DIVINE TRAGEDY

All conversations in this book are imaginery

In the fall of 2008, the people of Istanbul had formed queues in front of Sakip Sabanci museum. The schools were encouraging their students, to see the works of one of the art geniuses of the 20 th century, by hiring busses. Museum administration, after exhibiting Picasso, a year ago had succeeded, to bring one of the Salvadore Dali collections to Istanbul. The citizens of Istanbul, fond of art, had shown an overwhelming interest to the exhibition.

I had to wait half an hour, in front of the gate to get access to the museum halls. From the very moment of seeing the initial art pieces, one could realise the geniality of Dali. He had not only drawn the physical world but the realm of imagination as well. He had not only used paints in doing so but all kind of materials. Dali had worked like a psychiatrist to draw, how people used to dream when they were in love. He had benefited from the definitions of Dante, when decided to depict heaven and hell. This coincidence provoked me to read the Italian classics like Dante’s Divine Tragedy and Boccacccio’s Decameron. I read both of them in short time with partial disappointment. Could we have access to afterlife world, when walk in a forest as Dante defined? Could the story of mankind be limited only to betraying males and females, as Boccaccio told? Some sort of Decameron stories could be retold reflecting the recent human kind experiences. History behind the closed doors could be left to the imagination of fiction teller, making all characters part of the history. Why there should not be a logical pathway between actual and afterlife worlds beyond all religious explanations? In such an attempt the name of my new book would be surely different from Dante’s Divine Comedy, as: DIVINE TRAGEDY