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if you have read my previous post, you'd know that this book made me endure the unbearable traffic. i'm not really much of a reading person. i just liked paolo coelho's works. well most of it. he has this talent to convey complex ideas through simple words... words that people like me, would easily understand.
i was excited about this book since paolo coelho haven't released anything after zahir (just reprints of the devil and ms pyrm and a compilation book). i was eager to read because, everytime i read his works, for some strange coincidences, i could relate.
here are some of the excerpt of the first chapter of the book. i really felt that the author has put into words the feelings that i could not articulate. no one could have said it better.
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.
...
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 programme saying that the castle was a fake, that Vlad Dracula was a historical figure who had nothing to do with the myth, and that it was all merely a product of the wild imaginings of one Irishman (Editor’s note: Bram Stoker), who had never even visited the region.
I knew then that, however rigorous I was with the facts, I was unwittingly collaborating with the lie; even if the idea behind my script was to demythologise the place, people would believe what they wanted to believe; the guide was right, I would simply be helping to generate more publicity. I immediately abandoned the project, even though I’d already spent quite a lot of money on the trip and on my research.
And yet my journey to Transylvania was to have a huge impact on my life, for I met Athena there when she was trying to track down her mother. Destiny – mysterious, implacable Destiny – brought us face to face in the insignificant foyer of a still more insignificant hotel. I was witness to her first conversation with Deidre – or Edda, as she likes to be called. I watched, as if I were a spectator of my own life, as my heart struggled vainly not to allow itself to be seduced by a woman who didn’t belong to my world. I applauded when reason lost the battle, and all I could do was surrender and accept that I was in love.
That love led me to see things I’d never imagined could exist – rituals, materialisations, trances. Believing that I was blinded by love, I doubted everything, but doubt, far from paralysing me, pushed me in the direction of oceans whose very existence I couldn’t admit. It was this same energy which, in difficult times, helped me to confront the cynicism of journalist colleagues and to write about Athena and her work. And since that love remains alive, the energy remains, even though Athena is dead, even though all I want now is to forget what I saw and learned. I could only navigate that world while hand in hand with Athena.
These were her gardens, her rivers, her mountains. Now that she’s gone, I need everything to return as quickly as possible to how it used to be. I’m going to concentrate more on traffic problems, Britain’s foreign policy, on how we administer taxes. I want to go back to thinking that the world of magic is merely a clever trick, that people are superstitious, that anything science cannot explain has no right to exist.
When the meetings in Portobello started to get out of control, we had endless arguments about how she was behaving, although I’m glad now that she didn’t listen to me. If there is any possible consolation in the tragedy of losing someone we love very much, it’s the necessary hope that perhaps it was for the best.
...
Are they aware of what they’ve done, those nameless guilty parties? I doubt it, because they, too – the depressed, the arrogant, the impotent and the powerful – are the victims of the reality they created.
They don’t understand and would be incapable of understanding Athena’s world. Yes, that’s the best way to think of it – Athena’s world. I’m finally coming to accept that I was only a temporary inhabitant, there as a favour, like someone who finds themselves in a beautiful mansion, eating exquisite food, aware that this is only a party, that the mansion belongs to someone else, that the food was bought by someone else, and that the time will come when the lights will go out, the owners will go to bed, the servants will return to their quarters, the door will close, and we’ll be out in the street again, waiting for a taxi or a bus to restore us to the mediocrity of our everyday lives.
I’m going back, or, rather, part of me is going back to that world where only what we can see, touch and explain makes sense. I want to get back to the world of speeding tickets, people arguing with bank cashiers, eternal complaints about the weather, to horror films and Formula 1 racing. This is the universe I’ll have to live with for the rest of my days. I’ll get married, have children, and the past will become a distant memory, which will, in the end, make me ask myself: How could I have been so blind? How could I have been so ingenuous?
I also know that, at night, another part of me will remain wandering in space, in contact with things as real as the pack of cigarettes and the glass of gin before me now. My soul will dance with Athena’s soul; I’ll be with her while I sleep; I’ll wake up sweating and go into the kitchen for a glass of water. I’ll understand that in order to combat ghosts you must use weapons that form no part of reality. Then, following the advice of my grandmother, I’ll place an open pair of scissors on my bedside table to snip off the end of the dream.
The next day, I’ll look at the scissors with a touch of regret, but I must adapt to living in the world again or risk going mad.
- from "The Witch of PortoBello" by Paolo Coelho
