Winner of the Union of Turkish Writers' Best Novel Prize, Elif Shafak explores what it is to look and be looked at in the humorous and carnivalesque novel The Gaze. An obese woman and her lover, a dwarf, are sick of being stared at wherever they go and so decide to reverse roles. The man goes out wearing make-up and the woman draws a moustache on her face. This elegant, unforgettable novel explores our desire to look at others. 'Beautifully evoked' The Times 'Original and compelling' TLS Elif Shafak has emerged as one of the most distinctive voices in both English and Turkish contemporary literature; her novels, The Bastard of Istanbul, The Flea Palace, The Forty Rules of Love, and Honour, are consistently at the top of bestseller lists across the globe. Elif Shafak's examination of national identity, The Happiness of Blond People is available as part of the Penguin Specials series - a digital only series of shorts designed with commuters in mind.
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Elif Shafak was born in Strasbourg, France, in 1971. She is an award-winning novelist and the most widely read female writer in Turkey. Critics have acclaimed her as one of the most distinctive voices in contemporary literature in both Turkish and English. Her novels include The Bastard of Istanbul which was longlisted for the Orange Prize for Fiction. Her books have been translated into more than thirty languages. She is married with two children, and divides her time between London and Istanbul. Her website is www.elifshafak.com.
Originally published in Turkey in 1999 to wide acclaim, this screwball love story is Shafak's third novel. (Her fifth, The Saint of Incipient Insanities, was published here in 2004.) Loosely organized around a neurotic obese woman and a feisty dwarf, it teems with parallel plots and digressions, freely leaping from modern apartment living in Istanbul to a 19th-century Turkish freak show and fur hunts in 17th-century Siberia. Shafak's prose (ably translated by Freely) follows a humorous, idiosyncratic course, seizing on arresting visual details, such as "a house the color of salted green almonds" and dispensing oddly charming aphorisms: "Love is a corset." (She adds: "In order to understand the value of this you have to be exceedingly fat.") At one moment, a faceless newborn's features are etched on by an anxious aunt; at another, a shipwrecked Russian sailor surprises a shaman in flagrante delicto with an oversized sable. The early parts of the novel can feel maddeningly unfocused for a book about the power of the stare. Later pages home in on an unexpected emotional trauma, and the atmosphere of fantastical levity clears to reveal an urgent, human pain. Shafak probes the many ironies of appearance and perception with entertaining and affecting results. (Oct.)
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