We'll Always Have Paros
Kolimbithres.
A little white sand bay across the water from Naoussa, on the Greek island of Paros.
There is a string of huts there.
Behind them, an old monastery.
The water is turquoise, so clear you can see to the bottom. Sandra and I would float out on air mattresses each afternoon into the blue of the Aegean, look down into the water to see jellyfish far below. The leather-faced fishermen would smile and wave hello to us as they put in for lunch.
One of those cabins was ours to use, loaned free by Desmond O'Grady, a mad Irish poet we met who'd gone back to Egypt to teach at the American University of Cairo.
In the early morning we'd walk around the shoreline into Naoussa for a nescafe and some fruit. Some days they'd have risogolo, a Greek rice pudding with raisins, cinnamon sprinkles and goat's milk. The town would just be rising, but the fish boats were out already.
All the plaster houses are white, painted and repainted all the time, a spirit practice, an invitation to the gods' blessings. The cracks in the sidewalk are painted white, too. The window shutters are painted blue, the same blue of Greece's flag. The sky there is a deeper blue. I think you see this blue when you go nearer the equator.
At the restaurants they let you go back into the kitchen to taste everything, the tkapodi, saganiki, kalamari, moussaka...and you order what you like best. It's much
better than a menu, don't you think?
These little islands are humble places, not heavily touristed. You meet travelers in these places, people who bring something with them true to the words of St. Augustine who said the mistake most travelers make is they forget to take themselves along on the journey.
There'd be the melon man, shouting karpouzi! as he passed under the windows early.
People would shout down to him, he'd load their melons in the bucket they dropped on a rope, and they'd put the money in the bucket on its way back down.
There are wine vineyards on Paros. A man with a motorcycle taxi brings in the new wine each week from mid-island, up in the hills. We rode bicycles up there, to Lefkes, where there's an old marble quarry. Lefkes was in siesta hour, not a soul in her narrow streets but a hundred cats mewing to us. We walked into the taverna there.
There was one person in it, the bartender, who was whistling to the songbirds in the large birdcage that hung from the high rafters, its door open. The birds sang back to him, and he'd smile and chuckle. He brought us two ice cold Fix beers, said welcome
to us, then went back behind the bar to continue his little romance with the birds. We noticed how he felt his way to our table, noticed that his eyes were gone, the sockets empty, a scar trailing down by one ear.
In Naoussa each morning, we'd say kalehmehra, kalehmehra to the older women carrying water from the cistern, all of them dressed in black mourning clothes.
When their husbands die, they wear those grief clothes every day for the rest of their lives in honor of their departed loves.
Each morning we'd see a young boy named Stefano race a wheelbarrow filled with fresh-baked loaves of bread from the bakery to the cafe kitchens. He always seemed
to have flour in his hair. Old Mister Gavallos, the cafe owner would ruffle Stefano's hair, sending a poof of white powder skyward. It was a ritual they performed daily.
That bread tasted better for having seen that tender ritual.
At the harbor taverna, Yorgos and his wife, Marguerite ran the place. One year, Richard Winch, an English playright who comes to Naoussa each summer for a holiday, dropped a 50 drachma bill on the floor as he was leaving to go home.
The next summer when he arrived, Yorgos went behind the till and there, scotch taped to the wall, was the 50 drachma note.
I'd been playing guitar at the taverna most nights, until the fishermen needed to go to sleep. Marguerite, through her son, asked if she brought Yorgos' concertina would I play a duet with him? Certainly, I told her, it would be an honor. Her son, Dimitri, explained that his dad hadn't played in many years.
Two nights later Yorgo came out on to the patio by the harbor's edge and shyly approached my table. He had the concertina strapped on. We nodded, and I started to play something in a minor key, and he played, opened those bellows and let it go, a sad ancient song that floated out over the moonlit water. Everyone bent forward to listen. The customers inside came outside, stopping their backgammon and dice games.
Some of the neighbors came from their houses down to harbor to hear Yorgos play for the first time in six years. We were all crying, it was so lovely. The fishermen stayed up late that night, drinking until their wives pulled their arms and took them home to sleep.
The rest of our stay in Naoussa, beers would appear at our table and when I went to pay Yorgos, his eyes ashine with feeling, would put up a hand and say endaxi, it's okay, the beer is free.
At last we'd say good night, kaleenichta! and meander the ten-minute walk home to Kolimbithres, the moonlight helping us to see. On nights with no moon, we'd walk
more slowly, careful of the rocks, breathing in rhythm with the tide, stopping to hug and kiss. We were in love then, Sandra and I.
We were newlyweds, we had paradise all around us and inside us, too, and Paros was our honeymoon.
Doug Lang c2003
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