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Killing the Water
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El-Burhân: Alâ Bekâi Mülki Benî Osmân İlâ Âhiri’z-Zaman
“Son yarım asırdır yapılan modernlik-sonrası akademik çalışmaların en önemli özelliği,sözde modern dönemde inşa eden klişelerin sökülmesine, bozulmasına, yeniden inşa edilmesine dönüktür. Bunları, akademinin her sahasında görmek mümkün: Felsefe, bilim,tarih, edebiyat, sanat, mimari, siyaset vb. Bu toplam içerisinde J. Derrida’nın, G.Deleuze’ün, M. Foucault’nun ve H.-G. Gadamer’in yerleri bir hayli farklı. Kanaatimizce“el-Burhân alâ Bekâi Mülki Benî Osmân ilâ Âhiri’z-Zaman” adlı eser anılan birikim içinde yeniden ve yeniden okunabilecek, sonuçta Osmanlı tarihine ilişkin farklar üretecek bir metin. “el-Burhân alâ…” en başta II. Abdülhamid dönemi olmak üzere; siyaset çalışmaları,kimlik teorileri, rûmîlik, tarihin sonu, fütürizm, gelecek bin yıllar vb. gibi birçok sahadaki tezleri gözden geçirmeyi gerektirecek güçte bir metin. Küçük gibi görünen, ama dekonstrüksiyoncu anlamda büyük yapıları söküme uğratacak bir eser el-Burhân alâ Bekâi Mülki Benî Osman ilâ Âhiri’z-Zaman …”
Islam, Literature and Society in Mongol Anatolia
A new understanding of the transformation of Anatolia to a Muslim society in the thirteenth-fourteenth centuries based on previously unpublished sources.
Self Portrait in Green
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
The Mosquito Bite Author
Originally published in 2011, The Mosquito Bite Author is the seventh novel by the acclaimed Turkish author Barış Bıçakçı. It follows the daily life of an aspiring novelist, Cemil, in the months after he submits his manuscript to a publisher in Istanbul. Living in an unremarkable apartment complex in the outskirts of Ankara, Cemil spends his days going on walks, cooking for his wife, repairing leaks in his neighbor’s bathroom, and having elaborate imaginary conversations in his head with his potential editor about the meaning of life and art. Uncertain of whether his manuscript will be accepted, Cemil wavers between thoughtful meditations on the origin of the universe and the trajectory of political literature in Turkey, panic over his own worth as a writer, and incredulity toward the objects that make up his quiet world in the Ankara suburbs.
Empty Wardrobes
A previously untranslated classic of Portuguese feminist literature originally published in 1978, Carvalho's Empty Wardrobes introduces English-speaking readers to a forgotten and underappreciated woman writer a la recent publishing sensations Lucia Berlin, Natalia Ginzburg, Ingeborg Bachmann, Silvina Ocampo, and Armonia Somers. Empty Wardrobes is a tightly plotted, highly entertaining read, that, thanks to an ingenious detached narrative technique (one that makes the plot all the more fun to revisit and rethink), is both darkly humorous and devastatingly true.
