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UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES English GUILT & The Storyteller and the Truth by Florentia Antoniou Thesis for the degree of Doctor of Philosophy May 2017 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES English Doctor of Philosophy GUILT & The Storyteller and the Truth by Florentia Antoniou Guilt is a historical novel set in the second half of the twentieth century (1963 – 1975) in the Mediterranean island of Cyprus. The story begins three years after the island was granted its independence from the British, when intense intercommunal violence between Greek Cypriots and Turkish Cypriots was on the rise, and ends several months after the Turkish invasion in the summer of 1974. Guilt follows the life of a Greek Cypriot from her childhood to her adulthood, depicting the difficulty of growing up during politically troubled times as well as the life of women in the seventies in Cyprus. Guilt is a Bildungsroman novel. Although history and politics are in the background of the novel, national emergence often affects the relationship of the heroine with her family, friends and lovers; the public sphere and the private sphere are interlaced. Guilt is a fictional story shaped around familial accounts of the Turkish invasion as well as of the everyday life of Cypriots prior to it, which means the novel is to a certain extent autobiographical. Concerning the structure, the novel is separated into a number of sections, which jump in time, as the memories of the heroine lead the unfolding of events. In the critical commentary, whose title is “The Storyteller and the Truth,” I discuss the novels, books and journals that have helped me write Guilt, redraft it and understand it fully. In the critical commentary, I focus on the autobiographical element, the idea of memories, history and politics, what genre Guilt belongs in, and finally, the relationship between nation and gender. There is a dearth of Cypriot literature and I wish Guilt can contribute to change that fact as well as draw attention to a country that is often either forgotten or seen merely as a tourist destination. CONTENTS Author‟s Declaration …………………………….....…………………………….... 3 Acknowledgments …………………………………………..……………………... 5 The Novel: Guilt ………………………………………...…………..…................... 7 The Prologue …………………………………………………………………….. 9 Winter 1964: The Brave Tin Soldier …………………...…………………...…. 13 Spring 1970: The Girl Playing with Fire ………………...…………………...... 43 Summer 1974: ………………………………………………….……………..... 77 In a Land Far, Far Away ……………………………...……..……………..... 77 The Return of the Prodigal Daughter ………………...……………............... 93 An Infant Crying in the Night ……………………………………………… 121 Autumn 1974: Accept and Adapt ………………………………….................. 163 The Epilogue ……………………………………………………..……..…….. 185 Critical Commentary: “The Storyteller and the Truth”………………………...... 187 Biographical Background and Language …………………………..………… 189 1 History and Genre ………………………………......…………........................ 201 Nation and Gender ………………………………….....……………………… 219 Bibliography …………………………………………...……………................... 235 2 Academic Thesis: Declaration Of Authorship I, Florentia Antoniou ……………………………………………………………… [please print name] declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. [title of thesis] GUILT (Novel) & The Storyteller and the Truth (Critical Commentary) …………………………………………………………………………………………………………………… I confirm that: 1. This work was done wholly or mainly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Either none of this work has been published before submission, or parts of this work have been published as: [please list references below]: Signed: Florentia Antoniou Date: 22 May 2017 / 28 December 2017 3 4 ACKNOWLEDGEMENTS I would like to thank Professor Aamer Hussein for encouraging me to continue writing, for all the insightful, inspiring novels he suggested, and for steering the initial stages of this PhD project along with Professor Peter Middleton, to who I am also indebted. I am grateful to Ms Carole Burns and Dr Ranka Primorac for reading numerous drafts of the novel and the critical commentary, giving me guidance and support, assisting me in realizing the full potential of this project. I would also like to thank Ms Rebecca Smith and the Creative Writing department of the University of Southampton for their help throughout the years. Finally, the most special thank you to my family for all the love, support, and tolerance they showed me these last four years, and always. 5 6 Guilt 7 8 The Prologue Murat hit the car radio, but the voice of the broadcaster continued to be interrupted by tuning sounds. It was his favourite secret station, which was run by a Turkish Cypriot youth, but there was always the same problem; too much interference. “Anathema,” Murat cursed, hitting the radio harder, but Gizem, his wife, took his hand in hers. She kissed it, pressing it against her cheek, calming him down. When they stopped at a set of traffic lights, Murat yawned, rubbing his eyes with his thumb and forefinger. It was after midnight. He had drunk one or two more glasses of raki than he should have at their friends‟ house, but he had to stay focused and keep his eyes on the road. Christos and Maria knew how to throw a party. Maria had made baklava, which was almost as good as his Turkish mother‟s, and Christos offered him one of the best raki he had ever had. The dessert and the alcoholic drink originated from Turkey. Whenever the four of them gathered, they communicated in Greek. “Vice President Dr. Fazıl Küçük opposed the thirteen constitutional amendments the President of the Republic of Cyprus, Archbishop Makarios, proposed last month, while Turkey rejected them, also,” the broadcaster said before he shouted into his microphone, “They want Enosis, union with Greece, while we want Taksim, partition.” The voice of the youth on the radio was unnerving; all his anger was upsetting Gizem. “Murat, my love, turn the radio off,” Gizem pleaded with her husband, and when he obliged, she breathed a sigh of relief. “It‟s Greek Cypriots‟ Christmas in a few days,” she said, changing the subject. It was the morning hours of the 21st of December 1963. “We should buy Christos and Maria a gift. They always give us one on their Christmas day.” Distaste was drawn all over Murat‟s face. “It‟s their religious holiday, my love, not ours,” he replied as smoothly as possible as he didn‟t want her to think he was scolding her. “We‟ll give our friends a gift on a different day, but not on their Christmas day.” 9 Gizem nodded, agreeing with him. She was, however, planning on giving her husband a gift soon enough. She wanted to find the perfect moment to announce to him she was pregnant; the doctor had confirmed her suspicions earlier that day. Murat and Gizem were recently married. They grew up across the street from each other and Murat had his eyes set on her from the beginning. Half a year ago, when he finally built up the courage to ask for her hand in marriage, her parents didn‟t think twice before accepting and Gizem couldn‟t have been happier. The roads of Nicosia were almost empty. The streetlights were scarce and dim. Murat was a careful driver, especially when his wife was with him. They were within the Venetian walls of the capital city and only a few minutes away from their home. I always believed a lot can change in a matter of minutes. When Murat and Gizem saw two Greek Cypriot policemen standing in the middle of the road, they stiffened up. One of the two policemen signalled for them to pull over. Murat rolled the window down, but he didn‟t speak, while fear consumed Gizem. “License and registration,” the policeman said in Greek. He was curt and dull. He didn‟t even look at them twice. It was clear the young man in uniform was only doing his job, following orders. Murat, however, hated being disrespected. “I don‟t think I did something wrong,” Murat replied in broken Greek and Gizem swallowed against the lump that had risen in her throat. The policeman finally looked at them. He lifted his flashlight over their faces, shedding them with light. Gizem flinched, while Murat glared at him. “License and registration,” the policeman repeated, but Murat snorted. Shaking, Gizem attempted to reach for the documents the policeman was so persistent to see, but Murat seized her wrist, stopping her.