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Although The Witch of Portobello’s book jacket proclaims Paulo Coelho as “one of the most beloved writers of our time,” this is my first Coelho novel. Despite his past successes, Witch is one of those books that leaves me thinking: Meh.

Witch explores the life—and death—of Sherine “Athena” Khalil, a woman dubbed by the London media as the titular “Witch of Portobello.” Athena’s story is told through a series of interviews: her mother, her protégé, her teacher/“protector.”

Despite centering the novel around Athena, Coelho never fully develops the character. Instead, as my high school English teacher would say, Athena is flat and static.

The characters reporting on Athena are slightly more developed, but they still lack flesh, detail, and individual voices. At times, I lost track of whether I was reading the protégé’s testimony or the journalist’s. Their voices are practically identical.

Coehlo explores interesting territory—spirituality, Mother Earth, and authenticity. And despite not caring for or about Athena as an individual, I was interested in what led to her demise.

If the book jacket is to be believed, Witch wants to be profound, to be revolutionary, to be thought provoking. Overall, though, I was left feeling vaguely interested in the plot but mostly unsatisfied with novel’s craft. Meh.

http://www.goodreads.com/book/show/81...

Paul Coelho pulls together the accounts of various individuals to tell the intriguing story of, The Witch of Portobello. This narrative is comprised of the various accounts of those individuals who come in contact with Athena, also known as the “witch.” All of these characters transform into the protagonist as they tell the story of their encounters with “the witch.”

Athena leads a pretty normal life, and goes to college as any teenager her age. One day she decides that college is for those who follow tradition and decides to get married and have a child. Much to her dismay, her marriage fails and ends in divorce. After her divorce she continues to participate in all of her normal routines, which include working and acting as faithful member of her church. However, once her divorce is final she finds out that she is no longer allowed to participate in the sacred communion service in her church. It is this single event that pushes Athena to the edge.

For her entire life up until that point, Athena struggled with the need to please the adoptive parents who rescued her from a Romanian orphanage. After she is denounced by the place she loves so much, she decides to follow the spirit that has always resided within her. This decision changes her life and initiates a chain of events, which lead others to label Athena as a witch. Readers of Coelho’s novel are challenged to reflect on their own lives as they follow Athena’s fleeting rise and fall in her

Throughout the centuries humans have struggled to create a link between themselves, religion, and God. Readers will see themselves as they follow the story of a woman who chooses to follow her heart despite the difficulties she faces. What do we do when everything around us contradicts what we feel in our spirit? Do we ignore it or do we prevail in spite of it? The Witch of Portobello connects with all readers because it attempts to answer a question that surpasses all of the qualities that separate us as humans and the one characteristic that make us the same; the desire to be true to ourselves.

http://www.goodreads.com/book/show/81...

Themes of supernatural witches have circulated since humans developed the ability of story telling. Paulo Coehlo’s recent novel ‘The Witch of Portobello’ carries on the tradition of a female entity in a modern story revolving around the character Sherine or Athena Khalil.
This Athena, the name she chose for herself after a saint, comes from mysterious origins, and traveled widely. One wealthy Lebanese married couple, who are unable to produce their own children, went to Transylvania in order to adopt a child. The woman, Samira Khalil, chooses a girl, and the adoptive agency tries to persuade her against her choice, stating the baby is illegitimate gypsy off spring, and therefore not to be trusted. Mrs. Khalil persists and they take the child back to Lebanon. As Athena grows the wars of Lebanon start, and the family moved to London. As a twenty year old single mother Athena, successful at her work, travels to Dubai, and then to Romania to seek her birth mother. She returns to London with her power.
This power of Athena was noticed as a child with her religious fever. Throughout the novel Athena’s spirituality grows. As a single mother she moves into an apartment, and notices the landlord’s loud music. At first complaining she goes to the landlord, and gets introduced to a dance ritual that connects the participants to their inner self. The landlord, who fled Poland during World War II, carried on this folklore, and became a teacher to a few. Athena took this knowledge and showed it to her co-workers at a bank. As a result productivity at her work increases immensely and she gets promoted. Her promotion takes her to Dubai. There she meets another teacher, this one of calligraphy and Islamic philosophy. This man shows Athena his art with the message of the blank spaces between words, and if you fill those spaces you know your personal meaning. Athena’s last teacher was her ‘protector’ that lived in Scotland, who showed her how to connect to ‘The Great Mother.’ Then about two thirds of the way through the novel, Athena goes from being taught to being the teacher.
Multiple narrations are the vehicle Coelho used for this novel. Athena had a huge effect on the journalist, Heron Ryan, and years after her apparent death he decides to compile her story. For this, he finds Athena’s adoptive mother, the landlord with his dance, Athena’s boss at the bank, the calligraphy teacher in Dubai, Athena’s mother in Romania, Athena’s protector, Athena’s pupil, and others. This journalist compiled statements from these characters about Athena. Another contemporary author, Louise Erdrich, uses multiple narratives in some of her novels as well. The effect can be gratifying for the reader. Imagine a popular sporting event watched nationwide, and ten separate viewers see the same thing but because of personal qualities experience it differently.
Through these multiple narratives the story climaxes to where Athena holds group heeling events that change everything. From a trance driven state that connects Athena to ‘The Great Mother’ she points to people in a crowd and tells of their ailments. One became aware of his cancer in time, and others became aware of their problems. This unorthodox approach enraged organized religion. Up to this point Athena continued to search to fill her blank spaces or void, and she does fill them which results in her being too powerful. Controversy ensues, death threats get made, and near the end her murder becomes news. Then in the final segment a new narrator states how she is alive and the murder staged which seems far fetched but clever enough because of the one making the statement.
As for my opinion on this novel, I enjoyed most of the ride. The writing is clear, early on a narrator makes a statement of the archetypes of supernatural women which are The Virgin, The Martyr, the Saint, and the Witch. Each type gets explained in one clear sentence or two, and the idea is conveyed acutely to the reader. All of the philosophy and religious references are stated in laymen terms, instead of convoluted. On the negative side, I hoped that Athena would be more evil, early it states of her murder, and this made me want to read some demonic content, but her intentions are too good.
Overall, I felt this was a strong novel and utterly different from ‘The Alchemist’ enticing me to read more of Coelho’s novels.

http://www.goodreads.com/book/show/81...

Paulo Coehlo of The Alchemist fame brings us back to introspection and self-exploration in The Witch of Portobello. This time, Coehlo uses the third person perspective of the major players in the protagonist's life to recount her story. An interesting approach to understanding a character through the eyes of others. It brings to light just how much, or little of oneself, an individual allows loved ones to see.

Athena, the protagonist of the novel, is the adopted Romanian daughter of a gypsy. From the beginning she exhibits gifts that cannot be understood by those who love her. She feels trapped by the routines of her daily life. Even though she had the love of her parents, son and several men and success in her career, she still felt a void. She attempts to fill all the empty hours with dance, with calligraphy, with the care of her son, and with reaching out to others with her knowledge. She constantly seeks out teachers who may impart further knowledge about attaining the connection she thirsts for. Throughout her journey, there were numerous instances where she could have taken fame or money rather than continue on her search. Instead, she remained true to herself, rejecting those obstacles in her unwavering desire for that intangible mission. Her journey was riddled with disapproval, sacrifice, loss and solitary suffering. Right to very end, the reader is left with the mystery of who Athena was and what she sought. It allows the reader to imagine what the mission she sought to fulfill was.

The allure of Coehlo's books lies in their ability to reach a wide audience. Any reader can easily identify with the dilemmas faced by his characters. Each theme presented serves to enrich our approach to living in one way or another. In this novel, Athena embodies the courage we all wish we had to follow our desires, whatever they may be. The most interesting quality of Athena's search is its ambiguity. Even without a direction, she is constantly moving forward. She teaches the reader that it truly is the journey that is the driving force, even when the destination is unclear.

Despite an overall tone of dissatisfaction, the novel leaves the reader with a sense of hope and renewal. Even in the face of tragedy, we learn the lesson that Coehlo wishes us to take away. By embracing the silences, we will find ourselves closest to that which we seek. For some it may be a closeness to a divine being; for others it may be finding themselves. So the moral of the story is to have the courage to truly embrace ourselves.

http://www.goodreads.com/review/show/...

I always wished that Paulo Coehlo was my uncle so that I could call him ‘Papa Coelho’ and sit at his knee while he smoked his pipe. I think that he would be delightfully eccentric, and given to saying things like ‘Suffering, if confronted without fear, is the great passport to freedom.’ So, true, Papa Coelho. So true.

If he was my uncle, though, I might not tell him that I thought The Alchemist was tripe, and that most of his books carry too much philosophizing and not enough narrative. But in The Witch of Portobello, he achieves what others have tried so hard to do and failed so miserably at (I’m looking at you, Marilynne Robinson). There was such a fine balance between story and lesson that I was never bored by the one nor overwhelmed by the other.

The narrator of the story tells us right off that he’s not going to try to write a straight-up biography, but that in the interests of objectivity (of a sort), he’s just going to put down verbatim the interviews he conducted on the subject of the alleged ‘witch.’ From the journalist who fell in love with her to the woman who felt betrayed by her, from birth mother to adoptive mother, from teacher to student, are all given a chance to tell how Athena, born Sherine and sometimes called Hagia Sofia, messed them over. Each one recounts how she waltzed into their lives with that restless spirit and those grey eyes, and began throwing around the carefully-arranged furniture (metaphorically speaking).

And then she died.

Even though I kind of rolled my eyes for the first few pages and though, ‘Damn, another one of these,’ and even though nothing really happened in the way of a plot (Athena travelled here, learned this lesson in this way, travelled there, learned that lesson), I found myself sucked in. I would be on the Stairmaster, book in hand, and look down to realize that I’d climbed twenty floors without noticing. There was something strangely compelling about Athena, and being told her story from everyone’s perspective but hers made her into this mysterious goddess figure, a myth that she simultaneously upheld and debunked at every turn.

I’m usually very much not in to books that try to refine my soul (it has been suggested that this is because I lack said soul), particularly because the message usually gets in the way of the medium. But somehow with this book I found myself yelling, ‘Yes! Yes! I will dance against the rhythm, dammit!’ and casting off the shackles of this dark world (ok, really I just tapped my finger against my lip, murmured, ‘Interesting,’ and promised myself I’d think more deeply about it later, but you get the gist).

In short, though the dialogue stumbled at times and each of the narrators spoke with pretty much the same voice, this book was a pleasure to read…which means I didn’t suffer…which means I don’t have my passport to freedom! Oh, Papa Coelho, if only you were here now. I’m so confused.