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When writing is seeing and painting is writing ... The hunter Avni knows what lovers, hunters, and this falcon are painfully aware of through hunting memories: On the stage, the hunter becomes the game; and in the painting, the game becomes the hunter.


From the book “The Consolation of Objects“:

One of the most famous and most buoyant examples of twentieth-century “Turkish art music” that used the verse forms of divan literature is the song “The Road to Baghdad,” in which a woman in love sings, “You’re a hawk, I’m a sparrow, you bored your iron claw into my heart.”
Unfortunately, there is little talk of similar finesse in pictorial depictions of hunting scenes. Looking at August Querfurt’s hunting painting, therefore, it occurred to me that I might once again try what I do in The Black Book and in My Name is Red—and, in fact, in all my novels—namely, to see an art or literary form (the hunting scene as a Western representation of hunting theater) as a kind of theater in which I place traditional Oriental figures.
The museum visitor who compares Querfurt’s horse with the horses in the “Ottomanism” vitrine immediately adjacent to it is, in my eyes, the “ideal visitor.”