Queer Narrative Strategies in Pinar Kür’s Detective Trilogy

The classic detective fiction, which has turned into an element of oppression with its masculine and absolute structure, allows the genre to be queer by creating cliché types in literary ways and normalizing them. Pınar Kür is one of the writers who has struggled with the logic of insufficiency that the patriarchal system attributes to the differences of gender and sexual orientation. In her detective novel trilogy, some notions, such as excluded identities are not being given the right to speak and conditioned as the other under the heterosexual man’s power; besides, traditional bipolar gender constructions are rebuilt, and then rejected through some transgressive acts. By doing so, typical saviour and victim figures are rejected, as well. Thus, by discrediting the dualities produced by sexual politics, human beings are freed from the patterns which have been fixed and ontologized by the gendered problematic matrix; the hierarchical assumptions are questioned by exclusion and distortion, and it is de-identified by the simultaneous discoveries that emerge with the onset of new possibilities. These works emphasize the tension between the subjective and objective and the state of being special; thus they are destructive and opposing texts that refute the body politics determined as the premise of meaning by embracing, rejecting and de-identification labels, and inviting the reader to meaning crises with contradictory fictions. Resisting cartesian rationalism, the trilogy deconstructs the logic and philosophy of the classical structure without producing binary oppositions by imitating
the form and content of traditional detective, targeting a non-identifying writing, and revealing the potential of detective to reveal its own parody.