¹ See, for example, Banu Helvacioglu's “Melancholy and Huzun in Orhan Pamuk's Istanbul,” Mosaic, 46.2, 163–178., Esra Elmas's “Disoriented in Istanbul: A Reading of Its Fogscapes across the Twentieth Century,” Culture, Theory, and Critique, 57.1, 17–31 and “A Melancholy of my Own: Orhan Pamuk's Istanbul: Memories and the City,” Modern Humanities Research Association Working Papers in the Humanities, 6.1, 58–70, Konuk Kader's “Istanbul on Fire: End of Empire Melancholy in Orhan Pamuk's Istanbul,” Germanic Review, 86 (4), 249–261 and Esra Akcan's “Melancholies of Istanbul” World Literature Today, 80.6, 39–43.

² Almond, Ian, “Islam, Melancholy, and Sad, Concrete Minarets: The Futility of Narratives in Orhan Pamuk's The Black Book” in New Literary History, 34.1 (2003), 75–90CrossRefGoogle Scholar.

³ Laschanger, Verena, “Flaneuring into the Creative Economy: Orhan Pamuk's Istanbul: Memories of a City” in Explicator, 67.2 (2009), 104Google Scholar. “If Benjamin's flaneur made the city of Paris the representative landscape of modern capitalism, Pamuk's makes the representative the city of creative economy.”

⁴ Almas, Esra, “Disoriented in Istanbul: A Reading of Its Fogscapes Across the Twentieth Century” in Culture, Theory and Critique, 57.1 (2016), 17–31CrossRefGoogle Scholar.

⁵ Akcan, Esra, “Melancholies of Istanbul,” in World Literature Today, 80.6 (2006), 39–43CrossRefGoogle Scholar.

⁶ Almas, Esra, “A Melancholy of my Own: Melancholy in Orhan Pamuk's Istanbul” in Culture, Theory and Critique, 57.1 (2016): 69Google Scholar.

⁷ Pamuk, Strangeness, 319.

⁸ Pamuk, Strangeness, 3.

⁹ “Alem” in the Turkish original (63) is translated as landscape in the English translation. On page 109, it is translated as “universe.” On page 135, it is translated as “world.”

¹⁰ Pamuk, Strangeness, 318.

¹¹ Ibid., 336.

¹² Ibid., 80.

¹³ Ibid., 584.