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62 pages 2 hours read

Elif Shafak

The Bastard of Istanbul

Fiction | Novel | Adult | Published in 2006

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Chapters 16-18Chapter Summaries & Analyses

Chapter 16 Summary: “Rosewater”

Asya fills a tea glass to the brim and hears the glass crack. Auntie Feride begins to wonder if there’s an evil eye on Asya, which will warrant Petite-Ma’s protection, in the form of melted lead. 

Petite-Ma’s practice is to pour “melted lead into a pan full of water” (301). If there is an evil eye, “a hole in the lead in the shape of an eye would materialize” (301). Asya, like Auntie Zeliha, doesn’t believe in the practice but, instead, thinks that people see what they want in the lead. 

Armanoush awakens and enters the room. Everyone offers their condolences for her grandmother’s death. They then provide her with breakfast. Armanoush asks Auntie Zeliha to take her to the airport to meet her mother. Asya wants to go, too, but Zeliha orders her to stay so that she can read the lead, which Asya finds absurd. Asya helps Auntie Banu prepare ashure in anticipation of Mustafa’s visit; Armanoush helps. 

Auntie Banu tells them the story of ashure—a revision of the tale of Noah’s ark. There was no food left after the flood; people supplied what little they had and, in the end, created the bounty of ashure. Auntie Zeliha enters and tells Armanoush that it’s time to go to the airport. Asya reiterates that she wants to go; her mother reminds her that she must remain at home. Asya senses that her mother has changed toward her and is almost behaving as though she’d like to deny Asya’s existence. 

In a flashback, the narrative recalls the incident that is the cause of this sudden aloofness: Auntie Zeliha’s rape. It occurred on a day when she believed that she was home alone, inside of her bedroom, with the door closed. The Kazancis went to visit Levent Kazanci’s grave. Her father was a stern disciplinarian who inspected his children for infractions before allowing them to sit for dinner. He asked them if they behaved themselves that day and examined each of their faces for signs of dishonesty. Zeliha doesn’t go with the others to the grave because she is afraid that she may talk to the grave, then she may cry, “[becoming] one of those weepy women” (309). 

Zeliha uses her time alone to shave her legs, a hygiene habit typically reserved for men, as Turkish women wax. While shaving, she listens to a transgender singer whom she likes. Mustafa enters her room and demands to know what she’s doing with his razor, saying that she ought to be ashamed of herself for showing off her legs in short skirts. Zeliha accurately perceives her brother’s sexual insecurity and mocks him for being a chronic masturbator, so ashamed of sex that he masturbates only with his left hand—he deems the right holy—and visits the grimiest brothels to feel the deepest shame and disgust for his urges.

Mustafa tries to use his statuses as both a male and an elder to get Zeliha to obey him. She refuses, asserting that he won’t replace their father. She then demands that he leave her room. Mustafa saps her and a struggle ensues on her bed. Just when Zeliha thinks that she’s gotten the best of her brother, he holds her down by her chest and pulls up her skirt. She fights back, and he punches her, leaving her eye purple and swollen. He rapes her, finishing as the family arrives home from the cemetery, then rushes into the bathroom and vomits. 

Banu knocks on Zeliha’s door and pops her head in before being granted entry. Seeing Zeliha’s swollen eye, she asks what happened. Zeliha tells her that she was trying to save a woman from her abusive husband, then he turned his rage on her. The Kazancis never questioned this story.

Now, in 2005, Asya watches as Auntie Zeliha speeds off in her Alfa Romeo. Asya leaves the konak to spend time with the Dipsomaniac Cartoonist for a couple of hours, while everyone else is at the airport. Meanwhile, Auntie Banu opens a dresser drawer and takes out a box containing a brooch shaped like a pomegranate, with rubies for seeds. It belonged to her father, who had inherited it from his birthmother. Auntie Banu wants to give it to Armanoush, now that she knows that it once belonged to Grandma Shushan. She wonders, though, how she can justify giving the brooch away based on nothing more than a history that she learned through magic. 

Around this time, Asya arrives at Café Kundera and greets the Dipsomaniac Cartoonist. He gives her three pieces of news: he’s going to prison for offending the prime minister with his cartoons; he’s getting divorced; and he hasn’t drank in four days so that he could be sober for this moment, in which he tells Asya that he loves her. Asya’s eyes leave her boyfriend’s face and focus on a photo “of a rutted road” in Mongolia, wishing that she could escape into it (323). 

Back in 1915, Hovhannes Stamboulian’s family has avoided his room since the day Turkish soldiers seized him and took him away. Later, they entered and found his manuscript for The Little Lost Pigeon and the Blissful Country. They also found the golden pomegranate brooch. Shushan never forgot the brooch, not even after she became Shermin 626, or when Riza Selim Kazanci found out that she was niece of his late master, Levon, and took her as his wife (324). Together, they had a baby named Levon, in honor of the man who taught Riza Selim cauldron-making. The clerk in charge of registering the baby, however, refused to do so until they changed the name to something that sounded more Muslim. They settled on naming the baby Levent. 

Soon thereafter, Yervant Stamboulian showed up on Shushan’s doorstep and gave her the pomegranate brooch. A week later, Shushan went to the harbor, where her brother awaited her. She left behind most of her belongings, including the brooch, which she inserted into an envelope with a letter to her husband, explaining her situation and instructing him to leave the brooch to their son, along with asking for his forgiveness. 

Back in the present day of the narrative, Rose and Mustafa arrive in Istanbul. Pushing their luggage cart through the arrivals terminal, they find “a semicircle of strangers smiling and waving” (329). They see Armanoush among them. Grandma Gülsüm is beside her, with her hand pressed to her heart. Zeliha is behind them, standing “tall and aloof” (329).

Chapter 17 Summary: “White Rice”

During their first two days in Istanbul, Rose and Mustafa answer a myriad of questions about America. They are asked more personal questions, including why they didn’t have children together. 

Rose enjoys being the focus of their attention, while Mustafa recoils from it. He spends most of his time reading newspapers, devouring political news. The Kazanci women are united in their disgust for politicians, most of them male. Auntie Cevriye says that only the military is trustworthy. Auntie Feride agrees and adds that they must admit more women. 

Grandma Gülsüm asks Mustafa, who is 40, when he’ll complete his military duty; the deadline for training is age 41. While painting her nails, Zeliha notes that Mustafa is nearing the age at which their father died, and figures that he must be nervous to be so close to death. Outraged, Grandma Gülsüm stands, with a tray of rice still in her hands, and demands that Zeliha leave the house. Zeliha complies. 

On the third day of Rose and Mustafa’s visit, Mustafa falls ill with a fever and remains in his room. Rose, Armanoush, and three aunts walk the streets of Istanbul. That night, while Rose is sleeping, Mustafa whispers to her that he wants to fly home the next day. Rose insists that they stay for the remaining five days. Auntie Banu knocks on their door and delivers a bowl of ashure, decorated with pomegranate seeds. Mustafa thanks her, but Banu’s presence unnerves him. Banu is the opposite of Rose: inscrutable and shadowy. Mustafa asks Banu where Asya’s father is. He recalls the story their mother told him about Zeliha being briefly engaged to Asya’s father, before she was abandoned by him. Banu asserts that this is a lie. Mustafa figures that Banu’s djinni must have told her all that she wants to know, and she admits that she does, indeed, know more than she’d like. Mustafa’s heartbeat quickens. He closes his eyes but still sees “Banu’s piercing gaze” and another pair of eyes, glittering in the dark (336). 

When Mustafa awakens, he’s alone beside Rose. The ashure is on the bed table. He realizes what he must do—with his left hand. He starts to eat the ashure in small bites. He feels good, as though he’s leaving behind both his past and his future. Seconds later, he experiences an abdominal cramp so sharp that he can’t breathe. Two minutes later, Mustafa is dead at the age of 40 and ¾.

Chapter 18 Summary: “Potassium Cyanide”

Mustafa’s corpse is cleansed with fragrant daphne soap. The Kazanci women want to take the body home but the dead-washer refuses, saying they’ll disgrace Mustafa’s memory by allowing his body to stink from decay. Moreover, it goes against the tenets of Islam. The women insist that they want the neighbors to view the corpse. Auntie Cevriye tips the dead-washer generously, and he relents. 

The body is loaded into a traditional, sage green hearse. Asya and Armanoush sit with the coffin, despite the driver’s initial disapproval of women sitting in the front of a hearse. In an icy voice, Zeliha tells him that there are no more men in their family. Rose drives nervously behind them in the Toyota Corolla that she and Mustafa rented at the airport. Grandma Gülsüm rides with her. Behind them, Zeliha drives her “metallic silver Alfa Romeo, with her three sisters crammed inside and Sultan the Fifth curled in a basket on Auntie Cevriye’s lap” (341). Aram drives his yellow Volkswagen alongside Zeliha. 

Some soccer hooligans in a cab closely follow the hearse. Their boisterousness and undignified behavior outrage the driver. One of the hooligans leans out of the window of his taxi, dropping both his cell phone and his drumstick. He emerges from the cab to retrieve them, holding up traffic, and sees the sage green hearse. He stares at it momentarily before getting back in the cab, more subdued than he was a moment before. 

When Asya and Armanoush arrive home, Auntie Zeliha is waiting in front of the konak. The other cars are lined up in front of the house, which is full of guests waiting for the coffin to be brought in. Asya and Armanoush enter the house, which has become “a jam-packed, all-female space” (347). The aunts prepare trays of ashure, originally intended to celebrate Mustafa’s return. 

Auntie Banu is at the kitchen counter, slicing lemons. She slices an onion for Zeliha, to help her cry. Banu insists that Zeliha must pretend to mourn Mustafa. In the living room, Rose is sitting on a floor cushion. She registers her confusion about the funerary rites to Armanoush, wondering where they’ll bury Mustafa and why she, his wife, feels left out of the decision-making. 

The funerary party lays the body out on the divan and begins rites, which include burning sandalwood. An imam recites prayers from the Holy Koran. Petite-Ma sits beside him. Newcomers kiss her hand and express their condolences. After the imam leaves, the hired wailer suddenly shrieks, crying over someone she has never seen, to encourage the other mourners to cry. Asya is sitting on the couch with neighbors when her mother sits beside her and whispers into her ear. Asya goes pale from hearing Auntie Zeliha’s words, then says that she doesn’t believe her mother. Asya then rises and stares at the body, thinking about how the dead man is both her uncle and her father. Somewhere in the room, Rose wails, and a concert of women join her. 

It was potassium cyanide that Auntie Banu had used to decorate Mustafa’s ashure, along with a sprinkle of pomegranate seeds. Cyanide smells like bitter almonds. Banu tells Mr. Bitter that she gave Mustafa the ashure, and he chose to eat it, knowing that it would be better than living with the burden of his past. She knows that she will go to hell for what she’s done, but she had to do something with her knowledge. Mrs. Sweet asks if Banu will tell Armanoush about her grandmother’s secret. Auntie Banu says she won’t, but she will give Armanoush the brooch. 

Late in the afternoon, Zeliha steps into the garden, where Aram has been waiting for hours. She brings him a cup of tea. He compliments her on the “lovely tea glass” (357). Zeliha recalls buying the set 20 years ago. She never believed that the glasses would survive for so long without one of them breaking. Moments later, Sultan the Fifth slowly emerges from the house, curls up beside Zeliha, and licks his paw. He stops when he feels droplets of rain, which send him running back into the house, deeply dissatisfied. The cat doesn’t know the rule about not cursing what falls from the sky.

Chapters 16-18 Analysis

In these chapters, Zeliha copes with the collision of her past and her present. Asya believes that her mother’s distant behavior is personal, when it’s actually a reflection of Zeliha’s own struggle with having now to acknowledge both the presences of her daughter and the brother who fathered Asya. She cannot bear the presences of both in the same space. Therefore, she demands that Asya remain home when she goes to the airport. Once there, Zeliha turns herself into a statue—“tall and aloof”—as evidence of her strength (329). 

Mustafa, meanwhile, cannot cope with the feelings of guilt that flood back to him in the family konak, which is why he develops a fever. For both him and Zeliha, their withholding of the secret creates stress that manifests as illness. For Mustafa, it is a fever. In a dream, he sees a pair of eyes, glittering at him in the dark. These could be perceived as his sister Auntie Banu’s eyes, for he knows that her clairvoyance allows her to see his secret. However, they could also be the all-knowing eyes of Allah. When Mustafa eats the ashure that Banu has left him during her late-night visit, he does so with his left hand—that hand that he has always used to perform what he believed to be unholy acts, particularly masturbation. In Chapter 56 of the Koran (sometimes translated as “The Event, The Inevitable”), the left hand is a symbol of evil. The “Companions of the Left Hand […] persisted obstinately in wickedness supreme” (The Holy Koran, Surah 56: 41, 46). Mustafa embraces his wretchedness, as well as his inability to escape the past, by ending his life. With him gone, Zeliha can fully acknowledge her daughter. Her gesture, at the end of the novel, of bringing tea to Aram is also a sign that she may be prepared to offer herself more fully to him, no longer afraid that she may break if she allows herself to be vulnerable.

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