Kitap üzerine Yazılar was published as an anthology of critical essays. The main theme of the novel is identity, and it returns on many levels. Galip for example, is clearly not happy with who he is. He dislikes his life as a lawyer, and has envied the successful Celal for years. The plot shows how he gradually changes his identity to become Celal, living in his flat, wearing his clothes and even writing his columns. We know however, that Celal longs to become someone else as well (this is clearly visible from some of his columns - see for example the one titled 'I Must Be Myself'). Rüya remains quite enigmatic in the novel, the only picture we get of her is through the subjective lens of Galip. She sleeps during the day, and reads detective novels in the evenings and at night, hardly ever leaving the house. It seems that she prefers to escape from reality to the world of her detective novels, although Galip doesn't seem to think much of these. This strange lifestyle can imply that she is also not satisfied with who she is, or how her life turned out, but perhaps she does not consciously think about it, or admit it to herself. The questions of who we are and whether its possible to change who we are return on at least two other levels: Istanbul's identity as a city, and the identity of the Turkish people. As Galip wanders the streets of Istanbul, we get to know many of the city's different neighborhoods, all with their distinct ambiance. This is a city where East and West, antiquity and the modern, Islam and the secular, the rich and the poor, the pashas and the peasants are all present. The question always lingers: what is the true identity of this city? Is it a modern metropolis, or a dying remnant of the once-great Constantinople? The questions of Turkish national identity are referenced several times, in relation mainly to the perceived westernization of Turkish society. Should the Turkish people embrace Western (European) culture, or should they remain true to their heritage? Is their culture and identity decaying or only transforming? The novel in many cases implies that embracing the former will destroy not just historical and cultural heritage, but also the Turkish people themselves (see part where Galip takes the tour of the underground mannequin museum). Kemal