the matter, fearful of exposing their family to ridicule.

    Before I met Athena, I thought all such gifts were a dishonest way of exploiting people's despair. My trip to Transylvania to make a documentary on vampires was also a way of proving how easily people are deceived. Certain superstitions, however absurd they may seem, remain in the human imagination and are often used by unscrupulous people. When I visited Dracula's castle, which has been reconstructed merely to give tourists the feeling that they're in a special place, I was approached by a government official who implied that I would receive a "significant" (to use his word) gift when the film was shown on the BBC. In the mind of that official, I was helping to propagate the myth and thus deserved a generous reward. One of the guides said that the number of visitors increased each year, and that any mention of the place would prove positive, even a program saying that the castle was a fake, that Vlad Dracula was a historical figure...

About the Author-
  • One of the most influential writers of our time, Paulo Coelho is the author of thirty international bestsellers, including The Alchemist, Warrior of the Light, Brida, Veronika Decides to Die, and Eleven Minutes. He is a member of the Brazilian Academy of Letters and a United Nations Messenger of Peace. Paulo is the recipient of 115 international prizes and awards, among them, the Chevalier de l'Ordre National de la Légion d'Honneur (Legion of Honor). Born in Rio de Janeiro in 1947, he soon discovered his vocation for writing. He worked as a director, theater actor, songwriter, and journalist. In 1986, a special meeting led him to make the pilgrimage to Saint James Compostela (in Spain). The Road to Santiago was not only a common pilgrimage but a turning point in his existence. A year later, he wrote The Pilgrimage, an autobiographical novel that is considered the beginning of his literary career. He lives in Geneva, Switzerland.

Reviews-
  • Publisher's Weekly

    February 19, 2007
    Multimillion-seller Coelho (The Devil and Miss Prym
    , etc.) returns with another uncanny fusion of philosophy, religious miracle and moral parable. The Portobello of the title is London's Portobello Road, where Sherine Khalil, aka Athena, finds the worship meeting she's leading—where she becomes an omniscient goddess named Hagia Sophia—disrupted by a Protestant protest. Framed as a set of interviews conducted with those who knew Athena, who is dead as the book opens, the story recounts her birth in Transylvania to a Gypsy mother, her adoption by wealthy Lebanese Christians; her short, early marriage to a man she meets at a London college (one of the interviewees); her son Viorel's birth; and her stint selling real estate in Dubai. Back in London in the book's second half, Athena learns to harness the powers that have been present but inchoate within her, and the story picks up as she acquires a "teacher" (Deidre O'Neill, aka Edda, another interviewee), then disciples (also interviewed), and speeds toward a spectacular end. Coelho veers between his signature criticism of modern life and the hydra-headed alternative that Athena taps into. Athena's earliest years don't end up having much plot, but the second half's intrigue sustains the book.

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