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CHAPTER 1 - INTRODUCTION 
27 
the aftermath of the war than to catalogue a handful of works which have remained 
largely unread.
On similar principles I have chosen on the Turkish side to focus on some canonical 
and much read works particularly by Halide Edip Adıvar and Yakup Kadri 
Karaosmanoğlu.
The research has therefore focused on an analysis of canonical works with a view to 
identifying the image each seeks to present. 
I did not expect to find a single “image” in each of the two literatures. For one thing 
new works continued to be produced in each language and more interestingly the 
very early works were reedited with known linguistic and substantive alterations. It 
was therefore necessary to examine successive editions and, where possible, 
manuscript material to establish authorial variants. The purpose would be to see 
whether change in the image of the events of 1919-24 has been affected by 
subsequent history and if so in what respects. With regard to manuscript material 
Venezis’s personal archive is deposited in the Gennadius Library in Athens. This 
contains very little from his early period and no manuscripts of his novels; the 
Myrivilis archive, also in the Gennadius Library, does include copies of the Mytilini 
newspaper 
Καμπάνα
(Bell), edited by Myrivilis himself, in which both his own 
Zωή 
εν Τάφω
(Life in the Tomb) and Venezis’s 
Το Νούμερο 31328
(The Number 31328) 
were first serialised. Yakup Kadri’s very extensive archive has been deposited at 

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CHAPTER 1 - INTRODUCTION 
28 
Bilgi University in Istanbul where I have located manuscripts both of approximately 
the last third of 
Yaban
and of the last pages of his 
Ateşten Gömlek
42
.
Connected with the questions surrounding the formation and evolution of the canon 
are questions connected with its reception. I have considered critical writing on the 
relevant works between their publication and the present day to establish how they 
were read from time to time and also to consider the extent to which these readings 
are valid and complete. Two examples: critical comment on Venezis in Greek has 
made much of his supposed Christian piety; yet the most scornful writing in 
Number 
31328
is reserved for the priesthood. Karaosmanoglu’s 
Yaban,
meanwhile, was 
initially criticised for its allegedly disdainful view of the Anatolian peasant and has 
at all times been described as depicting the vast gulf between him and the educated 
visitor from Istanbul. In general critics have read the novel as a “realistic” depiction 
of village life and have overlooked in this regard the relevance of the nearly 
deranged narrator. Furthermore, while the temporal connexion between the 
publication of the novel and Yakup Kadri’s activity in the Kadro movement has been 
noted, the possibility that the novel is in part a doubting commentary on the 
modernisation of the Kemalist period, a reading suggested by his next novel, 
Ankara
, 
has not been given enough attention. Nor has the connexion of the novel with the 
selection of his wartime articles which Yakup Kadri published as 
Ergenekon 
has 
been much discussed. 
42
In Chapters 5, 7 and 8, and Appendices 1, 2 and 4 

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