Madonna in a Fur Coat

Madonna in a Fur Coat

by Sabahattin Ali, Alexander Dawe, Maureen Freely

Narrated by Robert Fass

Unabridged — 6 hours, 20 minutes

Madonna in a Fur Coat

Madonna in a Fur Coat

by Sabahattin Ali, Alexander Dawe, Maureen Freely

Narrated by Robert Fass

Unabridged — 6 hours, 20 minutes

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Overview

A shy young man leaves his home in rural Turkey to learn a trade in 1920s Berlin. The city's crowded streets, thriving arts scene, passionate politics and seedy cabarets provide the backdrop for a chance meeting with a woman, which will haunt him for the rest of his life. Emotionally powerful, intensely atmospheric and touchingly profound, Madonna in a Fur Coat is an unforgettable novel about new beginnings and the unfathomable nature of the human soul.

Editorial Reviews

Publishers Weekly

09/25/2017
Appearances are not what they seem in Ali’s rich novel, first published in Turkey in 1943 and only now appearing in the U.S. A 25-year-old narrator introduces readers to his fellow Turkish clerical worker, Raif Efendi, a somewhat sickly milquetoast whose rich inner life is hinted at in an evocative sketch he draws of their co-worker. After seeing the artwork, the narrator and Efendi—who supports a household of unappreciative relatives on a meager translator’s salary—become close. A deeper story unfolds when Efendi allows the narrator to read a private notebook that documents his strange and wonderful relationship with Maria Puder, a mysterious artist he met in Berlin in 1923. Ali explores Maria and Efendi’s complex relationship through Maria’s thoughts on the metaphorical and physical boundaries of love, the expectations placed on men and women, the roles they take up or discard, and the choices people make when they are looking for a meaningful relationship. The narrator comes to understand that the outward appearance of Efendi’s life as numb and unsatisfying belies its unimaginable depths of feeling and vulnerability. This fascinating story veers in surprising and revealing directions. (Nov.)

From the Publisher

INTERNATIONAL BESTSELLER

“[Madonna in a Fur Coat] shows that the doors to freedom slam quickly, but are only opened by courage, nonconformity, and love.” —Molly Crabapple, New York Times Book Review

“[A] profound, moving meditation on love and loss…. ‘It is read, loved and wept over by men and women of all ages, but most of all by young adults,’ writes Maureen Freely, who, with Alexander Dawe, has produced this stylish English translation now coming to the United States. ‘And no one seems able to explain why.... Though writing more than 70 years ago in a country where traditional sexual morality reigned, Ali casts his lovers’ relationship in strikingly modern terms.’” —Washington Post

“…captures the vibrancy of interwar Berlin through the story of a young man who leaves his rural village for the big city.” —New York Times Book Review

“This emotional Turkish classic reminds us to always treasure those we hold dear….poignant…. Sabahattin Ali tells a passionate tale of emotional isolation, newfound intimacy, and the gut-wrenching intensity of love and loss. Ali expertly weaves a tragic story of loneliness, love, and grief, giving us a glimpse of spiritual isolation. Readers are pulled into the monotonous and lonely life of Raif Efendi, where they are sure to experience his acute alienation, his happiness upon finding a person who understands him so completely, and the pain and resentment caused by an ironic misunderstanding. This classic tale causes us to examine what our own lives would be like without the people we cherish.” —Washington Independent Review of Books

“A poignant coming-of-age tale, drenched in disillusionment. The gap between hope and reality, art and ordinary life, has been explored in many other novels, but rarely with the unaffected simplicity of Madonna in a Fur Coat ...The translation by Maureen Freely and Alexander Dawe is crisp, capturing Ali’s directness and clarity of language.” —Times Literary Supplement

“Three quarters of a century after it was written Madonna in a Fur Coat by Sabahattin Ali feels both dated and timeless; dated because strong, independent women are no longer a rarity and contemporary gender roles are more fluid, and timeless as the ideal of a love without ulterior motives, the theme of missed opportunities, and the psychology of the principle characters—all of which are conveyed in crisp contemporary English by translators Maureen Freely and Alexander Dawe….Madonna in a Fur Coat is an enjoyable read. During the Cold War it was popular behind the Iron Curtain, and now that western countries are beginning to resemble Weimar Germany it should resonate here as well.” —New York Journal of Books

 “Sabahattin Ali's heartbreaking novel Madonna in a Fur Coat spins a beguiling love story…. With perceptiveness and compassion, Ali depicts the sexual politics of the time and the heady tension between his male and female characters. "Why is it that even in the way you beg, there is dominance, and pity in the way we refuse?" Maria asks Raif in what becomes a powerful monologue on female empowerment. In equal measure, Ali explores preconceptions of masculinity through Raif's vulnerability and his capacity for intimacy. Relationships are endangered, he shows, by misunderstanding and misjudgment more than malice…. English translation conveys the author's emotional intelligence and crisp lyricism. Its sad tinge of fatalism belies its deeper, more dynamic aspects. Love both tortures and redeems the soul. …a compelling and tragic love story between a Turkish man and German woman.” —Shelf Awareness (starred)

 “Finally available in English, this 1943 Turkish classic from a journalist twice imprisoned for his political views limns the emotionally wrought relationship between a reserved young Turkish man and an unconventional woman artist in interwar Berlin…Ali’s affecting story of love and loss is both timeless and grounded in its distinctive setting, with sometimes old-fashioned charm that will appeal to many readers.” —Library Journal

“Appearances are not what they seem in Ali’s rich novel, first published in Turkey in 1943 and only now appearing in the U.S…Ali explores Maria and Efendi’s complex relationship through Maria’s thoughts on the metaphorical and physical boundaries of love, the expectations placed on men and women, the roles they take up or discard, and the choices people make when they are looking for a meaningful relationship. The narrator comes to understand that the outward appearance of Efendi’s life as numb and unsatisfying belies its unimaginable depths of feeling and vulnerability. This fascinating story veers in surprising and revealing directions.” —Publishers Weekly

“Ali (1907–48), a dissident Turkish writer imprisoned and later, it is believed, murdered by the state, originally published this then largely overlooked love story in 1943. Decades later, it holds a place on Turkey’s best-seller lists, arguably in response to the recent government crackdown on civil liberties. Available in English in the U.S. for the first time, Ali’s memorable novel explores fatalism and the complications of temperament, family ties, and unconventional love.” —Booklist 

 “Madonna in a Fur Coat follows a young, fragile Turkish man’s love for a charismatic German artist…Like Sabahattin Ali, he is a dreamy young man in love with books and is considered a failure by people whose cruelties towards the less fortunate he never fails to see… With a few masterly brush strokes, Ali draws a portrait of New Turkey’s model middle-class family.” —Believer Magazine
 
"Emotionally powerful, intensely atmospheric and touchingly profound, MADONNA IN A FUR COAT is an unforgettable novel about new beginnings, the relentless pull of family ties, and the unfathomable nature of the human soul." —Bookreporter
“Very, very romantic, coming of age novel… for someone who likes a big epic [book]” —WNYC The Brian Lehrer Show
 
“A latter-day Sorrows of Young Werther.Asian Review of Books

“A simple yet gorgeously written love story about a shy, cynical young man named Raif, who is sent by his father to Berlin to learn the scented soap-making trade… It seems to me that that which inspires a younger generation to read, en masse, a seventy year-old book is the same thing that inspires them to fill the streets.” —Tin House

Ali is Turkey’s best-known writer, the centerpiece, really, of one of the greatest literary traditions most people have never heard of: the Turkish Republican period.
“Exquisitely translated, perfectly captures the style and rhythm of this gripping love story.” Selçuk Altun, internationally bestselling author of The Sultan of Byzantium

“The account of a tender, doomed romance written by Ali, a Turk who was dangerously political and died mysteriously in 1948, is set in 1920s Berlin. Delicate and poignant, it weaves quite a spell.” —Irish Times

“Following a recent revival of his reputation, [Ali] is today one of Turkey’s best-loved writers, his books selling in the hundreds of thousands every year. . . Madonna in a Fur Coat is Ali’s most famous novel and has topped the country’s bestseller list for the past three years. . . Its prose sparkles with the friction between eastern conservatism and western decadence. This is above all a tale of young love and disenchantment, of missed opportunities and passion’s elusive, flickering flame. . . a little reminiscent of Turgenev’s First Love, with a hero every bit as gauche, and a twist every bit as bitter.” —Financial Times

“The surprise bestseller … read, loved and wept over by men and women of all ages, but most of all by young adults. And no one seems able to explain quite why.” —Guardian

“A heart-breaker … it has the kind of indefinably powerful impact of The Great Gatsby.” —Observer

 “Moving and memorable, full of yearning and melancholy.” —The Times (UK)

 “Offsets inter-war Berlin’s decadent dazzle with bouts of shade, murk and melancholy ... recreates a vanished era and dramatizes a doomed relationship, and does so with verve, depth and poignancy. The result is a miniature masterpiece.” —The National

“…an exquisitely precise rendering of what life was like in Berlin in the 1920s, prior to the worst of what would be the brutally inevitable march into World War II…. [a] moving ending…. Where the book is really beautiful is in its own portrait: that of a repressed young man trying to be more than what he is, through the agency of a beautiful, impulsive woman’s soul." —Huffington Post

 “This was beautiful in all its layers.” —Bookriot

“[e]ntrancing” —Signature Reads "Most Overlooked Books of 2017"

“It is an advent calendar of surprises. Maria’s assessment that Raif is a little girl offers a much more calm, interesting gender meditation than any D. H. Lawrence riff…. Madonna reminded me of some of the most lasting interwar novels. Ali offers the story of what continues to be a small miracle—a man and a woman from different cultures, languages, and religions meet and fall in love. More importantly, they understand each other.” —The Paris Review, Staff Picks

 “Passionate but clear . . . Ali’s success [is in] his ability to describe the emergence of a feeling, seemingly straightforward from the outside but swinging back and forth between opposite extremes at its core, revealing the tensions that accompanies such rise and fall.” —Atilla Özkirimli, writer and literary historian

“Madonna in a Fur Coat is an intriguingly appealing spin on the usual sort of (lost-) love story.” —Complete Review 

“The story takes its time, first introducing its central character first through the eyes of a co-worker, then from their own perspective. It’s emotional, rich, honest, and told with tender care and reverence for its characters.” —My Subscription Addiction

“Sabahattin Ali’s Madonna in a Fur Coat was released in English a few years ago, and it’s brilliant.” —Elif Shafak, Booker Prize nominee for 10 Minutes 38 Seconds in This Strange World

Library Journal - Audio

05/01/2018
Originally published in 1943, this novella is considered by some to be the best in Turkish literature. Poet, journalist, and novelist Ali, born in southern Bulgaria, was killed trying to leave Turkey in 1948. Here, Raif Bey, sent to Germany by his father to learn the soap-making trade, is more interested in learning German and reading novels. Shy and a bit of a daydreamer, he wanders one day into a museum and is quite taken with a painting, Madonna in a Fur Coat. By chance, he meets the artist, Maria Puder, and quickly falls in love with her. A platonic relationship quickly becomes more, at least for Raif. Even after he returns home to Turkey, marries, and has children, he continues to long for Maria. They never meet again, although he tries to find her. The story, tender and sentimental, is a worthwhile listen. An excellent audio production, well narrated by Robert Fass. VERDICT This is not an essential purchase for most collections but would be a good addition for libraries with extensive audiobook holdings. ["Ali's affecting story of love and loss is both timeless and grounded in its distinctive setting, with sometimes old-fashioned charm that will appeal to many readers": LJ 9/1/17 review of the Other Pr. hc.]—Michele Lauer-Bader, formerly with Half Hollow Hills Community Lib., Dix Hills, NY

Library Journal

09/01/2017
Finally available in English, this 1943 Turkish classic from a journalist twice imprisoned for his political views limns the emotionally wrought relationship between a reserved young Turkish man and an unconventional woman artist in interwar Berlin. The novel starts somewhat slowly as a narrator introduces us to his colleague Raif Efendi, invisible at work and used badly at home. But when Raif takes over the narration, explaining that as a young man he traveled to Berlin to learn a new language and see the larger world, the story picks up speed, depth, and flair. To a naïf from the Turkish countryside, the 1920s Berlin intimately detailed here initially proves overwhelming. At an art exhibit, he is enthralled by the portrait of a woman in a fur coat, then meets and falls for artist Maria Puder herself. Maria has strong views about men and relationships that will resonate with contemporary readers, and her affair with Raif unfolds cautiously. But their long-term plans are thwarted when they fail to reconnect after Raif is called back to Turkey, and his heartbreak is moving and palpable. VERDICT Ali's affecting story of love and loss is both timeless and grounded in its distinctive setting, with sometimes old-fashioned charm that will appeal to many readers.

Product Details

BN ID: 2940170156580
Publisher: HighBridge Company
Publication date: 11/07/2017
Edition description: Unabridged

Read an Excerpt

CHAPTER 1

Of all the people I have chanced upon in life, there is no one who has left a greater impression. Months have passed but still Raif Efendi haunts my thoughts. As I sit here alone, I can see his honest face, gazing off into the distance but ready, nonetheless, to greet all who cross his path with a smile. Yet he was hardly an extraordinary man. In fact, he was rather ordinary, with no distinguishing features — no different from the hundreds of others we meet and fail to notice in the course of a normal day. Indeed, there was no part of his life — public or private — that might give rise to curiosity. He was, in the end, the sort of man who causes us to ask ourselves, "What does he live for? What does he find in life? What logic compels him to keep breathing? What philosophy drives him as he wanders the earth?" But we ask in vain if we fail to look beyond the surface — if we forget that beneath each surface lurks another realm, in which a caged mind whirls alone. It is, perhaps, easier to dismiss a man whose face gives no indication of an inner life. And what a pity that is: a dash of curiosity is all it takes to stumble upon treasures we never expected. That said, we rarely seek that which we do not expect to find. Send a hero into a dragon's den, and his task is clear. It is a hero of another order who can summon up the courage to lower himself into a well of which we have no knowledge. Certainly this was not the case for me: if I came to know Raif Efendi, it was happenstance, pure and simple.

After losing my modest post in a bank — I am still not sure why; they said it was to reduce costs, but within the week they had hired someone else — I spent a long time seeking work in Ankara. My meager savings kept me going through the summer, but as winter approached, I knew that my days of sleeping on friends' sofas would soon come to an end. My restaurant ration card was to expire within the week, and even this I could not afford to renew. Every failed job application drained me of all hope, even when I knew from the outset that my chances were nil. Cut off from my friends, I would go from shop to shop seeking work as a salesman; rejected by them all, I would wander the streets in despair for half the night. From time to time, my friends would invite me over for supper, but even as I sat there, enjoying their food and drink, the fog refused to lift. And here was the strangest thing: the more my situation worsened, the less I could be sure of surviving from one day to the next, the greater my shame and my reluctance to ask for help. I would see a friend in the street — a friend who in the past had been more than willing to suggest where else I might look for work — and I would rush past him, head bowed. I was even different with friends whom I had openly asked for food, or happily borrowed money from. When they asked me how I was doing, I would flash an awkward smile and say, "Not bad ... I keep finding bits of work to do, here and there." With that, I'd take my leave. The more I needed my friends, the more I longed to run away.

One evening, I was ambling along the quiet road between the station and the Exhibition Hall, breathing in the beauties of an Ankara autumn, in the hope that they might lift my heart. The sun reflected in the windows of the People's House had punctured this white marble building with holes the color of blood; hovering over the pine saplings and the acacia trees was a cloud of smoke that might also have been steam or dust, while a group of bedraggled workers returning from some construction site or another moved in hunchbacked silence over the skid-marked tarmac ... And everything in this scene seemed content to be where it was. All was well with the world. All was in its proper place. There was, I thought, nothing more I could do. Just then a car sped past me. Glancing at the driver, I thought I recognized him. The car came to a halt a few paces ahead, and the door flew open. Leaning out of the window was my old classmate Hamdi, calling out my name.

I went over to him.

"Where are you off to?" he asked.

"Nowhere. I'm just out for a stroll."

"Get in, then. Let's go to my house!"

Without waiting for an answer, he ushered me into the seat next to him. Along the way he told me he was on his way home from a tour of a number of factories owned by the firm he now worked for. "I sent a telegram back to the house to let them know when to expect me. So they'll have the place ready for me. Otherwise I'd never have dared to invite you over!" I laughed.

Time was when Hamdi and I had seen a great deal of each other, but since losing my job I'd not seen him at all. I knew him to be making a good living as an assistant director of a firm that traded in machinery but also involved itself in forestry and timber. And that was precisely why I had not sought him out after losing my job: I feared that he might think I'd come asking for a loan, not a job.

"Are you still at that bank?" he asked.

"No," I said, "I left."

He looked surprised. "So where are you working now?"

Halfheartedly, I said, "I'm unemployed!"

He turned to look me over, taking note of the condition of my clothes, and then, as if to let me know he did not regret inviting me back to his house, he smiled and gave me a friendly pat on the back. "Don't worry, we'll talk it over tonight and figure something out!"

He seemed so confident, so pleased with himself. He could now, after all, enjoy the luxury of helping his friends. How I envied him!

His house was small but charming, his wife homely but amiable. Without embarrassment, they kissed each other. Then Hamdi left me to go and wash.

He had not introduced me formally to his wife, so I just stood there in the sitting room, uncertain what to do. Meanwhile, his wife lingered in the doorway, furtively watching me. She seemed to be considering something. Most probably, she was wondering if she should invite me to sit down. Changing her mind, she sidled away.

I asked myself why it was that Hamdi had left me hanging like this, for I had always known him to be fastidious about such things — if anything, too fastidious — believing, as he did, that attentiveness was a necessary ingredient of success. It was, perhaps, a quirk accorded to those who had risen to positions of importance — to be deliberately inattentive in the presence of old (and less successful) friends. To take on a humble, fatherly tone with friends you have always addressed with some formality, to feel entitled to interrupt them midflow with some meaningless question, most often with a soft and compassionate smile ... I'd had so much of this in recent days that it did not even occur to me to be angry with Hamdi. All I wanted was to put this irksome situation behind me. But at just this moment an old village woman padded in, wearing a head scarf, a white apron, and much-darned black socks, and bearing coffee. So I sat down on one of the armchairs — midnight blue, embroidered in silver — and looked around. On the wall were photographs of relatives and film stars; on the bookshelf that clearly belonged to the wife, there sat a number of cheap novels and fashion magazines. Stacked beneath a side table were a few albums that looked to have been well leafed through by visitors. Not knowing what else to do, I picked up one of them, but before I could open it, Hamdi appeared at the door. He was combing his wet hair with one hand while buttoning up his shirt with the other.

"So, now," he said. "Bring me up to date."

"There's nothing to say, really, beyond what I've already told you."

He seemed pleased to have run into me. Perhaps because it gave him a chance to show me how well he'd done, or because, when he looked at me, he was so glad he wasn't like me. When misfortune visits those who once walked alongside us, we do tend to feel relief, almost as if we believe we have ourselves been spared, and as we come to convince ourselves that they are suffering in our stead, we feel for these wretched creatures. We feel merciful. This was more or less the tone Hamdi took when he asked, "Are you still writing?"

"Now and again ... Some poetry, some stories ..."

"But tell me, is there ever any profit in such things?"

Again, I laughed. Whereupon he said, "You really have to stop, my friend!" and went on to lecture me about how, if I wanted to be successful, I had to start being practical, and how empty pursuits like literature could do nothing but harm once your schooldays were behind you. He spoke to me as if I were a child, never considering that I might have something to say, indeed to argue, in response, and he did not shy away from making it clear that it was success that had given him his courage. Meanwhile I just sat there, hiding behind a smile that I was sure must look very foolish and only served to add to his confidence.

"Come and see me tomorrow morning!" he said now. "We'll see if we can figure something out for you. You have a good brain in that head of yours. You were always pretty lazy, too, but that's not important. Experience is the best teacher! ... Don't forget now. Get there early."

He seemed to have forgotten that he himself had been one of the laziest boys in the school. Or else he was taking liberties, knowing that I was not about to challenge him.

As he made to rise from his chair, I jumped up and offered him my hand. "If you'll excuse me," I said.

"Why so early, my friend? Oh, well, you know best."

Only then did I remember that he'd invited me to supper. But it seemed to have slipped his mind entirely as well. I made for the door. As I took my hat, I said, "Please pass on my respects to your wife!"

"Oh, I shall, I shall. And don't you forget to come in and see me tomorrow! In the meantime, don't be downhearted!" he said, and he patted me on the back.

Darkness had well and truly fallen by the time I left the house. The streetlamps were glowing. I took a deep breath. There was dust in the air, but to me it felt wondrously clean and calming. I took my time walking home.

Late the next morning, I went to Hamdi's office — even though I'd had no intention of doing so when leaving his house the previous evening. He had not, after all, made a firm offer. Everyone else I'd asked for help had sent me off with the same trite words: "Let's see what we can come up with, let's see what we can do." Nevertheless, I went. It wasn't hope that drove me so much as the desire to see myself insulted. I was more or less telling myself, "You sat there in silence last night and let him play the patron, didn't you? Well, then, you're going to see this through to the bitter end, for this is what you deserve."

The porter took me first to a small waiting room. When I was ushered into Hamdi's office, I could feel that same foolish smile on my face, and I hated myself even more.

Hamdi was occupied with the stack of papers on his desk, and with the managers rushing in and out of his office. Directed to a chair with a peremptory nod, and lacking the courage to shake his hand, I went to sit down. My confidence had ebbed to the point that I felt as dazed as if he were a real boss, showing me my place, and at the same time I genuinely accepted this treatment as normal. What a great gulf had grown between my old classmate and me since he'd invited me into his car, just over twelve hours ago! How absurd they were, the games we played in the name of friendship; did empty, artificial jockeying of this sort bear any relation whatsoever to the real thing?

Neither Hamdi nor I had changed since yesterday evening. We were who we were. But having discovered a few things about each other, we had allowed these minute details to send us on diverging paths. The strangest thing was that we both accepted this change in our relations, and even found it natural. I felt anger neither at him nor at myself. All I wanted was not to be here.

"I've found you a job!" he announced. Looking straight at me, with those brave, sincere eyes of his, he added, "I mean, I invented a job. It won't be very taxing. You'll keep track of our dealings with various banks, and especially our own bank ... You'll be something along the lines of a liaison clerk, coordinating the firm's dealings with banks ... And when there's nothing else to do, you can see to your own business ... Write as many poems as you please ... I've spoken to the director, and we can take you on ... except that we can't offer you much at the moment: forty or fifty liras. We'll raise your salary later, of course. So let's get going! Success awaits us!"

Without bothering to stand up, he extended his hand. I did the same and thanked him. In his face I could see how thoroughly pleased he was to have been in a position to help me. I thought then that he was not a bad fellow, actually — he had only acted in keeping with his station, and perhaps this had been genuinely necessary. But there was a moment after I left his office when I was not a little tempted to leave this place at once instead of proceeding to the room he had indicated. But in the end I went shuffling down the corridor, head bowed, asking the first porter I saw if he could show me the way to Raif Efendi's office. He waved at a door and moved on. Again, I stopped. Why couldn't I just leave? Was I incapable of giving up a salary of forty liras? Or was I afraid of having been seen to offend Hamdi? No! I had been out of work for months now. I would leave this place with no prospects, and no idea where to go ... and stripped of all courage. These were the thoughts that kept me in this dim corridor, waiting for a porter to show me the way.

In the end I peeked through a random door and saw Raif Efendi inside. I'd never met him before. Nevertheless, when I saw this man bowed over his desk, I knew it had to be him. Later, I wondered how I'd made my deduction. Hamdi had said, "I've arranged for you to have a desk in our German translator Raif Efendi's room. He's a simple man, and a very quiet one, too. Entirely harmless." At a time when everyone else had moved on to addressing each other as Mr. and Mrs., he was still known as Raif Efendi. It was, perhaps, the image conjured up by this description that told me this gray-haired, stubble-faced man with tortoiseshell glasses must be him. I walked in.

He raised his head to look at me with daydreaming eyes, whereupon I said, "You must be Raif Efendi."

For a moment he looked me over. Then, in a soft and almost fearful voice, he said, "Yes. And you must be the new clerk. They just came in now to set up your desk. Welcome! Do come in!"

I went to sit down at my desk. I examined the scratches and faint ink stains on its surface. What I longed to do, as is customary when sitting across from a stranger, was to size him up, and with stolen glances to form my first — and of course, mistaken — impressions. But he, I saw, had no such desire; he just bent down over his work and continued as if I weren't even there.

This continued until noon. By now I was staring at him openly, and without fear. He kept his hair cut short, and it was thinning at the top. The skin between his neck and his small ears was wrinkled. His long, thin fingers wandered from document to document as he conducted his translations without any sign of impatience. From time to time he'd raise his eyes, as if in search of the right word and, when our eyes met, he'd offer me something akin to a smile. Though he looked like an old man when viewed from the side, or from above, he looked enchantingly, and childishly, innocent when he smiled. His clipped blond mustache only added to the effect.

On my way out to eat, I saw him open a desk drawer to pull out a food container and a piece of bread wrapped in paper. "Bon appétit," I said, and left the room.

(Continues…)



Excerpted from "Madonna in a Fur Coat"
by .
Copyright © 1943 Sabahattin Ali.
Excerpted by permission of Other Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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