Chapter 2 I AM CALLED BLACK-1

After an absence of twelve years I entered Istanbul like a sleepwalker. “The earth called to him,” they say of men who are about to die, and in my case, it was death that drew me back to the city where I'd been born and raised. When I first returned, I thought there was only death; later, I would also encounter love. Love, however, was a distant and forgotten thing, like my memories of having lived in the city. It was in Istanbul, twelve years ago, that I fell helplessly in love with my young cousin. Four years after I first left Istanbul, while traveling through the endless steppes, snow-covered mountains and melancholy cities of Persia, carrying letters and collecting taxes, I admitted to myself that I was slowly forgetting the face of the childhood love I'd left behind. With growing panic, I tried desperately to remember her, only to realize that despite love, a face long not seen finally fades. During the sixth year I spent in the East, traveling or working as a secretary in the service of pashas, I knew that the face I imagined was no longer that of my beloved. Later, in the eighth year, I forgot what I'd mistakenly called to mind in the sixth, and again visualized a completely different countenance. twelfth year, when I returned to my city at the age of thirty-six, I was painfully aware that my beloved's face had long since escaped me.

Many of my friends and relatives had died during my twelve-year exile. I visited the cemetery overlooking the Golden Horn and prayed for my mother and for the uncles who'd passed away in my absence. The earthy smell of mud mingled with my memories . Someone had broken an earthenware pitcher beside my mother's grave. For whatever reason, gazing at the broken pieces, I began to cry. Was I crying for the dead or because I was, strangely, still only at the beginning of my life after all these years? Or was it because I'd come to the end of my life's journey? A faint snow fell. Entranced by the flakes blowing here and there, I became so lost in the vagaries of my life that I didn't notice the black dog staring at me from a dark corner of the cemetery.

My tears subsided. I wiped my nose. I saw the black dog wagging its tail in friendship as I left the cemetery. Sometime later, I settled into our neighborhood, renting one of the houses where a relative on my father's side once lived. It seems I reminded the landlady of her son who'd been killed by Safavid Persian soldiers at the front and so she agreed to clean the house and cook for me. I set out on long and satisfying walks through the streets as if I'd settled not in Istanbul, but temporarily in one of the Arab cities at the other end of the world. The streets had become narrower, or so it seemed to me. In certain areas, on roads squeezed between houses leaning toward one another, I was forced to rub up against walls and doors to avoid being hit by laden packhorses. There were more wealthy people, or so it seemed to me. I saw an ornate carriage , a citadel drawn by proud horses, the likes of which couldn't be found in Arabia or Persia. Near the “Burnt Column,” I saw some bothersome beggars dressed in rags huddling together as the smell of offal coming from the chicken-sellers market wafered over them. One of them who was blind smiled as he watched the falling snow.

Had I been told Istanbul used to be a poorer, smaller and happier city, I might not have believed it, but that's what my heart told me. Though my beloved's house was where it'd always been among linden and chestnut trees, others were now living there, as I learned from inquiring at the door. I discovered that my beloved's mother, my maternal aunt, had died, and that her husband, my Enishte, and his daughter had moved away. This is how I came to learn that father and daughter were the victims of certain misfortunes, from strangers answering the door, who in such situations are perfectly forthcoming, without the least awareness of how mercilessly they've broken your heart and destroyed your dreams. I won't describe all of this to you now, but allow me to say that as I recalled warm, verdant and sunny summer days in that old garden, I also noticed icicles the size of my little finger hanging from the branches of the linden tree in a place whose misery, snow and neglect now evoked nothing but death.

I'd already learned about some of what had befallen my relatives through a letter my Enishte sent to me in Tabriz. In that letter, he invited me back to Istanbul, explaining that he was preparing a secret book for Our Sultan and that he wanted my help. He'd heard that for a period while in Tabriz, I made books for Ottoman pashas, ​​provincial governors and Istanbulites. What I did then was to use the money advanced by clients who'd placed manuscript orders in Istanbul to locate miniaturists and calligraphers who were frustrated by the wars and the presence of Ottoman soldiers, but hadn't yet left for Kazvin or another Persian city, and it was these masters—complaining of poverty and neglect—whom I commissioned to inscribe, illustrate and bind the pages of the manuscripts I would then send back to Istanbul. If it weren't for the love of illustrating and fine books that my Enishte instilled in me during my youth, I could have never involved myself in such pursuits.

At the market end of the street, where at one time my Enishte had lived, I found the barber, a master by trade, in his shop among the same mirrors, straight razors, pitchers of water and soap brushes. I caught his eye, but I'm not sure he recognized me. It delighted me to see that the head-washing basin, which hung by a chain from the ceiling, still traced the same old arc, swinging back and forth as he filled it with hot water. Some of the neighborhoods and streets I'd frequented in my youth had disappeared in ashes and smoke, replaced by burnt ruins where stray dogs consolidated and where mad transients frightened the local children. In other areas razed by fire, large affluent houses had been built , and I was astonished by their extravagance, by windows of the most expensive Venetian stained glass, and by lavish two-story residences with bay windows suspended above high walls.

As in many other cities, money no longer had any value in Istanbul. At the time I returned from the East, bakeries that once sold large one-hundred drachma loaves of bread for one silver coin now baked loaves half the size for the same price , and they no longer tasted the way they did during my childhood. Had my late mother seen the day when she'd have to spend three silver pieces for a dozen eggs, she'd say, “We ought to leave before the chickens grow so spoiled they shit on us instead of the ground.” But I knew the problem of devalued money was the same everywhere. It was rumored that Flemish and Venetian merchant ships were filled with chests of counterfeit coin. At the royal mint, where five hundred coins were once minted from a hundred drachmas of silver, now, owing to the endless warring with the Persians, eight hundred coins were minted from the same amount. When Janissaries discovered that the coins they'd been paid actually floated in the Golden Horn like the dried beans that fell from the vegetable-sellers pier, they rioted, besieging Our Sultan's palace as if it were an enemy fortress.

A cleric by the name of Nusret, who preached at the Bayazid Mosque and claimed to be descended from Our Glorious Prophet Muhammad, had made a name for himself during this period of immunity, inflation, crime and theft. This hoja, who was from the small town of Erzurum, attributed the catastrophes that had befallen Istanbul in the last ten years—including the Bah?ekap? and Kazanj?lar district fires, the plagues that claimed tens of thousands, the endless wars with the Persians at a cost of countless lives, as well as the loss of small Ottoman fortresses in the West to Christians in revolt—to our having strayed from the path of the Prophet, to disregard for

the strictures of the Glorious Koran, to the tolerance toward Christians, to the open sale of wine and to the playing of musical instruments in dervish houses. The pickle seller who passionately informed me about the cleric from Erzurum said that the counterfeit coins—the new ducats, the fake florins stamped with lions and the Ottoman coins with their ever-decreasing silver content—that flooded the markets and bazaars, just like the Circassians, Abkhazians, Mingarians, Bosnians, Georgians and Armenians who filled the streets, were dragging us toward an absolute degradation from which it would be difficult to escape. I was told that scoundrels and rebels were gathering in coffeehouses and proselytizing until that destiltizing; men of dubious character, opium-addicted madmen and followers of the outlawed Kalenderi dervish sect, claiming to be on Allah's path, would spend their nights in dervish houses dancing to music, piercing themselves with skewers and engaging in all manner of depravity, before brutality fucking each other and any boys they could find.

I didn't know whether it was the melodious sound of a lute that compelled me to follow, or if in the muddle of my memories and desires, I could simply no longer endure the virulent pickle seller, and seized upon the music as a way out of the conversation. I do, however, know this: When you love a city and have explored it frequently on foot, your body, not to mention your soul, gets to know the streets so well after a number of years that in a fit of melancholy, perhaps stirred by a light snow falling ever so sadly, you'll discover your legs carrying you of their own accord toward one of your favorite promontories.

This was how I happened to leave the Farrier's Market and ended up watching the snow as it fell into the Golden Horn from a spot beside the Suleymaniye Mosque: Snow had already begun to accumulate on the rooftops facing north and on sections of the dome exposed to the northeasterly breeze. An approaching ship, whose sails were being lowered, greeted me with a flutter of canvas. The color of its sails matched the leaden and foggy hue of the surface of the Golden Horn. The cypress and plane trees, the rooftops, the heartache of dusk , the sounds coming from the neighborhood below, the calls of hawkers and the cries of children playing in mosque courtyards mingled in my head and announced emphatically that, hereafter, I wouldn't be able to live anywhere but in their city. I had the The sensation that my beloved's face, which had escaped me for years, might suddenly appear to me. I began to walk down the hill and melded into the crowds. After the evening prayer was called, I filled my stomach at a liver shop. In the empty shop, I listened carefully to the owner, who fondly watched me eat each bite as if he were feeding a cat. Taking his cue and following his directions, I found myself turning down one of the narrow alleys behind the slave market—well after the streets had become dark—and located the coffeehouse. Inside, it was crowded and warm. The storyteller, the likes of whom I had seen in Tabriz and in Persian cities and who was known thereabouts as a “curtain-caller,” was perched on a raised platform beside the wood-burning stove. He had unfolded and hung before the crowd a picture, the figure of a dog drawn on rough paper hastily but with a certain elegance. He was giving voice to the dog, and pointing, from time to time, at the drawing. I AM A DOG As you can doubtless tell, dear friends, my canines are so long and pointed they barely fit into my mouth. I know this gives me a menacing appearance, but it pleases me. Noticing the size of my teeth, a butcher once had the gall to say, “My God, that’s no dog at all, it’s a wild boar!” I bit him so hard on the leg that my canines sank right through his fatty flesh to the hardness of his thighbone. For a dog, you see, nothing is as satisfying as sinking his teeth into his miserable enemy in a fit of instinctual wrath. When such an opportunity presents itself, that is, when my victim, who deserves to be bitten, stupidly and unknownly passes by, my teeth twinge and ache in anticipation, my head spins with longing and without even meaning to, I emit a hair- raising growl. I'm a dog, and because you humans are less rational beasts than I, you're telling yourself, “Dogs don't talk.” Nevertheless, you seem to believe a story in which corpses speak and characters use words they couldn't t possibly know. Dogs do speak, but only to those who know how to listen. Once upon a time, long, long ago, in a faraway land, a brash cleric from a provincial town arrived at one of the largest mosques in a capital city; all right, let's call it the Bayazid Mosque. It'd be appropriate to Withhold his name, so let's refer to him as “Husret Hoja.” But why should I cover up anything more: This man was one boneheaded cleric. He made up for the modesty of his intellect with the power of his tongue, God bless it. Each Friday, he so animated his congregation, so moved them to tears that some would cry until they fainted or dried up and withered away. Don't get me wrong, unlike other clerics with the gift of preaching, he himself didn't weep. On the contrary, while everyone else cried, he intensified his oration without a blink as if to chastise the congregation .In all probability, the gardeners, royal pages, halva makers, riffraff and clerics like himself became his lackeys because they enjoyed the tongue lashing. Well, this man was no dog after all, no sir, he was a human being—to be human is to err—and before those enthralled crowds, he lost himself when he saw that intimidating throngs of people was as pleasant as bringing them to tears. When he understood that there was much more bread to be made in this new venture, he went over the top and had the nerve to say thefollowing: “The sole reason for rising prices, plague and military defeat lies in our forgetting the Islam of the time of our Glorious Prophet and falling sway to falsehoods. Was the Prophet's birth epic read in memory of the dead back then? Was the fortieth-day ceremony performed, where sweets like halva and fried dough are offered to honor the dead? When Muhammad lived, was the Glorious Koran recited melodically, like a song? Were the prayers called haughtily and pompously to show how close one's Arabic was to an Arab's? Was there such a thing as reciting the call to prayer coyly, with the abundance of a man imitating a woman? Today, people plead before gravesites, begging for amends. They hope for the intervention of the dead on their behalf. of saints and worship at graves like pagans before pieces of stone. They tie votive pieces of cloth everywhere, and make promises of sacrifice in return for atonement. Were there dervish sectarians who spread such beliefs in Muhammad's time? Ibn Arabi, the intellectual mentor of these sectarians, beocame a sinner by swearing that the haddel Pharing died a believer. These dervishes, the Mevlevis, the Halvetis, the Kalenderis and those who sing the Koran to musical accommodation or justify dancing with children and juveniles by saying ”we pray together anyway, why not?” are all kaffirs. Dervish lodges ought to be destroyed, their foundations excavated to a depth of seven ells and the collected earth cast into the sea. Only then might ritual prayers be performed there again.” I heard tell that this Husret Hoja, taking matters even further, declared with spittle flying from his mouth, “Ah, my devoted believers! The drinking of coffee is an absolute sin! Our Glorious Prophet did not partake of coffee because he knew it dulled the intellect, caused ulcers, hernia and sterility; he understood that coffee was nothing but the Devil's ruse. Coffeehouses are places where pleasure-seekers and wealthy gadabouts sit knee-to-knee, involving themselves in all sorts of vulgar behavior, in f Even before the dervish houses are closed, coffeehouses ought to be banned. Do the poor have enough money to drink coffee? Men frequent these places, become besotted with coffee and lose control of their mental faculties to the point that they actually listen to and believe what dogs and mongrels have to say. But those who curse me and our religion, it is they who are the true mongrels.” With your permission, I'd like to respond to this last comment by the esteemed cleric. Of course, it is common knowledge that hajis, hojas, clerics, and preachers despise us dogs. In my opinion, the whole matter concerns our revered Prophet Muhammad, peace and blessings be upon him, who cut off a piece of his robe upon which a cat lay sleeping rather than wake the beast. By pointing out this affection shown to the cat, which has incidentally been denied to us dogs, and due to our eternal feud with this feline beast, which even the stupidest of men recognizes as an ingrate, people have tried to intimate that the Prophet himself disliked dogs. They're convinced that we'll defile those who have performed ritual ablutions, and the result of this erroneous and slanderous belief is that we've been barred from mosques for centuries and have suffered beatings in their courtyards from broomstick-wielding caretakers. Allow me to remind you of “The Cave,” the most beautiful of the Koran's chapters. I'm reminding you not because I suspect there may be those who never read the Koran among us in this good coffeehouse, but because I want to refresh your memories: This chapter recounts the story of the seven youths who grow tired of living among pagans and take refuge in a cave where they enter a deep sleep. Allah then seals their ears and causes them to doze off for exactly three hundred and nine years When they awake, they learn just how many years have passed only after one of them enters the society of men and tries to spend an outdated silver coin. All of them are stunned to learn what has happened. Allah, His miracles, the transitory nature of time and the pleasure of deep sleep, and though it's not my place, allow me to remind you of the eighteenth verse, which makes mention of a dog resting at the mouth of this cave where the seven youths have fa llen asleep. Obviously, anyone would be proud to appear in the Koran. As a dog, I take pride in this chapter, and through it I intend to bring the Erzurumis, who refer to their enemies as dirty mongrels, to their senses. So then, what's the actual reason for this animosity toward dogs? Why do you persist in saying that dogs are impure, and cleaning and purifying your homes from top to bottom if a dog happens to enter? Why do you believe that those who touch us spoil their ablutions? If your caftan brushes against our damp fur, why do you insist on washing that caftan seven times like a frenzied woman? Only tinsmiths could be responsible for the slander that a pot licked by a dog must be thrown away or retinned. Or perhaps, yes, cats... When people left their villages for the sedentary life of the city, shepherd dogs remained in the provinces; that's when rumors of the filthiness of dogs like me began to spread. the twelve months of the year were “months of the dog.” Now, however, a dog is considered a bad omen. I don't want to burden you with my own problems, my dear friends who have come to hear a story and ponder its moral—to be honest, my anger arises out of the Esteemed cleric's attacks upon our coffeehouses. What would you think if I said that this Husret of Erzurum was of dubious birth? But they've also said of me, “What kind of dog do you think you are? You're attacking the venerable cleric because your master is a picture-hanging storyteller who tells tales at a coffeehouse and you want to protect him. Go on, scat!" God forbid, I'm not denigrating anyone. But I'm a great admirer of our coffeehouses. You know, I have no problem with the fact that my portrait was drawn on such cheap paper or that I'm a four-legged beast, but I do regret that I can't sit down like a man and have a cup of coffee with you. We'd die for our coffee and our coffeehouses—what's this? See, my master is pouring coffee for me from a small coffeepot. A picture can't drink coffee, you say? Please! See for yourself, this dog is happily lapping away. Ah, yes, that hit the spot, it's warmed me up, sharpened my sight and quickened my thoughts. Now listen to what I have to tell you: Besides bolts of Chinese silks and Chinese pottery adorned with blue flowers, what did the Venetian Doge send to Nurhayat Sultan, the esteemed daughter of our respected Sultan? A soft and cuddly Venetian she-dog with a coat of silk and sable. I heard that this bitch is so spoiled she has a red silk dress as well. actually fucked her, that's how I know, and she can't even engage in the act without her dress. In that Frankish land of hers, all dogs wear outfits like that anyway. I've heard tell that over there a so-called elegant and well-bred Venetian woman saw a naked dog—or maybe she saw its thing, I'm not sure—anyway, she screamed, “My dear God, the dog is naked!” and fainted dead away. In the lands of the infidel Franks, the so-called Europeans, every dog ​​has an owner. These poor animals are paraded on the streets with chains around their necks, they're fettered like the most miserable of slaves and dragged around in isolation. These Franks force the poor beasts into their homes and even into their beds. Dogs aren't permitted to walk with one another, let alone sniff and frolic together. In that despicable state, in chains, they can do nothing but gaze forlornly at each other from a distance when they pass on the street. Dogs who roam the streets of Istanbul freely in packs and communities, the way we do, dogs who threaten people if necessary, who can curl up in a warm corner or stretch out in the shade and sleep peacefully, and who can shit wherever they want and bite whomever they want, such dogs are beyond the infidels' conception. It's not that I haven't thought that this might be why the followers of the Erzurumi oppose praying for dogs and feeding them meat on the streets of Istanbul in exchange for divine favors and even why they oppose the establishment of charities that perform such services. to treat us as enemies and make infidels of us, let me remind them that being an enemy to dogs and being an infidel are one and the same. At the, I hope, not too distant executions of these disgraceful men, I pray our executioner friends invite us to take a bite, as they sometimes do to set a deterring example. Before I finish, let me say this: My previous master was a very just man. When we set out at night to thief, we'd cooperate: I'd begin to bark, and he'd cut the throat of our victim whose screams would be drowned out by my barking. In return for my help, he'd cut up the guilty men that he'd punished, boil them and feed them to me. I don't like raw meat. God willing, the would-be executioner of that cleric from Erzurum will take this into account so I won't upset my stomach with that scoundrel's raw flesh. I WILL BE CALLED A MURDERER Nay, I wouldn't have believed I could take anyone's life, even if I'd been told so moments before I murdered that fool; and thus, my offense at times recedes from me like a foreign galleon disappearing on the horizon. Now and again, I even feel as if I haven't committed any crime at all. Four days have passed since I was forced to do away with hapless Elegant, who was a brother to me, and only now have I , to some extent, accepted my situation. I would've preferred to resolve this unexpected and awful dilemma without having to do away with anybody, but I knew there was no other choice. I handled the matter then and there, assuming the burden of responsibility. I couldn't let the false accusations of one foolhardy man endanger the entire society of miniaturists. Nevertheless, being a murderer takes some getting used to. I can't stand being at home, so I head out to the street. I can't stand my street, so I walk on to another, and then another. at people's faces, I realize that many of them believe they're innocent because they haven't yet had the opportunity to snuff out a life. It's hard to believe that most men are more moral or better than me simply on account of some minor twist of fate. At most, they wear somewhat stupider expressions because they haven't yet killed, and like all fools, they appear to have good intentions. After I took care of that pathetic man, wandering the streets of Istanbul for four days was enough to confirm that everyone with a gleam of cleverness in his eye and the shadow of his soul cast across his face was a hidden assassin. Only imbeciles are innocent. Tonight, for example, while warming up with a steaming coffee at the coffeehouse located in the back streets of the slave market, gazing at the sketch of a dog hanging on the back wall, I was gradually forgetting my plight and laughing with the rest of them at everything the dog recounted. Then, I had the sensation that one of the men beside me was a common murderer like myself. Though he was simply laughing at the storyteller as I was, my intuition was sparked, either by the way his arm rested near mine or by the way he restlessly rapped his fingers on his cup. I'm not sure how I knew, but I suddenly turned and looked him directly in the eye. He gave a start and his face contorted. As the crowd dispersed , an acquaintance of his took him by the arm and said, “Nusret Hoja's men will surely raid this place.” Raising an eyebrow, he signaled the man quiet. Their fear infected me. No one trusted anyone, everyone expected to be done in at any moment by the man next to him. It had become even colder, and snow had accumulated on street corners and at the bases of walls. In the blindness of night, I could find my way along the narrow streets only by groping with my hands. At times, the dim light of an oil lamp still burning somewhere inside a wooden house filtered out from behind blackened windows and drawn shutters, reflecting on the snow; but mostly, I could see nothing, and found my way by listening for the sounds of watchmen banging their sticks on stones, for the howling of mad dogs, or the sounds coming from houses. At times the narrow and dreadful streets of the city seemed to be lit up by a wondrous light coming from the snow itself; thought I spotted one of those ghosts that have made Istanbul such an ominous place for thousands of years. From within houses, now and again, I heard the noises of miserable people having coughing fits or snorting or wailing as they cried out in their dreams, or I heard the shouts of husbands and wives as they tried to strangle each other, their children sobbing at their feet. For a couple of nights in a row, I came to this coffeehouse to relive the happiness I'd felt before becoming a murderer, to raise my spirits and to listen to the storyteller. Most of my miniaturist friends, the brethren with whom I' d spent my entire life, came here every night. Since I'd silenced that lout with whom I'd made illustrations since childhood I didn't want to see any of them. Much embarrasses me about the lives of my brethren, who can't do without gossiping, and about the disgraceful atmosphere of joviality in this place. I even sketched a few pictures for the storyteller so they wouldn't accuse me of conceit, but that failed to put an end to their envy. They're justified in being jealous. Not one of them could surpass me in mixing colors, in creating and embellishing borders, composing pages, selecting subjects, drawing faces, arranging bustling war and hunting scenes and depicting beasts, sultans, ships, horses, warriors and lovers. Not one could approach my mastery in imbuing illustrations with the poetry of the soul, not even in gilding. I'm not bragging, but explaining this to you so you might fully understand me. Over time, jealousy becomes an element as invisible as paint in the life of the master artist. During my walks, which grow increasingly longer due to my restlessness, I come face-to-face occasionally with one of our most pure and innocent religious countrymen, and a strange notion suddenly enters my head: If I think about the fact that I'm a murderer, the man before me will read it on my face. Therefore, I force myself to think of different things, just as I forced myself, writhing in embarrassment, to banish thoughts of women when performing prayers as an adolescent. But unlike those days of youthful fits when I couldn't get the act of copulation out of my thoughts, now, i can indeed forget the murder that i've committed. You realize, in fact, that I'm explaining all these things because they relate to my predicament. But if I were to divulge even one detail related to the killing itself, you'd figure it all out and this would relieve me from being a nameless, faceless murderer roaming among you like an apparition and relegate me to the status of an ordinary, confessed criminal who has given himself up, soon to pay for his crime with his head. Give me the license not to dwell on every single detail , allow me to keep some clues to myself: Try to discover who I am from my choice of words and colors, as attentive people like yourself might examine footprints to catch a thief. This, in turn, brings us to the issue of “style ,” which is now of widespread interest: Does a miniaturist, ought a miniaturist, have his own personal style? A use of color, a voice all his own? Let's consider a piece by Bihzad, the master of masters, patron saint of all miniaturists. I happened across this masterpiece, which also nicely pertains to my situation because it's a depiction of murder, among the pages of a flawless ninety-year-old book of the Herat school. It emerged from the library of a Persian prince killed in a merciless battle of succession and recounts the story of Husrev and Shirin. You, of course, know the fate of Husrev and Shirin, I refer to Nizami's version, not Firdusi's: The two lovers finally marry after a host of trials and tribulations; however, the young and diabolical Shiruye, Husrev's son by his previous wife, won't give them any peace. The prince has his eye on not only his father's throne but also his father's young wife, Shirin. Shiruye, of whom Nizami writes, “His breath had the stench of a lion's mouth,” by hook or crook imprisons his father and succeeded to the throne. One night, entering the bedchamber of his father and Shirin, he feels his way in the dark, and on finding the pair in bed, stabs his father in the chest with his dagger. Thus, the father's blood flows till dawn and he slowly dies in the bed that he shares with the beautiful Shirin, who remains sleeping peacefully beside him. This picture by the great master Bihzad, as much as the tale itself, addresses a grave fear I've carried within me for years: The horror of waking in the black of night to realize there's a stranger making faint sounds as he creeps about the blackness of the room! Imagine that the intruder wields a dagger in one hand as he strangles you with the other. Every detail, the finely wrought wall, window and frame ornamentation, the curves and circular designs in the red rug, the color of the silent scream emanating from your clamped throat and the yellow and purple flowers embroidered with incredible finesse and vigor on the magnificent quilt upon which the bare and vile foot of your murderer mercilessly steps as he ends your life, all of these details serve the same purpose: While augmenting the beauty of the painting, they remind you just how exquisite are the room in which you will soon die and the world you will soon leave. The indifference of the painting's beauty and of the world to your death, the fact of your being totally alone in death despite the presence of your wife, this is the inescapable meaning that strikes you. “This is by Bihzad,” the aging master said twenty years ago as we examined the book I held in my trembling hands. His face was illuminated not by the nearby candle, but by the pleasure of observation itself. “This is so Bihzad that there's no need for a signature.” Bihzad was so well aware of this fact that he didn't hide his signature anywhere in the painting. And according to the elderly master, there was a sense of embarrassment and a feeling of shame in this decision of his. Where there is true art and genuine virtuosity the artist can paint an incomparable masterpiece without leaving even a trace of his identity. Fearing for my life, I murdered my unfortunate victim in an ordinary and crude manner. As I returned to this fire-ravaged area night after night to ascertain whether I'd left behind any traces that might betray me, questions of style increasingly arose in my head. What was venerated as style was nothing more than an imperfection or flaw that revealed the guilty hand. I could've located this place even without the brilliance of the falling snow, for this spot, razed by fire, was where I'd ended the life of my companion of twenty-five years. Now, snow covered and erased all the clues that might have been interpreted as signature, proving that Allah concurred with Bihzad and me on the issue of style and signature. If we actually committed an unpardonable sin by illustrating that book—as that half-wit had maintained four days ago—even if we had done so unawares, Allah wouldn't have bestowed this favor upon us miniaturists. That night, when Elegant Effendi and I came here, the snow hadn't yet begun to fall. We could hear the howling of mongrels echo in the distance. “Pray, for what reason have we come here?” the unfortunate one had asked. “What do you plan to show me out here at this late hour?” “Just ahead lies a well, twelve paces beyond which I've buried the money I've been saving for years,” I said. “If you keep everything I've explained to you secret, Enishte Effendi and I will see that you are happily rewarded.” “Am I to understand that you admit you knew what you were doing from the beginning?” he said in agitation. “I admit it,” I lied obligingly. “You acknowledge the picture you've made is in fact a desecration, don't you?” he said innocently. “It's heresy, a sacrilege that no decent man would have the gall to commit. You're going to burn in the pits of Hell. Your suffering and pain will never diminish—and you've made me an accomplice.” As I listened to him, I sensed with horror how his words had such strength and gravity that, willingly or not, people would heed them, hoping that they would prove true about miserable creatures other than themselves. Many rumors like this about Enishte Effendi had begun to fly due to the secrecy of the book he was making and the money he was willing to pay—and because Master Osman, the Head Illuminator, despised him. It occurred to me that perhaps my brother gilder, Elegant, had with sly intent used these facts to buttress his false accusations. To what degree was he being honest? I had him repeat the claims that pitted us against each other, and as he spoke, he didn't mince his words. He seemed to be provoking me to cover up a mistake, as during our apprentice years, when the goal was to avoid a beating by Master Osman. Back then, I found his sincerity convincing. As an apprentice, his eyes would widen as they did now, but back then they hadn't yet dimmed from the labor of embellishing. But finally I hardened my heart; he was prepared to confess everything to everyone. “Do listen to me,” I said with forced exasperation. “We make illuminations, create border designs, draw frames onto pages, we brightly ornament page after page with lovely tones of gold, we make the greatest of paintings, we adorn armoires and boxes. We've done nothing else for years. It is our calling. They commission paintings from us, ordering us to arrange a ship, an antelope or a sultan within the borders of a particular frame, demanding a certain style of bird, a certain type of figure, take this particular scene from the story, forget about such-and-such. Whatever it is they demand, we do it. ”Listen,“ Enishte Effendi said to me, ”here, draw a horse of your own imagining, right here.“ For three days, like the great artists of old, I sketched hundreds of horses so I might come to know exactly what ”a horse of my own imagining' was. To accustom my hand, I drew a series of horses on a coarse sheet of Samarkand paper.“ I took these sketches out and showed them to Elegant. He looked at them with interest and, leaning close to the paper, began to study the black and white horses in the faint moonlight. “The old masters of Shiraz and Herat,” I said, “claimed that a miniaturist would have to sketch horses unceasingly for fifty years to be able to truly depict the horse that Allah envisioned and desired. They claimed that the best picture of a horse should be drawn in the dark, since a true miniaturist would go blind working over that fifty-year period, but in the process, his hand would memorize the horse.” The innocent expression on his face, the one I'd also seen long ago, when we were children, told me that he'd become completely absorbed in my horses. “They hire us, and we try to make the most mysterious, the most unattainable horse, just as the old masters did. There's nothing more to it. It's unjust of them to hold us responsible for anything more than the illustration.” “I'm not sure that's correct,” he said. “We, too, have responsibilities and our own will. I fear no one but Allah. It was He who provided us with reason that we might distinguish Good from Evil.” It was an appropriate response. “Allah sees and knows all…” I said in Arabic. “He'll know that you and I, we've done this work without being aware of what we were doing. Who will you notify about Enishte Effendi? Aren't you aware that behind this affair rests the will of His Excellency Our Sultan?” Silence. I wondered whether he was really such a buffoon or whether his loss of composure and ranting had sprung out of a sincere fear of Allah. We stopped at the mouth of the well. In the darkness, I vaguely caught sight of his eyes and could see that he was scared. I pitied him. But it was too late for that. I prayed to God to give me one more sign that the man standing before me was not only a dim-witted coward, but an unredeemable disgrace. “Count off twelve steps and dig,” I said. “Then, what will you do?” “I'll explain it all to Enishte Effendi, and he'll burn the pictures. What other recourse is there? If one of Nusret Hoja's followers hears of such an allegation, nothing will remain of us or the book-arts workshop. Are you familiar with any of the Erzurumis? Accept this money so that we can be certain you won't inform on us.” “What is the money contained in?” “There are seventy-five Venetian gold pieces inside an old ceramic pickle jar.” The Venetian ducats made good sense, but where had I come up with the ceramic pickle jar? It was so foolish it was believable. I was thereby reassured that God was with me and had given me a sign. My old companion apprentice, who'd grown greedier with each passing year, had already started excitedly counting off the twelve steps in the direction I indicated. There were two things on my mind at that moment. First of all, there were no Venetian coins or anything of the sort buried there! If I didn't come up with some money this buffoon would destroy us. I suddenly felt like embracing the oaf and kissing his cheeks as I sometimes did when we were apprentices, but the years had come between us! Second, I was preoccupied with figuring out how we were going to dig. With our fingernails? But this contemplation, if you could call it that, lasted only a wink in time. Panicking, I grabbed a stone that lay beside the well. While he was still on the seventh or eighth step, I caught up to him and struck him on the back of his head with all my strength. I struck him so swiftly and brutally that I was momentarily startled, as if the blow had landed on my own head. Aye, I felt his pain. Instead of anguishing over what I'd done, I wanted to finish the job quickly. He'd begun thrashing about on the ground and my panic deepened further. Long after I'd dropped him into the well, I contemplated how the crudeness of my deed did not in the least befit the grace of a miniaturist. I AM YOUR BELOVED UNCLE I am Black's maternal uncle, his enishte, but others also call me “Enishte.” There was a time when Black's mother encouraged him to address me as “Enishte Effendi,” and later, not only Black, but everyone began referring to me that way. Thirty years ago, after we'd moved to the dark and humid street shaded by chestnut and linden trees beyond the Aksaray district, Black began to make frequent visits to our house. That was our residence before this one. If I were away on summer campaign with Mahmut Pasha, I'd return in the autumn to discover that Black and his mother had taken refuge in our home. Black's mother, may she rest in peace, was the older sister of my dearly departed wife. There were times on winter evenings I'd come home to find my wife and his mother embracing and tearfully consoling each other. Black's father, who could never maintain his teaching posts at the remote little religious schools where he taught, was ill-tempered, angry and had a weakness for drink. Black was six years old at the time; he'd cry when his mother cried, quiet down when his mother fell silent and regarded me, his Enishte, with apprehension. It pleases me to see him before me now, a determined, mature and respectful nephew. The respect he shows me, the care with which he kisses my hand and presses it to his forehead, the way, for example, he said, “Purely for red,” when he presented me with the Mongol inkpot as a gift, and his polite and demure habit of sitting before me with his knees mindfully together; all of this not only announces that he is the sensible grown man he aspires to be, but it reminds me that I am indeed the venerable elder I aspire to be. He shares a likeness with his father, whom I've seen once or twice: He's tall and thin, and makes slightly nervous yet becoming gestures with his arms and hands. His custom of placing his hands on his knees or of staring deeply and intently into my eyes as if to say, “I understand, I'm listening to you with reverence” when I tell him something of import, or the way he nods his head with a subtle rhythm matching the measure of my words are all quite appropriate. Now that I've reached this age, I know that true respect arises not from the heart, but from discrete rules and deference. During the years Black's mother brought him frequently to our house under every pretense because she anticipated a future for him here, I understood that books pleased him, and this brought us together. As those in the house used to put it, he would serve as my “apprentice.” I explained to him how miniaturists in Shiraz had created a new style by raising the horizon line clear to the top of the border, and that while everyone depicted Mejnun in a wretched state in the desert, crazed with love for his Leyla, the great master Bihzad was better able to convey Mejnun's loneliness by portraying him walking among groups of women cooking, attempting to ignite logs by blowing on them or walking between tents. I remarked how absurd it was that most of the illustrators who depicted the moment when Husrev spied the naked Shirin bathing in a lake at midnight had whimsically colored the lovers' horses and clothes without having read Nizami's poem, my point being that a miniaturist who took up a brush without the care and diligence to read the text he was illustrating was motivated by nothing more than greed. I'm delighted now to see that Black has acquired another essential virtue: To avoid disappointment in art, one mustn't treat it as a career. Despite whatever great artistic sense and talent a man might possess, he ought to seek money and power elsewhere to avoid forsaking his art when he fails to receive proper compensation for his gifts and efforts. Black recounted how he'd met one by one all of the master illustrators and calligraphers of Tabriz by making books for pashas, wealthy Istanbulites and patrons in the provinces. All these artists, I learned, were impoverished and overcome by the futility of their lot. Not only in Tabriz, but in Mashhad and Aleppo, many miniaturists had abandoned working on books and begun making odd single-leaf pictures—curiosities that would please European travelers—even obscene drawings. Rumor has it that the illuminated manuscript Shah Abbas presented to Our Sultan during the Tabriz peace treaty has already been taken apart so its pages could be used for another book. Supposedly, the Emperor of Hindustan, Akbar, was throwing so much money around for a large new book that the most gifted illustrators of Tabriz and Kazvin quit what they were doing and flocked to his palace. As he told me all of this, he pleasantly interjected other stories as well; for example, he described with a smile the entertaining story of a Mehdi forgery or the frenzy that erupted among the Uzbeks when the idiot prince sent to them by the Safavids as a hostage to peace fell feverishly ill and dropped dead within three days. Even so, I could tell from the shadow that fell across his face that the dilemma to which neither of us referred, but which troubled us both, had yet to be resolved. Naturally, Black, like every young man who frequented our house or heard what others had to say about us, or who knew about my beautiful daughter, Shekure, from hearsay, had fallen in love with her. Perhaps I didn't consider it dangerous enough to warrant my attention back then, but everyone—including many who'd never laid eyes on her—fell in love with my daughter, that belle of belles. Black's affliction was the overwhelming passion of an ill-fated youth who had free access to our house, who was accepted and well liked in our home and who had the opportunity actually to see Shekure. He did not bury his love, as I hoped he would, but made the mistake of revealing his extreme passion to my daughter. As a result, he was forced to quit our house completely. I assumed that Black now also knew how three years after he'd left Istanbul, my daughter married a spahi cavalryman, at the height of her loveliness, and that this soldier, having fathered two boys but still bereft of any common sense, had gone off on a campaign never to return again. No one had heard from the cavalryman in four years. I gathered he was aware of this, not only because such gossip spreads fast in Istanbul, but because during the silences that passed between us, I felt he'd learned the whole story long ago, judging by the way he looked into my eyes. Even at this moment, as he casts an eye at the Book of the Soul, which stands open on the folding X-shaped reading stand, I know he's listening for the sounds of her children running through the house; I know he's aware that my daughter has returned here to her father's house with her two sons. I've neglected to mention the new house I had built in Black's absence. Most likely, Black, like any young fellow who'd set his mind to becoming a man of wealth and prestige, considered it quite discourteous to broach such a subject. Still, when we entered, I told him on the staircase that the second floor was always less humid, and that moving upstairs had served to ease the pains in my joints. When I said “the second floor,” I felt oddly embarrassed, but let me tell you: Men with much less money than I, even simple spahi cavalrymen with tiny military fiefs, will soon be able to build two-story houses. We were in the room with the blue door that I used as the painting workshop in winter, and I sensed that Black was aware of Shekure's presence in the adjacent room. I at once disclosed to him the matter that inspired the letter I'd sent to Tabriz, inviting him to Istanbul. “Just as you did in concert with the calligraphers and miniaturists of Tabriz, I, too, have been preparing an illustrated manuscript,” I said. “My client is, in fact, His Excellency Our Sultan, the Foundation of the World. Because this book is a secret, Our Sultan has disbursed payment to me under cover of the Head Treasurer. And I have come to an understanding with each of the most talented and accomplished artists of Our Sultan's atelier. I have been in the process of commissioning one of them to illustrate a dog, another a tree, a third I've charged with making border designs and clouds on the horizon, and yet another is responsible for the horses. I wanted the things I depicted to represent Our Sultan's entire world, just as in the paintings of the Venetian masters. But unlike the Venetians, my work would not merely depict material objects, but naturally the inner riches, the joys and fears of the realm over which Our Sultan rules. If I ended up including the picture of a gold coin, it was to belittle money; I included Death and Satan because we fear them. I don't know what the rumors are about. I wanted the immortality of a tree, the weariness of a horse and the vulgarity of a dog to represent His Excellency Our Sultan and His worldly realm. I also wanted my cadre of illustrators, nicknamed ”Stork,“ ”Olive,“ ”Elegant' and “Butterfly,” to select subjects of their own choosing. On even the coldest, most forbidding winter evenings, one of my Sultan's illustrators would secretly visit to show me what he'd prepared for the book. “What kind of pictures were we making? Why were we illustrating them in that way? I can't really answer you at present. Not because I'm withholding a secret from you, and not because I won't eventually tell you. It's as though I myself don't quite know what the pictures mean. I do, however, know what kind of paintings they ought to be.” Four months after I sent my letter, I heard from the barber located on the street where we used to live that Black had returned to Istanbul, and, in turn, I invited him to our house. I was fully aware that my story bore a promise of both sorrow and bliss that would bind the two of us together. “Every picture serves to tell a story,” I said. “The miniaturist, in order to beautify the manuscript we read, depicts the most vital scenes: the first time lovers lay eyes on each other; the hero Rustem cutting off the head of a devilish monster; Rustem's grief when he realizes that the stranger he's killed is his son; the love-crazed Mejnun as he roams a desolate and wild Nature among lions, tigers, stags and jackals; the anguish of Alexander, who, having come to the forest before a battle to divine its outcome from the birds, witnesses a great falcon tear apart his woodcock. Our eyes, fatigued from reading these tales, rest upon the pictures. If there's something within the text that our intellect and imagination are at pains to conjure, the illustration comes at once to our aid. The images are the story's blossoming in color. But painting without its accompanying story is an impossibility. “Or so I used to think,” I added, as if regretfully. “But this is indeed quite possible. Two years ago I traveled once again to Venice as the Sultan's ambassador. I observed at length the portraits that the Venetian masters had made. I did so without knowing to which scene and story the pictures belonged, and I struggled to extract the story from the image. One day, I came across a painting hanging on a palazzo wall and was dumbfounded. “More than anything, the image was of an individual, somebody like myself. It was an infidel, of course, not one of us. As I stared at him, though, I felt as if I resembled him. Yet he didn't resemble me at all. He had a full round face that seemed to lack cheekbones, and moreover, he had no trace of my marvelous chin. Though he didn't look anything like me, as I gazed upon the picture, for some reason, my heart fluttered as if it were my own portrait. “I learned from the Venetian gentleman who was giving me a tour through his palazzo that the portrait was of a friend, a nobleman like himself. He had included whatever was significant in his life in his portrait: In the background landscape visible from the open window there was a farm, a village and a blending of color which made a realistic-looking forest. Resting on the table before the nobleman were a clock, books, Time, Evil, Life, a calligraphy pen, a map, a compass, boxes containing gold coins, bric-a-brac, odds and ends, inscrutable yet distinguishable things that were probably included in many pictures, shadows of jinns and the Devil and also, the picture of the man's stunningly beautiful daughter as she stood beside her father. “What was the narrative that this representation was meant to embellish and complete? As I regarded the work, I slowly sensed that the underlying tale was the picture itself. The painting wasn't the extension of a story at all, it was something in its own right. “I never forgot the painting that bewildered me so. I left the palazzo, returned to the house where I was staying as a guest and pondered the picture the entire night. I, too, wanted to be portrayed in this manner. But, no, that wasn't appropriate, it was Our Sultan who ought to be thus portrayed! Our Sultan ought to be rendered along with everything He owned, with the things that represented and constituted His realm. I settled on the notion that a manuscript could be illustrated according to this idea. “The Venetian virtuoso had made the nobleman's picture in such a way that you would immediately know which particular nobleman it was. If you'd never seen that man, if they told you to pick him out of a crowd of a thousand others, you'd be able to select the correct man with the help of that portrait. The Venetian masters had discovered painting techniques with which they could distinguish any one man from another—without relying on his outfit or medals, just by the distinctive shape of his face. This was the essence of ”portraiture.“ “If your face were depicted in this fashion only once, no one would ever be able to forget you, and if you were far away, someone who laid eyes on your portrait would feel your presence as if you were actually nearby. Those who had never seen you alive, even years after your death, could come face-to-face with you as if you were standing before them.” We remained silent for a long time. A chilling light the color of the iciness outside filtered through the upper part of the small hallway window facing the street; this was the window whose lower shutters were never opened, which I'd recently paned over with a piece of cloth dipped in beeswax. “There was a miniaturist,” I said. “He would come here just like the other artists for the sake of Our Sultan's secret book, and we would work together till dawn. He did the best of the gilding. That unfortunate Elegant Effendi, he left here one night never to arrive at home. I'm afraid they might have done him in, that poor master gilder of mine.” I AM ORHAN Black asked: “Have they indeed killed him?” This Black was tall, skinny and a little frightening. I was walking toward them where they sat talking in the second-floor workshop with the blue door when my grandfather said, “They might have done him in.” Then he caught sight of me. “What are you doing here?” He looked at me in such a way that I climbed onto his lap without answering. Then he put me back down right away. “Kiss Black's hand,” he said. I kissed the back of his hand and touched it to my forehead. It had no smell. “He's quite charming,” Black said and kissed me on my cheek. “One day he'll be a brave young man.” “This is Orhan, he's six. There's also an older one, Shevket, who's seven. That one's quite a stubborn little child.” “I went back to the old street in Aksaray,” said Black. “It was cold, everything was covered in snow and ice. But it was as if nothing had changed at all.” “Alas! Everything has changed, everything has become worse,” my grandfather said. “Significantly worse.” He turned to me. “Where's your brother?” “He's with our mentor, the master binder.” “So, what are you doing here?” “The master said, ”Fine work, you can go now' to me.“ “You made your way back here alone?” asked my grandfather. “Your older brother ought to have accompanied you.” Then he said to Black: “There's a binder friend of mine with whom they work twice a week after their Koran school. They serve as his apprentices, learning the art of binding.” “Do you like to make illustrations like your grandfather?” asked Black. I gave him no answer. “All right then,” said my grandfather. “Leave us be, now.” The heat from the open brazier that warmed the room was so nice that I didn't want to leave. Smelling the paint and glue, I stood still for a moment. I could also smell coffee. “Yet does illustrating in a new way signify a new way of seeing?” my grandfather began. “This is the reason why they've murdered that poor gilder despite the fact that he worked in the old style. I'm not even certain he's been killed, only that he's missing. They're illustrating a commemorative story in verse, a Book of Festivities, for Our Sultan by order of the Head Illuminator Master Osman. Each of the miniaturists works at his own home. Master Osman, however, occupies himself at the palace book-arts workshop. To begin with, I want you to go there and observe everything. I worry that the others, that is, the miniaturists, have ended up falling out with and slaying one another. They go by the workshop names that Head Illuminator Master Osman gave them years ago: ”Butterfly,“ ”Olive,“ ”Stork'…You're also to go and observe them as they work in their homes.“ Instead of heading downstairs, I spun around. There was a noise coming from the next room with the built-in closet where Hayriye slept. I went in. Inside there was no Hayriye, just my mother. She was embarrassed to see me. She stood half in the closet. “Where have you been?” she asked. But she knew where I'd been. In the back of the closet there was a peephole through which you could see my grandfather's workshop, and if its door were open, the wide hallway and my grandfather's bedroom across the hall by the staircase—if, of course, his bedroom door were open. “I was with grandfather,” I said. “Mother, what are you doing in here?” “Didn't I tell you that your grandfather had a guest and that you weren't to bother them?” She scolded me, but not very loud, because she didn't want the guest to hear. “What were they doing?” she asked afterward, in a sweet voice. “They were seated. Not with the paints though. Grandfather spoke, the other listened.” “In what manner was he seated?” I dropped to the floor and imitated the guest: “I'm a very serious man now, Mother, look. I'm listening to my grandfather with knit eyebrows, as if I were listening to the birth epic being recited. I'm nodding my head in time now, very seriously like that guest.” “Go downstairs,” my mother said, “call for Hayriye at once.” She sat down and began writing on a small piece of paper on the writing board she'd taken up. “Mother, what are you writing?” “Be quick, now. Didn't I tell you to go downstairs and call for Hayriye?” I went down to the kitchen. My brother, Shevket, was back. Hayriye had put before him a plate of the pilaf meant for the guest. “Traitor,” my brother said. “You just went off and left me with the Master. I did all the folding for the bindings myself. My fingers are bruised purple.” “Hayriye, my mother wants to see you.” “When I'm done here, I'm going to give you such a beating,” my brother said. “You'll pay for your laziness and treachery.” When Hayriye left, my brother stood and came after me threateningly, even before he'd finished his pilaf. I couldn't get away in time. He grabbed my arm at the wrist and began twisting it. “Stop, Shevket, don't, you're hurting me.” “Are you ever going to shirk your duties again and leave?” “No, I won't ever leave.” “Swear to it.” “I swear.” “Swear on the Koran.” “…on the Koran.” He didn't let go of my arm. He dragged me to the large copper tray that we used as a table for eating and forced me to my knees. He was strong enough to eat his pilaf as he continued to twist my arm. “Quit torturing your brother, tyrant,” said Hayriye. She covered herself and was heading outside. “Leave him be.” “Mind your own affairs, slave girl,” my brother said. He was still twisting my arm. “Where are yo