When you go from one part of the Turkish community to another, it's like you're moving from one century to another. People look at each other in a strange way, as if looking at someone from another planet, rather than trying to understand and open space for them.

The Syrian war was started and fueled by three countries in the region, namely Saudi Arabia, Qatar, Turkey. They acted for the sake of political and economic dominance and in favor of Sunni Islam against the Alawite influence in the government of Syria.

I've written some short stories about my personal experience, but it's not something you can use everywhere. Every novel, every work of fiction, needs its own food.

We are not in prison so we are free and happy? No. We're in a different kind of prison in this life. We have to confront it, and we have to liberate Istanbul and ourselves, as well.

The way I wrote it is a nice and enjoyable way to write stories, to pretend to say something when you're really saying something else. "Hey guys, come, I'll take you a football match." They all come - and you suddenly take them to watch theater play on the stage instead. In Istanbul Istanbul, I pretend to talk about torture and politics, but I don't actually. Instead I talk about hope and hopelessness, darkness and light, good and evil, love and separation.

Without any hope you cannot talk about suffering. If you talk about suffering without hope it's enjoying our euthanization. I tried to avoid euthanization enjoyment.

When I decided to write a novel about Istanbul, I thought I should put the different faces of Istanbul into one book. I also put the characters in a cell, and it's three stories underground, rather than on the surface. The characters have one Istanbul, the other one is above ground. One is in dark, one is in light. That kind of contradiction - those opposite sides - creates a great energy in Istanbul.