Palate at Large November 2001

Restaurant Vila Lisa

Introducing a new series: restaurants worth building a trip around

On any August evening a good part of fashionable Lisbon seems to be waiting outside the glowing yellow-shuttered windows and open door of Restaurant Vila Lisa, in Mexilhoeira Grande, a hill town in the seaside region of the Algarve. During the rest of the year the Algarve, a three-hour drive south of the Portuguese capital, is full of English and German tourists, but in August, Lisboans claim it, and Vila Lisa, for themselves. They might be hankering for a taste of the seafood-based cuisine of the region, which like all great cuisines was born of poverty and ingenuity. But more likely they are going for a taste of home—a kind of rural home that in modern Portugal seems increasingly far away.

This one is guaranteed to be particularly lively, presided over by the artist proprietor, a balding, bearded man named José Vila. Vila's small figure bobs through the bright and merry rooms, lit by overhead lanterns that reflect off the white stucco walls; wine bottles are stacked against one wall, and his paintings, which show the influence of Miró and Tàpies, hang on the others. He darts in and out of conversations with diners, most of whom seem to be friends of his and of one another's—perhaps very recent friends, given that all the tables are picnic tables seating ten. He supervises the young women who keep dishes circulating at a brisk pace. He pulls paintings off the wall to illustrate points he's making and perhaps to attract potential customers—the restaurant doubles as his gallery. He invites people waiting on the street to come inside and pour themselves a glass of wine from a carafe on a marble-topped table beside the big pass-through to the kitchen, where a small, wide woman with the face of Georges de La Tour's fortune-teller dishes food into ceramic bowls.

Vila sets beside the carafe a loaf of bread, a knife, and a saucer filled with extremely fruity olive oil. The oil barely covers a big, lightly smashed clove of violet-skinned garlic, and is flecked with what looks like snow crystals but is in fact flor de sal—the local version of fleur de sel, skimmed from salt pans a few miles away, on the Atlantic coast. The waiting customers happily cut off slices of bread and press them into the oil: the Algarve variety of garlic, the oil, and the salt are among the reasons they came.

My dream whenever I arrive in a new place is to happen upon a restaurant that seems like a family party, where the hosts serve the kind of dishes they would ask their mothers to make as a birthday treat. Restaurant Vila Lisa fulfills that dream. Here everyone eats the same thing, so newcomers needn't worry that they won't understand the menu or that they've ordered fancified fare for foreigners rather than what people in the Algarve really eat. Courses simply come out of the kitchen, family style. Conversations start easily at the long communal tables—although Vila doesn't speak English, most of his guests do.

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Corby Kummer's work in The Atlantic has established him as one of the most widely read, authoritative, and creative food writers in the United States. The San Francisco Examiner pronounced him "a dean among food writers in America." More

Corby Kummer's work in The Atlantic has established him as one of the most widely read, authoritative, and creative food writers in the United States. The San Francisco Examiner pronounced him "a dean among food writers in America." Julia Child once said, "I think he's a very good food writer. He really does his homework. As a reporter and a writer he takes his work very seriously." Kummer's 1990 Atlantic series about coffee was heralded by foodies and the general public alike. The response to his recommendations about coffees and coffee-makers was typical--suppliers scrambled to meet the demand. As Giorgio Deluca, co-founder of New York's epicurean grocery Dean & Deluca, says: "I can tell when Corby's pieces hit; the phone doesn't stop ringing." His book, The Joy of Coffee, based on his Atlantic series, was heralded by The New York Times as "the most definitive and engagingly written book on the subject to date." In nominating his work for a National Magazine Award (for which he became a finalist), the editors wrote: "Kummer treats food as if its preparation were something of a life sport: an activity to be pursued regularly and healthfully by knowledgeable people who demand quality." Kummer's book The Pleasures of Slow Food celebrates local artisans who raise and prepare the foods of their regions with the love and expertise that come only with generations of practice. Kummer was restaurant critic of New York Magazine in 1995 and 1996 and since 1997 has served as restaurant critic for Boston Magazine. He is also a frequent food commentator on television and radio. He was educated at Yale, immediately after which he came to The Atlantic. He is the recipient of five James Beard Journalism Awards, including the MFK Fisher Distinguished Writing Award.

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