Although set in an exotic late-Ottoman Istanbul, a city of harems, dervishes, veils and fezzes, Ahmet Altan’s Like a Sword Wound nevertheless reads like a familiar and recognizable Western European period classic.
A few years ago, Robert Dankoff and Sooyong Kim edited a much-needed and generous selection of Evliya Çelebi’s Seyhatname or Book of Travels. Evliya (1611-1682) spent the better part of forty years traveling around the Middle East, Africa and parts of Asia Minor; he’s perhaps the best-known of all Ottoman explorers and travelers, which is not to say a great deal, because non-European travel-writers are still sadly under-represented in English translation.
So you’re planning a trip on the Silk Road. You’re looking for tips on what to take, routes, currencies, visas.
Contemporary Blue-and-White: Turkish Ceramics is an exhibition featuring some forty ceramics by by Mehmet Gürsoy and Nida Olçar, two award-winning contemporary Turkish artists. This is so-called “İznik pottery”; finely-decorated ceramics have been produced in İznik, the ancient Nicaea, since the last quarter of the 15th century.
The misdirection starts with the novel’s cover. Hasan Ali Toptas’s Shadowless is, in spite of its title, full of shadows.
The ancient Greek philosopher Heraclitus once observed that “seekers for gold dig much earth, but find little gold.”
The Circassian sounds like the name of a film; there’s more than enough material here for one. Eşref Bey, or Eşref Kuşçubaşı or any of the other names by which he went, played many roles in his life: brigand, family man, military leader, spy, rebel. He crossed paths if not quite swords with TE Lawrence—Lawrence of Arabia—with whom he is sometimes compared. But in spite of Eşref’s fame—or notoriety—information on him seems hard to come by in English; he does not even seem (at this writing) to have a Wikipedia page.