Madonna in a Fur Coat (1943, English
version 2016) is set in in Germany in the early 1920s and in Turkey in 1941.
In Istanbul, Turkey, the narrator has
been sacked from his bank job. Unemployed, he meets his long-time friend Hamdi,
who secures him a clerical job. At Hamdi’s place of employment, the narrator
shares an office with the German translator Raif Efendi.
The narrator is struck by Efendi’s
presence: ‘’Of all the people I have chanced upon in life, there is no one who
has left a greater impression.’’ But others workers despise Efendi because he
is quiet and a loner, adept at character sketches of people at work, which he
draws secretly.
Raif Efendi is constantly absent from
work through pleurisy, an inflammation of the lungs. To understand his illness,
and the man, the story goes back 20 years, when, at age 24, Efendi was living
in Berlin.
Efendi attends an art exhibition: ‘’I
cannot describe the torrent that swept through me in that moment. I only
remember standing, transfixed, before a portrait of a woman wearing a fur coat
… She was a swirling blend of all the women I had ever imagined.’’ He refers to
the woman as Madonna in a Fur Coat – ‘’the pale, long-nosed, dark-eyed woman
draped in the skin of a wildcat.’’
Through Efendi’s diary notes, the
woman is revealed: her name, her profession, her character, and the indelible
impact she had on him. It is the woman that has shaped his life and character
from that moment in the early 1920s for the next 20 years. And it is this that
spellbinds the narrator as the bond with Efendi strengthens between them.
This novel, though set in a specific
period and location, is timeless in its themes of desire, love, obsession,
imagination, and the ties that bind people together. It is also of the
fragility of these connections, and the swiftness that tears them apart, not so
much by people’s actions, but by their inactions. It’s quite an interesting novel.
MARTINA NICOLLS
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MARTINA NICOLLS is an international human rights-based consultant in education, healing and wellbeing, peace and stabilization, foreign aid audits and evaluations, and the author of: The Paris Residences of James Joyce (2020), Similar But Different in the Animal Kingdom (2017), The Shortness of Life: A Mongolian Lament (2015), Liberia’s Deadest Ends (2012), Bardot’s Comet (2011), Kashmir on a Knife-Edge (2010) and The Sudan Curse (2009).
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