Posts featuring Nermin Yıldırım

A Brief Introduction to Nermin Yɪldɪrɪm’s Secret Dreams in Istanbul

Secret Dreams in Istanbul is a work of literary fiction, but deals with issues that are very much on the agenda of today’s society.

Secret Dreams in Istanbul is a fascinating Turkish novel by Nermin Yɪldɪrɪm, published at the end of last year by Anthem Press. Before I go any further, I must confess that I am the book’s translator, but I would want to share it even if that weren’t the case. Only very occasionally does one come across a book that leaps out from all others and lodges itself in one’s mind. When that happens, it mustn’t be taken lightly.

March 8 was International Women’s Day, and it strikes me as a very apt time to talk about this novel, given that it draws attention to so many issues that are relevant to the battles women have been fighting for over a century to combat injustice. These themes include domestic violence, forced marriage, feigned virginity, self-induced abortion, physical and social inequality, and, more broadly, the condition of being a victim. In varying degrees, all of the characters in this novel are victims: of their gender, their social class, their biological clock, their complexes, social taboos, social expectations, their physical, intellectual and financial limitations, and of their own family. This is a book in which the weak are oppressed by the strong: it’s about facing up to one’s insecurities and confronting one’s demons; it’s about the age-old problem of sibling rivalry. And running parallel to all of these conflicts is the other key theme in the novel—the role of memory in the human psyche.

To use a somewhat frivolous simile, if you have a diamond necklace, you wouldn’t leave it locked away in a drawer where nobody can appreciate it when it could be displayed for all the world to see. I am a translator in the very privileged position of making it possible for Anglophones to enjoy the literature of other languages, and I felt the need to share this particular gem. For that reason, I decided to translate the book and to now write of why I regard the book so highly, as well as the process of translating it.

I first encountered Ruyalar Anlatɪlmaz (as it is called in Turkish) in 2012 when I was commissioned to translate a section (the first seventy pages). It moved me very deeply; I knew there would be elements of this book that would stay with me forever. But it wasn’t until 2016 that I received the go ahead (at my instigation) to translate it in its entirety.

This is Nermin Yɪldɪrɪm’s second novel. She has since written another five, all of them very fine and more successful than this one. Yet it was Secret Dreams in Istanbul that I felt compelled to translate. Whilst re-reading it, four years after my initial reading, I was taken aback to discover it was almost unnecessary to keep reading because I remembered practically every word. I don’t recall that ever happening to me, either before or since.

To briefly summarise the plot, Pilar, the novel’s Spanish protagonist, returns from work one evening to discover that her husband, Eyüp, has suddenly and inexplicably disappeared from the home they share in Barcelona. She learns from the police the following morning that he has boarded a plane for Istanbul, the city of his birth that he has not visited since he left it almost two decades previously. Mystified as to what could have provoked such uncharacteristic behaviour, and assailed by her own insecurities, she decides to follow him there and bring him back. Packing a tiny bag with just a few clothes and the dream diary that Eyüp’s psychologist has asked him to keep (in an attempt to get to the bottom of what has been disturbing his sleep), she sets off for Istanbul, where she will embark on a journey of painful discovery. Meeting Eyüp’s dysfunctional family, from which he has been as good as estranged since before she has known him, and his friends, and seeing for the first time the city where he grew up, she pieces together the clues to uncover the horrifying truth about what drove Eyüp away. READ MORE…

Honoring the Art of Translation: Ümit Hussein

Our task is not restricted to giving readers access to literature . . . by doing so we also perform the role of cultural ambassadors.

Though Asymptote has made it a point to celebrate literary translation no matter the time of year, we’re still pretty thrilled that there’s a whole month dedicated to the cause. As we draw towards the end of National Translation Month, Asymptote is taking the opportunity to bring together essential components that complete the cycle of literature as it travels from one language to the next, with the intention of recognizing the meticulous, purposeful, and intimate labour invested into a text during this peregrination—from conception to publication. We have asked four valued members of the literary community, spanning the globe, to bring us their take on translation and its gifts. 

In this third feature, we are delighted to present an original essay by Ümit Hussein, an award-winning translator (and past Asymptote Book Club contributor!), who translates from the Turkish to the English. Her translation of Burhan Sönmez’s Istanbul Istanbul won the EBRD prize in 2018 and her translation of Nermin Yıldırım’s Secret Dreams in Istanbul is forthcoming from Anthem PressBorn and raised in North London in an extended Turkish Cypriot family, Hussein sees her role as translator reaching beyond the linguistic, in order to act as a cultural ambassador and elucidate a different cultural context for English readers. Here, she explains her own response to the question of why translation is essential to promoting literature and bringing about change.  

When I was asked to write this article, my brief was to make it about any aspect of translation I thought was important. Unaccustomed to so much freedom, I set about wracking my brain. One of the first thoughts that crossed my mind was, why do we translate at all? Given that it is widely believed that a translation can never be equal to the original; that a good translator is one that is completely invisible; that the translation must read as though written in the target language; that we are branded with the label traduttore traditore; that it is so poorly paid; and that, harshest of all, a certain award-winning writer, who translated fiction before she became a novelist, said in an interview, “For me it’s a waste of time . . . I want to write, not waste time with translations.” (Fortunately for this author, her translator, whose translation won her the prize, does not share her views.) What, then, motivates us to lavish so much love, care, time, and energy on what is frequently treated as the poor relative of “real” writing? READ MORE…