The attractions today are sunshine and a slower-paced, less expensive lifestyle in an exotic setting. In the 19th century, it was Andalucía's mystery, fiestas, sensuousness, flamenco, bullfights, heat and spiritual history that attracted the visitors, well, the literary ones, anyway. Lord Byron set his Don Juan (1829) in Seville and Washington Irving actually went as far as to live in the Alhambra before writing Tales of the Alhambra (1832). The following extract is from the award-winning "Driving Over Lemons: An Optimist in Andalucía" by the English writer Chris Stewart, who settled in the region 20 years ago . His neighbour, Pedro, is preparing the staple fare, papas a lo pobre — "poor man's potatoes".
First he put a greasy frying pan, greasy and blackened, onto a tripod over the flames and poured into it what I judged to be two coffee-cupfuls (after-dinner size) of olive oil. Then with his pocket knife he hacked up a couple of onions, without being too delicate in the matter of peeling them. As they fizzled gladly in the oil, he pulled to pieces a whole head of garlic and tossed the lot into the pan.
"Don't you peel the cloves?" I asked.
"Lord no! If you don't peel them, they don't burn, and they keep their flavour better. Less work too."
He's right as a matter of fact.
He then took a bucket in which were potatoes hygienically swimming in water; these he had peeled. Squatting over the fire, sweat pouring from his huge body, he chopped them roughly — great coarse chips, straight into the spitting oil. When the pan was brimful he stirred it about a bit with a stick and added some twigs to the fire for a better blaze. In a basket hanging from a pole were green and red peppers. Taking five or six small ones, he again tossed them in whole.
"Right, that can look after itself for a bit now," said Pedro, giving it a quick stir, and proceeding to the laying of the table. A wobbly wooden drum stood on the terrace. Upon this he placed an old fish-tin which he filled with a huge fistful of olives and a dozen pickled chilli peppers. From a paper sack he took a round loaf of bread like a river stone and cut it into quarters, returning two to the sack. Then he put two bent forks and two tumblers on the table and went to check the main dish. I sat down and poured wine from the plastic bottle and ate an olive — pickled with lots of garlic, lots of salt and a little less thyme, lavender and heavens knows what else. A swig of the thick brown wine washed it down.
Pedro emerged grinning with the sizzling pan which he plonked onto a tile carefully placed to prevent it staining the cable drum. Then he fetched a huge greasy ham, cut two enormous fatty wodges, and put it back on a hook on a beam. He then sat down on the step, took a swig of the wine, and sighed with contentment.
I jabbed into the pan with my fork, gnawed on my ham, gulped my brown wine and chatted to my amiable host. The food was delicious. I did a lot of cooking that month and it was almost papas a lo pobre, which Pedro favoured for breakfast, lunch and supper, each time with the statuary two glasses of wine. But I never managed quite the same effect with the dish as Pedro achieved.
Most of Spain's post-civil war writers have been from outside Andalucía, but Antonio Muñoz Molina (born in Úbeda, Jaén province, 1956) is one of country's finest novelists: "It was almost two years since I'd last seen Santiago Biralbo, but when I met him again, at midnight, in the Metropolitano, we greeted each other as casually as if we'd been out drinking the night before — not here in Madrid, but back in San Sebastian, at Floro Bloom's bar, where Biralbo used to play."