FORTY RULES OF LOVE BY ELIF SHAFAK PDF
Elif Shafak is one of Turkey's most acclaimed and outspoken novelists. She was born in and is the author of six novels, including The Forty Rules of Love. Download full-text PDF. Nothing beyond Love for Humanity: Elif Shafak's The Forty Rules of Love. Dr. Sonika Sethi. Assistant Professor of. The Forty Rules of Love. View PDF. book | Fiction | US & Canada → Viking In this lyrical, exuberant new novel, acclaimed Turkish author Elif Shafak.
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The Forty Rules of Love: A Novel of Rumi [PDF] Download; 2. Book Details Author: Elif Shafak Pages: Publisher: Penguin Books Brand. Life Improvement, Self Improvement, Spirituality Novel By Elif Shafak. E l t f a*- in - □ 1 1 > rut k The Forty Rules of Love Elif Shafak is one of Turkey's most acclaimed and outspoken novelists. She was born in and is the.
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Forty Rules Of Love A Novel Of Rumi By Elif Shafak
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No notes for slide. Sufis, like artists, live in an ever-fluid world. They believe one should never be too sure of himself and they respect the amazing diversity in the universe.
Love The Forty Rules Of Love in Urdu Books By Elif Shafak PDF Download
So it was very important to me to reflect that variety as I was writing my story. What kind of research did you do for the novel? How much imaginative license did you take with the historical facts? When you write about historical figures you feel somewhat intimidated at the beginning.
Forty Rules Of Love A Novel Of Rumi By Elif Shafak
It is not like writing about imaginary characters. So to get the facts right, I did a lot of research. It is not a new subject to me. So there was some background. However, after a period of intense reading and researching, I stopped doing that and solely concentrated in my story. I allowed the characters to guide me.
In my experience the more we, as writers, try to control our characters, the more lifeless they become. By the same token, the less there is of the ego of the writer in the process of writing, the more alive the fictional characters and the more creative the story. What are the challenges of writing about such a well-known and revered figure like Rumi? Do you feel you succeeded remaining true to the historical Rumi while bringing him fully into the imaginative realm of your novel?
It was a big challenge, I must say. On the one hand I have huge respect for both Rumi and Shams of Tabriz. So it was important to me to hear their voices, to understand their legacy as best as I could. Yet on the other hand, I am a writer. I do not believe in heroes.
In literature, there are no perfect heroes. Every person is a microcosm with many sides and conflicting aspects. So it was essential for me to see them as human beings, without putting them up on a pedestal.
Did your perception of Rumi and of Shams change in the course of writing about them? Writing this novel changed me perhaps in more ways than I can understand or explain. Every book changes us to a certain extent. Some books more so than others. They transform their readers, and they also transform their writers. This was one of those books for me. When I finished it I was not the same person I was at the beginning. Much of the novel concerns the position of women both in the medieval Islamic world and in contemporary Western society.
What is your sense of how women are faring in the Middle East today compared to women in Western cultures? We tend to think that as human beings we have made amazing progress throughout the centuries. And we like to think that the women in the West are emancipated whereas women in the East are oppressed all the time. It is true that we have made progress but in some other ways we are not as different from the people of the past as we like to think.
Also there are so many things in common between the women in the East and the women in the West. Patriarchy is universal. It is not solely the problem of some women in some parts of the world. Basically, as I was writing this novel I wanted to connect people, places, stories—to show the connections, some obvious, some much more subtle. How would you explain the extraordinary popularity of Rumi in the West right now?
What is it about his poetry—and his spirituality—that readers find so engaging?
It is a very inclusive, embracing, universal voice that puts love at its center. No one is excluded from that circle of love. What aspects of Sufism do you find most appealing and relevant to contemporary life?
Do you have a sense that the mystical strands of Islam—represented by Shams of Tabriz in the novel—are beginning to balance out the more fundamentalist views—represented by the Zealot—in contemporary Islamic cultures?
Mysticism and poetry have always been important elements in Islamic cultures. This has been the case throughout the centuries. The Muslim world is not composed of a single color. And it is not static at all. It is a tapestry of multiple colors and patterns.
Sufism is not an ancient, bygone heritage. It is a living, breathing philosophy of life. It is applicable to the modern day. It teaches us to look within and transform ourselves, to diminish our egos. There are more and more people, especially women, artists, musicians, and so on, who are deeply interested in this culture.
Could you talk about your own spiritual practice and its relation to your creative work? My interest in spirituality started when I was a college student.
At the time it was a bit odd for me to feel such an attraction. I did not grow up in a spiritual environment. My upbringing was just the opposite, it was strictly secular. And I was a leftist, anarcho-pacifist, slightly nihilist, and feminist, and so on, and so were most of my friends, and there was no apparent reason for me to be interested in Sufism or anything like that.
But I started reading about it. Not only Islamic mysticism but mysticisms of all kinds, because they are all reflections of the same universal quest for meaning and love.Every book changes us to a certain extent. What does the novel as whole say about love? What is far more difficult is to love fellow human beings with all their imperfections and defects. Editorial Reviews From Publishers Weekly Celebrated Turkish novelist Shafak The Bastard of Istanbul serves up a curious blend of mediocre hen lit and epic historical to underwhelming results.
Forty-year-old Ella Rubenstein is an ordinary unhappy housewife with three children and an unfaithful husband, but her life begins to change dramatically when she takes a job as a reader for a literary agency. In Turkey the novel was an all time bestseller.
How does love shake up their worlds and push them out of their comfort zones? In present-day Boston, dull suburban mother and cheated-on wife Ella Rubinstein takes a job as a reader for a literary agent and becomes entranced by Aziz Zahara, the author of a manuscript about the relationship between 13th-century poet Rumi and Sufi mystic Shams that, for better or for worse, becomes a story-within-a-story.
So it was important to me to hear their voices, to understand their legacy as best as I could.
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