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The Bastard of Istanbul
From one of Turkey鈥檚 most acclaimed and outspoken writers, a novel about the tangled histories of two families.
In her second novel written in English, Elif Shafak confronts her country鈥檚 violent past in a vivid and colorful tale set in both Turkey and the United States. At its center is the 鈥渂astard鈥� of the title, Asya, a nineteen-year-old woman who loves Johnny Cash and the French Existentialists, and the four sisters of the Kazanci family who all live together in an extended household in Istanbul: Zehila, the zestful, headstrong youngest sister who runs a tattoo parlor and is Asya鈥檚 mother; Banu, who has newly discovered herself as a clairvoyant; Cevriye, a widowed high school teacher; and Feride, a hypochondriac obsessed with impending disaster. Their one estranged brother lives in Arizona with his wife and her Armenian daughter, Armanoush. When Armanoush secretly flies to Istanbul in search of her identity, she finds the Kazanci sisters and becomes fast friends with Asya. A secret is uncovered that links the two families and ties them to the 1915 Armenian deportations and massacres. Full of vigorous, unforgettable female characters, The Bastard of Istanbul is a bold, powerful tale that will confirm Shafak as a rising star of international fiction.
In her second novel written in English, Elif Shafak confronts her country鈥檚 violent past in a vivid and colorful tale set in both Turkey and the United States. At its center is the 鈥渂astard鈥� of the title, Asya, a nineteen-year-old woman who loves Johnny Cash and the French Existentialists, and the four sisters of the Kazanci family who all live together in an extended household in Istanbul: Zehila, the zestful, headstrong youngest sister who runs a tattoo parlor and is Asya鈥檚 mother; Banu, who has newly discovered herself as a clairvoyant; Cevriye, a widowed high school teacher; and Feride, a hypochondriac obsessed with impending disaster. Their one estranged brother lives in Arizona with his wife and her Armenian daughter, Armanoush. When Armanoush secretly flies to Istanbul in search of her identity, she finds the Kazanci sisters and becomes fast friends with Asya. A secret is uncovered that links the two families and ties them to the 1915 Armenian deportations and massacres. Full of vigorous, unforgettable female characters, The Bastard of Istanbul is a bold, powerful tale that will confirm Shafak as a rising star of international fiction.
368 pages, Hardcover
First published March 1, 2006
4,772 people are currently reading
66.1k people want to read
About the author
Elif Shafak
66听books31.2k听followersElif 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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April 25, 2022
廿賳 賰賳鬲 兀毓噩亘鬲 亘賯賵丕毓丿 丕賱毓卮賯 賮賯胤 賱賳夭毓鬲賴丕 丕賱氐賵賮賷丞 賵毓亘賯賴丕 丕賱賲賲賷夭
賮乇亘賲丕 賱賳 鬲毓噩亘 亘賴匕賴 丕賱乇賵丕賷丞
兀賲丕 廿賳 賰賳鬲 賯丿 兀毓噩亘鬲 亘賲賴丕乇丞 廿賱賷賮 卮丕賮丕賯 賰乇賵丕卅賷丞 賮睾丕賱亘丕 爻鬲丨亘 賱賯賷胤丞 丕爻鬲賳亘賵賱 賰毓賲賱 乇賵丕卅賷 賮乇賷丿 賲賳 賳賵毓賴
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兀賳 鬲賯乇兀 賴匕賴 丕賱乇賵丕賷丞 賷毓賳賷 兀賳 鬲賯丿乇 毓丕卮賵乇丕亍 賰孬賷乇丕賸
亘賱 廿賳 胤亘賯賸丕 賲賳 丨賱賵賶 丕賱毓丕卮賵乇丞 賴賵 賲丕 賷氐賳毓 賴匕賴 丕賱乇賵丕賷丞鈥� 丕賱賲賲賷夭丞
丕賱賮氐賵賱 鬲購毓賳賿賵賻賳 亘賲賰賵賳丕鬲 賴匕丕 丕賱胤亘賯 丕賱卮賴賷
兀賲丕 丕賱卮賷賮 賮鬲賱毓亘 丿賵乇賴 廿賱賷賮 亘賲賴丕乇丞 胤亘丕禺丞 毓丕卮賯丞 賱賱賮賱爻賮丞
賱鬲賳鬲噩 賱賰 胤亘賯丕賸 賲賱丌賳 亘丨賰賲丞 噩丿賷丿丞 賲賳 賳賵毓賴丕
賮廿賱賷賮 氐丕丨亘丞 乇丐賷丞 禺丕氐丞 賱賱睾丕賷丞 賱丕 兀馗賳 兀丨丿賸丕 賷賳丕夭毓賴丕 賮賷賴丕
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丕爻鬲毓丿 亘賲賱毓賯鬲賰 丕賱氐睾賷乇丞 賮賷 賷丿賰
賵 賱賳亘丿兀 丕賱鬲匕賵賯 爻賵賷丕賸鈥�
*
*
*
*丨亘 丕賱乇賲丕賳*
=========
丨爻亘 乇賵丕賷丞 丕賱禺丕賱丞 亘丕賳賵 賮賯丿 丨丿孬鬲 噩賲賷毓 丕賱兀丨丿丕孬 丕賱賴丕賲丞 賮賷 鬲丕乇賷禺 丕賱毓丕賱賲 賮賷 賷賵賲 毓丕卮賵乇丕亍
賮賮賷 匕賱賰 丕賱賷賵賲 鬲賯亘賱 丕賱賱賴 鬲賵亘丞 丌丿賲
賵賮賷 匕賱賰 丕賱賷賵賲 禺乇噩 丕賱賳亘賷 賷賵賳爻 賲賳 亘胤賳 丕賱丨賵鬲
鈥� 賵 賮賷 匕賱賰 丕賱賷賵賲 丕賱鬲賯賷 丕賱乇賵賲賷 亘卮賲爻鈥�
賵氐毓丿 丕賱賲爻賷丨 廿賱賶 丕賱爻賲丕亍
賵兀賳夭賱 丕賱賱賴 丕賱賵氐丕賷丕 丕賱毓卮乇 毓賱賶 賲賵爻賶
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
*賮赌赌丕賳賷赌赌賱丕*
=========
丕賱禺賷丕賱 爻丨乇賹 丌爻乇賹 禺胤賷乇 賱賱匕賷賳 賷乇睾賲賵賳 毓賱賶 兀賳 賷賰賵賳賵丕 賵丕賯毓賷賷賳 賮賷 丕賱丨賷丕丞
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
賴匕賴 賴賷
賯氐丞 賱賯賷胤丞 丕爻鬲丕賳亘賵賱
鈥� 兀爻賷丕 丕賱毓丿賲賷丞 丕賱鬲賷 鬲鬲賰卮賮 賱賴丕 丕賱丨賷丕丞 賰兀爻賵兀 賲丕 鬲賰賵賳鈥�
賴匕賴 丕賱鬲賷 賷賯賵丿賴丕 賲氐賷乇賴丕 丕賱匕賷 兀氐亘丨鬲 鬲卮丕亘賴賴 兀賵 賷卮丕亘賴賴丕 廿賱賶 丕賰鬲卮丕賮丕鬲 匕丕鬲賷丞 賲孬賷乇丞 賵賲賮噩毓丞
丕賱鬲賷 鬲賯丕亘賱 丕賱丨賷丕丞 亘丕爻鬲賴夭丕亍 賮鬲賯丕亘賱賴丕 亘兀爻賵兀 賲賳賴
賵兀丨賷丕賳丕 鬲鬲爻丕亍賱
賲賳 丕賱匕賷 亘丿兀 賴匕丕 丕賱賯丿乇 丕賱毓噩賷亘 賲賳 丕賱爻禺乇賷丞责
賮賱賵 賰丕賳鬲 丕爻賷丕 賮賷 賵囟毓 賲禺鬲賱賮
賴賱 賰丕賳鬲 賱鬲賯丕亘賱 丕賱毓丕賱賲 亘鬲賯夭夭 賲噩丿丿丕责
兀賳丨賳 賰賵賳賳丕 兀賳賮爻賳丕 亘丨爻亘 丕賱賲鬲睾賷乇丕鬲 丨賵賱賳丕 兀賲 兀賳賳丕 賵賱丿賳丕 賲丐賴賱賷賳 鬲賲丕賲丕賸 賱賳氐亘丨 鈥徹百堌ж嗀� 丕賱鬲賷 賳丨賳 毓賱賷賴丕
责
*夭亘賷亘 兀氐賮乇*
=========
廿賱丕 兀賳 丕賱乇睾亘丞 賮賷 賴丿賲 氐乇丨 賵噩賵丿賴丕 賰丕賳鬲 賯丕亘毓丞 賮賷 丿丕禺賱賴丕
鬲鬲賱兀賱兀 亘乇賯丞 賮賷 毓賷賳賷賴丕
爻丨乇 鬲丿賲賷乇 丕賱匕丕鬲 丕賱噩賲賷賱 丕賱匕賷 賱丕 賷氐賷亘 爻賵賶 丕賱賲丨賳賰賷賳 兀賵 丕賱賲氐丕亘賷賳 亘丕賱賰丌亘丞
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
丕賱毓丿賲賷丞 鬲卮賰賱 噩夭亍丕賸 賱丕 賷爻鬲賴丕賳 亘賴 賲賳 丕賱乇賵丕賷丞
賮丕賱卮禺氐賷丞 丕賱乇卅賷爻賷丞 丕毓鬲賳賯鬲賴丕 賱賲賵丕噩賴丞
丕賱毓丕賱賲 賲賳 丨賵賱賴丕
賵丕賱噩賲賷賱 賴賳丕 兀賳 廿賱賷賮 亘賳賵丕夭毓賴丕 丕賱氐賵賮賷丞 丕賱賲毓乇賵賮丞 賱賲 鬲鬲毓丕賲賱 賲毓 丕賱毓丿賲賷丞 亘丕爻鬲賴夭丕亍 兀賵 亘噩賴賱 鈥�
亘賱 亘丕丨鬲乇丕賲 賵鬲賮賴賲 乇亘賲丕 賷賳亘毓 丨鬲賶 賲賳 鬲噩乇亘丞 卮禺氐賷丞
賮兀睾賱亘賳丕 賱丕 賷氐亘丨 氐賵賮賷丕賸 貙 毓丿賲賷丕賸 兀賵 賱丕 兀丿乇賷丕賸 賲孬賱丕賸 賲乇丞 賵丕丨丿丞
賮賯丿 賷賲乇 亘丕賱賲乇丕丨賱 噩賲毓賷賴丕 禺賱丕賱 鬲賮丕毓賱丕鬲賴 賲毓 丕賱丨賷丕丞
丕賱賮丕乇賯 賮賯胤 丕賷賳 亘丿兀 賵賰賷賮 丕賳鬲賴賶
*賲丕亍 丕賱賵乇丿*
=========
丕賱卮禺氐賷丕鬲 賲毓賯丿丞 賵爻亘乇 睾賵乇賴丕 賰賲丕 賷鬲賲 亘爻賱丕爻丞 賳丕毓賲丞 賵毓賱賷賲丞 賮廿賳賴 賷毓胤賷賳丕 兀賰孬乇 賲賳 賲噩乇丿 鬲爻賱賷丞
賮賰賱 卮禺氐賷丞 毓噩賷亘丞 賮賷 胤亘賷毓鬲賴丕 賲鬲賮乇丿丞 賮賷 卮胤丨丕鬲賴丕 賵賲孬賷乇丞 賱賱廿毓噩丕亘 亘丕禺鬲賷丕乇 賰賱 賵丕丨丿丞
賱噩賳賵賳賴丕 丕賱禺丕氐
廿匕丕 賰丕賳 賷賵噩丿 亘賷賳 丕賱賲噩鬲賲毓 賵丕賱賳賮爻 賵丕丿 毓賲賷賯 賱丕 賷乇亘胤賴賲丕 廿賱丕 噩爻乇 賲鬲丨乇賰
鬲爻鬲胤賷毓賷賳 兀賳 鬲丨乇賯賷 匕賱賰 丕賱噩爻乇
賵兀賳 鬲賯賮賷 廿賱賶 噩丕賳亘 丕賱匕丕鬲 爻丕賱賲丞 賲爻賱賲丞
廿賱丕 廿匕丕 賰丕賳 丕賱賵丕丿賷 賴丿賮賰
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
賰賱 卮禺氐賷丞 鬲賰丕丿 鬲毓鬲亘乇賴丕 乇卅賷爻賷丞
亘賱 兀丨賷丕賳丕 賵亘爻亘亘 丿賯丞 乇爻賲賴丕 鬲賰丕丿 鬲毓乇賮 乇丿丞 賮毓賱賴丕 賯亘賱 兀賳 鬲丨丿孬
賵 賰賱 卮禺氐賷丞 賲賲賷夭丞 亘鬲丕乇賷禺賴丕 丕賱賵丕賮賷 丕賱孬乇賷 丕賱賲賲鬲毓 賮賷 丨賰賷賴鈥�
兀賳鬲 鬲毓賷卮 丕賱卮禺氐賷丕鬲
亘亘賷賳 賲賴賵賵爻丞 丕賱兀賲乇丕囟 丕賱賳賮爻賷丞 賵丕賱鬲賷 鬲氐亘睾
鈥� 卮毓乇賴丕 賰賲丕 賳賲卮胤賴 賳丨賳
賵賲賴賵賵爻丞 丕賱鬲賳丕賳賷乇 丕賱賯氐賷乇丞
賵賲賴賵賵爻丞 丕賱兀爻丕賵乇
賵賲禺丕賵賷丞 丕賱噩賳 丕賱賲毓匕亘丞 亘賮囟賷賱丞 丕賱賲毓乇賮丞
*丨亘丕鬲 丕賱氐賳賵亘乇*
=========
賵鬲亘丿賵 賮賷 丕賱禺賱賮賷丞 卮禺氐賷丕鬲 匕賰賵乇賷丞 賲禺鬲賱賮丞 賵賲鬲卮丕亘賴丞 賮賷 丌賳 賱丕 賳毓鬲亘乇賴丕 卮禺氐賷丕鬲 孬丕賳賵賷丞 亘丨丕賱
賷賰賱賱賴賲 丕賱毓丕乇 兀賵 丕賱賲噩丿
丕賱賴夭賷賲丞 貙丕賱丨夭賳 兀賵丕賱丨乇賲丕賳
兀賷賳賲丕 鬲卮禺氐 亘亘氐乇賰 賵噩丿鬲 兀賮乇丕丿丕賸 賲賳 賱丨賲 賵丿賲
賷賳亘囟賵賳 毓賱賶 丕賱爻胤賵乇 賰賲丕 賴賲 賮賷 丿丕禺賱賰
廿賳 丕禺鬲乇鬲 卮禺氐賷鬲賷 丕賱賲賮囟賱丞 賮廿賳賳賷 亘丕賱鬲兀賰賷丿 兀禺鬲丕乇 夭賱賷禺丞 孬賲 亘丕賳賵
賮亘丕賱乇睾賲 兀賳 兀乇賲丕賳賵卮 賴賷 兀賰孬乇 卮禺氐賷丞 鬲卮亘賴賳賷
禺氐賵氐丕賸 賮賷賲丕 賷鬲毓賱賯 亘丕賱兀賳丕 丕賱兀禺乇賶 賮賷 賲鬲丕賴丞 亘賵乇禺賷爻 亘丕賱廿囟丕賮丞 賱毓卮賯 丕賱賯乇丕亍丞 亘丕賱胤亘毓
鈥� 廿賱丕 兀賳 夭賱賷禺丞 賴賷 丕賱鬲賷 鬲賵丨丿鬲 賲毓賴丕 賲賳匕 爻胤賵乇 丕賱乇賵丕賷丞 丕賱兀賵賱賶鈥�
兀丨亘亘鬲賴丕 亘賰賱 賲丕 賮賷賴丕 賵賯乇亘 丕賱賳賴丕賷丞 鬲毓賱賲鬲 賲毓賴丕 丕卮賷丕亍 賲丕 賰丕賳鬲 賮賷 丨爻亘丕賳賷 兀亘丿丕
賵亘丕賳賵 賱兀賳賴丕 氐丕丨亘丞 丕賱賮囟賱 賮賷 噩毓賱 賴匕賴 丕賱乇賵丕賷丞 鬲賯鬲乇亘 賲賳 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 亘丕賱噩賳賷賷賿賳 丕賱爻賷丿 賲乇 鈥徺堌з勜迟娯� 丨賱賵 鈥�
賵丕賱賱匕丕賳 兀毓胤賷丕 賱賱乇賵丕賷丞 亘毓丿丕賸 噩丿賷丿丕賸
賵兀囟丕賮丕 賱賴丕 賳賰賴丞 賲賲賷夭丞
賰賲丕 兀賳 卮禺氐賷丞 亘丕賳賵 賳賮爻賴丕 賲賲鬲毓丞 鈥�
兀丨亘亘鬲 乇丿丕鬲 賮毓賱賴丕 胤賵丕賱 丕賱乇賵丕賷丞 賵匕賴賱鬲 賲賲丕 賮毓賱鬲賴 賮賷 丕賱賳賴丕賷丞
*賯卮賵乇 丕賱亘乇鬲賯丕賱*
=========
廿賳 丕賱兀睾賱亘賷丞 丕賱爻丕丨賯丞 賲賳 丕賱賳丕爻 賱丕 賷賮賰乇賵賳 賲胤賱賯丕賸
賵丕賱匕賷賳 賷賮賰乇賵賳 賱丕 賷氐亘丨賵賳 丕賱兀睾賱亘賷丞 丕賱爻丕丨賯丞 賲胤賱賯丕賸
賮丕禺鬲丕乇賷 賮賷 兀賷 賮卅丞 鬲乇賷丿賷賳 兀賳 鬲賰賵賳賷
责
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
賵亘賲賳丕爻亘丞 丕賱匕賴賵賱 賮廿賳 廿賱賷賮 賱丕 鬲賰鬲亘 賴匕丕 丕賱賳賵毓 賲賳 丕賱乇賵丕賷丕鬲
丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲賰鬲亘賴丕 鈥� 賵賯丿 賯乇兀鬲 丕孬賳鬲賷賳 廿賱賶 丕賱丌賳 鬲毓胤賷賰 卮丨賳丞 賰賷 鬲鬲兀賲賱 賮賷 丨賷丕鬲賰
賲睾夭丕賴丕 賵賰賳賴賴丕鈥�
賮廿賳 廿賱賷賮 賱丕 鬲氐賳毓 丕賱丿賴卮丞 丕賱賳丕鬲噩丞 毓賳 丕賱氐丿賲丞
亘賱 鬲賲賴丿 賱賲賮丕噩卅丕鬲賴丕
賵鬲爻鬲賰賲賱 丨賰丕賷鬲賴丕 賮賷 爻賱丕爻丞
噩丕毓賱丞 卮賴賯鬲賰 鬲鬲氐丕毓丿鈥� 禺丕賮鬲丞 鬲賰丕丿 鬲賰賵賳 亘賱丕 氐賵鬲
賵噩丕毓賱丞 賲賳賰 丕賱賯丕乇賷亍 "丕賱賲鬲兀賲賱" 丕賱匕賷 鬲乇賷丿賴鈥�
*鬲賷賳 賲噩賮賮*
=========
廿匕丕 賵噩丿鬲賽 氐丿賷賯丞 毓夭賷夭丞 丕丨乇氐賷 毓賱賶 兀賱丕 鬲鬲毓賵丿賷 毓賱賷賴丕 鈥�
賵賱丕 鬲賳爻賷 兀賳 賰賱 賵丕丨丿丞 賲賳丕 賵丨賷丿丞 賮賷 丕賱賵噩賵丿鈥�
賵兀賳 丕賱毓夭賱丞 丕賱兀亘丿賷丞 爻鬲鬲噩丕賵夭 兀賷 氐丿丕賯丞 毓乇囟賷丞 廿賳 丌噩賱丕賸 兀賵 毓丕噩賱丕賸
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
賷亘丿賵 兀賳 廿賱賷賮 鬲丨亘 丕賱賯賵丕毓丿 賰孬賷乇丕賸
賵賱丕 鬲鬲賳丕夭賱 毓賳賴丕 賮賷 乇賵丕賷丕鬲賴丕
!
賵賱賰賳 賮賰乇丞 丕賱賯賵丕毓丿 鬲鬲賰乇乇 賴賳丕 亘胤乇賷賯丞 賲禺鬲賱賮丞 毓賳 賯賵丕毓丿 丕賱毓卮賯 丕賱卮賴賷乇丞
賮賴匕賴 丕賱賲乇丞 賴賷 賲賱丌賳丞 亘丕賱爻禺乇賷丞 貙 禺賮丞 丕賱丿賲 賵丕賱丨夭賳 丕賱賲囟賲禺 亘丕賱賮賱爻賮丞 賰匕賱賰
賮爻鬲噩丿 賲孬賱丕賸
丕賱賯賵丕毓丿 丕賱匕賴亘賷丞 貙 丕賱賮囟賷丞 貙 丕賱丨丿賷丿賷丞 賵丕賱賳丨丕爻賷丞
鈥� 賱丨氐丕賮丞 丕賱賲乇兀丞 丕賱廿爻鬲賳丕亘賵賱賷丞鈥�
賵
亘賷丕賳 兀爻賷丕 丕賱卮禺氐賷 毓賳 丕賱毓丿賲賷丞
#爻賷賳丕賷丿 丕賱亘賵鬲丕爻賷賵賲#
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賯丿 鬲賰賵賳 丕賱賰賱賲丕鬲 爻丕賲丞 賱賱匕賷賳 賰鬲亘 毓賱賷賴賲 兀賳 賷賱賵匕賵丕 亘丕賱氐賲鬲 丿丕卅賲丕賸鈥�
赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌赌
賴匕賴 丕賱乇賵丕賷丞 兀毓賱賲鬲賳賷 毓賳 鈥徹Ｘ促娯ж� 賱賲 兀賰賳 兀毓乇賮 毓賳賴丕 睾賷乇 毓賳丕賵賷賳賴丕
賰丕賱氐乇丕毓 丕賱兀乇賲賳賷 丕賱鬲乇賰賷
丕賱鬲賴噩賷乇 賵丕賱廿亘丕丿丞 丕賱鬲賷 丨丿孬鬲 賮賷 丕賱賲丕囟賷
賵亘爻亘亘賴丕 亘丿兀鬲 賮賷 丕賱亘丨孬 亘鬲賵爻毓
賵丕賱丨賯賷賯丞 兀賳 賰賲 丕賱賲毓賱賵賲丕鬲 賵丕賱氐賵乇 丕賱鬲賷 乇兀賷鬲賴丕 兀氐丕亘鬲賳賷 亘匕賴賵賱
賵賱賲 兀爻鬲胤毓 賵囟毓賴丕 賴賳丕 賱兀賳賴丕 丨賯丕賸 賱丕 賷購爻鬲胤丕毓 丕丨鬲賲丕賱賴丕 賱亘卮丕毓鬲賴丕
賵賯丿 賳爻噩鬲 廿賱賷賮 亘毓亘賯乇賷丞
賯氐丞 丕賱丨賲丕賲丞 丕賱氐睾賷乇丞 丕賱囟丕卅毓丞 賵丕賱亘賱丿 丕賱爻毓賷丿
賵丕賱鬲賷 賷賰鬲亘賴丕 賲孬賯賮 兀乇賲賳賷 廿亘丕賳 毓賲賱賷丕鬲 丕賱鬲賴噩賷乇 賲賳 鬲乇賰賷丕
賵賰丕賳 鬲囟賲賷賳賴丕 賲毓 丕賱兀丨丿丕孬 卮賷賯丕賸 賵賲賲鬲毓丕賸 賵匕賰賷丕賸 賰匕賱賰
賲毓 賯氐丞 丕賱鬲賴噩賷乇 丕賱丿丕賲賷丞
賵賰丕賳 丕賱賮氐賱 丕賱匕賷 賷丨賵賷
鈥� 馗乇賵賮 賰鬲丕亘鬲賴丕 賴賵 丕賱兀賮囟賱 賰鬲丕亘丞 賮賷 丕賱乇賵丕賷丞 賰賱賴丕鈥�
;;;;;;;
亘賷鬲 丕賱賲噩丕賳賷賳
賰賲 鬲丨亘賴 賵鬲毓鬲丕丿 毓賱賷賴
鬲丨亘 賰賱 賴匕賴 丕賱卮禺氐賷丕鬲 丕賱卮丿賷丿丞 丕賱鬲亘丕賷賳
鈥� 賵丕賱鬲賷 鬲鬲毓丕賷卮 賲毓丕賸 賮賷 鬲賳丕睾賲 丨賱賵 丨鬲賶 亘卮噩丕乇賴 賵禺賱丕賮丕鬲賴
"-賵毓賱賶 乇兀爻 賴匕丕 賰賱賴 賲丕-丕賱賴賷賮丕 "丕賱噩丿丞
丕賱鬲賷 鬲丨賷賱 賰賱 賲卮賴丿 鬲丨鬲賱賴 廿賱賶 亘賯毓丞 丿丕賮卅丞
賲毓胤乇丞 亘賳賰賴丕鬲 丕賱賰毓賰 丕賱賲賳夭賱賷
爻賱爻丞 丕賱亘丕卮丕賵丕鬲 賲賳 丕賱賯胤胤
丕賱爻賲賷胤 丕賱兀爻亘賵毓賷 賷賵賲 丕賱兀丨丿
兀爻丕賵乇 兀爻賷丕
鈥� 賳賵亘丕鬲 夭賴丕賷賲乇 賲丕-丕賱賴賷賮丕
賳爻禺丞 亘丕賳賵 賲賳 賯氐丞 賳賵丨
賲賯賴賶 賰賵賳丿賷乇丕 賵乇賵丕丿賴 丕賱賲孬賯賮賷賳 賵 賲丿毓賷 丕賱孬賯丕賮丞鈥�
賵賮鬲丕賮賷鬲 賯氐丞 丕賱丨賲丕賲丞 丕賱氐睾賷乇丞
賰賱賴丕 鬲賳爻噩 賲毓丕賸 賵丕丨丿丞 賲賳 兀噩賲賱 丕賱丨賰丕賷丕鬲 丕賱賲毓噩賵賳丞 亘丕賱丨亘 貙 賵丕賱噩賳賵賳 賵丕賱氐丿賮 丕賱睾賷乇 賲毓賯賵賱丞
賵丕賱鬲賷 賰丿鬲 兀賯賷賲賴丕 亘禺賲爻 賳噩賵賲 賱鬲賲賷夭賴丕
賵賱賰賳賳賷 丕賰鬲賮賷 亘兀乇亘毓丞 賵賳氐賮 賴匕賴 丕賱賲乇丞
May 28, 2008
It was the cover that snared me. Turkey is one of the top three countries on my mental list of countries to visit, along with the Czech Republic and Morocco, and I love Turkish architecture and design. The cover reminded me of those beautiful mosaics and arches and mosques, and then the title! Who could resist? A less impulsive person than me, sure, but this is my idea of living dangerously :)
Beautifully, gracefully, vividly written with a light, airy atmosphere that really allows you to breathe, The Bastard of Istanbul follows the story of two girls and their families, one Turkish, one Armenian American, and how their histories interweave. Asya Kazanci is the bastard daughter of Zeliha, raised by an eccentric group of aunts and grandmothers in Istanbul. Now 19, she spends most of her time listening to Johnny Cash records and philosophising with a group of older, cynical political outcasts at the Cafe Kundera. In Arizona, 19 year old Armanoush "Amy" Tchakhmakhchian bounces between her over-protective American mother Rose and quiet Turkish step-father Mustafa, and her father Barsham's large Armenian family in San Francisco. Struggling to understand herself and what it means to be Armenian, she decides to journey to Turkey and stay with her step-father's family, the Kazanci's.
Politics, history, philosophy, religion, and the familiar struggle for personal identity in relation to and against a collective group flesh out this lovely tale, littered with references to popular culture and classic literature. Likened to the work of Amy Tan, Shafak's prose is much more philosophical and lyrical, and her themes are less dramatic for drama's sake. I found all her characters to be instantly recognisable, and I felt that both Asya and Amy to be familiar, and similar, to myself in some ways. I identified with them far more readily than I would reading about a more conventional teenager.
The atmosphere is wonderful, from dry Arizona to misty San Francisco to loud, colourful, vibrant Istanbul - made me want to go there even more than before! I could hear and smell and see it all so clearly, though the prose is not overly descriptive. With an omniscient narrator who reveals the inner tortures and idiosyncracies of the characters with a humorous but sympathetic touch, the narrative goes back and forth in time, skilfully revealing the past as it corresponds to the present, creating a tapestry as detailed and vivid as a Turkish carpet. I loved all the aunts too, with their quirks and Banu's djinni. Yes, there's a touch of magic realism in this book that serves it well.
The conflict between Turks and Armenians, the denial of the Armenian genocide which, I believe, is still keeping Turkey out of the EU, is dealt with with a great deal of compassion and understanding. Shafak makes an effort to show different arguments, as in, why the Turks are so ignorant of this history and why the Armenians are so stubborn to relive it. There was a wonderful quote about that but sadly I didn't mark the page and now I can't find it.
This was a random find in the bookshop and an absolute gem to read, and I highly recommend it. On a side note, the author mentions that the book was first released in Turkey in 2006 (she wrote it in both Turkish and English) and she was facing up to three years in jail because some of the things the Turkish characters said went against the nation, something like that, but the charges were dropped. Still, it's a bit scary, but also fascinating - Turkey is arguably one of the more liberal Muslim states, by western standards, where women have rights and opportunities, but where conservative traditions still play a heavy hand in domestic affairs.
Beautifully, gracefully, vividly written with a light, airy atmosphere that really allows you to breathe, The Bastard of Istanbul follows the story of two girls and their families, one Turkish, one Armenian American, and how their histories interweave. Asya Kazanci is the bastard daughter of Zeliha, raised by an eccentric group of aunts and grandmothers in Istanbul. Now 19, she spends most of her time listening to Johnny Cash records and philosophising with a group of older, cynical political outcasts at the Cafe Kundera. In Arizona, 19 year old Armanoush "Amy" Tchakhmakhchian bounces between her over-protective American mother Rose and quiet Turkish step-father Mustafa, and her father Barsham's large Armenian family in San Francisco. Struggling to understand herself and what it means to be Armenian, she decides to journey to Turkey and stay with her step-father's family, the Kazanci's.
Politics, history, philosophy, religion, and the familiar struggle for personal identity in relation to and against a collective group flesh out this lovely tale, littered with references to popular culture and classic literature. Likened to the work of Amy Tan, Shafak's prose is much more philosophical and lyrical, and her themes are less dramatic for drama's sake. I found all her characters to be instantly recognisable, and I felt that both Asya and Amy to be familiar, and similar, to myself in some ways. I identified with them far more readily than I would reading about a more conventional teenager.
The atmosphere is wonderful, from dry Arizona to misty San Francisco to loud, colourful, vibrant Istanbul - made me want to go there even more than before! I could hear and smell and see it all so clearly, though the prose is not overly descriptive. With an omniscient narrator who reveals the inner tortures and idiosyncracies of the characters with a humorous but sympathetic touch, the narrative goes back and forth in time, skilfully revealing the past as it corresponds to the present, creating a tapestry as detailed and vivid as a Turkish carpet. I loved all the aunts too, with their quirks and Banu's djinni. Yes, there's a touch of magic realism in this book that serves it well.
The conflict between Turks and Armenians, the denial of the Armenian genocide which, I believe, is still keeping Turkey out of the EU, is dealt with with a great deal of compassion and understanding. Shafak makes an effort to show different arguments, as in, why the Turks are so ignorant of this history and why the Armenians are so stubborn to relive it. There was a wonderful quote about that but sadly I didn't mark the page and now I can't find it.
This was a random find in the bookshop and an absolute gem to read, and I highly recommend it. On a side note, the author mentions that the book was first released in Turkey in 2006 (she wrote it in both Turkish and English) and she was facing up to three years in jail because some of the things the Turkish characters said went against the nation, something like that, but the charges were dropped. Still, it's a bit scary, but also fascinating - Turkey is arguably one of the more liberal Muslim states, by western standards, where women have rights and opportunities, but where conservative traditions still play a heavy hand in domestic affairs.
September 4, 2007
The book suffers due to its trite language, stereotypical characterization, and unsubtle plot. You end up not really caring for any of the characters, and wishing that the two deep questions - the Armenian genocide and the Turkish identity pre and post Ataturk, had been painted on a more deserving canvas...
October 17, 2013
丕毓卮賯 丕賱賰鬲亘 丕賱鬲賷 鬲鬲禺匕 賲賳 丕賱鬲丕乇賷禺 賳賯胤丞 丕乇鬲賰丕夭賷丞 賱賴丕 .. 賮賷 賱賯賷胤丞 廿爻鬲丕賳亘賵賱 賰丕賳鬲 毓賳 丕賱兀乇賲賳 賵丕賱兀鬲乇丕賰 .. 兀丨亘 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲賮鬲丨 賱賰 丕賱賳丕賮匕丞 賱毓丕賱賲 丕禺乇 賱賲 鬲賰賳 鬲丿乇賷 毓賳賴 卮賷卅丕 賲賳 賯亘賱
鬲賲鬲丕夭 廿賱賷賮 卮丕賮丕賯 亘兀爻賱賵亘 賲鬲賲賷夭 乇丕卅毓 賱丕 鬲賲賱 賲賳賴 兀亘丿丕賸 ..
賮賯丿 賰丕賳鬲 胤賵丕賱 丕賱乇賵丕賷丞 鬲氐賳毓 丕賱丨賱賵賷 丕賱鬲乇賰賷丞 "丕賱毓丕卮賵乇丕" 賲鬲禺匕丞 賲賳 毓賳賵丕賳 賰賱 賮氐賱 賲賰賵賳 賲賳 賲賰賵賳丕鬲 鬲賱賰 丕賱丨賱賵賷 丕賱卮乇賯賷丞貙 爻賰賾乇 .. 賲卮賲卮 賲噩賮賮 .. 賯乇賮丞 .. 亘賳丿賯 賲丨賲氐 .. 賯卮乇 亘乇鬲賯丕賱 ... 賱鬲囟賷賮 賳賰賴丞 禺丕氐丞 賱賲 丕噩丿賴丕 賮賷 乇賵丕賷丞 丕禺乇賷
乇賵丕賷丞 鬲卮毓乇賰 亘丕賱丿賮亍 賲毓 賱爻毓丞 丕賱賴賵丕亍 丕賱賱賷賱賷丞 賲賳 卮賴乇 兀賰鬲賵亘乇 .. 鬲賵賯賷鬲 乇丕卅毓 !
鬲賲鬲丕夭 廿賱賷賮 卮丕賮丕賯 亘兀爻賱賵亘 賲鬲賲賷夭 乇丕卅毓 賱丕 鬲賲賱 賲賳賴 兀亘丿丕賸 ..
賮賯丿 賰丕賳鬲 胤賵丕賱 丕賱乇賵丕賷丞 鬲氐賳毓 丕賱丨賱賵賷 丕賱鬲乇賰賷丞 "丕賱毓丕卮賵乇丕" 賲鬲禺匕丞 賲賳 毓賳賵丕賳 賰賱 賮氐賱 賲賰賵賳 賲賳 賲賰賵賳丕鬲 鬲賱賰 丕賱丨賱賵賷 丕賱卮乇賯賷丞貙 爻賰賾乇 .. 賲卮賲卮 賲噩賮賮 .. 賯乇賮丞 .. 亘賳丿賯 賲丨賲氐 .. 賯卮乇 亘乇鬲賯丕賱 ... 賱鬲囟賷賮 賳賰賴丞 禺丕氐丞 賱賲 丕噩丿賴丕 賮賷 乇賵丕賷丞 丕禺乇賷
乇賵丕賷丞 鬲卮毓乇賰 亘丕賱丿賮亍 賲毓 賱爻毓丞 丕賱賴賵丕亍 丕賱賱賷賱賷丞 賲賳 卮賴乇 兀賰鬲賵亘乇 .. 鬲賵賯賷鬲 乇丕卅毓 !
September 3, 2014
賷賯賵賱 毓賱丕賲丞 毓氐乇 丕賱賳賴囟丞 丕賱廿賳賰賱賷夭賷 賮乇丕賳爻賷爻 亘賷賰賵賳 "亘毓囟 丕賱賰鬲亘 賷噩亘 丕賱鬲賱匕匕 亘賴丕貙 賵睾賷乇賴丕 賷噩亘 兀賳 鬲賱鬲賴賲貙 賵兀禺乇賶 鬲賲囟睾 噩賷丿丕賸 賵鬲賴囟賲" 賵乇賵丕賷丞 廿賱賷賮 卮丕賮丕賰 賴匕賴 噩賲毓鬲 亘賷賳 丕賱兀賳賵丕毓 丕賱孬賱丕孬丞 噩賲賷毓賴丕
賮賴賷 鬲賯賵賲 賮賷 賰鬲丕亘賴丕 賴匕丕 亘胤賴賵 丨賰丕賷丞貙 賵廿毓丕丿丞 鬲爻禺賷賳 鬲丕乇賷禺 -丕賱兀乇賲賳-貙 賵賯賱賷 兀賮賰丕乇 賳賷賾丞貙 賵鬲鬲亘賷賱賴丕 亘賲卮丕賴丿 丨賷賾丞貙 兀賷 兀賳賾賴丕 鬲丨賵賾賱 賲賵囟賵毓丕 卮丕卅賰賸丕 廿賱賶 卮賷亍賺 卮丕卅賯貙 賱賰賷 賷毓囟 丕賱賯丕乇卅 毓賱賷賴 亘賳賴賲.
賴賰匕丕 賷噩亘 兀賳 賳鬲丨丿孬 賳丨賳 丕賱賯乇丕亍 毓賳 乇賵丕賷丞 廿賱賷賮 卮丕賮丕賰 .. 賰賵噩亘丞貙 鬲賲丕賲丕 賲孬賱賲丕 賯丿賲鬲賴丕 賱賳丕 賰賵氐賮丞 亘丕爻鬲賴賱丕賱賴丕 賱賮氐賵賱 丕賱乇賵丕賷丞 亘賲賰賵賳丕鬲 賲賳 丕賱賲胤亘禺 丕賱鬲乇賰賷
賮賴賷 鬲賯賵賲 賮賷 賰鬲丕亘賴丕 賴匕丕 亘胤賴賵 丨賰丕賷丞貙 賵廿毓丕丿丞 鬲爻禺賷賳 鬲丕乇賷禺 -丕賱兀乇賲賳-貙 賵賯賱賷 兀賮賰丕乇 賳賷賾丞貙 賵鬲鬲亘賷賱賴丕 亘賲卮丕賴丿 丨賷賾丞貙 兀賷 兀賳賾賴丕 鬲丨賵賾賱 賲賵囟賵毓丕 卮丕卅賰賸丕 廿賱賶 卮賷亍賺 卮丕卅賯貙 賱賰賷 賷毓囟 丕賱賯丕乇卅 毓賱賷賴 亘賳賴賲.
賴賰匕丕 賷噩亘 兀賳 賳鬲丨丿孬 賳丨賳 丕賱賯乇丕亍 毓賳 乇賵丕賷丞 廿賱賷賮 卮丕賮丕賰 .. 賰賵噩亘丞貙 鬲賲丕賲丕 賲孬賱賲丕 賯丿賲鬲賴丕 賱賳丕 賰賵氐賮丞 亘丕爻鬲賴賱丕賱賴丕 賱賮氐賵賱 丕賱乇賵丕賷丞 亘賲賰賵賳丕鬲 賲賳 丕賱賲胤亘禺 丕賱鬲乇賰賷
May 5, 2025
Uma Verdade "Emprestadada"
A Bastarda de Istambul foi um best seller na Turquia - uma obra pol茅mica que em 2006, levou a autora a tribunal! E a raz茫o foi muito simples (?!):
O conflito Arm茅nio-Turco que entre 1915 e 1923 redundou numa matan莽a massiva de cerca de um milh茫o e meio de Arm茅nios - o primeiro genoc铆dio do s茅culo XX - nunca foi assumido pela Republica da Turquia. No livro, a destemida Elif Shafak aborda esse tema tabu, num di谩logo entabulado pelas personagens Asya e Armanoush.Acusada de heresia e de denegrir a identidade turca, a autora s贸 escapa 脿 pris茫o gra莽as aos protestos internacionais!...
Foi, pois, com redobrado interesse que me entreguei a esta leitura, e devo confessar que o que mais me cativou, foi a diversidade de personagens femininas. Acostumada 脿quela imagem da mulher isl芒mica dom茅stica-parideira, coberta da cabe莽a aos p茅s, foi deveras gratificante deixar-me surpreender por um leque de variad铆ssimas mu莽ulmanas, todas elas de personalidade vincada. Foram elas:
1 - A rebelde Asya com a sua paix茫o por Jean Paul Sartre e a musica de Johnny Cash.
2 - A bel铆ssima e irreverente Zhelia, uma m茫e solteira de trajos arrojados que gere um sal茫o de tatuagens.
3 - Armanoush, uma arm茅nia-americana em busca de si mesma no passado.
4 - A vidente Banu sempre rodeada pelos seus djinnis conselheiros.
5 - A disciplinada Cevriye, uma professora de hist贸ria a abarrotar de auto-controlo, mas sem a menor ponta de humor.
6 - A hipocondr铆aca Feride, que s贸 nos 煤ltimos 6 anos, fora diagnosticada com 8 doen莽as diferentes, qual delas a mais estapaf煤rdia?!
7 - Petite-Ma, uma bisav贸 de 77 anos, j谩 com a mem贸ria carcomida pela Alzheimer, que solta suspiros sempre que um copo ou um espelho se quebram.
"L谩 vai mau olhado" 茅 o coment谩rio que, invariavelmente, acompanha os suspiros emitidos!
Etc, etc...
Loucas, sensatas, hipocondr铆acas ou rebeldes, elas simplesmente s茫o鈥� sem coer莽玫es nem press玫es!...
Fic莽茫o? Verdade?
Sendo a Turquia um pa铆s Euro-Asi谩tico, pode ser que uma Verdade viajante se v谩 insinuando sub-rept铆ciamente, emprestada c谩 pelo lado europeu?! E que o lado asi谩tico opte pela 鈥渘茫o devolu莽茫o鈥�?! Com sorte, pode ser!... 馃槈
A Bastarda de Istambul foi um best seller na Turquia - uma obra pol茅mica que em 2006, levou a autora a tribunal! E a raz茫o foi muito simples (?!):
O conflito Arm茅nio-Turco que entre 1915 e 1923 redundou numa matan莽a massiva de cerca de um milh茫o e meio de Arm茅nios - o primeiro genoc铆dio do s茅culo XX - nunca foi assumido pela Republica da Turquia. No livro, a destemida Elif Shafak aborda esse tema tabu, num di谩logo entabulado pelas personagens Asya e Armanoush.Acusada de heresia e de denegrir a identidade turca, a autora s贸 escapa 脿 pris茫o gra莽as aos protestos internacionais!...
Foi, pois, com redobrado interesse que me entreguei a esta leitura, e devo confessar que o que mais me cativou, foi a diversidade de personagens femininas. Acostumada 脿quela imagem da mulher isl芒mica dom茅stica-parideira, coberta da cabe莽a aos p茅s, foi deveras gratificante deixar-me surpreender por um leque de variad铆ssimas mu莽ulmanas, todas elas de personalidade vincada. Foram elas:
1 - A rebelde Asya com a sua paix茫o por Jean Paul Sartre e a musica de Johnny Cash.
2 - A bel铆ssima e irreverente Zhelia, uma m茫e solteira de trajos arrojados que gere um sal茫o de tatuagens.
3 - Armanoush, uma arm茅nia-americana em busca de si mesma no passado.
4 - A vidente Banu sempre rodeada pelos seus djinnis conselheiros.
5 - A disciplinada Cevriye, uma professora de hist贸ria a abarrotar de auto-controlo, mas sem a menor ponta de humor.
6 - A hipocondr铆aca Feride, que s贸 nos 煤ltimos 6 anos, fora diagnosticada com 8 doen莽as diferentes, qual delas a mais estapaf煤rdia?!
7 - Petite-Ma, uma bisav贸 de 77 anos, j谩 com a mem贸ria carcomida pela Alzheimer, que solta suspiros sempre que um copo ou um espelho se quebram.
"L谩 vai mau olhado" 茅 o coment谩rio que, invariavelmente, acompanha os suspiros emitidos!
Etc, etc...
Loucas, sensatas, hipocondr铆acas ou rebeldes, elas simplesmente s茫o鈥� sem coer莽玫es nem press玫es!...
Fic莽茫o? Verdade?
Sendo a Turquia um pa铆s Euro-Asi谩tico, pode ser que uma Verdade viajante se v谩 insinuando sub-rept铆ciamente, emprestada c谩 pelo lado europeu?! E que o lado asi谩tico opte pela 鈥渘茫o devolu莽茫o鈥�?! Com sorte, pode ser!... 馃槈
March 18, 2008
I love Elif Safak and I liked this book. She makes her characters so alive when writing, good are not always good, bad are not always bad, there is beauty and poison in all of us at times. It is only a matter of how we use it.
Read
June 20, 2023After reading this book, I decided not to rate or review it.
July 6, 2021
The Bastard of Istanbul is a book with a lot of deep layers, not immediately visible when one starts reading the book. What one takes to be the story of two families - one Turkish, one Armenian, linked together in a convoluted way - in the best tradition of the "family drama" slowly metamorphoses into a tale full of the magic of the metaphor. While showing us the face of the modern Istanbul, a city of contradictions, it also pulls us deeply into its past; romantic and anguishing at the same time.
Teenager Asya Kazanci is the eponymous "bastard" of the novel. Born to the rebellious Zeliha, the youngest daughter of the Kazanci family, the truth of who her father is kept a close secret by her mother. Asya lives in a family of "aunties" - her mothers three elder sisters, and her mother herself, all of whom she addresses as aunties. There are also her Grandma Gulsum and her great-grandmother Petite-Ma.
The aunties are characters by themselves. The eldest, Auntie Banu, is a soothsayer, having two djinni (one good and one evil) at her beck and call. The second auntie, Cevriye, is a history teacher and an academic intellectual. The third auntie, Feride, is a sort of visionary schizophrenic. And finally, Auntie Zeliha is a tattooist and a rebel.
The menfolk of the Kazanci family apparently suffer from a strange sort of curse which prevent them from surviving beyond middle age - a fate which has overtaken Banu's children in their childhood itself. All the Kazanci women are either divorced, separated, widowed or unmarried. The only male in the family is Mustafa, brother to all the aunties, who has relocated to Arizona and is only in sporadic touch with his family for two decades now.
Into this dysfunctional family, comes Armanoush ("Amy") Tchakhmakhchian, the offspring of a divorced couple, an Armenian father and an American mother - and the stepdaughter of Mustafa. Amy is fighting ghosts from her own past: or rather, the collective past of the Armenians, whose life is largely controlled by the memories of the genocide perpetrated on them by the Ottoman regime in the 1920s. Her trip to Istanbul, unknown to both her parents, is her way of coming to terms with the historical baggage dumped on her head without her consent.
As the girls bond together in the exhilarating and frustrating Istanbul, it becomes the melding of two nations; one with a geography without a history, and the other with only history and no geography. And it also becomes a tale of two families, tied together by unseen threads across time and space, threads unravelled by Auntie Banu using her methods which reside outside the time-space continuum. As the story moves on to its inevitable tragic conclusion, the reader is left with a sense of completion which goes beyond tragedy and comedy.
***
Why is the novel given this particular title? 'Bastard' means a child born out of wedlock; it implies someone having no legitimacy in a patriarchal society. In that sense, Asya is a bastard in more ways than one. She lacks a father, and her culture lacks a history, something which is brought home to her brutally through her friendship with Armanoush and her anonymous, online Armenian friends. This unlikely friendship creates in her a sense of forgotten cultural roots (at the same time making Amy realise that she must learn to live more in the present). And at the end of the story, with the revelation of who her biological father is, Asya comes to realise the full depth of her personal tragedy - something which is symptomatic of the rootless Istanbulite society in general, the author seems to be hinting.
And why Istanbul? Because this city, the meeting point of two cultures, the "open-air history museum" (as the locals like to call it), this city with 3600+ mosques and a 99% Muslim population, this city with its raki-swilling men and its mini-skirt-wearing tattooed women, this city with its obsession with food, wine and sex - it is this magical place which is the heroine of this novel.
Teenager Asya Kazanci is the eponymous "bastard" of the novel. Born to the rebellious Zeliha, the youngest daughter of the Kazanci family, the truth of who her father is kept a close secret by her mother. Asya lives in a family of "aunties" - her mothers three elder sisters, and her mother herself, all of whom she addresses as aunties. There are also her Grandma Gulsum and her great-grandmother Petite-Ma.
The aunties are characters by themselves. The eldest, Auntie Banu, is a soothsayer, having two djinni (one good and one evil) at her beck and call. The second auntie, Cevriye, is a history teacher and an academic intellectual. The third auntie, Feride, is a sort of visionary schizophrenic. And finally, Auntie Zeliha is a tattooist and a rebel.
The menfolk of the Kazanci family apparently suffer from a strange sort of curse which prevent them from surviving beyond middle age - a fate which has overtaken Banu's children in their childhood itself. All the Kazanci women are either divorced, separated, widowed or unmarried. The only male in the family is Mustafa, brother to all the aunties, who has relocated to Arizona and is only in sporadic touch with his family for two decades now.
Into this dysfunctional family, comes Armanoush ("Amy") Tchakhmakhchian, the offspring of a divorced couple, an Armenian father and an American mother - and the stepdaughter of Mustafa. Amy is fighting ghosts from her own past: or rather, the collective past of the Armenians, whose life is largely controlled by the memories of the genocide perpetrated on them by the Ottoman regime in the 1920s. Her trip to Istanbul, unknown to both her parents, is her way of coming to terms with the historical baggage dumped on her head without her consent.
As the girls bond together in the exhilarating and frustrating Istanbul, it becomes the melding of two nations; one with a geography without a history, and the other with only history and no geography. And it also becomes a tale of two families, tied together by unseen threads across time and space, threads unravelled by Auntie Banu using her methods which reside outside the time-space continuum. As the story moves on to its inevitable tragic conclusion, the reader is left with a sense of completion which goes beyond tragedy and comedy.
***
Why is the novel given this particular title? 'Bastard' means a child born out of wedlock; it implies someone having no legitimacy in a patriarchal society. In that sense, Asya is a bastard in more ways than one. She lacks a father, and her culture lacks a history, something which is brought home to her brutally through her friendship with Armanoush and her anonymous, online Armenian friends. This unlikely friendship creates in her a sense of forgotten cultural roots (at the same time making Amy realise that she must learn to live more in the present). And at the end of the story, with the revelation of who her biological father is, Asya comes to realise the full depth of her personal tragedy - something which is symptomatic of the rootless Istanbulite society in general, the author seems to be hinting.
And why Istanbul? Because this city, the meeting point of two cultures, the "open-air history museum" (as the locals like to call it), this city with 3600+ mosques and a 99% Muslim population, this city with its raki-swilling men and its mini-skirt-wearing tattooed women, this city with its obsession with food, wine and sex - it is this magical place which is the heroine of this novel.
It is past dawn now. A short step away from that uncanny threshold between nighttime and daylight. The only time of the day when it is early enough to harbor hopes of realising one's dreams but far too late to actually dream, the land of Morpheus now flung far away.
Allah's eye is omnipotent and omniscient; it is the eye that never closes, or even blinks. But still no one can tell for sure if the earth is equally omniobservable. If this is a stage wherein spectacle after spectacle is displayed for the Celestial Gaze, there might be times in between when the curtains are down and a gauzy head scarf covers the surface of a silver bowl.
Istanbul is the hodgepodge of ten million lives. It is an open book of ten million scrambled stories. Istanbul is waking up from its perturbed sleep, ready for the chaos of the rush hour. From now on there are too many prayers to answer, too many profanities to note, and too many sinners, as well as too many innocents, to keep an eye on.
Already it is morning in Istanbul.
July 5, 2013
The lines are beautiful.
The humor is priceless.
The questions are numerous.
One example being: what is the value of truth?
Is truth always to be sought, AT ALL COSTS?
because: "the past is anything but bygone."
and as Elif Shafak also so eloquently speaks:
"Once there was. Once there wasn't. God's creatures were as plentiful as grains and talking too much was a sin, for you could tell what you shouldn't remember and you could remember what you shouldn't tell."
The humor - I adored the depiction of French cuisine at a restaurant where each plate was composed as a known work of art. Could you dig into a Chagall, Magritte or a Mogdigliani portrait?
As Asya describes her family, "this must be a nut-house". But aren't we all nuts?
The humor is priceless.
The questions are numerous.
One example being: what is the value of truth?
Is truth always to be sought, AT ALL COSTS?
because: "the past is anything but bygone."
and as Elif Shafak also so eloquently speaks:
"Once there was. Once there wasn't. God's creatures were as plentiful as grains and talking too much was a sin, for you could tell what you shouldn't remember and you could remember what you shouldn't tell."
The humor - I adored the depiction of French cuisine at a restaurant where each plate was composed as a known work of art. Could you dig into a Chagall, Magritte or a Mogdigliani portrait?
As Asya describes her family, "this must be a nut-house". But aren't we all nuts?
October 30, 2014
毓丕賲賹 賲囟賶 毓賱賶 鬲賵賮乇 丕賱賳爻禺丞 丕賱丕賱賰鬲乇賵賳賷丞 賱賴匕賴 丕賱乇賵丕賷丞貙 丕賱鬲賷 賰賳賻賾丕 賯丿 丕賱鬲賴賲賳丕 兀禺鬲賴丕 賯亘賱賴丕 亘卮賴賵乇 (賯賵丕毓丿 丕賱毓卮賯..) 賵丕賳鬲馗乇鬲 兀賳 兀亘乇兀 賲賳 丕賱廿毓噩丕亘 亘"廿賱賷賮 卮丕賮丕賯"貙 賵兀賳 兀亘鬲毓丿 胤賵丕毓賷丞 毓賳 毓丕賱賲賴丕 丕賱匕賷 睾丿丕 兀孬賷乇賸丕貙 丨鬲賶 兀鬲賲賰賳 賲賳 丕賱丨賰賲 毓賱賶 乇賵丕賷鬲賴丕 丕賱兀禺乇賶 亘丕賱賯丿乇 丕賱賲胤賱賵亘 賲賳 丕賱丨賷丕丿 賵丕賱丿賯丞貙
賵賱賰賳賷 賲丕 廿賳 亘丿兀鬲 丕賱爻胤賵乇 丕賱兀賵賱賶 賱"賱賯賷胤丞 兀爻胤賳亘賵賱" 丨鬲賶 賵噩丿鬲賳賷 賲鬲賵乇胤賸丕 賲乇丞 兀禺乇賶 賲毓 丕賱卮禺氐賷丕鬲貙 賲賳睾賲爻賸丕 賮賷 鬲賮丕氐賷賱 丕賱兀丨丿丕孬貙 睾賷乇 賯丕丿乇賺 毓賱賶 丕賱廿賮賱丕鬲 賲賳 賴匕賴 丕賱乇賵丕賷丞 丕賱卮賷賯丞貙 丨鬲賶 賳賴丕賷鬲賴丕 ...
鬲睾賷賻賾乇 丕賱毓丕賱賲 賰孬賷乇賸丕 賴匕賴 丕賱賲乇丞貙 賮兀氐亘丨賳丕 廿夭丕亍 賯氐丞 賵丕賯毓賷丞 鬲丨賲賱 亘氐賲丕鬲 丕賱鬲丕乇賷禺 兀賷囟賸丕 賵毓賲賯 丕賱賲兀爻丕丞貙 丕賱賲兀爻丕丞 丕賱鬲賷 賱賲 鬲賯鬲氐乇 毓賱賶 亘胤賱 丕賱乇賵丕賷丞 "丕賱賱賯賷胤丞" 亘賱 鬲毓丿鬲 丨賰丕賷鬲賴丕 賱鬲卮賲賱 匕賱賰 丕賱毓丕賱賲 丕賱匕賷 爻賰鬲 毓賱賶 丨丕丿孬丞 廿亘丕丿丞 毓乇賯賷丞 賰亘賷乇丞 賵賴賵 賲丕 丨丿孬 賲賳 丕賱兀鬲乇丕賰 賭 丕賱匕賷賳 鬲賳鬲賲賷 廿賱賷賴賲 丕賱乇賵丕卅賷丞 賭 "賱賱兀乇賲賳" ...
賵亘丕賱乇睾賲 賲賳 鬲卮毓亘 丕賱丨賰丕賷丕鬲 賵鬲毓丿丿 丕賱卮禺氐賷丕鬲 賮賷 丕賱乇賵丕賷丞貙 廿賱丕 兀賳 "廿賱賷賮" 毓賱賶 毓丕丿鬲賴丕貙 賵亘丕賯鬲丿丕乇 丕爻鬲胤丕毓鬲 兀賳 鬲賱賲 亘卮禺氐賷丕鬲 匕賱賰 丕賱毓丕賱賲 賰賱賴貙 賵兀賳 鬲囟賮賻賾乇 賯氐氐賴賲 賵丨賰丕賷丕鬲賴賲 賮賷 賳爻賷噩 氐賳毓鬲 賲賳賴 "胤亘賯 丕賱毓丕卮賵乇丕亍" 丕賱毓噩賷亘 丕賱匕賷 毓賳賵賳鬲 亘賲賰賵賳丕鬲賴 賮氐賵賱 乇賵丕賷鬲賴丕 ...
亘賷賳 鬲乇賰賷丕 賵兀賲乇賷賰丕 鬲噩賵亘 亘賳丕 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 賵亘胤賱丕鬲賴丕 丌爻賷丕 賵丌乇賲丕賳賵卮 亘賷賳 賵丕丨丿丞 鬲鬲賳賰乇 賱賲丕囟賷賴丕 賮廿匕丕 亘賴 亘丨囟乇 兀賲丕賲賴丕 亘賰賱 賯賵丞 .. 賵賯爻賵丞貙 賵兀禺乇賶 鬲亘丨孬 毓賳 賲丕囟賷賴丕 亘丿兀亘 ..賮廿匕丕 亘賴 賷鬲爻乇亘 賲賳 亘賷賳 賷丿賷賴丕 賲賴賲丕 丨丕賵賱鬲 丕賱丕賯鬲乇丕亘 賲賳賴!!
賵乇睾賲 丕丨鬲賵丕亍 丕賱乇賵丕賷丞 毓賱賶 "兀爻乇丕乇" 賵"賲賮丕乇賯丕鬲" 賵賲賮丕噩丌鬲 賰丕賳 賷賲賰賳 兀賳 "鬲亘賳賶 毓賱賷賴丕 丕賱乇賵丕賷丞" 鬲賲丕賲賸丕 賵鬲鬲丨賵賻賾賱 廿賱賶 乇賵丕賷丞 亘賵賱賷爻賷丞 氐乇賮貙 廿賱丕 兀賳 丕賱賰丕鬲亘丞 賰丕賳鬲 鬲賲賴丿 賱賲賮丕噩丌鬲賴丕 亘賰賱 亘爻丕胤丞 丨鬲賶 鬲睾丿賵 賲鬲賵賯毓丞 賵丕毓鬲賷丕丿賷丞 .. 賷氐賱 廿賱賷賴丕 丕賱賯丕乇卅 丨鬲賶 賯亘賱 丕賱鬲氐乇賷丨 亘賴丕!
丕賱毓丿賷丿 賲賳 丕賱賲卮丕賴丿 賵丕賱卮禺氐賷丕鬲 賵丕賱賲賵丕賯賮 丕賱鬲賷 乇氐丿鬲賴丕 丕賱賰丕鬲亘丞 亘丿賯丞 噩毓賱鬲 丕锟斤拷賯丕乇卅 賷鬲毓丕胤賮 賲毓賴丕 亘卮丿丞貙 賮賷 賰賱 賮氐賱 亘賱 兀賰丕丿 兀賯賵賱 賵賰賱 賮賯乇丞貙 賱丕爻賷賲丕 丕賱賰卮賮 丕賱匕賰賷 毓賳 丕賱賲兀爻丕丞 丕賱兀乇賲賳賷丞 賵賵氐賮賴丕 亘丿賯丞 賵噩毓賱賴丕 賭 賱賱賲賮丕噩兀丞 賭 噩夭亍賸丕 賲賳 亘賳賷丞 丕賱乇賵丕賷丞 賵兀丨丿丕孬賴丕 賮賷 匕賱賰 丕賱賲丕囟賷 丕賱匕賷 賷毓賵丿!
賷亘賯賶 丨丕囟乇賸丕 賮賷 匕賴賳賷 賲卮賴丿 丿禺賵賱 丕賱禺丕賱丞 "亘丕賳賵" 毓賱賶 兀禺賷賴丕 亘胤亘賯 "丕賱毓丕卮賵乇丕亍" 賮賷 丌禺乇 賷賵賲 賱賴 賮賷 丨賷丕鬲賴 .. 賰賲卮賴丿 賮丕乇賯 賵賲丐孬乇 賮賷 丕賱乇賵丕賷丞貙
卮賰乇賸丕 廿賱賷賮 卮賮丕賯 .. 賱賱賲乇丞 丕賱孬丕賳賷丞 毓賱賶 丕賱鬲賵丕賱賷
賵賱賰賳賷 賲丕 廿賳 亘丿兀鬲 丕賱爻胤賵乇 丕賱兀賵賱賶 賱"賱賯賷胤丞 兀爻胤賳亘賵賱" 丨鬲賶 賵噩丿鬲賳賷 賲鬲賵乇胤賸丕 賲乇丞 兀禺乇賶 賲毓 丕賱卮禺氐賷丕鬲貙 賲賳睾賲爻賸丕 賮賷 鬲賮丕氐賷賱 丕賱兀丨丿丕孬貙 睾賷乇 賯丕丿乇賺 毓賱賶 丕賱廿賮賱丕鬲 賲賳 賴匕賴 丕賱乇賵丕賷丞 丕賱卮賷賯丞貙 丨鬲賶 賳賴丕賷鬲賴丕 ...
鬲睾賷賻賾乇 丕賱毓丕賱賲 賰孬賷乇賸丕 賴匕賴 丕賱賲乇丞貙 賮兀氐亘丨賳丕 廿夭丕亍 賯氐丞 賵丕賯毓賷丞 鬲丨賲賱 亘氐賲丕鬲 丕賱鬲丕乇賷禺 兀賷囟賸丕 賵毓賲賯 丕賱賲兀爻丕丞貙 丕賱賲兀爻丕丞 丕賱鬲賷 賱賲 鬲賯鬲氐乇 毓賱賶 亘胤賱 丕賱乇賵丕賷丞 "丕賱賱賯賷胤丞" 亘賱 鬲毓丿鬲 丨賰丕賷鬲賴丕 賱鬲卮賲賱 匕賱賰 丕賱毓丕賱賲 丕賱匕賷 爻賰鬲 毓賱賶 丨丕丿孬丞 廿亘丕丿丞 毓乇賯賷丞 賰亘賷乇丞 賵賴賵 賲丕 丨丿孬 賲賳 丕賱兀鬲乇丕賰 賭 丕賱匕賷賳 鬲賳鬲賲賷 廿賱賷賴賲 丕賱乇賵丕卅賷丞 賭 "賱賱兀乇賲賳" ...
賵亘丕賱乇睾賲 賲賳 鬲卮毓亘 丕賱丨賰丕賷丕鬲 賵鬲毓丿丿 丕賱卮禺氐賷丕鬲 賮賷 丕賱乇賵丕賷丞貙 廿賱丕 兀賳 "廿賱賷賮" 毓賱賶 毓丕丿鬲賴丕貙 賵亘丕賯鬲丿丕乇 丕爻鬲胤丕毓鬲 兀賳 鬲賱賲 亘卮禺氐賷丕鬲 匕賱賰 丕賱毓丕賱賲 賰賱賴貙 賵兀賳 鬲囟賮賻賾乇 賯氐氐賴賲 賵丨賰丕賷丕鬲賴賲 賮賷 賳爻賷噩 氐賳毓鬲 賲賳賴 "胤亘賯 丕賱毓丕卮賵乇丕亍" 丕賱毓噩賷亘 丕賱匕賷 毓賳賵賳鬲 亘賲賰賵賳丕鬲賴 賮氐賵賱 乇賵丕賷鬲賴丕 ...
亘賷賳 鬲乇賰賷丕 賵兀賲乇賷賰丕 鬲噩賵亘 亘賳丕 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 賵亘胤賱丕鬲賴丕 丌爻賷丕 賵丌乇賲丕賳賵卮 亘賷賳 賵丕丨丿丞 鬲鬲賳賰乇 賱賲丕囟賷賴丕 賮廿匕丕 亘賴 亘丨囟乇 兀賲丕賲賴丕 亘賰賱 賯賵丞 .. 賵賯爻賵丞貙 賵兀禺乇賶 鬲亘丨孬 毓賳 賲丕囟賷賴丕 亘丿兀亘 ..賮廿匕丕 亘賴 賷鬲爻乇亘 賲賳 亘賷賳 賷丿賷賴丕 賲賴賲丕 丨丕賵賱鬲 丕賱丕賯鬲乇丕亘 賲賳賴!!
賵乇睾賲 丕丨鬲賵丕亍 丕賱乇賵丕賷丞 毓賱賶 "兀爻乇丕乇" 賵"賲賮丕乇賯丕鬲" 賵賲賮丕噩丌鬲 賰丕賳 賷賲賰賳 兀賳 "鬲亘賳賶 毓賱賷賴丕 丕賱乇賵丕賷丞" 鬲賲丕賲賸丕 賵鬲鬲丨賵賻賾賱 廿賱賶 乇賵丕賷丞 亘賵賱賷爻賷丞 氐乇賮貙 廿賱丕 兀賳 丕賱賰丕鬲亘丞 賰丕賳鬲 鬲賲賴丿 賱賲賮丕噩丌鬲賴丕 亘賰賱 亘爻丕胤丞 丨鬲賶 鬲睾丿賵 賲鬲賵賯毓丞 賵丕毓鬲賷丕丿賷丞 .. 賷氐賱 廿賱賷賴丕 丕賱賯丕乇卅 丨鬲賶 賯亘賱 丕賱鬲氐乇賷丨 亘賴丕!
丕賱毓丿賷丿 賲賳 丕賱賲卮丕賴丿 賵丕賱卮禺氐賷丕鬲 賵丕賱賲賵丕賯賮 丕賱鬲賷 乇氐丿鬲賴丕 丕賱賰丕鬲亘丞 亘丿賯丞 噩毓賱鬲 丕锟斤拷賯丕乇卅 賷鬲毓丕胤賮 賲毓賴丕 亘卮丿丞貙 賮賷 賰賱 賮氐賱 亘賱 兀賰丕丿 兀賯賵賱 賵賰賱 賮賯乇丞貙 賱丕爻賷賲丕 丕賱賰卮賮 丕賱匕賰賷 毓賳 丕賱賲兀爻丕丞 丕賱兀乇賲賳賷丞 賵賵氐賮賴丕 亘丿賯丞 賵噩毓賱賴丕 賭 賱賱賲賮丕噩兀丞 賭 噩夭亍賸丕 賲賳 亘賳賷丞 丕賱乇賵丕賷丞 賵兀丨丿丕孬賴丕 賮賷 匕賱賰 丕賱賲丕囟賷 丕賱匕賷 賷毓賵丿!
賷亘賯賶 丨丕囟乇賸丕 賮賷 匕賴賳賷 賲卮賴丿 丿禺賵賱 丕賱禺丕賱丞 "亘丕賳賵" 毓賱賶 兀禺賷賴丕 亘胤亘賯 "丕賱毓丕卮賵乇丕亍" 賮賷 丌禺乇 賷賵賲 賱賴 賮賷 丨賷丕鬲賴 .. 賰賲卮賴丿 賮丕乇賯 賵賲丐孬乇 賮賷 丕賱乇賵丕賷丞貙
卮賰乇賸丕 廿賱賷賮 卮賮丕賯 .. 賱賱賲乇丞 丕賱孬丕賳賷丞 毓賱賶 丕賱鬲賵丕賱賷
September 21, 2015
亘亘爻丕胤賴 : 乇賵丕賷賴 賲賲鬲毓賴 .
乇睾賲 兀賳賶 卮毓乇鬲 兀賳賴丕 兀賳孬賵賷賴 噩丿丕 . 廿賱賷賮 賰丕鬲亘賴 鬲噩賷丿 賵氐賮 丕賱賲卮丕毓乇 丕賱丕賳爻丕賳賷賴 丕賱賲禺鬲賱賮賴 賵禺丕氐丞 丕賱丕賷噩丕亘賷賴 賲賳賴丕
丕賱氐丿賲丞 賮賶 丕賱乇賵丕賷賴 乇丕卅毓賴 賵賲亘賴乇賴
丿丕卅賲丕 丕丐賲賳 亘兀賳 丕賱賯乇丕亍丞 賱賰鬲丕亘 賲賳 孬賯丕賮賴 賲禺鬲賱賮賴 賱丕 賷乇噩毓 賱賲鬲毓丞 丕賱賯乇丕亍賴 賮賯胤
亘賱 賱賲毓乇賮丞 孬賯丕賮丞 丕賱賲噩鬲賲毓丕鬲 丕賱賲禺鬲賱賮賴 賵胤乇賷賯丞 賲毓賷卮鬲賴賲
鬲胤乇賯鬲 卮丕賮丕賯 賮賶 乇賵丕賷鬲賴丕 丕賱賶 賲兀爻丕丞 丕賱丕乇賲賳 (丕賱賮氐賱 丕賱匕賶 鬲丨丿孬鬲 賮賷賴 毓賳 丕賱賲兀爻丕賴 賷丿乇爻)
丕爻鬲胤丕毓鬲 亘亘乇丕毓賴 兀賳 鬲卮毓乇賰 亘賵噩賵丿賴丕 賵賯鬲 丕賱賲噩夭乇賴 賵鬲卮毓乇 亘賲毓丕賳丕鬲賴賲
丕爻鬲胤丕毓鬲 丕賱賷賮 丕賳 鬲噩毓賱賰 鬲爻丕賮乇 丕賱賶 丕爻鬲丕賳亘賵賱 賵鬲兀賰賱 賮賷賴丕 賵鬲鬲噩賵賱 亘賴丕
賵毓賳丿賲丕 鬲氐賮 賲卮丕毓乇 丕賱丕乇賲賳 鬲囟毓賰 賲毓賴賲
乇賵丕賷賴 亘賴丕 10 卮禺氐賷丕鬲 賳爻丕卅賷賴 乇卅賷爻賷賴 亘賲卮丕毓乇 賲禺鬲賱賮賴 賵胤乇賷賯丞 賲毓賷卮賴 鬲禺鬲賱賮 毓賳 丕賱丕禺乇賶 賵賱賰賳賴賲 賮賶 丕賱賳賴丕賷賴 丕賳丿賲噩賵丕 賱賷賳鬲噩賵丕 賴匕丕 丕賱毓賲賱 丕賱乇丕賯賶
乇睾賲 兀賳賶 卮毓乇鬲 兀賳賴丕 兀賳孬賵賷賴 噩丿丕 . 廿賱賷賮 賰丕鬲亘賴 鬲噩賷丿 賵氐賮 丕賱賲卮丕毓乇 丕賱丕賳爻丕賳賷賴 丕賱賲禺鬲賱賮賴 賵禺丕氐丞 丕賱丕賷噩丕亘賷賴 賲賳賴丕
丕賱氐丿賲丞 賮賶 丕賱乇賵丕賷賴 乇丕卅毓賴 賵賲亘賴乇賴
丿丕卅賲丕 丕丐賲賳 亘兀賳 丕賱賯乇丕亍丞 賱賰鬲丕亘 賲賳 孬賯丕賮賴 賲禺鬲賱賮賴 賱丕 賷乇噩毓 賱賲鬲毓丞 丕賱賯乇丕亍賴 賮賯胤
亘賱 賱賲毓乇賮丞 孬賯丕賮丞 丕賱賲噩鬲賲毓丕鬲 丕賱賲禺鬲賱賮賴 賵胤乇賷賯丞 賲毓賷卮鬲賴賲
鬲胤乇賯鬲 卮丕賮丕賯 賮賶 乇賵丕賷鬲賴丕 丕賱賶 賲兀爻丕丞 丕賱丕乇賲賳 (丕賱賮氐賱 丕賱匕賶 鬲丨丿孬鬲 賮賷賴 毓賳 丕賱賲兀爻丕賴 賷丿乇爻)
丕爻鬲胤丕毓鬲 亘亘乇丕毓賴 兀賳 鬲卮毓乇賰 亘賵噩賵丿賴丕 賵賯鬲 丕賱賲噩夭乇賴 賵鬲卮毓乇 亘賲毓丕賳丕鬲賴賲
丕爻鬲胤丕毓鬲 丕賱賷賮 丕賳 鬲噩毓賱賰 鬲爻丕賮乇 丕賱賶 丕爻鬲丕賳亘賵賱 賵鬲兀賰賱 賮賷賴丕 賵鬲鬲噩賵賱 亘賴丕
賵毓賳丿賲丕 鬲氐賮 賲卮丕毓乇 丕賱丕乇賲賳 鬲囟毓賰 賲毓賴賲
乇賵丕賷賴 亘賴丕 10 卮禺氐賷丕鬲 賳爻丕卅賷賴 乇卅賷爻賷賴 亘賲卮丕毓乇 賲禺鬲賱賮賴 賵胤乇賷賯丞 賲毓賷卮賴 鬲禺鬲賱賮 毓賳 丕賱丕禺乇賶 賵賱賰賳賴賲 賮賶 丕賱賳賴丕賷賴 丕賳丿賲噩賵丕 賱賷賳鬲噩賵丕 賴匕丕 丕賱毓賲賱 丕賱乇丕賯賶
August 23, 2022
乇賵丕賷丞賹 爻賷卅丞賹 賵 賲賲賱丞 丕囟胤乇乇鬲 賱丕賰賲丕賱賴丕 賱丕賳賷 賱丕 丕丨亘 鬲乇賰 賰鬲丕亘 賮賷 丕賱賲賳鬲氐賮 .
毓賳丿賷 丕毓鬲乇丕囟 毓賱賶 賰賱 丕賱兀賮賰丕乇 丕賱賲賵噩賵丿丞 賮賷賴丕 亘丿亍丕 賲賳 賲丨丕賵賱丞 丕賱賰丕鬲亘丞 丕賱鬲賯賱賷賱 賲賳 卮丕賳 賵 丕賳鬲賯丕丿 丕賱丿賷賳 丕賱廿爻賱丕賲賷 亘胤乇賷賯丞 睾賷乇 賲亘丕卮乇丞 賮賴賷 鬲乇賷丿 丕賳 鬲亘賷賳 丕賳 鬲乇賰賷丕 亘鬲丨賵賱賴丕 賲賳 丿賵賱丞 廿爻賱丕賲賷丞 丕賱賶 毓賱賲丕賳賷丞 賯丿 兀氐亘丨鬲 丿賵賱丞 賲丿賳賷丞 丿賷賲賯乇丕胤賷丞 丨乇丞...
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賵 丕賱賲賵囟賵毓 丕賱孬丕賳賷 賴賵 賯囟賷丞 丕賱賲噩丕夭乇 丕賱兀乇賲賳賷丞 賮丕賱賰丕鬲亘丞 丨丕賵賱鬲 丕賳 鬲賱禺氐賴丕 賮賷 賮賰乇丞 賵丕丨丿丞 賵 賴賷 丕賳 " 丕賱丿賵賱丞 丕賱毓孬賲丕賳賷丞 丕賱廿爻賱丕賲賷丞 賯鬲賱鬲 賲賱賷賵賳 賵賳氐賮 丕賱賲賱賷賵賳 賲賳 丕賱丕乇賲賳 丕賱賲爻賷丨賷賷賳...賮賯胤 賱丕賳賴賲 賲爻賷丨賷賵賳. 賱賰賳 賰賲丕 賯丕賱 丿丕賳 亘乇丕賵賳 丕賱賲賳鬲氐乇 賴賵 賲賳 賷賰鬲亘 丕賱鬲丕乇賷禺 賮丕賱睾乇亘 賴賲 賲賳 丕鬲鬲氐乇賵 毓賱賶 丕賱丿賵賱丞 丕賱毓孬賲丕賳賷丞 賵 賰鬲亘賵丕 丕賱鬲丕乇賷禺 賱賰賳 丕丿丕 賳囟乇賳丕 賲賳 丕賱噩丕賳亘 丕賱丌禺乇 賮丕賱賯氐丞 賲禺鬲賱賮丞
賮丕賱兀乇賲賳 賴賲 賲賳 鬲毓丕賵賳賵丕 賲毓 丕賱賯賵丕鬲 丕賱乇賵爻賷丞 亘睾賷丞 廿賳卮丕亍 丿賵賱丞 兀乇賲賷賳賷丞 賲爻鬲賯賱丞 賮賷 賲賳胤賯丞 丕賱兀賳丕囟賵賱貙 賵丨丕乇亘賵丕 囟丿 丕賱丿賵賱丞 丕賱毓孬賲丕賳賷丞 廿亘丕賳 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱兀賵賱賶. 賵毓賳丿賲丕 丕丨鬲賱 丕賱噩賷卮 丕賱乇賵爻賷 卮乇賯賷 丕賱兀賳丕囟賵賱貙 丕賳卮賯 亘毓囟 丕賱兀乇賲賳 丕賱匕賷賳 賰丕賳賵丕 賷禺丿賲賵賳 賮賷 氐賮賵賮 丕賱賯賵丕鬲 丕賱毓孬賲丕賳賷丞 賵丕賳囟賲賵丕 廿賱賷賴 貙 亘賷賳賲丕 毓賲丿鬲 丕賱毓氐丕亘丕鬲 丕賱兀乇賲賷賳賷丞 廿賱賶 丕乇鬲賰丕亘 賲噩丕夭乇 囟丿 丕賱賲丿賳賷賷賳 賮賷 丕賱賲賳丕胤賯 丕賱鬲賷 丕丨鬲賱鬲賴丕.
丨賷孬 孬賲 廿丨氐丕亍 兀賰孬乇 賲賳 賳氐賮 賲賱賷賵賳 囟丨賷丞 賲賳 丕賱賲爻賱賲賷賳 丕賱賲丿賳賷賷賳 賵賱賷爻 丕賱毓爻賰乇賷賵賳 賵賱賲 賷鬲賲賰賳 賲賳 廿丨氐丕亍 噩賲賷毓 丕賱賯鬲賱賶貙 廿匕 廿賳賴 丨丿孬 丕賱賰孬賷乇 賲賳 丕賱賲匕丕亘丨 賵兀亘賷丿鬲 賯乇賶 亘賰丕賲賱賴丕 賵賱賲 賷賳噩 賲賳賴丕 兀丨丿 賱賷乇賵賷 丕賱丨丕丿孬丞
兀丨丿 賯丕丿丞 丕賱毓氐丕亘丕鬲 丕賱兀乇賲賳賷丞 丕賱賲爻賱丨丞 賵賷丿毓賶 "兀乇卮丕賰" 賰丕賳 賷賳爻賯 兀賳卮胤鬲賴 賲毓 賯丕卅丿 兀乇賲賳賷 丌禺乇 卮賴賷乇 賷丿毓賶 "兀賳鬲乇丕賳賷賰"貙 賵賰丕賳丕 賷賲丕乇爻丕賳 匕亘丨 丕賱兀胤賮丕賱 禺丕氐丞. 賵賲賳 丕賱噩乇丕卅賲 丕賱賲賳爻賵亘丞 匕亘丨 兀胤賮丕賱 賰丕賳賵丕 賷兀賵賵賳 廿賱賶 賲賱噩兀 兀賷鬲丕賲貙 賰賲丕 匕亘丨賵丕 賰賱 丕賱兀爻乇賶 丕賱兀鬲乇丕賰 丕賱匕賷賳 賵賯毓賵丕 鬲丨鬲 兀賷丿賷賴賲. 賵毓賳丿賲丕 兀購噩亘乇鬲 毓氐丕亘丕鬲 丕賱兀乇賲賳 毓賱賶 丕賱鬲乇丕噩毓貙 賯丕賲賵丕 亘丕睾鬲氐丕亘 丕賱爻賷丿丕鬲 賵丕賱賮鬲賷丕鬲 丕賱賲爻賱賲丕鬲貙 賵丕睾鬲丕賱賵丕 兀賷囟丕 賮賷 胤乇賷賯 毓賵丿鬲賴賲 50 胤賮賱丕 鬲乇賰賷丕.
賱賵 賯鬲賱 賲賱賷賵賳 賵賳氐賮 丕賱賲賱賷賵賳 賲賳 丕賱丕乇賲賳 賷賳亘睾賷 兀賳 賷亘賯賶 賯乇丕亘丞 賲丕卅鬲賷 兀賱賮 兀乇賲賳賷 毓賱賶 賯賷丿 丕賱丨賷丕丞. 賵丕賱丨賯賷賯丞 睾賷乇 匕賱賰貨 賱兀賳 毓丿丿 丕賱兀乇賲賳 爻賳丞 1919 (亘毓丿 丕賱丨乇亘) 賲賱賷賵賳 賵兀乇亘毓賲丕卅丞 兀賱賮 賳爻賲丞 亘廿噩賲丕毓 丕賱廿丨氐丕亍丕鬲.
賰賷賮 賷賯鬲賱 賲賱賷賵賳 賵賳氐賮 丕賱賲賱賷賵賳 賲賳 賲賱賷賵賳 賵爻亘毓賲丕卅丞 賵賷亘賯賶 賲賱賷賵賳 賵兀乇亘毓賲丕卅丞 兀賱賮 兀乇賲賳賷责 兀賱賷爻 賴匕丕 鬲賳丕賯囟丕责
毓賳丿賷 丕毓鬲乇丕囟 毓賱賶 賰賱 丕賱兀賮賰丕乇 丕賱賲賵噩賵丿丞 賮賷賴丕 亘丿亍丕 賲賳 賲丨丕賵賱丞 丕賱賰丕鬲亘丞 丕賱鬲賯賱賷賱 賲賳 卮丕賳 賵 丕賳鬲賯丕丿 丕賱丿賷賳 丕賱廿爻賱丕賲賷 亘胤乇賷賯丞 睾賷乇 賲亘丕卮乇丞 賮賴賷 鬲乇賷丿 丕賳 鬲亘賷賳 丕賳 鬲乇賰賷丕 亘鬲丨賵賱賴丕 賲賳 丿賵賱丞 廿爻賱丕賲賷丞 丕賱賶 毓賱賲丕賳賷丞 賯丿 兀氐亘丨鬲 丿賵賱丞 賲丿賳賷丞 丿賷賲賯乇丕胤賷丞 丨乇丞...
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賵 丕賱賲賵囟賵毓 丕賱孬丕賳賷 賴賵 賯囟賷丞 丕賱賲噩丕夭乇 丕賱兀乇賲賳賷丞 賮丕賱賰丕鬲亘丞 丨丕賵賱鬲 丕賳 鬲賱禺氐賴丕 賮賷 賮賰乇丞 賵丕丨丿丞 賵 賴賷 丕賳 " 丕賱丿賵賱丞 丕賱毓孬賲丕賳賷丞 丕賱廿爻賱丕賲賷丞 賯鬲賱鬲 賲賱賷賵賳 賵賳氐賮 丕賱賲賱賷賵賳 賲賳 丕賱丕乇賲賳 丕賱賲爻賷丨賷賷賳...賮賯胤 賱丕賳賴賲 賲爻賷丨賷賵賳. 賱賰賳 賰賲丕 賯丕賱 丿丕賳 亘乇丕賵賳 丕賱賲賳鬲氐乇 賴賵 賲賳 賷賰鬲亘 丕賱鬲丕乇賷禺 賮丕賱睾乇亘 賴賲 賲賳 丕鬲鬲氐乇賵 毓賱賶 丕賱丿賵賱丞 丕賱毓孬賲丕賳賷丞 賵 賰鬲亘賵丕 丕賱鬲丕乇賷禺 賱賰賳 丕丿丕 賳囟乇賳丕 賲賳 丕賱噩丕賳亘 丕賱丌禺乇 賮丕賱賯氐丞 賲禺鬲賱賮丞
賮丕賱兀乇賲賳 賴賲 賲賳 鬲毓丕賵賳賵丕 賲毓 丕賱賯賵丕鬲 丕賱乇賵爻賷丞 亘睾賷丞 廿賳卮丕亍 丿賵賱丞 兀乇賲賷賳賷丞 賲爻鬲賯賱丞 賮賷 賲賳胤賯丞 丕賱兀賳丕囟賵賱貙 賵丨丕乇亘賵丕 囟丿 丕賱丿賵賱丞 丕賱毓孬賲丕賳賷丞 廿亘丕賳 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱兀賵賱賶. 賵毓賳丿賲丕 丕丨鬲賱 丕賱噩賷卮 丕賱乇賵爻賷 卮乇賯賷 丕賱兀賳丕囟賵賱貙 丕賳卮賯 亘毓囟 丕賱兀乇賲賳 丕賱匕賷賳 賰丕賳賵丕 賷禺丿賲賵賳 賮賷 氐賮賵賮 丕賱賯賵丕鬲 丕賱毓孬賲丕賳賷丞 賵丕賳囟賲賵丕 廿賱賷賴 貙 亘賷賳賲丕 毓賲丿鬲 丕賱毓氐丕亘丕鬲 丕賱兀乇賲賷賳賷丞 廿賱賶 丕乇鬲賰丕亘 賲噩丕夭乇 囟丿 丕賱賲丿賳賷賷賳 賮賷 丕賱賲賳丕胤賯 丕賱鬲賷 丕丨鬲賱鬲賴丕.
丨賷孬 孬賲 廿丨氐丕亍 兀賰孬乇 賲賳 賳氐賮 賲賱賷賵賳 囟丨賷丞 賲賳 丕賱賲爻賱賲賷賳 丕賱賲丿賳賷賷賳 賵賱賷爻 丕賱毓爻賰乇賷賵賳 賵賱賲 賷鬲賲賰賳 賲賳 廿丨氐丕亍 噩賲賷毓 丕賱賯鬲賱賶貙 廿匕 廿賳賴 丨丿孬 丕賱賰孬賷乇 賲賳 丕賱賲匕丕亘丨 賵兀亘賷丿鬲 賯乇賶 亘賰丕賲賱賴丕 賵賱賲 賷賳噩 賲賳賴丕 兀丨丿 賱賷乇賵賷 丕賱丨丕丿孬丞
兀丨丿 賯丕丿丞 丕賱毓氐丕亘丕鬲 丕賱兀乇賲賳賷丞 丕賱賲爻賱丨丞 賵賷丿毓賶 "兀乇卮丕賰" 賰丕賳 賷賳爻賯 兀賳卮胤鬲賴 賲毓 賯丕卅丿 兀乇賲賳賷 丌禺乇 卮賴賷乇 賷丿毓賶 "兀賳鬲乇丕賳賷賰"貙 賵賰丕賳丕 賷賲丕乇爻丕賳 匕亘丨 丕賱兀胤賮丕賱 禺丕氐丞. 賵賲賳 丕賱噩乇丕卅賲 丕賱賲賳爻賵亘丞 匕亘丨 兀胤賮丕賱 賰丕賳賵丕 賷兀賵賵賳 廿賱賶 賲賱噩兀 兀賷鬲丕賲貙 賰賲丕 匕亘丨賵丕 賰賱 丕賱兀爻乇賶 丕賱兀鬲乇丕賰 丕賱匕賷賳 賵賯毓賵丕 鬲丨鬲 兀賷丿賷賴賲. 賵毓賳丿賲丕 兀購噩亘乇鬲 毓氐丕亘丕鬲 丕賱兀乇賲賳 毓賱賶 丕賱鬲乇丕噩毓貙 賯丕賲賵丕 亘丕睾鬲氐丕亘 丕賱爻賷丿丕鬲 賵丕賱賮鬲賷丕鬲 丕賱賲爻賱賲丕鬲貙 賵丕睾鬲丕賱賵丕 兀賷囟丕 賮賷 胤乇賷賯 毓賵丿鬲賴賲 50 胤賮賱丕 鬲乇賰賷丕.
賱賵 賯鬲賱 賲賱賷賵賳 賵賳氐賮 丕賱賲賱賷賵賳 賲賳 丕賱丕乇賲賳 賷賳亘睾賷 兀賳 賷亘賯賶 賯乇丕亘丞 賲丕卅鬲賷 兀賱賮 兀乇賲賳賷 毓賱賶 賯賷丿 丕賱丨賷丕丞. 賵丕賱丨賯賷賯丞 睾賷乇 匕賱賰貨 賱兀賳 毓丿丿 丕賱兀乇賲賳 爻賳丞 1919 (亘毓丿 丕賱丨乇亘) 賲賱賷賵賳 賵兀乇亘毓賲丕卅丞 兀賱賮 賳爻賲丞 亘廿噩賲丕毓 丕賱廿丨氐丕亍丕鬲.
賰賷賮 賷賯鬲賱 賲賱賷賵賳 賵賳氐賮 丕賱賲賱賷賵賳 賲賳 賲賱賷賵賳 賵爻亘毓賲丕卅丞 賵賷亘賯賶 賲賱賷賵賳 賵兀乇亘毓賲丕卅丞 兀賱賮 兀乇賲賳賷责 兀賱賷爻 賴匕丕 鬲賳丕賯囟丕责
September 19, 2008
Wow! This was something! I have to admit I missed the feeling of oneness in a book.
Right after I finnished it (& took a deep breath), I turned on my computer determined to read more about the author, the story, ideas, opinions. I like to do that when I don't want a book to end.
Unfortunately, I got to an old conclussion of mine again: critique and dissection of the book has no charm. I clicked on some links and there I had! opinions about how characters evolve and how the novel is built, even criticism for too many characters (?!) and so less about the great feeling of the book. For me, this was a bit of fresh air after a lot of mediocre novels of this type. If I started reading a few pages at my breakfast, I would regret putting it down and heading to my day intrigued on how familiar I am with the characters and how eager for more I am. Not just for the idea of reading, but for what the book itself brought to me.
Enough with that. I'm gonna put down a few of my obs, they are a lot more and not so well structured. But if you want to read a clear and good review about this book, with analysis between the characters and all that, you won't find it here, search somewhere else, my review is a long hotchpoten of personal and subjective impressions over the book.
Anyway, you'd better read a few interviews of Elif Shafak (liked this one: ) - lot less boring and blurred than interviews about a book with its author usually are.
First thing that impressed me was the name of the chapters whose significance we only get later on the book [spoiler: the ingredients for a turkish dessert: ashure]. Although I did not understand what was the author following in the beginning, I was thrilled by her consistency in placing little details to point to the chapter's name. That was smth special I haven't met in any other book - so it added to the book's flavour.
Then the style: though I read it in Romanian, so I can't tell how good it is in English, nothing sounded false to me, the prose flew on and hooked me in and I finnally got rid of that obsession of mine to look at words and sentences and nod: hmm, is it the translation or why does this sound so awkward and fake? [i bet it's the author!;):]. So I had that childish joy of reading a book again.
The characters were very very interesting: the Aunties were intriguing each with its particularity and still with that tolerance that made them able to live together. The girls- Asya, the nihilist impressed me with her slowness and blackness, mostly for her freedom of adopting them and stand by them. I resonated with her refuse to accept the past as part of her, her wish to leave a big blank spot behind and stay in that moment with nothing to be charged for. I admired her force of thinking, honestly; I don't think it's improbable for a 19 years old to think deep. At the opposite: Armanoush, living with her ancestor's memories and history tied up to her life, decided to find her roots by taking a trip to Istanbul, Turkey, the city her forebears' old enemies, the Turks lived in. She believed that returning there would help her find herself in between her mother's hate for Armeanian culture and her father's Armenian origins.
Finally, she finds a balance between the two-she banished the typical Armenian hate for Turks while being faithful to her origin, trying to bring illumination in her stepfather's family regarding the Armenian genocide, long ignored by the Turk Repubilc. A quote that IMO describes the realistic state of things:鈥淛ust like the Turks have been in the habit of denying their wrongdoing, the Armenians have been in the habit of savoring the cocoon of victimhood鈥� (p. 263) Baron Baghdasarian.
The cultural exchange between the girls was interesting to observe: each had a different stand to life but shared with the other one without notching the other one's. [asya/j.cash-armanoush/books:]
The ending was unexpected, the final third brings the full view over the two families and teh connection between their histories. Despite that, there wasn't any noticeable rush -it was just how things evolved(maybe a liiitle improbable). The multiple leaps in time and space where effective for the atmosphere. The paragraphs from the child's book and the pieces of the families' history intercalated with Mostapha's arrival in Istanbul and, in the end, his death brouhgt up the rootless tree that man was.
A symbol I noticed: The tattoo Aram wanted to have and got refused by Auntie Zeliha: an upside down tree with its roots in the air it's a perfect definition of instability of Asya, the bastard with the no-name father and the stability seeked by Armanoush.
Also, I liked that Shafak lined up the lifestyle of the bohemian intellectuals of Turkey and how the history is a big void even to them. Cafe Kundera had a very very worm atmosphere-the at. of a place where things are tendious and repetitive, where people go and lose themselves in one of the photos with a road hanged on the wall in front of them.
The city of Istanbul with its flavours and smells and overall, the importance of the food and spices in this book was such a delight bringer..
In the end, all characters were so properly left in the history that I don't want to know what happens next though I wouldn't have minded to stick with them a little more.
Of course, there are a lot more I left out, but I'll place them in my personal notes, i don't think anyone resists to read my chaotic review to the end.
Right after I finnished it (& took a deep breath), I turned on my computer determined to read more about the author, the story, ideas, opinions. I like to do that when I don't want a book to end.
Unfortunately, I got to an old conclussion of mine again: critique and dissection of the book has no charm. I clicked on some links and there I had! opinions about how characters evolve and how the novel is built, even criticism for too many characters (?!) and so less about the great feeling of the book. For me, this was a bit of fresh air after a lot of mediocre novels of this type. If I started reading a few pages at my breakfast, I would regret putting it down and heading to my day intrigued on how familiar I am with the characters and how eager for more I am. Not just for the idea of reading, but for what the book itself brought to me.
Enough with that. I'm gonna put down a few of my obs, they are a lot more and not so well structured. But if you want to read a clear and good review about this book, with analysis between the characters and all that, you won't find it here, search somewhere else, my review is a long hotchpoten of personal and subjective impressions over the book.
Anyway, you'd better read a few interviews of Elif Shafak (liked this one: ) - lot less boring and blurred than interviews about a book with its author usually are.
First thing that impressed me was the name of the chapters whose significance we only get later on the book [spoiler: the ingredients for a turkish dessert: ashure]. Although I did not understand what was the author following in the beginning, I was thrilled by her consistency in placing little details to point to the chapter's name. That was smth special I haven't met in any other book - so it added to the book's flavour.
Then the style: though I read it in Romanian, so I can't tell how good it is in English, nothing sounded false to me, the prose flew on and hooked me in and I finnally got rid of that obsession of mine to look at words and sentences and nod: hmm, is it the translation or why does this sound so awkward and fake? [i bet it's the author!;):]. So I had that childish joy of reading a book again.
The characters were very very interesting: the Aunties were intriguing each with its particularity and still with that tolerance that made them able to live together. The girls- Asya, the nihilist impressed me with her slowness and blackness, mostly for her freedom of adopting them and stand by them. I resonated with her refuse to accept the past as part of her, her wish to leave a big blank spot behind and stay in that moment with nothing to be charged for. I admired her force of thinking, honestly; I don't think it's improbable for a 19 years old to think deep. At the opposite: Armanoush, living with her ancestor's memories and history tied up to her life, decided to find her roots by taking a trip to Istanbul, Turkey, the city her forebears' old enemies, the Turks lived in. She believed that returning there would help her find herself in between her mother's hate for Armeanian culture and her father's Armenian origins.
Finally, she finds a balance between the two-she banished the typical Armenian hate for Turks while being faithful to her origin, trying to bring illumination in her stepfather's family regarding the Armenian genocide, long ignored by the Turk Repubilc. A quote that IMO describes the realistic state of things:鈥淛ust like the Turks have been in the habit of denying their wrongdoing, the Armenians have been in the habit of savoring the cocoon of victimhood鈥� (p. 263) Baron Baghdasarian.
The cultural exchange between the girls was interesting to observe: each had a different stand to life but shared with the other one without notching the other one's. [asya/j.cash-armanoush/books:]
The ending was unexpected, the final third brings the full view over the two families and teh connection between their histories. Despite that, there wasn't any noticeable rush -it was just how things evolved(maybe a liiitle improbable). The multiple leaps in time and space where effective for the atmosphere. The paragraphs from the child's book and the pieces of the families' history intercalated with Mostapha's arrival in Istanbul and, in the end, his death brouhgt up the rootless tree that man was.
A symbol I noticed: The tattoo Aram wanted to have and got refused by Auntie Zeliha: an upside down tree with its roots in the air it's a perfect definition of instability of Asya, the bastard with the no-name father and the stability seeked by Armanoush.
Also, I liked that Shafak lined up the lifestyle of the bohemian intellectuals of Turkey and how the history is a big void even to them. Cafe Kundera had a very very worm atmosphere-the at. of a place where things are tendious and repetitive, where people go and lose themselves in one of the photos with a road hanged on the wall in front of them.
The city of Istanbul with its flavours and smells and overall, the importance of the food and spices in this book was such a delight bringer..
In the end, all characters were so properly left in the history that I don't want to know what happens next though I wouldn't have minded to stick with them a little more.
Of course, there are a lot more I left out, but I'll place them in my personal notes, i don't think anyone resists to read my chaotic review to the end.
May 26, 2021
鈥� 丿乇 丕蹖賳 卮賴乇 爻毓蹖 亘乇 鬲讴賴 鬲讴賴 讴乇丿賳 鬲丕乇蹖禺 丕爻鬲.爻毓蹖 亘乇 丕賳丿丕禺鬲賳 賲爻丐賱蹖鬲 亘乇 诏乇丿賳 丕蹖賳 賵 丌賳.賵 丿乇 賲乇丨賱賴 丌禺乇 亘賴 诏乇丿賳 倬丿乇丕賳蹖 讴賴 丿蹖诏乇 賳蹖爻鬲賳丿 賵 倬爻乇丕賳 賵 丿禺鬲乇丕賳蹖 讴賴 讴賴 賲賵囟賵毓 乇亘胤蹖 亘賴 丌賳賴丕 賳丿丕乇丿.
丕氐乇丕乇 丿丕乇賳丿 亘诏賵蹖賳丿 诏匕卮鬲賴 丌賳胤賵乇 賳亘賵丿賴 讴賴 丕乇賲賳蹖鈥屬囏� 丕丿毓丕 賲蹖鈥屭┵嗁嗀� 賵 孬丕賳蹖丕 丕诏乇 賴賲 丕卮鬲亘丕賴丕鬲蹖 亘賵丿賴 貙丿乇 诏匕卮鬲賴鈥屫й� 乇禺 丿丕丿賴 讴賴 丌賳賴丕 爻丕賱鈥屬囏� 倬蹖卮 亘乇 丌賳 賳賯胤賴 倬丕蹖丕賳 賳賴丕丿賳丿.
鬲乇讴鈥屬囏� 賳賲蹖鈥屫堌з囐嗀� 诏匕卮鬲賴 乇丕 亘賴 乇爻賲蹖鬲 亘卮賳丕爻賳丿.
亘丕 賲胤乇丨 讴乇丿賳 賲爻丕卅賱蹖 趩賵賳 卮乇丕蹖胤 噩賳诏蹖貙禺卮賵賳鬲 噩賵丕賳丕賳 丕乇賲賳蹖貙鬲賲丕賲蹖鬲 賲賱蹖...讴賴 賵丕賯毓丕 賴乇噩丕蹖蹖 賲蹖鈥屫促堌� 丕夭 丌賳賴丕 丕爻鬲賮丕丿賴 讴乇丿貙丨丕囟乇 亘賴 倬匕蹖乇卮 賲爻丐賱蹖鬲 禺賵丿 丿乇 毓賲賱蹖 噩賳丕蹖鬲鈥屭┴ж必з嗁� 賳蹖爻鬲賳丿 賵 亘賴 丕蹖賳 鬲乇鬲蹖亘 亘賴鈥屫й� 亘賴 噩賱賵 乇賮鬲賳貙賲乇鬲亘 賳丕趩丕乇 亘賴 鬲賵噩蹖賴 賵 丨鬲蹖 丿乇 亘毓囟蹖 賲賵丕乇丿 鬲讴乇丕乇 诏匕卮鬲賴 賲蹖鈥屫促堎嗀�.
蹖讴 賲卮鬲 鬲乇讴 丕夭 丌爻蹖丕蹖 賲乇讴夭蹖 丌賲丿賳丿 賵 蹖讴亘丕乇賴 賴賲賴 噩丕 乇丕 诏乇賮鬲賳丿! 趩賴 亘賴 爻乇 賲蹖賱蹖賵賳鈥屬囏� 丕乇賲賳蹖 丌賲丿 讴賴 丌賳噩丕 爻丕讴賳 亘賵丿賳丿责! 噩匕亘 卮丿賳丿! 亘賴 賯鬲賱 乇爻蹖丿賳丿! 丿蹖倬賵乇鬲 卮丿賳丿! 蹖鬲蹖賲鈥屫簇з� 讴乇丿賳丿! 賵 亘毓丿 亘賴 賮乇丕賲賵卮蹖 爻倬乇丿賳丿.
亘賴 乇丕爻鬲蹖 賲蹖鈥屫堌з囒� 乇丕噩毓鈥屫ㄙ� 趩賴 趩蹖夭蹖 亘丕 鬲賵乇讴鈥屬囏й� 賲毓賲賵賱蹖 丨乇賮 亘夭賳蹖责 丨鬲蹖 鬲丨氐蹖賱 讴乇丿賴鈥屬囏й屫簇з� 賴賲 蹖丕 賳丕爻蹖賵賳丕賱蹖爻鬲 賴爻鬲賳丿 賵 蹖丕 賴賲賴 趩蹖夭 乇丕 丕賳讴丕乇 賲蹖鈥屭┵嗁嗀�.賮讴乇 賲蹖鈥屭┵嗃� 賲乇丿賲 賲毓賲賵賱蹖 毓賱丕賯賴鈥屫й� 亘賴 倬匕蹖乇卮 賵丕賯毓蹖鬲 鬲丕乇蹖禺蹖 丿丕乇賳丿责!
亘賱賴 賲毓賱賵賲 丕爻鬲 讴賴 賲丕 丕夭 丕蹖賳讴賴 卮賲丕 乇丕 鬲讴賴 倬丕乇賴 讴乇丿蹖賲 賵 亘毓丿 丕夭 禺丕賳賴 亘蹖乇賵賳 乇丕賳丿蹖賲 賵 爻乇 丌禺乇 賴賲 貙賴賲賴 乇丕 丕賳讴丕乇 讴乇丿蹖賲 賲鬲丕爻賮蹖賲.
鬲賳賴丕 蹖讴 乇丕賴 丿賵爻鬲蹖 亘丕 鬲賵乇讴鈥屬囏� 賵噩賵丿 丿丕乇丿 貙丿乇爻鬲 亘賴 丕賳丿丕夭賴鈥屰� 禺賵丿卮丕賳 賮乇丕賲賵卮讴丕乇 賵 賳丕丿丕賳 亘丕卮蹖.趩賵賳 丌賳賴丕 诏匕卮鬲賴 乇丕 亘賴 乇爻賲蹖鬲 賳賲蹖鈥屫促嗀ж迟嗀屫ж� 賲丕 芦丕乇賲賳蹖鈥屬囏� 賴賲 丕賳鬲馗丕乇 丿丕乇賳丿 讴賴 亘賴 诏匕卮鬲賴 倬卮鬲 讴賳蹖賲.
丕蹖賳 鬲賲丕賲 趩蹖夭蹖爻鬲 讴賴 丕賱蹖賮 卮丕賮丕讴 鬲禺賲 丌賳 乇丕 丿丕卮鬲 鬲丕 亘诏賵蹖丿!
卮丕賮丕讴 丿乇 丕蹖賳 讴鬲丕亘 爻毓蹖 讴乇丿賴 亘賴 鬲賵乇讴鈥屬囏� 亘賮賴賲丕賳丿 讴賴 讴卮賵乇卮丕賳 貙丌丿丕亘 賵 乇爻賵賲卮丕賳貙賮乇賴賳诏卮丕賳 丕乇夭卮 丌賳 乇丕 丿丕乇丿 讴賴 丕夭 倬丕 賮卮丕乇蹖 亘乇 爻乇 亘爻蹖丕乇蹖 丕夭 丕丨讴丕賲蹖 讴賴 丿爻鬲 賵 倬丕蹖卮丕賳 乇丕 亘爻鬲賴貙丿爻鬲 亘乇 丿丕乇賳丿.
丕賱蹖賮 卮丕賮丕讴 乇丕 亘禺丕胤乇 賴賲蹖賳 丨乇賮鈥屬囏� 亘賴 丿丕丿诏丕賴 讴卮丕賳丿賳丿...
讴丕卮 賲丕 讴賵乇丿鈥屬囏� 卮丕賮丕讴蹖 丿丕卮鬲蹖賲.
丕氐乇丕乇 丿丕乇賳丿 亘诏賵蹖賳丿 诏匕卮鬲賴 丌賳胤賵乇 賳亘賵丿賴 讴賴 丕乇賲賳蹖鈥屬囏� 丕丿毓丕 賲蹖鈥屭┵嗁嗀� 賵 孬丕賳蹖丕 丕诏乇 賴賲 丕卮鬲亘丕賴丕鬲蹖 亘賵丿賴 貙丿乇 诏匕卮鬲賴鈥屫й� 乇禺 丿丕丿賴 讴賴 丌賳賴丕 爻丕賱鈥屬囏� 倬蹖卮 亘乇 丌賳 賳賯胤賴 倬丕蹖丕賳 賳賴丕丿賳丿.
鬲乇讴鈥屬囏� 賳賲蹖鈥屫堌з囐嗀� 诏匕卮鬲賴 乇丕 亘賴 乇爻賲蹖鬲 亘卮賳丕爻賳丿.
亘丕 賲胤乇丨 讴乇丿賳 賲爻丕卅賱蹖 趩賵賳 卮乇丕蹖胤 噩賳诏蹖貙禺卮賵賳鬲 噩賵丕賳丕賳 丕乇賲賳蹖貙鬲賲丕賲蹖鬲 賲賱蹖...讴賴 賵丕賯毓丕 賴乇噩丕蹖蹖 賲蹖鈥屫促堌� 丕夭 丌賳賴丕 丕爻鬲賮丕丿賴 讴乇丿貙丨丕囟乇 亘賴 倬匕蹖乇卮 賲爻丐賱蹖鬲 禺賵丿 丿乇 毓賲賱蹖 噩賳丕蹖鬲鈥屭┴ж必з嗁� 賳蹖爻鬲賳丿 賵 亘賴 丕蹖賳 鬲乇鬲蹖亘 亘賴鈥屫й� 亘賴 噩賱賵 乇賮鬲賳貙賲乇鬲亘 賳丕趩丕乇 亘賴 鬲賵噩蹖賴 賵 丨鬲蹖 丿乇 亘毓囟蹖 賲賵丕乇丿 鬲讴乇丕乇 诏匕卮鬲賴 賲蹖鈥屫促堎嗀�.
蹖讴 賲卮鬲 鬲乇讴 丕夭 丌爻蹖丕蹖 賲乇讴夭蹖 丌賲丿賳丿 賵 蹖讴亘丕乇賴 賴賲賴 噩丕 乇丕 诏乇賮鬲賳丿! 趩賴 亘賴 爻乇 賲蹖賱蹖賵賳鈥屬囏� 丕乇賲賳蹖 丌賲丿 讴賴 丌賳噩丕 爻丕讴賳 亘賵丿賳丿责! 噩匕亘 卮丿賳丿! 亘賴 賯鬲賱 乇爻蹖丿賳丿! 丿蹖倬賵乇鬲 卮丿賳丿! 蹖鬲蹖賲鈥屫簇з� 讴乇丿賳丿! 賵 亘毓丿 亘賴 賮乇丕賲賵卮蹖 爻倬乇丿賳丿.
亘賴 乇丕爻鬲蹖 賲蹖鈥屫堌з囒� 乇丕噩毓鈥屫ㄙ� 趩賴 趩蹖夭蹖 亘丕 鬲賵乇讴鈥屬囏й� 賲毓賲賵賱蹖 丨乇賮 亘夭賳蹖责 丨鬲蹖 鬲丨氐蹖賱 讴乇丿賴鈥屬囏й屫簇з� 賴賲 蹖丕 賳丕爻蹖賵賳丕賱蹖爻鬲 賴爻鬲賳丿 賵 蹖丕 賴賲賴 趩蹖夭 乇丕 丕賳讴丕乇 賲蹖鈥屭┵嗁嗀�.賮讴乇 賲蹖鈥屭┵嗃� 賲乇丿賲 賲毓賲賵賱蹖 毓賱丕賯賴鈥屫й� 亘賴 倬匕蹖乇卮 賵丕賯毓蹖鬲 鬲丕乇蹖禺蹖 丿丕乇賳丿责!
亘賱賴 賲毓賱賵賲 丕爻鬲 讴賴 賲丕 丕夭 丕蹖賳讴賴 卮賲丕 乇丕 鬲讴賴 倬丕乇賴 讴乇丿蹖賲 賵 亘毓丿 丕夭 禺丕賳賴 亘蹖乇賵賳 乇丕賳丿蹖賲 賵 爻乇 丌禺乇 賴賲 貙賴賲賴 乇丕 丕賳讴丕乇 讴乇丿蹖賲 賲鬲丕爻賮蹖賲.
鬲賳賴丕 蹖讴 乇丕賴 丿賵爻鬲蹖 亘丕 鬲賵乇讴鈥屬囏� 賵噩賵丿 丿丕乇丿 貙丿乇爻鬲 亘賴 丕賳丿丕夭賴鈥屰� 禺賵丿卮丕賳 賮乇丕賲賵卮讴丕乇 賵 賳丕丿丕賳 亘丕卮蹖.趩賵賳 丌賳賴丕 诏匕卮鬲賴 乇丕 亘賴 乇爻賲蹖鬲 賳賲蹖鈥屫促嗀ж迟嗀屫ж� 賲丕 芦丕乇賲賳蹖鈥屬囏� 賴賲 丕賳鬲馗丕乇 丿丕乇賳丿 讴賴 亘賴 诏匕卮鬲賴 倬卮鬲 讴賳蹖賲.
丕蹖賳 鬲賲丕賲 趩蹖夭蹖爻鬲 讴賴 丕賱蹖賮 卮丕賮丕讴 鬲禺賲 丌賳 乇丕 丿丕卮鬲 鬲丕 亘诏賵蹖丿!
卮丕賮丕讴 丿乇 丕蹖賳 讴鬲丕亘 爻毓蹖 讴乇丿賴 亘賴 鬲賵乇讴鈥屬囏� 亘賮賴賲丕賳丿 讴賴 讴卮賵乇卮丕賳 貙丌丿丕亘 賵 乇爻賵賲卮丕賳貙賮乇賴賳诏卮丕賳 丕乇夭卮 丌賳 乇丕 丿丕乇丿 讴賴 丕夭 倬丕 賮卮丕乇蹖 亘乇 爻乇 亘爻蹖丕乇蹖 丕夭 丕丨讴丕賲蹖 讴賴 丿爻鬲 賵 倬丕蹖卮丕賳 乇丕 亘爻鬲賴貙丿爻鬲 亘乇 丿丕乇賳丿.
丕賱蹖賮 卮丕賮丕讴 乇丕 亘禺丕胤乇 賴賲蹖賳 丨乇賮鈥屬囏� 亘賴 丿丕丿诏丕賴 讴卮丕賳丿賳丿...
讴丕卮 賲丕 讴賵乇丿鈥屬囏� 卮丕賮丕讴蹖 丿丕卮鬲蹖賲.
June 15, 2024
Starting off with a busy scene at the Grand Bazaar in Istanbul, Elif Shafak takes us on a journey of various lives that come to a face-slapping intersection.
This book kept me turning page after page to witness miracles of melting cultures and the evil deeds within a family.
Out of all characters I was struck by Auntie Banu, a head-scarfed fortune teller - her instincts were conveyed so realistically that I can still imagine her so vividly after so many years having read this novel.
Very well written embedding well researched facts about minorities in a melting pot in a city that bridges the West and the East 馃寜.
Acknowledging that this isn鈥檛 everyone鈥檚 cup of tea, I still feel that open minds will not be frightened to expose themselves to daring topics Elif Shafak elaborates in her novel.
#co-existence #humanity #dignity #women #humanrace #istanbul #bosphorus #loverules #tea 鉂わ笍
This book kept me turning page after page to witness miracles of melting cultures and the evil deeds within a family.
Out of all characters I was struck by Auntie Banu, a head-scarfed fortune teller - her instincts were conveyed so realistically that I can still imagine her so vividly after so many years having read this novel.
Very well written embedding well researched facts about minorities in a melting pot in a city that bridges the West and the East 馃寜.
Acknowledging that this isn鈥檛 everyone鈥檚 cup of tea, I still feel that open minds will not be frightened to expose themselves to daring topics Elif Shafak elaborates in her novel.
#co-existence #humanity #dignity #women #humanrace #istanbul #bosphorus #loverules #tea 鉂わ笍
July 17, 2021
This is such a magical story and beautiful writing! I loved this book. In her second novel written in English, Elif Shafak confronts her country鈥檚 violent past in a vivid and colorful tale set in both Turkey and the United States. At its center is the 鈥渂astard鈥� of the title, Asya, a nineteen-year-old woman who loves Johnny Cash and the French Existentialists, and the four sisters of the Kazanci family who all live together in an extended household in Istanbul: Zehila, the zestful, headstrong youngest sister who runs a tattoo parlor and is Asya鈥檚 mother; Banu, who has newly discovered herself as a clairvoyant; Cevriye, a widowed high school teacher; and Feride, a hypochondriac obsessed with impending disaster. Their one estranged brother lives in Arizona with his wife and her Armenian daughter, Armanoush. When Armanoush secretly flies to Istanbul in search of her identity, she finds the Kazanci sisters and becomes fast friends with Asya. A secret is uncovered that links the two families and ties them to the 1915 Armenian deportations and massacres. Full of vigorous, unforgettable female characters, The Bastard of Istanbul is a bold, powerful tale that will confirm Shafak as a rising star of international fiction.
November 14, 2013
賲禺賷賮丞 賴匕賴 丕賱乇賵丕賷丞 ..
賱賷爻 丕賱禺賵賮 丕賱賲鬲毓丕乇賮 毓賱賷賴 賰丕賱禺賵賮 賲賳 丕賱馗賱丕賲 ..亘賱 賲禺賷賮丞 賮賷 鬲卮丕亘賰賴丕 賵賮賷 丕賱睾賲賵囟 丕賱匕賷 賷賰鬲賳賮 賰賱 卮禺氐賷丞 ..丕賱兀爻乇丕乇 丕賱鬲賷 賷丨鬲賮馗 亘賴丕 賰賱 卮禺氐 .. 賲孬賱 胤亘賯 丕賱毓丕卮賵乇丞 丕賱匕賷 賰丕賳鬲 賮氐賵賱 丕賱乇賵丕賷丞 賲毓賳賵賳丞 亘賲賰賵賳丕鬲賴 賱賷兀鬲賷 丕賱賲賰賵賳 丕賱兀禺賷乇 丕賱匕賷 賱丕賷賲鬲 亘氐賱丞 廿賱賶 胤亘賯 丕賱毓丕卮賵乇丞 賵丕賱匕賷 兀囟賮賶 賳賰賴丞 丕賱禺賵賮 丕賱鬲賷 鬲毓鬲乇賷賳賷 丕賱丌賳 .. 賲賲賷鬲 賱賰賳 亘氐賲鬲 ..
丕賱丨賷丕丞 賲孬賱 亘賷鬲 賯丕夭丕賳噩賷
賲禺鬲賱賮丞 賱賰賳 丕禺鬲賱丕賮賴丕 賱丕賷毓賳賷 亘丕賱囟乇賵乇丞 兀賳 賷爻亘亘 丕賱禺賱丕賮 亘賱 丕禺鬲賱丕賮賴丕 賷毓賳賷 丕賱鬲乇丕亘胤 ..
賱賱兀爻賮 賱賲 賷毓丿 丕賱毓丕賱賲 賷丐賲賳 亘賲亘丿兀 丕賱丕禺鬲賱丕賮 賱丕賷毓賳賷 禺賱丕賮 ..亘賱 丕禺鬲賱丕賮賰 賷毓賳賷 兀賳 鬲賰賵賳 毓丿賵丕
賱賷爻 丕賱禺賵賮 丕賱賲鬲毓丕乇賮 毓賱賷賴 賰丕賱禺賵賮 賲賳 丕賱馗賱丕賲 ..亘賱 賲禺賷賮丞 賮賷 鬲卮丕亘賰賴丕 賵賮賷 丕賱睾賲賵囟 丕賱匕賷 賷賰鬲賳賮 賰賱 卮禺氐賷丞 ..丕賱兀爻乇丕乇 丕賱鬲賷 賷丨鬲賮馗 亘賴丕 賰賱 卮禺氐 .. 賲孬賱 胤亘賯 丕賱毓丕卮賵乇丞 丕賱匕賷 賰丕賳鬲 賮氐賵賱 丕賱乇賵丕賷丞 賲毓賳賵賳丞 亘賲賰賵賳丕鬲賴 賱賷兀鬲賷 丕賱賲賰賵賳 丕賱兀禺賷乇 丕賱匕賷 賱丕賷賲鬲 亘氐賱丞 廿賱賶 胤亘賯 丕賱毓丕卮賵乇丞 賵丕賱匕賷 兀囟賮賶 賳賰賴丞 丕賱禺賵賮 丕賱鬲賷 鬲毓鬲乇賷賳賷 丕賱丌賳 .. 賲賲賷鬲 賱賰賳 亘氐賲鬲 ..
丕賱丨賷丕丞 賲孬賱 亘賷鬲 賯丕夭丕賳噩賷
賲禺鬲賱賮丞 賱賰賳 丕禺鬲賱丕賮賴丕 賱丕賷毓賳賷 亘丕賱囟乇賵乇丞 兀賳 賷爻亘亘 丕賱禺賱丕賮 亘賱 丕禺鬲賱丕賮賴丕 賷毓賳賷 丕賱鬲乇丕亘胤 ..
賱賱兀爻賮 賱賲 賷毓丿 丕賱毓丕賱賲 賷丐賲賳 亘賲亘丿兀 丕賱丕禺鬲賱丕賮 賱丕賷毓賳賷 禺賱丕賮 ..亘賱 丕禺鬲賱丕賮賰 賷毓賳賷 兀賳 鬲賰賵賳 毓丿賵丕
December 26, 2015
胤亘賯 毓丕卮賵乇丞 噩賲賷賱 .. 兀賮爻丿鬲賴 賰孬乇丞 夭賷賳鬲賴 賵鬲賮丕氐賷賱賴
賴匕丕 賴賵 丕賱丨丕賱 賲毓 賴匕賴 丕賱乇賵丕賷丞
乇賵丕賷丞 乇丕卅毓丞 噩丿賸丕 .. 賱兀賵賱 賲乇丞 兀賯乇兀 毓賳 丕賱氐乇丕毓 丕賱鬲乇賰賷 丕賱兀乇賲賳賷
兀爻賱賵亘 兀賱賷賮 賲卮賵賯 .. 氐賷丕睾鬲賴丕 賱賱賮賰乇丞 噩丕亍鬲 亘胤乇賷賯丞 乇丕卅毓丞 噩丿賸丕 .. 賵廿賳鬲賯丕賱賴丕 亘丕賱夭賲賳 廿賱賷 1915 賰丕賳 睾乇賷亘賸丕 賵賲賲鬲毓賸丕 ..
賱賰賳 賰孬乇丞 丕賱鬲賮丕氐賷賱 賯丿 鬲氐賷亘 丕賱賯丕乇卅 亘丕賱賲賱賱 賮賷 亘毓囟 丕賱兀丨賷丕賳
賮賷 鬲乇賰賷丕 賰賱 卮賷亍 賷丨丿孬賰 兀賳賰 賮賷 賵胤賳 噩賲毓 亘賷賳 丕賱兀氐丕賱丞 賵丕賱丨丿丕孬丞 .. 賳賴賱 賲賳 賲賳丕亘毓 丕賱兀賲丞 丕賱廿爻賱丕賲賷丞 .. 賵丨丕賰賶 鬲胤賵乇 賵鬲賯丿賲 丕賱丨囟丕乇丞 丕賱睾乇亘賷丞 .. 賮賰丕賳鬲 丕賱亘賱丕丿 賲乇賰夭 孬賯賱 噩賲毓 亘賷賳 爻賷丕爻丞 賱賲 鬲鬲禺賱賻 毓賳 賯賷賲 丿賷賳賴丕 .. 賵丕賯鬲氐丕丿 賷夭丕丨賲 丕賱睾乇亘 .. 亘賱 賵賷鬲賮賵賯 毓賱賷賴 兀丨賷丕賳賸丕
廿爻鬲丕賳亘賵賱 兀賵 廿爻胤賳亘賵賱 .. 丕賱賲丿賷賳丞 丕賱賲噩賳賵賳丞 .. 丕賱鬲賷 鬲禺鬲賱胤 賮賷賴丕 乇賵丕卅丨 丕賱賲爻賰 亘乇賵丕卅丨 丕賱禺賲賵乇 .. 賲丕 乇爻賲鬲賴 賮賷 賲禺賷賱鬲賷 毓賳 廿爻胤賳亘賵賱 賵賲丕 鬲丕亘毓鬲賴 賮賷 丕賱賲爻賱爻賱丕鬲 丕賱鬲乇賰賷丞 賵丕賱亘乇丕賲噩 丕賱爻賷丕丨賷丞 兀賳賴丕 賲丿賷賳丞 乇丕卅毓丞 賵禺賷丕賱賷丞 .. 賱兀賵賱 賲乇丞 兀毓乇賮 兀賳 兀賴賱賴丕 賷丨賲賱賵賳 賴匕丕 丕賱賯丿乇 賲賳 丕賱亘丐爻
爻賰丕賳 鬲乇賰賷丕 兀賳賮爻賴賲 廿賳賯爻賲賵丕 丨賵賱 賲匕丕亘丨賴賲 囟丿 丕賱兀乇賲賳 .. 賲賳賴賲 賲賳 賷毓鬲乇囟 賵賲賳賴賲 賲賳 賷亘乇乇
丕賱賳賴丕賷丞 氐丕丿賲丞 噩丿賸丕 .. 賱賰賳賴丕 鬲囟賷賮 丕賱賲夭賷丿 賲賳 丕賱乇賵毓丞 毓賱賶 賴匕賴 丕賱乇賵丕賷丞
亘丕賳賵 .. 卮賰乇賷丞 .. 賮乇賷丿丞 .. 夭賱賷禺丞 .. 丕賱噩丿丞 賰賱孬賵賲 .. 賲丕 - 丕賱賴賷賮丕亍 .. 丌爻賷丕 .. 丌乇賲丕賳賵卮 .. 乇賵夭 .. 卮賵卮丕賳 .. 亘丕賱鬲兀賰賷丿 爻鬲卮毓乇 亘丕賱丿賴卮丞 賵丕賱丨亘 賵丕賱卮賮賯丞 毓賳丿 賯乇丕卅鬲賰 賱賯氐丞 賰賱 卮禺氐賷丞 賲賳 賴匕賴 丕賱卮禺氐賷丕鬲
丕賱睾賱丕賮 賵毓賱賶 丕賱乇睾賲 賲賳 賴丿賵亍賴 廿賱丕 兀賳賴 乇丕卅毓 賵兀賱賵丕賳賴 噩匕丕亘丞
丕賱乇亘胤 亘賷賳 賲丕 丨丿孬 毓丕賲 1915 賱賱兀乇賲賳 賵賳鬲丕卅噩賴 毓賱賶 丌爻賷丕 賵 丌乇賲丕賳賵卮 賮賷 2005 賰丕賳 乇丕卅毓賸丕 賵賲丨賷乇賸丕
" 賱賵 賱賲 鬲賰賳 卮賵卮丕賳 賮賷 1915 賷鬲賷賲丞 貙 賮賴賱 賰丕賳鬲 丌爻賷丕 爻鬲氐亘丨 賱賯賷胤丞 责 "
" 賮賱賷爻 賱賱賲馗賱賵賲賷賳 爻賵賶 丕賱賲丕囟賷 "
.. 氐賵乇丞 賱賮鬲丕丞 兀毓鬲賯丿 兀賳賴丕 鬲卮亘賴 丌爻賷丕
June 29, 2021
Full of suspense, wittiness and cleverly written. The Bastard of Istanbul is a story of two girls Asya and Armanoush (Amy) who are connected with one another in terms of their family linkage yet are very distinctive as characters.
Asya is born out of wedlock to Zeliha (a tattoo artist) hence called as the bastard, whereas Amy was born in America to an Armenian father and an American mother, Rose. However their marriage didn鈥檛 last much and they separated when Amy was a small kid.
Amy curious to know more about her roots decides to go to Istanbul and also to find out more about the Turks, who forced Armenians, including her grandmother鈥檚 family to flee during the 1915 deportation and massacre. Her stepfather Mustafa was a Turk and had his family (sisters, mother and grandmother) in Istanbul. Amy goes and lives with them without informing her mother and father.
When her paternal grandmother dies, her secret comes out as her father calls her mother to give the news. Then they call Amy and decide to fly to Istanbul to get her. Mustafa who for the last 20 years didn't visited his family is dreading the decision but gives in because of his wife.
Zeliha never told anyone about Asya鈥檚 father not even to her family. But her older sister Banu finds out and when Mustafa comes back she poisons him because he was the one who raped his sister Zeliha and made her pregnant with Asya. On Mustafa鈥檚 funeral, Zeliha reveals the secret to Asya that he was her father. Banu didn鈥檛 regret her decision to poison Mustafa because of his deed and that he deserved such an end.
Though the title of the book is catchy and attention grabbing, the story is more about everyone else than Asya, the bastard.
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Asya is born out of wedlock to Zeliha (a tattoo artist) hence called as the bastard, whereas Amy was born in America to an Armenian father and an American mother, Rose. However their marriage didn鈥檛 last much and they separated when Amy was a small kid.
Amy curious to know more about her roots decides to go to Istanbul and also to find out more about the Turks, who forced Armenians, including her grandmother鈥檚 family to flee during the 1915 deportation and massacre. Her stepfather Mustafa was a Turk and had his family (sisters, mother and grandmother) in Istanbul. Amy goes and lives with them without informing her mother and father.
When her paternal grandmother dies, her secret comes out as her father calls her mother to give the news. Then they call Amy and decide to fly to Istanbul to get her. Mustafa who for the last 20 years didn't visited his family is dreading the decision but gives in because of his wife.
Zeliha never told anyone about Asya鈥檚 father not even to her family. But her older sister Banu finds out and when Mustafa comes back she poisons him because he was the one who raped his sister Zeliha and made her pregnant with Asya. On Mustafa鈥檚 funeral, Zeliha reveals the secret to Asya that he was her father. Banu didn鈥檛 regret her decision to poison Mustafa because of his deed and that he deserved such an end.
Though the title of the book is catchy and attention grabbing, the story is more about everyone else than Asya, the bastard.
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January 29, 2022
Excerpt: 鈥淚f only she could tell her that the beauties would only attract the worst guys. If only she could make her understand how lucky she was not to be born too beautiful; that in fact both men and women would be more benevolent to her, and that her life would be better off, yes, much better off without the exquisiteness she now so craved.鈥�
Such a decent way to explain that beauty can also be a venom that knowingly or unknowingly every girl wants to take. The elegance and simplicity with which she(Elif Shafak) conveyed the exceptional depth of the predicament are so pure and flawless.
Likewise, another extract where she penned 鈥� Unlike some others in the family, Petite-Ma had always been capable of loving without suffocating. She would never nag or nitpick or sting. Her protectiveness was not possessive. 鈥�
Isn鈥檛 she impeccable? How casually and smoothly, she depicted something that is desired from many or almost every relationship that you have in your life i.e. Protectiveness without the suffocation that appears with the possessiveness. Her narration is so polished that sometimes when you flow with the story, it tickles you later when you move forward that a few seconds back you read something very general with a twinge of something very incredible and extraordinary.
And just like that, she wrote 鈥� Perhaps that is why lunatics have a harder time dating, she thinks- not because they are off the wall but because it is hard to find someone who is willing to date so many people in one person. 鈥�
Elif Shafak can actually make you think of the unthinkable and at the same time, also make you realize how easily understandable it was yet I never thought of this before.
All in all, I treasure Elif Shafak鈥檚 work. I will sincerely recommend everyone to read this piece of work of her鈥檚. All the characters are amazingly unique and will make you fall with their personalities and in the meantime, the story will blend with your day-to-day routine until you finish it.
Such a decent way to explain that beauty can also be a venom that knowingly or unknowingly every girl wants to take. The elegance and simplicity with which she(Elif Shafak) conveyed the exceptional depth of the predicament are so pure and flawless.
Likewise, another extract where she penned 鈥� Unlike some others in the family, Petite-Ma had always been capable of loving without suffocating. She would never nag or nitpick or sting. Her protectiveness was not possessive. 鈥�
Isn鈥檛 she impeccable? How casually and smoothly, she depicted something that is desired from many or almost every relationship that you have in your life i.e. Protectiveness without the suffocation that appears with the possessiveness. Her narration is so polished that sometimes when you flow with the story, it tickles you later when you move forward that a few seconds back you read something very general with a twinge of something very incredible and extraordinary.
And just like that, she wrote 鈥� Perhaps that is why lunatics have a harder time dating, she thinks- not because they are off the wall but because it is hard to find someone who is willing to date so many people in one person. 鈥�
Elif Shafak can actually make you think of the unthinkable and at the same time, also make you realize how easily understandable it was yet I never thought of this before.
All in all, I treasure Elif Shafak鈥檚 work. I will sincerely recommend everyone to read this piece of work of her鈥檚. All the characters are amazingly unique and will make you fall with their personalities and in the meantime, the story will blend with your day-to-day routine until you finish it.
November 17, 2019
Another one that is difficult to assess and review. There are elements of this family story set in Istanbul and America that I liked a lot - the characters are strong, quirky and memorable, the historical parts about the role of the Armenian community in the development of Istanbul and the Turkish regime's denial of their role in the Armenian genocide are brave and important.
On the other hand some chapters felt rushed and too often resorted to cliche, for example the phrase "swearing like a trooper" appears on page 1. This may be partly because English is not Shafak's first language - writing in English gave her the freedom to be more daring politically and overall I think it works.
On the other hand some chapters felt rushed and too often resorted to cliche, for example the phrase "swearing like a trooper" appears on page 1. This may be partly because English is not Shafak's first language - writing in English gave her the freedom to be more daring politically and overall I think it works.
October 14, 2022
This is the third book I read by the bestselling Turkish writer Elif Shafak; the previous two, ( and even more ) disappointed me. After the opening chapter of this book, 'The Bastard of Istanbul', I thought I had finally caught a good piece of writing: the way Shafak sets down the 19 year old, quirky Zeliha is very strong and the sketch of her Turkish family environment just hilarious. But after that the book jumps a few times forward in time, and above all there starts an endless stream of characters and meandering stories, making you dizzy. The ironic tone almost always prevails, but suddenly a heavy discussion on the Armenian genocide-issue emerges, we get a lesson on the danger of tattoes and are offered a few recipes of Turkish and Armenian dishes. Then a magic, evil Djinn appears on stage to explain some dramatic twists, and sometimes you think you've landed in a kind of Bollywood soap scene. It is that change in tone that bothers me a lot.
Mind you, Shafak is very strong in the action scenes and even the discussion on how differently Armenians and Turks deal with their past (the first cultivating it, others denying or ignoring it) is quite interesting (on this focus, see my review in my Sense-of-History account on 欧宝娱乐: /review/show...). But the different tones of the scenes often curse with each other. The end of the story (which I can not reveal here without spoiling the story) is problematic, because only now it appears that behind the strong opening scene lies a very traumatic experience, that just appears out of the blue, without building up to it. I rate this book slightly higher than the previous ones by Shafak, but I'm sure I'm not going become a lover of her work.
Mind you, Shafak is very strong in the action scenes and even the discussion on how differently Armenians and Turks deal with their past (the first cultivating it, others denying or ignoring it) is quite interesting (on this focus, see my review in my Sense-of-History account on 欧宝娱乐: /review/show...). But the different tones of the scenes often curse with each other. The end of the story (which I can not reveal here without spoiling the story) is problematic, because only now it appears that behind the strong opening scene lies a very traumatic experience, that just appears out of the blue, without building up to it. I rate this book slightly higher than the previous ones by Shafak, but I'm sure I'm not going become a lover of her work.
February 23, 2016
亘毓丿 丨賷乇鬲賶 亘賷賳 賴賱 丕亘丿兀 亘乇賵丕賷丞 " 賯賵丕毓丿 丕賱毓卮賯 丕賱丕乇亘毓賵賳 " 丕賲 乇賵丕賷丞 " 賱賯賷胤丞 丕爻鬲丕賳亘賵賱 " 賱賳賮爻 丕賱賰丕鬲亘丞 貙 賯乇乇鬲 賯乇丕亍丞 丕賱丕禺賷乇丞 毓賳丿賲丕 賱丕丨馗鬲 丕賳 鬲毓賱賷賯丕鬲 丕賱賰孬賷乇賷賳 毓賱賶 鬲賱賰 丕賱乇賵丕賷丞 噩丕亍鬲 賵亘賴丕 賳爻亘丞 賲賳 丕賱丕丨亘丕胤 賲賳 丕賳 賲爻鬲賵丕賴丕 丕賯賱 賲賳 乇賵丕賷丞 丕賱賯賵丕毓丿 賮賯乇乇鬲 丕賱亘丿亍 亘丕賱囟毓賷賮 孬賲 丕賱丕賯賵賶
丕賱乇賵丕賷丞 賱賷爻鬲 爻賷卅丞 賱賱丿乇噩丞 - 乇亘賲丕 賱賵 賯乇兀鬲賴丕 亘毓丿 賯賵丕毓丿 丕賱毓卮賯 賱鬲睾賷乇 乇兀賷賶 - 亘賱 噩丕亍鬲 亘賳賰賴丞 丕賱毓丕卮賵乇丕亍 賵賴賵 賲丕 噩毓賱賳賶 丕賳噩匕亘 廿賱賷賴丕 亘卮賰賱 丕賰亘乇
丕爻賱賵亘 丕賱賷丕賮 噩賲賷賱 賵睾乇賷亘 貙 賮賰賱 賮氐賱 賷丨賲賱 丕爻賲 賲賳 丕爻賲丕亍 賲賰賵賳丕鬲 胤亘賯 丕賱毓丕卮賵乇丕亍 賮鬲丕乇丞 賳噩丿 賮氐賱 亘丕爻賲 丕賱賯乇賮丞 賵丕禺乇 亘丕爻賲 丨賲氐 賵丕禺乇 亘丕爻賲 爻賰乇 賵丕禺乇 賮丕賳賷賱丕 賵賴賰匕丕 貙 賵賰賱 賮氐賱 锟斤拷丨賲賱 卮賷卅丕 賲賳 丕爻賲賴 賵賴賵 賲丕 噩毓賱 丕賱丕爻賱賵亘 賲禺鬲賱賮 毓賳 亘丕賯賶 丕賱乇賵丕賷丕鬲 丕賱丕毓鬲賷丕丿賷丞 .
丕毓噩亘賳賶 丕賱鬲乇丕亘胤 亘賷賳 丕賱卮禺氐賷丕鬲 賵賯丿乇丞 丕賱賲丐賱賮丞 毓 賳爻噩 丕賱禺賷賵胤 亘賷賳賴賲 丿賵賳 丕毓胤丕亍 賮乇氐丞 賱賱賯丕乇卅 亘丕賱丕乇鬲亘丕賰 貙 賮丕賱鬲賲丕爻賰 賵丕囟丨 賵丕賱亘賳賷丞 丕賱丿乇丕賲賷丞 賯賵賷丞
亘毓囟 丕賱卮禺氐賷丕鬲 賰丕賳 賵噩賵丿賴丕 丕賯賵賶 賲賳 丕賱丕禺乇賶 賲孬賱 卮禺氐賷丞 夭賱賷禺丞 賵丌爻賷丕 賵丌乇賲丕賳賵卮 賵丕賱亘毓囟 丕賱丕禺乇 噩丕亍 囟毓賷賮丕 賲孬賱 卮禺氐賷鬲賶 乇賵夭 賵賲氐胤賮賶 ( 丕賱卮禺氐賷丞 丕賱丕禺賷乇丞 賰丕賳鬲 賮 丨丕噩丞 廿賱賶 賲夭賷丿 賲賳 丕賱毓賲賱 毓賱賷賴丕 亘卮賰賱 丕賰亘乇 )
丕賱氐賮丨丕鬲 丕賱丕禺賷乇丞 賰丕賳鬲 亘賲孬丕亘丞 賲賮丕噩兀丞 賱賷賾 賵賴賵 賲丕 噩毓賱 丿乇噩丞 鬲賯賷賷賲賶 賱賱乇賵丕賷丞 賷乇鬲賮毓 .
丕賱乇賵丕賷丞 毓丕賲乇丞 亘丕賱丕賯鬲亘丕爻丕鬲 丕賱噩賲賷賱丞 貙 賲賳賴丕 :
鈥溫ヘ柏� 賱賲 鬲鬲賲賰賳賷 賲賳 廿賷噩丕丿 爻亘亘 賰賷 鬲丨亘賷 锟斤拷賱丨賷丕丞 丕賱鬲賷 鬲毓賷卮賷賳賴丕貙 賮賱丕 鬲鬲馗丕賴乇賷 亘兀賳賰 鬲丨亘賷賳 丕賱丨賷丕丞 丕賱鬲賷 鬲毓賷卮賷賳賴丕鈥�
鈥溫ベ� 丕賱乇賵丨 亘丨丕噩丞 賱兀賳 鬲乇鬲毓卮 賱賰賷 鬲爻鬲賷賯馗鈥�
鈥溫ベ� 丕賱兀睾賱亘賷丞 丕賱爻丕丨賯丞 賲賳 丕賱賳丕爻 賱丕 賷賮賰乇賵賳 賲胤賱賯丕賸貙 賵 丕賱匕賷賳 賷賮賰乇賵賳 賱丕 賷氐亘丨賵賳 丕賱兀睾賱亘賷丞 丕賱爻丕丨賯丞 兀亘丿丕賸貙 賮丕禺鬲丕乇賷 賮賷 兀賷 賮卅丞 鬲乇賷丿賷賳 兀賳 鬲賰賵賳賷鈥�
丕賳賴 賱丕 賷噩亘 丕賳 賳賱毓賳 卮卅 賷爻賯胤 賲賳 丕賱爻賲丕亍 賱丕賳賴 賱丕 賷爻賯胤 丕賱丕 亘兀賲乇 丕賱毓賱賷 丕賱賯丿賷乇
丕賱禺賷丕賱 爻丨乇賹 丌爻乇賹 禺胤賷乇 賱賱匕賷賳 賷乇睾賲賵賳 毓賱賶 兀賳 賷賰賵賳賵丕 賵丕賯毓賷賷賳 賮賷 丕賱丨賷丕丞
廿匕丕 賵噩丿鬲賽 氐丿賷賯丞 毓夭賷夭丞 丕丨乇氐賷 毓賱賶 兀賱丕 鬲鬲毓賵丿賷 毓賱賷賴丕 鈥�
賵賱丕 鬲賳爻賷 兀賳 賰賱 賵丕丨丿丞 賲賳丕 賵丨賷丿丞 賮賷 丕賱賵噩賵丿鈥�
賵兀賳 丕賱毓夭賱丞 丕賱兀亘丿賷丞 爻鬲鬲噩丕賵夭 兀賷 氐丿丕賯丞 毓乇囟賷丞 廿賳 丌噩賱丕賸 兀賵 毓丕噩賱丕賸
丕賱乇賵丕賷丞 賱賷爻鬲 爻賷卅丞 賱賱丿乇噩丞 - 乇亘賲丕 賱賵 賯乇兀鬲賴丕 亘毓丿 賯賵丕毓丿 丕賱毓卮賯 賱鬲睾賷乇 乇兀賷賶 - 亘賱 噩丕亍鬲 亘賳賰賴丞 丕賱毓丕卮賵乇丕亍 賵賴賵 賲丕 噩毓賱賳賶 丕賳噩匕亘 廿賱賷賴丕 亘卮賰賱 丕賰亘乇
丕爻賱賵亘 丕賱賷丕賮 噩賲賷賱 賵睾乇賷亘 貙 賮賰賱 賮氐賱 賷丨賲賱 丕爻賲 賲賳 丕爻賲丕亍 賲賰賵賳丕鬲 胤亘賯 丕賱毓丕卮賵乇丕亍 賮鬲丕乇丞 賳噩丿 賮氐賱 亘丕爻賲 丕賱賯乇賮丞 賵丕禺乇 亘丕爻賲 丨賲氐 賵丕禺乇 亘丕爻賲 爻賰乇 賵丕禺乇 賮丕賳賷賱丕 賵賴賰匕丕 貙 賵賰賱 賮氐賱 锟斤拷丨賲賱 卮賷卅丕 賲賳 丕爻賲賴 賵賴賵 賲丕 噩毓賱 丕賱丕爻賱賵亘 賲禺鬲賱賮 毓賳 亘丕賯賶 丕賱乇賵丕賷丕鬲 丕賱丕毓鬲賷丕丿賷丞 .
丕毓噩亘賳賶 丕賱鬲乇丕亘胤 亘賷賳 丕賱卮禺氐賷丕鬲 賵賯丿乇丞 丕賱賲丐賱賮丞 毓 賳爻噩 丕賱禺賷賵胤 亘賷賳賴賲 丿賵賳 丕毓胤丕亍 賮乇氐丞 賱賱賯丕乇卅 亘丕賱丕乇鬲亘丕賰 貙 賮丕賱鬲賲丕爻賰 賵丕囟丨 賵丕賱亘賳賷丞 丕賱丿乇丕賲賷丞 賯賵賷丞
亘毓囟 丕賱卮禺氐賷丕鬲 賰丕賳 賵噩賵丿賴丕 丕賯賵賶 賲賳 丕賱丕禺乇賶 賲孬賱 卮禺氐賷丞 夭賱賷禺丞 賵丌爻賷丕 賵丌乇賲丕賳賵卮 賵丕賱亘毓囟 丕賱丕禺乇 噩丕亍 囟毓賷賮丕 賲孬賱 卮禺氐賷鬲賶 乇賵夭 賵賲氐胤賮賶 ( 丕賱卮禺氐賷丞 丕賱丕禺賷乇丞 賰丕賳鬲 賮 丨丕噩丞 廿賱賶 賲夭賷丿 賲賳 丕賱毓賲賱 毓賱賷賴丕 亘卮賰賱 丕賰亘乇 )
丕賱氐賮丨丕鬲 丕賱丕禺賷乇丞 賰丕賳鬲 亘賲孬丕亘丞 賲賮丕噩兀丞 賱賷賾 賵賴賵 賲丕 噩毓賱 丿乇噩丞 鬲賯賷賷賲賶 賱賱乇賵丕賷丞 賷乇鬲賮毓 .
丕賱乇賵丕賷丞 毓丕賲乇丞 亘丕賱丕賯鬲亘丕爻丕鬲 丕賱噩賲賷賱丞 貙 賲賳賴丕 :
鈥溫ヘ柏� 賱賲 鬲鬲賲賰賳賷 賲賳 廿賷噩丕丿 爻亘亘 賰賷 鬲丨亘賷 锟斤拷賱丨賷丕丞 丕賱鬲賷 鬲毓賷卮賷賳賴丕貙 賮賱丕 鬲鬲馗丕賴乇賷 亘兀賳賰 鬲丨亘賷賳 丕賱丨賷丕丞 丕賱鬲賷 鬲毓賷卮賷賳賴丕鈥�
鈥溫ベ� 丕賱乇賵丨 亘丨丕噩丞 賱兀賳 鬲乇鬲毓卮 賱賰賷 鬲爻鬲賷賯馗鈥�
鈥溫ベ� 丕賱兀睾賱亘賷丞 丕賱爻丕丨賯丞 賲賳 丕賱賳丕爻 賱丕 賷賮賰乇賵賳 賲胤賱賯丕賸貙 賵 丕賱匕賷賳 賷賮賰乇賵賳 賱丕 賷氐亘丨賵賳 丕賱兀睾賱亘賷丞 丕賱爻丕丨賯丞 兀亘丿丕賸貙 賮丕禺鬲丕乇賷 賮賷 兀賷 賮卅丞 鬲乇賷丿賷賳 兀賳 鬲賰賵賳賷鈥�
丕賳賴 賱丕 賷噩亘 丕賳 賳賱毓賳 卮卅 賷爻賯胤 賲賳 丕賱爻賲丕亍 賱丕賳賴 賱丕 賷爻賯胤 丕賱丕 亘兀賲乇 丕賱毓賱賷 丕賱賯丿賷乇
丕賱禺賷丕賱 爻丨乇賹 丌爻乇賹 禺胤賷乇 賱賱匕賷賳 賷乇睾賲賵賳 毓賱賶 兀賳 賷賰賵賳賵丕 賵丕賯毓賷賷賳 賮賷 丕賱丨賷丕丞
廿匕丕 賵噩丿鬲賽 氐丿賷賯丞 毓夭賷夭丞 丕丨乇氐賷 毓賱賶 兀賱丕 鬲鬲毓賵丿賷 毓賱賷賴丕 鈥�
賵賱丕 鬲賳爻賷 兀賳 賰賱 賵丕丨丿丞 賲賳丕 賵丨賷丿丞 賮賷 丕賱賵噩賵丿鈥�
賵兀賳 丕賱毓夭賱丞 丕賱兀亘丿賷丞 爻鬲鬲噩丕賵夭 兀賷 氐丿丕賯丞 毓乇囟賷丞 廿賳 丌噩賱丕賸 兀賵 毓丕噩賱丕賸
June 27, 2015
While I take my hat off for the commendable intentions and courage of Shafak for writing this book, the literary merit of this work, as far as I can judge, is close to nil. Dull characters, repetitious quasi-jokes, jagged storylines, essay-like prose (where you can clearly see through her ideology) fill the pages of this book and make reading it close to torture. And no redemption really with the ending. No, quite the contrary: It makes things really worse.
Things I didn't appreciate at all:
- Being bombarded with food names of Turkish and Armenian origin where I became literally stuffed to the point hating these otherwise delicious dishes.
- The occasional name-dropping like Nihilism, Existentialism, Kundera without any serious, or even non-serious discussion to hold them.
- The lame Magical Realism which is just used as a cheap device to drive forward the otherwise stagnant plot.
- The preposterous and fantastical coincidence in the heart of the book that insults any mildy-intelligent reader.
- Too much stress on the question of Alcohol in Turkey. Ok, now I really, really, really know that Turks drink alcohol with no religious qualms.
- The buried-alive feeling every time I read the words "dipsomaniac," "the non nationalist scenarist of ultra nationalist movies," and "the unusually untalented poet".
The one point I somewhat appreciated:
How Shafak shows that as the present is dictated by the past, those not at all happy in the present because of their past tend to focus rather too much on the latter, whereas those who are doing (and feeling) OK prefer to ignore it, especially when it is inconvenient.
Things I didn't appreciate at all:
- Being bombarded with food names of Turkish and Armenian origin where I became literally stuffed to the point hating these otherwise delicious dishes.
- The occasional name-dropping like Nihilism, Existentialism, Kundera without any serious, or even non-serious discussion to hold them.
- The lame Magical Realism which is just used as a cheap device to drive forward the otherwise stagnant plot.
- The preposterous and fantastical coincidence in the heart of the book that insults any mildy-intelligent reader.
- Too much stress on the question of Alcohol in Turkey. Ok, now I really, really, really know that Turks drink alcohol with no religious qualms.
- The buried-alive feeling every time I read the words "dipsomaniac," "the non nationalist scenarist of ultra nationalist movies," and "the unusually untalented poet".
The one point I somewhat appreciated:
How Shafak shows that as the present is dictated by the past, those not at all happy in the present because of their past tend to focus rather too much on the latter, whereas those who are doing (and feeling) OK prefer to ignore it, especially when it is inconvenient.
December 17, 2015
The mordant gap between the children of those who managed to stay and the children of those who had to leave.If there's one story the media in the United States should be having conniptions over right now, it's that of Mike Brown. Not Ebola, not Ukraine, not even Robin Williams, for if that man was half of the good things I've heard since depression killed him, he wouldn't want the tears of those who believe yet another black person deserved to die at the hands of white law enforcement. There's no nation quite like the US when it comes to handling the genocide card; it makes for a much messier state of things than this book's portrayal of the cosmopolitan memory of the Armenian genocide committed by the Turkish, but the indoctrination is there, the view of abroad versus the focus of at home is there, and the compromise, oh, the compromise. The compromise is there, with no answers to tuck you in at night.
The word 'genocide' hadn't existed in concrete fullness on April 24, 1915, much as there is no singular term for what Wikipedia calls "government neglect, unfavorable social policies, high poverty rates, changes implemented in the criminal justice system and laws, and...extremely high incarceration rates" within its 'Social issues' section of the 'Post-Civil Rights Era in African-American history'. Words, words, words, all of which imply a both sides to the story and refuse to even touch upon the body count or the unwillingness of drivers in Portland, Oregon, to stop for black pedestrians in crosswalks with no traffic lights, twice as likely to keep on going and make them wait of fear for their lives. I don't invoke this as a metaphor for the relations of Armenians and Turkish people in this day and age, but as a personal reminder of the latest link in a history of oppression in my own country. 艦afak doesn't solve the issues faced by oppressors and oppressed; she starts a conversation, and within my own means, I will follow.
Am I responsible for my father's crime? A Girl Named Turk asked.I will admit, I wish she had gone further, rather than bring forward another age old incarnation of patriarchal violation that I am far more comfortable in my stance towards. I wish she had continued her wonderfully modern take on American-centric stereotypes, her portrayal of today's Istanbul with all its novelties all the more intriguing for their familiarity and feminism, her discussions of existentialism and Eastern European literature that never felt the need to wrap themselves in esoteric pomposity. I wish she had continued that Internet chat quoted above, just one example of the many I have had online regarding oppression, social justice, what I as a white inheritor of protection what must do with such skin-deep privilege. Futile wishes, for her heritage is not mine, and yet how wonderful it is to encounter a modern author refusing to be silent, taking on the technological inundation in a world founded on millenia of might makes right.
You are responsible for recognizing your father's crime, Anti-Khavurma replied.
"I admire philosophy," Asya conceded. "But that doesn't necessarily mean I agree with the philosophers."I have hope for contemporary literature, and indeed the literature for the future, because of books such as these. Pretty prose has its perks, but I'll chose an unflinchingly progressive state of story over dehumanizing jargon any day.
August 11, 2019
The writing in this one was great, but the story feel flat for me. It was both too much and too little. There was a lot of extraneous material as it seemed like the author was in love with this Turkish family and just wanted to tell us all about them. There could have been more focus on the relationship of the characters and the Armenian genocide. I felt it wasn鈥檛 sufficiently woven into the story, except for some coincidental plot points.
December 24, 2024
M-a prins 卯n mrejele sale acest roman, m-au fermecat pur 葯i simplu atmosfera, culorile 葯i mirosurile redate 葯i transmise at芒t de frumos 葯i profund de c膬tre Elif Shafak.
Fiecare femeie din acest roman alege s膬 卯葯i 卯nfrunte demonii cu propriile arme, s膬 卯nve葲e s膬 supravie葲uiasc膬, s膬 evadeze din propriile lor cu葯ti.
Mi-ar fi pl膬cut tare mult s膬 mai petrec timp la cafeneaua Kundera al膬turi de Asya 葯i Armanoush sau 卯n buc膬t膬ria m膬tu葯ii Banu, s膬 citesc mai mult despre istoriile bunicilor Petite-Ma 葯i Shushan, s膬 explorez str膬zile cartierelor din Istanbul al膬turi de m膬tu葯a Zeliha.
Fetele sunt at芒t de diferite, dar vorbesc cu at芒t de mult膬 pasiune despre ceea ce iubesc, am芒ndou膬 se tem de 卯ntuneric, dar fiecare caut膬 lumin膬 prin propriul s膬u mod.
Mi-au pl膬cut discu葲iile pe teme istorice, politice, culturale 葯i sociale din roman. Am r膬mas de multe ori privind 卯n gol sau c膬ut芒nd informa葲ii despre un anumit eveniment amintit sau fel de m芒ncare descris, asta face un roman bun cred eu. E destul de trist c膬 nu se vorbe葯te mai mult despre genocidul armenilor s膬v芒r葯it secolul trecut; ignoran葲a poate ucide autenticitatea.
E at芒t de mult膬 durere redat膬 卯n acest rom芒n, dar 葯i speran葲膬. Nu trebuie s膬 fii niciodat膬 o victim膬, chiar dac膬 卯葲i dai uneori voie s膬 pl芒ngi.
A da, Istanbulul e pictat at芒t de magic, iar fiind unul dintre ora葯ele mele preferate, mi-i s-a f膬cut tare dor.
Abia a葯tept s膬 mai citesc 葯i alte c膬r葲i scrise de c膬tre aceast膬 autoare. Mie mi-a pl膬cut mult acest roman, e unul dintre favoritele mele din acest an 葯i cu siguran葲膬 a ajuns 卯n lista mea de my all time favorites.
Romanul merit膬 o 葯ans膬 cu adev膬rat
5 鉁�+ mult膬 iubire 葯i apreciere
Las aici 鈥渃芒teva鈥� citate care mi-au pl膬cut pentru a m膬 putea re卯ntoarce la ele:
鈥淎cela era singurul lucru prin care ploaia se asem膬na cu triste牛ea: te d膬deai peste cap s膬 scapi neatins, uscat 艧i lini艧tit, dar, dac膬 d膬deai gre艧, ajungeai 卯ntr-un punct 卯n care 卯ncepeai s膬 vezi problema mai pu牛in 卯n termeni de pic膬turi 艧i mai mult ca o rev膬rsare ne卯ncetat膬 艧i astfel hot膬rai c膬 po牛i foarte bine s膬 te uzi din cap p芒n膬-n picioare.鈥�
鈥淣utrind 卯nc膬 din copil膬rie un dispre牛 profund pentru femeile pl芒ng膬cioase, Zeliha 卯艧i promisese s膬 nu devin膬 niciodat膬 una din calamit膬牛ile acelea ambulante care 卯mpr膬艧tiau lacrimi 艧i remarci r膬ut膬cioase oriunde se duceau 艧i din care erau deja mult prea multe 卯n jurul ei. 脦艧i interzisese s膬 pl芒ng膬.鈥�
鈥淥amenii de afar膬 se lipeau unul de cel膬lalt pentru a-艧i ascunde singur膬tatea, pretinz芒nd c膬 erau mult mai apropia牛i dec芒t 卯n realitate, pe c芒nd acolo se 卯nt芒mpla exact invers, to牛i pretindeau c膬 erau mult mai singuri dec芒t erau 卯ntr-adev膬r.鈥�
鈥淰ezi tu, spre deosebire de filme, la sf芒r艧itul c膬r牛ilor nu apare nici un semnal luminos de genul SF脗R艦IT. Dup膬 ce am terminat o carte, nu am senza牛ia c膬 am ajuns la sf芒r艧it. A艧a c膬 卯ncep una nou膬.
Armanoush clipi, f膬r膬 s膬-艧i dea seama c芒t de frumoas膬 p膬rea 卯n lumina palid膬 a soarelui la asfin牛it.鈥�
鈥淚magina牛ia era o magie fascinant膬 艧i periculoas膬 pentru cei care erau obliga牛i s膬 fie reali艧ti 卯n via牛膬, iar cuvintele puteau fi otr膬vitoare pentru cei sorti牛i s膬 fie redu艧i 卯ntotdeauna la t膬cere. Dac膬, 卯n calitate de copil al supravie牛uitorilor, voiai 卯nc膬 s膬 cite艧ti 艧i s膬 meditezi, trebuia s膬 faci asta at芒t de discret, de tem膬tor, de interiorizat, 卯nc芒t s膬 nu te transformi niciodat膬 卯ntr-un cititor 卯mp膬timit. Dac膬 nu te puteai ab牛ine s膬 ai aspira牛ii mai 卯nalte 卯n via牛膬, trebuia cel pu牛in s膬 nutre艧ti dorin牛e simple, reduse ca pasiune 艧i ambi牛ie, de parc膬 ai fi fost sec膬tuit de energie 艧i nu-牛i mai r膬m膬sese destul膬 for牛膬 dec芒t ca s膬 fii obi艧nuit.鈥�
鈥淢ajoritatea oamenilor nu g芒ndesc niciodat膬, iar cei care g芒ndesc nu devin niciodat膬 o majoritate. Hot膬r膬艧te-te de care parte vrei s膬 fii.(鈥�)Dac膬 nu te po牛i hot膬r卯, atunci tr膬ie艧te, pur 艧i simplu; fii o ciuperc膬 sau o plant膬.鈥�
鈥淒ac膬 卯ntre societate 艧i eu se casc膬 o pr膬pastie larg膬, iar deasupra ei nu e dec芒t un pod 艧ubred, po牛i foarte bine s膬 dai foc podului 艧i s膬 r膬m芒i pe marginea pe care se afl膬 eul, teaf膬r 艧i nev膬t膬mat, 卯n cazul 卯n care pr膬pastia nu e lucrul pe care 卯l cau牛i.鈥�
鈥淭recutul nu e dec芒t un lan牛 de care trebuie s膬 sc膬p膬m. O povar膬 at芒t de chinuitoare. Dac膬 nu a艧 avea trecut 鈥� 艧tii, dac膬 a艧 putea fi un nimeni, dac膬 a艧 putea 卯ncepe de la zero 艧i a艧 putea r膬m芒ne pentru totdeauna 卯n punctul 膬la. U艧oar膬 ca o pan膬. F膬r膬 familie, f膬r膬 amintiri 艧i tot rahatul 膬sta...鈥�
鈥淎rmenii 艧i turcii tr膬iau 卯n cadre temporale diferite. Pentru armeni, timpul era un ciclu 卯n care trecutul se 卯ntrupa 卯n prezent 艧i prezentul d膬dea na艧tere viitorului. Pentru turci, timpul era o linie 卯ntrerupt膬 de multe ori, 卯n care trecutul se termina 卯ntr-un punct clar 艧i prezentul pornea iar膬艧i de la zero, iar 卯ntre ele nu era nimic 卯n afar膬 de o mare ruptur膬.鈥�
鈥淎sta e lumea 卯n care tr膬im. Istorie, politic膬, religie, societate, competi牛ie, marketing, economie de pia牛膬 liber膬, lupt膬 pentru putere, s膬rind unii la g芒tul altora pentru o alt膬 f膬r芒m膬 de triumf... cu siguran牛膬 nu avea nevoie de toate astea 艧i de tot...鈥�
鈥淣u 卯n牛elegi c膬 trecutul e un cerc vicios? E o bucl膬. Ne aspir膬 卯n膬untru 艧i ne face s膬 alerg膬m ca ni艧te hamsteri pe o roat膬. Atunci 卯ncepem s膬 ne repet膬m, iar 艧i iar.鈥�
鈥淭otu艧i, ei nu-艧i d膬deau 艧i nu-艧i puteau da seama de asta, fiind prea 卯nv膬lui牛i 卯n atmosfera aceea, f膬c芒nd 卯n prea mare m膬sur膬 parte din ea, 卯ntocmai ca pe艧tii c膬rora le e cu neputin牛膬 s膬 cuprind膬 imensitatea oceanului 卯n care 卯noat膬 prin lentilele 卯nce牛o艧ate ale apelor ce-i 卯nconjoar膬.鈥�
鈥淐芒te c膬r牛i pe subiectul 膬sta ai citit? C芒te puncte de vedere controversate ai comparat 艧i ai opus unul altuia? Ce cercet膬ri, ce literatur膬?... Pun pariu c膬 n-ai citit nimic! 脦ns膬 e艧ti at芒t de convins. Nu 卯nghi牛im 卯ntotdeauna ce ni se d膬? Pilule de informare, pilule de dezinformare. 脦n fiecare zi 卯nghi牛im c芒te un pumn 卯ntreg.鈥�
鈥淒ac膬 ai fi crezut 卯n ce f膬ceai, dac膬 ai fi crezut c芒tu艧i de pu牛in 卯n filmele tale, 牛i-a艧 fi pus 卯nc膬 la 卯ndoial膬 punctul de vedere, dar cel pu牛in nu sinceritatea. Scrii scenariile alea pentru mase. Scrii, vinzi 艧i c芒艧tigi o gr膬mad膬 de bani. 艦i dup膬 aia vii aici, te ascunzi 卯n cafeneaua asta 艧i 卯牛i ba牛i joc de filmele alea 卯mpreun膬 cu noi. Asta e ipocrizie!鈥�
鈥淓ra 卯ntr-adev膬r bine pentru oameni s膬 descopere mai multe despre trecutul lor? 艦i apoi mai multe, 艧i mai multe...? Sau era pur 艧i simplu mai bine s膬 艧tie c芒t mai pu牛in cu putin牛膬 despre trecut 艧i chiar s膬 uite 艧i pu牛inul pe care 艧i-l aminteau?鈥�
鈥淚stanbulul e un potpuriu de zece milioane de vie牛i. O carte deschis膬, cu zece milioane de pove艧ti 卯nv膬lm膬艧ite. Istanbulul se treze艧te din somnul s膬u agitat, gata pentru haosul orei de v芒rf. Din momentul 膬sta sunt prea multe rug膬ciuni de 卯mplinit, prea multe blasfemii de notat 艧i prea mul牛i p膬c膬to艧i, dar 艧i prea mul牛i nevinova牛i la care trebuie s膬 veghezi.
脦n Istanbul e deja diminea牛膬.鈥�
鈥淎vea o privire din care r膬zb膬tea teama de fericire pe care numai cei care s-au 卯ndr膬gostit pe nea艧teptate 艧i pe nesim牛ite o puteau avea.鈥�
鈥淓xist膬 lucruri at芒t de 卯nfior膬toare pe lumea asta despre care oamenii buni la suflet, Allah s膬-i binecuv芒nteze, nu au nici cea mai vag膬 idee. 艦i e absolut 卯n regul膬, 卯牛i spun eu; e bine c膬 nu 艧tiu nimic despre lucrurile astea, pentru c膬 asta dovede艧te c芒t sunt de buni la suflet. Altfel n-ar mai fi buni, nu-i a艧a? 脦ns膬, dac膬 dai peste o min膬 de r膬utate, nu o s膬 ceri ajutorul nici unuia dintre oamenii 膬艧tia.鈥�
鈥淒ac膬 era r膬nit膬 sau trist膬, trupul ei n-ar trebui s膬 艧tie lucrul 膬sta? Ea n-ar trebui s膬 艧tie?鈥�
鈥淟a fel f膬ceau toate femeile, 卯ntr-un lan牛 nesf芒r艧it. Toate erau legate 卯ntre ele 卯ntr-un 艧ir de reac牛ii 艧i ritmuri, fiecare poveste 卯mpletindu-se cu cele ale altora, chiar dac膬 proprietarii lor recuno艧teau sau nu lucrul 膬sta.鈥�
鈥淟a 卯nceput a fost absen牛a cuv芒ntului, 卯nainte de existen牛膬.鈥�
Fiecare femeie din acest roman alege s膬 卯葯i 卯nfrunte demonii cu propriile arme, s膬 卯nve葲e s膬 supravie葲uiasc膬, s膬 evadeze din propriile lor cu葯ti.
Mi-ar fi pl膬cut tare mult s膬 mai petrec timp la cafeneaua Kundera al膬turi de Asya 葯i Armanoush sau 卯n buc膬t膬ria m膬tu葯ii Banu, s膬 citesc mai mult despre istoriile bunicilor Petite-Ma 葯i Shushan, s膬 explorez str膬zile cartierelor din Istanbul al膬turi de m膬tu葯a Zeliha.
Fetele sunt at芒t de diferite, dar vorbesc cu at芒t de mult膬 pasiune despre ceea ce iubesc, am芒ndou膬 se tem de 卯ntuneric, dar fiecare caut膬 lumin膬 prin propriul s膬u mod.
Mi-au pl膬cut discu葲iile pe teme istorice, politice, culturale 葯i sociale din roman. Am r膬mas de multe ori privind 卯n gol sau c膬ut芒nd informa葲ii despre un anumit eveniment amintit sau fel de m芒ncare descris, asta face un roman bun cred eu. E destul de trist c膬 nu se vorbe葯te mai mult despre genocidul armenilor s膬v芒r葯it secolul trecut; ignoran葲a poate ucide autenticitatea.
E at芒t de mult膬 durere redat膬 卯n acest rom芒n, dar 葯i speran葲膬. Nu trebuie s膬 fii niciodat膬 o victim膬, chiar dac膬 卯葲i dai uneori voie s膬 pl芒ngi.
A da, Istanbulul e pictat at芒t de magic, iar fiind unul dintre ora葯ele mele preferate, mi-i s-a f膬cut tare dor.
Abia a葯tept s膬 mai citesc 葯i alte c膬r葲i scrise de c膬tre aceast膬 autoare. Mie mi-a pl膬cut mult acest roman, e unul dintre favoritele mele din acest an 葯i cu siguran葲膬 a ajuns 卯n lista mea de my all time favorites.
Romanul merit膬 o 葯ans膬 cu adev膬rat
5 鉁�+ mult膬 iubire 葯i apreciere
Las aici 鈥渃芒teva鈥� citate care mi-au pl膬cut pentru a m膬 putea re卯ntoarce la ele:
鈥淎cela era singurul lucru prin care ploaia se asem膬na cu triste牛ea: te d膬deai peste cap s膬 scapi neatins, uscat 艧i lini艧tit, dar, dac膬 d膬deai gre艧, ajungeai 卯ntr-un punct 卯n care 卯ncepeai s膬 vezi problema mai pu牛in 卯n termeni de pic膬turi 艧i mai mult ca o rev膬rsare ne卯ncetat膬 艧i astfel hot膬rai c膬 po牛i foarte bine s膬 te uzi din cap p芒n膬-n picioare.鈥�
鈥淣utrind 卯nc膬 din copil膬rie un dispre牛 profund pentru femeile pl芒ng膬cioase, Zeliha 卯艧i promisese s膬 nu devin膬 niciodat膬 una din calamit膬牛ile acelea ambulante care 卯mpr膬艧tiau lacrimi 艧i remarci r膬ut膬cioase oriunde se duceau 艧i din care erau deja mult prea multe 卯n jurul ei. 脦艧i interzisese s膬 pl芒ng膬.鈥�
鈥淥amenii de afar膬 se lipeau unul de cel膬lalt pentru a-艧i ascunde singur膬tatea, pretinz芒nd c膬 erau mult mai apropia牛i dec芒t 卯n realitate, pe c芒nd acolo se 卯nt芒mpla exact invers, to牛i pretindeau c膬 erau mult mai singuri dec芒t erau 卯ntr-adev膬r.鈥�
鈥淰ezi tu, spre deosebire de filme, la sf芒r艧itul c膬r牛ilor nu apare nici un semnal luminos de genul SF脗R艦IT. Dup膬 ce am terminat o carte, nu am senza牛ia c膬 am ajuns la sf芒r艧it. A艧a c膬 卯ncep una nou膬.
Armanoush clipi, f膬r膬 s膬-艧i dea seama c芒t de frumoas膬 p膬rea 卯n lumina palid膬 a soarelui la asfin牛it.鈥�
鈥淚magina牛ia era o magie fascinant膬 艧i periculoas膬 pentru cei care erau obliga牛i s膬 fie reali艧ti 卯n via牛膬, iar cuvintele puteau fi otr膬vitoare pentru cei sorti牛i s膬 fie redu艧i 卯ntotdeauna la t膬cere. Dac膬, 卯n calitate de copil al supravie牛uitorilor, voiai 卯nc膬 s膬 cite艧ti 艧i s膬 meditezi, trebuia s膬 faci asta at芒t de discret, de tem膬tor, de interiorizat, 卯nc芒t s膬 nu te transformi niciodat膬 卯ntr-un cititor 卯mp膬timit. Dac膬 nu te puteai ab牛ine s膬 ai aspira牛ii mai 卯nalte 卯n via牛膬, trebuia cel pu牛in s膬 nutre艧ti dorin牛e simple, reduse ca pasiune 艧i ambi牛ie, de parc膬 ai fi fost sec膬tuit de energie 艧i nu-牛i mai r膬m膬sese destul膬 for牛膬 dec芒t ca s膬 fii obi艧nuit.鈥�
鈥淢ajoritatea oamenilor nu g芒ndesc niciodat膬, iar cei care g芒ndesc nu devin niciodat膬 o majoritate. Hot膬r膬艧te-te de care parte vrei s膬 fii.(鈥�)Dac膬 nu te po牛i hot膬r卯, atunci tr膬ie艧te, pur 艧i simplu; fii o ciuperc膬 sau o plant膬.鈥�
鈥淒ac膬 卯ntre societate 艧i eu se casc膬 o pr膬pastie larg膬, iar deasupra ei nu e dec芒t un pod 艧ubred, po牛i foarte bine s膬 dai foc podului 艧i s膬 r膬m芒i pe marginea pe care se afl膬 eul, teaf膬r 艧i nev膬t膬mat, 卯n cazul 卯n care pr膬pastia nu e lucrul pe care 卯l cau牛i.鈥�
鈥淭recutul nu e dec芒t un lan牛 de care trebuie s膬 sc膬p膬m. O povar膬 at芒t de chinuitoare. Dac膬 nu a艧 avea trecut 鈥� 艧tii, dac膬 a艧 putea fi un nimeni, dac膬 a艧 putea 卯ncepe de la zero 艧i a艧 putea r膬m芒ne pentru totdeauna 卯n punctul 膬la. U艧oar膬 ca o pan膬. F膬r膬 familie, f膬r膬 amintiri 艧i tot rahatul 膬sta...鈥�
鈥淎rmenii 艧i turcii tr膬iau 卯n cadre temporale diferite. Pentru armeni, timpul era un ciclu 卯n care trecutul se 卯ntrupa 卯n prezent 艧i prezentul d膬dea na艧tere viitorului. Pentru turci, timpul era o linie 卯ntrerupt膬 de multe ori, 卯n care trecutul se termina 卯ntr-un punct clar 艧i prezentul pornea iar膬艧i de la zero, iar 卯ntre ele nu era nimic 卯n afar膬 de o mare ruptur膬.鈥�
鈥淎sta e lumea 卯n care tr膬im. Istorie, politic膬, religie, societate, competi牛ie, marketing, economie de pia牛膬 liber膬, lupt膬 pentru putere, s膬rind unii la g芒tul altora pentru o alt膬 f膬r芒m膬 de triumf... cu siguran牛膬 nu avea nevoie de toate astea 艧i de tot...鈥�
鈥淣u 卯n牛elegi c膬 trecutul e un cerc vicios? E o bucl膬. Ne aspir膬 卯n膬untru 艧i ne face s膬 alerg膬m ca ni艧te hamsteri pe o roat膬. Atunci 卯ncepem s膬 ne repet膬m, iar 艧i iar.鈥�
鈥淭otu艧i, ei nu-艧i d膬deau 艧i nu-艧i puteau da seama de asta, fiind prea 卯nv膬lui牛i 卯n atmosfera aceea, f膬c芒nd 卯n prea mare m膬sur膬 parte din ea, 卯ntocmai ca pe艧tii c膬rora le e cu neputin牛膬 s膬 cuprind膬 imensitatea oceanului 卯n care 卯noat膬 prin lentilele 卯nce牛o艧ate ale apelor ce-i 卯nconjoar膬.鈥�
鈥淐芒te c膬r牛i pe subiectul 膬sta ai citit? C芒te puncte de vedere controversate ai comparat 艧i ai opus unul altuia? Ce cercet膬ri, ce literatur膬?... Pun pariu c膬 n-ai citit nimic! 脦ns膬 e艧ti at芒t de convins. Nu 卯nghi牛im 卯ntotdeauna ce ni se d膬? Pilule de informare, pilule de dezinformare. 脦n fiecare zi 卯nghi牛im c芒te un pumn 卯ntreg.鈥�
鈥淒ac膬 ai fi crezut 卯n ce f膬ceai, dac膬 ai fi crezut c芒tu艧i de pu牛in 卯n filmele tale, 牛i-a艧 fi pus 卯nc膬 la 卯ndoial膬 punctul de vedere, dar cel pu牛in nu sinceritatea. Scrii scenariile alea pentru mase. Scrii, vinzi 艧i c芒艧tigi o gr膬mad膬 de bani. 艦i dup膬 aia vii aici, te ascunzi 卯n cafeneaua asta 艧i 卯牛i ba牛i joc de filmele alea 卯mpreun膬 cu noi. Asta e ipocrizie!鈥�
鈥淓ra 卯ntr-adev膬r bine pentru oameni s膬 descopere mai multe despre trecutul lor? 艦i apoi mai multe, 艧i mai multe...? Sau era pur 艧i simplu mai bine s膬 艧tie c芒t mai pu牛in cu putin牛膬 despre trecut 艧i chiar s膬 uite 艧i pu牛inul pe care 艧i-l aminteau?鈥�
鈥淚stanbulul e un potpuriu de zece milioane de vie牛i. O carte deschis膬, cu zece milioane de pove艧ti 卯nv膬lm膬艧ite. Istanbulul se treze艧te din somnul s膬u agitat, gata pentru haosul orei de v芒rf. Din momentul 膬sta sunt prea multe rug膬ciuni de 卯mplinit, prea multe blasfemii de notat 艧i prea mul牛i p膬c膬to艧i, dar 艧i prea mul牛i nevinova牛i la care trebuie s膬 veghezi.
脦n Istanbul e deja diminea牛膬.鈥�
鈥淎vea o privire din care r膬zb膬tea teama de fericire pe care numai cei care s-au 卯ndr膬gostit pe nea艧teptate 艧i pe nesim牛ite o puteau avea.鈥�
鈥淓xist膬 lucruri at芒t de 卯nfior膬toare pe lumea asta despre care oamenii buni la suflet, Allah s膬-i binecuv芒nteze, nu au nici cea mai vag膬 idee. 艦i e absolut 卯n regul膬, 卯牛i spun eu; e bine c膬 nu 艧tiu nimic despre lucrurile astea, pentru c膬 asta dovede艧te c芒t sunt de buni la suflet. Altfel n-ar mai fi buni, nu-i a艧a? 脦ns膬, dac膬 dai peste o min膬 de r膬utate, nu o s膬 ceri ajutorul nici unuia dintre oamenii 膬艧tia.鈥�
鈥淒ac膬 era r膬nit膬 sau trist膬, trupul ei n-ar trebui s膬 艧tie lucrul 膬sta? Ea n-ar trebui s膬 艧tie?鈥�
鈥淟a fel f膬ceau toate femeile, 卯ntr-un lan牛 nesf芒r艧it. Toate erau legate 卯ntre ele 卯ntr-un 艧ir de reac牛ii 艧i ritmuri, fiecare poveste 卯mpletindu-se cu cele ale altora, chiar dac膬 proprietarii lor recuno艧teau sau nu lucrul 膬sta.鈥�
鈥淟a 卯nceput a fost absen牛a cuv芒ntului, 卯nainte de existen牛膬.鈥�
July 17, 2020
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唳灌唳唳 唳班唳∴唳�!
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唳膏Μ唳氞唳唰� 唳嗋唳� 唳唳唳唳� 唳曕 唳溹唳ㄠ唳�? 唳忇 唳溹唳Θ啷� 唳忇唳熰 唳Θ唰佮Ψ唰嵿Ο 唳溹唳Θ啷� 唳嗋Π 唳膏Μ唳氞唳唰� 唳膏Δ唰嵿Ο 唳曕Ε唳距唳� 唳灌Σ唰�, 唳溹唳Θ唰囙Π 唳椸唳熰 唳唳唳唳班唳距 唳忇唳熰 唳曕唳曕Δ唳距Σ 唳唳む唳�! 唳嗋Π 唳膏唳溹Θ唰嵿Ο唳� 唳Σ唳む 唳灌Ο唳�, '唳曕 唳灌Σ唰� 唳曕 唳唳侧 唳灌Δ唰�, 唳唳 唳ㄠ..'
唳灌唳唳 唳班唳∴唳�!
August 1, 2009
Entertaining? Yes. Lively characters? Absolutely. Page turner? By all means. It is what I call the perfect book for holiday. One might as well consider and , not only for the captivating stories but also for the multi-cultural (Turkish-American, Armenian-American, Greek-American, Afghan-American whatever-American) incursion into people's and countries' past and present political / economical / social situation.
Beyond the complicated relationships (which got on my nerves a little bit - the soapy part) and the interesting characters (Zeliha was my favourite, if any doubts), I felt the book as being mostly about Istanbul, a character in itself, torn between two continents and two mentalities, trying to cope with the present and be a cosmopolitan city of the 21st century but still struggling to preserve national identity and values. While reading, I remembered documentary about the music of Istanbul, so if you're interested in having a treat for your eyes and ears, give it a try.
P.S.
The gourmand in me was not necessarily pleased (I haven't come to terms with Arabic food yet, though I remember cooking a Libyan recipe once) but challenged. The one thing everybody gets enough of is food, wherever they are: Istanbul, Arizona or California. And if you are really willing and a lot into spices and stuff like that you can mentally combine all the flavours and ingredients and come up with a really satisfied nose :)
Beyond the complicated relationships (which got on my nerves a little bit - the soapy part) and the interesting characters (Zeliha was my favourite, if any doubts), I felt the book as being mostly about Istanbul, a character in itself, torn between two continents and two mentalities, trying to cope with the present and be a cosmopolitan city of the 21st century but still struggling to preserve national identity and values. While reading, I remembered documentary about the music of Istanbul, so if you're interested in having a treat for your eyes and ears, give it a try.
P.S.
The gourmand in me was not necessarily pleased (I haven't come to terms with Arabic food yet, though I remember cooking a Libyan recipe once) but challenged. The one thing everybody gets enough of is food, wherever they are: Istanbul, Arizona or California. And if you are really willing and a lot into spices and stuff like that you can mentally combine all the flavours and ingredients and come up with a really satisfied nose :)
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