One of the ways that scholars have seen Ozdamar as collapsing preexisting cultural boundaries is through a meandering picaresque novelistic structure. Indeed, Monika Shafi argues that Ozdamar "borrows from the comic and picaresque traditions [using] a theatrical, performance-based approach to identity and interaction."

Shafi's reading prompts one to acknowledge the 1960s cultural climate in which Ozdamar wrote. Specifically, she wrote at a time in which the theatrical writings of leftist intellectuals such as Bertolt Brecht and the documentary theater of playwrights such as Peter Weiss were quite popular. The performative novelistic structure was viewed as an indispensible method for engaging the reader in an intellectual rather than emotional manner. The overt political agenda of Brecht is may also exist in a latent form in Ozdamar's work; in contrast with scholars like Ebel that have viewed Ozdamar as somewhat primitive, a Brechtian subtext might prove the efficacy of claims such as...
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