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Türk edebiyatının en önemli eserlerinden biri olan Tutunamayanlar'ı Berna Moran hem söyledikleri hem de söyleyiş biçimiyle bir başkaldırı olarak niteler Moran'a göre Oğuz Atay'ın mizah gücü duyarlılığı ve kullandığı teknik incelikler Tutunamayanlar'ı büyük bir yeteneğin ürünü yapmış yapıttaki bu yetkinlik Türk romanını çağdaş roman anlayışıyla aynı hizaya getirmiş ve ona çok şey kazandırmıştır Küçük burjuva dünyasını zekice alaya alan Atay saldırısını tutunanların anlamayacağı reddedeceği türden bir romanla yapar Tutunamayanlar 1970 TRT Roman Ödülü'nü kazanmıştı


10 thoughts on “Tutunamayanlar

  1. says:

    The Turkish Ulysses And of the Top Three for me from '17Alas all two hundred copies have been snatched off the marketplace I suspect that soon the vultures will descend with obscenely priced secondhands Please do look out for a copy for yourself but be safe out there and don't get ripped offMeanwhile there is rumor that possibly this is crusty news but any reason for hope is still reason to hope a second translation is in preparation It's the kind of novel that can certainly bear than one translation But if there's any truth to this rumor it will be likely many years until we see itMeanwhile these BURIED maximalist novels of WeltLiterature just keep popping up over and over From the USofa there's still Divine Days for instance And just yesterday one written in Catalan show'd up on my radar El jardí dels set crepuscles And from Spain we have a four volume novel in process of being trans'd to English the first volume of which came out last year Antagony Book I And if you want something exotic gotchya there's River of Fire Aag Ka Darya oop from New Directions Of course we know have BDZT in English but what about Dessen Sprache Du Nicht Verstehst Roman? Remember when Gaddis' first novel was ignoredpanned by the literary establishment? And Pynchon failed to receive that one famous prize? The same monkeys are still in chargeLimited Edition WarningThe Disconnecte D aka Tutunamayanlar what is widely considered the most important single book in modern Turkish literature is now in English It's 715 pages so you know it's goodThe copyright holders have permitted an edition of 200 copies only And so Olric Press has produced the uality of edition one desires for something like Women Men And for just 50 uid plus an unreasonable amount to ship to the Usofa Here's a link to the seller if you've not finished Bottom's Dream yet to say nothing of Proust don't miss this opportunity to pick up a rare copy of this World Literature thingwhat else can you do in a situation like this but schill schill schill?From the Dutch translator Hanneke van den Heijden a talk from 2012 provided in het Engels about translating Tutunamayanlar into Dutch Sample passages included“‘Language is the mirror of our lives’ Oğuz Atay’s novel ‘Tutunamayanlar’ and its Dutch translation” blog ’s an instance of the difficulty we get into over at the BURIED Book Club when we try to compensate for a book in a KNOTEnglish language being totally unread auf English I mean a book not even translated and not even very much likely to find itself translated anytime soon YET for various reasons I find it important to know of the existence of this kind of thing if only to morn the narrow scope of one’s own small world I think we ought to find ourselves indignant when our literary culture ourselves each individually included leaves potential literary masterpieces out in the cold Our TAX dollars should be paying Academics in Ivory Towers so that they could spend their time leisurely transforming masterpieces written in Turkish into some kind of English approaching its own version of masterpiece Instead well you know about the foreign adventures of our USofA and the way that kind of adventurism is funded by our TAXes I mean right? Hail the Academic the Scholar the Translator Boo the WarMongersAt any rate Atay’s Tutunamayanlar has 3572 ratings    107 reviews On the first page of Community Reviews I see two Review ish comments in English The novel has been translated into DUTCH as Het leven in stukkenA short piece with some helpful links including an essay in English by the Dutch translator Hanneke van der Heijden can be found at The Untranslated ismay be the Turkish Ulysses?


  2. says:

    Probably the best book I’ve read this yearNow you can take that with a grain of salt if you like – I’ve been pretty inactive for the majority of the year – but you’d be jumping to the wrong conclusion This is an incredible work of Modernism one that at the moment is destined to complete obscurity within the English speaking world if for no other reason that only 200 copies exist at this time Now you can look at the number of reviews here on the site and get a pretty good idea that the rest of the world is not unaware of this towering work unfortunately it is simply going to remain out of reach for pretty much all English only readersThe English speaking focused discussion of this book has been bouncing around in a small corner here on GR for a couple of years now – first brought to light by this post by the excellent The Untranslated blog Obviously a lot the discussion around the work centered around the reported difficulties in translation as well as comparisons to a few of the titans of Modernism The literary form of Atay’s novel was not exactly what readers were used to either the unbridled stream of consciousness all kinds of short texts in different genres that cut across the story such as a poem of 600 lines plus commentary a chapter of 70 pages written without a single comma or full stop – it may remind us the readers of today of James Joyce of Nabokov Virginia Woolf and other western modernist writers – writers Atay was very familiar with But as the critic Ahmet Oktay once remarked the number of Turkish readers that in the beginnings of the seventies had read Ulysses was no than ten Hanneke van der Heijden “one of the Dutch translators of the novel” Some fine examples of the difficulty in translation were provided in this thread by GR member Oolonthegreat In the novel the main characters Selim Işık and Turgut Özben sometimes call each other as Selimciğim Işık and Turgutçuğum ÖzbenLet's analyze that Selim cik im k becomes ğ due to consonant changeSelim is the proper noun and im is the possesive suffix meaning mine The cik is the euivalent of chen in German It is used to create a diminutive form It also adds feelings like compassion tolerance and affectionHow are we going to deal with this ? Can we use My dear little one Selim Işık ? or little Selim Işık my dear ? or should we just ignore it ? Most of this sort of thing is not apparent in the translation; in fact the introduction to the English edition also alludes to a number of the issues in translating the book but those issues also are not apparent in the translation Which is always one of the things a reader has to keep in mind in reading works of translation; where wordplay nuance or general difficulty see Buddenbrooks in translation where the difficulty in the original text’s usage of Low German is not carried over into the English translation does not always carry over 11 in translation Which is a long winded way of saying that I expected the text to be considerably difficult than it was; only Chapter 15 the long stream of consciousness chapter should provide any difficulty to a seasoned readerStructurally the book is presented as a “found work” – the manuscript is introduced by a fictional journalist who received the manuscript out of the blue from Turgut Özben the author of the main text – who he had briefly met on a train during the course of their interaction he provided Özben with his address The fictional introduction by the journalist briefly discloses that the journalist haws reached out to the individuals in the novel to verify events and to obtain their permission to publish with their names intact or altered The text is presented – as disclosed by the journalist – in the manner reuested by Özben complete with a small section of text directly from Özben inserted after the main text There is also a note from the “publisher” – again this is a fictitious publisher – briefly commenting on the text and its publication From there the majority of the text is concerned with Turgut Özben’s investigation into the suicide of his friend Selim Işık The text is not just the narrative as written by Turgut Özben; included in the work are separate texts as provided by friends of Selim Işık during the course of Turgut Özben’s research Included in the text is a 600 line poem written by Selim Işık; following the poem is a Pale Fire esue commentary on the poem also written by Işık but written in a way to appear to be by Işık’s friend; there are also letters by others and an extensive diary section As Özben’s investigation proceeds Özben himself is slowly changed by his interaction with the friends of Işık and the various source docs they provide Also as the manuscript progresses Özben himself becomes entangled in the investigation – he begins to directly interject himself into the investigation of Işık where his own biases and perspectives begin to directly attack in the text the testimony as provided to him in his researchBut I don’t want to get to caught up only in the structure here – I love the structure I just want to set it to the side – and want to make sure that I strenuously stress that this is an exceptionally well written so I suppose it’s safe to say exceptionally well translated work of Modernism that stands entirely on its own taken completely separate from some of the cool shit Atay is doing within the book itself The characters are exceptional the language is exceptional; the portrait of “those who cannot hold on” is wrenching and affecting and accomplished in a way that knocked me on my ass throughout my reading of this bookI can only hope that another edition of this comes out at some point to allow readers access to this significant work; 200 copies is way too damn small of a run That said all praise and kudos to Olric Press for getting this out at all I’m glad I was able to get a copy I recommend that all of you do the same if and when the option is made available to you


  3. says:

    Turgut sometimes introduced seriousness and coherency then uite suddenly switched to something absurdly meaninglessAcknowledgements this review draws heavily on a number of sources listed at the end of the review and referenced where uoted directlyOğuz Atay's debut novel Tutunamayanlar was published in 1971 2 although interestingly given its subseuent history in English as discussed below though given a prize before publication it was published by a small firm which could not afford to print it all at once 1 It gained some currency as a cult novel amongst young writers notably Orhan Pamuk but was relatively obscure at the time of the author's death in 1977Pamuk has said My heroes are Ahmet Hamdi Tanpınar Oğuz Atay and Yusuf Atılgan I have become a novelist by following in their footsteps I’ve learned from Oğuz Atay that you can write about the middle class and intellectuals with of a Chekovist level of humanity instead of complaining and be local while using the literary techniues of the West Oğuz Atay himself is uite influenced by James Joyce and Nabokov Yet we read him as a local writer That’s why I love Yusuf Atılgan as well; he manages to remain local although he benefits from Faulkner’s works and the Western traditions These are my heroesOrhan Pamuk Interview with Çınar Oskay Milliyet August 18 2014Pamuk has also referred to Atay's modernist approach where the style and voice was important than the plot or characters as being initially responsible for the critical indifference to the novel and later for its fame When the novelist puts the objects that he saw into words in this or that way what he is doing is a kind of deception that the ancients called style manifesting a kind of stylization There are deceptions every writer uses like a painter who portrays objects This is the only way I can explain Faukner's fragmetation of time Joyce's objectification of words Yaşar Kemal's drawing his observations of nature over and over Talented novelists begin writing their real novels after they discover this cunning From the moment that we readers catch on to this trick it means that we understand a little bit of the novelistic techniue what Sartre called the writer's metaphysicsAutobiographies of Orhan Pamuk by Michael McGahaBut bought out by a new publisher in 1984 it captured much wider attention and it has since been reprinted than 70 times one of the best selling Turkish titles ever It is now widely acknowledged as the key modernist text in Turkish UNESCO for example in a survey 4 labelled it probably the most eminent novel of twentieth century Turkish literatureHowever the novel was also largely deemed untranslatable due to its sheer length mixture of registers and reliance on word play again per UNESCO it poses an earnest challenge to even the most skilled translator with its kaleidoscope of collouialisms and sheer size That it until a Dutch translation was published in 2012 and a German translation in 2016 Neue Zürcher Zeitung found it astonishing that this masterpiece should wait 45 years to appear in German 2And now we have this wonderful edition a complete English translation Wonderfully it turns out that the origin of this translation actually dates back to the writing of the original 2English 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 versionSeydi's translation of just part of the novel a 20 page poem had in an echo of the original already won a translation prize the Dryden Prize of UEA and in another echo the publisher of this edition Olric Press Olric being a key figure in the novel is a very small press with cost constraints which led to very limited distribution They themselves 2 have explained the publishing historyOlric Press could print just 200 copies of The Disconnected Tutunamayanlar and it had to be priced at £50 just to cover the cost It is a big book than 1 kg and copies sent abroad have to be sent as single copies again expensive £13 to Europe £18 to the rest of the world We regret these costs and hope that eventually a commercial publisher will dare to undertake itSince our last post on 27 December I now have to report that the book is officially out of printThis was not a money making venture Though in effect subsidised by the copyright holder and the translator neither of whom wanted a fee it has just about covered its costs What we hope is that it has fulfilled its purpose of making known that a good translation of this important book exists and that sooner or later after 45 years a commercial publisher may take the plungeWe originally thought that libraries would be among the main purchasers after all the price does not look high compared with much less substantial scholarly books from Cambridge or Brill This would have made it available to readers In the event though the six statutory deposit libraries got their free copies not one UK library has bought it We had even in view of the sueeze on local authority budgets set aside free copies for the London boroughs where there is a substantial Turkish diaspora None of them took up the offer Foreign libraries have been forthcoming and you can read it in among other places Basel Helsinki Tel Aviv and Buenos AiresMy apologies to those who have missed out But if you have read it and liked it spread the wordFortunately thanks to the genoristy of fellow Goodreader Jonathan I have secured a copyAs so often the translation issues begin with the title Tutunamayanlar As the Dutch translator explains 3 The title word is a noun derived from the verb tutunmak ‘to hold on to sth’ The negative expressed by the infix –ama– adds the meaning of ‘not being able to’ an inability which at the same time however has a touch of unwillingness to it As a noun the word is a neologism which was coined by Atay; the popularity of the novel made the word enter the Turkish languageIn Dutch she chose the word griplozen where tutunamayanlar appears in the text but the book was published under the title Het leven in stukken 'Life in Pieces' per google translateIn English both word and title are rendered as The Disconnected but this was a choice actually made by the author together with the later English translator while writing the book while then flowed through into a pseudo Latin encylopedia entry which appears in the Turkish original Tutunamayan as Tutunamayan disconnectus erectus and in English as The Disconnected Disconnectus erectus A clumsy and easily frightened animal Some can even be the size of a human being In fact at first glance they even look like humans The grip of his claws is weak He is incapable of climbing hills and comes down a slope by sliding freuently falling as he does so He has almost no hair on his body; he has large eyes but weak sight which is why he cannot see danger from a distanceThe 'plot' of the novel itself is rather straightforward The ostensibly novel is narrated by Turgut Özben and opens with him hearing of the suicide of Selim Işık one of the Disconnected an old friend of his from when they studied civil engineering together Troubled by the news and to an extent guilty from having lost touch with Selim in the last year of his life he sets out to investigate what happened both by reading various texts left by Selim and trying to meet with Selim's friends and acuaintances Selim deliberately kept his different social circles uite separate I have such a great accumulation of fragmentary lives and was also himself something of an enigma to his friends His fiancé tells Turgut he was intentionally making a gulf between himself and others he was creating an impossibility for them to move towards him he did not want a handful of people to make him by their difference revise the thoughts and feelings he had formed about the bulk of humanity he condemned this handful and you as well to impossibility and helplessness yes Turgut he was relentless in his attacks he had become so bitter that it was as if he knowingly tortured people so that they would not be able to stand him until they would not want to see him but in his last days he had stopped deriving any pleasure from his injustices he was living on the remains of the nervous energy which had kept him going until then or rather he was not really living sleeping eating he merely continued to betaken a 90 page section of discussion and dialogue with no punctuation whatsoeverAnother friend comments uoting a favourite saying of his One who understands me can find me where I am I shall sit and wait Those who don’t value a Selim who sits uietly in his place have no value in Selim’s eyesHe might be inferior but he certainly had no inferiority complex He would say this with some pride And the relevance of the Disconnected and Turget's uest Let is imagine that we could bring out into the sunlight a sun far different from that we know now some truths an events which have long been buried and see in this new light the indifference with which some groups of people large or small have always been treated Let us rescue from the dusty shelves of history experiences of which the injustice has been obscured lives pushed deeper into the archives by misclassification misintepretation We would then see that Selim’s aloneness was a mere outward phenomenon History had concealed from Selim and those like him records which did not suit it; the urge for consistency entailed the deliberate exclusion of certain truthsThe style of the novel however spread over 715 pages is however far from straightforward I said earlier that Turgut narrates the novel but the narration switches often on the same page between 1st 3rd and even 2nd he imagines Selim addressing him person styles and from the middle of the novel on he has a running interior dialogue with the imaginary interlucor Olric the name a corruption of the courtier Osric from Hamlet and who serves as Sancho Panza to Turgut's uixote and when talking to Selim's friends his conversation with them conversations they recall with Selim and his own reflections and memories are all conflatedThe book also uses a variety of registers At outset Turgut imagines Selim telling him The style we shall use now is clear to me we shall write in the manner of the Lives of Turkish Roman and French heroes and of great mathematicians and physicists The exciting passages will be reminiscent of westerns You can first tell me the story of your life in that boring and colourless language of yoursIt is a novel steeped in literature Cervantes Ibsen Goncharov Doestevsky Tolstoy Dickens and Kafka all figure prominently as does the influence of The Bible Word play is also key and of course as mentioned causes translation issues As the Americans say seriosity killed the cat of course my word play is lost in translationPerhaps the most difficult to convey although the translator does an excellent job being the importance of Atatürk's language reform from Ottoman to 'Pure' Turkish On my first day at school I had come running home and informed my father “Daddy you were wrong It is okul we go to not a mektup as you said” My father lifting his head from the newspaper looked at me wearily and without interest; “Don’t rush to conclusions” he said As I was to realise later on this was the sentence that best summed up my father’s character “‘Okul’ is from the French ‘ecole’ just a made up word just a made up word”At one point as exerted above we have 90 pages of entirely unpunctuated prose there is a Kafkesue episode set in a Government office a tribute to 2nd hand bookshops diary extracts an almost Dantesue visit to a brothel where Olric first appears and perhaps the a key passage is a 20 page poem the Ballad of the Disconnected which is then followed by 100 pages of line by line commentary which purports to explain the poem Except the explanation by presenting eg folk tales history stories a butcher called Gustav Wilfred Franz Hegel who was confused by others with he philosopher Georg Wilhelm Friedrich Hegel and became a philosopher himself and even its own version of scripture the Catechismus begs uestions than answers And while one feels while reading it the need to do one's own further research on the various historic events and people mentioned in practice this is a fool's errand since as the commentator happily acknowledges afterwards In both the songs and the commentary the people places dates daily incidents sources presented ideas put forward cities described theories proved laws laid down are all products of the imaginationAs Turgut gets enmeshed into Selim's life he realises the danger I am not Selim Olric I am afraid of becoming a Don uixote who after repeatedly reading romances of Selim aspires to be Selim himselfAs a lover of mathematics Turgut recalls the joy of a successful proof Suddenly I saw it I really did One tiny bit of intuition compared to a massive one in Gauss but still intuition a mathematical intuition It is such a sweet feeling; the letters the numbers cease being obstinate; your hand can turn them in any direction like a steering wheelBut in proving and documenting what happened to Selim his fears inevitably come true There is no document besides us Olric We ourselves are this document I Turgut Ozben am the only tangible document It is from my face that you must read A living proof wandering ceaselessly among you passed from hand to handAnd in the novel's last section of 150 pages he leaves his family and vanishes into Anatolia following Selim's path leaving behind the manuscript we are reading and a letter which forms the coda to the novelOverall a vitally important translation and one worthy of much wider circulation if not an easy readSources1 The introduction from Maurice Whitby the editor of the English translation included in the volume2 Facebook postings by the publisher Olric Press3 A discussion by the Dutch translator of the novel 4 the Goodreads review from Nathan 'NR' Gaddis and his posting on the Buried Book Club group 5 The Untranslated blog 6 the blog 7 Tony's Messenger's blog


  4. says:

    A man is emotionally devastated by the suicide of his best friend It's the starting point for a uest to retrieve the motives of this friend Through the book we are confronted with the world of men without grip men that don't succeed in coping with life If we're honest it's a struggle we all have to engage inAbove everything this book is an experiment in writing in a modernist way; Atay rightfully is known as the Turkish Joyce Especially the 60 pages long monologue by the girl friend of the dead person is a fabulous piece of art This book deserves a better place in world literature I've read this in the Dutch translation I hope the English one is at least as good


  5. says:

    This is an overwhelming masterwork It was slow going for the first half but then picked up as the emotional weight and brilliance of the characterization emerged When you hear this book described as the Turkish Ulysses you may be filled with a mixture of anticipation and skepticism I know I was But this one gutted me In a good way Shame there are only 200 copies in English translation


  6. says:

    This is a wonderfully mature novel about 1 grief and 2 novel writing Hard to merge the two and be effective with both but Atay does it Highly recommended Long review to come laterLong review here


  7. says:

    Omnipresent Olric publisher of this fine volume and reassuring internal voice of Turgut to the unknown end Where have you been? Was your train ride long arduous? I'm so thankful you made it to this English speaking platform Through wonderfully explored endless layers of construction I came to feel the excruciating difficulty of holding on of being in between of being a disconnectus erectus Not only with the characters’ interpersonal relations and obligations but also with countless other branches that snapped under the weight of modernity and fundamentally language To me Tutunamayanlar is intensely filled with Lacan’s objet petit a four in total that trail off like the ‘d’ of the English translation’s title ‘The Disconnecte d’ an object that is forever lost through our acuisition of language and conseuently forever sought by our desire The uestion is does the desire run off towards life or death?


  8. says:

    `The` book for me since the day I have read it back in 1982 I shaped my worldview with this book and I have yet to read a better one


  9. says:

    Tutunamayanlar is bulky like brick so some people never cannot read ithowever this people also like it I'am feeling like Selim I'am Turgut I'm dying


  10. says:

    This giant of a book holds the stuff inside just barely Before I could wallow in the desperation of Turgut for having lost one of his close friends Atay took my hand and threw me in a rotting wonderland of a jumble of forms There is poetry song play essay epic you name it Atay has it in Tutunamayanlar some translate as The Disconnected; I'd loosely translate as The Losers The whirlwind has got a lot of slow whirl almost no wind as I got beaten slowly against the inside walls of a grinding tornado It was made of cement the tornado; impossible to come out un bruisedI see that many have commented on the book but not many have summarized the plot so I'll try here probably without much success Turgut is a married engineer father of two He learns that his close friend Selim has died from the newspaper In fact Selim has committed suicide Turgut has not been in touch with Selim in his last few months and naturally feels strong pangs of guilt He is unable to express his pain to his wife or anyone else Instead he starts a conversation with Selim in his head They had met in university Selim was obsessed with passing time and being bored and playing games not to be bored as time passed After a bit a hundred pages say of wallowing Turgut decides to seek out some of Selim's friends He meets one at Selim's house when he goes to visit his grieving mother He immediately dislikes him feels judged by him for being petite bourgeoisie He then seeks out another friend to it seems belittle him in Selim's name because he is a typical whiny melancholic self pitying type of guy He only knows that Selim took this guy to the brothel once; it was this guy's first time Turgut manages to pretend to like him and try to get him to tell his story He takes a trip and on his way stops by another friend of Selim's who produces a song a long poem that Selim wrote along with very long explanations footnotes The song is about Selim's life written in epic form of sorts; it has a jarring sense of humor and sharp teeth; it makes fun of Selim's existence and the rest of the world The footnotes delve into random tangents at times; one entire footnote is many pages long telling the tale of six ancient Turk who migrated from the steppes of Central Asia briefly stayed in China and then migrated down to Anatolia to enlighten the folk there The meetings of these six heroes their interpersonal relationships and the book they pen all seem a satire of left wing efforts of intellectuals meeting in cafes writing manifestos Turgut is upset that Selim did not mention him in the poem or the footnotes but there are many things in the poem that evokes Turgut as we know him Perhaps this is the beginning of Turgut's self discovery that he is like Selim he is another Selim he is another tutunamayan Turgut takes Metin out to drink after finally telling him that Selim is dead and they have a long and strange night that is too absurd to be true in a brothel All the while Turgut's intentions are not very clear; he seems to want to make a fool of Metin and prove that Metin is not genuine in his grief Then follow the months of forgetting where Turgut forgets about Selim throws himself at his work though he is numb and dazed Then he remembers I forget what happens to make him remember or acknowledge he's been forgetting and starts the phase of trying to genuinely connect with Selim's friends to really get to know Selim In a way Turgut wants Selim to continue living at least in stories at least in his memory He talks to other friends he reads a letter from Metin explaining his friendship with Selim and the love triangle they were in he visits Selim's mother and finds Selim's diary something the two of them would make fun of in the past The diary chronicles Selim's last few months A woman shows up to talk to Turgut; she was Selim's girlfriend; Turgut had no idea but he learns from the diary and from the woman The encyclopedia of tutunamayanlar that Selim has started compiling in his last months add to Turgut's self discovery and he is finally convinced that he is a Selim a tutunamayan He has been going through the motions and habits of life without committing to anything truly and thus leading an empty existence In the end Turgut completes the pieces of Selim's life and comes to the understanding that he is just like Selim He writes all he knows all that everyone tells him includes the diary entries and poems by Selim in an account of everything that he hands over to a journalist on the train one day presumably this is the book we're reading and disappearsWhen the book came out it was very popular and praised highly by certain groups with certain leanings my father commented I am not sure exactly what he meant but there is a lot about petite bourgeoise in the book To be or not to be To be and to be ashamed of being Beyond that Selim's main problem the thing that makes him a tutunamayan one who cannot hold on hang in persist is that he cannot commit himself to one thought ideology principle and live by it because even though he likes the idea of something at the beginning eventually he finds that it is hollow and fake and so he cannot live his life by it Earlier in the book this is described in his fickle interest in writers he is devoted to Wilde thinks the world of him hates Gorki then reads Gorki hates Wilde thinks the world of Gorki And perhaps that's the trouble with Selim in Atay's world no matter what he comes across as an immature schoolboy So in a way one can say that Selim suffers from having never grown up having never learned the fact that grown ups have to compromise that everyone is a bit two faced that a completely honest life devoted to one's principles is almost impossible to live in a civilized society and that all ideologies consist of a good amount of bullshit Perhaps that's Atay's point that a naively innocent person who is a hundred percent committed to one thing cannot really make it But I cannot be sure that this is what he means because I think parts of the heavy duty stuff went over my head those steeped in the ideological wars in Turkey can perhaps understand the nuances better than I ever wouldTurgut is a bit of a mystery and entirely unlikable He is angry upset and smart and these three things define how he interacts with everyone else He is slowly going mad one could say as he talks to Selim in his head which slowly morphs into talking out loud in public and eventually having non stop conversations with an imaginary friend called Olric So one man commits suicide and the other goes mad because they just cannot reconcile their true natures with adult lifeAtay's language is complex but never dull Some sentences run pages and pages some lack any punctuation but all have something interesting to say All in all any given moment in the book is amusing funny smart and biting However the scenes or phases are certainly too long longer than they could be The book is 736 some pages and perhaps a good 500 would do But the elongated monologs in Turgut's head really build a frustrated depressed conflicted mania in which Turgut finds himself so they at least serve a purpose All in all Tutunamayanlar is a novel that should be read as it is a masterpiece in Turkish literature It should be translated listed by the UNESCO as an important literary novel It should have been shorter and tighter but alas it is not When finally translated it should be annotated thoroughly because there is a lot in those pages from the steppes of Central Asia to the heart of the Turkish male