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Honour
Pembe and Adem Toprak leave Turkey for London. There they make new lives for their family. Yet the traditions and beliefs of their home come with them - carried in the blood of their children, Iskender and Esma. Trapped by past mistakes, the Toprak children find their lives torn apart and transformed by a brutal and chilling crime.
Set in Turkey and London in the 1970s, Honour explores pain and loss, loyalty and betrayal, the clash of tradition and modernity, as well as the love and heartbreak that can tear any family apart.
Set in Turkey and London in the 1970s, Honour explores pain and loss, loyalty and betrayal, the clash of tradition and modernity, as well as the love and heartbreak that can tear any family apart.
342 pages, Paperback
First published February 1, 2011
1,388 people are currently reading
26.6k people want to read
About the author
Elif Shafak
73Ìýbooks30.8kÌýfollowersElif Shafak is an award-winning British-Turkish novelist and the most widely read female author in Turkey. She writes in both Turkish and English, and has published seventeen books, eleven of which are novels. Her work has been translated into fifty languages. Shafak holds a PhD in political science and she has taught at various universities in Turkey, the US and the UK, including St Anne's College, Oxford University, where she is an honorary fellow. She is a member of Weforum Global Agenda Council on Creative Economy and a founding member of ECFR (European Council on Foreign Relations). An advocate for women's rights, LGBT rights and freedom of speech, Shafak is an inspiring public speaker and twice a TED Global speaker, each time receiving a standing ovation. Shafak contributes to major publications around the world and she has been awarded the title of Chevalier des Arts et des Lettres. In 2017 she was chosen by Politico as one of the twelve people who would make the world better. She has judged numerous literary prizes and is chairing the Wellcome Prize 2019.
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Displaying 1 - 30 of 2,345 reviews
January 13, 2015
I am so blown away by this novel, I can't even begin...... The Guardian review saying that Shafak's writing style is similar to Isabel Allende is correct. Shafak like Allende, is able to tell a story from the point of view of many characters without being confusing. However Shafak also has something of Amin Malouf in that she writes about cultural identities. Most of all, Elif Shafak has her own unique style that combines historical fiction,cultural issues, a little bit of spirituality without being preachy or religious and just plain good storytelling. I could not put this book down. The subject matter might make it seem like it would be a downer, however it's not, it's more bittersweet. Rather than feeling like you're "watching a train wreak in slow motion", reading this book was more like putting together a fascinating, sad and beautiful puzzle that only comes together at the very end. I can't wait to read more books by this author!
November 7, 2017
This is such a phenomenal- interesting - page -turning very enjoyable novel. I was drawn into the storytelling instantly....[ I THINK EVERY ONE OF MY FRIENDS WILL BE TOO].....it’s mesmerizing and brilliant. This is also my first book by Elif Shafak. It won’t be the last.
I’ve not read another book quite like this one. It’s rich in Turkish/Kirdish culture - yet its literary fiction written in English.
I can’t ever remember reading a novel about an honor killing in the Muslim culture. Had Elif Shafak not been such a gifted storyteller � it could have felt like reading
Wikipedia. But this novel was equally fascinating historically as it was emotionally.
Iskender Toprak was only 16 years of age, Turkish/Kirdish origin, when he stabbed his mother, Pembe Toprak, to death in Hackney in an act of honour killing in front of his family Home on Lavender Grove.
Pembe, 33 years old, mother of three, (Iskender, Esma, and Yunus), had an extramarital affair. Pembe, no longer lived with her husband, Adem, ( who has a gambling addiction), although they remained married.
When the father is absent, the mother’s honour is guarded by the eldest son, which in this case was Iskender. Police were investigating whether the teenager acted alone or if he was used as a pawn by other family members to carry out a collective murder plan.
In 1970, the Toprak Family moved to England, from Istanbul ( living in a small village in Euphrates), shorty before Yunas, youngest child was born. Pembe� twin sister, Jamila, stays behind and becomes a virgin midwife.
This book is many things —� it’s an immigration story�(Muslims living in England) a story about honour, couture, pride, and its a story about marriage and family. Struggles, taboos, dreams, betrayal, love,loss, regret, grief, and the inequities of the ancient ways between men and women.
A heartbreaking story....written with skill and compassion - thought provoking - and a downright utterly fabulous read!!!!!
Thank you *Isa*, very much for the gift of this book .....
..... and thank you for introducing me to an author I had never read - which would have been a missed opportunity!
I’ve not read another book quite like this one. It’s rich in Turkish/Kirdish culture - yet its literary fiction written in English.
I can’t ever remember reading a novel about an honor killing in the Muslim culture. Had Elif Shafak not been such a gifted storyteller � it could have felt like reading
Wikipedia. But this novel was equally fascinating historically as it was emotionally.
Iskender Toprak was only 16 years of age, Turkish/Kirdish origin, when he stabbed his mother, Pembe Toprak, to death in Hackney in an act of honour killing in front of his family Home on Lavender Grove.
Pembe, 33 years old, mother of three, (Iskender, Esma, and Yunus), had an extramarital affair. Pembe, no longer lived with her husband, Adem, ( who has a gambling addiction), although they remained married.
When the father is absent, the mother’s honour is guarded by the eldest son, which in this case was Iskender. Police were investigating whether the teenager acted alone or if he was used as a pawn by other family members to carry out a collective murder plan.
In 1970, the Toprak Family moved to England, from Istanbul ( living in a small village in Euphrates), shorty before Yunas, youngest child was born. Pembe� twin sister, Jamila, stays behind and becomes a virgin midwife.
This book is many things —� it’s an immigration story�(Muslims living in England) a story about honour, couture, pride, and its a story about marriage and family. Struggles, taboos, dreams, betrayal, love,loss, regret, grief, and the inequities of the ancient ways between men and women.
A heartbreaking story....written with skill and compassion - thought provoking - and a downright utterly fabulous read!!!!!
Thank you *Isa*, very much for the gift of this book .....
..... and thank you for introducing me to an author I had never read - which would have been a missed opportunity!
December 15, 2016
" if there is no harmony inside that person, he will always be angry "
A heart-touching novel about the misleading meaning of honor in the east and some other countries all over the world , honor that concerned only with bodies, women bodies !
This is the story of Pembe and Jamila , Kurdish-Turkish twins and their suffering though life among the retardation ,superstition and injustice .
After reading the Bastard of Istanbul i decided to read more for Elif Åžafak , she handles important and complicated cases in such fantastic rationality and neutrality , there are no bad guys, only there are humans that as much as they make mistakes she keep giving an explanations for their attitudes .
As the bad Community that Adam brought-up in was a reason to his transformation to that bad father , and the same reason why he didn't marry the one he loved . The way that Adam was , was one of the reason to make Iskender the angry teenager .
“Never had it occurred to him that you could deceive the person you held dear. It was his first lesson in the complexity of love.�
The lies that the mother Pembe lied when she promised him as he was a child that she would not make the doctor circumscribe him , and when he trusted his father that he would not kill the sheep .. but then they let him down , they lied , they lost him at these points but they didn't recognized that until he did his crime .
And the most important thing , the little secrets that we ignore and won't tell our partners about them and how could they grow bigger and bigger until they choke or even turn worst , they make as lose the people we love and ourselves .
And these contradictions of men they drink , gamble and have sexual relationships and contaminate their honor while forcing their wives and sisters to polish theirs !
"some women are married and alone ,some like me are merely alone "
As usual Elif showed amazing indirect meanings and lessons , in an interesting way she fancies you and makes you feel that the novel is more than ordinary at the beginning and at the last third she turns the table and make you think again and re-read some pages again , amazes you at the end .
The third novel i read to Elif and absolutely won't be the last .
A heart-touching novel about the misleading meaning of honor in the east and some other countries all over the world , honor that concerned only with bodies, women bodies !
This is the story of Pembe and Jamila , Kurdish-Turkish twins and their suffering though life among the retardation ,superstition and injustice .
After reading the Bastard of Istanbul i decided to read more for Elif Åžafak , she handles important and complicated cases in such fantastic rationality and neutrality , there are no bad guys, only there are humans that as much as they make mistakes she keep giving an explanations for their attitudes .
As the bad Community that Adam brought-up in was a reason to his transformation to that bad father , and the same reason why he didn't marry the one he loved . The way that Adam was , was one of the reason to make Iskender the angry teenager .
“Never had it occurred to him that you could deceive the person you held dear. It was his first lesson in the complexity of love.�
The lies that the mother Pembe lied when she promised him as he was a child that she would not make the doctor circumscribe him , and when he trusted his father that he would not kill the sheep .. but then they let him down , they lied , they lost him at these points but they didn't recognized that until he did his crime .
And the most important thing , the little secrets that we ignore and won't tell our partners about them and how could they grow bigger and bigger until they choke or even turn worst , they make as lose the people we love and ourselves .
And these contradictions of men they drink , gamble and have sexual relationships and contaminate their honor while forcing their wives and sisters to polish theirs !
"some women are married and alone ,some like me are merely alone "
As usual Elif showed amazing indirect meanings and lessons , in an interesting way she fancies you and makes you feel that the novel is more than ordinary at the beginning and at the last third she turns the table and make you think again and re-read some pages again , amazes you at the end .
The third novel i read to Elif and absolutely won't be the last .
September 11, 2017
I am blown away , I am actually at a loss of words.... There are so many thoughts going around in my head about this marvellous book! I just need to let time pass in order to fully grasp everything!Just wow, plain and simple as that! Did I say wow?!Wow!
March 5, 2020
If there is one thing this book succeeds in impressing upon the mind of reader, it is that it takes years and lots of suffering and pain to let go off deep-seated notions of righteousness, passed down through generations in a conservative society. One of the most horrific outcomes of such practices is ‘honour killing� where a woman is murdered in cold blood to supposedly keep the honour of family intact in case she deviates from the rules of modesty dictated by the system. While it is also true that sometimes the awareness of oppressive practices especially prejudices against women, is stifled by the patriarchal systems vigorously lest it upends the existing rules of male dominance.
But what happens when such an act results in a kind of introspection by the perpetrator. When the dark, dingy cells of a prison, lets the murderer come to face with the darkness inside his own heart. When the burden of his own act gets the better of him and he looks for penance, which might never come his way.
This book has at its heart, one such murder � that of a mother by her teenage son. But this book is also so much more than that. It is a window into a world largely unknown to the developed world, into its customs and mores. It effectively portrays the deprivation of a world that clings to its traditions and rituals to keep a sense of belongingness intact. More importantly, it brings to the fore, the muffled voices of the oppressed women as well as of the sometimes-confused voices of the oppressor, who have never questioned the long held beliefs, who haven’t felt liberated either from the societal expectations.
And then this book is a page turner too. I was left in awe of Shafak’s ability to hold reader’s attention with a fast pacing plot, which gratifies literary senses too.
But what happens when such an act results in a kind of introspection by the perpetrator. When the dark, dingy cells of a prison, lets the murderer come to face with the darkness inside his own heart. When the burden of his own act gets the better of him and he looks for penance, which might never come his way.
This book has at its heart, one such murder � that of a mother by her teenage son. But this book is also so much more than that. It is a window into a world largely unknown to the developed world, into its customs and mores. It effectively portrays the deprivation of a world that clings to its traditions and rituals to keep a sense of belongingness intact. More importantly, it brings to the fore, the muffled voices of the oppressed women as well as of the sometimes-confused voices of the oppressor, who have never questioned the long held beliefs, who haven’t felt liberated either from the societal expectations.
And then this book is a page turner too. I was left in awe of Shafak’s ability to hold reader’s attention with a fast pacing plot, which gratifies literary senses too.
February 7, 2017
ملاØظة مهمة: للرواية جزء ثان٠صدر Øديثا عن دار الآداب.
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تساءلت بعد الانتهاء من هذه الرواية عن السبب الذي يجعل التركية ألي٠شاÙاك كاتبة عالمية، بينما لا تØظى معظم الكاتبات العربيات بهذه الÙرصة (أو ربعها) رغم أنهن لا ينقصن عنها موهبة أو إبداعًا!
قد يقول Ø£Øدكم بأن السبب ÙÙŠ ذلك أن شاÙاك تكتب رواياتها باللغة الإنجليزية مما يوÙر لها Ùرصة أكبر للوصول إلى مساØØ© أكثر اتساعًا من القراء، بينما ضيقت الكاتبات العربيات مساØØ© قرائهن Øين كتبن باللغة العربية، Ùعدا عن كونها لغة شعوب لا تقرأ، Ùهي أيضًا لا تØظى بنÙس درجة الانتشار الذي تØظى به اللغة الإنجليزية أو الÙرنسية على سبيل المثال!
ولكن الترجمة استطاعت إزالة هذا الØاجز نوعًا ما Ùهناك الكثير من الكتاب الذي استطاعوا الوصول إلى العالمية بلغاتهم الأصلية
أعتقد أن السبب الØقيقي يكمن ÙÙŠ ابتعاد الكاتبات العربيات عن تناول القضايا اللصيقة بمجتمعاتهن إما تعاليًا أو خوÙًا .. من ردات الÙعل!
ÙÙŠ المقابل، لا يكاد يخلو كتاب من كتب ألي٠شاÙاك من مشكلة / قضية مغرقة ÙÙŠ المØلية تتناولها بدون أي Øرج أو خوÙØŒ وكأنها تقول للعالم: هذه بضاعتي من المشاكل، Øتى لو بدت لكم سخيÙØ© أو تاÙهة أو Ù…Øرجة، إلا أنها مشاكلي التي تشكل جزءا من هويتي وهوية مجتمعي، ولن أخجل منها أو منكم!
أليست جرائم الشر٠التي تتناولها هذه الرواية أكثر وضوØًا ÙÙŠ بعض المجتمعات العربية منها ÙÙŠ تركيا؟
وماذا عن الصدام بين التقاليد والØداثة؟
أو العن٠الأسري ضد النساء؟
أو تسلط الذكور؟
إلي٠شاÙاك جعلت من البعد القطري ÙÙŠ روايتها هذه (وغيرها) الوسيلة الأنجع Ù†ØÙˆ بلوغ العالمية، Ùالمتأمل لتÙاصيل الرواية، يجدها تØتÙÙŠ ÙÙŠ معظمها بالمكان الأم/تركيا: شعبها المتعدد الأعراق، مدنها وأزقتها، عاداتها وطقوسها .. إلخ من خلال هذه التÙاصيل على سبيل التمثيل لا الØصر نجد أن ألي٠شاÙاك صعدت سلم العالمية من أول أدراجه: أي من إهتمامها المÙرط بما هو Ù…Øلي. Ùالدرس البليغ من تجربة شاÙاك هذه ØŒ يكمن ÙÙŠ ضرورة تأصيل الأدب العربي وجعله أكثر إلتصاقاً بقضايا الواقع المØلي، أكثر من الانهماك ÙÙŠ تناول قضايا هامشية!
----
تساءلت بعد الانتهاء من هذه الرواية عن السبب الذي يجعل التركية ألي٠شاÙاك كاتبة عالمية، بينما لا تØظى معظم الكاتبات العربيات بهذه الÙرصة (أو ربعها) رغم أنهن لا ينقصن عنها موهبة أو إبداعًا!
قد يقول Ø£Øدكم بأن السبب ÙÙŠ ذلك أن شاÙاك تكتب رواياتها باللغة الإنجليزية مما يوÙر لها Ùرصة أكبر للوصول إلى مساØØ© أكثر اتساعًا من القراء، بينما ضيقت الكاتبات العربيات مساØØ© قرائهن Øين كتبن باللغة العربية، Ùعدا عن كونها لغة شعوب لا تقرأ، Ùهي أيضًا لا تØظى بنÙس درجة الانتشار الذي تØظى به اللغة الإنجليزية أو الÙرنسية على سبيل المثال!
ولكن الترجمة استطاعت إزالة هذا الØاجز نوعًا ما Ùهناك الكثير من الكتاب الذي استطاعوا الوصول إلى العالمية بلغاتهم الأصلية
أعتقد أن السبب الØقيقي يكمن ÙÙŠ ابتعاد الكاتبات العربيات عن تناول القضايا اللصيقة بمجتمعاتهن إما تعاليًا أو خوÙًا .. من ردات الÙعل!
ÙÙŠ المقابل، لا يكاد يخلو كتاب من كتب ألي٠شاÙاك من مشكلة / قضية مغرقة ÙÙŠ المØلية تتناولها بدون أي Øرج أو خوÙØŒ وكأنها تقول للعالم: هذه بضاعتي من المشاكل، Øتى لو بدت لكم سخيÙØ© أو تاÙهة أو Ù…Øرجة، إلا أنها مشاكلي التي تشكل جزءا من هويتي وهوية مجتمعي، ولن أخجل منها أو منكم!
أليست جرائم الشر٠التي تتناولها هذه الرواية أكثر وضوØًا ÙÙŠ بعض المجتمعات العربية منها ÙÙŠ تركيا؟
وماذا عن الصدام بين التقاليد والØداثة؟
أو العن٠الأسري ضد النساء؟
أو تسلط الذكور؟
إلي٠شاÙاك جعلت من البعد القطري ÙÙŠ روايتها هذه (وغيرها) الوسيلة الأنجع Ù†ØÙˆ بلوغ العالمية، Ùالمتأمل لتÙاصيل الرواية، يجدها تØتÙÙŠ ÙÙŠ معظمها بالمكان الأم/تركيا: شعبها المتعدد الأعراق، مدنها وأزقتها، عاداتها وطقوسها .. إلخ من خلال هذه التÙاصيل على سبيل التمثيل لا الØصر نجد أن ألي٠شاÙاك صعدت سلم العالمية من أول أدراجه: أي من إهتمامها المÙرط بما هو Ù…Øلي. Ùالدرس البليغ من تجربة شاÙاك هذه ØŒ يكمن ÙÙŠ ضرورة تأصيل الأدب العربي وجعله أكثر إلتصاقاً بقضايا الواقع المØلي، أكثر من الانهماك ÙÙŠ تناول قضايا هامشية!
November 25, 2024
Elif Shafak is one of my favourite authors, done it again x
February 21, 2014
Honor by Elif Shafak is a tragic story of a shocking honor killing that stuns and shatters the lives and hopes of a Turkish emigrant family living in London in the 1970s.
This book opens with a very strong and beautiful dedication from the author which reads as follows;
When I was seven years old We lived in a green house, one of our neighbours a talented tailor would often beat his wife. In the evenings we listened to the shouts, the crys the swearing. In the mornings we went on with our lives as usual. The entire neighbourhood pretended not to have heard. Not to have seen.
This novel is dedicated to those who hear, those who see.
The stroy within the novel is tragic and powerful and certainly does make you ponder on the lives of those women who deal with situaltion like this everyday. The authors writing and account of an emigrant family living and adapting to life in London in 1970 is very well portrayed. I found the writing good and the characters real and vivid.
The narrative does get a little confusing at times as the stroy deals with a lot of characters and goes back and forth between diffferent time spans, countries and characters and at times the story became quite disjounted for me as a result. I was disappointed with the ending of the novel as it just didn't work for me.
Overall an interesting book and in places very powerful stroy telling from Elif Shafak and I would certainly look out for more books by this author.
July 28, 2020
More of 3.5 stars. This novel suffers from too much being crammed into it. The theme of honor in Turkish and Kurdish culture, then carried into an immigrant situation, is an interesting one. It got bogged down by confusing timelines, too many characters, weird themes like twins and midwives, etc. I was often lost.
I do think the topic of honor killings is important to address, and I wish it had more clarity in these pages. Then I could recommend it as a fictionalized resource, perhaps.
I do think the topic of honor killings is important to address, and I wish it had more clarity in these pages. Then I could recommend it as a fictionalized resource, perhaps.
September 15, 2016
Esma nam u ovom romanu pripovijeda o nekoliko generacija svoje porodice: svojoj majci i tetki, nani, svom ocu i njegovoj porodici, o svojoj braći i sebi. Njena majka i tetka roÄ‘ene su '40ih godina XX vijeka na obali Eufrata kao sedmo i osmo dijete. Blizankinje su, a njihovi životi kreću razliÄitim putanjama nakon Å¡to se Pembe, Esmina majka, seli u London, a njena sestra, Esmina tetka, Džemile, ostaje u rodnom kraju....
Elif je u ovom romanu uspjela na tako vjeÅ¡t naÄin ispriÄati sudbinu nekoliko generacija. Roman prati dogaÄ‘aje 40ih, 70ih i 90ih godina. Svako poglavlje pripovijeda drugi lik i svako se radnjom nadovezuje na prethodno sve dok u konaÄnici ne dobijemo potpunu sliku dogaÄ‘aja koji su prethodili raspadu Esmine porodice. Ono Å¡to je posebno zanimljivo je slika Londona 70ih godina i predrasude njegovih stanovnika prema ljudima druge rase i religije. Bez obzira na broj stranica i tematiku koju obraÄ‘uje, roman se jako brzo Äita, a u nekoliko navrata sam naiÅ¡la na lijepe citate o ljubavi i porodici. Od mene velika preporuka! :)
"Kad se jednom pogledaÅ¡ oÄima zaljubljenog u tebe, viÅ¡e nisi ista osoba."
Elif je u ovom romanu uspjela na tako vjeÅ¡t naÄin ispriÄati sudbinu nekoliko generacija. Roman prati dogaÄ‘aje 40ih, 70ih i 90ih godina. Svako poglavlje pripovijeda drugi lik i svako se radnjom nadovezuje na prethodno sve dok u konaÄnici ne dobijemo potpunu sliku dogaÄ‘aja koji su prethodili raspadu Esmine porodice. Ono Å¡to je posebno zanimljivo je slika Londona 70ih godina i predrasude njegovih stanovnika prema ljudima druge rase i religije. Bez obzira na broj stranica i tematiku koju obraÄ‘uje, roman se jako brzo Äita, a u nekoliko navrata sam naiÅ¡la na lijepe citate o ljubavi i porodici. Od mene velika preporuka! :)
"Kad se jednom pogledaÅ¡ oÄima zaljubljenog u tebe, viÅ¡e nisi ista osoba."
March 22, 2016
Well. I think I can officially put Elif Shafak on my favorite authors list.
Watch my full review
Watch my full review
February 7, 2017
اÙضل ما قرأت لالي٠شاÙاق
تركيز جميل على دواخل النÙس الانسانيه
تنوع ÙÙ‰ ثقاÙØ© ابطال الروايه باختلا٠بلدانهم واماكن معيشتهم تضعك ÙÙ‰ قلب الØدث وتجبرك على التÙاعل مع تطور الروايه واØداثها
روايه ببساطه تطو٠بك العالم
تركيز الكاتبه على الطوائ٠المهمشه يسØر ويجبرك على اØترامها(الارمن ÙÙ‰ لقيطة استانبول والاكراد ÙÙ‰ شرÙ)
وتقدمهم باسلوب راقى Ùعلا
تركيز جميل على دواخل النÙس الانسانيه
تنوع ÙÙ‰ ثقاÙØ© ابطال الروايه باختلا٠بلدانهم واماكن معيشتهم تضعك ÙÙ‰ قلب الØدث وتجبرك على التÙاعل مع تطور الروايه واØداثها
روايه ببساطه تطو٠بك العالم
تركيز الكاتبه على الطوائ٠المهمشه يسØر ويجبرك على اØترامها(الارمن ÙÙ‰ لقيطة استانبول والاكراد ÙÙ‰ شرÙ)
وتقدمهم باسلوب راقى Ùعلا
December 22, 2017
An honor killing in London is not your typical theme for a novel, so the characters radiating out from this event were interesting to get to know. I was drawn in by the twin sisters and enjoyed how it came to light that the sister who found love was left alone. The twin who did marry had reasons other than passion for doing so.
Although the chapter headings were very clearly marked with location and date, I think they could have been better shuffled to reveal some key items of interest earlier. Had I known sooner why Jamila was alone, her character would have pulled more empathy from me. She was an interesting young lady, and additional details about her life, as opposed to that of Adem, would have drawn me toward her character. It wasn't until nearly too late that I felt a connection with her.
Similarly, I might have cared more about Adem and how his young life experiences impacted his son had the dam scene been revealed a bit earlier. Flashbacks and different points of view are common devices in novels, but there is a risk in waiting too long for certain characters' individual stories to reveal themselves. A better editor could have realigned these timelines and made me love the story's inhabitants much sooner.
The reasons behind the actual honor killing by Alex were not drawn with very much depth. Yes, we know the basics - but for this loving son to have acted with a shallowly described motive mildly insults his emotions and internal conflict. One had to assume that his father had told him ugly stories about his own mother, rather poisoning him toward women, but we know that he was loathe do so. This area wasn't woven with much detail.
Ultimately, I did not feel much of a connection to any of the characters aside from Pembe. A mild point of irritation for me was that the author brought up conjoined twins who were of two different genders. One egg can split into identical twins, but obviously they must be of the same sex.
3.5 for the unusual topic and the surprises.
Although the chapter headings were very clearly marked with location and date, I think they could have been better shuffled to reveal some key items of interest earlier. Had I known sooner why Jamila was alone, her character would have pulled more empathy from me. She was an interesting young lady, and additional details about her life, as opposed to that of Adem, would have drawn me toward her character. It wasn't until nearly too late that I felt a connection with her.
Similarly, I might have cared more about Adem and how his young life experiences impacted his son had the dam scene been revealed a bit earlier. Flashbacks and different points of view are common devices in novels, but there is a risk in waiting too long for certain characters' individual stories to reveal themselves. A better editor could have realigned these timelines and made me love the story's inhabitants much sooner.
The reasons behind the actual honor killing by Alex were not drawn with very much depth. Yes, we know the basics - but for this loving son to have acted with a shallowly described motive mildly insults his emotions and internal conflict. One had to assume that his father had told him ugly stories about his own mother, rather poisoning him toward women, but we know that he was loathe do so. This area wasn't woven with much detail.
Ultimately, I did not feel much of a connection to any of the characters aside from Pembe. A mild point of irritation for me was that the author brought up conjoined twins who were of two different genders. One egg can split into identical twins, but obviously they must be of the same sex.
3.5 for the unusual topic and the surprises.
February 10, 2017
Øاجتين ÙÙŠ الرواية دايقوني أوي، أولا الغلاÙØŒ Øاسس إن مصممة الغلا٠دة أخدت الرسمة اللي ابنها رسمها وهو ÙÙŠ Øضانة وعملتها غلا٠عشان تجبر بخاطرو، تاني Øاجة المترجم، Øوالي خمس أو ست عبارات بيترجمهم ترجمة ØرÙية ضيعت المعنى تماما، ثقاÙتو ضعيÙØ© أوي ÙÙŠ المصطلØات الإنجليزية الغير رسمية، مثلا الكاتبة كتبت إن واØدة قالت على واØد إنو
asshole
تقصد بالمعنى المتعار٠عليه غبي أو رخم أو رزل، قام الكاتب كتبها بالمعنى الØرÙÙŠ "ÙتØØ© شرج"ØŒ وطبعا Øاجة تموت من الضØÙƒ
غير كدة، من Ø£Øلى الروايات الهادÙØ© اللي قريتها
ÙÙŠ بداية قرأتي للرواية دي كان ÙÙŠ دماغي إن التقييم يبقى بتلت نجوم لا أكثر
الرواية بتبدأ بشاب عندو تلاتين سنة وخارج من السجن، برة السجن بتنتظرو أختو، بنعر٠الجريمة اللي ارتكبها، وهو عندو 16 سنة قتل مامتو. وبعد كدة بتبدأ Ùلاش باك طول الرواية تØكي قصة ثلاثة أجيال، قصة جدة الشاب دة، قصة والدتو وأخواتها، قصة والدو وإخواتو، قصة الشاب Ù†Ùسو وإخواتو، القصص متداخلة لا يتم سردها مرة واØد، يعني موق٠من سنة 1978ØŒ موق٠من سنة 1991ØŒ موق٠من سنة 1951ØŒ وهكذا
بعد منتص٠الرواية عرÙت الكاتبة بتعمل ايه، وعرÙت عبقرية هذا العمل، وطبعا كان قرار الخمس نجوم واجب، بتØكي قصة ثلاثة أجيال عشان تورينا الأØداث اللي مرت ÙÙŠ خلال أربعين عاماً وأدت إن مراهق ÙÙŠ السادسة عشر من عمره يقوم بقتل والدته، ÙÙŠ نهاية الرواية هتتعاط٠مع العائلة كلها، وهتÙهم ايه اللي Øصل عشان الولد يعمل كدة
رواية مؤثرة، خلتني وأنا بقرأ أبص لبنتي ذات العام والنص٠وأقول أنا أموت Ø£Øسن من إن أنا أخرب الأسرة الصغيرة اللي أنا أنشأتها، عشان الأخطاء لا تموت، بتعيش مع الجيل اللي بعدينا وبعد بعدينا كمان.
لو قارنا هذا العمل بعمل الكاتبة الأشهر "قواعد العشق الأربعون" هنقول إن قواعد العشق ممتع أكثر، بس هذه الرواية، هتعيش معاك أكتر بكتير وهتأثر Ùيك أكتر بكتير
asshole
تقصد بالمعنى المتعار٠عليه غبي أو رخم أو رزل، قام الكاتب كتبها بالمعنى الØرÙÙŠ "ÙتØØ© شرج"ØŒ وطبعا Øاجة تموت من الضØÙƒ
غير كدة، من Ø£Øلى الروايات الهادÙØ© اللي قريتها
ÙÙŠ بداية قرأتي للرواية دي كان ÙÙŠ دماغي إن التقييم يبقى بتلت نجوم لا أكثر
الرواية بتبدأ بشاب عندو تلاتين سنة وخارج من السجن، برة السجن بتنتظرو أختو، بنعر٠الجريمة اللي ارتكبها، وهو عندو 16 سنة قتل مامتو. وبعد كدة بتبدأ Ùلاش باك طول الرواية تØكي قصة ثلاثة أجيال، قصة جدة الشاب دة، قصة والدتو وأخواتها، قصة والدو وإخواتو، قصة الشاب Ù†Ùسو وإخواتو، القصص متداخلة لا يتم سردها مرة واØد، يعني موق٠من سنة 1978ØŒ موق٠من سنة 1991ØŒ موق٠من سنة 1951ØŒ وهكذا
بعد منتص٠الرواية عرÙت الكاتبة بتعمل ايه، وعرÙت عبقرية هذا العمل، وطبعا كان قرار الخمس نجوم واجب، بتØكي قصة ثلاثة أجيال عشان تورينا الأØداث اللي مرت ÙÙŠ خلال أربعين عاماً وأدت إن مراهق ÙÙŠ السادسة عشر من عمره يقوم بقتل والدته، ÙÙŠ نهاية الرواية هتتعاط٠مع العائلة كلها، وهتÙهم ايه اللي Øصل عشان الولد يعمل كدة
رواية مؤثرة، خلتني وأنا بقرأ أبص لبنتي ذات العام والنص٠وأقول أنا أموت Ø£Øسن من إن أنا أخرب الأسرة الصغيرة اللي أنا أنشأتها، عشان الأخطاء لا تموت، بتعيش مع الجيل اللي بعدينا وبعد بعدينا كمان.
لو قارنا هذا العمل بعمل الكاتبة الأشهر "قواعد العشق الأربعون" هنقول إن قواعد العشق ممتع أكثر، بس هذه الرواية، هتعيش معاك أكتر بكتير وهتأثر Ùيك أكتر بكتير
April 11, 2024
Има книги, от които боли, книги, за които знаеш, че ще разбиÑÑ‚ Ñърцето ти на парчета но въпреки това ги четеш Ñ Ð¾Ð³Ñ€Ð¾Ð¼Ð½Ð¾ удоволÑтвие и Ð½Ð°ÐºÑ€Ð°Ñ Ñе влюбваш в иÑториÑта и героите. Обичам “ЧеÑÑ‚â€� на Елиф Шафак от първата до поÑледната Ñтраница и знам, че дълго ще Ñ Ð¿Ð¾Ð¼Ð½Ñ. Ðай-любимата ми нейна книга, а и не Ñамо 💞
Много ми е трудно да разкажа за романа, защото не ми Ñе иÑка да издавам повече от Ñпоменатото в анотациÑта. Семейна иÑториÑ, коÑто ни води през нÑколко поколениÑ, държави и родоÑловието на една фамилиÑ. Шафак ни Ð¿Ð¾Ñ‚Ð°Ð¿Ñ Ð² тайните, Ñпомените и травмите на главните ни герои по един невероÑтен и умел начин. Стилът е лек и поетичен. Ðз бÑÑ… Ñ Ñ‚ÑÑ… и до Ñ‚ÑÑ… през цÑлото време. Ð’ кюрдÑкото Ñело до река Ефрат Ñ ÐŸÐµÐ¼Ð±Ðµ и Джамила, в изоÑтавената къща в Хакни, Лондон Ñ Ð®Ð½ÑƒÑ Ð¸ Тобико, в ИÑтанбул Ñ Ðдем и за малко в Ð‘ÑŠÐ»Ð³Ð°Ñ€Ð¸Ñ Ñ Ð Ð¾ÐºÑана. Въпреки, че Ñюжета преÑкача през различни времеви периоди и гледните точки на различните герои, които Ñе менÑÑ‚ буквално вÑÑка Ñледваща глава, в мен нито за миг нÑмаше объркване и чуденка къде Ñъм и кой разказва в момента.
Както винаги ролÑта и образа на майката в книгата Ñилно ме развълнува, впечатли, притеÑни, тормози и дори уплаши. Феноменална Шафак!!!
“МайкÐ� ми ÑƒÐ¼Ñ€Ñ Ð´Ð²Ð° пъти.â€� - нÑма такова първо изречениеâ€�
“МайкитÐ� не отиват на небето, Ñлед като умрат. Получават Ñпециално разрешение от Бог да пооÑтанат още малко и да наглеждат децата Ñи, каквото и да Ñе е Ñлучило между Ñ‚ÑÑ… през ÐºÑ€Ð°Ñ‚ÐºÐ¸Ñ Ð¸Ð¼ земен живот.â€�
“Предполагам, че това ÑъперничеÑтво между роднините нÑма край. Ðадпреварвате Ñе за любовта на родителите дори, когато Ñ‚ÑÑ… вече ги нÑма.â€�
Много ми е трудно да разкажа за романа, защото не ми Ñе иÑка да издавам повече от Ñпоменатото в анотациÑта. Семейна иÑториÑ, коÑто ни води през нÑколко поколениÑ, държави и родоÑловието на една фамилиÑ. Шафак ни Ð¿Ð¾Ñ‚Ð°Ð¿Ñ Ð² тайните, Ñпомените и травмите на главните ни герои по един невероÑтен и умел начин. Стилът е лек и поетичен. Ðз бÑÑ… Ñ Ñ‚ÑÑ… и до Ñ‚ÑÑ… през цÑлото време. Ð’ кюрдÑкото Ñело до река Ефрат Ñ ÐŸÐµÐ¼Ð±Ðµ и Джамила, в изоÑтавената къща в Хакни, Лондон Ñ Ð®Ð½ÑƒÑ Ð¸ Тобико, в ИÑтанбул Ñ Ðдем и за малко в Ð‘ÑŠÐ»Ð³Ð°Ñ€Ð¸Ñ Ñ Ð Ð¾ÐºÑана. Въпреки, че Ñюжета преÑкача през различни времеви периоди и гледните точки на различните герои, които Ñе менÑÑ‚ буквално вÑÑка Ñледваща глава, в мен нито за миг нÑмаше объркване и чуденка къде Ñъм и кой разказва в момента.
Както винаги ролÑта и образа на майката в книгата Ñилно ме развълнува, впечатли, притеÑни, тормози и дори уплаши. Феноменална Шафак!!!
“МайкÐ� ми ÑƒÐ¼Ñ€Ñ Ð´Ð²Ð° пъти.â€� - нÑма такова първо изречениеâ€�
“МайкитÐ� не отиват на небето, Ñлед като умрат. Получават Ñпециално разрешение от Бог да пооÑтанат още малко и да наглеждат децата Ñи, каквото и да Ñе е Ñлучило между Ñ‚ÑÑ… през ÐºÑ€Ð°Ñ‚ÐºÐ¸Ñ Ð¸Ð¼ земен живот.â€�
“Предполагам, че това ÑъперничеÑтво между роднините нÑма край. Ðадпреварвате Ñе за любовта на родителите дори, когато Ñ‚ÑÑ… вече ги нÑма.â€�
December 3, 2016
Un roman care m-a atras de la primele pagini.
April 8, 2024
Ðапълно заÑлужени ПЕТ звезди за тази книга.
Ето така Ñъм Ñи предÑтавÑла Ñрещата Ñи Ñ Ð¨Ð°Ñ„Ð°Ðº, когато Ñъм чела „Любовâ€� и „КопелетÐ� на ИÑтанбулâ€�, Ñ ÐºÐ¾Ð¸Ñ‚Ð¾, уви, не Ñе хареÑахме напълно. Има-нÑма деÑет години по-къÑно иÑториÑта в „ЧеÑÑ‚â€� беше вÑичко онова, което очаквах â€� емоционална, разтърÑваща, ÑÑŠÑипваща и оÑтавÑща много въпроÑи Ñлед Ñебе Ñи. Ð¡ÑŠÑ ÑигурноÑÑ‚ Ñъдбата на тези герои ще Ñе наÑтани задълго в главата ми. Така и Ñ‚Ñ€Ñбва да бъде.
Ето така Ñъм Ñи предÑтавÑла Ñрещата Ñи Ñ Ð¨Ð°Ñ„Ð°Ðº, когато Ñъм чела „Любовâ€� и „КопелетÐ� на ИÑтанбулâ€�, Ñ ÐºÐ¾Ð¸Ñ‚Ð¾, уви, не Ñе хареÑахме напълно. Има-нÑма деÑет години по-къÑно иÑториÑта в „ЧеÑÑ‚â€� беше вÑичко онова, което очаквах â€� емоционална, разтърÑваща, ÑÑŠÑипваща и оÑтавÑща много въпроÑи Ñлед Ñебе Ñи. Ð¡ÑŠÑ ÑигурноÑÑ‚ Ñъдбата на тези герои ще Ñе наÑтани задълго в главата ми. Така и Ñ‚Ñ€Ñбва да бъде.
September 20, 2024
A heartbreaking saga of a family torn apart by resentment, misunderstanding, and the fragile interpretation of honor. Lyrical and reflective, this novel explores the bittersweet immigrant experience, the pains of leaving one home to create another, the balancing of tradition and assimilation, and the nuances of cultural expectations and expressions. It is a look into the ways that withheld truths both save and damn us, how our freedoms are almost never without cost, and how the things meant to empower us can be used as a means of harm when in the wrong hands. It is a devastating look at misguided youth, of aching hearts, of intentions and actions, of sisterly love and of sacrificing one happiness for the chance at another. Gripping, and full of the dire choices many women must make everyday, Honor is a stunning account of a life lived with great pain, but great love as well.
March 6, 2013
Disclaimer: I read this as an ARC via Netgalley. Thank you, Penguin.
Good literature, a good story, stirs something in you besides emotion. This is because we, humans, learn though stories. Whether it is though the fables of Aesop or the narrative that the nightly news uses, stories are an integral part of your life. A good story, or to be more exact, a good presentation of story makes the listener or reader think, to move outside of herself, to move beyond the habit and culture that she knows. A good story tries to explain the unexplainable.
This is what Honour by Elif Shafak does.
At first glance, the book seems to be along the lines of Brick Lane - a story of two sisters, Pembe and Jamila � one of whom immigrants to London where she meets her eventual fate at the hands of her son. At second glance, the book looks like a fictional story about an honor killing in the United Kingdom. Both glances are right and both are wrong.
In many ways this book is similar to Brick Lane, though Pembe is not depressed and the story is more active, and it is about an honor killing. Yet the book’s main focus is honor, but honor beyond that of the idea of honor that leads to what critics call “so called honor� murder. It is honor that sets the story in motion, long before the birth of Pembe, Jamila, or Pembe’s children Iskender, Esma, or Yunus. It is an old honor code that effects the lives of Pembe, and her husband Adem, and not the type of honor you are thinking of as you read this.
The narrative is told though shifting viewpoints, covering most of the family members, and this choice puts the reader in a unique, and perhaps, disconcerting place. In her book about honor killings, Rana Husseini relates her encounters with the men in the families who sanctioned the killings of their female relatives or those men who killed the women. She wanted to understand or at least come close to an explanation of for the action. That is in part what Shafak does here. By using multiple viewpoints, by having the reader know a crucial outcome of the story, Shafak is able to get the reader to see what drove Iskender to the murder. The reader may not like Iskender but the reader does not feel hate towards him. In part because the reader can see the forces that move him � the racism in society, the displacement, the lack of a father figure, the choosing of someone to replace that figure, the rejection by family - that lead to the action. The reader can also see what saves his two siblings from making the same choices or reacting the same way. The society that is liberating for some can cause others to fail, fall, and crash if a safety net is not there.
I confess that I was somewhat surprised to see the viewpoint of Iskender but in many ways, his viewpoint is central to the novel. The first thing it does is stop the book from being like the movie of the week or the sensationalism that some news stories use. It goes deep, and the reader not only recoils in horror but also sorrows with pity and anger. There is a desire for change in the novel � change at every level not just in the family but in both types of societies � the Kurdish region of Turkey that Pembe and Jamila come from and the society of England that Pembe lives in. The sisters are let down by both even as other members of the family are supported by both.
Shafak’s style not only invokes the settings of her novels, but she captures characters well, engages the reader without preaching to the reader. There is intensity in the writing, but there is also a story telling quality to it. In many ways, it feels like the reader is sitting with Shafak at table, on which sits sesame halva and tea.
Good literature, a good story, stirs something in you besides emotion. This is because we, humans, learn though stories. Whether it is though the fables of Aesop or the narrative that the nightly news uses, stories are an integral part of your life. A good story, or to be more exact, a good presentation of story makes the listener or reader think, to move outside of herself, to move beyond the habit and culture that she knows. A good story tries to explain the unexplainable.
This is what Honour by Elif Shafak does.
At first glance, the book seems to be along the lines of Brick Lane - a story of two sisters, Pembe and Jamila � one of whom immigrants to London where she meets her eventual fate at the hands of her son. At second glance, the book looks like a fictional story about an honor killing in the United Kingdom. Both glances are right and both are wrong.
In many ways this book is similar to Brick Lane, though Pembe is not depressed and the story is more active, and it is about an honor killing. Yet the book’s main focus is honor, but honor beyond that of the idea of honor that leads to what critics call “so called honor� murder. It is honor that sets the story in motion, long before the birth of Pembe, Jamila, or Pembe’s children Iskender, Esma, or Yunus. It is an old honor code that effects the lives of Pembe, and her husband Adem, and not the type of honor you are thinking of as you read this.
The narrative is told though shifting viewpoints, covering most of the family members, and this choice puts the reader in a unique, and perhaps, disconcerting place. In her book about honor killings, Rana Husseini relates her encounters with the men in the families who sanctioned the killings of their female relatives or those men who killed the women. She wanted to understand or at least come close to an explanation of for the action. That is in part what Shafak does here. By using multiple viewpoints, by having the reader know a crucial outcome of the story, Shafak is able to get the reader to see what drove Iskender to the murder. The reader may not like Iskender but the reader does not feel hate towards him. In part because the reader can see the forces that move him � the racism in society, the displacement, the lack of a father figure, the choosing of someone to replace that figure, the rejection by family - that lead to the action. The reader can also see what saves his two siblings from making the same choices or reacting the same way. The society that is liberating for some can cause others to fail, fall, and crash if a safety net is not there.
I confess that I was somewhat surprised to see the viewpoint of Iskender but in many ways, his viewpoint is central to the novel. The first thing it does is stop the book from being like the movie of the week or the sensationalism that some news stories use. It goes deep, and the reader not only recoils in horror but also sorrows with pity and anger. There is a desire for change in the novel � change at every level not just in the family but in both types of societies � the Kurdish region of Turkey that Pembe and Jamila come from and the society of England that Pembe lives in. The sisters are let down by both even as other members of the family are supported by both.
Shafak’s style not only invokes the settings of her novels, but she captures characters well, engages the reader without preaching to the reader. There is intensity in the writing, but there is also a story telling quality to it. In many ways, it feels like the reader is sitting with Shafak at table, on which sits sesame halva and tea.
Read
May 30, 2020A book I read a while ago and which I remembered when I saw an altercation between a couple.
"Honor" - begins with a murder : a son stabs his mother, for that he suspects her of adultery, and for that he thinks it his duty to defend the honor of the family.
It is the last gesture, which explodes the consequences of a set of values, in which men are born for honor, and women - for shame.
It is something that happens in traditionalist Muslim communities, including immigrant communities.
The story is built from several perspectives - one of the killer son, imprisoned in the '90, but will continue with that of his sister, Esme, who wants to write about their family, especially the mother, and to preserve them somehow, his presence.
The third angle is offered by the narrator's gaze, which has acces to the past of the other characters.
By resorting to flashbacks, the narrator brings to the book stories that talk about traditionalist mentalities, and about how they conflict with individual needs, and freedom of choice.
Elif Shafak describes a complicated model of existence, in which immigrants from a culture with rigid norms - experience a culture shock, in the loan country, but they find themselves appreciating certain values and freedoms guaranteed here.
It is a book that credibly problematizes life situations, that in the extreme - lead to death.
A world where women have a bitter slice, whatever the context.
A distinction that will operate for three generation, one that begins to be erased by the voice of Esme - the writer-sister, who denounces the injustice of such stereotypes.
"Honor" - begins with a murder : a son stabs his mother, for that he suspects her of adultery, and for that he thinks it his duty to defend the honor of the family.
It is the last gesture, which explodes the consequences of a set of values, in which men are born for honor, and women - for shame.
It is something that happens in traditionalist Muslim communities, including immigrant communities.
The story is built from several perspectives - one of the killer son, imprisoned in the '90, but will continue with that of his sister, Esme, who wants to write about their family, especially the mother, and to preserve them somehow, his presence.
The third angle is offered by the narrator's gaze, which has acces to the past of the other characters.
By resorting to flashbacks, the narrator brings to the book stories that talk about traditionalist mentalities, and about how they conflict with individual needs, and freedom of choice.
Elif Shafak describes a complicated model of existence, in which immigrants from a culture with rigid norms - experience a culture shock, in the loan country, but they find themselves appreciating certain values and freedoms guaranteed here.
It is a book that credibly problematizes life situations, that in the extreme - lead to death.
A world where women have a bitter slice, whatever the context.
A distinction that will operate for three generation, one that begins to be erased by the voice of Esme - the writer-sister, who denounces the injustice of such stereotypes.
August 25, 2012
I feel mean giving this book such a low rating but while it deals with the difficult subject matter with sensitivity and empathy it just has too many similarities with the two best-known British novels dealing with the immigrant experience: Zadie Smith's White Teeth and Monica Ali's Brick Lane. The divided sisters motif in Brick Lane is reproduced here, and the central Iskander character is uncomfortably close to Smith's Millat - while his brother Yunus is almost a copy of the same novel's Josh, a naive kid with a crush on a punk chick. Shafak's attempts to write a polyvocal novel flounder against an inability to maintain a consistent style for each character, and there is a serious clash of tones between a kind of magical realism which is more in the style of Hawthorne than Garcia Marquez, and the broad, almost parodic treatment of the squatters, and Iskander's almost buffoonish spiritual mentor - amongst others. This worked in Smith's Dickensian sprawl of a novel, but it doesn't fit with the serious tone of the rest of the book. Like Ali's Brick Lane, the denoument is unrealistically redemptive, leaving little to linger in the mind after reading.
Shafak's real strength is in domestic settings and intimate relationships: I would certainly read another novel that played to these, but 'Honour' feels like old ingredients in a new sauce.
Shafak's real strength is in domestic settings and intimate relationships: I would certainly read another novel that played to these, but 'Honour' feels like old ingredients in a new sauce.
September 30, 2017
«مادرم دو بار مرد»ÌýاثرÌýالیÙÌýشاÙاک.
داستانی درمورد زنان Ùˆ مردانیه Ú©Ù‡ به خاطر طرز Ùکر های سنتی خانواده هاشون سبک زندگیشون تغییر میکنه Ùˆ تمام زندگیشون تØت تاثیر Ù…Ùاهیمی مثل شراÙت، ناموس ØŒ غیرت Ùˆ ... قرار میگیره. Ú©Ù„ داستان بر Ù…Øوریت قتل مادر خانواده به دست پسر بزرگش Ùˆ به اتهام زیر سوال بردن شراÙت خانواده بیان میشه. داستان زندگی چند نسل از این خانواده Ùˆ تباه شدن زندگی هاشون به خاطر Ù…Ùاهیم غلط رایج در جامعه Ø´Ø±Ø Ø¯Ø§Ø¯Ù‡ میشه. عشق هایی Ú©Ù‡ درون سینه دÙÙ† میشن، زندگی هایی Ú©Ù‡ بالاجبار ادامه پیدا Ù…ÛŒ کنن، خیانت، دخترانی Ú©Ù‡ سرنوشتی جز نابودی ندارن، پسرانی Ú©Ù‡ به خاطر نقش های غلطی Ú©Ù‡ جامعه بهشون القا میکنه به تباهی کشیده میشن Ùˆ ...
بنظرم کتاب خیلی خیلی زیبایی بود. برای دومین بار اثری از الی٠شاÙاک خوندم Ùˆ تØسینش کردم. کتاب Ú†Ù‡ از Ù„Øاظ Ù…Øتوا Ùˆ موضوع Ùˆ Ú†Ù‡ از Ù„Øاظ قلم Ùˆ شیوه ÛŒ نوشتار به شدت زیباست.. Ùˆ توی این کتاب شباهت خیلی زیادی بین Ùرهنگ سنتی Øاکم بر ترکیه Ùˆ Ùرهنگ سنتی ایران پیدا Ù…ÛŒ کنید..
داستانی درمورد زنان Ùˆ مردانیه Ú©Ù‡ به خاطر طرز Ùکر های سنتی خانواده هاشون سبک زندگیشون تغییر میکنه Ùˆ تمام زندگیشون تØت تاثیر Ù…Ùاهیمی مثل شراÙت، ناموس ØŒ غیرت Ùˆ ... قرار میگیره. Ú©Ù„ داستان بر Ù…Øوریت قتل مادر خانواده به دست پسر بزرگش Ùˆ به اتهام زیر سوال بردن شراÙت خانواده بیان میشه. داستان زندگی چند نسل از این خانواده Ùˆ تباه شدن زندگی هاشون به خاطر Ù…Ùاهیم غلط رایج در جامعه Ø´Ø±Ø Ø¯Ø§Ø¯Ù‡ میشه. عشق هایی Ú©Ù‡ درون سینه دÙÙ† میشن، زندگی هایی Ú©Ù‡ بالاجبار ادامه پیدا Ù…ÛŒ کنن، خیانت، دخترانی Ú©Ù‡ سرنوشتی جز نابودی ندارن، پسرانی Ú©Ù‡ به خاطر نقش های غلطی Ú©Ù‡ جامعه بهشون القا میکنه به تباهی کشیده میشن Ùˆ ...
بنظرم کتاب خیلی خیلی زیبایی بود. برای دومین بار اثری از الی٠شاÙاک خوندم Ùˆ تØسینش کردم. کتاب Ú†Ù‡ از Ù„Øاظ Ù…Øتوا Ùˆ موضوع Ùˆ Ú†Ù‡ از Ù„Øاظ قلم Ùˆ شیوه ÛŒ نوشتار به شدت زیباست.. Ùˆ توی این کتاب شباهت خیلی زیادی بین Ùرهنگ سنتی Øاکم بر ترکیه Ùˆ Ùرهنگ سنتی ایران پیدا Ù…ÛŒ کنید..
February 18, 2019
"Inima omului e ca soba. Producem căldură, facem energie, în fiecare zi. Dar când acuzăm pe alții, când spunem lucruri cumplite, energia dinăuntru se duce în altă parte. Inima se răcește.
E întotdeauna mai bine să privești înăuntru. Lasă-i pe ceilalți să-și poarte singuri de grijă. Fiecare amărăciune e bagaj greu. De ce să-l cari? Ești un balon cu aer cald. Spune-mi unde vrei să mergi în sus sau în jos? Lasă în urmă furia, durerea, lasă sacii să cadă.
Cand deveneai prima oara tata, iti inchipuiai copilul ca pe o prelungire a ta. Te umplea de mandrie, de un sentiment de implinire si inradacinare, pana ajungeai sa-ti dai seama, incetul cu incetul, ca un copil era propria lui creatie. Nu se abatea de la destinul lui, oricat de mult ti-ai fi dorit, l-ai fi indemnat sau l-ai fi silit sa mearga pe urmele tale."
E întotdeauna mai bine să privești înăuntru. Lasă-i pe ceilalți să-și poarte singuri de grijă. Fiecare amărăciune e bagaj greu. De ce să-l cari? Ești un balon cu aer cald. Spune-mi unde vrei să mergi în sus sau în jos? Lasă în urmă furia, durerea, lasă sacii să cadă.
Cand deveneai prima oara tata, iti inchipuiai copilul ca pe o prelungire a ta. Te umplea de mandrie, de un sentiment de implinire si inradacinare, pana ajungeai sa-ti dai seama, incetul cu incetul, ca un copil era propria lui creatie. Nu se abatea de la destinul lui, oricat de mult ti-ai fi dorit, l-ai fi indemnat sau l-ai fi silit sa mearga pe urmele tale."
May 4, 2022
"Mothers don’t go to heaven when they die. They get special permission from God to stay around a bit longer and watch over their children, no matter what has passed between them in their brief mortal lives."
March 3, 2025
What an amazing experience! Shafak is able to create a world that is somehow both personal and epic. Her talent is on full display as she is able to craft a storyline that travels across place and time. Whether it is a Kurdish village, a London tenement or an English jail cell, Shafak transforms the reader to that location. Seemingly contradictory, her prose is equal parts florid and ironclad, yet is allowed to breathe to create its own inimitable style. This is a novel to be savored, to be consumed and alas I even failed to take notes. It is probably just as well as if I wrote down all of the things that left an impression I would have taken a year to finish it.
The story begins in a small Kurdish town. After giving birth too many daughters (I think 7), a family is desperate for a son. The mother is instead met with twin daughters, Pembe and Jamila. Through a quirk of fate, a young man Adem enters their village during a wedding ceremony. Though infatuated with Jamila, he has Pembe pawned on him. Due to an unfortunate incident in her youth, Jamila has essentially been forced into a life of spinsterhood. The arrangement between Adem and Pembe produces three children: Iskender, Esma and Yunus, though the marriage itself is devoid of love.
As Adem and Pembe's marriage continues to fall apart, their children are all taken different paths. Iskender is a natural leader, with bravado and a penchant to stir things up. Esma is an avuncular idealist who wants to impact the world. Yunus is an old soul who is on a different wavelength than most of the world. While, all their kids are exploring their places in the world, Adem and Pembe are exploring new relationships. Adem develops a gambling habit and has an affair with an exotic dancer. Pembe starts a celibate though budding romance with an older man who is a famous chef.
In the classic double standard, it is the relationship between Pembe and the chef and not Adem's more torrid dalliance that leads to the tragic event that forever changes the lives of the novel. This sad fate fractures a family. It is the exploration of what it means to have honor that forms the crux of this book. The central question of what constitutes something being honorable or dishonorable and if it is worth the pain and suffering that comes with completing the act.
The magnificent scope and the tying together all of the elements in a sensible manner is what I will most take from this work. This work is so varied that classes could be taught on not only the writing techniques and storytelling elements but also the divide between the East and West. Like most immigrant stories, the characters are trying to inhabit multiple worlds where pratfalls are bound to occur. The justices and injustices of the worlds are constantly colliding and dangers are up ahead. In a less capable authors' hands this story could have been boughed down with irrelevant details or maladroit tendencies. Shafak is able to elevate both the story and prose into a masterpiece.
The story begins in a small Kurdish town. After giving birth too many daughters (I think 7), a family is desperate for a son. The mother is instead met with twin daughters, Pembe and Jamila. Through a quirk of fate, a young man Adem enters their village during a wedding ceremony. Though infatuated with Jamila, he has Pembe pawned on him. Due to an unfortunate incident in her youth, Jamila has essentially been forced into a life of spinsterhood. The arrangement between Adem and Pembe produces three children: Iskender, Esma and Yunus, though the marriage itself is devoid of love.
As Adem and Pembe's marriage continues to fall apart, their children are all taken different paths. Iskender is a natural leader, with bravado and a penchant to stir things up. Esma is an avuncular idealist who wants to impact the world. Yunus is an old soul who is on a different wavelength than most of the world. While, all their kids are exploring their places in the world, Adem and Pembe are exploring new relationships. Adem develops a gambling habit and has an affair with an exotic dancer. Pembe starts a celibate though budding romance with an older man who is a famous chef.
In the classic double standard, it is the relationship between Pembe and the chef and not Adem's more torrid dalliance that leads to the tragic event that forever changes the lives of the novel. This sad fate fractures a family. It is the exploration of what it means to have honor that forms the crux of this book. The central question of what constitutes something being honorable or dishonorable and if it is worth the pain and suffering that comes with completing the act.
The magnificent scope and the tying together all of the elements in a sensible manner is what I will most take from this work. This work is so varied that classes could be taught on not only the writing techniques and storytelling elements but also the divide between the East and West. Like most immigrant stories, the characters are trying to inhabit multiple worlds where pratfalls are bound to occur. The justices and injustices of the worlds are constantly colliding and dangers are up ahead. In a less capable authors' hands this story could have been boughed down with irrelevant details or maladroit tendencies. Shafak is able to elevate both the story and prose into a masterpiece.
November 25, 2022
This novel deals with a Kurdish family who emigrates to London and their challenges to integrate into a brand new culture.
Though Iskender grows up in the English culture and becomes a young, handsome man who loves listening to the Bee Gees with his English girlfriend, he will not be able to escape the deeply rooted family traditions and obligations as a man to ‘save the honor�.
And dear me (!) have I been shocked by this guy´s actions for the sake of "saving the honor"!
You broke my heart, Iskender!! 💔💔💔ðŸ˜
Though Iskender grows up in the English culture and becomes a young, handsome man who loves listening to the Bee Gees with his English girlfriend, he will not be able to escape the deeply rooted family traditions and obligations as a man to ‘save the honor�.
And dear me (!) have I been shocked by this guy´s actions for the sake of "saving the honor"!
You broke my heart, Iskender!! 💔💔💔ðŸ˜
June 10, 2021
A beautiful, gut-wrenching, multi-generational tale of love and honour that revolves around family values, deeply inscribed cultural misconceptions, dilemma and suffering.
The majority of the story is told through the perspectives of Pembe, her identical twin sister Jamila, her children Iskender, Esma and Yunus, her husband Adem and her lover Elias. While primarily the book deals with the subject of honour killings, it is much more than that. It talks of how culture defines us and the things we do today are a result of inter-generational learning and suppression.
is a natural storyteller and excels in building realistic characters - it was difficult not to feel compassion for even the most flawed of them. Her vivid storytelling helps you establish an instant connection with them and feel their deepest emotions.
Shafak also brings our focus to issues like racism, immigration crisis, sexism and substance abuse. Despite the seriousness of these topics, Shafak deals with them in an easygoing manner without making it triggering for the readers. Honestly, I'm upset that I only discovered Shafak now when she has been writing for years. I will definitely be adding more of her works to my TBR.
4 beautiful 🌟 for this beauty!
TW: Racism, Domestic Violence, Suicide, Death and Substance Abuse.
The majority of the story is told through the perspectives of Pembe, her identical twin sister Jamila, her children Iskender, Esma and Yunus, her husband Adem and her lover Elias. While primarily the book deals with the subject of honour killings, it is much more than that. It talks of how culture defines us and the things we do today are a result of inter-generational learning and suppression.
is a natural storyteller and excels in building realistic characters - it was difficult not to feel compassion for even the most flawed of them. Her vivid storytelling helps you establish an instant connection with them and feel their deepest emotions.
Shafak also brings our focus to issues like racism, immigration crisis, sexism and substance abuse. Despite the seriousness of these topics, Shafak deals with them in an easygoing manner without making it triggering for the readers. Honestly, I'm upset that I only discovered Shafak now when she has been writing for years. I will definitely be adding more of her works to my TBR.
4 beautiful 🌟 for this beauty!
TW: Racism, Domestic Violence, Suicide, Death and Substance Abuse.
March 18, 2021
ეს იცით, რáƒáƒ’áƒáƒ ი წიგნიáƒ?
áƒáƒ˜ წáƒáƒ მáƒáƒ˜áƒ“გინეთ, რáƒáƒ� ხáƒáƒ თ თურქეთში, áƒáƒ¦áƒáƒœáƒ� áƒáƒ áƒ� სტáƒáƒ›áƒ‘ულშáƒ� áƒáƒœ ეგეთ გáƒáƒžáƒ იáƒáƒšáƒ”ბუáƒ� ტურისტულ ქáƒáƒšáƒáƒ¥áƒ¨áƒ�. სáƒáƒ“მáƒ� უფრრსიღრმეში: სáƒáƒ¥áƒáƒ იáƒáƒ¨áƒ�, áƒáƒ“áƒáƒžáƒáƒ–áƒáƒ ში, áƒáƒ დუში áƒáƒœ სáƒáƒ“მáƒ� სხვრსუფთáƒ� თურქულ მშვიáƒ� ქáƒáƒšáƒáƒ¥áƒ¨áƒ�, რáƒáƒ›áƒ”ლიáƒ� დáƒáƒ®áƒ£áƒœáƒ«áƒšáƒ£áƒšáƒ˜áƒ� ტრáƒáƒ“იციებიáƒ�, თქმულებებიáƒ�, გვáƒáƒ ებით, შთáƒáƒ›áƒáƒ›áƒáƒ•áƒšáƒáƒ‘ებიáƒ�, áƒáƒ áƒáƒ›áƒáƒ¢áƒ”ბით, გემáƒáƒ”ბით, შეხედულებებიáƒ�, ცრურწმენებითáƒ� დრძáƒáƒšáƒ˜áƒáƒœ გემრიელი ჩáƒáƒ˜áƒ—. ჰáƒáƒ“áƒ, ჩáƒáƒ›áƒáƒ¯áƒ”ქიáƒ� სáƒáƒ“მáƒ� áƒáƒ“გილáƒáƒ‘რივ ჩáƒáƒ˜áƒ®áƒáƒœáƒáƒ¨áƒ�, ენის ქვეშ დáƒáƒ˜áƒ“ეთ შáƒáƒ¥áƒáƒ ყინულáƒ� დრმიáƒáƒ§áƒáƒšáƒ”თ ყველáƒáƒ–áƒ� გემრიელი ჩáƒáƒ� დედáƒáƒ›áƒ˜áƒ¬áƒáƒ–ე. áƒáƒ¦áƒáƒœáƒ� გáƒáƒ®áƒ¡áƒáƒ•áƒ“ეáƒ�, რáƒáƒ� შáƒáƒ¥áƒáƒ ყინულáƒ� ჩáƒáƒ˜áƒ¡ ბáƒáƒšáƒ ყლუპáƒáƒ›áƒ“ე უნდრგეყáƒáƒ� დრის უნდრგáƒáƒ›áƒáƒ˜áƒ–áƒáƒ’áƒáƒ—. áƒáƒ˜ áƒáƒ¡áƒ”თáƒ� წიგნირელიფ შáƒáƒ¤áƒáƒ¥áƒ˜áƒ� “ღირსებáƒáƒªâ€�, რáƒáƒ›áƒ”ლიáƒ� უნდრგáƒáƒ›áƒáƒ˜áƒ–áƒáƒ’áƒáƒ— დრნეáƒ�-ნელრდáƒáƒáƒ’ემáƒáƒ•áƒœáƒáƒ�.
“ღირსებáƒâ€� ძáƒáƒšáƒ˜áƒáƒœ სწრáƒáƒ¤áƒáƒ� გáƒáƒ¥áƒ áƒ� წიგნების მáƒáƒ¦áƒáƒ–იების თáƒáƒ áƒáƒ”ბიდáƒáƒœ დრდიდი პáƒáƒžáƒ£áƒšáƒáƒ áƒáƒ‘იáƒ� სáƒáƒ გებლáƒáƒ‘ს სáƒáƒ¥áƒáƒ თველáƒáƒ¨áƒ˜. ეს áƒáƒšáƒ‘áƒáƒ� იმის დáƒáƒ›áƒ¡áƒáƒ®áƒ£áƒ ებáƒáƒ, რáƒáƒ� ქáƒáƒ თველები მენტáƒáƒšáƒ£áƒ სიáƒáƒ®áƒšáƒáƒ•áƒ”áƒ� გრძნáƒáƒ‘ენ წიგნის ზáƒáƒ’იერáƒ� პერსáƒáƒœáƒáƒŸáƒ—áƒáƒ�. ღირსებáƒáƒ¡áƒ—áƒáƒ� დáƒáƒ›áƒáƒ™áƒ˜áƒ“ებულებáƒáƒ¨áƒ˜ რáƒáƒ¦áƒáƒ� მსგáƒáƒ•áƒ¡áƒ”ბáƒáƒ¡ ხედáƒáƒ•áƒ”áƒ�. ჩემი áƒáƒ–რიáƒ�, კი შáƒáƒ¤áƒáƒ¥áƒ˜ ზუსტáƒáƒ“ იმ მáƒáƒœáƒ™áƒ˜áƒ”áƒ� მენტáƒáƒšáƒáƒ‘áƒáƒ¡ კიცხáƒáƒ•áƒ�, რáƒáƒ›áƒ”ლთáƒáƒœáƒáƒª თვითიდენტიფიცირებáƒáƒ� áƒáƒ®áƒ“ენეáƒ� ქáƒáƒ თველები.
წიგნის სიუჟეტáƒ� ვითáƒáƒ დებáƒ� სáƒáƒ¤áƒ”ლშáƒ�, მდინáƒáƒ áƒ� ევფრáƒáƒ¢áƒ˜áƒ¡ პირáƒáƒ� დრლáƒáƒœáƒ“áƒáƒœáƒ¨áƒ˜ ქურთáƒ�-თურქáƒ� ტყუპáƒ� დებიáƒ� გáƒáƒ შემáƒ�. ტყუპáƒ� დებიáƒ� ცხáƒáƒ•áƒ ებრდრბედისწერáƒ� მáƒáƒ’იურáƒáƒ“ áƒáƒ ის ერთმáƒáƒœáƒ”თში გáƒáƒ“áƒáƒ®áƒšáƒáƒ თული. მáƒáƒ—ი ცხáƒáƒ•áƒ ებáƒ, მიუხედáƒáƒ•áƒáƒ“ იმისáƒ�, თუ სáƒáƒ� ცხáƒáƒ•áƒ áƒáƒ‘ეáƒ�, სáƒáƒ•áƒ¡áƒ”რტრáƒáƒ’იზმიáƒ� დრბედისწერის გáƒáƒ დáƒáƒ£áƒ•áƒšáƒáƒ‘ით. მáƒáƒ—ი გზებáƒ� იყáƒáƒ¤áƒ�, სხვáƒáƒ“áƒáƒ¡áƒ®áƒ•áƒ ქვეყáƒáƒœáƒáƒ¨áƒ� ცხáƒáƒ•áƒ áƒáƒ‘ეáƒ�, მáƒáƒ’რáƒáƒ› მáƒáƒ—ი ბედისწერáƒ� იáƒáƒ¢áƒ˜áƒ¡áƒáƒ“ენáƒáƒ“áƒáƒ� áƒáƒ შáƒáƒ დებáƒ� ერთმáƒáƒœáƒ”თáƒ�. მე მიყვáƒáƒ áƒ� წიგნებáƒ�, სáƒáƒ“áƒáƒ� ბედისწერáƒ� ცáƒáƒšáƒ™áƒ� პერსáƒáƒœáƒáƒŸáƒ˜áƒ•áƒ˜áƒ—áƒáƒ გáƒáƒ›áƒáƒ§áƒáƒ¤áƒ˜áƒšáƒ˜, რáƒáƒ›áƒ”ლიáƒ� თითქáƒáƒ¡ იმდენáƒáƒ� მყáƒáƒ ირდრცáƒáƒªáƒ®áƒáƒšáƒ�, რáƒáƒ� ხელსáƒáƒª შეáƒáƒ®áƒ”ბ. მთელáƒ� წიგნáƒ� სáƒáƒ•áƒ¡áƒ”რმáƒáƒ’იურáƒáƒ‘ით, სáƒáƒ“áƒáƒ� ყველáƒ� დიდი თუ პáƒáƒ¢áƒáƒ რმáƒáƒ•áƒšáƒ”ნáƒ�, გáƒáƒ“áƒáƒ¬áƒ§áƒ•áƒ”ტილებáƒ, ნáƒáƒ‘იჯი, სიტყვრიწვევს სხვრმáƒáƒ•áƒšáƒ”ნებáƒ� დრგáƒáƒ“áƒáƒ¬áƒ§áƒ•áƒ”ტილებებს. სáƒáƒ“áƒáƒ� ყველáƒ� შედეგი მáƒáƒ¥áƒ›áƒ”დáƒ� გმირების გáƒáƒ“áƒáƒ“გმული ნáƒáƒ‘იჯებიáƒ� ბრáƒáƒšáƒ˜áƒ. ხშირáƒáƒ“ კი ეს ნáƒáƒ‘იჯები áƒáƒ—áƒáƒ‘ით წლის წიáƒ� იქნრგáƒáƒ“áƒáƒ“გმულიâ€�
მენტáƒáƒšáƒ£áƒ áƒ� პრáƒáƒ‘ლემáƒ, რáƒáƒ›áƒ”ლიáƒ� წიგნში დგáƒáƒ¡, ძáƒáƒšáƒ˜áƒáƒœ áƒáƒ¥áƒ¢áƒ£áƒáƒšáƒ£áƒ ირჩვენთვისáƒáƒª. áƒáƒ სებáƒáƒ‘ს კულტურებáƒ�, სáƒáƒ“áƒáƒ� ღირსებáƒ� თითქáƒáƒ¡ ქáƒáƒšáƒ˜áƒ� სხეულშირჩáƒáƒ“ებული, გეგáƒáƒœáƒ”ბრქáƒáƒšáƒ˜ ღირსების მáƒáƒ¢áƒáƒ ებელი áƒáƒ£áƒ áƒáƒ”ლáƒ� იყáƒáƒ¡. რრთქმრუნდáƒ, მსგáƒáƒ•áƒ¡áƒ� დáƒáƒ›áƒáƒ™áƒ˜áƒ“ებულებრუცხáƒáƒ� დáƒáƒ¡áƒáƒ•áƒšáƒ”თის ქვეყნებისáƒáƒ—ვის დრწესიáƒ� უცხრუნდრიყáƒáƒ¡ ჩვენთვისáƒáƒª. წესიáƒ�.. მáƒáƒ’რáƒáƒ› სáƒáƒ›áƒ¬áƒ£áƒ®áƒáƒ áƒáƒ“, ისევáƒ� რáƒáƒ’áƒáƒ ც ისლáƒáƒ›áƒ£áƒ� კულტურებში, ჩვენთáƒáƒœáƒáƒ� ქáƒáƒšáƒ˜áƒ� პáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘áƒ� სხვáƒáƒ� დრკáƒáƒªáƒ˜áƒ� â€� სხვáƒ. სწáƒáƒ ედ ეს დისბáƒáƒšáƒáƒœáƒ¡áƒ˜ პáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘ებში áƒáƒ ის ბილეთი გენდერულáƒ� უთáƒáƒœáƒáƒ¡áƒ¬áƒáƒ áƒáƒ‘ისáƒáƒ™áƒ”áƒ�. áƒáƒ შეიძლებáƒ, ქáƒáƒšáƒ¡ მეტი áƒáƒ™áƒ ძáƒáƒšáƒ•áƒ”ბი ჰქáƒáƒœáƒ“ეáƒ� დრკáƒáƒªáƒ¡ â€� ნáƒáƒ™áƒšáƒ”ბáƒ�. áƒáƒ შეიძლებáƒ, ქáƒáƒšáƒ˜ იყáƒáƒ¡ ღირსების მáƒáƒ¢áƒáƒ ებელი áƒáƒ£áƒ áƒáƒ”ლáƒ� დრკáƒáƒªáƒ˜áƒ� ღირსებáƒ� იყáƒáƒ¡ ცáƒáƒšáƒ˜áƒ� áƒáƒœ ქáƒáƒšáƒ˜áƒ¨áƒ•áƒ˜áƒšáƒ˜áƒ¡ ქცევáƒ�. áƒáƒ› დრáƒáƒ¡ კი კáƒáƒªáƒ˜ იყáƒáƒ¡ ცáƒáƒšáƒ˜áƒ� მáƒáƒ¦áƒáƒšáƒáƒ¢áƒ”, ლáƒáƒ—ი, უსáƒáƒ¥áƒ›áƒ£áƒ ი, მáƒáƒ’რáƒáƒ› მáƒáƒ˜áƒœáƒ� ღირსების მქáƒáƒœáƒ�. ეს áƒáƒ áƒáƒ¡áƒ¬áƒáƒ იáƒ�. áƒáƒ შეიძლებáƒ, áƒáƒ“áƒáƒ›áƒ˜áƒáƒœáƒ”ბი áƒáƒªáƒ®áƒáƒ•áƒ áƒ� áƒáƒ™áƒ ძáƒáƒšáƒ•áƒ”ბშáƒ�, მხáƒáƒšáƒáƒ“ იმიტáƒáƒ›, რáƒáƒ� შეáƒ� რáƒáƒ¦áƒáƒ� áƒáƒ®áƒ˜áƒ ებულáƒ� წáƒáƒ მáƒáƒ“გენები გáƒáƒ¥áƒ•áƒ� “ღირსებáƒáƒ–ეâ€�.
áƒáƒ› წიგნის ყველáƒ� პერსáƒáƒœáƒáƒŸáƒ� თáƒáƒ•áƒ˜áƒ¡áƒ”ბური შეხედულებრáƒáƒ¥áƒ•áƒ¡ ღირსებáƒáƒ¡áƒ� დრდáƒáƒœáƒáƒ¨áƒáƒ£áƒšáƒ–ე. შáƒáƒ¤áƒáƒ¥áƒ˜áƒ� წიგნში áƒáƒ áƒáƒ სებáƒáƒ‘ეáƒ� უბრáƒáƒšáƒáƒ� დáƒáƒ“ებითი დრუáƒáƒ ყáƒáƒ¤áƒ˜áƒ—áƒ� პერსáƒáƒœáƒáƒŸáƒ”ბáƒ�. áƒáƒ¥ დეტáƒáƒšáƒ£áƒ áƒáƒ�, ნáƒáƒ‘იáƒ�-ნáƒáƒ‘იáƒ� áƒáƒ ის áƒáƒ¦áƒ¬áƒ”რილი ყველáƒ� მáƒáƒ•áƒšáƒ”ნáƒ�, რáƒáƒ›áƒ”ლმáƒáƒª სáƒáƒ•áƒáƒšáƒáƒšáƒ შედეგიáƒ� დáƒáƒ“გáƒáƒ›áƒáƒ›áƒ“ე მიგვიყვáƒáƒœáƒ. ეს áƒáƒ áƒáƒ ის გáƒáƒ›áƒáƒ თლებრვიღáƒáƒªáƒ˜áƒ� ცუდი ნáƒáƒ‘იჯიáƒ� â€� ეს áƒáƒ ის გზáƒ�, რáƒáƒ›áƒ”ლმáƒáƒª რáƒáƒ“იკáƒáƒšáƒ£áƒ� გáƒáƒ“áƒáƒ¬áƒ§áƒ”ტილებáƒáƒ›áƒ“ე მიიყვáƒáƒœáƒ ესáƒ� თუ ის პერსáƒáƒœáƒáƒŸáƒ�. ეს ის გზáƒáƒ, რáƒáƒ›áƒ”ლსáƒáƒª ჩვენáƒ� გáƒáƒ•áƒ“ივáƒáƒ áƒ� ყáƒáƒ•áƒ”ლდღიურáƒáƒ“. დრისევáƒ� რáƒáƒ’áƒáƒ ც ჩვენ, ეს გმირებიც უშვებეáƒ� შეცდáƒáƒ›áƒ”ბáƒ�. შáƒáƒ¤áƒáƒ¥áƒ˜ კი უბრáƒáƒšáƒáƒ� გვáƒáƒœáƒáƒ®áƒ”ბáƒ� გზáƒáƒ¡, რáƒáƒ›áƒšáƒ˜áƒ¡ ბáƒáƒšáƒáƒ¨áƒ˜áƒ� ესáƒ� თუ ის შედეგი დგებáƒ�. წიგნáƒ� დეტáƒáƒšáƒ£áƒ áƒáƒ� გვიხსნის ტრáƒáƒ“იციებსáƒ� დრმáƒáƒ—დáƒáƒ›áƒ� დáƒáƒ›áƒáƒ™áƒ˜áƒ“ებულებáƒáƒ�, გვáƒáƒ©áƒ•áƒ”ნებს áƒáƒ› კáƒáƒœáƒ™áƒ ეტული კულტურის ნიუáƒáƒœáƒ¡áƒ”ბáƒ�. მიუხედáƒáƒ•áƒáƒ“ იმისáƒ�, რáƒáƒ� ისინáƒ� ლáƒáƒœáƒ“áƒáƒœáƒ¨áƒ˜ გáƒáƒ“áƒáƒ“იáƒáƒœ სáƒáƒªáƒ®áƒáƒ•áƒ ებლáƒáƒ“, ისინáƒ� მáƒáƒ˜áƒœáƒ� ქურთáƒ�-თურქებáƒ� áƒáƒ იáƒáƒ�. გáƒáƒ დáƒ� ღირსების სáƒáƒ™áƒ˜áƒ—ხებსáƒ, áƒáƒ› წიგნში ძáƒáƒšáƒ˜áƒáƒœ კáƒáƒ გáƒáƒ“ áƒáƒ ის ნáƒáƒ©áƒ•áƒ”ნებáƒ� მენტáƒáƒšáƒ£áƒ áƒ� სხვáƒáƒáƒ‘áƒ� თáƒáƒáƒ‘ებáƒ� შáƒáƒ იáƒ�. კáƒáƒ გáƒáƒ“ ჩáƒáƒœáƒ¡, რáƒáƒ� მშáƒáƒ‘ლებიáƒ� თáƒáƒáƒ‘áƒ�, თáƒáƒ•áƒ˜áƒ� გáƒáƒ შემáƒ� ცდილáƒáƒ‘áƒ� ნáƒáƒáƒ£áƒáƒ˜ áƒáƒáƒ¨áƒ”ნáƒáƒ�, სáƒáƒ“áƒáƒ� თáƒáƒ•áƒ˜áƒ� კულტურáƒáƒ¨áƒ�, თáƒáƒ•áƒ˜áƒ� ტრáƒáƒ“იციებშáƒ� იცხáƒáƒ•áƒ ებáƒ�, იმ დრáƒáƒ¡ რáƒáƒªáƒ áƒáƒ®áƒáƒšáƒ’áƒáƒ–რდები, სწრáƒáƒ¤áƒáƒ� იცვლიáƒáƒ� შეხედულებებს დრერგებიáƒáƒœ áƒáƒ®áƒáƒš გáƒáƒ ემáƒáƒ� დრáƒáƒ®áƒáƒš რეáƒáƒšáƒáƒ‘ებáƒ�. მáƒáƒ’რáƒáƒ› რრხდებáƒ� მáƒáƒ¨áƒ˜áƒ�, რáƒáƒ“ესáƒáƒ� ხáƒáƒ� áƒáƒ®áƒáƒšáƒ’áƒáƒ–რდáƒ, áƒáƒ®áƒáƒš რეáƒáƒšáƒáƒ‘áƒáƒ¡áƒáƒª ეგუები, ცხáƒáƒ•áƒ áƒáƒ� ლáƒáƒœáƒ“áƒáƒœáƒ¨áƒ˜, გყáƒáƒ•áƒ� ინგლისელáƒ� შეყვáƒáƒ ებულáƒ�, ხáƒáƒ� ბáƒáƒ¥áƒ¡áƒ˜áƒáƒ ი დრმáƒáƒ˜áƒœáƒ� შენი შეხედულებები “ქáƒáƒšáƒ˜áƒ¡â€� დრ“áƒáƒ¯áƒáƒ®áƒ˜áƒ¡â€� “ღირსებáƒáƒ–ეâ€� ისევ მდინáƒáƒ áƒ� ევფრáƒáƒ¢áƒ˜áƒ¡ პირáƒáƒ� მდებáƒáƒ áƒ� სáƒáƒ¤áƒšáƒ˜áƒ¡ სირღმიდáƒáƒ� მáƒáƒ“იáƒ�? “ისინი გáƒáƒ”ქცნენ სáƒáƒ›áƒ¨áƒáƒ‘ლáƒáƒ�, სáƒáƒ™áƒ£áƒ—áƒáƒ� თáƒáƒ•áƒ¡ კი â€� ვერáƒâ€�, ვერც სáƒáƒ™áƒ£áƒ—áƒáƒ� კულტურáƒáƒ¡.
ეს წიგნáƒ� რáƒáƒ›áƒ“ენიმáƒ� áƒáƒ¯áƒáƒ®áƒ˜áƒ¡ áƒáƒ›áƒ‘áƒáƒ•áƒ¡ გვიყვებáƒ, რáƒáƒ›áƒáƒ“ენიმე თáƒáƒáƒ‘ის დიáƒ� თáƒáƒ•áƒ’áƒáƒ“áƒáƒ¡áƒáƒ•áƒáƒšáƒ�. ევფრáƒáƒ¢áƒ˜áƒ¡ პირáƒáƒ� მყáƒáƒ¤ სáƒáƒ¤áƒ”ლსáƒ� დრლáƒáƒœáƒ“áƒáƒœáƒ˜áƒ¡ წვიმიáƒáƒ� áƒáƒ›áƒ˜áƒœáƒ“ებშáƒ� ტრიáƒáƒšáƒ“ებáƒ� დრáƒáƒ›áƒ�, სáƒáƒ“áƒáƒ� მáƒáƒ›áƒ®áƒ“áƒáƒ შáƒ� ყველáƒ� დáƒáƒ›áƒœáƒáƒ¨áƒáƒ•áƒ”რდრყველáƒ� â€� მსხვერპლáƒ�. ეს áƒáƒ¡áƒ”ვáƒ� áƒáƒ ის წიგნáƒ� პáƒáƒ¢áƒáƒ რსáƒáƒ˜áƒ“უმლáƒáƒ”ბზე, რáƒáƒ›áƒ”ლსáƒáƒª ერთმáƒáƒœáƒ”თáƒ� ვეáƒ� ვუმხელáƒ�, რáƒáƒ›áƒ”ლზეც ერთმáƒáƒœáƒ”თáƒ� ვეáƒ� ველáƒáƒžáƒáƒ áƒáƒ™áƒ”ბიáƒ�, რáƒáƒ›áƒšáƒ˜áƒ¡ გáƒáƒ›áƒ®áƒ”ლáƒáƒ¡áƒáƒª ვეáƒ� ვბედáƒáƒ•áƒ�. პáƒáƒ¢áƒáƒ რსáƒáƒ˜áƒ“უმლáƒáƒ”ბზე, რáƒáƒ›áƒ”ლიáƒ� დღითიდღე დიდდებáƒ�, ბევრდებრმáƒáƒœáƒáƒ�, სáƒáƒœáƒáƒ� ზვáƒáƒ•áƒ˜áƒ•áƒ˜áƒ— áƒáƒ წáƒáƒšáƒ”კáƒáƒ•áƒ¡ ყველáƒáƒ¤áƒ”რáƒ� გáƒáƒ შემáƒ�, სáƒáƒœáƒáƒ� მეწყერის მსგáƒáƒ•áƒ¡áƒáƒ“ სáƒáƒ›áƒ£áƒ“áƒáƒ›áƒáƒ� áƒáƒ შეცვლიáƒ� ჩვენáƒ� ცხáƒáƒ•áƒ ებიáƒ� ლáƒáƒœáƒ“შáƒáƒ¤áƒ¢áƒ�.
მე მგáƒáƒœáƒ�, სჯáƒáƒ‘áƒ�, რáƒáƒ� ყველáƒáƒ› ჩვენáƒ� ღირსებáƒáƒ¡áƒ� დრჩვენáƒ� ქცევებáƒ� მივხედáƒáƒ—. ჩვენáƒ� ღირსების პáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘áƒ� ჩვენ ვáƒáƒ¢áƒáƒ áƒáƒ� დრჩვენáƒ� დებს, დედებს, ცáƒáƒšáƒ”ბს ვáƒáƒªáƒáƒ“áƒáƒ� ცხáƒáƒ•áƒ ებáƒ, ვáƒáƒªáƒáƒ“áƒáƒ� ბედნიერებáƒ, ვცეთ პáƒáƒ¢áƒ˜áƒ•áƒ˜ დრსáƒáƒ™áƒ£áƒ—áƒáƒ ი წილი ღირსებáƒ� დრპáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘áƒ� თვითáƒáƒœ áƒáƒ¢áƒáƒ áƒáƒœ წელშáƒ� გáƒáƒ›áƒáƒ თულებმრდრთáƒáƒ•áƒ˜áƒ¡áƒ£áƒ¤áƒšáƒ”ბმáƒ.
ყველáƒáƒ–áƒ� ლáƒáƒ›áƒáƒ–ი ქáƒáƒšáƒ˜ დáƒáƒ›áƒáƒ£áƒ™áƒ˜áƒ“ებელáƒ� დრბედნიერი ქáƒáƒšáƒ˜áƒ�.
ყველáƒáƒ–áƒ� ძლიერი áƒáƒ¯áƒáƒ®áƒ� კი ის áƒáƒ¯áƒáƒ®áƒ˜áƒ, სáƒáƒ“áƒáƒ� ერთმáƒáƒœáƒ”თისგáƒáƒ� სáƒáƒ˜áƒ“უმლáƒáƒ”ბáƒ� áƒáƒ áƒáƒ¥áƒ•áƒ— დáƒáƒ›áƒáƒšáƒ£áƒšáƒ˜.
მე თუ მკითხáƒáƒ•áƒ—, “ღირსებáƒâ€� Must Read წიგნიáƒ!
áƒáƒ˜ წáƒáƒ მáƒáƒ˜áƒ“გინეთ, რáƒáƒ� ხáƒáƒ თ თურქეთში, áƒáƒ¦áƒáƒœáƒ� áƒáƒ áƒ� სტáƒáƒ›áƒ‘ულშáƒ� áƒáƒœ ეგეთ გáƒáƒžáƒ იáƒáƒšáƒ”ბუáƒ� ტურისტულ ქáƒáƒšáƒáƒ¥áƒ¨áƒ�. სáƒáƒ“მáƒ� უფრრსიღრმეში: სáƒáƒ¥áƒáƒ იáƒáƒ¨áƒ�, áƒáƒ“áƒáƒžáƒáƒ–áƒáƒ ში, áƒáƒ დუში áƒáƒœ სáƒáƒ“მáƒ� სხვრსუფთáƒ� თურქულ მშვიáƒ� ქáƒáƒšáƒáƒ¥áƒ¨áƒ�, რáƒáƒ›áƒ”ლიáƒ� დáƒáƒ®áƒ£áƒœáƒ«áƒšáƒ£áƒšáƒ˜áƒ� ტრáƒáƒ“იციებიáƒ�, თქმულებებიáƒ�, გვáƒáƒ ებით, შთáƒáƒ›áƒáƒ›áƒáƒ•áƒšáƒáƒ‘ებიáƒ�, áƒáƒ áƒáƒ›áƒáƒ¢áƒ”ბით, გემáƒáƒ”ბით, შეხედულებებიáƒ�, ცრურწმენებითáƒ� დრძáƒáƒšáƒ˜áƒáƒœ გემრიელი ჩáƒáƒ˜áƒ—. ჰáƒáƒ“áƒ, ჩáƒáƒ›áƒáƒ¯áƒ”ქიáƒ� სáƒáƒ“მáƒ� áƒáƒ“გილáƒáƒ‘რივ ჩáƒáƒ˜áƒ®áƒáƒœáƒáƒ¨áƒ�, ენის ქვეშ დáƒáƒ˜áƒ“ეთ შáƒáƒ¥áƒáƒ ყინულáƒ� დრმიáƒáƒ§áƒáƒšáƒ”თ ყველáƒáƒ–áƒ� გემრიელი ჩáƒáƒ� დედáƒáƒ›áƒ˜áƒ¬áƒáƒ–ე. áƒáƒ¦áƒáƒœáƒ� გáƒáƒ®áƒ¡áƒáƒ•áƒ“ეáƒ�, რáƒáƒ� შáƒáƒ¥áƒáƒ ყინულáƒ� ჩáƒáƒ˜áƒ¡ ბáƒáƒšáƒ ყლუპáƒáƒ›áƒ“ე უნდრგეყáƒáƒ� დრის უნდრგáƒáƒ›áƒáƒ˜áƒ–áƒáƒ’áƒáƒ—. áƒáƒ˜ áƒáƒ¡áƒ”თáƒ� წიგნირელიფ შáƒáƒ¤áƒáƒ¥áƒ˜áƒ� “ღირსებáƒáƒªâ€�, რáƒáƒ›áƒ”ლიáƒ� უნდრგáƒáƒ›áƒáƒ˜áƒ–áƒáƒ’áƒáƒ— დრნეáƒ�-ნელრდáƒáƒáƒ’ემáƒáƒ•áƒœáƒáƒ�.
“ღირსებáƒâ€� ძáƒáƒšáƒ˜áƒáƒœ სწრáƒáƒ¤áƒáƒ� გáƒáƒ¥áƒ áƒ� წიგნების მáƒáƒ¦áƒáƒ–იების თáƒáƒ áƒáƒ”ბიდáƒáƒœ დრდიდი პáƒáƒžáƒ£áƒšáƒáƒ áƒáƒ‘იáƒ� სáƒáƒ გებლáƒáƒ‘ს სáƒáƒ¥áƒáƒ თველáƒáƒ¨áƒ˜. ეს áƒáƒšáƒ‘áƒáƒ� იმის დáƒáƒ›áƒ¡áƒáƒ®áƒ£áƒ ებáƒáƒ, რáƒáƒ� ქáƒáƒ თველები მენტáƒáƒšáƒ£áƒ სიáƒáƒ®áƒšáƒáƒ•áƒ”áƒ� გრძნáƒáƒ‘ენ წიგნის ზáƒáƒ’იერáƒ� პერსáƒáƒœáƒáƒŸáƒ—áƒáƒ�. ღირსებáƒáƒ¡áƒ—áƒáƒ� დáƒáƒ›áƒáƒ™áƒ˜áƒ“ებულებáƒáƒ¨áƒ˜ რáƒáƒ¦áƒáƒ� მსგáƒáƒ•áƒ¡áƒ”ბáƒáƒ¡ ხედáƒáƒ•áƒ”áƒ�. ჩემი áƒáƒ–რიáƒ�, კი შáƒáƒ¤áƒáƒ¥áƒ˜ ზუსტáƒáƒ“ იმ მáƒáƒœáƒ™áƒ˜áƒ”áƒ� მენტáƒáƒšáƒáƒ‘áƒáƒ¡ კიცხáƒáƒ•áƒ�, რáƒáƒ›áƒ”ლთáƒáƒœáƒáƒª თვითიდენტიფიცირებáƒáƒ� áƒáƒ®áƒ“ენეáƒ� ქáƒáƒ თველები.
წიგნის სიუჟეტáƒ� ვითáƒáƒ დებáƒ� სáƒáƒ¤áƒ”ლშáƒ�, მდინáƒáƒ áƒ� ევფრáƒáƒ¢áƒ˜áƒ¡ პირáƒáƒ� დრლáƒáƒœáƒ“áƒáƒœáƒ¨áƒ˜ ქურთáƒ�-თურქáƒ� ტყუპáƒ� დებიáƒ� გáƒáƒ შემáƒ�. ტყუპáƒ� დებიáƒ� ცხáƒáƒ•áƒ ებრდრბედისწერáƒ� მáƒáƒ’იურáƒáƒ“ áƒáƒ ის ერთმáƒáƒœáƒ”თში გáƒáƒ“áƒáƒ®áƒšáƒáƒ თული. მáƒáƒ—ი ცხáƒáƒ•áƒ ებáƒ, მიუხედáƒáƒ•áƒáƒ“ იმისáƒ�, თუ სáƒáƒ� ცხáƒáƒ•áƒ áƒáƒ‘ეáƒ�, სáƒáƒ•áƒ¡áƒ”რტრáƒáƒ’იზმიáƒ� დრბედისწერის გáƒáƒ დáƒáƒ£áƒ•áƒšáƒáƒ‘ით. მáƒáƒ—ი გზებáƒ� იყáƒáƒ¤áƒ�, სხვáƒáƒ“áƒáƒ¡áƒ®áƒ•áƒ ქვეყáƒáƒœáƒáƒ¨áƒ� ცხáƒáƒ•áƒ áƒáƒ‘ეáƒ�, მáƒáƒ’რáƒáƒ› მáƒáƒ—ი ბედისწერáƒ� იáƒáƒ¢áƒ˜áƒ¡áƒáƒ“ენáƒáƒ“áƒáƒ� áƒáƒ შáƒáƒ დებáƒ� ერთმáƒáƒœáƒ”თáƒ�. მე მიყვáƒáƒ áƒ� წიგნებáƒ�, სáƒáƒ“áƒáƒ� ბედისწერáƒ� ცáƒáƒšáƒ™áƒ� პერსáƒáƒœáƒáƒŸáƒ˜áƒ•áƒ˜áƒ—áƒáƒ გáƒáƒ›áƒáƒ§áƒáƒ¤áƒ˜áƒšáƒ˜, რáƒáƒ›áƒ”ლიáƒ� თითქáƒáƒ¡ იმდენáƒáƒ� მყáƒáƒ ირდრცáƒáƒªáƒ®áƒáƒšáƒ�, რáƒáƒ� ხელსáƒáƒª შეáƒáƒ®áƒ”ბ. მთელáƒ� წიგნáƒ� სáƒáƒ•áƒ¡áƒ”რმáƒáƒ’იურáƒáƒ‘ით, სáƒáƒ“áƒáƒ� ყველáƒ� დიდი თუ პáƒáƒ¢áƒáƒ რმáƒáƒ•áƒšáƒ”ნáƒ�, გáƒáƒ“áƒáƒ¬áƒ§áƒ•áƒ”ტილებáƒ, ნáƒáƒ‘იჯი, სიტყვრიწვევს სხვრმáƒáƒ•áƒšáƒ”ნებáƒ� დრგáƒáƒ“áƒáƒ¬áƒ§áƒ•áƒ”ტილებებს. სáƒáƒ“áƒáƒ� ყველáƒ� შედეგი მáƒáƒ¥áƒ›áƒ”დáƒ� გმირების გáƒáƒ“áƒáƒ“გმული ნáƒáƒ‘იჯებიáƒ� ბრáƒáƒšáƒ˜áƒ. ხშირáƒáƒ“ კი ეს ნáƒáƒ‘იჯები áƒáƒ—áƒáƒ‘ით წლის წიáƒ� იქნრგáƒáƒ“áƒáƒ“გმულიâ€�
მენტáƒáƒšáƒ£áƒ áƒ� პრáƒáƒ‘ლემáƒ, რáƒáƒ›áƒ”ლიáƒ� წიგნში დგáƒáƒ¡, ძáƒáƒšáƒ˜áƒáƒœ áƒáƒ¥áƒ¢áƒ£áƒáƒšáƒ£áƒ ირჩვენთვისáƒáƒª. áƒáƒ სებáƒáƒ‘ს კულტურებáƒ�, სáƒáƒ“áƒáƒ� ღირსებáƒ� თითქáƒáƒ¡ ქáƒáƒšáƒ˜áƒ� სხეულშირჩáƒáƒ“ებული, გეგáƒáƒœáƒ”ბრქáƒáƒšáƒ˜ ღირსების მáƒáƒ¢áƒáƒ ებელი áƒáƒ£áƒ áƒáƒ”ლáƒ� იყáƒáƒ¡. რრთქმრუნდáƒ, მსგáƒáƒ•áƒ¡áƒ� დáƒáƒ›áƒáƒ™áƒ˜áƒ“ებულებრუცხáƒáƒ� დáƒáƒ¡áƒáƒ•áƒšáƒ”თის ქვეყნებისáƒáƒ—ვის დრწესიáƒ� უცხრუნდრიყáƒáƒ¡ ჩვენთვისáƒáƒª. წესიáƒ�.. მáƒáƒ’რáƒáƒ› სáƒáƒ›áƒ¬áƒ£áƒ®áƒáƒ áƒáƒ“, ისევáƒ� რáƒáƒ’áƒáƒ ც ისლáƒáƒ›áƒ£áƒ� კულტურებში, ჩვენთáƒáƒœáƒáƒ� ქáƒáƒšáƒ˜áƒ� პáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘áƒ� სხვáƒáƒ� დრკáƒáƒªáƒ˜áƒ� â€� სხვáƒ. სწáƒáƒ ედ ეს დისბáƒáƒšáƒáƒœáƒ¡áƒ˜ პáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘ებში áƒáƒ ის ბილეთი გენდერულáƒ� უთáƒáƒœáƒáƒ¡áƒ¬áƒáƒ áƒáƒ‘ისáƒáƒ™áƒ”áƒ�. áƒáƒ შეიძლებáƒ, ქáƒáƒšáƒ¡ მეტი áƒáƒ™áƒ ძáƒáƒšáƒ•áƒ”ბი ჰქáƒáƒœáƒ“ეáƒ� დრკáƒáƒªáƒ¡ â€� ნáƒáƒ™áƒšáƒ”ბáƒ�. áƒáƒ შეიძლებáƒ, ქáƒáƒšáƒ˜ იყáƒáƒ¡ ღირსების მáƒáƒ¢áƒáƒ ებელი áƒáƒ£áƒ áƒáƒ”ლáƒ� დრკáƒáƒªáƒ˜áƒ� ღირსებáƒ� იყáƒáƒ¡ ცáƒáƒšáƒ˜áƒ� áƒáƒœ ქáƒáƒšáƒ˜áƒ¨áƒ•áƒ˜áƒšáƒ˜áƒ¡ ქცევáƒ�. áƒáƒ› დრáƒáƒ¡ კი კáƒáƒªáƒ˜ იყáƒáƒ¡ ცáƒáƒšáƒ˜áƒ� მáƒáƒ¦áƒáƒšáƒáƒ¢áƒ”, ლáƒáƒ—ი, უსáƒáƒ¥áƒ›áƒ£áƒ ი, მáƒáƒ’რáƒáƒ› მáƒáƒ˜áƒœáƒ� ღირსების მქáƒáƒœáƒ�. ეს áƒáƒ áƒáƒ¡áƒ¬áƒáƒ იáƒ�. áƒáƒ შეიძლებáƒ, áƒáƒ“áƒáƒ›áƒ˜áƒáƒœáƒ”ბი áƒáƒªáƒ®áƒáƒ•áƒ áƒ� áƒáƒ™áƒ ძáƒáƒšáƒ•áƒ”ბშáƒ�, მხáƒáƒšáƒáƒ“ იმიტáƒáƒ›, რáƒáƒ� შეáƒ� რáƒáƒ¦áƒáƒ� áƒáƒ®áƒ˜áƒ ებულáƒ� წáƒáƒ მáƒáƒ“გენები გáƒáƒ¥áƒ•áƒ� “ღირსებáƒáƒ–ეâ€�.
áƒáƒ› წიგნის ყველáƒ� პერსáƒáƒœáƒáƒŸáƒ� თáƒáƒ•áƒ˜áƒ¡áƒ”ბური შეხედულებრáƒáƒ¥áƒ•áƒ¡ ღირსებáƒáƒ¡áƒ� დრდáƒáƒœáƒáƒ¨áƒáƒ£áƒšáƒ–ე. შáƒáƒ¤áƒáƒ¥áƒ˜áƒ� წიგნში áƒáƒ áƒáƒ სებáƒáƒ‘ეáƒ� უბრáƒáƒšáƒáƒ� დáƒáƒ“ებითი დრუáƒáƒ ყáƒáƒ¤áƒ˜áƒ—áƒ� პერსáƒáƒœáƒáƒŸáƒ”ბáƒ�. áƒáƒ¥ დეტáƒáƒšáƒ£áƒ áƒáƒ�, ნáƒáƒ‘იáƒ�-ნáƒáƒ‘იáƒ� áƒáƒ ის áƒáƒ¦áƒ¬áƒ”რილი ყველáƒ� მáƒáƒ•áƒšáƒ”ნáƒ�, რáƒáƒ›áƒ”ლმáƒáƒª სáƒáƒ•áƒáƒšáƒáƒšáƒ შედეგიáƒ� დáƒáƒ“გáƒáƒ›áƒáƒ›áƒ“ე მიგვიყვáƒáƒœáƒ. ეს áƒáƒ áƒáƒ ის გáƒáƒ›áƒáƒ თლებრვიღáƒáƒªáƒ˜áƒ� ცუდი ნáƒáƒ‘იჯიáƒ� â€� ეს áƒáƒ ის გზáƒ�, რáƒáƒ›áƒ”ლმáƒáƒª რáƒáƒ“იკáƒáƒšáƒ£áƒ� გáƒáƒ“áƒáƒ¬áƒ§áƒ”ტილებáƒáƒ›áƒ“ე მიიყვáƒáƒœáƒ ესáƒ� თუ ის პერსáƒáƒœáƒáƒŸáƒ�. ეს ის გზáƒáƒ, რáƒáƒ›áƒ”ლსáƒáƒª ჩვენáƒ� გáƒáƒ•áƒ“ივáƒáƒ áƒ� ყáƒáƒ•áƒ”ლდღიურáƒáƒ“. დრისევáƒ� რáƒáƒ’áƒáƒ ც ჩვენ, ეს გმირებიც უშვებეáƒ� შეცდáƒáƒ›áƒ”ბáƒ�. შáƒáƒ¤áƒáƒ¥áƒ˜ კი უბრáƒáƒšáƒáƒ� გვáƒáƒœáƒáƒ®áƒ”ბáƒ� გზáƒáƒ¡, რáƒáƒ›áƒšáƒ˜áƒ¡ ბáƒáƒšáƒáƒ¨áƒ˜áƒ� ესáƒ� თუ ის შედეგი დგებáƒ�. წიგნáƒ� დეტáƒáƒšáƒ£áƒ áƒáƒ� გვიხსნის ტრáƒáƒ“იციებსáƒ� დრმáƒáƒ—დáƒáƒ›áƒ� დáƒáƒ›áƒáƒ™áƒ˜áƒ“ებულებáƒáƒ�, გვáƒáƒ©áƒ•áƒ”ნებს áƒáƒ› კáƒáƒœáƒ™áƒ ეტული კულტურის ნიუáƒáƒœáƒ¡áƒ”ბáƒ�. მიუხედáƒáƒ•áƒáƒ“ იმისáƒ�, რáƒáƒ� ისინáƒ� ლáƒáƒœáƒ“áƒáƒœáƒ¨áƒ˜ გáƒáƒ“áƒáƒ“იáƒáƒœ სáƒáƒªáƒ®áƒáƒ•áƒ ებლáƒáƒ“, ისინáƒ� მáƒáƒ˜áƒœáƒ� ქურთáƒ�-თურქებáƒ� áƒáƒ იáƒáƒ�. გáƒáƒ დáƒ� ღირსების სáƒáƒ™áƒ˜áƒ—ხებსáƒ, áƒáƒ› წიგნში ძáƒáƒšáƒ˜áƒáƒœ კáƒáƒ გáƒáƒ“ áƒáƒ ის ნáƒáƒ©áƒ•áƒ”ნებáƒ� მენტáƒáƒšáƒ£áƒ áƒ� სხვáƒáƒáƒ‘áƒ� თáƒáƒáƒ‘ებáƒ� შáƒáƒ იáƒ�. კáƒáƒ გáƒáƒ“ ჩáƒáƒœáƒ¡, რáƒáƒ� მშáƒáƒ‘ლებიáƒ� თáƒáƒáƒ‘áƒ�, თáƒáƒ•áƒ˜áƒ� გáƒáƒ შემáƒ� ცდილáƒáƒ‘áƒ� ნáƒáƒáƒ£áƒáƒ˜ áƒáƒáƒ¨áƒ”ნáƒáƒ�, სáƒáƒ“áƒáƒ� თáƒáƒ•áƒ˜áƒ� კულტურáƒáƒ¨áƒ�, თáƒáƒ•áƒ˜áƒ� ტრáƒáƒ“იციებშáƒ� იცხáƒáƒ•áƒ ებáƒ�, იმ დრáƒáƒ¡ რáƒáƒªáƒ áƒáƒ®áƒáƒšáƒ’áƒáƒ–რდები, სწრáƒáƒ¤áƒáƒ� იცვლიáƒáƒ� შეხედულებებს დრერგებიáƒáƒœ áƒáƒ®áƒáƒš გáƒáƒ ემáƒáƒ� დრáƒáƒ®áƒáƒš რეáƒáƒšáƒáƒ‘ებáƒ�. მáƒáƒ’რáƒáƒ› რრხდებáƒ� მáƒáƒ¨áƒ˜áƒ�, რáƒáƒ“ესáƒáƒ� ხáƒáƒ� áƒáƒ®áƒáƒšáƒ’áƒáƒ–რდáƒ, áƒáƒ®áƒáƒš რეáƒáƒšáƒáƒ‘áƒáƒ¡áƒáƒª ეგუები, ცხáƒáƒ•áƒ áƒáƒ� ლáƒáƒœáƒ“áƒáƒœáƒ¨áƒ˜, გყáƒáƒ•áƒ� ინგლისელáƒ� შეყვáƒáƒ ებულáƒ�, ხáƒáƒ� ბáƒáƒ¥áƒ¡áƒ˜áƒáƒ ი დრმáƒáƒ˜áƒœáƒ� შენი შეხედულებები “ქáƒáƒšáƒ˜áƒ¡â€� დრ“áƒáƒ¯áƒáƒ®áƒ˜áƒ¡â€� “ღირსებáƒáƒ–ეâ€� ისევ მდინáƒáƒ áƒ� ევფრáƒáƒ¢áƒ˜áƒ¡ პირáƒáƒ� მდებáƒáƒ áƒ� სáƒáƒ¤áƒšáƒ˜áƒ¡ სირღმიდáƒáƒ� მáƒáƒ“იáƒ�? “ისინი გáƒáƒ”ქცნენ სáƒáƒ›áƒ¨áƒáƒ‘ლáƒáƒ�, სáƒáƒ™áƒ£áƒ—áƒáƒ� თáƒáƒ•áƒ¡ კი â€� ვერáƒâ€�, ვერც სáƒáƒ™áƒ£áƒ—áƒáƒ� კულტურáƒáƒ¡.
ეს წიგნáƒ� რáƒáƒ›áƒ“ენიმáƒ� áƒáƒ¯áƒáƒ®áƒ˜áƒ¡ áƒáƒ›áƒ‘áƒáƒ•áƒ¡ გვიყვებáƒ, რáƒáƒ›áƒáƒ“ენიმე თáƒáƒáƒ‘ის დიáƒ� თáƒáƒ•áƒ’áƒáƒ“áƒáƒ¡áƒáƒ•áƒáƒšáƒ�. ევფრáƒáƒ¢áƒ˜áƒ¡ პირáƒáƒ� მყáƒáƒ¤ სáƒáƒ¤áƒ”ლსáƒ� დრლáƒáƒœáƒ“áƒáƒœáƒ˜áƒ¡ წვიმიáƒáƒ� áƒáƒ›áƒ˜áƒœáƒ“ებშáƒ� ტრიáƒáƒšáƒ“ებáƒ� დრáƒáƒ›áƒ�, სáƒáƒ“áƒáƒ� მáƒáƒ›áƒ®áƒ“áƒáƒ შáƒ� ყველáƒ� დáƒáƒ›áƒœáƒáƒ¨áƒáƒ•áƒ”რდრყველáƒ� â€� მსხვერპლáƒ�. ეს áƒáƒ¡áƒ”ვáƒ� áƒáƒ ის წიგნáƒ� პáƒáƒ¢áƒáƒ რსáƒáƒ˜áƒ“უმლáƒáƒ”ბზე, რáƒáƒ›áƒ”ლსáƒáƒª ერთმáƒáƒœáƒ”თáƒ� ვეáƒ� ვუმხელáƒ�, რáƒáƒ›áƒ”ლზეც ერთმáƒáƒœáƒ”თáƒ� ვეáƒ� ველáƒáƒžáƒáƒ áƒáƒ™áƒ”ბიáƒ�, რáƒáƒ›áƒšáƒ˜áƒ¡ გáƒáƒ›áƒ®áƒ”ლáƒáƒ¡áƒáƒª ვეáƒ� ვბედáƒáƒ•áƒ�. პáƒáƒ¢áƒáƒ რსáƒáƒ˜áƒ“უმლáƒáƒ”ბზე, რáƒáƒ›áƒ”ლიáƒ� დღითიდღე დიდდებáƒ�, ბევრდებრმáƒáƒœáƒáƒ�, სáƒáƒœáƒáƒ� ზვáƒáƒ•áƒ˜áƒ•áƒ˜áƒ— áƒáƒ წáƒáƒšáƒ”კáƒáƒ•áƒ¡ ყველáƒáƒ¤áƒ”რáƒ� გáƒáƒ შემáƒ�, სáƒáƒœáƒáƒ� მეწყერის მსგáƒáƒ•áƒ¡áƒáƒ“ სáƒáƒ›áƒ£áƒ“áƒáƒ›áƒáƒ� áƒáƒ შეცვლიáƒ� ჩვენáƒ� ცხáƒáƒ•áƒ ებიáƒ� ლáƒáƒœáƒ“შáƒáƒ¤áƒ¢áƒ�.
მე მგáƒáƒœáƒ�, სჯáƒáƒ‘áƒ�, რáƒáƒ� ყველáƒáƒ› ჩვენáƒ� ღირსებáƒáƒ¡áƒ� დრჩვენáƒ� ქცევებáƒ� მივხედáƒáƒ—. ჩვენáƒ� ღირსების პáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘áƒ� ჩვენ ვáƒáƒ¢áƒáƒ áƒáƒ� დრჩვენáƒ� დებს, დედებს, ცáƒáƒšáƒ”ბს ვáƒáƒªáƒáƒ“áƒáƒ� ცხáƒáƒ•áƒ ებáƒ, ვáƒáƒªáƒáƒ“áƒáƒ� ბედნიერებáƒ, ვცეთ პáƒáƒ¢áƒ˜áƒ•áƒ˜ დრსáƒáƒ™áƒ£áƒ—áƒáƒ ი წილი ღირსებáƒ� დრპáƒáƒ¡áƒ£áƒ®áƒ˜áƒ¡áƒ›áƒ’ებლáƒáƒ‘áƒ� თვითáƒáƒœ áƒáƒ¢áƒáƒ áƒáƒœ წელშáƒ� გáƒáƒ›áƒáƒ თულებმრდრთáƒáƒ•áƒ˜áƒ¡áƒ£áƒ¤áƒšáƒ”ბმáƒ.
ყველáƒáƒ–áƒ� ლáƒáƒ›áƒáƒ–ი ქáƒáƒšáƒ˜ დáƒáƒ›áƒáƒ£áƒ™áƒ˜áƒ“ებელáƒ� დრბედნიერი ქáƒáƒšáƒ˜áƒ�.
ყველáƒáƒ–áƒ� ძლიერი áƒáƒ¯áƒáƒ®áƒ� კი ის áƒáƒ¯áƒáƒ®áƒ˜áƒ, სáƒáƒ“áƒáƒ� ერთმáƒáƒœáƒ”თისგáƒáƒ� სáƒáƒ˜áƒ“უმლáƒáƒ”ბáƒ� áƒáƒ áƒáƒ¥áƒ•áƒ— დáƒáƒ›áƒáƒšáƒ£áƒšáƒ˜.
მე თუ მკითხáƒáƒ•áƒ—, “ღირსებáƒâ€� Must Read წიგნიáƒ!
July 9, 2024
یاشار کمال نویسندهٔ Ú©Ùرد می‌گویØ�:
� کشتن مادر خیلی سخت است.
هرکسی نمی‌توان� مادرش را بکشد
Ú©Ùشتن مادر خیلی دل می‌خواهØ�
باید یکی مثل رستم‌زا� باشد
یا یکی مثل کوراوغلو
یا آدمی مثل مصطÙÛŒ کمالâ€�
چندی پیش داستانی از یاشار کمال نویسنده Ú©Ùرد خواندم به نام «اگر مار را بکÙشند» Ú©Ù‡ در آن شخصیت اصلی «Øسن» مادرش را می‌کÙشدâ€�
داستانی Ú©Ù‡ اعتقادات Ùˆ سنت‌هاÛ� غلط جامعه‌Û� Ú©Ùرد-تÙرک را نشانâ€� می‌دهدâ€�
یاشار کمال به وجدان Ùˆ یا عدم وجدان Øسن«قاتل»می‌پردازدâ€�
در داستان یاشار کمال Ù…Øرک اصلی عموی Øسن Ùˆ مادربزرگشâ€� هستند Ú©Ù‡ اوâ€� را تشویق می‌کننØ� تا مادر را به قتل برساند؛
دلیل:
بخاطر آنکه شراÙت خانواده را ØÙظ کرده باشدâ€�
Øالا نویسنده تÙرک الی٠شاÙاک Ú©Ù‡ اوâ€� را بیشتر از بیشâ€� دوست‌دارÙ�.
*گویا از این داستان وام گرÙته Ùˆ داستان یک خانوده‌Û� تÙرک-Ú©Ùرد را روایت می‌کندâ€�
کتاب با این جمله شروع می‌شو�:
«مادرم دوبار Ù…Ùرد»
«اسکندر»پسر بزرگ پمبه، مادر را در *قلب اروپا با چاقو به قتل می‌رسان� چرا که مغز همان است که بود!
شاÙاک در این کتاب از زوال Ùˆ انØطاط ارزش‌هاÛ� یک خانواده‌Û� بزرگ به نام خانواده‌Û� «توپراک»تا Ùروپاشی کامل آن می‌گویدâ€�
از سنت‌هاÛ� ØÙ„ ناشدنی شرق در غرب می‌گویØ�!
کتاب شراÙت یا اÙتخار بØØ« جامعه‌اÛ� عقب اÙتاده است، Ú©Ù‡ به‌â€� جای تازیدن به سنت‌هاÛ� غلط، به آن«اÙتخار» می‌کندâ€�
� کشتن مادر خیلی سخت است.
هرکسی نمی‌توان� مادرش را بکشد
Ú©Ùشتن مادر خیلی دل می‌خواهØ�
باید یکی مثل رستم‌زا� باشد
یا یکی مثل کوراوغلو
یا آدمی مثل مصطÙÛŒ کمالâ€�
چندی پیش داستانی از یاشار کمال نویسنده Ú©Ùرد خواندم به نام «اگر مار را بکÙشند» Ú©Ù‡ در آن شخصیت اصلی «Øسن» مادرش را می‌کÙشدâ€�
داستانی Ú©Ù‡ اعتقادات Ùˆ سنت‌هاÛ� غلط جامعه‌Û� Ú©Ùرد-تÙرک را نشانâ€� می‌دهدâ€�
یاشار کمال به وجدان Ùˆ یا عدم وجدان Øسن«قاتل»می‌پردازدâ€�
در داستان یاشار کمال Ù…Øرک اصلی عموی Øسن Ùˆ مادربزرگشâ€� هستند Ú©Ù‡ اوâ€� را تشویق می‌کننØ� تا مادر را به قتل برساند؛
دلیل:
بخاطر آنکه شراÙت خانواده را ØÙظ کرده باشدâ€�
Øالا نویسنده تÙرک الی٠شاÙاک Ú©Ù‡ اوâ€� را بیشتر از بیشâ€� دوست‌دارÙ�.
*گویا از این داستان وام گرÙته Ùˆ داستان یک خانوده‌Û� تÙرک-Ú©Ùرد را روایت می‌کندâ€�
کتاب با این جمله شروع می‌شو�:
«مادرم دوبار Ù…Ùرد»
«اسکندر»پسر بزرگ پمبه، مادر را در *قلب اروپا با چاقو به قتل می‌رسان� چرا که مغز همان است که بود!
شاÙاک در این کتاب از زوال Ùˆ انØطاط ارزش‌هاÛ� یک خانواده‌Û� بزرگ به نام خانواده‌Û� «توپراک»تا Ùروپاشی کامل آن می‌گویدâ€�
از سنت‌هاÛ� ØÙ„ ناشدنی شرق در غرب می‌گویØ�!
کتاب شراÙت یا اÙتخار بØØ« جامعه‌اÛ� عقب اÙتاده است، Ú©Ù‡ به‌â€� جای تازیدن به سنت‌هاÛ� غلط، به آن«اÙتخار» می‌کندâ€�
April 1, 2024
Ðе знам колко Ñчупен Ñ‚Ñ€Ñбва да е един човек, за да измиÑли такава иÑториÑ. Признавам, че изпитвах огромен Ñтрах(и вÑе още го изпитвам), от книгите на Шафак. Чувал Ñъм много полюÑни мнениÑ, нооо ЧЕСТ ми разби Ñърцето ба милион чаÑтици и нÑкак Ñлед това уÑÐ¿Ñ Ð´Ð° го Ñъбере. Изключително Ñилна Ñемейна иÑториÑ, коÑто проÑто ме накара да Ñе Ð²Ð»ÑŽÐ±Ñ Ð² Ð½ÐµÑ Ð¿Ð¾ много извратен начинâ€�
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