56 pages • 1 hour read
Elif ShafakA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section discusses murder and mistreatment of sex workers.
In the morgue of a hospital in Istanbul, a medical examiner studies Leila’s body and writes a report on his findings. He determines that Leila’s cause of death was strangulation after being hit by a blunt object. Leila’s body will be sent to the Cemetery of the Companionless, a cemetery for unclaimed people, where funeral rites are not performed and the graves are marked by numbers.
An orderly enters the morgue, asking if Leila’s friends, who are waiting outside, can claim her body. The medical examiner states that only family members can claim bodies or provide funerals.
In a courtyard outside of the morgue, Leila’s five refuse to leave until they are allowed to claim Leila’s body. The director of patient care services tells them that they need to leave because they are not Leila’s family. The five say they were closer to her than her family, but the director refuses. She reveals that Leila’s body has already been taken to the Cemetery of the Companionless.
Once the director leaves, the orderly from the morgue comes to speak with the five, giving them the location and number for her grave. As the five leave the hospital to go to Leila’s apartment, Nostalgia Nalan begins to cry. She promises that she will make sure Leila receives the best funeral that Istanbul has ever seen.
Istanbul was a city of many dualities that were constantly in conflict with each other; the old and the new amalgamated into something surreal and different. Mr. Chaplin, Leila’s cat, sat in front of Leila’s apartment door waiting for her to return home.
Sabotage Sinan, Hollywood Humeyra, Jameelah, and Zaynab122 arrive at Leila’s apartment. Sinan cannot bring himself to enter Leila’s apartment. Zaynab122 decides to go to a nearby grocery store to purchase ingredients to make halva; Zaynab122 is deeply religious and wants to ensure that Leila’s soul has a safe journey.
At the grocery store, the owner expresses his condolences to Zaynab122 and mentions the news story about Leila’s murder. The man insinuates that Leila will be punished for her sins; Zaynab122 simply asks for the halva ingredients.
Back in Leila’s apartment, Humeyra lets Mr. Chaplin inside, and she looks around the apartment, reminiscing about her and Leila’s relationship; Leila helped Humeyra manage her depression. Humeyra dreads life without Leila. She goes into Leila’s room and cries upon seeing Leila’s favorite dress.
Nostalgia Nalan arrives at Leila’s apartment and argues with Zaynab122 about her religious beliefs. Nostalgia Nolan pulls out a newspaper that discusses Leila’s murder in an insensitive way, implying that sex workers are not citizens. The trio disperse in varying states of grief and anger.
On the pier opposite to the Intercontinental Hotel, a small boat sells köfte sandwiches. A boy and his uncle wait for customers when a silver Mercedes-Benz parks near the pier. The uncle sends the boy to take their order; he returns unsettled. The uncle brings the food to the men in the silver Mercedes-Benz, noticing that there are four blood-stained angel dolls on the dashboard of the car; the driver makes remarks about the filth in Istanbul.
In a high-rise building, the young man Leila met with on the night of her death confronts his father about the sudden death of four female sex workers; he claims that it can’t be a coincidence that four out of the five women that his father had hired to have sex with him were murdered. It becomes clear that one of his father’s employees may be involved. The father demands that he mind his own business, but the young man cuts ties with his father, thinking of the kindness and acceptance Leila showed him.
Elsewhere, a man contemplates his job; he was responsible for arranging for sex workers to visit his boss’s son. He believed there was a secret part of his mission that involved turning the women into “angels” by killing them. He reveals that his partner, a cousin of his, killed Leila; she fought back so violently that he was forced to knock her unconscious with a crowbar.
On the apartment’s balcony, Nalan inspects Leila’s Zippo lighter, realizing it belonged to D/Ali. From down below, a man cat-calls Nalan, and she throws a glass ashtray at the man. Zaynab122 and Humeyra convince her to return inside. Zaynab122 says there is one last thing they can do for Leila.
Sabotage Sinan had followed Leila to Istanbul under the guise of continuing his education. When he arrived in Istanbul, he found Leila after his roommate mentioned a sex worker with a rose tattoo on her ankle. Leila did not want to see him at first, ashamed of herself, but she relented. When Leila married D/Ali, Sinan quickly married one of his coworkers; it was not a happy marriage, but Sinan loved his children. He would lie to his wife to spend time with Leila.
When Sinan arrives at Leila’s apartment, he pulls out a gift that he had planned to give to her that evening. He cries, and the women offer him liquor to help soothe his mind. Unlike Sinan, Nalan has a high tolerance for liquor, which she used to secure a job in a club, encouraging patrons to buy expensive drinks.
Nalan convinces Jameelah to come out of the bedroom where she has been crying; they tell her that Leila would not want her upset like this. The five order dinner and finish making the halva for Leila. While the others are in the kitchen, Nalan devises a plan that might scare her friends.
Part 2 assumes a detached point of view, no longer sharing Leila’s final thoughts, but rather providing clarification on the details of Leila’s murder, highlighting the theme of Violence Against Women. The medical examiner also introduces the main conflict of the novel: Leila’s body will be sent to the Cemetery of the Companionless. In Turkish culture, funeral rites play an important part in ensuring that the deceased are able to rest peacefully in the afterlife. As the medical examiner refuses to release Leila’s body to her friends, Shafak contemplates the extent to which chosen families are invalidated by society. After failing to convince the hospital to release Leila’s body to them, Nostalgia Nalan reflects on her definitions of family and explains, “While it was true that nothing could take the pace of a loving, happy blood family, in the absence of one, a good water family could wash away the hurt and pain collected inside like black boot,” alluding to the old proverb that “blood is thicker than water” (199). This returns to the idea that, through her life, Leila built a family of friends and allies to replace the family that abused and neglected her. While her death is tragic, particularly the way in which she is dismissed as a sex worker, the family that Leila built wants to see her off into the next life with the dignity they feel she deserves. In committing to Leila even in death, the five demonstrate the power of love and friendship in the face of atrocity, discrimination, and violence. Through this act, they embody Traditionalism Versus Modernism and The Complexity of Family, pushing back against the rigid traditionalism of family structures and burials in Istanbul.
Zaynab122 furthers the theme of traditionalism versus modernism by cooking halva, a sweet confectionary, for someone who has passed away and reciting traditional Islamic prayers for the death of a loved one. Zaynab122 is a complex character, mixing both traditional religious beliefs with modern ideas, and she is described as having “blended the written word with oral customs, adding into the mix a pinch of superstition and folklore” (207). Zaynab122 demonstrates a possible path forward for Istanbul and society on a larger scale: She blends the old and the new, showing respect for tradition while feeling hope for the future.
After Leila’s death, the friends examine two articles that mention her passing in dismissive ways. While disrespectful to Leila and the other victims of senseless violence against women, the articles are significant tools used to inform the readers about these horrific acts. The first article that is printed in a newspaper at the grocery store provides readers with the statistic that “the homicide rate for Istanbul’s sex workers is eighteen times higher than for other women” (208), depicting an increase in violence among a marginalized group of women. The second article introduces the concept of a discriminatory hierarchy among women, claiming that “[n]ormal female citizens have no reason to worry for their safety” (217), which implies that female sex workers are not considered “normal female citizens” by greater society, and this discrimination against them places them at a greater risk for becoming the victims of these brutal acts of violence. By normalizing such violence, the police make it easier for murderers to go uncharged and for society to dismiss the deaths of female sex workers.
In Part 2, Chapter 8, Leila’s murderer is revealed to be a man who believes that he is helping women like Leila through his acts of violence. He claims, “After each murder, they added another porcelain doll to their collection of angels. For that is what they did, he believed. They turned whores into angels” (228), revealing the way that sex workers are viewed within society.
Leila’s murderers use the symbol of the angel to juxtapose what they believe sex workers represent. The angel, symbolizing purity and chastity, functions in two ways. First, the angel represents the actual death of the sex workers; by killing them, the murderers believe they are turning them into angels through the act of sending them to heaven. Secondly, they believe that they are cleansing the sex workers of their perceived transgressions and purifying them by killing them. When these killers stop to buy sandwiches near the pier from a boy and his uncle, their bloodied angel figurines are visible, but the boy and his uncle turn a blind eye to this, preferring to mind their own business. While this is disappointing, the pier also foreshadows an actual process of cleansing, as it was Leila’s wish to be put to rest in the water.
By Elif Shafak
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