ROOMS
The Nevizade Room - dedicated to
Bilge Karasu (1930 - 1995)
No:302
The Story Behind the Author:​
In 1999, a remarkable literary compilation titled "Lağımlaranası Ya da BeyoÄŸlu" emerged, a collection of texts that the illustrious Bilge Karasu entrusted to Füsun Akatlı before his passing. Füsun Akatlı eloquently describes Bilge as someone who bore the weight of impending mortality with a graceful, almost premeditated demeanor, much like a neatly folded handkerchief in his pocket. This act of entrusting his works to another was, in essence, his way of ensuring that his literary legacy would outlive him, a precautionary measure akin to a responsible parent entrusting their child to a trusted friend, aware that they might not be there to nurture them.
The title of the book, "Lağımlaranası," was chosen from one of the central texts within, reflecting Bilge Karasu's grand literary project. He embarked on a profound literary journey, continually adding stories, texts, and novels along the way. This expansive undertaking, affectionately referred to as his "opus magnum," was a source of much amusement and creative inspiration for him, as he interwove elements from it into his other works.
Karasu's reference to the BeyoÄŸlu district as "Lağımlaranası" paints a vivid picture of the area as a place where, beneath the labyrinthine sewers that course beneath every ancient metropolis, lies a dream debris—a mosaic of dormant desires and growth etched slowly over time. BeyoÄŸlu's intriguing symbolism can be perceived as a profound narrative of addiction, where the district itself becomes a testament to the human experience, etched into the very fabric of its streets and alleys.
Excerpt (translated):
"The idea of starting from a random pit is not about starting from sediments. I already mentioned that it's not the sediment in these pits. There are no sediments; there are ceaseless movements, fluctuations, weariness going up and down, idleness traveling down from the main artery, the spine, narrowing, straightening, dispersing stones into crevices, trickling into old riverbeds. In these pit streets, during descent, windows become more vociferous, records on turntables grow louder, songs become more passionate, and dance tunes go wild, as if they want to escape. As one goes down, one can smell fried food and grilled food, trying to overpower the moldy smells, emitting fried aromas and grilled scents two or three times a day during summer. Those in pain shout, those rejoicing shout, those quarreling shout. Everyone looks inside from their own windows while sitting. That's why no one can truly blame anyone, even if they appear to do so. The nights that rise from cobblestones to pavement stones to parquets and descend in the opposite direction are not silenced, settled, or slept through. Before being connected to street names, a flower, a fruit, carnation, raspberry, quince, a city like Bursa, a person - is it history or not - cannot be determined anymore. Tomtom Kaptan, Halepli Bekir, Hasnun Galip, an ebony tree, a business, a shop named Dark Grocer shows up with its associations. Some lose their meaning, such as Pelesenk, KalyoncukulluÄŸu. Some immortalize a cigarette butt, like Altıpatlar. Some are amusing in their antiquity. As for Çukurcuma Mosque, it holds a more sacred feature. They have all carved their own uniqueness from the stone of namelessness, I say you should choose houses, I say you should choose houses along with what's inside, to be able to convey some things."
27 (m²), Queen Bed, Single Bed, Tv, Mini Bar, Safe Box, Kettle, Shower
nevizade room PhotoS:Â
The istiklal room - dedicated to
naim tireli (1925 - 2009)
No:301
The Story Behind the Author:
Naim Tirali, a notable storyteller of the 1940s, possesses a unique narrative style, often drawing from his own experiences and the everyday lives of those within his intimate circle. His portrayals of the world around him are marked by a meticulous commitment to realism, painting vivid scenes that come alive through his words. Notably, Tirali's characters are not confined by political or societal labels but rather defined by their inherently human qualities.
In his renowned story collection, "YirmibeÅŸ KuruÅŸa Amerika" (Twenty-Five Cents to America), originally published in 1947, Naim Tirali beautifully captures the essence of his university years in Istanbul. Within the eight compelling stories that make up this collection, Tirali masterfully narrates events, people, objects, and the boundless youthful energy of that era with a delightful sense of humor. While six of these tales are set in the vibrant tapestry of BeyoÄŸlu, the story "Büyük Cadde" (Grand Avenue) offers a vivid window into the bustling Istiklal Avenue of the 1940s, complete with its bustling crowds, enchanting cinemas, and captivating shop windows.
Immersing yourself in Naim Tirali's stories will not only grant you an enjoyable journey through the historical labyrinth of Istanbul but also provide a rare glimpse into the rich inner world of its people, capturing the essence of an era gone by with grace and authenticity.
Excerpt from Grand Avenue (translated):
"Ah, if only time would pass quickly, he would immediately grab a sandwich and a chocolate bar, and throw himself into the upper balcony of the Alkazar Cinema. While satisfying his appetite with great enthusiasm, he would watch a cowboy movie where guns were fired, fists were thrown, and in the end, as our famous poet Behçet Necatigil once said, 'justice was served.' The Grand Avenue's ideal entertainment spots are the cinemas, suitable for everyone. Along the avenue, the crowds wandering up and down are either waiting for the movie showtime or have just come out of the cinema. At the cinema entrances, you can find pictures filled with beautiful legs, kissing scenes, fights, cannons, rifles, and exploding bombs. Those who manage to enter shiver or rejoice as they watch what unfolds on the silver screen. When the film ends, a strange melancholy fills everyone. Those leaving the theater pass through some long corridors and exit through another door onto narrow streets with their own unique atmosphere, to return to their everyday worlds."
27 (m²), Two Single Bed, Tv, Mini Bar, Safe Box, Kettle, Shower
istiklal room PhotoS:
the beyoglu room - dedicated to
sezer özlü (1943 - 1986)
No:202
The Story Behind the Author:
Tezer Özlü's remarkable body of work includes two collections of short stories written between 1964 and 1982, comprising deeply autobiographical narratives by the author. Among these narratives, the short story "Cafe Boulevard" initially made its appearance in the 1978 book "Eski Bahçe." Later, in 1987, all of her short stories were thoughtfully compiled and published under the title "Eski Bahçe Eski Sevgi" (Old Garden, Old Love). "Eski Bahçe" is an exceptional exploration of the theme of death, which holds particular significance as it coincides with the years of Tezer Özlü's first suicide attempt.
"Cafe Boulevard," a poignant narrative that unfolds in the year 1973, exquisitely combines intimacy with stark realism. While the story is anchored in a specific location, it beautifully underscores the unique power of places to bring people together, even in the midst of a turbulent political climate. This tale poignantly touches upon the adverse effects of the era's political atmosphere on individuals, a reflection of Tezer Özlü's keen observational prowess. "Cafe Boulevard" stands as one of her most acclaimed works, diverging from her earlier stories that were often interwoven with her own life. Instead, this story employs a more detached and observant narrator, shifting its focus from individual characters to the powerful resonance of a place itself.
Excerpt (translated):
"Café Boulevard can be reached from all over Istanbul, but I pass through this neighborhood. The appearance of these streets never changes at different times of the day or throughout the year. The painter is still there. The drivers are always ready, and the ironer never stops pressing clothes. After climbing the hill and crossing Taksim Square, you reach Café Boulevard at the beginning of Cumhuriyet Avenue. However, this café, in winter a coffeehouse and in summer an area with tables and chairs spilling out, starts not at the coffeehouse but about forty or fifty meters ahead, even before the post office, and extends in the same dimensions in all directions and upwards. In other words, Café Boulevard customers stand, sit, lie down, or wait before, after, across from, and even on the walls of the coffeehouse, about five or six meters high. Here, shoe shiners are also present. Some of their boxes contain a few packets of filtered cigarettes for sale. The people in this corner of Istanbul don't quite resemble the people in other corners of Turkey. Here, people gather willingly, in large crowds, without any compulsion. No one complains about this crowd. It's not the crowd you find at a port, airport, or station. There's nothing being awaited here. The purpose is amusement, observing people, looking and attracting gazes. The most colorful women's faces, the most revealing women's clothing, the smallest and largest bosoms, the baggiest pants, men with barber-styled gray hair at their temples, girls wearing high-heeled shoes, and skirts that exceed their shoe height—they are all here."
32 (m²), Queen Bed, Single Bed, Tv, Mini Bar, Safe Box, Kettle, Shower
beyoglu room PhotoS:
the taksim room - dedicated to
demir özlü (1935 - present)
No:201
The Story Behind the Author:
Demir Özlü's evocative short story collection, "The Magic of Istanbul," published in 1993, offers a unique tapestry of 15 stories interwoven with the essence of Istanbul. These narratives were penned at different junctures, each capturing a distinct facet of this enchanting city. Within these stories, Demir Özlü masterfully paints vibrant, detailed portraits of Istanbul's neighborhoods, churches, and streets, skillfully intertwining them with the fabric of his tales. In some stories, the city takes center stage, its vibrant presence engulfing the reader, while in others, it gracefully lingers in the background, an ever-present character in the narrative.
Demir Özlü's narratives are not designed to captivate or incite curiosity in the conventional sense. Instead, they beautifully render ordinary events, infusing them with an extraordinary depth. "One Afternoon in BeyoÄŸlu" serves as a prime example, elegantly unfurling the story of a commonplace afternoon in the bustling heart of BeyoÄŸlu, where the magic of Istanbul resides not in the extraordinary, but in the tapestry of everyday life, made extraordinary through the author's pen.
​
Excerpt (translated):
"The street was bustling with the midday crowd, which would grow even larger as the afternoon approached. Through the covered entrance of the Markiz Patisserie, you could see people seated inside. A woman with her hat on was eating something resembling an omelette. The sun had dried the street and sidewalks, leaving a thin layer of dust ready to be stirred up by the wind. It was the kind of dust you'd find in the neglected parts of BeyoÄŸlu, where the roofs of the Tunnel's buildings were peeling, an old, vanishing city's distinctive dust. A golden-hued dust. 'I can sense her situation,' said the sister. 'Angeliki will retire in a year or two. And all that awaits her is a very lonely life.' She paused, then added, 'A lonely life in BeyoÄŸlu.' The man thought of a small passageway he had frequented years ago in BeyoÄŸlu. Olivo Passage... He recalled a house he had often visited there. A young, curly-haired painter. The tall woman who had lived with him, who later became a writer. The window of the house overlooked the street from the fourth floor."
27 (m²), Two Single Bed, Tv, Mini Bar, Safe Box, Kettle, Shower
taksim room PhotoS:
The karakoy room - dedicated to
ziya osman seba (1910 - 1957)
No:102
The Story Behind the Author:
In 1959, two years after the passing of the esteemed Ziya Osman Saba, a literary treasure emerged on the shelves—his book titled "DeÄŸiÅŸen Ä°stanbul" (Changing Istanbul). Within its pages unfold six captivating stories: "Ev" (Home), "Misafirlikler" (Hospitality), "Yaz Gezintileri" (Summer Outings), "Kış Gezintileri" (Winter Strolls), "O Sınıf" (That Class), and "O Banka" (That Bank). These tales, written between 1954 and 1957, offer a poignant glimpse into the eloquent mind of the author.
Within the narrative of "DeÄŸiÅŸen Ä°stanbul," Ziya Osman Saba artfully weaves the threads of his childhood memories, a theme central to both his prose and poetry. But this collection extends beyond nostalgia, into a symphony of themes that resonate with the author's deep affection for Istanbul, his yearning for the days spent at Galatasaray school, and his aspiration for a tranquil existence.
The book goes beyond the temporal boundaries of its creation, inviting readers to step into new emotional and intellectual landscapes wrapped in a familiar context. As the stories unfold, a vivid world emerges—one where the harmonious coexistence of individuals paints a canvas of shared experiences. "DeÄŸiÅŸen Ä°stanbul" beckons readers on a profound journey, where the eloquence of Ziya Osman Saba's storytelling breathes life into a vision of a world where people live in harmony with their past, present, and the changing city of Istanbul.
Excerpt from Winter Stroll:
"Even though it would be years before BeyoÄŸlu became what it is today, with at least an Elhamra Cinema at one end and, ideally, another cinema in Taksim at the other end, it seemed as though BeyoÄŸlu had already given itself a surname, as if to show its sophistication. In my childhood, it was primarily a land of cinemas, and a winter stroll meant BeyoÄŸlu. You didn't just go there; you ascended it slowly from all sides – from GümüÅŸsuyu, Tophane, ÅžiÅŸhane slopes, and beyond, even from KasımpaÅŸa. You climbed up step by step from Yüksekkaldırım, or the best shortcut, and, especially for a child, the most magical one, was through the Tunnel. Just like in the enchanted carpets of fairy tales, once the train doors closed, it felt like being pulled by some hidden force. We always used to go up to BeyoÄŸlu. Even the Tunnel, for me, was a complete amusement park, a festival, just like the swing boats or carousels at holiday fairs, wasn't it? Or the tram we boarded to reach the entrance of the Tunnel on the Galata side. Maybe because it didn't have trailers attached to it, it was going so fast, or perhaps the tram driver was driving faster and faster just to please me. Were we standing on the front platform to see the surroundings better and savor the experience of that tram?"
32 (m²), Queen Bed, Single Bed, Tv, Mini Bar, Safe Box, Kettle, Shower
karakoy room PhotoS:
the sishane room - dedicated to
Nazli eray (1945 - Present Day)
No:101
The Story Behind the Author:
Nazlı Eray's captivating narratives are a delightful fusion of diverse settings and time periods, masterfully weaving fantasy into her storytelling to create an intriguing narrative tapestry. The classification of her work as magical realism or pure fantasy has often sparked debate among literary enthusiasts. To provide a more precise description, Eray's stories often blend elements of both magical realism and fantasy, forging a unique path in the world of literature. Her inaugural storybook, 'Ah Bayım Ah,' which also introduces the unforgettable character Mösyö Hristo, was published in 1975.
In reflecting on this book, Nazlı Eray offers an intimate insight into her creative process: "'Mösyö Hristo,' published in 1959, stands as my first story and a cherished protagonist. He is a janitor who, throughout the day, transforms into a pigeon, soaring above the enchanting streets of Pera, contemplating his existence. Mösyö Hristo was very real. He resided in the downstairs janitor's room. Could he ever have imagined the significant role he would later occupy in my literary journey? I doubt it. At the age of 16, I was deeply influenced by this elderly janitor's yearning for liberation and the pursuit of freedom. I could feel it—the frustration, the confinement within that modest janitor's room, the pink flower-patterned potted begonia gracing the windowsill that faced the sidewalk. Mösyö Hristo faithfully watered it each morning. This is how my novel and story characters come to life—the first story, the inaugural character. That's why Mösyö Hristo holds a place of great importance in my literary universe. He marks the genesis of my exploration into magical realism."
In these words, Nazlı Eray beautifully encapsulates the profound impact of Mösyö Hristo, illustrating how a single character can serve as the catalyst for a world of imagination, wonder, and enchantment in her unique brand of storytelling.
​
Excerpt (translated):
"Meanwhile, Mösyö Hristo was flying from Yüksekkaldırım towards the Tunnel. He didn't even know where he was flying to. His wings were taking him wherever they pleased. He was free, happy, and felt like he had rejuvenated by forty years. He hadn't even thought of Madam Marina for a moment. When he reached the Tunnel, he paused to decide which way to fly. He perched on the sign for the ÅžiÅŸli NiÅŸantaşı dolmuÅŸ stop. While Mösyö Hristo hesitated and looked at the people waiting at the bus stop, two young pigeons landed next to him and started chatting about their daily struggles. Mösyö Hristo was an old man, and he felt embarrassed for some reason. He took off towards the BeyoÄŸlu side with all his might. When it was half past two, and Mösyö Hristo still hadn't returned, Madam Marina became quite worried.
'So what is he doing in the café at this hour?' she muttered to herself as she went outside. Faint music was coming from the café. It was smoky inside, and she couldn't see much. On the sidewalk, Özgül's brother Recep was playing with a ball. Madam Marina called Recep over, 'My boy, go in and see if Uncle Hristo is inside.' Recep went into the café and called out 'Mösyö Hristo!' a couple of times. Finally, janitor Recai Efendi, who was playing backgammon in the corner, said, 'Mösyö Hristo didn't come today, son.'”
27 (m²), Two Single Bed, Tv, Mini Bar, Safe Box, Kettle, Shower
sishane room PhotoS:
