Müge İplikçi - Books



BİZ ORADA MUTLUYDUK
    (-2013)



TEZCANLI HAYALET AVCILARI
    (Everest Yayınları-2013)

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CİVAN
    (Everest Yayınları-2012)

Civan is the story of events that took place over three days in a rapidly developing coastal town of Pınarlı in the Northeast. Things start happening faster when the young daughter of Rana and Saim Bulutsuz, Hilal, is kidnapped. It’s the eve of the Greater Bayram and almost everyone is overcome by the languor of the holiday.

The novel begins with the depiction of a conquian scene in Rana Bulutsuz’s home, the eve before the holiday. Rana and three friends, wives of influential people in the town, are playing cards and gossiping at the same time. Meanwhile, Solmaz, a ‘maid’ of Kurdish origin in this splendid house, is cooking for them. Solmaz’s saddened face arouses everyone’s curiosity. According to Rana, Halil, Solmaz’s brother who recently arrived from the East, is the reason. Halil is a true troublemaker.

He has been there before and caused a lot of trouble for Solmaz. This intrigues the women quite a bit; they feel both sorry for the Kurdish people in town and secretly resentful towards them. Theirs is actually the voice of the townspeople. Because their husbands are influential in town, this voice is also of the powerful. Meanwhile, the chief constable of the town,Yaman, calls his wife and says he and his team will stop by there.

In the team there is a once bright, but now banished, commissioner Dumrul Mucib. He is banished to this coastal town where he once came for a summer holiday and stayed briefly with his German Turk family. Despite this odd coincidence, no one but Rana remembers him. And Rana remembers him because of a strange, deep and carefree summer love she and Dumrul had. However, this summer love has haunted both of them and created separate but similar cracks in their lives.

In any case, Dumrul is an old policeman who has gone crazy. Having been involved in mafia affairs, he lost his daughter and with this split he somehow ‘lost’ the rest of his life, too. Rana, on the other hand, has become an extemely unhappy housewife in her marriage, never having been able to get over the strange love she felt for Dumrul. She resembles neither her mother nor her sister Rüya. Just like Dumrul, she is thrown about in a life that doesn’t belong to her.

That eve before the Bayram holiday is the first time in years that Dumrul and Rana see each other again. And with this encounter it becomes possible to see the similarity in their broken lives.

As a result of this encounter Dumrul is once again torn. He steps outside for a cigarette and sees Halil. He instantly dislikes this man who is threateningly demanding money from his sister Solmaz. Reflecting on old times, he sees in him the face of all criminals he has captured and makes a decision right then and there: He will follow him. He decides to closely keep an eye on this man who reminds him of how it feels to catch a criminal, his biggest obsession.

Perhaps that’s why for the townspeople, who are shaken by Hilal’s kidnapping that evening, the suspect is still unknown, but it’s all very clear to Dumrul. His suspect is obvious: Halil. After a short while, the suspect will be the same person for the townspeople. However, Halil disappears into thin air which makes Solmaz’s husband and Halil’s cousin Ramazan the main suspects. The security team in Pınarlı—including Yaman, Dumrul, and Şükrü—corners Ramazan at Emrullah’s rest stop, one of the most important sources of income in the town.

Emrullah is a German Turk of Kurdish origin who came to the town a long time ago. He makes a lot of money with his rest stop and provides employment for the Kurds who come to town. Ramazan is one of these Kurds. After the kidnapping of Hilal, the townspeople, who have always regarded Emrullah with suspicion and jealousy, get the opportunity to spill out the hatred that has secretly been brewing. In a short while the townspeople begin to gather and start attacking his place.

From then on, everything goes berserk. The simple suspicion in the kidnapping of the little girl turns into an attempt to lynch first Solmaz’s brother, then Solmaz herself and her husband Ramazan, and then all the Kurdish people in the town. Incidents flare up when word gets around that the little girl is dead and swiftly escalate from burning Emrullah’s rest stop to targeting all the Kurdish people in Çiçek District.

This district and the people who reside there—always regarded as problematic by the Pınarlı ‘locals’—feel tremendous pressure due to the chaos created by the incidents. With her two children, Solmaz hurriedly leaves town and tries to start a new life. Rana is now completely insane and thinks she is being punished. And for Rana’s friends, the only culprit in this are the Kurds. All of a sudden everything the townspeople have been holding inside erupts.

Chief Constable Yaman realizes he will not be able to do it alone and solicits help from nearby cities. In the meantime, Dumrul tortures Ramazan and coerces him to admit that Halil is the culprit and both have a hand in it.

Everyone in town is now on the verge of a maniacal lynching. Reason has vanished, and people are everywhere. Dumrul Mucib’s dispute with God, like the legendary Deli Dumrul, becomes evident. Dumrul is truly mad at God for first stealing his mother and then his daughter. Even though he knows he has paid the price for rebelling against Him once, he continues to challenge Him. He has now gone totally mad, obsessed with the thought of ‘catching the culprit and serving justice’ while trying to live in a god-like air. At this juncture, the lynching mood in the town and Dumrul’s insanity become parallel, even though they both feed on different sources. What the town has is malice, Dumrul insanity. After a certain point, both emotions will succumb to the face of the truth!

In short, nothing is as it seems. Towards the end of the book, Hilal’s kidnapper emerges as none other than Dumrul himself. Dumrul tracks down the loss of his daughter in Hilal. During his quest, he also seeks Ömür, a Mafia leader’s son, whom he accidentally killed, the broken love he feels for Rana whose love he could not protect, the trace of his mother who killed herself in the bathroom, and his youth which got stuck and rotted in those traces of the past, too.

Can the truth find Dumrul? Will it find him?
Perhaps that’s why he asks Şükrü, a fellow worker, one of those men who book him:
‘We’re friends, aren’t we Şükrü? I mean real friends?’
As one of the basic themes of the book, the answer echoes in Şükrü:
‘There’s no question about it, sir!’
Can friendship, one of the main themes in this book, reunite everything once again? Could the departed be brought back? Maybe.


ACAYİP BİR DENİZ YOLCULUĞU
    (Günışığı Kitaplığı-2012)

Kerem is very unhappy because they will be vaccinated at school today. Kerem is afraid of vaccines because of his allergy. Other children who are also afraid break into tears while they are waiting in line. The children’s tears flow in floods. A routine vaccination day turns into an adventure that could only take place in Antiquity. Kerem and Selim Amca the school bus driver who used to be a sea captain try to find a way to take the cross eyed ship Kibele to its true owners Captain Osman and Mualla.

Müge İplikçi who met her young readers with her colorful stories in Uçan Salı (Flying Tuesday) and young adult readers with her novel Yalancı Şahit (False Witness) tells an entertaining story in her new book. The story is inspired by the true voyage of the trireme Kibele reconstructed true to the original for the “From East to West, Focha to Marseille, a Journey in History” project of 360 Degree Research. Project being one of the applied archaeological projects was completed in 56 days in 2009. This unique voyage of nautical archaeologyis immortalized with İplikçi’s masterly fiction and enriched with Sedat Girgins colorful illustrations.


UÇAN SALI
    (Günışığı Kitaplığı-2010)

Like all children, Sibel experiences reality and imagination at the same time and her greatest desire is to fly! She always “flies” even when she goes to the Tuesday Market with her mother and twin siblings or when placing the sesame bagels she just bought around her wrist! However, she is scared to death when she loses her mother in the crowd. She wishes she had wings so she could see the market place from above. Who will help this flying enthusiast kid.

In her first book for children, Müge İplikçi, one of the important writers of modern Turkish literature carries her readers after a little girl’s dreams and passion for flying. This colorful story about the daydreamer Sibel, takes the readers back and forth between reality and fanstasy with its powerful fiction based on social realities that people mostly ignore and on humanistic values that are about to be forgotten. With its extraordinary illustrations by Mustafa Delioğlu and original graphic design by Suzan Aral this book is a masterpiece of children’s fiction.


YALANCI ŞAHİT
    (Günışığı Kitaplığı-2010)

“You false witness…” This was what Selime, the teacher, said when she saw the airplane in the form of a dragon drawn by Yavuz who had never been on an airplane. Yavuz is the fourth child of a family whose whole one generation worked in a denim sanding factory and where his father and his uncle developed the same deadly illness. Yavuz ends up in the denim factory transformed into a prison with the other children who want to change their destiny by throwing stones. Now, his drawing paper is the walls of his cell and his childhood dreams are replaced by nightmares…

Müge İplikçi, one of the socially conscious authors of contemporary literature, wrote for the special “Bridge Books” collection about one of the major dilemmas of humanity. A staggering story drawing attention to serious social issues such as child convicts and the drama of denim sanding workers.


KAFDAGI (Novel)
    (Everest-2008)

One of the most original authors of contemporary Turkish literature, Müge İplikçi takes the reader on a journey into the dark world of the CIA’s rendition program, established as part of America’s war on terrorism. The novel is built around the stories of Zahide Sohni Mühür, whose life is shattered by this program and a Turkish journalist Emel, who lost her husband and son in the earthquake of Gölcük in 1999. The reader is shocked to witness Zahide’s helplessness in facing “the present” and the games the human brain can play when persecuted. The plot twist at the end of the novel takes the reader by total surprise. In Mount Kaf, İplikçi skilfully uses language, in its own right, as a fiction tool, and the poetics of the novel remains unscathed despite her strong political stance.


CEMRE (Novel)
    (Everest-2006)

Müge İplikçi, in her new novel Cemre, introduces us to new people in the vicinities of her first novel Kül ve Yel but in new time zones. She carries her three women protagonists from 1960s to 1980s then to 2000s. The women scattered by traces left from two big political subversions on their lives and their souls, though give up everything, don’t give up their words. There’s nothing they can addict to, but they are addicted, there’re not men they can fall in love with, but they’re in love. Besides, having told their last words, they are at ease while throwing them into water. And the people finding themselves in life rather than living their own identities… Do the relationships Cemre’s women have show us that we live in a tragedy during long time zones? Though what is told is tragic, the humor filtered through Müge İplikçi’s narrative style is generously presented to careful readers. Cemre, a journey to eternity made by small letters and the meaning hidden in these letters, will leave a mournful smile on your face as well. Cemre also shows us the change of Müge İplikçi from postmodern narrative styles to a new novel style. It enquires ways to tell the new times we go through and present day people’s problems. This new novel of Müge İplikçi, who is pointed to be one of the expert authors of our literature in the future, is worth discussing with criticisms it brought to our lives in addition to literary features which won’t frustrate the readers’ expectations.


KÜL VE YEL (Novel)
    (Alkım-2004)

In Kül ve Yel, Müge İplikçi tells us a family story spanning over years, starting from the themes of remembering and forgetting. The adventure of Fehime, the protagonist of the novel, starts in a town called Yelkovankuşu and is shaped in rooms of a magnolia-treed house with different scents and colors. Fehime, who is shut in a nursery after catching Alzheimer, perpetually watches television in her room. She once remembers once forgets what her family experienced. And she equates the war declared thereat with the fire set out 20 years ago in leather factories in Şerbetçi, very near to Yelkovankuşu. In old Fehime’s mind the present is in the past, just like, the place is in the place. While Müge İplikçi invites us to the galleries of remembering – forgetting and the beyond, she likes playing in the moment in Kül ve Yel, similar to what she does in her other books.


TRANSIT YOLCULAR (Novel)
    (Everest-2002)

In Arkası Yarın, Müge İplikçi gave us clues of the journey she would set out to widen the limits of her storytelling. In her new story book Transit Yolcular, she sets off by underlining this; besides, she takes along her reader who believes in the illimitable, independent power of the story. She experiences a new style by carrying the event outside of the story as much as she can; she kneads the language, she jokes with the language, she plays with the language. She creates a new time. She gets the utmost enjoyment out of writing freedom. In stories where action and inactivation are within each other, roads and “continuity” have different importance. When Nida, who has an important function in connecting stories to each other, takes her place in ‘Ren’ plane, we the readers take our seats. Because Müge İplikçi reminds us that everyone is a ‘transit traveler.’


ARKASI YARIN (Novella)
    (Everest-2001)

Do we just live our own lives, or the others’ lives at the same time? To what extent is what we live real and to what extent is it as how it seems to be? In Müge İplikçi’s stories the real and the unreal are one within the other. It is just a careful reader’s capability to discern where the real ends, when the unreal starts, and the difference between what is lived and what is not lived. On the basis of her stories lies the woman again, similar to her previous books.


COLUMBUS'UN KADINLARI (Short Story)
    (Everest-2000)

If even a so-called geographic piece is not yours the multiplex dimension of your nightmares load completely different meanings-inanities on your existence without an identity. Same words, same dreams, the defeats seemingly new every time in fact same of the previous one; are maybe the key words continuously repeated which could be the only resistance answer to the absolute defeat. What about us, what can you say to our existence without an identity?


PERENDE (Short Story)
    (Everest-1998)

“A stronger inner voice clarified those days more groundlessly: Then there was a mad violinist, said that inner voice, frolicsome Zeki, experienced rocket man Hilmi. When Hilmi fired the rockets, a city of a bazaar front would burn, a front of a bazaar. He’d look at the sky, Oh God what a festivity it is, he’d say. The mad would press on broken fiddlesticks; he’d shake the rubber of his pajamas. The frolicsome would go off his nuts, with a catapult in his hand, he’d throw, throw, misshapen stones. Tailor Ahmet would drive the coal iron on the table, Buddy, that’s enough, buddy, he’d fling out to the street. The city would burn far away. The mad would play perpetually. The pumper would pass by some time, Salih from Tokyo would throw deuce five. On tea glasses there were thin silvery circles…” Müge İplikçi’s washing a shore to our story island with the last wave the young generation created was an unexpected chance. We understood how important it was in her books after her first book Perende. While she was climbing up higher with each of her new book being published we became her close readers. The human of the world she created with the help of the facilities of the postmodern, her style of proposing problems of young women, looking for the story in big relationships instead of life joy were surprising. This specific interpretation she brought to the postmodern shed light on the story to gain new styles. Perende, together with Müge İplikçi’s other books, is a sparkling originating point in her search creating totally a landmark. -Semih Gümüş-


CIMBIZIN CEKTIKLERI (Nonfiction)
    (Varlık-2002)

This book analyzing women, womanhood is composed of sixteen texts touching upon many various topics from the act of cleaning to internet, from earthquake to motherhood, from holiday to magazine. In these texts intending to make visible what is invisible in fact what is not wanted to be seen, the important thing is not to answer but to ask a question, to create a vision in which social gender concept is not missing and to invite the woman to exist for herself. Tweezers are a tool, extremely specific to women, and which they use to remove ‘things’ that create trouble for them. The ones being caught in Müge İplikçi’s and Ümran Kartal’s tweezers show us that looking at the mirror with tweezers in their hands is exactly being concerned about the world. This book is an undeniable sign of women’s approaching one step further to the Information Tree which has been forbidden for them for thousands of years. FATMAGÜL BERKTAY


YIKIK KENTLI KADINLAR (Nonfiction)
    (Metis-2002)

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