‘Not in the Ornamental Teapot’: a poetic exploration of women in Cyprus

Erato Ioannou’s 2020 collection of short stories Not in the Ornamental Teapot is a short but powerfully evocative read, coming in at just 48 pages. Ioannou takes a less explored route throughout the stories, depicting the experiences of women in and surrounding 1974.

The collection features four stories, each with their own unique charm guaranteed to get readers thinking. Ioannou’s stories open long-needed conversations on the grief, trauma, and the autonomy of women in Cyprus.

The first story, ‘Something Tiny,’ homes in on missing persons in Cyprus, focusing on the confusion and dejection of the loved ones left to grieve them. Ioannou’s illustration of this loss strays from the norm, with the tale’s catalyst being an object used to identify the missing loved one of the protagonist.

‘Something Tiny’ depicts complicated resentment, and a deep, years-long love. Ioannou’s protagonist paints a more desirable, yet absurd explanation as to why her husband has not returned home, touching on pop culture and misunderstandings. The story narrates the stages of grief, with denial at its core, while subtly inviting readers to understand the protagonist’s insistence of the bizarre over the solemn truth.

‘Deserted,’ the second story in Ioannou’s collection, illustrates autonomy and isolation; the protagonist, a grandmother, finds herself, as the title suggests, deserted in her hometown, choosing to stay despite warnings of an invasion.

Denial is prevalent throughout the text, with Ioannou using poetic language to illustrate a dreamlike reality that mirrors her character’s own fading mind. Memory and the present are intertwined as readers experience travelling through the city and the grandmother’s new perception of home through the eyes of solitude.

Briefly, freedom flows through the text, seen in nude swims and a brisk walk throughout town. The story is tense throughout, with the fate of Ioannou’s protagonist slowly becoming more apparent.

Ioannou’s third tale, ‘Saving Jesus and the Apostles,’ emphasises the effect of religion on women’s roles and gender norms in Cyprus. Ioannou illustrates prostitution and its perception in Nicosia through the lens of an older woman and a young prostitute.

She touches on corruption and biblical verses, referencing Mary Magdelane and National Guard and United Nations soldiers. Misogyny appears as an instilled belief, and the hypocrisy of religion is highlighted throughout.

Religion as a comforting normalcy in Cyprus is also brought to light, and readers see one protagonist struggle with the acceptance of those different to her. The stories of Ioannou’s two characters overlap, creating a push-and-pull effect where readers are able to understand both perspectives, concluding with open-ended mutual understanding.

The collection’s final story, ‘Eye of the Goat,’ touches on women’s roles in male spaces, with the protagonist forced by family to present as a man in order to gain the respect of those around her.

Ioannou explores gender as well as gender fluidity throughout the tale, showing readers male spaces through a feminine lens, as well as the shifting perspective of a young woman forced to present differently to be accepted.

The tale illustrates two contrasting images of blood; one violent, and one natural, commenting on the acceptance of a forceful draw of blood over one looked down on due to its association with women.

The collection’s exploration of women in Cyprus forces readers to question gender roles on the island. Erato Ioannou’s poignant portrayal of Cyprus’ division is peppered with poetic language, softening harsh realities and beautifully capturing the island and its residents.

Find Not in the Ornamental Teapot here.