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Georgios Vizyenos is one of Greece’s best-loved writers. "Moskov Selim" is set in Thrace, a corner of Europe where Greece, Turkey and Bulgaria meet. Selim is a Muslim name, yet "Moskov" implies that he is a Russian. Vizyenos’ fascinating and moving story is set during a time of constant wars between Russians and Turks whose outcome would decide the future of south-east Europe: Serbia, Romania and Bulgaria were becoming independent of the Ottoman empire, while Greece was to gain huge territories at the empire’s expense. Although Istanbul would remain in Turkey, it would no longer be the seat of the Ottoman Sultan, who, as caliph, was the leader of the world’s Muslims. Vizyenos’ story evokes a time when Greeks and Turks could share each other’s joys and pains despite the hostile relations between their governments. Listening to the protagonist’s life story, the narrator of "Moskov Selim" discovers that this Turk is a kindred spirit, despite the gulf of nationality and religion that separates them. "Vizyenos brings into question the nature of identity and of reality as constructed by reason and senses". Roderick Beaton Director, Centre of Hellenic Studies, King’s College London

The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel of lost love, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk’s catalog of this remarkable museum, he writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul (illustrated with Pamuk’s superb collection of haunting photographs and movie stills), and of course the customs and traditions of his beloved city. The book’s imagery is equally evocative, ranging from the ephemera of everyday life to the superb photographs of Turkish photographer Ara Güler. Combining compelling art and writing, The Innocence of Objects is an original work of art and literature.

Stefan Zweig Bilinmeyen Bir Kadının Mektubu (Brief einer Unbekannten) adlı uzun öyküsünü 1920&'li yılların ilk yarısında kaleme aldı. Bilinmeyen Bir Kadının Mektubu&'nun kadın kahramanını sadece uzun bir mektubun yazarı olarak tanıyoruz. Kadının hayatı boyunca sevmiş olduğu erkek için kaleme aldığı bu mektubun "gönderen"inin adı yoktur. Mektubun başında tek bir hitap vardır: "Sana, beni asla tanımamış olan sana". Kadın büyük tutkusunu hep bir "bilinmeyen" olarak, yani tek başına yaşamaya razıdır, bu aşk öyküsünde "taraflar" değil, sadece tek bir "taraf" vardır. Böylesine, gerçek anlamda aşk denilebilir mi? Zweig okurunu, bir kez daha, insan psikolojisinde eşine pek rastlanmayan bir yolculuğa davet ediyor. Bu yeni yolculuğun sonunda "mutlak aşk" kavramının şimdiye kadar bilinmeyen kıyılarına varmayı amaçlamış olması da bir ihtimal!

Olric Press is pleased to announce for its first publication a major work in the canon of world literature. The Disconnected was the first book of Oguz Atay (1934-1977), and was before its time. First published in 1972 it was a cult book among younger writers, but he never saw a second printing before his premature death. Since it was reprinted in 1984 it has gone through more than 70 editions, and is widely reckoned to be the most important book in modern Turkish literature.“My life was a game, but I wanted it to be taken seriously,” says Selim, the anti-hero of the novel. But the game has a terrible end with his suicide, and his friend Turgut’s quest to understand this is the story of the book. He meets friends whom Selim had kept separate from each other, he finds documents in a kaleidoscopic variety of styles, sometimes hugely funny, sometimes very moving, as Selim rails against the ugliness of his world whether in satire or in a howl of anguish, taking refuge in words and loneliness.Under layers of fantasy is the central concept of the Disconnected, tutunamayanlar, literally ‘those who cannot hold on’, poor souls among whom he counts himself, whose sole virtue is that they do not fit into society as it is constituted. He will be their messiah, at whose second coming they will change places with the comfortable of the world. Confronted with this Turgut sees the faultline in his conventional middle class life, and that he too is one of the Disconnected: he takes a train into Anatolia and ‘vanishes’.What could have been a bleak vision of alienation is transformed by the power of language and the imagination.In 2002 UNESCO put The Disconnected at the head of their list of Turkish books of which translation was essential, warning that it would be very difficult. A German translation in 2016 was well received (e.g., Neue Zürcher Zeitung, 26 June, found it astonishing that this masterpiece should wait 45 years to appear in German), and needed three printings in six months. But English was the language Atay knew and loved, and his confrontation with literature in English, notably Hamlet and the King James version of the gospels, is a feature of the book. An English translation is therefore called for, and by good chance one exists. Sevin Seydi (the dedicatee of the original) made a rough translation page by page as Atay was actually writing, as a sort of game, and discussed it with him. After 40 years living, studying, working, marrying in England she has thoroughly revised it, and it should be the definitive version.It is not certain that it would match the commercial success it has had elsewhere, hence this small edition of only 200 copies. Since it is a special edition the paper and binding are of archival quality not often found nowadays in mass-market books.

Oğuz Atay (1934-1977), one of the most influential figures of 20th-century Turkish literature, was not only a writer and a professor, but also a civil engineer. Aside from his widely acclaimed novels, in this book of collected stories, Atay engineers the language of a historically multilayered society that was in the midst of a cultural and political transition. By smoothly mending the autobiographical and the fictional, he invites the reader into a maze of seamlessly shifting narrative voices.Atay cracks the walls constructed over time between singular and plural pronouns, between the rather ambiguous victims and victors of each story. Without merely trying to impose pity for the 'other, ' he traces the existential conflicts of different 'selves' struggling to survive and peels away the layers of each isolated and alienated persona while standing at an equally critical distance to the social stratifications each layer signifies. Atay's lingual precision in short-circuiting familiar processes of reasoning and memory within the daily flow of time, along with his dark, yet highly ironic tone in dismantling the edifices of social norms call to mind writers such as Dostoevsky, Kafka, and Joyce.This is the first translation of Waiting for Fear into English.

Ismail Besikci is a renown Turkish sociologist who specializes on Kurds in south-eastern Turkey. He has authored several important works on Kurdish social organization and the continuing plight of Kurds today. He has also been imprisoned in Turkey most of his adult life because he has spoken out on the Kurdish issue. Besikci argues that the Turkish state has been practicing a policy of genocide against Kurds over the past 90 years.International Colony Kurdistan is probably Besikci s most open critique of the present division of Kurdistan, an ethnically contiguous area (mainly) between Turkey, Iran, Iraq and Syria - with a Kurdish population of over 30 million people. Besikci argues that, for all their political differences, there is a longstanding understanding between these regional states to deny Kurds the right of self-determination and nationhood.Ismail Besikci s International Colony Kurdistan was originally published in 1991 and led to the imprisonment of the author in Turkey. Sadly, the book still remains a road map for our understanding of Kurdistan today.

Ara Güler's Istanbul is a unique record of daily life in the cultural capital of Turkey from the 1940s to the 1980s, captured by the award-winning photographer and accompanied by an evocative foreword by Orhan Pamuk, the first Turkish recipient of the Nobel Prize in Literature.As the crossroads between Europe and Asia, Istanbul has lived through several empires and has a character that is as many layered as its history – something that Güler’s photographs convey with great sensitivity. In these remarkable black-and-white images, the city’s melancholy aesthetic oscillates between tradition and modernity.Both writer and photographer were born in Istanbul, and each in his youth held the ambition of becoming a painter. Here, each in his own way paints a picture of his home town and captures its very soul.

'Vivid, evocative and tender.' Elif Shafak 'In our family, secrets were buried deep like treasure, never to be spoken of...' 1974. Melike should be happy: school is shut and her parents have stopped hosting parties for their rowdy political friends. But she's scared. She can tell from her parents' urgent whispers about prison, invasion and military coups that Istanbul is changing. So when the family relocate to a quaint village in the south, Melike is hopeful life might get better. And for a while, it does. But then her beloved father disappears... 2003. Nearly three decades have passed, and Melike has done her best to move on. But despite her successful career as an art historian and a husband who adores her, she has always felt a lingering discontent. When she meets mysterious – and extremely handsome – stranger Petro, Melike feels her fortunes changing. But Petro isn't who he says he is. And when Melike uncovers his true identity, she also lays bare a lifetime of hidden pasts... With a backdrop of the Turkish army's occupation of Cyprus in 1974, Summer Heat explores family secrets, tangled identities and one woman's place in her country's devastating history.

Elmalılı M. Hamdi Yazır, Hicri 1294 Miladi 1877 yılında Antalya'nın Elmalılı kazasında doğdu. Babası Numan Efendi, aslen Burdur'un Gölhisar kazası Yazır köyü halkındandır. Numan Efendi, küçük yaşta Yazır köyünden çıkıp Elmalı'ya gelmiş, orada okumuş ve "Şer'iye Mahkemesi" başkâtibi olmuştur. Hamdi Efendi'nin annesi, Elmalı âlimlerinden Mehmet Efendi'nin kızı Fatma Hanım'dır. İlkokulu ve bugünkü ortaokula denk sayılan Rüşdiye'yi Elmalı'da bitiren Hamdi Efendi, 1892 yılında, dayısı hoca Mustafa Sarılar ile birlikte İstanbul'a gelmiş ve devrinin âlimlerinden Kayserili Mahmud Hamdi Efendi'den ders almıştır. İstanbul'daki diğer tanınmış hocaların da derslerine devam ettikten sonra, 1906 yılında "Bayezit dersiâmı" olarak icâzet almıştır. Aynı yıl yapılan seçimlerde Antalya Mebusu olmuş ve II. Meşrutiyet'in bu ilk meclisinde, özellikle 1876 "Kanun-i Esâsi"sinin değiştirilmesinde önemli rol oynamıştır. 1909 yılında Mülkiye Mektebi'nde Ahkâm-ı Evkâf ve Arâzî dersleri okutmuş ve yine aynı yıllarda Mekteb-i Kuzâtta "Fıkıh" dersleri vermiştir. Daha sonra Darü'l-Hikmeti'l-İslâmiye (Şeyhü'l-İslâmlığa bağlı Yüksek Müşavere Heyeti) üyeliğine ve bir müddet sonra da başkanlığına tayin edilmiştir. I. Dünya Savaşı'ndan sonra Evkaf Nazırlığı'nda bulunmuş ve bu sırada Âyan Meclisi üyesi olmuştur. Cumhuriyetin ilânı sırasında Mütehassısîn medresesinde mantık müderrisi idi. Medreseler kaldırılınca evinde inzivaya çekilmiş, ilmî tetkik ve araştırmalarına devam etmiştir. Yirmi yıl kadar devam eden bu uzlet (yalnızlık) devresi, "Hak Dini Kur'an Dili" adındaki Türkçe tefsiri hazırlamasına imkân vermiştir. Tefsire başlamadan önce Mısırlı Prens Abbas Halim Paşa'nın teşviki ile "Büyük İslâm Hukuku Kâmusu" ile meşgul bulunuyordu. Bu eserle birkaç yıl meşgul olduktan sonra yarım bırakmış ve tefsiri yazmaya başlamıştır. Âyan üyeliğinin son yıllarında Fransızca'dan tercümeye başladığı bir felsefe tarihi kitabını tamamlayarak ilave ettiği önemli bir dibace (önsöz) ve diğer haşiyelerle birlikte "Metalib ve Mezahib" adıyla bastırmıştır. Hamdi Efendi, ayrıca devrinin güzel sanatlarından olan hat ve mûsikî ile de ilgilenmiştir. Özellikle "Nesih" ve "Sülüs" yazılarda iyi bir hattat idi. Aynı zamanda hâfız olduğu için alaturka mûsikînin çeşitli makamlarıyla ciddi bir şekilde meşgul olmuştur. Hamdi Efendi, 27 Mayıs 1942'de İstanbul Erenköy'de vefat etmiştir.

On the occasion of the poet's one-hundredth birthday, this masterwork is at last available in its entirety in English. When, on the eve of the Second World War, Nazim Hikmet (1902-1963)Turkey's most acclaimed and popular poetwas sentenced to twenty-eight years in prison for his Communist beliefs, he embarked on the writing of his epic, Human Landscapes from My Country. This 17,000-line verse-novel is made up of a traveler's vivid encounters with Turkish men and women from all walks of life. In colloquial language, Hikmet stages their private hopes and griefs, and through these many human dramas, he documents Turkey's historic transformation into a secular republic. Human Landscapes from My Country is "lively...cinematographic...[able] to capture the least scholarly reader" (Denise Levertov). Human Landscapes from My Country was published in an abridged English-language version by Persea Books twenty years ago. This new edition marks a major event in contemporary world literature.