This story starts on a ship that emerges from the night like a myth and ferries the reader to Istanbul. How distant this city seems, with its alleys flooded in moonlight, its errant crazies and stray cats; though it feels as strange as a Middle Eastern fairytale, Özdamar describes her childhood and the roots that tie her to this place with a fierce kind of love.
Emine Özdamar has lived in Berlin for many years now, but her heart still holds the Istanbul of her youth, that city split not just by the sea, but also by religion and culture. Moving between worlds like a sleepwalker, her descriptions are cast in a language that is all her own, capturing in words things that others can only marvel at. For Özdamar, language is limitless, a medium that can bring the far-off close. After the story’s intoxicating journey through an Istanbul suspended between yesterday and today, the reader takes the ferry back to more familiar shores, their way lit by the ever-present moon.
Translated by: Katy Derbyshire
A Turkish philosopher from Istanbul once visited me in Berlin. He was only there for a few days. He looked at the street and said quietly, ‘I don’t think I could live here.’
Not the summer planes but the winter planes brought many people who were crying from Europe to Istanbul, crying because their fathers or mothers had died in Turkey. Three years ago, I was on a winter plane. Suddenly, a woman got up from her seat, threw herself on the floor of the plane and started wailing. All the people stood up.
‘What’s the matter?’
Two of the woman’s children had died in a car accident in Istanbul, and she had to go to the funeral. The stewardesses put her back in her seat, held her hand. The woman wailed, ‘Open the door. Throw me out. I want to look for them in heaven.’ She kept looking out of the window, as though she could see the dead in the sky.
‘Open the door.’
Then she looked at the other passengers behind her, as though she wanted them all to walk into the sky with her to look for her dead. She wanted the plane to move around like a car, left, right, back, forward, and look for the dead. But the plane flew straight ahead, as though pulled across the sky along a rail…
Back when I still lived in Istanbul, twenty-five years ago, I got on a ship one summer night, and it took me from the European side to the Asian side. The tea-sellers brought people tea, small change jingling in their pockets. The moon was huge, as though it lived only in the Istanbul sky, loved only Istanbul, and polished itself every day only for this city. Wherever it looked, all doors would instantly open to let the moon wax in. Wherever you touched, you touched the moon too. Everyone held a piece of moon in their hands. Now the moon lit up two faces next to me on the ship. A boy, a girl. He said, ‘So, you gave Mustafa your key too. I’m leaving. Goodbye.’ He leapt from the ship’s deck into the sea and dived into the moonlight. The ship was exactly mid-way between Asia and Europe. Not saying anything, the girl stayed in her seat in the moonshine. All the other people dashed to the ship’s rail, the boat leaned with the crowd, and the tea glasses also slid towards the rail on their saucers. The tea-seller shouted, ‘Tea money. Tea money.’ I asked the girl, ‘Is he a good swimmer?’ She nodded. The crew threw two lifebelts after the boy but he didn’t want a lifebelt. The ship turned and sailed after the boy, a rescue boat pulled him out of the sea. The moon watched everything that happened, and when the boy had to go to the captain with wet clothes and wet hair, the moon lit him up with a circle of light like a clown in the circus. The ship turned back towards the Asian side, the tea-sellers found their customers and collected up the change. The moon shone on the empty tea glasses, but suddenly the ship turned back for the European side, because it had left the lifebelts behind in the sea. And the moon was always there above Europe and Asia.
At the Istanbul airport, the people waited, a long corridor of people, some of them crying.
How many doors were there now in Istanbul? Twelve million people, how many doors did they open? And can the moonshine wax in under all the doors? Can the moon manage that?
When I was a child, four hundred thousand people lived in Istanbul.
Our neighbour Madame Atina (‘Athena’), one of Istanbul’s Greeks, used to pull back her aged cheeks and tape them in place behind her ears. I was supposed to help her with it. She told me, ‘I’m a Byzantine like the Hagia Sophia church, which was built in the time of the Byzantine emperor Constantine the Great, 326 A.D., a basilica with stone walls and a wooden roof. In the Hagia Sophia, the Byzantines believed they were closer to God than anywhere else, and I too believe I’m closer to the moon in Constantinople than anywhere else in the world.’ With the tape behind her ears, Madame Atina would go to the greengrocer’s. I’d go with her. She looked young with her cheeks pulled back so I walked quickly. She wanted to walk as quickly as me and sometimes she fell down on the street. The greengrocer was a Muslim, and he’d joke with Madame Atina, ‘Madame, a Muslim angel came, he put his finger in a hole in a pillar and turned the Hagia Sophia to face Mecca.’ I loved the Hagia Sophia; its floor was uneven and the walls sported frescoes of Christ without a cross, a muezzin sang the ezan from the minaret, and in the night the moon shone on Christ’s face and on the face of the muezzin.
One day, Madame Atina took the ship with me to the Asian part. I was seven years old. My mother said, ‘Look, the Greeks of Istanbul are the city’s salt and sugar.’ And Madame Atina showed me her own Istanbul. ‘Look at that little tower by the sea. The Byzantine emperor, who had received a prophecy that his daughter would be bitten by a snake and killed, had this Tower of Leandros (Maiden’s Tower) built and hid his daughter inside it. One day, the maiden longed for figs, so a basket of figs was brought to her from the city. She was bitten by a snake that had hidden in the basket, and she died.’ Madame Atina cupped my face in her hands and said, ‘My girl, with those beautiful eyes you’ll burn many men’s hearts.’ The sun lit up her red-painted fingernails, behind which I saw the Maiden’s Tower by the sea.
Then Madame Atina walked with me across the Bridge of the Golden Horn. As I walked across the low bridge that moved with the waves, I didn’t yet know that Leonardo da Vinci – the Ottomans called him Lecardo – had once written a letter to the sultan, on the 3rd of July 1503. The sultan wanted him to build a bridge across the Golden Horn, and Leonardo sent the sultan his suggestions in that letter. Another suggestion came from Michelangelo in 1504. But Michelangelo had a question: ‘If I were to build this bridge, would the sultan demand that I adopt the Muslim faith?’ The Franciscan abbot who discussed the sultan’s suggestion with Michelangelo said, ‘No, my son, I know Istanbul as well as Rome. I don’t know which city holds more sinners. The Ottoman sultan will never demand such a thing of you.’ Michelangelo couldn’t build the bridge in the end, though, because the pope threatened to excommunicate him. For centuries, the Ottomans didn’t build a bridge between the two European parts of Istanbul because Muslims lived in one and Jews, Greeks, and Armenians in the other. Only fishing boats ferried the people to and fro. It was Sultan Mahmut II (1808–1836) who wanted to bring Muslims and non-Muslims together at last in Istanbul and had the famous bridge built. Once it was finished, the fishermen beat at the bridge with sticks because it had taken away their work. The bridge became a stage: Jews, Turks, Greeks, Arabs, Albanians, Armenians, Europeans, Persians, Circassians, women, men, horses, donkeys, cows, hens, camels, they all walked across the bridge. One day there were two crazies, a woman and a man, both of them naked. The man stood at one end of the bridge, the woman at the other. She shouted, ‘From here on, Istanbul is mine.’ He shouted, ‘From here on, Constantinople is mine.’
At the airport, I took a taxi. Since Istanbul had become a city of twelve million, the taxi drivers would no longer find the addresses and they’d lose their tempers. ‘Madame, if you don’t know where you want to be driven, why did you get in my car?’ I wanted to go to a friend’s house, I no longer had a father and a mother to go to first.
Years ago, I had come to Istanbul once before on a winter plane to bury my parents, who had died three days apart. My mother was the first to go. My father had sat in his chair, the opposite chair empty. He took out a pair of false teeth with sheep’s cheese still stuck to them, and said, ‘Here, your mother’s false teeth.’ Two days later he died too, and his coffin stood on a raised stone slab for the dead in the mosque’s courtyard. There were two other coffins on the other slabs, and the mosque got the coffins mixed up. They didn’t know which dead man belonged to which family. At the cemetery, the gravediggers took the corpses, wrapped in shrouds, out of the coffins, and a man from each family – the women weren’t allowed to stand near the graves – had to see which of the dead belonged to them. My brother looked at the three dead men’s faces and said, ‘That’s our father.’
In the taxi, I now drove past the cemetery where my parents were buried. I couldn’t remember which grave was my father’s. All I knew was that you could see the sea from his grave. Since Istanbul has become a city of twelve million, the cemetery management has demanded that relatives buy up the graves, otherwise new dead are laid on top of the dead. At the time, my brother called me in Germany: ‘What shall we do? Buy the grave or let him get lost between the other dead?’
‘What do you think?’
‘We can let him lie with the other dead, that suits him better.’
As no one visits cemeteries in Istanbul, we didn’t mind where the dead would lie. The cemeteries are empty, the only quiet places in the city. As a young girl, I sometimes used to go to the cemeteries with a poet. He had written down what it said on the gravestones. He said, ‘These are people’s last words. There are no lies.’ He wanted to use those words in his poems.
Although no one visits cemeteries in Istanbul, every cemetery has its own crazy. They wander between the gravestones, and cats wander after them because they give the cats cheese and bread. At my parents’ cemetery, there were two crazies who lived there for years. One of them would always give the other a lira. One day, he gave him three lira instead of one. The other man got angry and said, ‘Why are you giving me three lira, I only want one lira.’
‘My son, have you not heard of inflation? Three lira is one lira now.’
The other man started to cry; his friend gave him a handkerchief.
The taxi driver couldn’t find my friend’s address and he broke out in a sweat. I gave him a paper tissue and said, ‘Drive me to the city centre.’ Thirty years ago, there was a film producer in Istanbul who only filmed sad stories. He knew all the viewers would cry, so he had handkerchiefs made out of the finest cotton. He stood outside the cinema himself and handed the handkerchiefs to the moviegoers. He laughed all the while. In those days, there was a famous cinema crazy in Istanbul, who especially admired a particular Turkish actor. Because that actor was killed in a film role, the crazy came to the cinema with a gun one evening and tried to kill the murderer before he could shoot – and fired six shots at the screen. Istanbul loves its crazies. The city gives them its breast and suckles them. It has been ruled by several crazy sultans. When a crazy comes along, Istanbul gives him a place.
I got out of the taxi right outside the cinema where the crazy once shot at the screen. Before I left for Berlin twenty-two years ago, I would often stand outside that cinema waiting for my friends.
Now I’m standing here again, looking at the faces of the people walking past. It looks like films from all different countries are being screened one over another. Humphrey Bogart is speaking to an Arabic woman, asking her the time. A Russian whore is speaking to a man who moves like Woody Allen.
I look for my friends from back then in these people’s faces, but I’m looking for them in the young faces of today, as though my friends hadn’t got older over these twenty-two years, as though they’d waited for me with their faces from back then. As though Istanbul had frozen to a photo at the moment I left for Europe, to wait for me – with all its baths, churches, mosques, sultans’ palaces, fountains, towers, Byzantine walls, bazaars, wooden houses, steel lanes, bridges, fig trees, slum houses, street cats, street dogs, lice, donkeys, wind, sea, seven hills, ships, crazies, dead, living, whores, poets, porters. As though Istanbul had waited for me with its millions of shoes, all waiting for morning in the houses, with its millions of combs left below mirrors spotted with shaving soap.
I’m here, so now all the windows will open. The women will call out to their friends from window to window. The basil plants in the flowerpots will give off their scent. The children of the poor will throw themselves into the Marmara Sea in their long cotton underpants to wash. All the ships between Asia and Europe will sound their horns. The cats will yowl for love on the roofs. The seven hills of Istanbul will awaken. The gypsy women will pick flowers there to sell in the city centre later on. The children will climb the fig trees. The birds will peck at the figs.
‘Mother, do you make fig jam from the male or the female fig trees?’
‘The male ones. Look, their figs are small and hard.’
In the tulip gardens at the sultan’s palace, the tortoises will walk around with lit candles on their shells, the tulips will bend their heads towards the sea in the wind, the tortoises’ candle lights will flicker in the same direction. The wind will push the ships along today and make them sail faster, the passengers will arrive home sooner. When the men are at home, the lights will go on across the seven hills. The fathers will wash their hands. Sounds of water. ‘My daughter, will you pass me a towel?’
Opposite the cinema were a few shops. Some of the shopkeepers recognized me and said hello; they all had white hair and white eyebrows.
Next to the cinema stood a poor man, perhaps a farmer, trying to photograph the people passing by with a Polaroid camera.
‘Photo souvenir of Istanbul, photo souvenir of Istanbul!’
I let him take my photo; the picture was blurred. ‘Take another picture.’
‘I haven’t any more film.’
A beggar woman took the photo out of my hand and said to the photographer, ‘You’re the artist, aren’t you, why didn’t you photograph this lady in front of McDonald’s?’
She looked closely at the photo and exclaimed, ‘Oh, how beautiful my treasure is, how beautiful.’
I thought she meant me, but there was a cat on the wall behind me in the photo. I was blurred but the cat was in focus.
Then I called the Turkish philosopher who didn’t want to live in Berlin.
‘Where are you?’
I took the ship over to him, to the Asian part of Istanbul. Sailing alongside the ship sailed a fishing boat transporting two horses. The moon shone on the faces of the horses, which were perfectly calm. I dipped my hands in the sea to touch a little moonshine; the moon looked suddenly like it had in my childhood – as though it lived only ever here in the Istanbul sky, as though it loved only Istanbul, and polished itself every day only for this city.
*This story is taken from: Der Hof im Spiegel by Emine Sevgi Özdamar. © Kiepenheuer & Witsch GmbH & Co. KG, Cologne/Germany.
Get great reads straight to your inbox
Granito decided to shift the business model from wholesale distribution to direct-to customer. Until early 2017, each 45 minutes, plating protects from corrosion. Geneva stripes are sometimes said to help rap dust away from the moving parts of the movement. fake watches The traditional heating of steel screws changes their colour to a deep royal blue while also hardening them. In any case, beveling and polishing) is of course done by hand. All wheels of the gear train are in rose gold. The single main spring provides 65 hours of autonomy.
Want to listen to audio editions?
Purchase a subscription and enjoy unlimited access to all features.
By subscribing you contribute and support authors, translators and editors.