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"murder mystery" in German
Because of the overwhelming data volume, it has not been possible to carry out a manual editorial check on all of these documents. So, we logically cannot guarantee the quality of each and every translation. Instead she is seeking answers, all of which are crucial to her: should she get an abortion or give birth to her baby? Why did her father, Poyraz Efendi, abandon the family and run away with Shah Nesim? What really happened in the hotel fire? While she witnesses the lives and love of Shams and Rumi in her dreams and hallucinations, her narrative is unreliable as it is the only account that can inform the reader of these images and events.
As Karen Kimya investigates the hotel fire, she unearths her forgotten memories and is faced with even more important questions of her past. In these flashbacks, the reader is informed of the rituals of Sufism when Poyraz Efendi tells Karen Kimya of his memories in the dervish lodge where he grew up. These passages where Karen Kimya remembers the informative dialogues with her father function as ethnographic data regarding the life in the dervish lodges. On the textual level, these mystic features increase the element of suspense in the story, which is crucial for any crime novel.
However, as a rational woman she constantly questions the possibility of such an experience and doubts everyone around her, as she continues to believe there is a conspiracy regarding the hotel fire. The gate of mysteries, which gives the novel its title, is the location where identities and histories merge. This element of blurred chronology makes the novel a more powerful thriller, as the reader is forced to construct the missing links himself.
These additions also communicate the main Sufi tenets to the reader.
Yet there remains another complicated relationship between Sufism and the narrative of the novel: not only does Sufism contribute to the construction of the crime plot, but also the plot itself can be read as an example of contemporary Sufi literature. The text does not discuss Sufism in a conventional way, but is rather a modern version of it; it is a thriller that is strewn with Sufi motifs. At times, his novels can be rather didactic.
Thus her journey, which concludes with the realization of herself and God, is more a return than a departure. From the first standpoint, people are compelled to grow and die, but from the second they are free to choose what sort of existence they will experience in the next stages of becoming Chittick, However, the novel can also be read as revisionist fiction.
ISBN 13: 9781482072969
With its fantastic elements and shifts of time and place, it disrupts the linear plot and ultimately creates a complicated thriller. In different points in the story, the following is emphasized several times:. Everyone showered Rumi with praise, while Shams always seemed to linger in the background like his sidekick. It looked as if this dervish, though closer to Rumi than his own family, had been driven away by someone hoping to pretend he never existed.
However, there are no documents to prove this theory and many believe that his murder was purposely hidden. Revisionist historical novels are inspired by the wish to rewrite history, particularly from the point of view of those all too long ignored by traditional historiography, and to offer alternative histories.
They often do so by relying heavily on multiple focalization, adopting points of view of several character-focalizers whose limited perspectives project highly subjective views of history Additionally, the novel revolves around his murder by the statesmen, which has been hidden from public for a long time.
Shams is portrayed as ready to commit a crime, which Rumi would never conceive of.
The Steel Spring
Moreover, like the murder of Dink, Shams is also killed by state officials of the Seljuk Dynasty and in both cases the real criminals are not revealed or properly judged. In this respect, Shams is not merely a religious or literary figure but also a political one, and serves as a tool for recovering contemporary political counter-memories in Turkey. Arguably, the novel stands as an example of thinking of Sufism as an alternative and moderate alternative to political Islam; while it also presents Sufism as an answer for secular fears and non-religiosity.
The idea of transformation is one of the central themes in the novel and is one of the main precepts of Sufism. She forgives her father, and both come to peace with themselves and each other. This conclusion emphasizes the importance of an individual; it acknowledges her as a figure capable of spiritual choice. Her journey was none other than a personal quest for meaning, or coming to truly understand herself and by extension, the purpose of her existence in relation to others.
In the end, the reader is made aware of the power of the individual and the divine, and of the transcendental gift that exists within each soul. Thus it is no surprise that in the end, Poyraz Efendi finds peace as does Karen Kimya. In that respect, the novel depicts the arduous journey of growth, change, and empowerment of the individual figures while also portraying instances of rebirth and liberation.
Further examination of both Sufism and popular literature may also uncover additional instances of spiritual phenomena in contemporary Turkish culture, and how the crime novel displays a general shift towards the mystic-religious arena. This is the reason for their classification as revisionist novels: not only do they reconstruct our memory of the past, but also influence our understanding of the present.
Chittick, C. William; Voll, O. Dufft, Catharina ed. Gorp, Hendrik van; D'haen, Theo eds. Cilt , Istanbul, İnkilap Kitabevi.
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Mojaddedi, Jawid trans. Nasr, Seyyed Hossein ed. Neyzi, Leyla ed. Press, pp. He composed about sixty-five thousand verses of breathtaking Persian poetry along with three short prose works.