Istanbul View Quotes

And before long, the music, the views rushing past the window, my fathers voice and the narrow cobblestone streets all merged into one, and it seemed to me that while we would never find answers to these fundamental questions, it was good for us to ask them anyway.

To be able to see the Bosphorus, even from afar—for İstanbullus this is a matter of spiritual import that may explain why windows looking out onto the sea are like the mihrabs in mosques, the altars in Christian churches, and the tevans in synagogues, and why all the chairs, sofas, and dining tables in our Bosphorus-facing sitting rooms are arranged to face the view.

Conrad,Nabokov, Naipaul - these are writers known for having managed to migrate between languages, cultures, countries, continents, even civilizations. Their imaginations were fed by exile, a nourishment drawn not through roots but through rootlessness. My imagination however, requires that I stay in the same street, in the same house, gazing at the same view. Istanbul's fate is my fate. I am attached to this city because it has made me who I am.

hüzün, which denotes a melancholy that is communal rather than private. Offering no clarity, veiling reality instead, hüzün brings us comfort, softening the view like the condensation on a window when a teakettle has been spouting steam on a winter’s day. Steamed-up windows make me feel hüzün, and I still love getting up and walking over to those windows to trace words on them with my finger. As I shape words and figures on the steamy window, the hüzün inside me dissipates and I can relax; after I have done all my writing and drawing, I can erase it all with the back of my hand and look outside. But the view itself can bring its own hüzün. It is time to come to a better understanding of this feeling that the city of Istanbul carries as its fate.

I amused myself with mental games in which I changed the focus, deceived myself, forgot altogether what had been troubling me or wrapped in a mysterious haze. We might call this confused, hazy state melancholy, or perhaps we should call it by its Turkish name, hüzün, which denotes a melancholy that is communal rather than private. Offering no clarity; veiling reality instead, hüzün brings us comfort, softening the view like the condensation on a window when a tea kettle has been spouting steam on winters day. Steamed-up windows make me feel hüzün, and I still love getting up and walking over to those windows to trace words on them with my finger. As I trace out words and figures on the steamy window, the hüzün inside me dissipates, and I can relax; after I have done all my writing and drawings, I can erase it all with the back of my hand and look outside. But the view itself can bring its own hüzün. The time has come to move towards a better understanding of this feeling that the city of Istanbul carries as its fate.

Boo-zaa,” he cried when he was back out on the street. As he walked toward the Golden Horn, down a road that felt as if it were descending into oblivion, he remembered the view he’d seen from Süleyman’s apartment. Now he knew what it was that he wanted to tell Istanbul and write on its walls. It was both his public and his private view; it was what his heart intended as much as what his words had always meant to say. He said it to himself: “I have loved Rayiha more than anything in this world.

Now he knew what it was that he wanted to tell Istanbul and write on its walls. It was both his public and his private view; it was what his heart intended as much as what his words had always meant to say. He said it to himself: “I have loved Rayiha more than anything in this world.

and endless inconvenience. But have I not heard you say often that to solve a case a man has only to lie back in his chair and think? Do that. Interview the passengers on the train, view the body, examine what clues there are and then—well, I have faith in you! I am assured that it is no idle boast of yours. Lie back and think—use (as I have heard you say so often) the little grey cells of the mind—and you will know!” He leaned forward, looking affectionately at his friend. “Your faith touches me, my friend,” said Poirot emotionally. “As you say, this cannot be a difficult case. I myself, last night—but we will not speak of that now. In truth, this problem intrigues me. I was reflecting, not half an hour ago, that many hours of boredom lay ahead whilst we are stuck here. And now—a problem lies ready to my hand.” “You accept then?” said M. Bouc eagerly. “C’est entendu. You place the matter in my hands.” “Good—we are all at your service.” “To begin with, I should like a plan of the Istanbul-Calais coach, with a note of the people who occupied the several compartments, and I should also like to see their passports and their tickets.” “Michel will get you those.” The Wagon Lit conductor left the compartment. “What other passengers are there on the train?” asked Poirot. “In this coach Dr. Constantine and I

Great cities invite you to love them in extreme close-up, to love every inch of them. And the more eccentric, convoluted, broken, and uneven they are, the more there is to love. The tenements on the Lower East Side in New York City, the decaying wooden houses above the waterfront in Istanbul, the fading rose-colored buildings in the magical little grid south of the Spanish Steps in Rome, the bombed-out villas near the Vucciria in Palermo—it is precisely the irregularity of these places that allows your heart to get a grip on them, like a climber finding a tiny hold that will not give way. Shimmering Venice has the most beautiful inches of any city in the world. San Francisco cannot compete, because it does not have streets made of water. But it has the next best thing: It has dirt trails. They make this city a place where mystery is measured in soft footsteps, and magic in clouds of dust.

Their imaginations were fed by exile, a nourishment drawn not through roots but through rootlessness. My imagination, however, requires that I stay in the same city, on the same street, in the same house, gazing at the same view. Istanbul’s fate is my fate. I am attached to this city because it has made me who I am.

As early as 1580, Montaigne argued that there was no honor in the emotion he called tristesse. (He used this word even though he knew himself to be a melancholic; years later, Flaubert, likewise diagnosed, would do the same.) Montaigne saw tristesse as the enemy of self-reliant rationalism and individualism. Tristesse, in his view, did not deserve to be set in capital letters alongside the great virtues, Wisdom, Virtue, and Conscience; he approved of the Italian association of tristezza with all manner of madness and injury, the source of countless evils.

With time, life - like music, art and stories - would rise and fall, eventually to end, but even years later, those lives are with us still in the city views that flow before our eyes, like memories plucked from dreams.

In a fascinating extension of the same theme, the Turkish historian I˙lber Ortayı suggests that Mehmet now saw Ottoman Constantinople itself as the “Third Rome”—successor to pagan Rome in Italy and to Eastern Orthodox “Rome” in Constantinople—now an “Islamic Rome” in Istanbul. In this view, Islam did not represent a rejection of Eastern Christianity; rather, in powerful continuity, it picked up and smoothly adopted much of the Eastern imperial tradition from Christianity and integrated it into what would be the world’s biggest and longest-lasting Muslim empire. Empire looms larger than faith in this great transition.

We are on entirely different journeys. They cross the country, they view it and take pictures of it . . . but never walk through its front door. Aren’t I clever, bragging like this, telling myself that I, unlike them, am an authentic traveler!

Dominika. He would see her soon, if nothing went wrong in the next two days. He played in his head what he would say to her in Istanbul. Gable would be hovering, watching them, his big sheepdog head turned into the wind, sniffing. Jesus, he wanted to hold Dominika in his arms, put his hands on her back, and pull her tight against him. If he dis that, Gable would feed him to the lions. He knew, just knew, however, that Dominika would fly into a rage if he fended her off; she had done so before. She was of the view that she could be a spy and still be in love with her CIA handler, whom she desire. And she dis not sympathize one bit with his conundrum that his superiors disapproved of them doing what they both wanted to do. She would see to it he was not fired. If they loved each other, that should be enough. If you love me, then nothing else matters, Dominika had told him. Nate resented being in this situation, resented Benford looking over his shoulder all the time, resented Gable’s acuity, resented Dominika’s damn Russian incorrigibility.

With time, life—like music, art, and stories—would rise and fall, eventually to end, but even years later those lives are with us still, in the city views that flow before our eyes, like memories plucked from dreams.

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New research sheds light on Leonardo’s particular interest in Constantinople. His involvement stemmed partly from the fact that he had been working in Venice – that city umbilically linked to Constantinople for centuries. But the city’s proximity to the Bosphorus also sparked a singular fascination. This was a stretch of water that in c. AD 1506 Leonardo would come to include in his ‘Gaia Scheme’ – a prescient theory about the danger of rising sea-levels and subsequent global, environmental destruction. The single-span bridge designs submitted by Leonardo – although never built – are elegant. A bird’s-eye-view sketch (held at the National Library of France in Paris) shows a crossing with ends fanning out like a swallowtail. In homage to his charming designs one modern Norwegian artist, Vebjørn Sand, has followed the da Vinci Golden Bridge form in wood, so a little piece of a dream of Stamboul now sits in Oslo. One suspects