PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
KEMAL BASMACI’S OBSESSIVE LOVE AS REFLECTED THROUGH HIS ATTITUDE AND BEHAVIOR IN ORHAN PAMUK’S THE MUSEUM OF INNOCENCE
TITLE PAGE
AN UNDERGRADUATE THESIS
Presented As Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters
By:
ANASTASIA MERYLIN DIMITRIA
Student Number: 094214096
ENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2016 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
KEMAL BASMACI’S OBSESSIVE LOVE AS REFLECTED THROUGH HIS ATTITUDE AND BEHAVIOR IN ORHAN PAMUK’S THE MUSEUM OF INNOCENCE
AN UNDERGRADUATE THESIS
Presented As Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters
By:
ANASTASIA MERYLIN DIMITRIA
Student Number: 094214096
ENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2016 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
A Sarjana Sastra Undergraduate Thesis
KEMAL BASMACI'S OBSESSIVE LOVE AS REFLECTED THROUGH IDS ATTITUDE AND BEHAVIOR IN ORBAN PAMUK'S THE MUSEUM OFINNOCENCE
Approved by ~A Dr. FX. aIM. June 8, 2016 Advisor
June 8,2016
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A Sarjana Sastra Undergraduate Thesis
KEMAL BASMACI'S OBSESSIVE LOVE AS REFLECTED THROUGH HIS ATTITUDE AND BEHAVIOR IN ORBAN PAMUK'S THE MUSEUM OFINNOCENCE
By ANASTASIA MERYLIN DIMITRIA Student~urnber:094214096
Defended before the Board ofExaminers On June 20, 2016 And Declared Acceptable
BOARD OF EXAMINERS
Name Signature ~
Chairperson : Dr. F.X. Siswadi, M.A. Secretary : Dra. A. B. Sri Mulyani, MA, Ph.D. Member 1 : Th. Enny Anggraini., M.A., Ph.D. Member 2 : Dr. F.X. Siswadi, M.A. Member 3 : Dr. Gabriel Fajar Sasmita AjL M. Hum.
Yogyakarta, June 30, 2016 Faculty ofLetters ata Dharma University Dean
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STATEMENT OF WORK'S ORIGINALITY
I certify that this undergraduate thesis contains no material which has been previously submitted for the award ofany degree at any university, and that, to the best of my kriowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of the undergraduate thesis.
Yogyakarta,
Anastasia Merylin Dimitria
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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Sanata Dharma:
Nama : Anastasia Merylin Dimitria
Nomor Mahasiswa : 094214096
Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul:
KEMAL BASMACI'S OBSESSIVE LOVE AS REFLECTED THROUGH HIS ATTITUDE AND BEHAVIOR IN ORHAN PAMUK'S THE MUSEUM OFINNOCENCE
Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam betuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dati saya maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal 7 Juni 2016
(Anastasia Merylin Dimitria)
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MOTTO PAGE There can be Miracles when you Believe…
MOTTO PAGE
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DEDICATION PAGE
I dedicated this thesis
to those I share my heart and soul with
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ACKNOWLEDGEMENTS
My biggest gratitude belongs to The Higher Power of the Universe that blesses my life through the people and things I share my life with.
I would like to express my gratitude to my thesis advisor, Dr. FX. Siswadi,
M.A., as his guidance and patience greatly help me finishing this undergraduate thesis. I also thank Dr. Gabriel Fajar Sasmita Aji, M. Hum for giving me valuable advice and suggestion to improve my undergraduate thesis. I sincerely also thank my academic advisor, Dr. Bernardine Ria Lestari, M.S for supporting me throughout my study. My special thanks go to all the secretariat staff and Self-
Access Center staff as they help me daily during my time in the college.
I would love to give a tribute to my family, especially my dad, my mom, and my sister, as they thoroughly and wholeheartedly love and support me during those happy as well as hard times.
I thank the love of my life, Ka and my diversion, for the happiness we share. Without them by my side, my life will not be as fun.
I also thank Maria and Sari for the smile they give in those short periods of time. To all 2009 girls and boys, especially those belong to the D class, I am thankful for the cooperation and friendship.
Anastasia Merylin Dimitria
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TABLE OF CONTENTS
TITLE PAGE ...... i APPROVAL PAGE ...... ii ACCEPTANCE PAGE...... iii STATEMENT OF ORIGINALITY ...... iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ...... v MOTTO PAGE ...... vi DEDICATION PAGE...... vii ACKNOWLEDGEMENTS...... viii TABLE OF CONTENTS...... ix ABSTRACT...... xi ABSTRAK ...... xii
CHAPTER I : INTRODUCTION ...... 1 A. Background of the Study...... 1 B. Problem Formulation ...... 4 C. Objectives of the Study...... 5 D. Definition of Terms ...... 5
CHAPTER II : THEORETICAL REVIEW ...... 7 A. Review of Related Studies...... 7 B. Review of Related Theories...... 9 C. Theoretical Framework...... 21
CHAPTER III : METHODOLOGY ...... 23 A. Object of the Study...... 23 B. Approach of the Study ...... 23 C. Method of the Study ...... 24
CHAPTER IV : ANALYSIS ...... 26 A. The Characteristics of Kemal Basmaci ...... 26 1. Weak-willed ...... 26 2. Irresponsible...... 29 3. Dishonest...... 31 4. Oversensitive...... 34 5. Nostalgic ...... 37 6. Indecisive ...... 40 7. Passive-aggressive ...... 42 B. Kemal Basmaci’s Attitude and Behavior That Reflect Obsessive Love ...... 44 1. Love at First Sight...... 44 2. Exaggerated Fear in Relationship ...... 46 3. Dysfunctional Emotions...... 52 4. Weak Personality Boundary...... 56 ix PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
5. The Need to Create Drama and Excitement...... 59 6. High Level of Tolerance for Suffering in Relationship ...... 64 7. Being Ruled by Libido...... 68 8. Controlling Techniques...... 73 9. Unhealthy Preoccupation ...... 77 C. The Causes of Kemal Basmaci’s Obsessive Love...... 82 1. Low Self-esteem ...... 82 2. Dysfunctional Family Background ...... 92 3. Chemical Imbalance...... 101 4. Inadequate Role Model ...... 104
CHAPTER V : CONCLUSION...... 109
BIBLIOGRAPHY ...... 114
APPENDIX ...... 116
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ABSTRACT
ANASTASIA MERYLIN DIMITRIA. Kemal Basmaci’s Obsessive Love as Reflected through His Attitude and Behavior in Orhan Pamuk’s The Museum of Innocence. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2016.
Obsessive love is a term to describe an unhealthy type of love, in that it is more of an obsession instead of love. In the novel titled The Museum of Innocence, the main protagonist named Kemal Basmaci is depicted to suffer from obsessive love as he clings to an unavailable woman for more than thirty years. To get a complete understanding in regards to Kemal’s obsessive love, there are three problems that are analyzed. The first is the characteristics of Kemal Basmaci himself. The second is Kemal Basmaci’s attitude and behavior that reflect his obsessive love. The third is the possible causes that lead to Kemal Basmaci’s obsessive love. Since this research tries to explain certain attitude and behavior patterns that reflect obsessive love, psychological approach is therefore the most suitable tool to be applied. As a library research, the writer uses theories that are relevant to the topic of the research. The theory of character and characterization are applied to determine the characteristics of Kemal. Next, the theory of the symptoms and causes of obsessive love are applied to prove that Kemal’s attitude and behavior reflect obsessive love and also determine the background behind his obsessive love respectively. The research finds out that Kemal Basmaci is a person who is weak- willed, irresponsible, dishonest, oversensitive, nostalgic, indecisive, and passive- aggressive. In addition, he indeed suffers from obsessive love as his attitude and behavior match all the symptoms of obsessive love. Kemal’s “love” is in fact merely an obsession as he has an all-consuming preoccupation and uncontrollable longing toward an unavailable woman. The research also finds out that there are four causes behind Kemal Basmaci’s obsessive love. The first cause is Kemal’s having a low self-esteem. The second is Kemal’s being raised in an unhealthy and inharmonious family in which he does not get sufficient amount of love. The third cause is Kemal’s having chemical imbalance in his brain as a result of being an alcoholic. The last cause is Kemal’s having an inadequate role model in his father since he is a depressed and an alcoholic person while also secretly suffering from obsessive love himself.
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ABSTRAK
ANASTASIA MERYLIN DIMITRIA. Kemal Basmaci’s Obsessive Love as Reflected through His Attitude and Behavior in Orhan Pamuk’s The Museum of Innocence. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2016.
Obsessive love merupakan istilah untuk menggambarkan suatu jenis cinta yang tidak sehat dimana cinta yang dimaksud lebih menyerupai sebuah obsesi. Di dalam novel berjudul The Museum of Innocence, sang protagonist Kemal Basmaci digambarkan menderita obsessive love karena terus melekatkan dirinya pada wanita yang tak dapat ia miliki selama lebih dari tiga puluh tahun. Untuk mendapatkan pemahaman yang menyeluruh tentang obsessive love Kemal, terdapat tiga permasalahan yang dianalisis. Yang pertama adalah karakteristik diri Kemal. Yang ke-dua adalah sikap dan perilaku Kemal yang mencerminkan obsessive love. Sedangkan yang ke-tiga adalah kemungkinan penyebab yang mengarah pada obsessive love Kemal. Karena penelitian ini berusaha menjelaskan sikap dan perilaku tertentu yang mencerminkan obsessive love, maka psikologi merupakan pendekatan yang paling tepat digunakan. Sebagai sebuah studi pustaka, penulis memakai berbagai teori yang sesuai dengan topik penelitian. Teori tentang karakter dan karakteristik digunakan untuk menentukan karakteristik tokoh Kemal. Selanjutnya, berturut- turut teori tentang gejala dan penyebab obsessive love digunakan untuk membuktikan bahwa sikap dan perilaku Kemal mencerminkan obsessive love sekaligus menentukan penyebab dibaliknya. Hasil dari penelitian ini menunjukkan bahwa Kemal merupakan sosok yang berkemauan lemah, tidak bertanggungjawab, tidak jujur, terlalu peka, suka mengenang masa lalu, peragu, dan pasif-agresif. Melalui penelitian ini juga tampak jelas bahwa Kemal menderita obsessive love. Hal ini dibuktikan dari sikap dan perilakunya yang identik dengan seluruh gejala obsessive love. “Cinta” yang Kemal rasakan sesungguhnya adalah obsesi mengingat ia merasakan hasrat yang tak terkendali dan begitu menyita waktu. Terdapat empat hal yang melatarbelakangi obsessive love Kemal. Pertama, sosok Kemal yang rendah diri. Kedua, Kemal dibesarkan di keluarga yang tidak sehat dan tidak harmonis dimana ia tidak memperoleh cinta. Ketiga, ketidakseimbangan zat kimia yang dialaminya sebagai seorang pemabuk. Keempat, Kemal memiliki ayah yang gagal menjadi panutan karena ternyata ia sendiri pun adalah sosok yang depresif, pemabuk, dan juga menderita obsessive love.
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CHAPTER I
INTRODUCTION
A. Background of the Study
Throughout lifetime there are many needs a human being requires. These needs can be classified generally as physical and non physical needs. Physical needs include food and living place while non physical needs include love and attachment with other people. Abraham Maslow stated that human needs can be arranged in a form of hierarchy, known as the hierarchy of needs. The needs
Maslow listed are physiological needs, safety needs, love and belonging needs, esteem needs, and self-actualization needs. He suggests that people will try to fulfill their basic needs first, the so called physiological needs, before trying to fulfill the following needs (Petri, 1981: 302-305).
In Maslow’s hierarchy of needs, the first two needs can be referred to as physical needs. In order to live, the basic needs a human has to fulfill are food, water, and oxygen. Without these three aspects humans simply cannot live. On the other hand, the next three needs can be referred to as non-physical needs that include the need for love and belongingness. As the writer has explained above, people need the companionship of other people. This companionship can take some forms such as romantic relationship, family relationship, friendship, and so on. Each of these companionships serves as the source to gain support, affection, intimacy, and acceptance.
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Diane E. Papalia in her book titled Human Development 9th Edition stated as follows
Intimacy includes a sense of belonging. The need to form strong, stable, close, caring relationships is a powerful motivator of human behavior. The strongest emotions-both positive and negative-are evoked by intimate attachments. People tend to be healthier physically and mentally and to live longer if they have satisfying close relationships (Papalia, 2004:501).
From the above quotation, it is clear that intimate relationship might have great influence on one’s life, as it can lead one having a fulfilling or a solitary life.
As a result, many people try to search the love of their live, which is understandable. However, just as the above quotation has stated, love and intimate relationship can be said as double-edged sword as it can provoke both the positive and negative emotions. At its best, love is the most beautiful feeling one can experience, but at its worst love can be the creator of one’s downfall.
People will have many benefits by having a satisfying and healthy love, where it can bring profound happiness and self-development. However, an unhealthy love will have quite the opposite effect. An example of unhealthy love is obsessive love. It happens when love turns into obsession, either from the beginning of a relationship or as the relationship progresses over time. Eileen
Bailey, the author of The Essential Guide to Overcoming Obsessive Love, in an interview published in www.healthcentral.com stated about the difference between love and obsession as follows:
Obsessive love is a confusing term. It really doesn’t have anything to do with “love.” Love, healthy love, is built on trust and mutual respect. There is no obsession, no jealousy, no possessiveness – you want your partner to reach for and strive for their dreams and you are happy for their achievements. In an obsessive relationship, these dreams and achievements are instead a cause of insecurity; they are seen as a threat to PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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the relationship. That is because obsessive relationships are built not on love but on insecurity and fear. The above quotation suggests that obsessors, or people suffering from obsessive love, confuse the term between love and obsession. Obsessors perceive what they are feeling as love, while other people who are not an obsessor themselves know that what the obsessors are feeling is merely an obsession.
Hence the term “obsessive love” is there to accommodate different interpretation between what is seen from the eyes of the obsessors and that of others. Officially, obsessive love is not yet regarded as mental illness or mental disorder by far, as shown in the quotation taken from Confusing Love with Obsession: Third Edition by John D. Moore below:
Essentially what we will be exploring in this publication is a combination of what the American Psychiatric Association refers to in the DSM as dependent personality disorder and borderline personality disorder. While all of the behaviors of people who confuse love with obsession may not fit neatly into these DSM diagnoses, they closely reflect what we will be exploring (Moore, 2006: 4).
The above quotation shows that the term “obsessive love” is not present in the Diagnostic and Statistical Manual of Mental Disorder (DSM). However, the quotation implies that obsessive love is a mental condition that is close to personality disorder of the obsessors that make them behave in certain obsessive ways when dealing with love.
The object of this study is a novel written by Orhan Pamuk titled The
Museum of Innocence, in which obsessive love can be said as the main theme of the novel. It tells the obsessive yet long-standing love story of the main protagonist, Kemal Basmaci as the obsessor, toward his object of obsession PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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named Fusun. The novel uses the first person point of view, therefore the readers see the story from Kemal Basmaci’s perspective.
Obsessive love has the possibility to ruin the life of people involved.
Ironically, obsessors do not realize that they suffer from obsessive love and that their behavior destructs their own life, their partner’s life, and the relationship itself. This is the case in the story of The Museum of Innocence. Denis Haack, an author and a journalist, stated that
Pamuk tells the story in The Museum of Innocence as a study in love and obsession, taking us into the mind and imagination of one lover as we watch the relationship develop, break apart, stall in a multi-year yearning for reconciliation, and then move to an inevitable tragic end. Pamuk’s story also insists we ask questions as we read. Can something this obsessive be evidence of real love? (http://www.ransomfellowship.org/articledetail.asp?AID=631&B=Denis% 20Haack&TID=5).
The quotation suggests that The Museum of Innocence is a study of love and obsession, therefore the novel is a suitable book to analyze topic about obsessive love.
B. Problem Formulation
There are three problem formulations made to get a better understanding on obsessive love depicted in the novel.
1. What are the characteristics of Kemal Basmaci?
2. What are Kemal Basmaci’s attitude and behavior that reflect obsessive love?
3. What are the causes of Kemal Basmaci’s obsessive love? PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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C. Objectives of the Study
The first objective is to find out Kemal Basmaci’s characteristic by looking through his characterization. The second objective is to identify Kemal
Basmaci’s attitude and behavior that reflect obsessive love. The third objective is to analyze the possible causes of Kemal Basmaci’s obsessive love.
D. Definition of Terms
In this part, the writer states some of the terms mentioned in the title and problem formulation to avoid any possible misunderstanding. Those important key terms are obsessive love, attitude, and behavior.
1. Obsessive love
Obsessive love is a condition in which the person has a painful, all-consuming preoccupation with a real or wished-for lover and an insatiable longing either to possess or to be possessed by the target of their obsession. The target must have rejected them or be unavailable physically or emotionally and the unavailability or rejection drive them to behave in self-defeating ways (Forward, 2002: 6).
2. Attitude
According to a book entitled Social Psychology (4th Edition), attitude is defined as:
A relatively enduring organization of beliefs, feelings, and behavioral
tendencies towards socially significant objects, groups, events or symbols
(Hogg & Vaughan, 2005: 150). PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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3. Behavior
In a book titled Psychology of Human Behavior, Richard A. Khalis stated that behavior is anything acted, performed, and done by the human (Khalis, 1973). PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
In this part, the writer provides some reviews on the same novel and topic.
There were two articles previously done by other writers reviewing The Museum of Innocence and an article reviewing the topic of obsessive love.
In the first review on the same novel, Maureen Howard wrote an article titled Lolita on the Bosphorus. In the article published in New York Times, he stated that “The delight in The Museum of Innocence is Pamuk’s storytelling; that he often makes use of genre. His 1998 novel My Name Is Red may be claimed as historical novel with an embedded mystery and a political story” (Howard, 2009).
From the quotation, it is understood that Orhan Pamuk has an interesting writing style and storytelling through the exploration of background stories. Just like in
My Name Is Red, his most critically acclaimed book in which he explores the history of art, Orhan Pamuk explores the social, political, and religious view of the Turkish in The Museum of Innocence.
Another review on the same novel is written by James Lasdun. In his article titled The Museum of Innocence by Orhan Pamuk, he stated that “As
Kemal proceeds to drag himself through the increasingly painful stations of obsessive love, the book darkens from love story to study in florid pathology and psychological extremism” (Lasdun, 2010). The quotation shows that Kemal
Basmaci undergoes drastic life-changing mental state caused by the onset of his obsessive love. In the novel, Kemal Basmaci is described to be embarrassed about
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his irrational obsessive love, as with most obsessors in the real world. This study explains why a high profile man from a bourgeois family with a very bright future ahead of him literally wastes his life and suffers from obsessive love.
For the review on the same topic, the writer provides an article titled
Obsessive Love written by Alina Johny. Discussing about the topic of obsessive love, she stated as follows.
Obsessive love is a delusion that can lead to dangerous consequences such as stalking, rape, suicide or murder. Somerset Maugham’s Of Human Bondage and Vladimir Nabokov’s Lolita both describe and show many of the detrimental effects that obsessive love can have on a person’s life. These effects can accumulate upon each other and range from devastating one’s loved ones, diminishing one’s money to destroying one’s soul. Obsessive love is seen through the words and actions of the main characters within the two works, Lolita and Of Human Bondage. These intense feelings that they show for another person are barely, if at all, returned. However, different from normal couples who are in love with one another, these two men are so madly and obsessively in love with another person that the idea of the feelings not being returned is not most prominent in their minds (http://users.manchester.edu/Student/arbigjohny/ ProfWeb/essay2.pdf ). In the study, Alina Johny made a research on obsessive love described by two main characters of two different works of literature; those are Of Human Bondage by Somerset Maugham and Lolita by Vladimir Nabokov. From the above quotation, the writer sees clearly that obsessive love is very different from a healthy love. In a healthy love, people are able to be realistic in seeing the relationship. Therefore when their love is not reciprocated, they are willing to end the relationship for the sake of their life as well as their loved one’s. On the contrary, people who are obsesssor do not care if their love is not reciprocated.
They give little consideration for their object of obsession’s unhappiness as they confuse love with obsession. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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The writer’s study differs from all of the above reviews as the writer elaborates Kemal Basmaci’s obsessive love as reflected through his attitude and behavior, as well as analyzes the possible causes of his obsessive love.
B. Review of Related Theories
In this part, the writer provides theories needed to answer the three problem formulations. In general, the theories needed are theory of character and characterization as a tool to analyze the first problem formulation related to the intrinsic element and theory of obsessive love as a guidance to identify the symptoms and the possible causes of the obsessive love of Kemal Basmaci, which are the second and the third problem formulation respectively.
1. Theory of Character and Characterization
Character is an important intrinsic element in literature. Without character, an author has no medium to present the story and the conflict to the reader.
Therefore, as any other research in literature, the first thing needs to be done is analyzing the character as a primary intrinsic element in the work of literature. In his book titled A Glossary of Literary Terms (1993:23), Abrams defines
“character” as “The persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say-the dialogue-and by what they do-the action” (Abrams, 1993: 23).
Kate Grenville in a book titled The Writing Book: A Workbook for Fiction
Writers stated that “Characterization is all the things writers do to build up the characters they want. Characterization is the process that transforms real-life PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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people into characters in fictions” (Grenville, 1998: 36). There are many ways to perceive the characteristics of a character in a work of literature. In Understanding
Unseens by M.J. Murphy, there are nine ways to present a character’s characteristics and thereby known as characterization (Murphy, 1972: 161-173): a. Personal Description
To describe the character, the author explains the physical appearances of the character. The description often has relation to the character’s psychological conditions. In other words, personality can be reflected from the external appearance. b. Character as Seen by Another
Instead of a direct description, an author describes the character through the opinion of another character. Other characters might give an explanation about what the character is like. Other character’s thought about a certain character can be a significant factor to build readers’ understanding of the character. c. Speech
The author gives readers insight into the thought of a character through what the character says. Whenever a character is speaking, she /he is giving the readers a clue about the characteristics of the character. d. Past Life
By learning about a character’s past life, the author gives the readers a clue that can help determining the character’s characteristics. The character’s past life is always closely connected to the character’s present life. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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e. Conversation of Others
The author gives readers clues to a character’s characteristics through a conversation between a character with another character. Readers need to pay attention toward the conversation between those characters to be able to understand what is meant or what is implied from the conversation. f. Reaction
The character shows her/ his characteristic from her reaction to various situations and events. g. Direct Comment
This characterization is done by giving readers direct opinion about a character’s characteristics. h. Thoughts
Readers follow the inner life and the thinking process of a character and examine the character’s ideas. i. Mannerism
The author may describe the character’s mannerism and habit that represents their characteristics.
To analyze the characteristic of Kemal Basmaci, the writer applies five out of the nine theories by M.J. Murphy. Those five ways are character as seen by another, speech, reaction, thought, and mannerism. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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2. Theory of Obsessive Love
Obsessive love is a form of an unhealthy love that actually can not be categorized as “love”. While the core of “love” should be mutual respect, trust, friendship, and other positive elements, in the heart of obsessive love, there are fear, the need to possess, the desire to control, and other negative elements
(Andersen, Lene. “Overcoming Obsessive Love: An Interview with Eileen
Bailey”.http://www.healthcentral.com/rheumatoidarthritis/c/80106/48097/ love/).
Due to the very different nature between “love” and obsessive love, obsessors always display certain attitude and behaviour that are not present in the case of
“love”, thus serving as the symptoms of obsessive love. a. The Symptoms of Obsessive Love
In this part, the writer explains about the theory on obsessive love, especially about the symptoms and its possible causes. The symptoms analyzed later serve as a way to answer the second problem formulation being the reflection of Kemal Basmaci’s obsessive love depicted in his attitude and behavior and the third problem formulation being the possible causes of Kemal Basmaci’s obsessive love. As discussed in the first chapter, obsessive love is entirely different from “love” itself. In fact, it is driven by fear and it is merely an obsession either to possess an object of obsession or to be possessed by an object of obsession. Therefore, the obsessors exhibit some symptoms in the form of their attitude and behavior (Peabody, 2005: 37-55).
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According to Susan Peabody in her book titled Addiction To Love:
Overcoming Obsession and Dependency in Relationships, obsessessor
“has inner compulsion, that is the need to connect with someone immediately” (Peabody, 2005: 37). From the quotation it is understood that although human, as a social creature always feel the need to bond and to have a relationship with others, the need is different between healthy people to obsessors. Healthy people take time to build a relationship, while obsessors are impatient to be close to someone even though they do not really know the person. Obsessors often feel an immediate rapport with a complete stranger and confuse love with infatuation. Therefore, the so called “love at first sight” is actually a mere infatuation, lust, and attraction to other people, especially one’s physical beauty and charm (Peabody,
2005: 37-38). ii. Exaggerated Fear in Relationship
The core problem of obsessive love lies deep in the obsessors’ heart and mind. Obsessors almost always have tremendous fear related to their love relationship. This fear is mostly a result of childhood trauma, in that obsessors face loneliness, abandonment, rejection, and deprivation. The exaggerated fear may take some forms such as feeling terrified of breaking up, feeling afraid of being alone without a relationship, feeling unable to leave an unhealthy relationship, feeling as if they can not survive as an individual, and feeling overly anxious regarding the progress and continuity of the relationship (Peabody, 2005: 43-45). Feeling deeply PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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insecure in terms of relationship leads obsessors becoming prone to develop an abnormal suspicion, possessiveness, and jealousy. Their insecurity leads them to behaving possessively toward their object of obsession. The jealousy and possessiveness are often unreasonable. At this point, obsessors consider their object of obsession as merely possession.
Abnormal jealousy can result in the obsessors being overly anxious when they are not with their object of obsession, constantly worrying about what their object of obsession are doing at any given time, and checking their whereabouts at “illogical times” such as at dawn and at midnight
(Peabody, 2005: 45-46). iii. Dysfunctional Emotions
Obsessors tend to build dysfunctional emotions that are characterized by having an overwhelming yet confusing feeling, being susceptible to fluctuate feeling, feeling afraid to express emotions with people (especially their object of obsession) out of fear that their emotions will drive people away, substituting one emotions for another, denying painful feeling, suppressing painful feeling rather than feeling it directly, anesthetizing painful feeling using addictive substances, and having a tendency to build polarized (all or nothing) feeling such as agony-ecstasy, euphoria-depression, and love-hate, and feeling an attack of rage
(Peabody, 2005: 46-48). iv. Weak Personality Boundary PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Most obsessors have weak personality boundary caused by low self-esteem coupled with their need for acceptance and approval from others. They find it difficult to have a sense of individuality. In general, obsessors who have a weak personality boundary will always absorb the feeling or the energy of their surrounding and people around them
(especially their object of obsession) albeit unconsciously. Weak personality boundary might appear in various forms such as being unable to say no, losing a sense of individuality, being too easily affected emotionally to the point of having an exactly the same feeling , and giving up their own ideology/choice/hobby to match those of others to gain approval. (Peabody, 2005: 49-50) v. The Need to Create Drama and Excitement
Unlike healthy relationship in which the persons involved try to build emotional stability and consistency, obsessors have the need to create drama and excitement similar to dramatic scene in romantic soap opera. Creating drama and excitement are meant to produce outburst sensation and adrenalin rush that help them to keep their excitement alive.
To excite themselves, obsessors always try to turn an ordinary event into extraordinary one just to get the excitement and entertainment. Obsessors may try to create drama by dramatizing an event similar to a romantic scene, picking a deliberate fight, intentionally turning a small argument into a war, fantasizing excessively about romance, and interpreting other people’s actions as well as events followed by creating signification based PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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on it. While creating drama may bring a sense of excitement, obsessors may also get disappointed by little setback from the drama itself (Peabody,
2005: 40-43). vi. High Level of Tolerance for Suffering in Relationships
Obsessors often have a very high level of tolerance when they are faced with abuse and neglect by their object of obsession. They would rather befriend with any kinds of pain resulting from relationship with their object of obsession than face the possibility of separation or breaking up. The high level for tolerating can be traced back to their childhood. As a child, obsessors were powerless to change the neglect and rejection from their parents. Therefore, from then they had learned to adapt themselves by settling themselves familiar and comfortable with pain. They do not think that they deserve better relationship (Peabody, 2005: 50-51). vii. Being Ruled by Libido
While some obsessors are more obsessed in attachment, bonding, and a fantasy to “live happily ever after” and therefore are ready to cling to their object of obsession even without sex, there are a great number of obsessors who is ruled more by their libido. In addition to having a tendency to eroticism, these obsessors often confuse lust with love, get dominated by sexual needs, become blinded by the sexual attraction of their object of obsession, and consider passion as the most important aspect in their relationship as opposed to commitment, communication, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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honesty, and some other important aspects in a healthy relationship
(Peabody, 2005: 54-55). viii. Controlling Techniques
Due to their fear of losing their object of obsession, obsessors feel a strong need to keep and maintain their relationship with the object of obsession. They need to have the upper hand in the relationship to ensure its continuity. To have the control over the relationship as well as their object of obsession without risking losing them in the process, obsessors likely use manipulation instead of the more direct controlling techniques.
(Peabody, 2005: 55). ix. Unhealthy Preoccupation
Being preoccupied with a new lover in a new relationship is very common and it is not necessarily considered as obsessive love. However, when the preoccupation grows too strong and driven by obsession, it is likely the case of obsessive love. Obsessors will often neglect family, friends, and activities they used to enjoy just to focus their attention on their object of obsession. As time goes on, obsessor’s world seems to get narrow (Forward, 2002: 9). The root of their withdrawal from the world is their own belief that they have found the person they have been looking for in their whole life. The belief often comes without reason. Susan
Forward is quoted as saying:
Obsessive lovers truly believe--sometimes without realizing it— that their “One Magic Person” alone can make them feel happy and fulfilled, solve all their problems, give them the passion they’ve PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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yearned for, and make them feel more wanted and loved than they have ever felt before. (Forward, 2002, 21) b. The Causes of Obsessive Love
i. Low Self-esteem
“A person is not going to become an obsessive lover unless he or
she has low self-esteem” (Peabody, 2005: 31). Susan Forward states that
rejection and abandonment of the parents sabotage the obsessors’ self
esteem and self confidence to be independent and in the end it makes
obsessors cling to their object of obsession (2002: 173). Obsessive lover is
always an individual who has such a very low self-esteem. How much
they have the self-esteem can be seen easily from the way they view
themselves and the way they behave around other people.
In her book titled Overcoming Low Self-esteem, Melanie J. V.
Fennell mentions the list commonly had by people with low self-esteem,
those are seeing themselves as invaluable, difficulty asserting needs and/or
speaking out, avoidance of challenges and opportunities, bowed posture,
hushed voice, hesitancy, anxiety, guilt, shame, fear, anger, frustration,
uncomfortable body sensation, fatigue, low energy, tension, underachieve
in school and work, self consciousness, oversensitivity to criticism,
approval-seeking, eagerness to please, and not taking care of themselves
by smoking and heavy drinking (2009: 10-12).
ii. Dysfunctional Family Background
In the case of a healthy family, parents will provide children with
love, respect, approval, and sense of security that will develop the child’s PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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self-confidence and courage to be emotionally independent without feeling abandoned. However, obsessors come from an unhealthy family in which the parents are unable to bring the sense of love, respect, approval, and protection. As a result, the child is timid about being emotionally independent while at the same time tries to gain the unfulfilled love and connection with the parents. To sum up, a person who is deprived of family love may end up growing up as an emotionally dependent adult with low self-esteem, an excessive hunger for love, and a tremendous fear of abandonment and separation, thus being the root of obsessive love (Forward, 2002: 172-175).
Aside from the actual physical or emotional abandonment and rejection, there is another issue which left a person to feel unloved which is the characteristic of the parents themselves as is stated below
“There is another form of rejection that can hamper a child’s self- esteem, sometimes overt sometimes not, that I find in the family background of a surprising number of obsessive lovers. This rejection results from parents who withhold approval, who have such unrealistic expectations that their children never stand a chance to measure up. These parents are invariably domineering, highly critical, and highly perfectionist” (Forward, 2002: 180). iii. Chemical Imbalance Chemical imbalance in the body is gained as a result of excessive consumption of alcohol and drugs. Alcohol, especially, is thought to have effects on mood and temperament, while distort one’s ability to think logically. Depression and feeling overly moody are also common effects on heavy drinking. Many obsessors have underlying addictive behavior that can worsen their obsessive love, as stated below. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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“In addition, many obsessors tend to be compulsive in areas of their lives outside of their love relationships. They often use drugs or alcohol to deaden their feelings. Alcohol and drugs impair judgement and perception, which seriously undermines the ability to deal effectively with obsessive behavior and thoughts” (Forward, 2002:196).
iv. Inadequate Role Models
Parents are the role model of their children. Children will likely
follow their parents’ behavior and define themselves by what they see,
much like mirror reflection. Obsessors usually come from homes where at
least one parent has addictive behavior and is emotionally unhealthy. Such
parents will unconsciously project poor self image and set a poor example
to follow, hence becoming an inadequate role model that plays a part in
the development of the child’s obsessive love (Peabody, 2005: 34, 94).
3. The Relationship between Literature and Psychology
Literature and psychology are two disciplines influencing one another.
Some similarities are also found in the two fields as both examining human experience as individual and as group. Literature can be regarded as an imitation of real life presented in a story. It is because in literature, readers are presented with characters in certain place and time setting reflecting particular part of life experience.
Psychology has long been used as one of the many tools to analyze literary works. This is possible since both literature and psychology center on humans’ life experiences, albeit in literature the subject and experience are fictional. Fathali
Moghadam in a journal titled From ‘Psychology in Literature’ to ‘Psychology is
Literature’: An Exploration of Boundaries and Relationship stated that “Freud’s PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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particular interpretation of the unconscious, and his psychosexual model of development more broadly, seem especially well suited to analysis intended to uncover the ‘real’ motives behind literary text” (http://fathalimoghaddam.com/ wp-content/uploads/2013/10/1256623233.pdf). The quotation shows an example of how psychological theory can be applied to analyze literary works. By using suitable theory of the unconscious mind, readers are able to get the real motive of characters as to why they behave in certain ways in a story.
Writing literary work in itself is a psychological process. To be able to write fictional story, authors must use their creativity and therefore elaborate their cognitive abilities. Louis Dudek in a journal titled The Psychology of Literature stated as follows
“A work of literature is a wonderful, complex, psychological entity. It has relation, first, to the private biography of the author. It is translated readily, usually by the author himself, into a statement about the problems of his own age, and of the worlds he lives in. It will be applied, later, to other times and other ages. It is never merely a literal statement or representation; it is always literary, that is an object of contemplation and communication” (http://canlit.ca/pdfs/articles/canlit72- Psychology%28Dudek%29.pdf). The above quotation suggests that literature and psychology are closely related and influence each other. Not only is literature a product of psychological process of the authors, but also it provides cultural and historical data that later can be analyzed by using psychological approach to reveal why and how it happened.
C. Theoretical Framework
The first problem in this study is an understanding about the characteristics of Kemal Basmaci. To get his characteristics, the writer uses theory PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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of characterization by M.J. Murphy. In his book, M.J. Murphy stated nine ways which need to be examined closely to get an understanding on a character’s characteristics. By applying those nine ways of characterization, the writer is able to answer the first problem formulation.
After the writer finding out the characteristics of Kemal Basmaci, the writer deals with the topic of this study, which is obsessive love. To answer the second problem related to the symptoms of obsessive love reflected through
Kemal Basmaci’s attitude and behavior, the writer uses theory of obsessive love symptoms written by Susan Peabody and Susan Forward. There are nine well- known symptoms of obsessive love that can be seen and analyzed from Kemal
Basmaci’s daily life. Those symptoms serve as a proof that Kemal Basmaci actually suffers from obsessive love.
After the symptoms of Kemal Basmaci’s obsessive love are explained, the writer uses theory of the causes of obsessive love stated by Susan Forward and
Susan Peabody, with additional theory on low self-esteem from Melanie J. V.
Fennell. There are four possible causes of obsessive love presented in the theory books. Those four causes are then used to closely examine the family background and other aspects in Kemal Basmaci’s life in order to determine the cause of his obsessive love. Thus, the third problem formulation is answered. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
CHAPTER III
METHODOLOGY
A. Object of the Study
The object of this study is a novel titled The Museum of Innocence written by Orhan Pamuk, a Turkish author. The novel is originally written in Turkish before being translated into English by Maureen Freely in 2009. The English version consists of 536 pages and is divided into 83 chapters. Orhan Pamuk is one of the most popular authors in Turkey. The museum of Innocence is his first novel since winning the Nobel Prize for Literature for his novel titled My Name Is Red.
The Museum of Innocence is a tragic love story between the bourgeoisie
Kemal Basmaci and his poor distant relation named Fusun. Social differentiation, family influence, and Fusun’s marital status make the two unable to be together.
Kemal Basmaci falls into deep depression and experience love that turns out to be obsessive for more than 30 years after opting to neglect his perfect life to cling to his long gone love.
B. Approach of the Study
In order to analyze a work of literature, certain approach is a necessity as a means of interpretative tool. The approach is determined by the theories used in the study. For this study, the writer uses psychological approach. In their book titled Reading and Writing about Literature, Mary Rohrberger and Samuel Woods state as follows.
Psychological approach is the effort to locate and demonstrate certain recurrent patterns, but from a different body of knowledge that is psychology. This approach uses the psychological theories to explain 23 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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human motivation, personality, and behavior patterns written in literary objects (1971: 31).
From the above quotation, it is understood that deploying psychological approach as an in interpretative tool means applying psychological theories to analyze a work of literature. The theories help the readers to better understand the characters in a work of literature as to what motivates them to act and behave in certain ways, or why they possess certain personal characteristic since psychological theories provide an insight to the character’s unconscious mind.
The psychological approach is suitable for this study as it focuses on analyzing Kemal Basmaci’s attitude and behavior and the background behind
Kemal Basmaci’s obsessive love.
C. Method of the Study
The type of this study is a library research. As for any other library research, there are two main sources used in the study. The primary source is the object of this study, a novel titled The Museum of Innocence. The secondary sources are some theory books used to analyzing the problems formulated. The most important theory books are Addiction to Love: Overcoming Obsession and
Dependency in Relationship by Susan Peabody, Obsessive Love: When It Hurts
Too Much to Let Go by Susan Forward, Overcoming Low Self-esteem by Melanie
J. V. Fennel, and Understanding Unseen by M.J. Murphy.
In doing the study, there are eight steps need to be done simultaneously.
The first step was reading the novel closely and repeatedly to get a better understanding about the whole story. The second step was searching for reviews, article, and journal about the novel to get additional insight. The third step was PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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formulating the problems of the study. The next step was searching for theories for answering the problems of the study, especially the theory of character and characterization and the theory of obsessive love. After the writer finding the appropriate theory books on character and characterization, in the next step, the theory was applied to determine the characteristics of Kemal Basmaci. The sixth step was applying the theory of obsessive love in order to show that Kemal
Basmaci’s attitude and behavior being in line with the symptoms of obsessive love. The next step was revealing the causes of Kemal Basmaci’s obsessive love based on the theory of the cause of obsessive love. Finally, the last step was making a conclusion based on the whole study. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
CHAPTER IV
ANALYSIS
In this chapter, the writer answers the three problem formulation presented in chapter I. Those three problem formulations are the characteristics of Kemal
Basmaci, Kemal Basmaci’s attitude and behavior that reflect his obsessive love, and the causes of Kemal Basmaci’s obsessive love.
A. The Characteristics of Kemal Basmaci
Kemal Basmaci is the main character of The Museum of Innocence who suffers from obsessive love. Before elaborating his attitude and behavior that displays the symptoms of obsessive love, the writer analyzes his characteristics to get a better understanding of his personality. In order to analyze his characteristics, the writer uses M.J Murphy’s theory taken from his book titled
Understanding Unseen as the tool
1. Weak-willed
In his book, M.J. Murphy states that a character’s characteristics can be shown through the character’s mannerism (1972: 173). The quotation below shows Kemal’s weak-willed characteristic through the way he carries himself.
“Good. Stand up straight when you walk, all right? Everyone’s watching you. . . Come on now, it’s time for us to get going.” (p. 104) “You’re very handsome, but you must learn to stand up straight,” Sibel said, unknowingly parroting my mother. (p. 106)
The quotation is about Kemal’s mother and fiancée reminding him to stand up straight when walking and meeting the guests in his engagement party.
Kemal’s tendency to slouch implicitly suggests that he is a weak-willed person 26 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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who is not vibrant and spirited, even in his big day. Meanwhile, a person who is strong-willed will stand tall and upright.
Another proof of Kemal’s weak-willed characteristic can be seen in the way he responses to certain event, as M.J Murphy states that a character’s reaction might serve as a tool to analyze a character’s characteristics (1972: 168). “I felt that I should get out of bed, distract myself, look for a way out of this predicament, or at the very least this room, but I just couldn’t summon the will (p.
155)”. The day after Kemal and Sibel get engaged, Fusun suddenly disappears.
She does not come to Merhamet apartment as she has promised Kemal before.
Waiting in vain for weeks, Kemal must have known with each passing day that
Fusun will never come again. However, it does not stop Kemal to come to the apartment each day, wait for nothing, and feel the growing pain. The quotation suggests that Kemal knows that what he does is not good for his emotional well being, but he is unable to even drag himself out of the room. The quotation shows that Kemal’s reaction to Fusun’s absence is him staying idle in the room. It is as though he does not have the energy to try to change and improve the situation.
Another moment that depicts Kemal’s weak-willed nature occurs in
Fusun’s family home in a poor neighborhood in Istanbul. Fusun lives there with her father, mother, and her husband.
So at that moment, the television having been turned off, I would sit for a casual while longer, before telling myself, more forcefully now, that I needed to stand up and get going, but my legs would not obey me. In this motionless state I would remain like a figure in a painting, and as I felt the perspiration beading on my brow, the ticking of the clock punctuating my discomfort, as I exhorted myself, saying ”I’m standing up now!” forty times over, but still to no avail. (p.311) PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Nearly a year after last meeting Fusun in his engagement party, Kemal is able to find her. Although Fusun is already married, Kemal often comes over and has dinner in her house. However, when the dinner is over and it gets late, Kemal is unable to stand up and leave. While the majority of people find it easy to get up from sitting still, Kemal seems paralyzed, as highlighted in the quotation. Murphy mentions that a character’s characteristics can also be shown through reactions to a situation (1972: 168-170). In the above quotation, even after forcefully order himself to leave following the end of the dinner, he feels as if he can not move.
His need to exhort himself tens of times proves his lack of will power.
Being a weak-willed person, Kemal does not seem to be ambitious in many aspects in his life. It is shown in the way he manages his father’s company.
Although he is a general manager who is in charge of the company, Kemal does not seem to care about its profit. It can be seen in the below quotation.
“They’re resorting to trickery just to make a bit of loose change. It’s not worth thinking about.” “There’s more than a bit of loose change at stake—this could be quite lucrative, you know, or your brother wouldn’t bother. You shouldn’t sit by and let them exclude you, or deny you your share. You have to stand up to them, challenge them.” “I don’t care what they do.” (p. 199)
According to Murphy, a character’s characteristics can be seen from speech (1972: 164). In the quotation, Sibel tries to encourage Kemal to challenge his brother, but he chooses not to do so. Kemal even clearly states that his brother can do whatever he wants, as he is too lazy to intervene the business deal. Another proof that Kemal is weak-willed in terms of work can be seen in the following quotation. “Returning to my office at Satsat, I felt at peace with myself, and for PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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the first time in ages turning myself over to work, I took pleasure from making money (p. 75)”. Although Kemal is of a very wealthy family in Istanbul, he is not a hard-working person himself. In fact, he does not seem to be driven by ambition.
Murphy (172:173) said that a character’s characteristic can be seen from the character’s mannerism. In the above quotation, Kemal recalls that he hardly feels enthusiastic doing his work and making money. It is as though he spends his whole time working half-heartedly, thereby proving his lack of ambition and drive.
2. Irresponsible
Kemal is a grown up man, aged 30, when the story begins. However, he is still rather irresponsible in some ways, even to himself. One of the examples is that Kemal does not take a good care of his appearance. The quotation below depicts how his long serving housemaid warns him to cut his nails, as the housemaid always does since Kemal is a child.
“Listen to me, Claw Nails,” she said, using one of her nicknames for me when I was a child, “if you don’t cut your nails, you won’t own a single sock without a hole in it. I’m not darning these for you anymore—that’s final.” (p. 76) As stated by Murphy, a character’s characteristic can be shown through the eyes and opinion of another character (1972: 162). The above quotation shows
Kemal’s irresponsible trait through what his housemaid says when she talks to him. It is implied that Kemal always forgets to cut his nails since he was a kid. As a grown up man, never bothering to cut his own nails is a proof that Kemal is irresponsible to himself. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Another proof of Kemal’s irresponsibility can be drawn from the below quotation which shows a conversation between Kemal and Fusun in one of their secret meetings. It occurs just after Kemal’s lunch with his father, in which his father gives Kemal a pair of pearl earrings. His father has demanded that Kemal gives the earrings to Sibel.
“Where is my earring?” “It vanished into thin air, and then one morning I looked at my bedside, and there it was, with its mate. I put them both into this velvet box to reunite them with their beautiful owner.” “I’m not a child. These are not my earrings” “They are in spirit, darling—as I see it, anyway.” “But this is something you’ve given me to replace my earring. . . If you hadn’t lost the one I left behind, you would never have brought me these.” “I’m sure it will turn up one day, in some drawer at home.” “One day. . . How easily you say that. How irresponsible you are. When do you expect it to turn up exactly? How long will I have to wait?” “Not very long,” I said, scrambling to save the moment. (p. 95)
Several days before, Fusun loses her earring. Kemal pockets the earring but losing it in his home. According to Murphy, a character’s characteristic can be seen from the character’s speech (1972: 164). Here, Kemal’s irresponsibility is palpable in more than one way. First, Kemal goes against his own promise to give his father’s pearl earrings to Sibel. Second, Kemal goes a long way to seduce and flatter Fusun by explaining the origin of the pearl earrings as in a fairy tale. Lastly, when Fusun rejects the pearl earrings and asks for her beloved earring back,
Kemal answers carelessly that someday and somehow it will turn up in his home.
Kemal’s irresponsible characteristic is known by quite many people closest to him. It can be drawn from their remarks related to his attitude and behavior. When Kemal loses Fusun’s earring, she says that Kemal is irresponsible for not trying to find it. Another remark is the one said by the wife of Kemal’s PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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brother. She makes a comment about Kemal’s irresponsibility as shown in the quotation.
“You’re drinking rather a lot this evening,” said Berrin. “Slow down a little. There are a lot of people here and they’re all watching the family.” “Fine,” I said, as I lifted my glass with a smile. “Just look at Osman, how responsible he is,” said Berrin. “Then look at you, so mischievous at your own engagement. . . . How could two brothers be so different?” (p. 114)
In the engagement party, Kemal is seen drinking too much raki. He does not seem to care about his guests’ impression that might arise as a result of his inappropriate behavior. Furthermore, as described in the quotation, when he is told to stop drinking his response is only lifting his glass with a smile. That way,
Kemal implicitly says that he does not care about what other people think and he does not see why he should stop enjoying himself with some glasses of wine.
According to Murphy, a character’s characteristic can be shown through another character’s opinion (1972: 162). The above quotation shows the author’s way in revealing Kemal’s characteristic through the opinion of his sister in law, Berrin.
She explicitly draws a comparison between Kemal and his brother in terms of responsibility.
3. Dishonest
Kemal is a dishonest man. Sibel, Kemal’s fiancée, bought a fragrance in
Paris for Kemal. In one of his secret meetings to meet Fusun, she notices Kemal’s fragrance and asks him some questions to which Kemal answers with lies.
“Was it Sibel Hanim who bought this cologne for you?” “No, I bought it for myself.” “Did you buy it because you thought Sibel might like it?” “No, darling, I bought it because I thought you might like it.” “You’re still making love with Sibel Hanim, aren’t you?” PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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“No.” “Please don’t lie to me.” “No.” (p. 49)
Murphy stated that a character’s characteristics can be revealed through speech (1972: 164). The quotation above shows that Kemal is a dishonest man from what he says when having conversation with Fusun. He lies four times when he says that he is the one who buys the fragrance. He also implies that Fusun is more important than Sibel by saying that he buys the fragrance because Fusun might like it. As though it is not enough, Kemal also lies when denying that he still makes love with Sibel when in fact he is still making love with her.
Apart from being dishonest, Kemal also has the tendency to divert a conversation out of fear that the person he is talking to might want to investigate him further, as explained in the conversation between Kemal and Sibel below.
“Darling, you’ve had a lot to drink tonight. Is there something about the preparations you’re not happy with?” “Actually, I’m very glad that we’re having the engagement party at the Hilton. As you know, the person who most wanted such a party was my mother. She’s so delighted that—“ “So what’s troubling you?” “Nothing. . . Could I have a look at the invitation list?” (p. 65)
The quotation shows a conversation between Kemal and Sibel at dinner.
According to Murphy, a character’s characteristic might be drawn from speech
(1972: 164). The conversation hints at Kemal’s dishonesty through his unwillingness to answer Sibel’s question about what makes him looks to be low- spirited and distracted. Kemal will not let Sibel knows his true feeling because he does not want Sibel to learn about his cheating on her. In order to avoid that,
Kemal tries to divert the topic by asking to see their engagement party’s invitation PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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list. In truth, Kemal feels dejected after Fusun tells him about her male admirers in the past. The two quotations above show that Kemal has a tendency to avoid clash by not telling the truth.
Kemal does not only like to lie to other people, but he also likes to deceive them. As someone who is able to sense what other people want to see, Kemal uses his acting ability to present himself as someone other people want to see, as described in the quotation below.
For a brief moment I recognized myself among those men whose real source of happiness is their secret lover, but who pretend it is their wives and children—I, too, was acting as if it was Sibel who made me happy, and we weren’t even married yet. (p. 122)
According to Murphy, thought is one way of characterizations (1972:
171). The quotation shows Kemal’s dishonesty by being manipulative in terms of his own thought and attitude. When meeting the guests in the engagement party along with Sibel, Kemal puts a happy face as if he is too happy to be engaged to
Sibel. The true reason behind his joyous mood is actually Fusun who comes to the party pretending as a mere distant relation. By pretending to be happy as a result of his engagement, Kemal hopes to carry on his secret affair with Fusun , without drawing suspicion.
Another proof of Kemal’s dishonest characteristic is as followed.
“Having, of course, omitted the details of sexual bliss at the heart of my tale, I made it sound like a typical Turkish man’s silly indiscretion on the eve of his marriage (p.191)”.Months after the engagement party, Sibel finally finds out that
Kemal cheats on her. Murphy stated that a characer’s thought can be used to determine characteristics (1972: 171). In an attempt to keep Sibel at his side, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Kemal manipulates the story of his secret love affair with Fusun. In doing so, he only tells Sibel that he happens to be infatuated by Fusun’s beauty just before the engagement party. In fact, Kemal and Fusun meet at lunch time during fourty four days prior to the engagement party to make love. Kemal’s trick to play down the significance of his affair shows that Kemal knows really well how to tell lies and manipulate things so that any possible bad outcome will be minimal.
4. Oversensitive
Kemal’s understanding trait is contributed from his soft and sensitive heart. According to Murphy, another character’s opinion can be used to better understand a character’s characteristic (1972: 162), as stated by Kemal’s best friend regarding his sensitive nature. “You’re a man of real feeling,” said Zaim.
“That is one of the things I cherish about you (p. 419)”.
Kemal is an intuitive person as well. Intuition can be in the form of knowing what other person is thinking or feeling though they do not express it verbally.
“Which of you didn’t want to? Her or you? As curiosity consumed her, compassion gave way to desperation, and her expression, which a moment ago was saying please tell me the truth, now was pleading, please tell me a lie. Don’t hurt me.” (p. 50)
Kemal knows what inside Fusun mind is, just by looking through her expression and her eyes. He even can tell that Fusun’s eyes change as her feeling changes from being suspicious to insecure. Murphy stated that a character’s characteristic can be drawn from thoughts (1972: 171). The quotation goes into Kemal’s unconscious thinking process, in which he is able to relate to Fusun’s feeling by reading her facial expression, especially her eyes. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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As having been said earlier, sensitivity is a huge part of Kemal’s characteristic. Due to his sensitivity, Kemal feels guilty easily. He always seems to try to make everybody feels at ease. Hurting a person’s heart is something
Kemal desperately avoids, as shown in the below quotation.
She looked deeply pained. Dear God, I thought, why hadn’t I just disposed of this bag and told Sibel I’d gotten my money back? “Look, this has nothing to do with you or Senay Hanim. We Turks, praise God, manage to make imitations of every European fashion,” I said, struggling to smile. “For me—or should I have said for us—it’s enough for a bag to fulfill its function, to look lovely in a woman’s hand. It’s not important what the brand is, or who made it, or if it’s an original.” (p. 16) The incident happens in Sanzelize Boutique, a shop in which Fusun works as a shopkeeper. It begins when on a night out, Sibel admires a Jenny Colon bag displayed on the mannequin and Kemal buys the bag as a gift. However, upon receiving the present Sibel knows that the bag is a fake and urges Kemal to ask for his money back. Kemal is reluctant because both the shopkeeper and the owner of the shop are his distant relation and preferring to just exchange the bag, an idea
Sibel dismisses.
Murphy said that a character’s characteristic can be implied through reaction (1972: 168). In the above quotation, Kemal can sense that Fusun is deeply embarrassed by Kemal’s wish, taking the matter too personally. Here,
Kemal’s sensitivity can be seen in the way he reacts to Fusun crying. He goes out of his way to comfort Fusun. It is also implied that Kemal is able to feel Fusun’s feeling because he finds it hard to smile while trying to console her. From the above quotation, it is clear that Kemal is a sensitive person who does not like to PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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hurt other people’s feeling, regardless of whether his behavior is reasonable or justifiable.
Being a sensitive person, Kemal is not only in tune with other people’s feeling. In fact, he is also in tune with the atmosphere and nuance of a place. This is proven in the way he enjoys the solitude and tranquillity of a museum. Unlike the majority of people going to a museum to merely see its collections, Kemal goes there to feel its magical atmosphere. Murphy stated that readers can get a clue of a character’s characteristic through the character’s thought (1972: 171).
The theory is applied to prove Kemal’s sensitive trait using the below quotations, when Kemal describes his thought about what a museum is for him and how it affects him.
Museums are: not to be strolled around in but to be experienced, made up of collections expressive of the soul of that ‘experience’, not in fact museums but merely galleries when emptied of their collections. (p. 526)
“There are many museums in the world I have yet to see,” I would say with a smile. And then I would try, yet again, to explain the spiritual effect that the silence of museums had on me, what sublime happiness it was to be in a far corner of the world on an ordinary Tuesday morning, strolling through a forgotten museum.” (p. 515) Not only being aware of other people’s emotion, Kemal is also aware of his surrounding that people usually miss out. He does not only take a closer look of what people do but also of smallest things which need a great deal of sensitivity and attention to notice. The first quotation below shows how Kemal can differentiate Fusun’s cigarette butts from the rest of other cigarette butts lying around the house. He does so by closely examining their shape. The second quotation serves as a definite proof of Kemal’s oversensitivity to his surroundings. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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It describes how, in the middle of watching television while having dinner, Kemal is able to notice the slightest changes around his surroundings, for example Fusun removing her slipper, as it means one should be aware of slight feet movement to notice it.
I could tell from those butts she’d left around the house before I arrived. I always knew which ones were hers, not by the brand but rather by the way she’d stubbed them out, which bespoke her mood. (p. 394)
Sometimes Tarik Bey, tiring of the show, would begin to peer at the paper from the corner of his eyes. Sometimes Aunt Nesibe, forgetting that she’d left a cigarette burning in the ashtray, would light up another in the kitchen. Sometimes I would sense that Fusun had taken off her slipper underneath the table. (p. 399)
According to Murphy, a character’s characteristic can be shown through the character’s thoughts (1972: 173). To be able to pick up slight changes in people, place, and event, one has to have great awareness and a great deal of sensitivity. The fact that Kemal is able to recognize Fusun’s cigarette butts shows that Kemal’s subconscious intellectual process is one that is very detailed and perceiving.
5. Nostalgic
Kemal is also a nostalgic person. Aside from feeling constant longing to past happiness, he places great value on the past as well as its memory, as shown in the below quotation.
I slipped a colored porcelain thimble into my pocket, and an orange pastel pencil that Fusun had been fiddling with a short time before. In the last months of 1979, I stole the most things from the Keskins household. By now these objects were no longer just tokens of moments in my life, nor merely mementos; to me they were elemental to those moments. (p. 372) PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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According to Murphy, a character’s characteristic can be shown from the character’s habits (1972: 173). The above quotation shows that Kemal’s nostalgic trait prompts him to have a habit of picking little stuff from Fusun’s house. He loves to bring the stolen stuff to his own house or to Merhamet apartment so that when he misses her while she is absent, he can mitigate the pain by toying the stuffs. Another proof of Kemal’s nostalgic characteristic is shown in the below quotation.
It was an object that reminded me of her. I put the end marked “30 centimeters” into my mouth, keeping it there for the longest time, despite the bitter after taste. For two hours I lay in bed, playing around with the ruler, trying to recast the hours it had spent in her hands, which introduced a relief, a happiness almost akin to seeing her. (p.163)
Murphy stated that readers can get a clue about a character’s characteristics through the character’s habit (1972: 173). Soon after Fusun disappears, Kemal falls into the habit of playing around with objects reminding him of her. In the above quotation, after learning from Fusun’s mother that she does not live with her parents any longer, Kemal feel the growing yearning for
Fusun. To reduce the longing, Kemal steals a ruler from her house that is often used by Fusun for her geometric lesson. Kemal describes that playing around with the ruler lessens the pain of missing her. It proves Kemal’s nostalgic trait because it seems that Kemal wants to reiterate the time when Fusun is still there. Kemal’s nostalgic characteristic is apparently what drives him to collect stuffs. He keeps stuffs other people usually banish and throw away. “By the time of his death, he had visited 5.723 museums saving all of his admission ticket” (p. 512). PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Every time Kemal visits a museum, he will keep the admission tickets and place them in a box as a remembrance so that he can recalls the happiness and peace he feels when strolling along the museum gallery. Murphy stated that the character’s habit can be used to describe a character’s characteristic (1972: 173), hence proving Kemal’s nostalgic trait.
As a nostalgic person, Kemal is fascinated by anything reminded him of the old time. It is implied by his love for museums, a building filled with old stuffs. Below are proofs that shows Kemal’s liking for old stuffs.
Sitting in those airless rooms, surrounded by my mother’s old vases and dresses and dusty discarded furniture, going one by one through my father’s amateurish snapshots, I recalled moments from my childhood, and it seems as if these artifacts had the power to calm my nerves. (p.21)
My mother’s accumulated old furniture, the boxes, the stopped clocks, the pots and pans, the linoleum covering the floor, the smell of dust and rust had already merged with the shadows in the room to create a little paradise of the spirit in which my mind could wander. (p.45) Both of the quotations above describe how those unused and broken items accumulated in the Merhamet apartment affect Kemal in a positive way.
According to Murphy, readers can get a clue to a character’s characteristic from the character’s reaction (1972: 168). When being around them, Kemal feels peaceful and happy because those items remind him of the old time, especially his childhood. It seems that the familiarity of the old items brings a sense of nostalgia and comfort that can even relieve his nerve. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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6. Indecisive
Kemal very often appears to be indecisive and unable to stick to his plan and goal. He often makes plan or choose something for himself, only to change his mind and do the opposite of what he had planned before.
I was so embarrassed I decided to forget about her, the fake handbag, and everything else. But twenty minutes later, as I glanced at my watch, it occurred to me that Fusun might be walking toward the Merhamet Apartments at that very moment with the refund for the handbag; making up a lie to Abdulkerim, I wolfed down my food and rushed off. (p. 21)
The above quotation occurs after Fusun fails to turn up at Merhamet apartment as planned to return Kemal’s money. According to Murphy, a character’s characteristic can be shown from the character’s reaction (1972: 168).
In the above quotation, it is clear that Kemal believes Fusun will come in that fourth day. He reacts to his own belief by running to the apartment. Despite her not coming in the three previous days and Kemal decides to forget about her out of embarrassment for waiting in false hope, he is unable to resist himself going to the apartment yet again, forgetting his resolution. Kemal even feels the need to lie to the friend he is with, only to be able to arrive on time, hence proving his indecisiveness.
Kemal’s indecisiveness is present not only in his behavior, but also in his mind. It seems that as if Kemal is confused about what is going on in his mind, as shown in the quotation. “Could I be in love with her? The profound happiness I felt made me anxious. I was confused, my soul teetering between the danger of taking this joy too seriously and the crassness of taking it too lightly (p. 46)”. The quotation occurs when Kemal already has an affair with Fusun. The two make PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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love at the apartment in only their third meeting. Aside from Kemal’s declaration of the profound happiness being too early, happiness and love should only be cherished and enjoyed. Moreover, as a positive feeling, happiness is unlikely to make a person becomes anxious. For Kemal, though, it proves otherwise. Kemal seems to approach the happiness too cautiously. The quotation suggests that
Kemal feels afraid to make mistake, which is to assess the situation. Murphy stated that a character’s characteristic can be drawn through the character’s thought (1972: 171). In the description, it is implied that Kemal is confused whether he should just enjoy the blissful feeling or whether he should just repress it and act as if nothing has affected him. The first option can leave him with the possibility of feeling heart-broken, while the second option can make him feeling empty for not rejoicing the happiness. Paying more attention to how he should assess his feeling rather than simply enjoying it is a proof that Kemal is an over- thinking person who often has his mind in the cloud.
Kemal’s indecisiveness and overthinking tendency is known by the people close to him. Thus, he is regarded as an impractical person. Below is Osman,
Kemal’s brother’s advice to him when his engagement party comes near.
“Marriage will do you good. You can have children right away. Don’t wait too long and they can be friends with ours. Sibel is a woman with a lot of sense; she has her feet on the ground. While you sometimes get carried away with your ideas, she’ll provide a good balance. I hope you don’t wear out Sibel’s patience the way you did with all those other girls.” (p. 44)
According to Murphy, a character’s characteristics can be drawn from other character’s opinion (1972: 162). The quotation above is a statement spoken by
Osman, Kemal’s brother, when the two talk. In the dialogue, Osman tells Kemal PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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that Sibel is a perfect woman for Kemal because Sibel can complement Kemal’s characteristics. Osman states that Sibel is a rational and practical woman and that her characteristic will balance that of Kemal, suggesting that Kemal is the opposite of Sibel and that he can not make his mind up easily. Osman also assumes that Kemal’s vagueness in both behavior and thought often annoys the woman he is in a relationship with, especially women who are direct and straightforward in nature.
7. Passive-aggressive
Kemal can be said as a calm and relaxed person. When he gets angry or offended, Kemal neither expresses his anger fiercely nor confronts the person directly. He prefers to let his feeling be known by being cynical, making sharp remarks, or using only his body language, as described in the quotations below.
The below quotation is a conversation between Kemal and a model appearing in a commercial advertisement for his best friend’s company. Showing a good manner as always, Kemal asks the model politely about how it feels like to be famous in
Turkey, to which she answers bluntly.
“All of Turkey has come to know you in the space of a week. How does that feel?” “The police recognize me, and so do the taxi drivers, and everyone in the street, too. It’s easy to become famous in a country that has only one television channel." “So how many channels do you have in Germany?” (p. 32)
Murphy stated that speech can be used as a tool to better understand a character’s characteristic (1972: 164). Disliking the model’s arrogance, Kemal cuts a sharp remark by asking a question indicating his annoyance. The remarks proves that instead of boldly stating his irritation, Kemal chooses to get cynical, a PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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trait that is very closely related to being passive-aggressive. Another proof of
Kemal’s passive-aggressive trait is as shown below.
“I’ve decided you’re suffering from some sort of complex about being rich in a poor country. Of course, this is a lot deeper than some little fling with a shopgirl.” “You may be right.” “If you ask me, being cultured and civilized is not about everyone being free and equal’ it’s about everyone being reined enough to act as if they were. Then no one has to feel guilty.” “Hmmmmm. I see your time at the Sorbonne was not a waste.” (p. 219)
According to Murphy, speech is one of the nine ways of characterization
(1972: 164 ). Kemal does not like to discuss the nature of his depression after
Fusun disappears from his life the day after his engagement party. It makes him feel embarrassed. However, Sibel always tries to bring the subject in order to help him recovered. She offers him some of her analysis. Kemal shows his anger on this not by scolding Sibel but by answering her shortly and cynically attributing her analysis to her high education.
Aside from being cynical when feeling irritated, Kemal also tends to present passive-aggressive nature when feeling furious. He neither gets violent nor curses the person outspokenly. Instead, he prefers to let his anger known by displaying certain gesture, as shown in below quotation.
When something on television evoked the happy memories we shared— for example, a couple kissing as we had done once—and my attempt to catch her eye was met with her looking away, and even turning her head, I would become enraged. Out of such emotion did I master the habit of staring at her insistently, stubbornly, fiercely, without blinking. (p. 347)
Murphy stated that a character’s characteristic can be implied from the character’s reaction to certain event (1972: 168). Kemal feels furious because
Fusun acts as if nothing happens when the television shows a scene that can PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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remind them of their happy time. Kemal lets his emotion known by staring at
Fusun without blinking. The gesture is passive-aggressive because while it is non- threatening, Fusun may feel intimidated.
B. Kemal Basmaci’s Attitude and Behavior That Reflect Obsessive Love
In this part, the writer answers the second problem formulation. Here, the writer focus on presenting the case of Kemal Basmaci’s obsessive love reflected through his attitude and behavior. In analyzing it, the writer uses Susan Peabody’s theory taken from her book titled Addiction to Love: Overcoming Obsession and
Dependency in Relationships (2005: 37-55).
1. Love at First Sight
As a form of immediate attraction, love at first sight is almost always triggered by the charm and physical beauty of the object of obsession. Below is
Kemal’s reflection on his first meeting with Fusun. “It took a few seconds, perhaps, for that luminous state to enfold me, suffusing me with the deepest peace, but it seemed to last hours, even years (p. 3)”. Peabody stated that obsessors often feel immediate rapport with someone they barely know (2005:
37). The above quotation shows that, as recounted by Kemal, when he sees Fusun for the first time, he already feels an instant bond with her. Kemal describes that seconds upon seeing Fusun, he feels the deepest kind of peace lasting long in him. In reality, it is strange, if not impossible, to feel the deepest peace when seeing a new person. Another proof of Kemal’s love at first sight is as followed.
At first I thought there was no one there, my eyes were still adjusting to the gloom after the noonday sunlight. Then I felt my heart in my throat, with the force of an immense wave about to crash against the shore. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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“I’d like to buy the handbag on the mannequin in the window,” I manage to say, staggered at the sight of her. “Do you mean the cream-colored Jenny Colon?” “The handbag on the mannequin in the window,” I repeated dreamily. (p. 5)
The above quotation shows a definite proof of Kemal’s love at first sight. He describes the effect he feels when seeing Fusun for the first time is like a powerful wave crashing onto shore. Peabody stated that obsessors often feel immediate attraction toward the object of their obsession (2005: 38). While seeing an attractive new person might be pleasant, Kemal’s reaction is highly exaggerated as he describes feeling his heart jumping to his throat. The last line of the quotation even suggests that Kemal is awe-struck as he speaks.
Physical attractiveness plays a major role in developing love at first sight as it is usually what people notice first. When a man seeing a beautiful woman, for example, it is likely that he will become more interested in her compared to him seeing an average one. Kemal’s love at first sight also likely happens due to
Fusun’s physical attractiveness, as shown in below quotation.
There was a silence. I looked again into one of the pockets she had just pointed to inside the bag. Her beauty, or her skirt, which was in fact too short, or something else altogether, had unsettled me, and I couldn’t act naturally (p. 6)
The quotation shows that it is very likely Fusun’s beauty and sexiness that actually capture Kemal’s attention first and foremost. Peabody stated that obsessors’ love at first sight is often merely a lust (2005: 38). As Fusun is easily the most beautiful girl Kemal has ever seen, he mistakes his exaggerated escalation for love. The quotation shows that Kemal also feels awkward, just as anyone feeling in love. In a healthy relationship, one’s admiration for the PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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partner’s physical attractiveness is completely normal. The only difference is that such admiration will gradually shift from something superficial to something deeper, which is not the case with Kemal as the story goes. Kemal’s love at first sight is proven by his desire to kiss Fusun at their first meeting. He even fantasizes kissing her in a corner of heaven, which proves the love Kemal feels is actually an infatuation because everything is beautiful and perfect. “For a moment I paused; my ghost had left my body and now, in some corner of heaven, was embracing Fusun and kissing her (p. 7)”.
There are times when Kemal can be considered as being delusional, believing that he has found his soul mate in Fusun after their first meeting as shown in the below quotation.
As much as I wanted to dismiss the feeling as ordinary, I could not deny the startling truth that when looking at Fusun, I saw someone familiar, someone I felt I knew intimately. She resembled me. I felt I could easily put myself in her place, could understand her deeply (p.15)
In this part, Kemal is delusional because he believes that Fusun is similar to him. Kemal feels that he has known Fusun for a long time. He feels that he can understand her very well although they have just met. The quotation serves as a proof of Kemal’s love at first sight since Peabody state that obsessors tend to feel premature bonding (2005: 37). Kemal already feels intimate toward Fusun ever since their first meeting. This is highly unlikely in the case of real love since intimation and understanding are things people accomplish as a relationship progresses. .
2. Exaggerated Fear in Relationship
Susan Peabody notes that obsessors are always inherently needy and PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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fearful, especially for being alone and abandoned. Peabody argues that this fear might be traced back to their history of rejection during childhood, which is one of the causes of obsessive love. The state of loneliness, abandonment, or rejection is very terrifying for them. This is why obsessors choose to cling on their relationship with other people, especially their object of obsession.
It would occur to me to say that we must marry at once, but I held back, fearing that she might decline my proposal quickly and definitively, and then abandon me. For it seemed to me that Sibel was waiting for an opportunity to end our relationship. (p. 205)
Peabody stated that obsessors are terrified of a being rejected (2005: 44).
The above quotation shows that in general, Kemal is afraid of being abandoned by others, and not only by Fusun. After seeing Sibel opts to stay by his side and help him getting over his depression, Kemal feels the urge to rush their marriage.
This is a proof of Kemal’s fear of being left without someone to support him.
However, the quotation also implies Kemal’s insecurity as he is sure that Sibel will reject his marriage proposal, scaring him even more to a degree that he refrains from proposing. Another proof of Kemal’s exaggerated fear in relationship is as followed.
And so it was that by the end of July, Sibel’s loving suggestion that I see a psychiatrist turned into a requirement, and unwilling to lose her wonderful compassion and companionship I agreed. (p. 175)
When I embraced Sibel in farewell and saw tears in her eyes, I became afraid, thinking that there would be no return to our old life after this, sensing I would not see her again in a very long time. (p. 207)
The above quotations serve as other proofs that Kemal fears of being left.
The first quotation explains that although seeking help from a psychiatric is
Sibel’s wish which Kemal refuses to meet at first, he is forced to do so in an PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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attempt to keep Sibel from losing her patience and leaving him. Here, the quotation proves Peabody’s theory that obsessors are terrified to go looking for trouble out of fear of losing companionship (2005: 44). The second quotation shows that Kemal fears of being left alone during his difficult time. In fact, Sibel only goes to Paris for a short holiday with her female friend. Therefore, Kemal’s suspicion that Sibel might want to leave him only proves that in terms of relationship, Kemal is very insecure.
Obsessors are afraid of being alone because they feel that they might see life is not worth living for without a relationship. They also think that their life will be empty without having someone they love. The below quotation proves
Kemal’s fear of an ending of a relationship (Peabody, 2005: 44).
Toward morning, with the north wind blowing into every corner of the house, as I lay in bed in a drunken stupor, it occurred to me that it had been a very long while since the fisherman had last come in his boat with his son. There was still one part of my mind sound enough to see things clearly, and it was telling me that a chapter of my life was now coming to a close, but the greater part of me was still too anxious and fearful of being alone to let me accept this truth. (p. 208)
In the above quotation, Kemal is in a state of drunkenness. At that time,
Fusun has gone missing for months following the engagement party. He is depressed because he still does not know Fusun’s whereabouts yet he can not move on with his life. Kemal and Fusun has been a secret lover for forty four days before she disappears so suddenly. The quotation suggests that part of his mind already realizes that his relationship with Fusun is over, however Kemal does not want to acknowledge the reality because he is afraid of loneliness and separation from someone he is madly in love. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Since obsessors have tremendous fear of feeling abandoned, they usually see their relationship, especially with their object of obsession, as a safe harbor that represents secure feeling. However, as obsessors see the relationship as a way to gain a sense of security, they might do anything to prevent them from losing the object of their obsession, something they are very much afraid of, as shown in the below quotation.
I couldn’t bear to imagine her as the sort of woman who would ruthlessly manipulate magazine writers in pursuit of fame and fortune. But in the looks of the Pelur crowd, I saw a lot of people who would do anything to part “us”—and I use that word because it was the first to enter my mind. If Fusun became a famous film star, it would only magnify my love for her, and with it my fear of losing her. (p. 335)
The above quotation clearly shows that Kemal is afraid that Fusun might use any means to become a star. It also implies Kemal’s insecurity as he believes many people want them to part, thereby proving Susan Peabody’s theory that obsessors’ insecurity tend to lead them getting suspicious easily (2005: 45).
Although being an actress is Fusun’s long time aspiration, Kemal actually does not have an intention to make her dream comes true, out of fear of losing her. The last sentence in the quotation also suggests that Kemal‘s excessive love is equal to his excessive fear of losing Fusun. Therefore it can be proven that Kemal indeed has an exaggerated fear in terms of relationship.
In her book, Susan Peabody suggests that obsessors’s fear in terms of relationship is the root of their possessive behavior. They have a constant need for reassurance that they are wanted and loved. Making sure that they will not be left for someone else is also on top of their priority. In a healthy relationship, jealousy is not uncommon. The difference between a normal jealousy and the PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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abnormal one is intensity. Below is a quotation showing Kemal’s abnormal jealousy.
I calculated that it would be another fifteen hours before I could give it to Fusun as a present, and wrap my arms around her and forget all my jealous thoughts; and for the first time I felt pain at being unable to call her on the phone. It was a burning sensation, from inside me, and it felt like remorse. What was she doing at this moment? My feet were not carrying me home but in just the opposite direction. My inner rationalist, though weakened by all the raki I’d drunk, was not yet dead, and now it warned me that it would be Fusun’s father who’d open the door and that the consequences might be scandalous. I walked only far enough to be able to see their house in the distance, and the lights in the windows. Just to see the second-floor windows reached by the chesnut tree was enough to make my heart pound. As drunk as I was, I was now seeing things clearly—yes, I had come here on this moonlit night to catch a glimpse of Fusun, perchance to kiss her, to speak to her, but in equal part to ensure that she was not spending this evening with someone else. I do not remember how long I stood there looking at the windows. It was, I know, quite late by the time I got home. (p. 67)
According to Susan Peabody, obsessors’ fear of losing their object of obsession can be seen in the way they act possessively (2005: 45). In the above quotation, Kemal is seen walking drunkenly to Fusun’s house at night with the intention of overseeing her. Kemal does that because he wants to know whether or not Fusun is at her home. He needs to make sure that Fusun is not spending the night with someone else. This is a strong proof of an abnormal jealousy since
Kemal is unable to restrain his urge to spy Fusun’s activity. Moreover, the time is inappropriate for Kemal to do so as it is a rather frightening idea to keep an eye on someone late at night.
One of the signs of abnormal jealousy is becoming excessively jealous of other people they see as a threat for their relationship. Deep down, obsessors have low self esteem which results in their possessive behavior. They are not PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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confident that they can keep their object of obsession if faced with other competitor, especially the ones Kemal feels as a prospective suitor for Fusun. The below quotation describes how Kemal feels an intense jealousy to Kenan, an employee in his office.
Heading to the table, stopping en route to embrace many guests, I was glancing at the dance floor, scanning it for Nurcihan and Zaim, when I saw Fusun dancing. . . with Satsat’s young and handsome new clerk Kenan. . . Their bodies were far too close. . . An ache spread through my stomach as I returned to my seat. The orchestra going without pause from one number to the next was now playing a slower, more soulful tune. At the table there was a silence, a very long one, and I could feel jealousy’s venom mixing with my blood. (p. 131)
The above quotation shows Kemal’s abnormal jealousy. He describes the burning sensation inside his heart being similar to venom undermining his body.
It is a clue that the jealousy he feels is so intense. He also describes that he feels an ache in his stomach upon seeing Fusun dancing with his employee. The occurrence also suggests Kemal being egoistic. He does not care if Fusun might feel the same jealousy and heart-break for attending his engagement party. Such is Kemal’s possessiveness that he can not let them continuing their dance.
Therefore, Kemal uses some tricks to separate them, as shown in below quotation.
In a short while I am going to invite Kenan to my father’s table. What I would like you to do is to go straight over to Fusun and keep her busy, shadow her every move, like a good football defender, so that I don’t die of jealousy tonight—and so that I can get to the end of this evening without succumbing to fantasies of firing Kenan.” (p. 134)
Kemal plans to use his position as a boss to hold Kenan at bay. At the same time, he orders his best friend to guard Fusun’s movements. Peabody suggests that out of excessive fear and worry, obsessors might do something PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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possessive (2005: 45). This possessiveness is clearly seen in the way he tries to separate Fusun and Kenan. At the same time, the fact that firing Kenan comes to his mind proves that what Kemal feels is an abnormal jealousy.
As an obsessor, Kemal’s jealousy is far too intense. While the majority of people usually do not get jealous of a past lover, Kemal is different. He still feels threatened by Fusun’s past admirer, who is not even her lover, as shown n the below quotation.
Although I was seeing double from the raki, I found Turgay Bey’s name at once and crossed it out with a ballpoint pen, and then, propelled by a sudden sweet compulsion, I put down the names of Fusun and her parents, along with their Kuyulu Bostan Street address, and in a low voice, I said: “My mother doesn’t know this, Madam, but the gentleman whose name I crossed out, though a valued family friend, was recently overzealous about a yarn business deal. It saddens me to say that he has knowingly done our family a great wrong. (p. 65)
The quotation shows another proof of Kemal’s abnormal jealousy. Earlier that day, Fusun tells Kemal about a number of men who once have shown interest in her. One of them is Turgay Bey, a wealthy and handsome man who is a family friend of Kemal. His jealousy leads him to impulsively exclude Turgay
Bey’s from the invitation list of the engagement party. It clearly shows that
Kemal’s jealousy is irrational. He lets his jealousy get the better of him because as a family friend, Turgay Bey should be invited.
3. Dysfunctional Emotions
Obsessors are prone to dysfunctional emotions, especially when the relationship runs into obstacle. The dysfunctional emotions can appear as though obsessors are unable to assess their emotions and express them accordingly. It leads them being unable to manifest their emotions healthily. In Kemal, this PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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dysfunctional emotion when dealing with his obsessive love is very understandable. This is because Kemal himself is a person whose characteristic is rather indecisive and unclear. One of the examples of dysfunctional emotions is having a tendency to develop a confusing kind of feeling, as shown in below quotation.
Sometimes I wondered whether this was all happening because her entrance exam had gone badly. Afterward in my guilty dreams I would give her long, exacting math lessons; my pain would abate, especially when the math lessons were over and we would make love. But the dream would end abruptly when I remembered that she had broken the promise made while we danced at the engagement party—to come to me as soon as the exam was over—and when I recalled that she had not even furnished me with an excuse, I would begin to feel angry at her, my resentment fed, too, by her lesser crimes—trying to make me jealous at the party, listening while the Satsat employees joked at my expense. (p. 149)
Peabody stated that one characteristic of having dysfunctional emotion is to develop confusing feeling (2005: 46). It can be seen that at first Kemal feels guilty for not giving Fusun a proper math lesson as he has promised her when they first meet in the Merhamet apartment. Instead of teaching Fusun, he uses their secret meeting to seduce her. As a result, she fails in the test and disappears.
In an attempt to relieve his guilt, Kemal dreams of teaching her properly.
However he suddenly feels angry when remembering about Fusun’s minor mistakes. It is clear that Kemal has dualistic feeling regarding Fusun’s disappearance. He feels both guilty and angry, which is quite opposite. Another proof of Kemal’s dualistic feeling, pulled between guilt and anger is shown in the below quotation. When thinking about Fusun, Kemal feels a deep compassion that results from love though at the same time also feeling an equal amount of PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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anger, thus indicating his love-hate feeling, another characteristic of dysfunctional emotion (Peabody, 2005: 46). “I would feel a deep compassion for
Fusun welling up inside me at the same moment, and this reminded me of how much anger I felt, too (p. 196)”.
Susan Peabody states that dysfunctional emotion is also characterized by an impulsive and fluctuate rage (2005: 46). Usually, the rage is a manifestation of obsessors’ own depression and frustration at being unable to handle their emotion or being unable to express their emotion. Below is an example of the sudden rage
Kemal feels, along with his longing to meet Fusun.
As much as I would long for an escape from this suffering, I longed for someone to confide in, to find Fusun and talk to her, but when that longing went unfulfilled I would yearn to pick a fight with someone, anyone to whom I could attribute this damning, furious resentment. (p. 159)
The above quotation describes Kemal’s sudden attack of rage. The first line of the quotation suggests that he misses Fusun. Missing someone is a tender and beautiful feeling. However, with Kemal, the tender feeling suddenly changes into rage, thus proving his dysfunctional emotion. This sudden rage likely emerges because while he feels angry toward Fusun for putting himself in the misery, he “can not” get angry with her for she is the only person who can bring him back to life. So powerful is his frustration that he feels as if he needs to pick a fight with someone, as a manifestation, because he can not express his anger to
Fusun.
Susan Peabody also suggests that obsessors often have a strange way to manifest their frustration. Instead of assessing their emotion and directing their PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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anger to the person causing it, they will make a dramatic plot in their mind, as shown in the below quotation.
Sometimes, after midnight, having had a lot to drink at a nightclub or a party, I would see my rage directed not at society’s idiocies, its tedious conventions, nor my own foolishness in succumbing to my obsession; my anger was directed at Fusun; in a walled-off corner of my mind, I would fretfully acknowledge that I was in perpetual argument with her, at times thinking secretly that she had chosen to reject the pleasant life I could have given her, in favor of this flooded rat’s nest in Cukurkuma. (p. 247)
The above quotation shows that Kemal makes Fusun a scapegoat for his anger and frustration, though actually he should blame himself for his self- undoing. He then creates an imaginary scene in which they have an argument. In the argument, he imagines that Fusun deliberately reject his offer for a better life with their being together. In his imagination, Fusun chooses to separate with him and living in her own poor neighbourhood area. By imagining such scene, Kemal wants to believe that Fusun’s foolishness for rejecting his offer makes him rightly angry at her. This is a proof of dysfunctional emotions because Kemal wrongly diverts his anger to Fusun rather than to himself. He even makes an imaginary excuse to make it feels right.
Dysfunctional emotion can also take a form as an inability to express the emotions openly. For example, obsessors might feel afraid to open up about their negative feeling, as it can drive their object of obsession away. The following quotation shows Kemal’s inability to express his regret and sadness.
Why had I not once brought her to Kilyos Beach, knowing how much she’d have wanted to go? How could I not have recognized the value of this great gift God had given me! When was I going to see her? As I lay there in the sun, I wanted to cry, but knowing I was guilty, I couldn’t allow myself, and instead I buried my head in the sand, and felt damned. (p. 168) PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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In the above quotation, Kemal is at a beach sunbathing on the sand. Then, he remembers that Fusun wants to go to the beach for long. It makes him sad as now Fusun is gone, he can not fulfill her wish. Kemal starts to feel that he has wasted God’s gift represented by Fusun. Although feeling sad and wanting to cry,
Kemal think he does not have the right to cry since it is his own fault. Here,
Kemal depicts his dysfunctional emotion because for him, he can cry only if he is the victim. Holding back tears is not good for emotional health because not expressing emotion can prevent one from healing their emotional torment and be ready to move on with their life. Besides, there is no rule stating that someone who is at fault is not be allowed to cry.
4. Weak Personality Boundary
In this part Kemal’s characteristic of being weak-willed and indecisive character may play a part. Being weak-willed and oversensitive, Kemal often chooses to go with the flow and adapt to everything or everyone around him, losing sense of individuality in the process. In her book titled Addiction to Love:
Overcoming Obsession and Dependency in Relationship, Susan Peabody states that most obsessors have weak personality boundary as a result of their low self- esteem (2005: 49). Generally, people with low self-esteem are unsure whether or not they will be liked just the way they are. At the same time, obsessors have a fear of rejection. Therefore, they want to ensure that they will be well-accepted.
One of the signs of having weak personality boundaries is having no sense of separation with others, as depicted in Kemal in the following quotation.
I would arrogantly tell her that being careful was a part of being clever, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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and I would watch the tip of her pencil pecking like the beak of a sparrow as she pounced on a new problem; she would pull at her hair nervously as she simplified an equation with some skill, and I would follow her work anxiously, with the same impatience, the same rising agitation.” (p. 48)
In the quotation, Kemal is teaching Fusun mathematics for her university entrance exam. Peabody stated that obsessors tend to lose their sense of boundary, making them too easily affected by other people’s emotion (2005: 49).
The theory is proven in the above quotation. When Fusun tries to solve a new and difficult problem, she always appears uneasy. It seems that the difficulty she is facing lead her to becoming restless, as the quotation suggests through her gestures. Strangely, Kemal seems to adapt to Fusun’s emotion as he too feels anxious and jittery just by watching her looking nervous. Kemal recounts that he feels as agitated and impatient as Fusun does. It is a proof that Kemal has weak personality boundaries by unconsciously adopting Fusun’s attitude.
Obsessors who have weak personality boundaries often seem to not having a sense of individuality. In the majority of time, they even have the same feeling as their object of obsession. It includes the feeling of happiness, sadness, anger, and many others. The below quotation shows that Kemal likes to base his attitude from that of Fusun’s.
I treasured that moment when our eyes first met—not on first arrival, but while we were sitting down at the table—not only because it warmed my heart but because it spoke of what sort of evening lay ahead. If I saw some contentment, some tranquility in Fusun’s expression, even if it were a frown, the rest of the evening would assume that tone. If, however, she was unhappy or uneasy and so didn’t smile, I wouldn’t smile much either. (p. 293)
The above quotation describes how important the first glance he and
Fusun share while sitting together for supper at Fusun’s house. When their eyes PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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meet, Kemal can tell whether or not Fusun’s mood is bright. If Kemal senses that
Fusun radiates positive energy, he will maintain to have such positivity during the supper. However, if Fusun does not look too vibrant, he will imitate that demeanour. The quotation is then a strong proof that Kemal has weak personality boundaries, because he lets Fusun controls his mood and feeling for the rest of the night. Another proof of Kemal’s lack of individuality when it comes to attitude is shown in below quotation. This time, Kemal describes that he can not feel the peace during supper time only because Fusun is not particularly relaxed that night. It serves as a proof of Kemal’s lack of individuality because if he sees
Fusun is unhappy, he can not feel happy either, although he feels happy upon arrival.
We had been sitting there eating and drinking for some time, I remember, when I realized there was not peace at that table, for Fusun’s tense demeanour had set the tone for the evening, which would bring me no pleasure. (p. 342)
Weak personality boundaries can also be manifested by copying other people’s habit (Peabody, 2005: 50). It is not uncommon for obsessors to follow the habit of their object of obsession. Sometimes they do this to gain approval, but other times they do it because they do not really know who they are or what they really like. “For nine years Fusun smoked Samsuns, for which brand I gave up Marlboros soon after beginning to dine at the Keskin’s.” (p. 393)
Kemal deliberately switches the brand of his cigarette he smokes. Before beginning to dine at Fusun’s house nearly every night, he always buys Marlboro, but since becoming a regular at her house, Kemal buys Samsuns, a cigarette brand which is cheaper and less in quality. The quotation suggests that Kemal PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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smokes Fusun’s favourite cigarette brand because of Fusun herself, not because he likes the taste of Samsuns since the switch happens rather too quickly.
Imitating other people’s habit can be seen as a subtle way to gain approval. It is also understood that having the same habit or hobby might drive people closer. Obsessors use this trick to get connected to their object of obsession, as described in below quotation.
The tobacco was coarse and moist, not ground well enough, and the cigarettes often contained what looked to be chips of wood, as well as undried lumps of the plants and thick-veined leaves. For this reason, Fusun was in the habit of softening the cigarette before she smoked it by rolling it between her fingers, and over time I had acquired this habit, too, rolling my cigarette between my fingers, just as she did, before lighting up, and I loved it when our eyes met as we were both doing this. (p. 394)
In the above quotation, Kemal describes how he imitates another Fusun’s habit that is to roll the cigarette before lighting it. They need to do this because the Samsuns cigarette is rough, not as smooth as the Marlboro, thus it needs softening. Kemal recounts that he loves the moment when he and Fusun roll each of their cigarette. Here, it can be seen that Kemal does this not only to make the smoking more enjoyable, but also to get connected with Fusun, as Kemal describes that holding gaze with Fusun while doing it brings happiness to him.
5. The Need to Create Drama and Excitement
To create excitement, obsessors try to make up a romantic fantasy in their mind. More often than not, obsessors who are experiencing a ruined relationship with the object of obsession will create a happy imagination to cope with the reality while maintaining their excitement alive, as pointed by Susan Peabody in her book titled Addiction to Love: Overcoming Obsession and Dependency in PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Relationship (2005: 41). The following quotation is Kemal’s fantasy.
That night my mind was fixed on one fantasy: the film premiere, and Fusun holding the microphone, speaking to the admiring audience at the Palace Cinema—or was the New Angle Cinema a better choice?— thanking me first and foremost. When I came on stage, those attuned to the latest gossip would whisper that during the filming the young star had fallen in love with the producer and left her husband. The photograph of Fusun kissing me on the cheek would appear in all the newspapers. (p. 253)
The above quotation shows that Kemal fantasizes about a film premiere where he acts as the producer and Fusun being the actress. At this time, their relationship is ruined because Fusun is already married. However, that circumstance does not stop Kemal from fantasizing about their love story. In his fantasy, he imagines the public gossiping about a love affair emerged between
Kemal and Fusun during filming. Using Susan Peabody’s theory, it is likely that
Kemal’s fantasy about being reunited with Fusun is just his way to entertain himself that there is a possibility Fusun might leave her husband if he helps her to become an actress.
In her book, Susan Peabody stated that obsessors try to create excitement by continuing to fantasize about their object of obsession. Even after the relationship ends, they still fantasize a lot about being reunited.
As I sat there pressed against Fusun, I would imagine the day we married, I would gaze at the moon and lose myself in dreams, for I felt as if I— we—had become like our ancestors in heaven, souls cleansed of guilt and sin, and I would abandon myself to my dreams, my delights, and the bliss of sitting next to Fusun.” (p. 339)
In the above quotation, Kemal heads out for a night stroll with Fusun and her husband. When sitting next to Fusun, their skin brushes against each other.
Although Fusun acts as ordinary, Kemal starts to fantasize about a reunion as he PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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is very happy to brush against her skin, which reminds him of the past when they are lovers. Peabody stated that obsessors’ fantasy is often filled with romance and drama that can be very far from the truth (2005: 43). In the quotation, Kemal creates a fantasy about getting married to Fusun, which can not be farer from the truth as Fusun is happily married with her husband.
As explained by Susan Peabody, obsessors are thrilled with romance, especially the “high” and euphoric part of feeling in love. It is common for them to want an interesting romance pictured in romantic movies or novels. It is as if obsessors need a relationship packed with drama to satisfy their hunger for excitement that might give them adrenaline rush. Below is a quotation shows
Kemal’s tendency to dramatize things.
Being secure in the knowledge that I would never see her again, I could smile at Fusun and say one last indifferent good-bye. As I walked through the door, Fusun would understand that this was to be her last glimpse of me, and perhaps she would panic, but I would elude her in a deep silence, as she had done to me for the past year. I would not even say that we would never see each other again, but I would wish her well in such a way that she could not conclude otherwise. (p. 248)
The quotation depicts an occurrence that happens after Kemal finally relocates Fusun, approximately ten months after she disappears following the engagement party. However, upon going to her new house for the first time,
Kemal discovers that Fusun is already married. To restore his dignity, Kemal plans to end his obsession and bid farewell to Fusun. The above quotation is
Kemal’s fantasy about how he will say goodbye to Fusun. In his imagination,
Kemal plans to say it dramatically. Instead of saying it with heavy heart as expected, Kemal plans to smile mysteriously and say goodbye as if it means PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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nothing. He imagines that Fusun will get panicked as she senses Kemal’s secret intention to leave her forever. However, he will keep Fusun guessing so that she will be heart-broken by his silent treatment. The quotation shows that Kemal is indeed an obsessor looking for a drama. Thus, he creates one in his mind because in reality he does not have the strength to leave Fusun.
Obsessors’ tendency to create drama out of trivial thing can actually do harm to themselves. It is because they place themselves in the danger of being hurt by the slightest thing. Below is an example of how Kemal’s longing for a drama leaves him with heartache.
If no one was paying attention to us as we ate supper, and having given ourselves over to television, we had been moved to tears by the spectacle of lovers in some sentimental series saying their last farewells, a chance meeting of our eyes would bring me great joy, and I would have gladly acknowledged having gone there that evening just to look into her eyes. But Fusun would pretend not to notice the happiness of that moment; she would avert her gaze, and this would break my heart. (p. 347)
The above quotation describes how Kemal’s sense of drama is not met by
Fusun. One night they have supper while watching romantic television series.
When in the movie the lovers say their last goodbye, Kemal tries to catch Fusun’s eyes, which is met with Fusun turning her head away. Kemal wants to share a glance with Fusun in the hope of evoking Fusun’s sentimental feeling. He wants
Fusun to remember the happy time they share when they were lovers, albeit in secret. However, when Kemal notices that Fusun does not have the same excitement, even manage to act as if nothing happens, Kemal feels deeply hurt.
Aside from dramatizing ordinary events, obsessors also like to interpret the gestures of their object of obsession. They will usually employ their object’s PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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gestures to make an assumption or prediction about what is going to happen in the future. The interpretation is surely not based on fact, but simply their personal conjecture. Below is an example of Kemal’s dramatic interpretation toward
Fusun’s gesture.
Now Fusun will come to sit at your side, said an optimistic voice inside me. And if she came, it would be a sign that one day she would give up on this misalliance, divorce her husband, and be mine. (p. 240)
The above occurrence happens when Kemal pays his usual visit to
Fusun’s family house. Peabody stated that aside from dramatizing ordinary thing, obsessors create drama by reading their object of obsession’s action and making interpretation out of it (2005: 41). As shown in the quotation, Kemal tries to create drama by interpreting Fusun’s act. He tells himself that their future will be decided by Fusun’s choice of chair in the dining room. He believes that if Fusun chooses to sit beside him, it is a good omen for their future. It proves that Kemal needs an excitement, although it means that he deludes himself in the process.
Excitement is one thing obsessors crave on daily basis. It is rooted from their constant need to feel thrilled and stimulated. Below quotations are proofs that Kemal likes to create excitement related to Fusun.
And I was so convinced I would read these horoscopes very carefully, but having no systematic belief in the stars, I did not spend hours playing with them. My need was urgent. I made my own system of signification: I would say to myself, “If the next person who walks through that door is a female, then I shall be reunited with Fusun, and if it is a man, all will be lost. (p. 181)
If the first red car moving down the avenue has come from the left, I am going to have news from Fusun, and if from the right, my wait will continue. (p.181)
If I am the first person to jump off the ferry when it lands, I’ll see Fusun PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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soon.” And I would jump before they’d even thrown the rope. (p.181)
If the number of steps in the overpass is an odd number, I’ll see Fusun soon.” If it turned out to be an even number, my agony would increase, but if the omen augured well I would enjoy a moment of relief. (p. 182)
Peabody said that in order to fulfill their need to get constant excitement, obsessors try to interpret events and make signification out of it (2005: 41). All of the above quotations are example of Kemal’s way to makes himself thrilled out of ordinary event. For sure, there is not any correlation between any of Kemal’s significations with his possibility to see Fusun again after her disappearance. The fact that Kemal prefers to feel the “ups and downs” as a result of his own signification proves that Kemal has a constant need for excitement and dramatization in terms of his love life.
6. High Level of Tolerance for Suffering in Relationship
Kemal’s tolerance for suffering in relationship can be affected by his weak-willed characteristic. When presented with hardship and difficult time,
Kemal tend to do nothing to change the situation. He is too passive to make things better. It is not surprising that when he is faced with suffering due to his obsessive love, Kemal does not even have the will to end his misery by throwing away his obsession.
A great number of obsessors have high level of tolerance for suffering in their relationship. In her theory, Susan Peabody suggests that they opt to be neglected rather than facing their fear of separation from their object of obsession. Their low self-esteem is also understood to be a factor causing them to think that they are powerless to change their situation. Most of them even learn PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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that suffering in the name of love is something to be proud of. The below quotation shows that Kemal can tolerate the pain he suffers during Fusun’s disappearance.
Stopping at the Merhamet Apartments to pick up the tricycle and the pearl earrings that my father had given me in a box, I got completely soaked. Still entirely contrary to my expectations, I felt the deepest peace in my heart. It was as if I had forgotten all the pain I had endured since last seeing her at the Hilton Hotel 339 days earlier. I remember even feeling thankful for every minute I had spent writhing in agony, because it had brought me to this happy ending. I blamed nothing and no one. (p. 234)
The above quotation sees Kemal picking up the things he is about to bring to Fusun’s house. It is the first time he will meet Fusun after she disappears.
Peabody stated that due to the fact that obsessors can not stand separation with their object of obsession, they will opt to tolerate any pain (2005: 50). Here,
Kemal recounts that his anger and sadness are instantly gone without trace soon after Fusun sends him a letter telling her new address. He does not regret suffering for nearly a year, even thanking Fusun for giving him horrendous time.
For Kemal, it is the pain that allows him to feel the deepest peace when he is finally able to meet her again. Kemal’s statement of blaming nothing and no one indicates his high level of tolerance for suffering in relationship.
Obsessors’s low self-esteem makes them placing little importance in their dignity. They will accept the fact that their object of obsession neglects or even abuses them as long as they can still be together. Surely not all obsesssors have the same problem and situation, but the bottom line is always the same, in that they tolerate any kinds of pain to be with their object of obsession. The below quotation shows how Kemal puts up with the shame he feels for coming PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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again to Fusun’s family house.
That was when I realized, as drunk as I was, that the earring had been an excuse: I had come here to see Fusun. And now she was teasing me, telling me she had not found the earring. During that silent interlude I remarked to myself that the pain of not seeing Fusun had been far more self-destroying than then shame I had suffered in order to see her. (p. 250)
The above quotation depicts Kemal’s second visit to Fusun’s house. After discovering that Fusun is already married during his first visit, Kemal plans to say his final goodbye. However, just three days after the first visit, Kemal feels the same intense pain for not seeing Fusun and decides to visit her house late at night. Kemal describes that he would rather feel the pain caused by embarrassment and humiliation than feel the pain for not seeing Fusun. This is in line with Peabody’s theory that obsessors tolerate any kinds of pain in order to avoid separation (2005: 50). It is understood that Fusun knows Kemal’s real intention for coming again, thus he feels ashamed. In the end, the quotation proves that Kemal’s tolerance for shame is higher than his tolerance for separation.
At some point, obsessors might start to feel comfortable with the fact that they suffer in relationship. However, their inherent fear of separation is what prevent them to leave it and start to have a healthy relationship. In the below quotation, Kemal argues that the shame and humiliation he feels to see Fusun at least three times a week for eight years means nothing compared to the pain he endures as a result of not seeing her.
For me, happiness is in reliving those unforgettable moments. If we can learn to stop thinking of our lives as a line corresponding to Aristotle’s time, treasuring our times instead for its deepest moments, each in turn, then waiting eight years at your beloved’s dinner table no longer seems PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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such a strange and laughable obsession but rather assumes the reality of 1.593 happy nights at Fusun’s dinner table. Today I remember each and every evening I went to supper in Cukurkuma—even the most difficult, most hopeless, most humiliating evenings—as happiness. (p. 289)
The above quotation describes how frequently Kemal visits Fusun’s family house. He calculates that he goes there 1593 times in the span of eight years for having supper and watching television. Kemal defends his behavior by pointing that his experience must be seen through the happiness it brings, not by seeing it as a wasted 1593 days. During the eight years of visit, it is inevitable that Kemal must go through many shameful moments. The fact that Fusun is a married woman coupled with her parents’ awareness of Kemal’s real intention must be the sources of Kemal’s shame and humiliation. However, as an obsessor fearing of separation with his object of obsession, Kemal deadens his feeling to the point that he can not feel ashamed any longer. He also states that even the most humiliating evening is happiness, a realization that comes to him after
Fusun dies.
In truth, Kemal’s high level of tolerance for suffering in relationship can be seen long before spending three to four times a week at Fusun’s house. When
Fusun disappears after she fails in the university entrance exam, Kemal refuses to move on with his life, although at that time he still has Sibel’s companionship as well as his friend’s support. Rather than freeing himself from the pain by doing activities he loves, he chooses to wallow in guilt and sadness and let the pain consummates him. Growing more and more comfortable in the middle of suffering while not trying to change the situation is a definite proof of Kemal’s high level of tolerance for suffering. Peabody stated that one sign of high level of PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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tolerance in relationship is feeling comfortable and even addicted to pain (2005:
51), as also stated by Sibel after months of trying to heal Kemal.
You have come to enjoy being the sort of man who is always in pain and turns his nose up at everything. But the time has come for you to pull yourself together, darling. (p. 200)
“I see you’ve come to accept your condition.” “What do you mean?” “For months now we’ve been waiting for your illness to pass. But after all this waiting, there are no signs of recovery—and instead you seem to greet your illness with open arms. It’s very painful to see, Kemal” (p. 218).
7. Being Ruled by Libido
As pointed by Susan Peabody, there are a great number of obsessors who are being ruled by their libido. These kinds of obsessors are usually driven by their sexual desire. In their eyes, sex is often the primary and most important aspect in their relationship. They also regard sexual attraction as the number one factor for determining a true love. Below quotation shows Kemal’s passion toward Fusun’s physical attractiveness.
To touch her body and her lovely long arms, to feel her breast pressed against my chest, to hold her like that, if only for a moment, made my head spin. Perhaps it was because I was trying to repress the desire, more intense each time I touched her, that I conjured up this illusion that we had known each other for years, that we were already very close (p. 17).
The above quotation occurs in the shop Fusun works as a shop keeper.
That day, Kemal intends to return the handbag he had bought for Sibel as she demands him to do it, knowing that the bag is fake. Fusun feels humiliated by
Kemal’s act and starts to cry. It prompts Kemal to hug her, as a consolation. The quotation suggests that Kemal feels elated only by being really close to her.
Kemal describes that Fusun’s breasts and long arms make him dizzy. Kemal also PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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feels that his desire for her grows more intense each time, although in fact it is only their second meeting and the first time of their physical contact. To justify his intense passion, Kemal then deludes himself as if they have been close for years. Kemal’s dizziness as a result of touching Fusun and the delusion he conjures are proofs of Peabody’s theory that obsessors often become blinded by sexual attraction (2005: 54). Below quotation also shows Kemal’s lust toward
Fusun.
The way her hair tumbled onto the paper, the way her hand traveled across the table, the way she’d chew and chew a lead pencil, only to slip its eraser between her lips, as if sucking a nipple, the way her bare arm grazed my own from time to time—all this sent my head spinning (p. 47)
The above quotation happens in the Merhamet apartment, when Kemal teaches Fusun mathematics. As Fusun tries to solve a math problem, Kemal observes her. His observation is not to keep track about how Fusun solves the math problem, though. The quotation clearly shows that Kemal pays attention to
Fusun’s gestures while fantasizing sensual occurrence. According to Susan
Peabody, obsessors are prone to eroticism (2005: 54). It is clear that Kemal is prone to eroticism because he imagines something sexual in Fusun’s otherwise ordinary gestures, being tumbled hair, accidental skin touch, and the shredded pencil eraser. Therefore, the quotation is a proof that Kemal’s obsession toward
Fusun is fueled by eroticism.
In the following quotation, it is seen that Kemal tries to figure out the reason behind his obsessive love toward Fusun.
I am certain that the fire at the heart of my tale is the desire to relive those moments of love and attachment. For years, whenever I recalled those moments, seeking to understand the bond I still felt with her, images PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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would form before my eyes, crowding out reason; for example, Fusun would be sitting on my lap, and I would have taken her breast into my mouth…Or while drops of perspiration fell from the tip of my chin onto her graceful neck, I’d gaze with awe at her exquisite backside…Or at the heights of our pleasure, the look on Fusun’s face… (p. 53)
The above quotation shows that when Kemal tries to understand why
Fusun is so beloved to him, he will recall their happy moment together. However, this happy moment is not the moment when the love and attachment can be clearly seen, for example when they are cuddling and contently enjoy a peaceful evening together. Instead, he recalls the moment of their love-making. This is tricky because in love-making, libido might take over love and attachment relatively easy. This is a proof that as an obsessor, Kemal often confuses lust with love, as pointed by Susan Peabody (2005: 54).
Obsessors who are being ruled by libido will usually place too much importance on sex. As a result, they neglect other important aspect in a healthy relationship, such as honesty, loyalty, communication, and friendship. In the below quotation, it can be seen that what Kemal wants sex more than just togetherness.
In one corner of my mind I kept thinking that Fusun and I would be meeting many more times in the Merhamets apartments to make love. But I understood that the only way I could carry this off would be to act as if nothing out of the ordinary were happening (p. 31).
The above quotation shows an occurrence after Kemal and Fusun meet in the Merhamet apartment. Kemal uses this opportunity to seduce Fusun and they make love for the first time. Before Fusun leaves, Kemal offers her to come again every afternoon so that he can teach Fusun math. He knows that Fusun needs math lesson to pass the university entrance exam. However, the above quotation PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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suggests that teaching math is not Kemal’s real intention. It can be seen that in his mind, he arranges the meeting to be able to have sex with Fusun when he is at lunch break. It is clear that helping Fusun, that can build communication and friendship is not what Kemal seen as important. Therefore, the quotation proves
Peabody’s theory that obsessors let passion and sex over other aspect of healthy relationship (2005: 55).
The fact that Kemal is ruled by libido shows that actually he is selfish. He knows that that Sibel is well-suited to be his wife, considering that she comes from a prominent family. At the same time, he realizes that he can not marry
Fusun who is far too lower in social status. However, the fact that he can have
Fusun’s body without marriage makes him not really wanting to marry her, either. This is a proof of Kemal’s high importance on sex, as he is not that interested to experience true love as a whole.
If I proceeded with great care and let her know how much I loved her, Fusun, I now understood, would be unable to break off relations with me for as long as I lived! The manly pleasures that my father and my uncles had had only a taste of, and rarely before their thirties and not before they had suffered terrible torment—partaking of all the pleasures of a happy home life with a beautiful, sensible, well-educated woman, and at the same time enjoying the pleasures of an alluring and wild young girl—all this while I was still in my thirties, having scarcely suffered for it, or paid a price (p. 118).
In the above quotation, Kemal ponders about his future life. It shows that
Kemal aims to keep the situation as it is. He plans to marry Sibel not long after the engagement party, while at the same time continue seeing Fusun secretly. It can also be perceived that for his plan to be realized, he is going to flatter Fusun, telling her how much he loves her. This is ironic because by creating this plan, it PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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is clear that Kemal does not love Fusun. All he wants is to get sexual satisfaction without having the obligation to marry her. Peabody stated that obsessors are dominated by their sexual needs (2005: 54). The proof for this theory is evident in the above quotation regarding Kemal’s plan for the future. Another proof showing that Kemal’s idea of love is dominated by sex can be seen as followed.
The following quotation suggests that the one thing that makes Kemal happiest is his love-making with Fusun. This is a proof that Kemal is ruled by his libido.
As she peeled off her clothes, Fusun changed from a fearful girl made sad by helpless passion into a healthy and exuberant woman ready to give herself over to love and sexual bliss. Thus did we enter what I have called the happiest moment of my life. (p. 72)
People who are involved in a healthy love relationship will most likely agree that sex is not the most important thing in it. Their happiness lies in, for example, being able to have a quality time together, make the loved one smile, and ensure their happiness, which will in turn make them feel happy too. This is not the case with Kemal, as described in the above quotation. He recalls that the happiest moment in his life is his love-making to Fusun.
Commonly, obsessors also have a tendency to confuse lust with love
(Peabody, 2005: 54). It is very possible that they do that because they have no idea about what healthy love is and how it affects them. In the below quotation, it can be concluded that Kemal confuses lust with love.
“I know you believe you went your own way, in pursuit of something deep and meaningful. You followed your heart. You made a stand.” “Might it be something simpler than that? The sex was so good that I became obsessed. . . That’s what love is like.” (p. 418) PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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In the above quotation, Kemal talks to his best friend, Zaim. In the discussion, Zaim proposes an idea that Kemal dumps Sibel because he looks for a deep and meaningful love, which he finds in Fusun. However, Kemal does not completely agree with Zaim’s theory. He reckons that it is the sex alone that dives him obsessed. Kemal argues that the making love with Fusun pleases him beyond anything. He believes that only love can feel that way. Kemal’s statement of “that’s what love is like” implies that for Kemal, love should be passionate, even obsessive. Therefore, it is clear that Kemal confuses lust with love, as stated by Susan Peabody (2005: 54).
8. Controlling Techniques
As pointed out by Susan Peabody in her book, obsessors like to control their object of obsession in an attempt to keep them. They need to do this because obsessors desperately avoid the prospect of losing their object of obsession.
Obsessors try to control their relationship as well as their object of obsession through manipulation (Peabody, 2005: 55)
During the first visit to Fusun’s house, Kemal learns that Feridun works in the film industry as a script writer. Feridun tells him that he wants to make an art film but he finds it particularly difficult with the limited budget. Kemal sees that in order to be able to see Fusun frequently without drawing suspicion, he must have a good excuse. This is the reason behind his decision to enter film business.
And as the art film provided a plausible pretext for my visiting the Keskin family four times a week, it served only too well to conceal the real purpose of my appearances. (p. 301) PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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This was the point I realized it would be very difficult for me to enter the Yesilcam film world purely for the sake of being close to Fusun. (p. 264)
Even after Fusun is not a single woman any longer, Kemal is unable to throw his obsession. He is also unable to bear the pain for not seeing her. To cope with it, Kemal manipulates the reason behind his frequent visit to Fusun’s house.
He wants Fusun and her family to think that he visits them to talk about film business, a sector in which Feridun works in and which Fusun is aspired to be in.
This way, he can have a legitimate and appropriate alibi to come often. On the other hand, as only a distant relation of Fusun’s family, it will be unusual and awkward for him to visit the house frequently. To specifically win Fusun’s heart,
Kemal also promises to make her a lead actress in the film project he and Feridun will be making, as shown in the below quotation.
“Why don’t I come and pick you up on Tuesday evening at seven?” “Fusun can come too, right?” “Of course, if we are to make a Eupean style art film, we must have Fusun play the lead!” (p.252)
The above quotation shows an occurrence in which Kemal offers Feridun his help to fund the art film project. He insists that Fusun has to play in it. The quotation sees Kemal plans to act as the film producer. By holding such controlling position, Kemal has the ability to manage the situation and the relationship of the three of them as he desires.
As the film producer, Kemal needs to spend a large sum of money, which he is reluctant to do at first, considering that his motivation is only to be at
Fusun’s side. Deep in his mind, Kemal does not want to let Fusun becoming an actress as he fears losing her. Therefore, as the person who is in charge of the PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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film production, Kemal uses his power to manipulate and postpone its progress, as seen in the following quotation.
At these meals I would listen respectfully to her husband holding forth on his dream, on Yesilcam films and Turkish audiences, keeping my doubts to myself; it was, after all, not my aim to offer the Turkish filmgoer “the gift of an art film in the Western sense of the term,” and so I would discreetly create difficulties; for example, asking to see the finished screenplay, only to express my excitement about another story before the first script came to hand. (p. 255)
The above quotation shows Kemal’s manipulation trick. He knows that if he wants Fusun and Feridun see him as a prospective film producer, he needs to show an interest in Turkish film. Therefore, every time Feridun talks about how their movie should be, Kemal pretends to share the same aspiration. At the same time, he sabotages the film project by deliberately creates difficulty in order to halt the filming. There are two reasons as to why Kemal secretly tries to delay the film production. The first reason is because it may cost too much, while the second one is due to his reluctance to see Fusun becoming an actress, as shown in the following quotation.
My confidence on this project was never more than a pose, but after reading these scenes I was even more resolutely and angrily opposed than Tarik Bey would have been. But realizing that I had to keep the project alive for awhile longer, I lavishly praised the script to both Fusun and her husband, going so far as to tell them that “as the producer” I was now ready to begin tryouts for actors and technicians, a zealousness for which I gently mocked myself, in the interest of making it more credible. (p. 302)
In the above quotation, Kemal reads the final script Feridun has just given him. Upon reading it, Kemal discovers that as the lead star, Fusun will have three scenes in which she has to appear nude. It angers Kemal and unsurprisingly, he disapproves the script. However, remembering that he has promised Fusun that PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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the filming is guaranteed, he knows that he must pretend that the filming will begin soon.
In her book, Susan Peabody states that obsessors use some controlling ways to make sure that they get closer to their object of obsession, and equally not to lose them. However, obsessors learn that a direct control may be too risky because no one likes to be controlled and restricted openly. Out of such consideration, obsessors may try the more subtle way to control their object of obsession, which is by trying to control them manipulatively, as shown in below quotation.
But that I could not buy my way out of every anxiety attending Fusun’s entry into the film world around this time did worry me deeply. One evening when I went to the house in Cukurkuma, Aunt Nesibe told me, most apologetically, that Fusun had gone out with Feridun to Beyoglu. I kept a natural expression, hiding my misery as I sat down with Tarik Bey and Aunt Nesibe to watch television. Two weeks later, when the same thing happened again, I invited Feridun to lunch, to warn him that if Fusun became too involved with this drunken film crowd, it could undermine the integrity of our art film. He should use my visits, I advised, as a way of obliging her evenings at home. A lengthy explanation ensued as to why I thought this would be for the good of both the family and our film. (p. 315)
In the above quotation, Kemal feels dejected knowing that Fusun and
Feridun aren’t at home during his visit. As Kemal is already anxious about Fusun entering the film word and befriends with many film makers in a bar, Kemal uses his position as the film producer to manipulate the situation for his own advantage. He tricks Feridun into believing that as a future actress, Fusun is an integral part of their film project. Therefore, Feridun must prohibit Fusun hanging out in a bar especially during Kemal’s visit. The quotation proves that
Kemal tries to control Fusun’s behavior with a pretext of maintaining their art PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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film’s credibility, when in truth his real intention is to keep Fusun for himself.
Therefore, it is proven that obsessors often use manipulation to keep their object of obsession (Peabody, 2005: 55).
9. Unhealthy Preoccupation
In her book titled Obsessive Love; When It Hurts Too Much to Let Go,
Susan Forward states that obsessors see their object of obsession as the one magic person. Obsessors are certain that their one magic person is the only one who will make their life meaningful and happiest like never before. The below quotation shows that Kemal even considers Fusun is all and everything that matters.
“Each time I saw her smile, hope and joy rose up inside me with the force of blooming sunflowers. I was reminded by her beauty, and by her gestures, which were so dear to me, and by her luminous skin, that the center of the world, the center to which I must travel, was at her side. All other people, places, and pastimes were nothing but “vulgar distraction.”(p. 238)
In the above quotation, Kemal assumes that Fusun is the center of the world, ironically reminded so by only her beauty and attractiveness. This assumption is a proof of an unhealthy preoccupation because obsessors’ world tends to get narrow as they invest more in their object of obsession (Forward,
2005: 9). Kemal feels that just as the earth revolves around the sun, his life too, has to circle around Fusun. By stating that Fusun is the center of the world,
Kemal wants to justify his need to be at Fusun’s side, considering her importance in his life. The last line of the quotation also suggests that no other person in the world matters for him. They are all just distraction, so he should only put little to no importance in others. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Obsessors have a tendency to see their object of obsession through rose- colored spectacles. Without requiring explanation, obsessors often jump to the conclusion that their object of obsession is a perfect person who can meet all their needs. Out of such assumption, obsessors are desperate to cling to their object.
There was only one person in the world with whom I could live, only one person whose embraces I craved; the heart of my life was elsewhere, and to try to fool myself for nothing with vulgar distractions was disrespectful both to her and to myself. (p. 177)
In the beginning phase following Fusun’s disappearance, Kemal often takes to party and drink to try to forget Fusun. However, he then ironically realizes that such effort is a disgrace, and therefore deemed unacceptable.
Forward (2002: 21) stated that obsessors feel that only their object of obsession can make them happy and fulfilled. The quotation implies that to Kemal, Fusun is the one and only person he wants and needs. Kemal thinks that he should not try to forget her even with the help of his fiancée Sibel, his close friends, and activities he previously enjoys because Kemal feels they are all just distractions that are not worth to be with.
As obsessors have an unhealthy preoccupation with their object of obsession, they tend to see them as being ultimately perfect. Everything their object of obsession do is pleasant to watch, everything they say sounds right, and every gesture they exhibit is beautiful.
I embraced her with all my strength and breathed in the scent of her neck. It was a mixture of algae, sea, burnt caramel, and children’s biscuits, and every time I inhaled it a surge of optimism would pass through me. (p. 52)
Forward stated that obsessors feel that their object of obsession can make them feel the passion they never get before (2002: 21). The above quotation PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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describes how hugging Fusun affects Kemal positively. As he inhales, Kemal smells Fusun’s scent. He describes that while breathing in her scent, he feels optimism entering his body. In reality, there is no fragrance having scent of optimism. His interpretation of Fusun’s perfume proves that Kemal is fixated that
Fusun is the only person matters, as he can feel energized only by breathing in
Fusun’s scent. This is especially true considering Kemal is weak-willed and laid back in nature.
Feeling preoccupied does not necessarily mean that one is trapped in an obsessive love. As Susan Forward suggests in her book, feeling preoccupied is very much common, especially in the beginning state of a new relationship.
However, in a healthy relationship, the two people involved will still be able to have an enjoyable relationship while maintaining to have other life outside of it.
This is not the case for obsessors, as recounted by Kemal in the following quotation.
My secret bliss with Fusun had made me more subdued in the company of friends, and more and more I preferred to watch the going-on from the sidelines. Sorrow was slowly consuming me, though at the time I couldn’t see it clearly. (p. 97)
The above quotation sees Kemal ponders about how Fusun’s presence changes his life. It is understood that his secret affair with Fusun makes him feeling happy like never before. However, it causes him to enjoy his time with friends no longer, as his utmost happiness is at Fusun’s side. This is a proof an unhealthy preoccupation, because now it occurs to Kemal that his only source of happiness is Fusun.
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having no social life any longer. As Kemal spends too much time to be near
Fusun, he loses his circle of close friends, as shown in the following quotation.
“My friends have turned their backs on me because of Sibel—I don’t like that.” “No one’s turned their back on you.” “Fine, but what if the decision had been up to you? What would you have done?” “Of course, I would have wanted you to come. You and I always have such fun at weddings. But let me speak to you as a friend. Kemal, my friend, those people didn’t turn their backs on you; you turned your back on them.” “Now how did I do that?” “By turning in on yourself, and taking no joy or interest in our world.”
(418)
The above quotation describes Kemal’s displeasure at not being invited to one of his best friends’ wedding. Kemal is annoyed as he thinks that Sibel, who finally elects to break their engagement upon realizing that Kemal has no intention to move on with his life, influences their decision not to invite him.
Then, Zaim assures him that it is Kemal’s own behavior that actually estranges him from his circle. Zaim’s suggestion serves as a proof that Kemal’s unhealthy preoccupation toward Fusun leads him to a situation in which as if he has no other life outside of his house and Fusun’s house.
Kemal’s unhealthy preoccupation with Fusun continues and even grows in intensity as time passes. As a result, it alienates Kemal not only from his friends, but also his family.
“Why don’t you stay in for a change, we can eat something together.” “No, Mother dear, I’m going out.” “Goodness, I had no idea there were so many diversions in this city. You can’t stay away from it for a single night.” “My friends insisted, Mother dear.” “I wish I were your friend instead of your mother, left alone in life. (p. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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308)
In the above quotation, it is seen that Kemal’s mother persuades him to stay at home in the evening to have supper with her. Kemal rejects it, however, insisting that he has to attend a friend’s party. As a matter of fact, Kemal refuses his mother’s request because he wants to have supper at Fusun’s family house instead. He makes up an excuse as he does not want his mother to learn about his constant visit to Fusun’s family house, which will cause him embarrassment. By saying that he plans to attend a friend’s party, Kemal tries to persuade his mother into thinking that he still have a full life filled with friendship.
As time goes on, Kemal’s unhealthy preoccupation toward Fusun continues even after the death of Fusun, months after her separation with Feridun, which open the door for her reconciliation with Kemal. The below quotation shows Kemal’s plan following her death.
“So where are we going to put this, Kemal Bey?” asked Cetin Effendi. “I want to spend the rest of my life under the same roof with this car,” I said with a smile, but Cetin Effendi understood at once that I was earnest, and unlike the others, he did not say, “Oh, Kemal Bey, life must go on— you can’t die with the dead.” Had he done so, I would have explained that the Museum of Innocence was to be a place where one could live with the dead. Prompted by pride, I said something altogether different, “There are lots of things stored in the Merhamets Apartments. I want to bring them together under one roof and spend the rest of my days among them.” (p. 503)
Fusun dies after she deliberately crashes the car she is driving with
Kemal. She is furious after remembering that Kemal hinders her dream of becoming an actress, albeit promising to help her reach the stardom. Instead of finding a way to forget Fusun, he plans to build a museum dedicated to her memory and spends the rest of his life there. Forward said that unhealthy PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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preoccupation might cause obsessors to neglect other aspects in life (2002: 9).
After neglecting his family and friend when Fusun is alive, Kemal chooses to neglect his own life altogether after she dies. He neglects his job to spend the rest of his life establishing and living in a museum filled with things he steals from
Fusun’s house. This is a proof of Kemal’s unhealthy preoccupation as it seems that Kemal plans to “die” along with Fusun, instead of moving on with his life.
C. The Causes of Kemal Basmaci’s Obsessive Love
In the final part of the analysis, the writer answers the third problem formulation regarding the causal factor behind Kemal Basmaci’s obsessive love.
Theories from Susan Forward, Susan Peabody, and Melanie J.V. Fennell from their books will be applied to answer the problem formulation. The main causes of Kemal Basmaci’s obsessive love are low self-esteem, dysfunctional family background, chemical imbalance, and inadequate role model.
1. Low Self-esteem
Kemal is a person who has a low self-esteem. Some of his characteristics elaborated in the first part of chapter IV, for example his being weak-willed, indecisive, and passive-aggressive are all signs of a person having low self- esteem. In addition, obsessors’ lack of self esteem is the cause of their clinginess toward the object of their obsession as they fear separation (Forward, 2002: 173).
Kemal’s attitude and behavior toward Fusun, as elaborated in the second part of chapter IV prove that Kemal can not stand a separation from Fusun.
In her book, Susan Peabody states that a person is not going to be an obsessive lover unless he or she has low self-esteem (2005: 31). That being said, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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someone who has low self-esteem will not certainly develop obsessive love, but it is certain that an obsessor does have low self-esteem. This is because obsessive love has the prospect of ruining one’s life completely, so someone with healthy amount of self-esteem will not put themselves in such humiliating place or at some point will do something to free themselves. In her book titled Overcoming
Low Self-esteem, Melanie J. V. Fennell mentions the list characterizing low self- esteem such as seeing themselves as invaluable, difficulty asserting needs and/or speaking out, avoidance of challenges and opportunities, bowed posture, hushed voice, hesitancy, anxiety, guilt, shame, fear, anger, frustration, uncomfortable body sensation, fatigue, low energy, tension, underachievement in school and work, self consciousness, oversensitivity to criticism, approval-seeking, eagerness to please, and not taking care of themselves by smoking and heavy drinking
(2009: 10-12) that Kemal possesses, as proven in below explanation.
People who have low self-esteem often do not live up to their full potential as an individual. As a result, they are often an underachiever in some areas in their life, such as school and career. “I saw that I would actually be able to help her. The thought that I might be able to tutor Fusun in mathematics lightened the emotional burden and left me with a feeling of joy and a strange sort of pride (p.31)”. The quotation implies Kemal’s underachievement in life as he feels that being able to tutor Fusun in math makes him very proud, as if it is a great achievement.
People with low self-esteem do not see themselves as valuable. Therefore, they rarely feel that they are special. “I have suffered many years of remorse for PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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labelling Fusun as “modern and courageous,” for the compliment also said that I would feel no special just because she’d slept with me (p.51)”. The quotation implies the fact that Kemal does not feel he is valuable and special as a person.
Although the fact that Fusun opts to sleep with him before marriage is likely due to her being a modern and courageous woman, Kemal refuses to acknowledge it because he desperately wants to feel special. He wants to believe that Fusun’s decision to sleep with him has something to do with him instead. Another proof of Kemal having low self-esteem is shown in the below quotation, in that Kemal is shown to have difficulty asserting need without being hesitant.
Late that night, I walked for a long time thinking about Fusun. What I couldn’t stop thinking about, what perturbed me was not that Fusun had given me her virginity; it was that she had shown such resolve in doing so. There had been no coyness, no indecision, not even when she was taking off her clothes. (p.33)
Hesitancy is common in people with low self-esteem. This trait can take in the form of the person being unable to be assertive about what they want or what they need. The above quotation shows that Kemal is captivated by Fusun’s confident disposition. Fusun exhibits an assertive attitude and goes after what she wants. The fact that this kind of attitude perturbs Kemal suggests that he has the opposite attitude of Fusun’s, in that he is coy, indecisive, and hesitant when it comes to expressing his desire. Another proof of Kemal’s low self-esteem can be seen in the following quotation that shows Kemal’s difficulty to speak out.
“I’m so proud of you. One day everyone in Paris should see these!” I said. As always, what I really longed to say was something like “My darling, I love you so much, and oh, how I’ve missed you. It was so painful being far away from you, and what bliss this is, to see you!” (p.371)
People who have low self-esteem have difficulty in communicating and PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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expressing themselves. They are afraid of saying or doing the wrong things that might make other people not liking them. In the above quotation, Fusun shows
Kemal her painting. Kemal reacts by praising her extravagantly, although it is not what he actually wants to say. This is a proof of Kemal’s low self-esteem because he chooses to say what he thinks other people want to hear. He thinks that other people will like him if he just says the right thing at the right time. Another proof of Kemal’s low self esteem is that he avoids challenges and opportunities, as shown in below quotation.
My brother would denounce my refusal to be a part of this new venture; after warning me that this was my last chance to change my mind, and muttering that I would live to regret losing this opportunity, he would complain that I seemed to be running away from success and happiness, both in private life and at work. (p.258)
People with low self-esteem are scared of failure. They would rather choose not to try than to face the possibility of failure. The above quotation shows Kemal’s refusal to participate in a new prospective business with his brother. Kemal chooses to run the same business rather than trying different one, although its success may lead the company growing rapidly. His brother’s remark also reveals that Kemal has a withdrawn attitude toward life, which is also a classic sign of low self-esteem.
People having low self-esteem tend to slouch and to speak unclearly.
Below is the proof of Kemal’s way of talking.
“Don’t do that!” Fusun said. That threw me for a moment. Fusun had done a very good impression of my stare. At first I was too ashamed to answer. “What are you trying to tell me? I murmured. (p.348)
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blinking. He often does so whenever he feels angry with her. Getting annoyed by
Kemal’s behavior, Fusun tells him not to do that again. Instead of verbalizing the reason behind his action, Kemal murmurs ashamedly. “It was threatening to become one of those evenings when I could not rise from my chair. Deploying my will power, I finally did, and murmuring that it had gotten very late, I removed myself (p.349)”. The quotation also shows Kemal’s tendency to murmur while also describes his lethargic attitude, another sign of low self-esteem, as he needs to deploy his will power only to get up from the chair.
Another sign of low self-esteem is anxious feeling. Kemal gets anxious and nervous very easily. Often times, the reason behind his nervousness do not mean anything at all for other people. “Whenever I entered a new house, I would always feel uncomfortable until I knew how many rooms it had, which backstreet the balcony looked out on, why a table had been positioned in a particular way
(p.238)”. The quotation shows an example of a very minor thing that causes
Kemal feeling anxious. He needs to know every detail of a house he goes into in order to feel comfortable. “Even though I had prepared myself for this, the sight of so many people I had known all my life clapping for us and warmly smiling made me as giddy as a child (p.111)”. Kemal also feels anxious about being in the spotlight. Instead of feeling happy when the guests cheers on and congratulate him in the engagement party, he feels uncomfortable and dizzy. “Look at you with your legs twitching again. Why don’t you walk off your nervousness and come back (p.309)”. When feeling heavily anxious, people might start to tremble. The PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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quotation shows Kemal has his knees trembling as a result of his anxiety, as he waits to see Fusun.
Guilt and fear are emotions people commonly feel whenever they do something bad. In people with low self-esteem, however, guilt and fear seem to be felt more easily and sometimes without clear reasons. “Without speaking, we walked up the street. Was I troubled by my indifference to a little girl’s witnessing such a thing? I felt guilty, but I wasn’t quite sure why (p.37)”. Kemal and little Fusun run into the feast of sacrifice while walking outside and accidentally see a lamb’s throat being slit. Kemal feels guilty as he thinks little
Fusun might be scared upon seeing it although she seems to be unphased. The fact that Kemal feels guilty is rather bizarre, especially as he does not do anything wrong. “Perhaps I’m afraid of life, Doctor!” (p.176). The quoted line shows Kemal’s answer when being asked by a psychiatrist as to why he is depressed. His answer shows Kemal’s fear attitude toward life in general, which is a symptom of having low self-esteem.
Another proof of Kemal’s unexplainable guilt and fear is when he watches a soccer match. Somehow he feels that the upbeat atmosphere of the stadium has the power of lessening his negative feelings, although he has no reason to have such feelings in the first place. “In this festive atmosphere, with men on the field and in the stands conjoined in ritual embrace and congratulation, in this sudden community I felt my guilt recede, my fear transform into pride (p.
43)”. The quotation shows Kemal’s low self-esteem as he often unreasonably feels guilty and fearful. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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People with low self-esteem are often strucked by shame which, similar to their guilt and fear, is unexplainable. “I should have stood up and gone to sit next to Fusun. But I couldn’t, for a strange shame had immobilized me. I was like a teenager refusing to sit with his parents at the cinema, but also unwilling to acknowledge the source of his shame (p.277)”. In the quotation, Kemal meets a friend of his mother. He feels obliged to sit next to her although wanting to move next to Fusun. His realization for wanting to sit next to Fusun instead of with his mother’s friend causes Kemal to feel ashamed. It is normal to want to sit next to someone he is close to, so Kemal’s shame is exaggerated and unreasonable.
Kemal sensitivity seems to contribute to his shame. As he is able to sense the atmosphere of a place, he knows when things are off. “If her chatter to diffuse the situation seemed too forced, I would feel ashamed and remain silent (p.292)”.
Kemal’s frequent visit to Fusun’s family sometimes raises awkwardness among them. While Kemal is ashamed of himself for visiting them too often, his shame is very much intensified when he senses that Fusun’s mother, being the friendliest and most hospitable person in the house, tries hard to ditch the awkwardness.
People having low self-esteem do not just feel ashamed of what they do but also of themselves. “Actually, I had no desire to share my collection with others, nor did anyone know I was hoarding things—I was ashamed of what I was doing (p.374)”. Kemal has a collection of knick knack stolen from Fusun’s house. He loves to take things from every visit so that he can cherish the moment they spend together. Kemal’s ashamed feeling to let others see his collection is a PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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proof of his low self-esteem. People who have a healthy amount of self-esteem will not be ashamed of what they do, even be proud of it, especially if it causes them to feel happy. Another proof of Kemal’s low self esteem is shown below.
Late at night, when I had sunk into the cushions on the L-shaped divan, the raki I had drunk with Tarik Bey would make itself felt, and I could almost drop off to sleep, watching the television screen with one eye open, and with the other it was as if I were looking into the depth of my soul; I would feel the shame I had at other times succeeded in banishing, the shame that life had brought me to such a strange place, and an anger would well up urging me to get on my feet and leave the house. (p.298)
Frustration, as pointed by Melanie J. V. Fennell, is one of the many signs of low self-esteem (2009: 10). It is not uncommon for people with low self-esteem to get enraged suddenly. The distress feeling is usually caused by not being able to change something. In the above quotation, after feeling happy for having dinner with Fusun’s family, Kemal suddenly feels ashamed and angry upon realizing that he has no other world but at Fusun’s side. It is implied that Kemal feels frustrated as he is unable to get rid of his obsession though it disgraces him.
Having low self-esteem might lead a person to feel an unusual body sensation that can take the form of feeling tired and tension (Fennell, 2009: 11).
In Kemal, this body sensation is present in the form of tingling sensation when he is either happy or excited, even though he merely does everyday things.
I was very happy. But this was not an elation I could weigh in my mind and understand. It was something that I felt on the nape of my neck when I answered the phone, or at the tip of my spine when running up the stairs, or in my nipples when ordering food at a Taksim restaurant. (p.49)
Having a tendency to be self conscious is another sign of low self-esteem. People with extreme self consciousness think that they are constantly being judged and evaluated by others. They may, as a result, become worried as to what other PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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people think of themselves, as shown in below quotation.
“What is it?” I suddenly realize that I would be unable to say that it was a quince grater. If I did, it seemed to me they would instantly understand that I was obsessed with Fusun and had for years been visiting four or five times a week the house she shared with her family, such a hopeless and humiliating situation as to oblige them to see me as a man with strange inclinations, harboring evil. (p.380)
The quotation shows Kemal being interrogated by a soldier while driving home from Fusun’s house. The soldier asks Kemal about the tool he puts beside him in the car. Kemal is paralyzed and unable to answer what it is, as he assumes that if he tells him the soldier will learn that Kemal suffers from obsessive love. He is afraid to be perceived as a creepy man with strange habit of collecting things.
This is a proof of Kemal’s self consciousness, because it is impossible that the soldier will draw such conclusion based on only asking what it is that Kemal brings with him in the car.
People with low self-esteem have the need to get approval from others to feel good about themselves. They need to be reassured that they are liked and accepted. Below quotation shows Kemal’s need for other’s approval.
It was not uncommon for me to feel this way on those dark, dire nights when Fusun’s expressions had displeased me, when she had offered hardly a smile, and even less if I brushed against her, intending nothing, but having done so, requiring a sign of assurance. (p.298)
In the above quotation, it is described how Kemal feels dejected to see Fusun being unhappy when Kemal visits her. Kemal then intentionally brushes against
Fusun to see how she will react. By doing so, Kemal hopes to get a kind of approval that he is not the cause of Fusun’s bad mood. He needs to feel liked and accepted. Another proof of Kemal’s approval from others is shown as follows. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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My present also helped me with awkward first moments after my arrival. During the early years, I’d bring pistachio baklava, Fusun’s favorite, or water pastries from the renowned bakery in Nisantasi. Then I would take my place discreetly, very much like a pupil who has come to class late. (p.293).
As Kemal feels ashamed to visit Fusun’s family very frequently, he feels the need to “buy” the approval of Fusun and her parents that he is accepted there. To get it,
Kemal will bring something every time he comes. He either brings gift or favorite food of theirs.
Oversensitive to criticism is also a trait often exhibited by people with low self-esteem. Other’s criticism might drive them overly offended as it signifies that they are wrong and incompetent. Below is the quotation describing
Kemal’s oversensitivity to criticism.
“Kemal Bey, if at all possible, let’s try and avoid this. Is your brother aware of all this?” Kenan asked. He explained that we could not possibly manage alone, and if we failed to fulfill the order in time, it would harm not just Satsat but the prospect of the other firms involved, and subject us to heavy penalties in the New York courts. “The arrow has already left the bow. We’ll have to carry on without Turgay Bey.” Kenan remained in front of me, insisting that I needed to speak to Osman. “Kenan Bey,” I roared, “you are not working in my brother’s firm. You are working for me!” “Kemal Bey, please don’t take offense. Of course I’m aware of this. If you don’t ring him right away to talk about a matter this important, he is going to be very upset. Your brother is aware that you’ve not been having the easiest time recently, and like everyone else, he only wants to help you.” The words “everyone else” almost detonated my anger. I was tempted to fire him then and there. (p.172)
The above quotation shows a conversation between Kemal and his employee. Out of jealousy toward Turgay Bey who once admires Fusun, Kemal cancels a business plan with him. His employee advices him not to do so and to at least PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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consult his brother beforehand. However, it is clear that Kenan’s wise advise offends Kemal. As a result, Kemal feels the urge to fire Kenan straight away.
Kemal’s overreaction also shows that Kemal is angry and frustrated easily, which are also the signs of low self-esteem.
Having low self-esteem also means having a tendency to be a people pleaser. This is rooted from their need to feel liked by other people. Therefore, it is common for them to bend to other people’s wish and demand. Below is a quotation showing that Kemal is a people pleaser.
I surveyed the tables at the back of the garden, hoping to catch a sight of Fusun, but she seemed to have vanished into thin air. Misery spread through my body. “Are you looking for someone?” “My fiancée is waiting for me, but of course I’d love to sit down and have a drink with you. . . .” They were very pleased, and at once they pushed together their chairs to make room for one more. No, I didn’t need a place setting, just a little more raki. (p.115)
The above quotation shows an occurrence in Kemal’s engagement party with
Sibel. In the middle of the party, Kemal scans the ballroom hotel, looking for
Fusun. When asked, Kemal answers that he tries to spot Sibel in the crowd.
Although he does not want to make small talk with the guests and wants to walk around looking for Fusun instead, Kemal states that he will be very happy to sit with his guests, a statement to which they response in delight. The quotation is a proof that Kemal is a people pleaser.
2. Dysfunctional Family Background
Family background, especially the characteristics of the parents and the relationship among family members play an important factor in the development PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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of obsessive love. The majority of obsessor comes from an unhealthy family which provides them with insufficient love, respect, approval, and protection, thereby making them feel abandoned. Subconsciously, this feeling of abandonment drives obsessors to desperately and compulsively regain the lost love. However, obsessors will shift this connection compulsion from parents to their object of obsession. (Forward, 2002: 172-174). Kemal comes from an upper class and bourgeouise family in Istanbul. However, throughout the novel it is implied that he does not have the most loving and supportive kind of family, which very likely be one of the causes of his obsessive love toward Fusun.
Susan Forward states that parents whose characteristics are domineering, highly critical, and highly perfectionist might indirectly ruin a child’s self-esteem and make them feels unloved and rejected. This case is found in a large number of obsessors (Forward, 2002: 180). Therefore, it is very possible that both
Kemal’s low self-esteem and obsessive love are rooted from having a parent that falls exactly into those types of characteristics. Below is a quotation suggesting that Kemal’s mother is a highly critical and domineering person.
“They should ban miniskirts on anyone who doesn’t have the legs,” she said, frowning at another guest. Then: “It wasn’t us who seated the Pamuk family all the way at the back!” she said in answer to a question posed by my father, whereupon she pointed out some other guests: “Look at what’s become of Fazila Hanim. She used to be such a beauty, but nothing remains of it. Oh, I wish they had left her at home, if only I hadn’t seen that poor woman like this. . . .Those headscarf people must be relations of Sibel’s mother. . . .I’ve had no use for Hicabi Bey since he left that lovely rose of a wife and his children to marry that coarse woman. I’m going to trash Nevzat the hairdresser—that shameless man gave Zumrut exactly the same style as me. Who are these people? Look at the noses on that couple—my God, don’t they look just like foxes?” (p.104)
In the above quotation, it is described how Kemal’s mother gives sharp comment PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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and criticism about nearly anything and anyone during Kemal’s engagement party. Her criticism, though, is not the constructive one as it is mostly about other people’s appearance and physical features. It is also implied from the quotation that his mother is an authoritarian figure as she thinks someone should make a rule about who should and should not wear miniskirt for the sake of appropriateness.
When Fusun rose ceremoniously from the table and went over to Lemon’s cage, I got up, too. “For God’s sake, don’t bother with that bird while we’re still eating! Don’t worry, you have plenty of time left to spend together. . . . Stop, stop right there, I’m not letting either of you back at the table until you’ve washed your hands,” my mother cried. (p.463)
In the above quotation, Kemal’s mother exhibits authoritarian characteristic when she strictly forbids Kemal and Fusun to sit after going near Fusun’s birdcage. She demands them to wash their hands although they do not actually touch the bird.
This occurrence happens in Fusun’s house as Kemal’s mother visits Fusun’s house for the first time. The fact that Kemal’s mother being only a guest yet not stopping her to command the house owner suggests that Kemal’s mother is a bossy figure. In fact, Kemal’s mother carries her bossy and domineering figure into how she handles the family. “My mother had previously banned the customary serving of peppermint and strawberry liquor in crystal glasses on a silver tray, because sometimes my father drank too much (p.35)”. The quoted line shows how Kemal’s mother seems to be in charge in the family, instead of
Kemal’s father, as she is the one who deems what to have and what not to have in the house though what she bans is part of a tradition.
Kemal’s mother is also a very proud person. She knows that she is seen PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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by others as having a very high status, both materially and socially. “When my mother liked or generally approved of someone, she would make sure they heard it when she discreetly told us so, because she enjoyed seeing their embarrassment proof of her own power (p.136)”. It is implied that Kemal’s mother is extreme about liking and disliking someone. She never hesitates to let people know how she views them, be it good or bad. The above quotation shows that she enjoys seeing Kemal’s employee getting embarrassed after Kemal’s mother praises him.
Usually people are happy when praised, so embarrassment is likely caused by being praised by someone highly admired and reputable.
Another similar characteristic of Kemal’s mother that might contribute to both Kemal’s low self-esteem and obsessive love is controlling. It seems that
Kemal’s mother likes to supervise Kemal. “Then, changing course, she said,”There’s going to be a party on Esat Bey’s wharf this evening; they sent a man over with an invitation. Why don’t you go—I can have them put my chair under the fig tree, and I can watch you from here.” (p.260). Kemal is a man in his middle thirties. However, the quotation shows that her mother still likes to supervise his every move, even at a party. This is a proof of her mother’s controlling and domineering behavior that might lead Kemal being a self- conscious person.
In her book titled Obsessive Love: When It Hurts Too Much to Let Go,
Susan Forward also states that highly perfectionist parents make a child feeling rejected and unloved (2002: 21). This is because highly perfectionist person is very hard to impress as they always find even the slightest mistake in every PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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situation and therefore tend to hold praise and approval from their children no matter what they do. Below is a quotation describing Kemal’s mother’s highly perfectionist characteristic.
From time to time she would grumble: ”Sidika and Saffet are related both to me and to your dear departed father, so their names should have come just after Perran and her husband. Sukru Pasha’s daughters, Nigran, Turkan, and Sukran, have also been put in the wrong order. There was no need to include Uncle Zekeriya’s first wife, Melike the Arab. After all, she couldn’t have been married to your uncle for more than three months. That poor little baby of your great-aunt Nesime, who died when she was two months, her name wasn’t Gul, it was Aysegul. Who did you go to for your information when you were writing this up? (p.227)
The above quotation shows Kemal’s mother perfectionist trait as she criticizes
Kemal making many mistakes when putting the names of his distant family in his father’s death announcement in the papers. Kemal’s mother feels it is essential to put all the names in the right order and with the right spelling.
Aside from having a highly critical, perfectionist, and domineering mother, Kemal comes from a family whose relationship between each member is unhealthy. Susan Forward states that obsessive love is caused by unhealthy family in which one’s need for respect, warmth, love, approval, and protection is not met (2002: 173). Below is a quotation implying an unhealthy relationship in
Kemal’s family.
After we had both fallen silent, my mother wagged her finger at me ominously and said, “Be careful! You’re about to become engaged to a very special, very charming, very lovely girl! Why don’t you show me this handbag you’ve bought her. Mumtaz!”—this was my father’s name— “Look—Kemal’s bought Sibel a handbag!” “Really?” said my father, his face expressing such contentment as to suggest he had seen and approved the bag as a sign of how happy his son and his sweetheart were, but not once did he take his eyes off the screen. (p.10) PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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From the quotation, it is implied that Kemal’s parents are not intimate toward one another. It can be seen from the way Kemal’s mother calls his husband by his first name while shouting. In response, Kemal’s father does not even turn his head to look at his wife while she is speaking to him. Kemal’s father seems to be more interested in the television show than in Kemal, as he does not bother to see what it is that Kemal buys for Sibel. It can definitely causes Kemal to feel rejected and ignored. Another proof of Kemal’s dysfunctional family background is as followed.
My father gestured to the waiter to bring him a single raki, and after looking at me in the eye, and gathering my own need for one, he repeated the hand gesture, indicating me this time. “Now, you’re not overdoing it, are you?” my mother said to my father. “I thought you’d picked yourself up and shaken off that gloom you’ve been wearing like an old coat.” “Can’t I drink and enjoy myself at my son’s engagement party?” (p.104)
The above quotation shows a conversation between Kemal’s parents in his engagement party. While waiting for Sibel to arrive, Kemal’s father orders a drink. Kemal’s mother dislikes it and makes a sharp comment regarding her husband’s behavior, though it is only his first glass. Kemal’s father then replies in a way that suggests he is already too tired to argue with his wife and for once want to enjoy himself. It is implied that there is no intimacy and understanding between them. Another proof that suggests the rocky relationship between
Kemal’s father and mother is quoted below.
“I’ve never liked that bastard,” said my father, heading down the stairs. “For God’s sake, let it go!” said my mother. “Watch the steps.” “I can see them,” said my father. “I’m not blind yet, thank God.” (p.108)
Although a highly critical herself, Kemal’s mother seems deeply annoyed when PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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her husband uttering his dislike for someone. She then warns her husband to watch his footstep, to which his husband replies with the same annoyance. The short dialogue implies that Kemal’s parents do not have a harmonious relationship, even often argue with each other. Parents who often argue fail to bring a sense of protection and love in the family, which may contribute to
Kemal’s insecurity and feeling that he is unloved.
One of the many signs of a dysfunctional and unhealthy family is the lack of love and affection. People who love someone will want to spend as much time with the loved one as possible. However, this is not the case in Kemal’s parents, as presented in the below quotation.
When I was a child, I remember my mother sometimes turning to my father to say,” Saadet Hanim wants to go out in the car with her husband and children. Would you like to come, too, or shall I just take them out with Cetin?” Sometimes she would just say “the chauffeur.” My father’s stock response was, “God, no! You can take them out. I’m busy.” (p.340)
The quotation describes Kemal’s childhood memory that serves as a proof of his unloving family. His father being a busy business man makes it hard for him to spend time with Kemal and his wife. It might make Kemal feel abandoned during his childhood. The lack of quality time in Kemal’s family also highlights the fact that his family does not provide him with the much needed love and affection.
Another proof of Kemal’s dysfunctional family is the lack of openness in communication. Healthy family will develop honest communication intended to solve problems that arise. However, Kemal’s parents often hold secret with one another, as quoted below
“I know it’s yours. Months and months ago I found it in the pocket of your jacket. I set it aside, to give it to you. But your mother saw it and PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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took it. She must have thought your dear departed father had brought it for someone else, and she would spoil his fun, or something like that. Anyway, she had a secret velvet pouch where she hid things from your father. Stole from your father and then hid from him.” (p.232)
Kemal’s mother knows that her husband cheats on her many times. However, instead of discussing and trying to find resolution, she chooses to pretend that she knows nothing of it. She seeks revenge toward her husband by hiding the things his husband buys for his mistress. This is a proof that Kemal’s parents do not actually love each other. In turn, it is also the cause that they fail to provide sufficient amount of love and warmth in the family.
Dysfunctional family being the cause of obsessive love is not only about the relationship between obsessors and their parents as well as their parents’ relationship among one another. Obsessor’s relationship with sibling also plays a factor as siblings relationship is also supposed to be no less affectionate and supportive. If sibling relationship falls short, obsessor may feel unloved even more.
Kemal and Osman, his brother, have very distinct personality. In the novel, it is implied that Osman’s characteristic is very much like their mother while Kemal’s is very similar to their father. As the more passive and submissive between the two, Kemal is often forced to succumb, as shown in the quotation.
“Which one of you is going?” my father asked. “Let Kemal go!” said my brother. “No, let Osman go,” I said. “Why don’t you go, my boy,” my father said to me. “And don’t tell your mother what you’re up to. . . .” (p.35)
In the above quotation, Kemal’s father asks one of his boys to buy liquor.
Although both Kemal and Osman present reluctance, his father opts to ask PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Kemal. His father’s decision to comply Osman’s wish may send the message to
Kemal that Osman is the golden boy in the family while he is unloved and ignored.
The quality of a relationship can be drawn from the way the people involved communicate. Below is a conversation between Kemal and Osman during the engagement party.
“What was she telling you?” “Apparently she is taking her university entrance exam tomorrow.” “And she’s still here dancing? It’s after midnight. I really did like your Kenan, by the way. I say she should marry him.” “Shall I tell them both?” I shouted, having moved away from him already. I had been doing this since childhood. Whenever my brother began to speak, I would do the opposite of what he asked, and retreat to the most remote corner, ignoring the fact that he was still talking. (p.141)
The quotation shows how Kemal’s way to avoid Osman. He does not seem to enjoy communicating with his brother. Kemal’s withdrawn attitude toward
Osman may be caused by Osman’s loud characteristic that makes Kemal feels unrespected. People generally avoid talking to people they do not like and withdrawn from people they are intimidated by, therefore the fact that Kemal avoids Osman since childhood leads to an assumption that their relationship is never smooth. Below quotation gives an insight of how Osman treats Kemal.
“Your mind is elsewhere, Kemal. I guess you don’t like football as much as your brother,” said Kadri Bey. “I do, but lately. . .” “Kemal likes football very much, Kadri Bey,” said my brother in a mocking tone. “It’s just that people don’t pass him many good balls.” “As a matter of fact I can give you the whole 1959 Fenerbahce lineup from memory. Ozcan, Nedim, Basri, Akgun, Naci, Avni, Micro Mustafa, Can, Yuksel, Lefter, Ergun. . . .” I said. (p.44)
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differences, Osman is expected to protect his younger brother’s, especially as he knows that Kemal has a soft and sensitive personality. However, it seems that
Osman likes to mock and insult Kemal instead. Kemal reacts by being serious and defensive, which implies that he sees Osman as a threat, instead of an older brother who will support and protect him.
Osman and Kemal’s differences in terms of personality is the root of their turbulent relationship. When Osman dislikes something Kemal does, he never hesitates to scold Kemal outspokenly, as shown in below quotation.
“You’ve disgraced yourself in society, but at least don’t embarrass yourself at the firm. It’s your fault you lost out on the sheet business.” he said mercilessly. “What’s going on, what are you talking about? Please don’t have another argument!” said my mother. (p.230)
The above quotation shows Osman gets angry when Kemal fails in the business.
Osman knows that Kemal has had the hardest time in recent months, but he does not care about his brother’s well being. Instead, he is more concerned about the lost business. Osman’s inconsiderate attitude toward Kemal is likely to drive
Kemal feeling unloved and left with no support. Another proof that show’s
Osman’s lack of support toward Kemal is when Osman angrily criticizes Kemal for breaking his engagement with Sibel. He does not try to understand Kemal’s reason, let alone supporting him. “The news of my broken engagement spread fast. Osman came to the office one day to berate me (p.223)”.
3. Chemical Imbalance
Susan Forward states that chemical imbalance due to an excessive consumption of drugs or alcohol can be regarded as a secondary cause of PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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obsessive love, as those substances tend to worsen obsessors’ obsessive behavior and obsessive thoughts (2002: 196).
In Turkey, there is an alcoholic drink that is very popular called raki.
Kemal and his circle of acquaintances are always depicted to drink raki regularly.
However, Kemal can be considered as an alcoholic man as he drinks it excessively. “I was now drinking like a fish (p.197)”. As Kemal spends eight years to have dinner at Fusun’s house, his addiction toward alcohol seems to magnify. This is because Fusun’s father, Tarik Bey, is also a man who drinks raki in more than reasonable amount. “My head was foggy after an evening of clinking raki glasses with Tarik Bey (p.380)”.
As an alcoholic man, it seems that Kemal is addicted to the calming and relaxing effect of raki toward his restless and obsessive thoughts. At some point down the tale of his obsessive love, Kemal needs to drink glasses of raki before going to bed, otherwise he will not stop thinking about Fusun. ‘I would have to down at least three more glasses of raki after returning to Nisantasi just so I could sleep (p.313)”. The below quotation also shows a proof of how alcohol affecst
Kemal’s obsessive thoughts.
The worst was the pain that woke me up in the middle of the night and would not let me get back to sleep. In such cases, I would drink raki, and then, out of desperation, chase it with a few glasses of whiskey or wine, trying to silence my mind as if turning down the volume of a relentlessly blaring radio that was robbing me of my peace. (p.182)
Although he already drinks a few glasses of raki before going to bed so that he can sleep, in the end Kemal is unable to have a quality sleep. He wakes up in the middle of the night, feeling depressed and miserable as his thoughts go back to PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Fusun. This is ironic as it is the raki that helps him not to think about Fusun for a while, when at the same time raki is also the likely cause of the thought of Fusun emerging even stronger. As alcohol has the power to cloud one’s judgment,
Kemal thinks that the raki helps him to lessen his obsessive love, an opinion which could not be farer from the truth as Kemal’s obsessive love gets stronger and destructive as time goes by although he drinks it even more. “The raki was easing my obsession from a strong, steady ache into an intermittent specter
(p.203)”.
Forward states that alcohol feeds the mind into obsessive thoughts
(2002:196). While drinking before going to sleep, Kemal’s mind goes back into the time he spends with Fusun making love. This thought prevents him from sleeping. It is as if his mind becoming a DVD player continuously playing a movie. “Before going to bed I poured myself another raki and smoked another cigarette. But even so I did not drop off to sleep at once. My head was still swimming with visions of our lovemaking (p.34)”. Whenever Kemal is away from Fusun while drinking raki heavily, the thought of her occupies his mind, even when he is in the company of other people. “We talked football and politics over glasses of raki, and my thoughts turned again to Fusun (p.44)”.
In her book, Susan Forward states that alcohol prevents obsessors to deal with their obsessive love effectively, as it deadens their feeling while hinders their logical thinking (2002: 196). After learning that Fusun and her husband
Feridun aspire to be an actress and a scriptwriter respectively during Kemal’s first visit to their house, Kemal realizes that their inviting him for dinner is the PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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way Fusun and her family want him to help funding their movie project. Kemal is at first angry with this realization, however drinking raki succeeds in banishing his anger. This is a proof that alcohol worsens his obsessive love because obviously his realization and anger might be utilized to ditch his obsessive love, as no one wants to be taken advantage of.
“But deadened as I was by the raki, I felt no resentment; instead I continued wafting off into dreams about Fusun the actress so famous she was known all over Turkey, no ordinary actress but a glamorous film star (p.244)”.
By becoming the producer and agreeing to make film projects together, Kemal plunges himself even deeper to his obsessive love. If he is to cure his obsessive love and move on with his life, Kemal should cut all contact and relationship with Fusun. However, his excessive alcohol consumption seems to unconsciously affect his decision. “And so before the lunch was over, encouraged by the raki, I agreed to back the film (p.384)”.
4. Inadequate Role Model
In her book titled Addiction to Love: Overcoming Obsession and
Dependency in Relationships, Susan Peabody states that parents are their child’s role model. A child defines themselves by what they see in their parents (2005:
94). Kemal’s mother and father have an opposite and very different personality, just as much as Kemal’s personality differs in comparison to his brother Osman.
Osman is very much like his mother, while Kemal shares many similar personality traits with his father. This similarity is likely to be the cause of why his father is Kemal’s role model. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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In her book, Susan Peabody states that the majority of obsessors come from a family where the parent is emotionally unhealthy (2005: 34). Kemal’s father exhibits a sign of a depressed person. “At home I found our sitting room empty; sometimes I would come home to find that my father, having gotten up in the middle of the night, was sitting out there in his pajamas, and I would enjoy chatting with him before I went to bed (p.34)”. When arriving home late at night,
Kemal often finds his father sitting in the sitting room after failing to prolong his sleep. Sleep difficulty is a sign of severe depression, as one’s mind is heavily preoccupied.
A depressed person will find it hard to feel happy, as they are unable to see the positive side of everything. “Any intelligent person knows that life is a beautiful thing and that the purpose of life is to be happy, but it seems only idiots are ever happy. How can we explain this? (p.105)”. The quotation implies that deep inside, Kemal’s father is an unhappy man even though he is rich, reputable, and successful. He retires from his firms and hands them over to his two sons who now manage the businesses. However, he does little with his life aside from being in the house. “Changing the subject, I told her that my father seemed to be withdrawing from the world a little more every day (p.217)”. Kemal’s remark about his father suggests that his father is depressed, as depressed person tends to isolate himself and refuses to live a full life. His father’s depressed attitude is a proof that Kemal does not have a healthy role model to follow.
Susan Forward states that obsessors come from home where at least one parent is alcoholic (2002: 187). In addition, Susan Peabody also states that PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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obsessors whose parent as a role model has addictive and obsessive behavior will see that addictive and obsessive behavior are normal (2005: 34). As parent and role model, Kemal’s father should set a good example to follow. When faced with life’s hardship, he should deal with it healthily. However, having been depressed for years, Kemal’s father seeks refuge in alcohol. “During the infrequent meals that we ate together she took to warning me against drinking too much, just as she warned my father (p.164)”. As child often subconsciously mirrors their role model, it is highly likely that Kemal’s way to cope with his depression regarding his obsessive love is learnt from his father’s behavior. Just as his father, Kemal also seeks refuge in alcohol addiction. “My mother did just as she’d done when my father was alive; a merciless critique of whatever was on the screen; at least once a night, she would tell me not to drink so much, just as she used to tell my father (p.231)”. In fact, as a result of their alcoholism, both
Kemal and his father die of heart attack in roughly the same age.
As a role model, it is very essential for Kemal’s father to project a positive image of self as expected. This is important not only because the child may reflect the negativity, but also because an emotionally unhealthy parent may end up becoming an emotionally unavailable parent. In turn, it can make the child feeling abandoned.
I was in pain, great pain. Your brother had married, and you were in America. But of course I tried to hide my anguish from your mother. To steal into a corner like a thief and suffer in secret—that was another agony. Your mother had sensed the existence of this mistress, just as she had with the others; understanding that something serious was going on, she said nothing. Your mother, and Bekri and Fatma Hanim—we lived together like a cast of characters imitating a happy family in a hotel room. I could see that I would find no relief, that if it carried on this way I would PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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go mad, but I couldn’t bring myself to do what was necessary. (p.91)
In the above quotation, Kemal’s father tells Kemal about the reason of his years of depression. It turns out that his father loses his secret lover for eleven years who disappear from his life so suddenly, much like what Kemal experiences when losing Fusun. His father realizes that he should not dwell in her disappearance, however he can do nothing but obsessing over her for eleven years that follow.
What I feel now is only remorse. I never paid her enough compliments, and I would give anything to be able to tell her a thousand times over what a charming, precious person she was. She truly had a heart of gold, a lovely, modest, utterly enchanting girl. . . .She wasn’t like other beauties I’ve seen here. She never flaunted it, she was never demanding, never expected gifts or flattery. You see, it’s not just that I lost her; it’s also that I know I didn’t treat her as she deserved—that’s why I still suffer. (p.93)
The above quotation is a proof of how Kemal’s father seems to be living in the past. Although ten years have passed since he finally learns that his secret lover dies, Kemal’s father still suffers and wallows in guilt. This is a poor example to follow, because people can not change what has happened. Kemal’s father attitude and behavior implies that when one makes mistake in life, one should live in regret for ever, as shown in below quotation .Here, Kemal’s father shows an unhealthy role modelling as he projects negativity attitude and depression.
“You can’t sleep either?” my father whispered. In the darkness I had not noticed him lying on the other chaise lounge. “I’ve been having some trouble lately,” I whispered guiltily. “Don’t worry, it will pass,” he said softly. “You’re still young. It’s still very early for you to be losing sleep over this kind of pain, so don’t fret. But when you get to my age, if you have some regrets in life, you’ll have to lie here counting the stars until dawn.” (p.182)
In the above quotation, Kemal’s father gives a poor advise to Kemal. He says that PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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when one feels depressed and regretful about something, one should succumb to his depression, without doing anything to change the situation or to improve himself. This kind of self-undoing is emotionally unhealthy, as it prevents someone to let go of something painful and move on with his life. Therefore, the fact that Kemal’s father fails to become a good role model is also the cause of
Kemal’s inability to let go of his obsessive love toward Fusun. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
CHAPTER V
CONCLUSION
Before going to the main focus of the study, that is how Kemal Basmaci’s attitude and behavior reflect obsessive love, it is necessary to reflect on his characteristics. Kemal is a weak-willed person. He finds it very hard to get going from inactivity. In work, he shows his weak-willed characteristic by not being driven to achieve more. Aside from being weak-willed, Kemal is indecisive. His mind fluctuates easily. It results in him to be wishy-washy in both his thought and behavior. Kemal is also an irresponsible person. He often goes opposite of what he is expected to do, such as never bothering to cut his own nails, failing to fulfill his promise and his father’s wish to give his father’s earrings to Sibel, and getting too drunk in his engagement party. Kemal is also a passive-aggressive person who shows his anger by being cynical or using only his body language instead of directly confronting the person.
Dishonesty is part of Kemal’s characteristic as he has a tendency to either lie or not to tell a thing. He does so to cover his secret love affair with
Fusun while keeping Sibel at his side. Although he seems to be selfish by being dishonest, Kemal is actually a very sensitive person. He is able to sense other people’s feeling and to be observant and in tune of his surroundings. In fact, this kind of sensitivity and his liking of object drive Kemal to have a love for museums as its atmosphere has a calming effect on him. Moreover, he has liked to collect things since he was a little boy.
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There are nine indications of obsessive love that might be reflected through obsessor’s attitude and behavior. As an obsessor, Kemal’s attitude and behavior indeed show sign of obsessive love. First, Kemal is struck by love at first sight toward Fusun. Upon first meeting Fusun as an adult, Kemal is deeply mesmerized by her physical beauty. So deep is her beauty’s effect on him, Kemal deludes himself by believing that he knows Fusun intimately and is able to understand her enormously. Second, Kemal has an exaggerated fear when he is in a relationship with Sibel and Fusun. He is terrified of being alone and losing them, especially Fusun. As a result, Kemal is extremely jealous toward any person not even close to her. He spies Fusun late at night and does whatever he can to separate Fusun with her admirer. Third, Kemal feels dysfunctional emotions, especially when Fusun disappears following his engagement party. Kemal experiences sudden change in emotions. He feels guilty for not treating Fusun better but in seconds he becomes enraged toward her for disappearing so suddenly and making him depressed. In short, in this period Kemal’s emotions swing between love and hate toward Fusun.
Fourth, Kemal has a weak boundary in regards to his interaction with
Fusun. He always bases his attitude and happiness from Fusun’s. When Fusun does not smile much, he does the same. When Fusun seems unhappy, Kemal feels unhappy as well, although before arriving at her house he feels happy. In addition,
Kemal imitates Fusun’s habit when smoking. He switches brands and softens the cigarette in the exact same way as Fusun. Five, Kemal feels the need to create drama and excitement in relation to Fusun. Kemal likes to entertain himself by PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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fantasizing about Fusun. He often imagines they get married or they have some sort of secret love affair while making their film project. He also likes to over dramatize a thing, like planning a dramatized final goodbye. When Fusun disappears, Kemal also excites himself by making significations about his possibility to see Fusun again, for example by predicting the sex of the next person to walk through a door. Six, Kemal has a high level of tolerance for suffering in a relationship with Fusun. Kemal feels that the pain of not seeing
Fusun is too unbearable to handle. That is why he chooses to suffer from shame and humiliation by visiting a married woman three or four times a week for eight year, as he is unable to let go of her.
Seven, Kemal is ruled by his libido. He places sex as the most important thing in his relationship with Fusun. He does not try to develop friendship, trust, and understanding between them. In addition, when thinking about Fusun and reflecting what it is that makes him obsessed, eroticism and the image of their love making come to Kemal’s mind. Eight, Kemal uses controlling techniques to prevent himself from losing Fusun. To have an excuse to visit Fusun and spend time with her, Kemal offers to be the producer of their film project. By doing so, he has the control to manipulate the situation. He deliberately creates difficulties in the filming, halts its progress, and hinders Fusun’s career. Kemal does all this as he is afraid to lose Fusun if she becomes an actress, though he knows how much she wants to become one. Nine, Kemal is unhealthily preoccupied with
Fusun. Kemal believes that Fusun is the centre of the world and that she means everything. It leads Kemal to abandon his friends, family, and career to be at PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Fusun’s side for eight years. Even after Fusun dies, Kemal spends twenty three years that follow to create a museum dedicated to her, filled with objects stolen from her house during his eight year visit and live inside it, intending to “die” with Fusun.
There are four causes of Kemal’s obsessive love. The four causes are somewhat correlated one another. The first cause is low self-esteem. Kemal exhibits many signs of a person having low self-esteem in his characteristics and the way he relates with other people. The second cause is dysfunctional family background. Kemal is born in an unhealthy family in which he is deprived of love.
His parents do not love each other, even seem to be in constant argument.
Kemal’s relationship with his brother is also far from harmonious. In addition, his mother is a person who is very critical, perfectionist, and domineering. This entire facts make Kemal develops low self-esteem while feeling unloved. As a result,
Kemal feels a compulsive need to be with Fusun, as he believes only Fusun is able to make him feel the love he craves.
Chemical imbalance plays a part in Kemal’s obsessive love as he is an alcoholic man. As alcohol has effect on one’s logical thinking and judgment,
Kemal is unable to do what is necessary to let go of his obsessive love as the alcohol deadens his shame while at the same time making himself unable to think about anything but Fusun when she is away.
The fourth cause of his obsessive love is that Kemal has a father that presents himself as an inadequate role model. Kemal’s father is a person who is also depressed, guilt-ridden, alcoholic, and an obsessor himself. Kemal’s father PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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projects negative image through his depressive and withdrawn attitude. In addition, Kemal’s father implicitly advises Kemal to succumb to the pain of obsessive love without doing something to improve the situation, much like the way he endures the pain of losing his own secret lover.
Kemal’s obsessive love proves to be the cause of his predicament and sufferings for decades as he ends up sporting a depressed figure as he ages.
However, at the end of the novel, set a day before his death at 62 years old, Kemal tells his acquaintance that he is a happy person, not a depressed one. “Smiling victoriously, I said, “Let everyone know, I lived a very happy life.” (p.532)”.
Kemal’s remark proves that love and happiness are two very subjective experiences in terms of definition that might differ from person to person. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
BIBLIOGRAPHY
Abrams, M.H. A Glossary of Literary terms 6th Edition. New York: Harcourt Brace Jovanovich College Publishers, 1993.
Andersen, Lene. “Overcoming Obsessive Love: An Interview with Eileen Bailey”. http://www.healthcentral.com/rheumatoidarthritis/c/80106/48097/ love/ (May 15, 2015)
Dudek, Louis. “The Psychology of Literature”. 2010. http://canlit.ca/pdfs/articles/ canlit72-Psychology%28Dudek%29.pdf (September 8, 2015).
Fathali, Moghadam. “Psychology in Literature’ to ‘Psychology is Literature’: An Exploration of Boundaries and Relationship”. 2013. http://fathalimoghaddam.com/wp-content/uploads/2013/10/1256623233.pdf (September 6, 2015).
Fennell, Melanie J.V. Overcoming Low Self-esteem. London: Constable & Robinson Ltd, 2009.
Forward, Susan. Obsessive Love: When It Hurts Too Much to Let Go. New York: Bantam Books, 2002.
Grenville, Kate. The Writing Book: A Workbook for Fiction Writers. Sidney: Allen& Unwin, 1998.
Haack, Denis. “The Museum of Innocence (Orhan Pamuk, 2008/9)”. http://www.ransomfellowship.org/articledetail.asp?AID=631&B=Denis%20 Haack&TID=5 (August 8, 2014).
Hogg, Michael A and Graham M. Vaughan. Social Psychology 4th Edition. New York: Prentice Hall, 2005.
Howard, Maureen. “Lolita on the Bosphorus”. 2009. http://www.nytimes.com/ 2009/11/01/books/review/Howard-t.html (October 29, 2014).
Johny, Alina. “Obsessive Love”. http://users.manchester.edu/Student/arbigjohny/ProfWeb/essay2.pdf (June 22, 2015)
Khalis, Richard A. The Psychology of Human Behavior. Monterey: Brooks/Cole Publishing Company, 1973.
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Lasdun, James. “The Museum of Innocence by Orhan Pamuk”. 2010. http://www.theguardian.com/books/2010/jan/09/orhan-pamuk-novel-james- lasdun (July 17, 2015).
Moore, John D. Confusing Love with Obsession 3rd Edition. Minnesota: Hazeldon, 2006.
Murphy, M.J. Understanding Unseen: An Introduction to English Poetry and the English Novel for Overseas Student. London: George Allen and Unwin Ltd, 1972.
Papalia, Diane E, Sally Wendkos Olds, and Ruth Duskin Feldman. Human Development 9th Edition. New York: McGraw-Hill, 2004.
Peabody, Susan. Addiction to Love: Overcoming Obsession and Dependency in Relationships. New York: Crown Publishing Group, 2005.
Petri, Herbert L. Motivation Theory and Research. Belmont: Wadworth Publishing Company, 1981.
Rohrberger, Mary and Samuel Woods. Reading and Writing about Literature. New York: Random House, 1971. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
APPENDIX
Summary of Orhan Pamuk’s The Museum of Innocence
The Museum of Innocence is a tale of Kemal’s long-standing love toward
Fusun, his distant relation. The story begins when Kemal goes to a shop to buy a handbag for his soon-to-be fiancée named Sibel. Fusun works part-time in the shop while preparing for the university entrance exam. Upon first meeting Fusun as a beautiful grown-up woman, Kemal feels an immediate and unexplainable attraction toward her. Days after, Sibel urges Kemal to ask for his money back after realizing that the handbag is fake. Kemal arranges the refund to occur in
Merhamet apartment, a vacant property owned by his mother. When Fusun comes to return his money, Kemal uses the opportunity to seduce her. They end up making love for the first time. Kemal offers Fusun to come to the apartment every lunch hour and promises Fusun to teach her mathematic to better prepare her for the university entrance exam. It turns out that teaching Fusun is merely Kemal’s excuse to see and make love to her.
Their love affair lasts forty four days until Kemal and Sibel’s engagement party. In the party, Kemal persuades Fusun to meet him in the apartment the following day. For a week, Kemal waits in vain as Fusun never comes. Growing intensely hurt and anxious, Kemal visits her house. He then learns from Fusun’s mother that Fusun fails in the exam and no longer lives there. As a result, Kemal gets deeply heartbroken and depressed. Sibel tries to heal Kemal to no avail, as he seems to not have an interest to enjoy his life anymore. After several attempts at
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helping Kemal is met with failure, Sibel breaks their engagement. During Fusun’s disappearance, Kemal spends much of his time collecting and caressing little objects belonging to Fusun. He feels that the objects are able to heal him physically and emotionally.
Eleven months after the engagement party, Kemal relocates Fusun’s whereabouts. However, he soon learns that Fusun is already married. The fact that
Fusun is no longer an available woman does not make Kemal leaving her. Instead of accepting the reality and moving on with his life, Kemal spends three or four nights a week for the next eight years to have supper in Fusun’s house. During those eight years, Kemal has a habit of stealing little objects from Fusun’s house, for example thousands of cigarette butts, rulers, salt shakers, coffee cups, hairpins, porcelain dolls, and many more. Kemal loves to toy the stolen objects to lessen the pain for not being able to be near Fusun any time. In order to be able to see
Fusun without drawing suspicion, Kemal agrees to fund the movie projects Fusun and her husband are involved in. However, Kemal has ulterior motives in becoming the producer as he does not want to lose Fusun if she ever becomes an actress. Thus, he deliberately creates difficulties during the filming.
As time passes, Fusun’s marriage falls apart. After her divorce in 1984,
Kemal and Fusun travel to Paris by car. On one night during the trip, Kemal and
Fusun make love in a hotel. The following morning, they have an argument.
Fusun gets furious as she thinks Kemal hinders her acting career and seduce her to make love again without marriage. Then, Fusun plans to kill Kemal and herself by crashing the car she drives with Kemal. Fusun dies in the accident. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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After Fusun’s death, Kemal buys her house and turns it into a museum named The Museum of Innocence filled with thousands of objects stolen from her house during his eight year visit as well as the wrecked car Fusun dies in. He spends over twenty years after Fusun’s death up until his own death in 2007 living in the museum and visiting thousands of private museums around the world.