CRITICAL READINGNight is originally published in 1985. Night is political novel that refers to the repressive time, most probably the Turkish military coup dating back to 1980. The novel defies on easy summary; yet the sheer darkness, the bitter and dream-like atmosphere. Karasu appears both as on autodiegetic narrator and implied author who make an internal analysis of events in the story and comments on the ways in which night is created through footnotes in the novel.Firstly, the novel begins as a writer’s notebook. We see a narrator who is decent writer, struggling to live in a hellish place. The writer contemplates the night and observes the night watchers working outside. Karasu is very aware of the inspired improvisation of violence and barbarism happening on side streets or he is very aware of the event relating to the political violence happening at every and each corner of 1980’s Turkey. However, he does not attempt to capture the past like a main actor or to appropriate historical knowledge. Oh the contrary, Karasu likes the night to living entity and uses a highly imagistic language in order to give ac account of the night workers who destroy each and every breathing soul in the city. Secondly, there is a non-successive connection to past and future. The reader encounters an interruption of the progressive clock time in the city through darkness and entrapment, there is the observer who disciplines ordinary people, the civilians. There are other ways of living, other times and spaces through a suspension that go beyond the normative. In other words, temporality through darkness, violent and disciplinary practices is not dependent on the linear sequences of time. Rather than moving forward from a determinate origin and walking with a smooth logic of progression, on might get attracted to the anticipatory in darkness or beyond the particular now and argue for a time out-of-joint through never-ending darkness in Night. In addiction, Karasu’s language, facing the past depicted in the footnote ,as a bending body gathering flowers, may be aligned with relative stability of identities and temporal realm in the novel. Karasu’s deliberate choice of language as the rhythm of a body bending and rising may refer to chaotic and whatever is at odds with the dominant regarding time, space as well as characters when one rethinks Turkish specific historical and political context during the novel was written. Also, the reader encounters that Karasu’s bending and rising words in the footnote change the course of the narrative. Subsequent to reading the footnote, we see a fluctuation in the course of the narrative. The narrator first talks about some city legends about the night works. He then questions the impact of these cruel workers on people. He also talks about a young man shot randomly in the middle of night, on side street. He the askswhatever there is genuine truth to be known or revealed. This understanding of the past not as a frozen entity, while depicting a repressive historical time period, could be conceived as a liberation in terms of multiplication of our emotions, identities with the past in order to mirror it for sake of security in the present. Thus, we are not to rely on the past just to secure the stability of present.Consequently, this makes us thinks of Night as a possible queer historical fiction, even though we neither see famous historical figures nor tragic events that honor the loser but upholds the historical necessity of the winners. However we do read between the lines which tell us that the role of trauma and its aftermath require critical respective with respect to major historical events. Historical representation and understanding of trauma, in Karasu’s hands, point to individual and social culture anxiety as well as political critique in which we see a kind of dystopia. This dystopia sense interrupts the course of the world and temporal continuities of tradition and thus gives us a glimpse of contemporary queer historical fiction.