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		<TitleText textcase="02">A Long Day's Evening</TitleText>
		
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		<PersonNameInverted>Karasu, Bilge</PersonNameInverted> 
		<NamesBeforeKey>Bilge</NamesBeforeKey> 
		<KeyNames>Karasu</KeyNames> 
		<BiographicalNote>&lt;p&gt;
	Bilge Karasu (1930-1995) was born in Istanbul. Often referred to as "the sage of Turkish literature," during his lifetime he published collections of stories, novels, and two books of essays. Karasu is an influential reference point in the progress of Turkish fiction writing. A perfectionist, a philosopher, and a master of literary arts, he left behind a body of work, which, although intricately woven and at times obscure, skillfully outlines a world unmatched in its crystal clear transparency.&lt;/p&gt;
&lt;p&gt;
	Karasu's novel, &lt;em&gt;Night,&lt;/em&gt; was published in English translation by Louisiana State University Press in 1994 and was awarded the Pegasus Prize for Literature. &lt;em&gt;Death In Troy&lt;/em&gt; is the second of his works translated in English and was published by City Lights in 2002. Karasu's &lt;em&gt;The Garden of Departed Cats&lt;/em&gt;, was published by New Directions in 2004.&lt;/p&gt;</BiographicalNote>
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		<PersonNameInverted>Aji, Aron</PersonNameInverted> 
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		<BiographicalNote>&lt;p&gt;
	Aron Aji, a native of Turkey, has translated works by several Turkish authors in addition to Bilge Karasu including Murathan Mungan, Elif Shafak, Nedim Gursel , and Latife Tekin. He is the recipient of the 2004 National Translation Award for his translation of Karasu's&lt;em&gt; The Garden of Departed Cats&lt;/em&gt;, and a 2006 National Endowment for the Arts Literature Fellowship in support of the translation of &lt;em&gt;A Long Day's Evening&lt;/em&gt;. A member of the American Literary Translators Association, Aji holds a PhD in comparative literature, serves as dean of the college of arts and sciences at St. Ambrose University, and is a visiting professor at the University of Iowa's MFA program in Translation. City Lights has previously published another of Aji’s translations, Karasu’s &lt;em&gt;Death in Troy&lt;/em&gt;.&lt;/p&gt;</BiographicalNote>
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		<PersonNameInverted>Stark, Fred</PersonNameInverted> 
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		<BiographicalNote>&lt;p&gt;
	Fred Stark is an American translator who has resided in Turkey for many years. His translations include works from many of Turkey's most prominent authors, including Bilge Karasu and Murathan Mungan, and he regularly translates commentary and interviews with cultural figures and artists, such as Hale Tenger.&lt;/p&gt;</BiographicalNote>
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		<SubjectHeadingText>gay;lesbian;queer;translation</SubjectHeadingText>
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		<SubjectHeadingText>Fiction</SubjectHeadingText>
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		<SubjectHeadingText>Gay &amp; Lesbian</SubjectHeadingText>
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		<Text language="eng">&lt;p&gt;
	&lt;em&gt;&lt;strong&gt;**A Long Day's Evening &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;has been shortlisted for the 2013 PEN Award in Translation!**&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;
	When Leo III, Emperor of Byzantium outlaws all religious paintings and icons, Constantinople is thrown into crisis. A palace official overseeing the destruction of an image of Christ is murdered by a band of irate women, and an atmosphere of danger grips the city's monasteries, strongholds of icon veneration. Living amidst unacknowledged stirrings of resistance, watching for cues from the other monks, Andronikos is deeply confused about his own beliefs, and fears the consequences of exposing himself. One night he decides to escape, leaving behind his beloved Ioakim, who must confront his own crisis of faith and choose where to place his allegiance. Against a backdrop of religious and political upheaval, the two experience their love as the absence that each becomes for the other. In language that builds to an operatic intensity, the dualities of dogma and faith, custom and law, truth and lies, individual and society, East and West, Byzantium and Rome, are embodied in a story of prohibited love and devotion to the Unseen.&lt;/p&gt;
&lt;p&gt;
	"From 8th century Constantinople to Istanbul in 1960, Karasu's words travel the temporal distance like a flock of storks, flying to a horizon where history intersects with faith, religious and political, and where memory looks and finds meaning. Only a master can choreograph such a difficult journey . . . and Karasu is one. This is a fascinating novel and a pleasure to read." -- Sinan Antoon, author of&lt;em&gt; I'jaam: An Iraqi Rhapsody&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;
	"It might seem odd to find such crafted postmodernist writing coming out of Turkey. [Karasu] is a rare find indeed. Fascinating ... an illuminating transitional work between the work of Turkey's romantic realist Yashar Kemal and contemporary postmodernist Orhan Pamuk. More please." -- &lt;em&gt;Kirkus Reviews&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;
	"One of Turkey's most interesting modern writers." -- &lt;em&gt;Booklist&lt;/em&gt;&lt;/p&gt;
&lt;p&gt;
	&lt;strong&gt;Bilge Karasu&lt;/strong&gt; (1930-1995) was born in Istanbul. Often referred to as "the sage of Turkish literature," during his lifetime he published collections of stories, novels, and two books of essays.&lt;/p&gt;</Text>
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		<Text language="eng">Shortlisted for the 2013 PEN Award in Translation: Turkey's great experimental modernist pens a philosophical novel in three parts about desire, faith, and the psychology of prohibited love.</Text>
	</OtherText> 
	<OtherText>
		<TextTypeCode>08</TextTypeCode>
		<Text>&lt;p&gt;
	" . . . &lt;em&gt;A Long Day's Evening&lt;/em&gt; powerfully illustrates that the tension between the personal spirit and the public imperative is a timeless one. . . . emotionally engaging and intellectually satisfying."&lt;/p&gt;</Text>
		<TextSourceTitle>Hurriyet Daily News</TextSourceTitle>
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		<Text>&lt;p&gt;
	"One might be tempted to read the story of Andronikos and Ioakim as an allegory for the traumas engendered by emerging political identities. In fact, though the reader is asked to sympathize with the weak and idealistic, caught up in struggles waged from above, Karasu's own words betray (perhaps inevitably) an acquiescence to power, whose attempts at 'purity' can shape not just the political domain but also the language with which one encounters the world at large."&lt;/p&gt;</Text>
		<TextSourceTitle>The American Reader</TextSourceTitle>
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		<Text>&lt;p&gt;
	"The 'other' is usually construed as a person or society removed from 'us' by space. But Karasu has chosen to study his ‘other’ across the divide of time, pushing readers to compare the profound identity crises engulfing individuals in ancient Byzantium to those in the early Turkish Republic. In doing so, Karasu shows the futility of separating ourselves from ‘others’ – and the social upheaval that results when we do."&lt;/p&gt;</Text>
		<TextSourceTitle>Timeout Istanbul</TextSourceTitle>
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		<TextTypeCode>08</TextTypeCode>
		<Text>&lt;p&gt;
	"Bilge Karasu, nearly a generation younger than Orhan Pamuk and closer in age to Yashir Kemal, seems in retrospect to be emerging as one of the more interesting Turkish writers of the 2nd half of the twentieth century."- &lt;em&gt;Metamorphoses&lt;/em&gt;&lt;/p&gt;</Text>
		<TextSourceTitle>Metamorphoses</TextSourceTitle>
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		<TextTypeCode>08</TextTypeCode>
		<Text>&lt;p&gt;
	"This unusual novel tells the story of two Byzantine monks during the controversy over icons. . . . gives a vivid glimpse into a little-known period gripped by religious controversy."&lt;br /&gt;
	—Gay &amp; Lesbian Review&lt;/p&gt;</Text>
		<TextSourceTitle>Gay &amp; Lesbian Review</TextSourceTitle>
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		<TextTypeCode>08</TextTypeCode>
		<Text>&lt;p&gt;
	"City Lights has published their second Bilge Karasu novel, &lt;em&gt;A Long Day's Evening&lt;/em&gt;, translated by Aron Aji with Fred Stark. The novel, according to translator Aji’s preface, 'is one of those rare works that alter a nation’s literature.' Karasu, a translator himself, introduced his own peculiar experimentalism to Turkish literature by, for example, not using the conjunction "ve" [and] in the original, superficially because of his stalwart rejection of any vocabulary borrowed from other languages--"ve" comes from Arabic--and, on a deeper level, Aji suggests, because 'the gesture carries an existential significance as well.' The novel recounts the personal consequence of Leo III’s outlawing of all religious paintings and icons on monk Andronikos in the 8th century before ending with a semi-autobiographical short story set in 1960s Istanbul."&lt;/p&gt;</Text>
		<TextSourceTitle>Molossus</TextSourceTitle>
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