Sweet Honey, Bitter Lemons: Travels in Sicily on a Vespa

Sweet Honey, Bitter Lemons: Travels in Sicily on a Vespa

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by Matthew Fort

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Replete with authentic Siclian recipes culled directly from the out of the way island stoves and cafe kitchens that cook them, Sweet Honey, Bitter Lemons presents a travelogue for seasoned travelers, and lovers of all things Italian.

At the age of twenty-six Matthew Fort first visited the island of Sicily. He and his brother arrived in 1973 expecting


Replete with authentic Siclian recipes culled directly from the out of the way island stoves and cafe kitchens that cook them, Sweet Honey, Bitter Lemons presents a travelogue for seasoned travelers, and lovers of all things Italian.

At the age of twenty-six Matthew Fort first visited the island of Sicily. He and his brother arrived in 1973 expecting sun, sea and good food, but they were totally unprepared for the lifelong effect of this most extraordinary place.

Thirty years later and a bit wiser—but no less hungry—Matthew finally returns. Travelling around the island on his scooter, Monica, he samples exquisite antipasti in rundown villages and delicate pastries in towns tumbling down vertical hillsides, and goes fishing for anchovies underneath a sky scattered with stars.

Once again this enigmatic island casts its spell as Matthew rediscovers its beauty, the intensity of its flavors, and finds himself digging into the darkness of Sicily's past as well as some mysteries of his own.

Editorial Reviews

Library Journal

A food writer for the Guardian and a judge on the BBC Two (UK) show Great British Menu, Fort adds yet another travelog to the "visit Italy and bask in its gustatory delights" genre made popular by Frances Mayes's Under the Tuscan Sun. Fort explores the food, people, and culture of Sicily, often with comparisons to his experiences on the Italian mainland. As is typical with this genre, the author considers the history of the food he eats and the local way of life as well as the role of community and family in the meals and regional dishes. The narrative is accompanied by numerous recipes (using metric measurements), many of which contain ingredients that may be difficult to obtain outside of Italy. This book partners well with Fort's earlier Eating Up Italy, in which he covers the Italian mainland in a similar manner. There is a sufficient number of books in this genre, making Fort's latest useful only in its exclusive focus on Sicily.
—Sheila Kasperek

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Sweet Honey, Bitter Lemons

Travel in Sicily on A Vespa

By Matthew Fort

St. Martin's Press

Copyright © 2008 Matthew Fort
All rights reserved.
ISBN: 978-1-4299-9502-3


Time Present and Time Past


In 1973 Tom and I had travelled in breezy innocence, with easy optimism and careless curiosity, stopping where we felt inclined. The one introduction we had been given was addressed to Manfred Whitaker, who lived in the Villa Ingham just outside Marsala. Instructions as to how we could find him were hazy in the extreme. Indeed, there was something slightly makeshift about the introduction itself, but we felt that we had better call in out of courtesy, if nothing else, and so we did.

Manfred turned out to be a stocky, energetic figure, and vigorously, if not rampantly, homosexual. When he saw two strapping lads getting out of their hire car he evidently thought that Christmas had come, a point on which we had to disabuse him rapidly. With the foreplay out of the way, he became the most delightful, charming and obliging of hosts, learned, funny, acerbic and individual. Sadly, I kept no record of his views or our conversations, but I can still sense the mercurial force of his personality, his endless kindness and high good humour.

I remember being told, probably by Manfred himself, that the Villa Ingham had been built, and its extensive gardens laid out, by a member of the wealthy Ingham family for the delight of his mistress. It didn't look like my idea of a love nest. It remained in my memory as a large, sober-looking building with an apparently endless sequence of crepuscular rooms, full of shadows and cool air and an accumulation of heavy-gravity, dark-shaded, plumply stuffed Victorian furniture, books, portraits of distinguished ancestors and a random and eccentric cluster of objects, which included a standard lamp made from a stuffed anaconda rearing to its full height. There was Manfred's throne-like lavatory and the plumbing that had a will of its own. It didn't strike me as being a grand house, but it did have a certain seriousness about it, a seriousness which Manfred belied.

He died in 1977 and the house passed to his nephew, William Richards, and his wife Val, who greeted me as I buzzed up the drive in time for lunch. William was a lawyer, successful, jovial, kindly and generous. The Villa Ingham was now a family holiday home, he said. They had thought of selling it at first; it needed so much attention, and Marsala wasn't exactly convenient. And then they decided they couldn't. The family loved it too much. Their children came and went, and other family members, too. And yes, they had done a good deal to the house, attended to the plumbing for one thing, and sorted out the kitchen, and turned the water tank above the house into a swimming pool.

I wandered around the rooms and couldn't tell what had changed over the intervening years. The furniture seemed the same, the books, the steadfast pictures, the clutter of knick-knacks, and, oh yes, there was the anaconda standard lamp. More than that, the spirit of the place was still the same, that curious combination of the serious and the fantastical, of Victorian worthiness and pagan hedonism, one room leading to the next and to the next and to the next – like some Borgesian metaphysical structure, the crepuscular cool made more crepuscular and cooler in contrast to the brilliantly lit landscape below, where olive and orange trees had been planted in neat rectangular plantations. I didn't remember the paintings in the manner of Rex Whistler on the high ceiling in the sitting room, and, indeed, it turned out they had been painted by a young friend of the family only a few years earlier, but even they had been absorbed into the patina of the house so that they looked as if they had always been there.

The garden, too, retained its rambling charm. It had seemed deliciously dilapidated to me 33 years earlier. It did so now. Paths, strewn with withered leaves that crackled explosively underfoot, wove their way between trees and shrubs of luxurious splendour, to crumbling flights of steps leading to another sun and shadow dappled level. Scents rose up where the hot sun struck the shrubs, peppery, pungent, spicy, herbal; thyme, rosemary, clove, aniseed.

Here was a statue of some antique dryad lurking at the end of a gravel cul-de-sac, peering from a bower of acanthus leaves. Here was a stone trough with lily pads and reflections. Here was a water tank without any water, a line of curious majolica miniature obelisks the colour of the sky ranged along the top of one side. A scuttling in the bushes reminded me of the peacocks that had nested in the trees all those years ago.

'The peacocks are still here,' said William. 'There are only two left now, both males. We introduced a couple of females a few years ago in the hope they might breed, but we found them dead a few days later. It seems that the males didn't appreciate them very much.' I wondered what might have happened if Adam had taken a similar attitude to Eve in the Garden of Eden.

The sense of timelessness, of social continuum, carried over into lunch. There were other friends and members of the family staying, too, just as there had been in Manfred's time, and we sat outside at a table big enough to seat 20 under an awning, shaded from the hot sun. There were only nine of us, but conversation, erudite, funny, discursive, generous, never flagged for a moment. We talked about food and TV chefs in disrespectful terms that Manfred would have approved of, and George Borrow, and the problems of photographing food, and the group of Surrey pensioners who came to pick the olives every year, and Manfred's idiosyncrasies, and the changes at the Villa Ingham. If I wasn't quite same figure who had sat in this same place all those years ago, nevertheless there was enough of my young self left to catch the sweet echo of the past.

We ate panelle, Sicilian fritters made from chickpea flour, bought in the market that morning, and olives from the Richards' olive trees, and then salami and prosciutto and salad and bread and cheese and fruit, and finished with a granita made from oranges that grew on the estate. There was nothing fancy about any of it, except its quality, the exactness and clarity of flavours. 'What else did you want?' I thought, as I sank another glass of chilled rosato, crisp and fresh as ice melt. Not much. Nothing in fact.

Revisiting the past can be a tricky business. Too often it seems shrunken or down at heel or at odds with the mellowness of memory, but in this case I could feel no difference between past and present. Even Manfred seemed to be about the place, even if I couldn't quite see him.

I woke to the smell of the sea, a soup of sharp iodine, seaweed, salt, marine life, sunlight, wind. Marsala is defined by the sea. The sea sits on three sides of it. From the sea came the Greeks, Romans, Arabs, Spaniards, British, Americans, each of the peoples that made and marked it, the fish and trade that fed it. Across the sea went the wine that gave Marsala its last great, rich incarnation a hundred and fifty years ago.

In 1773 John Woodhouse came to Marsala from Liverpool looking for ingredients for soap. He found the fortified local hooch instead, and decided marsala was the very thing to become smart society's tipple of choice. The business was given a shot in the arm when Admiral Horatio Nelson ordered several pipes of the stuff for his sailors after the Battle of the Nile in 1798. Over the following century colossal fortunes were made out of the wine. The English connection flourished as the Woodhouse family embraced the Inghams and the Whitakers, the 'Princes under the Volcano' as the marsala families were known. Sicilian families, too, joined in the fun, one family in particular, the Florios, becoming the richest and grandest of them all. Each went on to make marked contributions to the cultural life of the island and to the gaiety of nations in general (during Prohibition in America, marsala was classified as a medicinal tonic, and sold as such).

And then the eminence of marsala began to decline as the founding families sold out to the big commercial battalions; the wine became debased as corners were cut, quality sacrificed to price, and industrial production methods took their toll. As Harry Morley, a determined traveller and devoted classicist, had written as early as 1926: 'The only good thing you can say about Marsala is that it goes well with gorgonzola. At best it is a poor substitute for sherry or madeira, without any real character of its own.' The consequences were inevitable. People stopped drinking marsala. Ah, marsala, they said, fine for cooking, but for sipping? And they reached for their glasses of chardonnay.

The long seafront of the town was lined with the husks of the great bagli, walled, fortified compounds, where the marsala had once been made and stored, and from which it had been shipped across the globe — monuments now to the fall of the great marsala families. Most were derelict, dumping grounds or storage depots for building materials and the like. Dust and plastic bags and bits of paper and dead leaves blew about the courtyards. The three-storey Whitaker baglio had been one of the greatest, with its shaded, arcaded ground floor, Corinthian pillars above, and elegant, shuttered windows on the top floor. Now the golden stucco was fading, stonework crumbling. The shutters sagged on their hinges and the Corinthian pillars held up – what? A vanished history? Not quite.

Life was beginning to stir in the some of the bagli once more. Marsala was staging a comeback. Its renaissance had begun when a talented winemaker, Marco de Bortoli, decided that redemption lay in quality not quantity, and set about re-creating the wine to new standards. The Buffa family, with one or two others, had joined him, and, little by little, marsala's reputation was improving. What was it Edward Lear had written?

He sits in a beautiful parlour
With hundreds of books on the wall;
He drinks a great deal of Marsala,
But never gets tipsy at all.

Lear can never have come across the Buffa marsala, that's all I can say.

As I said goodbye to Domenico Buffa, a stiff wind stirred up the dust in the courtyard of the baglio. Sharp waves flicked the scrubby coastline on to which the building faced, and against the hulls of leisure craft in the marina, against the jetties, against the hulls of the fishing boats – smaller, multicoloured inshore boats; larger, grubbier, more purposeful deep-water boats with names like Turridu, Carmelo and Pinturicchio — moored within the long sheltering arm of the mole that formed the harbour wall.

I found their harvest in the compact, cruciform fish market just by the Porta Garibaldi, the gate through which Garibaldi entered the town in May 1860 to begin his conquest of the island and start the process that led, with extraordinary rapidity, to the unification of Italy within two years. The Porta Garibaldi was not always the Porta Garibaldi. It had formerly been the Porta di Mare, but history has always marched through and over Marsala. It had been Lilybeaum to the Carthaginians and Marsa Ali, the Port of Allah, to the Saracens. The gate had been built to mimic a Roman triumphal arch. The eagle on it was the emblem of Spanish royalty, from the time when Sicily was part of the Spanish Empire. But the fish and the fishermen have always been there.

The market may not have been as vigorous as it was once, to judge by the areas not occupied by stalls, but it still supported 15 or so fishmongers, three greengrocers and a salumeria where I could have bought bottarga and strattu, ultra concentrated tomato paste, pecorino and salted anchovies in great round tins. There were a couple of butchers, too, decked out with skinned sheep's heads that peered with bloody melancholy from the display cabinets.

It was spring – this was May – and the sloping display counters were crowded with cephalopods: octopuses in four sizes; tiny moscardini like dominoes; squid, flaccid and startlingly white; plump, speckled cuttlefish; and fish – whiting, hake, bream, anchovies, dogfish, gurnard, sea bass in all their shimmering, glittering, scaly glory. Above all, this was the season for pesce spada — swordfish – with the world's smallest specimen on display, its bill pointing skywards; and for tuna. Each stall had its display, gunmetal skin, round surprised eye in head shaped like a howitzer shell, barrel torso slashed in half presenting a lambent, burgundy surface to the world. And in front six, seven, eight different cuts, ranging in colour from coral pink to a deep, purplish damask.

According to Alan Davidson in his encyclopaedic classic Mediterranean Seafood, there are several members of the tuna family: bluefin – tonno; albacore — alalonga; little tuna — tonnetto; skipjack – tonnetto listato; and frigate mackerel –tombarello. Of these, the bluefin tuna, the largest, is the most highly prized.

Traditionally these were taken at the mattanza, the annual ritual in which migrating tuna were herded into nets and then gaffed and slaughtered in a bloody frenzy, just off Favignana, one of the Egadi islands visible from Marsala. The ritual is as old as history. Aeschylus likened the slaughter of the Persians at the Battle of Salamis to the mattanza. Modern historians gave the same name to the ferocious Mafia war that raged between 1970 and 1983, which saw the Corleonesi families rise to control the island's criminal activities.

The old mattanza still went on, said Salvatore, a large, genial fishmonger with a shaven head and unshaven chin, but it was not what it once was. For all its picturesque brutality, it was, in fact, an environmentally sustainable way to catch fish. More tuna escaped than were taken, and, before more functional modern methods came along, the mattanza ensured a healthy supply of fish for each season. These days the future of the Mediterranean tuna is debated in the same lugubrious tones we use when considering North Sea cod. It is the appetite for this splendid fish in the rest of the world that is threatening its future. Not that there seemed to be any shortage in the market in Marsala.

'This is good for ragù,' explained Salvatore. 'This for brasato, con cipolle e aceto. This you cook ai ferri, grilled. And this in padella al limone.'

They all looked much the same to me.

'And this?' I asked, pointing at a piece of tuna the size and thickness of a steak, with thick, creamy seams of fat running between the stratas of purple flesh.

'Ventresca,' he said, and pointed to his ribs. I understood. It's the tuna equivalent of belly of pork, the richest part of the fish. Later I ate a thick steak of ventresca a padella, roasted in a pan, in the Trattoria da Pippo; in a stubby backstreet, it was as functional an eatery as I have come across in some time. But the fish was immaculately cooked, crusted outside, its oily richness spreading over my mouth, its roof, sides, nooks, crannies, coating my tongue and throat – a fatness more extreme than mutton, pig or beef fat, but with a bit of beef and lamb about it. This was the true fatness of the sea, the fatness all the sea creatures on which the tuna had been feeding.

The Via dei Mille runs from the Porta Garibaldi and the market down to the Piazza della Repubblica, the hub of the town. It was down this road that Garibaldi led his ragtag and bobtail thousand in 1860 at the beginning of the campaign that resulted in the unification of Italy.

'Ma per me, Garibaldi non era un eroe – Garibaldi wasn't a hero as far as I'm concerned,' said my guide and mentor Nanni Cucchiara, a civilised and cultured man, lawyer and gourmet, with a round face shaded by a three-day stubble, wary, clever, dark eyes and unruly black hair. He was, by turns, perceptive, subtle, expressive and generous with his knowledge, but guarded with himself. It was as if he was always gauging what I had meant by what I said, or whether I had really meant what I said, or if there was some other layer of meaning to my words. Or it may have been he just had trouble understanding my Italian.

'Garibaldi had always been a republican, but he sold out to the king and the interests of the north,' Nanni said. He went on: 'When he came to Sicily, Garibaldi acted like a dictator. He removed the old structures but did not replace them with anything better. Sicily became a lawless place as a result. It is interesting that the banditry and the Mafia, that have been so difficult for Sicily, only developed after the unification of Italy. Since then we have added Piedmontese exploitation and corruption to the exploitation and corruption of our own.'


Excerpted from Sweet Honey, Bitter Lemons by Matthew Fort. Copyright © 2008 Matthew Fort. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

MATTHEW FORT has been a key food writer for the Guardian for over ten years. He also writes for the Observer, Esquire, Country Living, and Decanter. He appears as a judge on BBC2's Great British Menu and is a presenter on UKTV Food's Market Kitchen. One of Matthew's great passions is Italy, where he visits every year.

MATTHEW FORT has been a key food writer for the Guardian for over ten years. He also writes for the Observer, Esquire, Country Living, and Decanter. He appears as a judge on BBC2’s Great British Menu and is a presenter on UKTV Food’s Market Kitchen. One of Matthew’s great passions is Italy, where he visits every year.

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Sweet Honey, Bitter Lemons: Travels in Sicily on a Vespa 5 out of 5 based on 0 ratings. 1 reviews.
Anonymous More than 1 year ago
She looks at the apprentice den.