It would be decades before her grandmother told her the truth: that she was by birth a Christian and an Armenian, that her name was not Seher but Heranush, that most of the men in her village had been slaughtered in 1915, that she, along with most of the women and children, had been sent on a death march. She had been saved (and torn from her mother’s arms) by the Turkish gendarme captain who went on to adopt her. But she knew she still had family in America. Could Fethiye help her find her lost relations before she died? There are an estimated two million Turks whose grandparents could tell them similar stories. But in a country that maintains the Armenian genocide never happened, such talk can be dangerous. In her heartwrenching memoir, Fethiye Cetin breaks the silence.

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    At the same time, it suggests provocative cross-cultural parallels in the sociology and spirituality of love in Europe—from Istanbul to London—during the long sixteenth century. Walter G. Andrews and Mehmet Kalpakli provide a generous sampling of translations of Ottoman poems, many of which have never appeared in English, along with informative and inspired close readings. The authors explain that the flourishing of Ottoman power and culture during the “Turkish Renaissance” manifested itself, to some degree, as an “age of beloveds,” in which young men became the focal points for the desire and attention of powerful officeholders and artists as well as the inspiration for a rich literature of love.The authors show that the “age of beloveds” was not just an Ottoman, eastern European, or Islamic phenomenon. It extended into western Europe as well, pervading the cultures of Venice, Florence, Rome, and London during the same period. Andrews and Kalpakli contend that in an age dominated by absolute rulers and troubled by war, cultural change, and religious upheaval, the attachments of dependent courtiers and the longings of anxious commoners aroused an intense interest in love and the beloved. The Age of Beloveds reveals new commonalities in the cultural history of two worlds long seen as radically different.

    It covers all regions of the empire from the Balkans through Anatolia, Syria, Egypt and the Gulf to the Maghrib. The implications of monetary developments for social and political history are also discussed throughout the volume. This is an important and pathbreaking book by one of the most distinguished economic historians in the field.

    Since his death in 1954 at the age of forty-eight, his stature has grown on the strength of his narrative art, which is both realistic and whimsical with a poetic touch. Suha Oguzertem, a premier authority on Turkish fiction, writes in his introduction to Sleeping in the Forest that "As an anti-bourgeois writer and fierce democrat, Sait Faik has always sided with the underdog" and that no characters remain " 'common' or 'ordinary' once they enter Sait Faik's stories; his piercing gaze and thoughtful vision transform them lovingly into unique beings."Sait Faik's fiction ranges from the realistic to the surrealistic, from the romantic to the modern, from the cynical to the compassionate. With virtuosic skill, he captures the spirit and the spleen of the city of Istanbul and its environs. In evoking the mystery of that great metropolis through such ordinary characters as Armenian fishermen, Greek Orthodox priests, and the disillusioned and disfranchised, he creates for us a marvelous microcosm of tragicomedy. Few writers, in Turkey or elsewhere, command Sait Faik's mastery of the ironic.Sleeping in the Forest features twenty-two stories, an excerpt from a novella, and fifteen poems rendered into English by some of the best-known translators of Turkish literature. Sait Faik's chiaroscuro world is brought into focus by an introductory essay on utopian poetics and lyrical stylistics of this great Turkish writer. The book is a stimulating exploration into Turkish mood and milieu."