In The Bastard of Istanbul

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In The Bastard of Istanbul by Elif Shafak
Elif Shafak published the novel In The Bastard of Istanbul in 2006. In her book, Shafak
challenged her nation’s violent past in a vibrant and exciting tale about the tangled account of
two families, one a Turkish family and the other an Armenian-American family. The novel
chiefly addresses the concerns of gender and cultural identity as well as contemporary religious
and political matters in Turkey. Full of unforgettable and vigorous women characters the novel is
a bold and a compelling tale that confirms Shafak as a rising idol of global fiction. Importantly,
Shafak managed to create the world that enlarges people’s understanding of their identities and
value of both traditional and modernity. Fundamentally, the paper analyzes reasons why
characters redefine their ideas about ethnic, personal, and national history towards the end of the
novel. Additionally, it focuses on the ideas that inform characters’ identities as well as nature and
consequences of attachment or rejection of history in the book.
Firstly, curiosity among some characters such as Armanoush and Asya influence them to
redefine their past cultures and adopt modernity. Armenian refugees emphasize on the
significance of their ethnicities. However, despite Armanoush being an Armenian-American, she
disregards the traditions and seeks to explore the modern world (Shafak 47). On her part, Asya,
the bastard of Istanbul, keeps off her past and focus on a reunion with her father’s side. Further,
Asya adopts modernity where she wears miniskirts and high heels as well as engaging in sexual
relationships. The duo engages in an online chat room where they exchanged ideas to the extent
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of becoming great friends. Through the online platform, they could discuss even their roots, as
they remained curious of their identities. Finally, they both meet in Istanbul, and together they
start on a healing journey. In fact, the two girls play a significant role in bridging the gap
between Armenian and Turkish traditions. At the end of the novel, the two focus at reuniting
their families in an effort to brighten their future instead of being glued to the stereotyped past.
Indeed, when Armanoush first meets Asya’s family, the food prepared by the family reminds her
of her Armenian grandmother, a situation that acted as a connection between them and a safe
starting point in establishing their identities
Additionally, the realization of the affliction brought about by extreme attachment to
religious and cultural beliefs influence characters’ need for freedom. In this regard, despite the
conventional norms placed upon women by culture and religion, Zeliha becomes rebellious to
free herself from the chains of the traditions. Although Zeliha Kazanci acknowledges traditional
cultural practices such as the ritual of prayer and the delicacy of teacups, she speaks harshly and
rebelliously (Shafak 130). She embodies rage, frustration, anger, and strength all of which affirm
her voice portraying her dissatisfaction on the laid down Islamic norms. On the other hand,
Mustapha ran away from his motherland to avoid misfortune associated with his culture. Indeed,
he is the only man left in his lineage as other died at their early age. In this way, Mustafa adopted
a new culture in his new environment, which gave him a new identity. Notably, Shafak utilizes
these culturally prescribed stereotypes to focus on the disparities of identity.
The attachment to the history and memory brings about the complexity of individuals
within society. In some instances in the novel, the attachment to historical memories on the
genocide undermines complete liberty and equality among the characters especially men. As a
result, women remain a vital pillar in supporting their families. Further, the minorities such as
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non-Muslims in the movie supported young Turks such as Armanoush and Asya in the hope of
fair treatment. On the other hand, the denunciation of the historical memories has been pivotal in
recognition of reality overlooked by the two cultures. For instance, Armanoush understands the
meaning of being a Turk because she has spent her childhood and adolescent with a Turkish
man. Indeed, on arrival to Istanbul, she faces reality and begins to understand the phenomenon
between the Turks and the Armenians. As a result, she changes her thoughts and embraces the
Kazanci family. Armanousha’s memory acts as a symbol of the collective memory of all
Armenians. Additionally, ignorance of some of the memories helps Auntie Cevriye in advancing
her career as a Turkish national history teacher since she was able to draw an impermeable
boundary between the past and present thus distinguishing the Ottoman Empire from the modern
Turkish Republic.
In the novel, the strong attachment and rejection of history and memory influences the
way of life and identities of both Armenians and Turkish differently. Some of the traditions
portray similarity in the cultures between the two groups. Indeed, the two groups get annoyed
and aggravated over trivial things although they stay calm even when there is something serious
to panic or worry about. Importantly, the two groups gather together to eat fruit after each dinner,
a habit that is deeply rooted in culture. Additionally, extreme attachment to the tradition
influences the mode of clothing of the characters. For instance, auntie Zeliha wears an
outrageously short skirt and high heels while her sister, Auntie Banu, wears a long dress (Shafak
56). However, Gulsum dislikes wearing headscarf since she disregards the history in which the
tradition was based.
It is evident that the book draws attention to the genocides and the Turks’ conflict among
themselves. Indeed, it openly criticizes the violent historical past regarding the Armenian
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massacre of 1915. Reading the novel enables the readers to feel as if they are crossing an
invisible boundary owing to its reflections on scenes that attract diverse views among different
individuals and scholars. Further, Shafak does a good job of bringing up a bit of magical realism.
The djinns coexist quite naturally with the Kazanci, bringing some fresh rather than stagnant air
in the novel. Irrefutably, the book is ambitious, exuberant, and worth reading.
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Works Cited
Shafak, Elif. The Bastard of Istanbul. London: Viking, 2007. Print.

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