Interviews

Thank you so much to Jonathan Crain for hosting this interview on his Substack Blog. Jonathan is a passionate book lover, freelance writer, and history enthusiast from Nevada in the USA. He works in the legal field by day, but he dedicates his free time to interviewing authors and exploring the stories behind their work. From historical nonfiction to historical fiction and fantasy, Jonathan tries to bring a thoughtful and engaging perspective to every conversation. He shares his interviews and book reviews on social media and Substack, where he connects with readers and authors, celebrating a shared love of books and history. You can read the interview below or in full via this link.

Jonathan Crain: What happens when history and personal identity collide, creating a deeply personal and universally resonant narrative? For author Ayşe Osmanoğlu, this intersection forms the heart of her literary mission as she chronicles the twilight years of the Ottoman Empire through the eyes of those who lived it – her own family.

In her Ottoman Dynasty Chronicles series, Osmanoğlu brings a uniquely personal perspective to pivotal moments in Turkish history. Her first novel, “The Gilded Cage on the Bosphorus,” explores the complex world of the imprisoned family of Sultan Murad V, while her latest work, “A Farewell to Imperial Istanbul,” commemorates the centenary of the Ottoman dynasty’s exile in 1924. As a direct descendant of Sultan Murad V through her grandfather, Prince Ali Vâsıb, and of Sultan Mehmed V Reşad through her grandmother, Princess Emine Mukbile, she writes not merely as a historian but as someone whose family heritage is inextricably woven into the fabric of these events.

Born in Henley-on-Thames and raised in Marlow, Buckinghamshire, Osmanoğlu’s life embodies the complexities of maintaining cultural identity across generations. Her father, Prince Osman Selaheddin, settled in England after leaving Alexandria, where the family lived in exile. Growing up as the only Muslim girl in her school, she experienced firsthand the challenges of navigating multiple identities—experiences that would later enrich her exploration of themes like displacement, belonging, and the enduring power of family bonds.

After completing her degree in History and Politics at the University of Exeter and obtaining a Master’s in Turkish Studies from SOAS, University of London, specializing in Ottoman history, Osmanoğlu has dedicated herself to preserving and sharing her family’s remarkable story. Her work combines meticulous historical research with intimate family knowledge, offering readers a window into a world that exists now only in memory – from the confines of the Çırağan Palace to the final days of Imperial Istanbul as experienced by those who called it home.

In our following discussion, Osmanoğlu reflects on the challenges of balancing historical accuracy with creative narrative. She emphasizes the responsibility of humanizing her ancestors, often vilified or oversimplified in Western accounts. Her writing, rich with sensory detail and steeped in Ottoman culture, invites readers into the opulent yet turbulent world of late Imperial Istanbul. In doing so, she creates narratives that resonate far beyond their historical setting, engaging with timeless questions of displacement, identity, and the complex relationship between past and present.

As a descendant of Sultan Murad V, how has your unique family heritage influenced your approach to writing historical fiction about the Ottoman dynasty? How do you balance the personal and historical aspects when writing about your ancestors?

My family heritage is the driving force behind my writing. As a member of the Imperial Ottoman family, I feel a profound responsibility to share the stories of my ancestors and give them a voice in a genre where their narratives are often overlooked or misrepresented. I’ve observed an obvious bias against the Ottomans in much of the Western literature I’ve read, and I find it unfortunate that so few Turkish authors explore the lives of the dynasty’s members in historical fiction. 

When writing about my ancestors, I strive to portray their characters, emotions, and experiences as realistically and sensitively as possible. I aim to humanise them – depicting their joys, struggles, and complexities – while also weaving in the broader political and historical context of their times. This balance requires careful research and an understanding of both the historical record and personal family recollections that have been passed down to me.

Ultimately, my goal is to create books that honour my ancestors by sharing their stories with respect and sensitivity, while making them engaging for readers and maintaining historical accuracy.

You were born in Henley-on-Thames and spent your childhood in Marlow. Could you describe your early experiences of straddling both British and Ottoman cultures? How did those rare but precious visits to Istanbul shape your understanding of your heritage?

Growing up in exile and navigating two vastly different cultures was challenging. I often felt like an outsider, caught between identities and unsure of where I truly belonged. I can’t pinpoint the exact moment I realised I was different or when my father began sharing our family’s history with me, but I vividly remember the feelings of isolation.

I was the only Moslem girl at school, the one with a name no teacher could pronounce. Children, and sadly even some adults, were quick to point out those differences. Experiencing prejudice at such a young age left a lasting mark on me, but it also shaped who I am. It gave me an inner strength and deepened my respect for my heritage.

Visits to Türkiye were rare in my childhood, as travelling there wasn’t easy for us. But when I did go, I was overwhelmed with a sense of pride and belonging. Just looking at the domes and minarets standing on the seven hills of Istanbul, at the palaces lining the shores of the Bosphorus, I felt deeply connected to the city and its history. Hearing the azan and seeing the almond-shaped eyes of its people reminded me of my family’s indelible mark on this extraordinary place. 

Knowing that without my ancestors, Istanbul as we know it would not exist fills me with both pride and humility.

Could you walk us through your research process? What sources – family archives, historical documents, oral histories, photographs – proved most valuable in reconstructing the world of late Ottoman Istanbul?

As a History graduate, research is at the heart of everything I do. It is also the part of the writing process I enjoy most. I often find myself diving down rabbit holes, going off at a tangent, pursuing obscure facts that, more often than not, never make it onto the page but enrich my understanding of the period!  

The most valuable resource for my books was my grandfather’s memoirs, Memoirs of an Ottoman Prince, which my father published a few years ago. These memoirs provided unparalleled personal insights and fascinating details about a world that no longer exists. To me, my grandfather was simply my beloved Dede, but reading his words and getting to know the charismatic young man that he was, so full of hope and dreams, was deeply emotional.

I love referring to primary sources, so in addition to my grandfather’s memoirs, I turned to those of other family members, including Neslishah: The Last Ottoman Princess and My Father Sultan Abdülhamid by my namesake Ayşe Osmanoğlu. I also drew from excerpts of Princess Dürrüşehvar’s memoirs and Lady Filitzen’s recollections, which provided vivid, personal glimpses into their lives and contain rich details about palace life, customs, and ceremonies.

Oral histories shared by my grandmother and great-aunts were another treasure trove of information, giving me intimate anecdotes and perspectives that brought the past to life. Family photographs and heirlooms helped me describe my characters, their clothes, and the objects in their surroundings with authenticity. 

To capture the broader historical context, I relied on newspaper articles from the time to gauge public sentiment and understand how events were perceived. These contemporary accounts helped me weave a more accurate and nuanced narrative.

Finally, a wealth of reference books, many of which I list in the bibliographies of my novels, guided me in building the rich and detailed world of Imperial Istanbul. Together, these sources allowed me to reconstruct what I feel is a layered picture of the late Ottoman era.

Your novels include detailed descriptions of specific locations like the Çırağan Palace and Dolmabahçe Palace. What resources helped you reconstruct these historical settings accurately?

It was important to me to describe the magnificence and grandeur of these palaces. I feel a deep personal connection to them, as my grandfather was born and raised in the Çırağan Palace, while my grandmother was born in the Dolmabahçe Palace. To bring these settings to life in my novels, I relied heavily on old photographs that show the palaces as they once were. This was especially important in the case of the Çırağan Palace, which tragically burnt down in 1910. Today, only the façade and the hammam remain in their original form.

In addition to these photographs, I visited both palaces many times. They provide a tangible connection to the past, transforming history into something that can be felt and touched. Walking through their corridors and gazing out over the Bosphorus from the same windows my ancestors once did, surrounded by the ghosts of the past, the characters in my books truly came to life in my mind. And in those moments, the boundary between history and fiction, between fact and imagination, begin to blur – and for me, this is the magic of historical fiction. 

Your writing style features vivid sensory details and atmospheric descriptions. How do you approach crafting these scenes to transport readers to imperial Istanbul? 

I can answer that question simply – I just close my eyes and imagine being there… When I write, I try to transport myself to the world I am creating.

What captivates me most about writing historical fiction is its power to take me – and hopefully my readers too – back in time, allowing us to experience the past as if we were there. Whether immersing in the splendour of a palace salon or witnessing the farewell of a dynasty in the last Caliph’s study, historical fiction transforms us from passive observers into active participants, engaging with history on a personal level. For me, the true privilege lies in inhabiting these moments, and sharing them with my readers. Together, we step into the shoes of those who lived before us and are reminded that history is not just a series of dates and events, but the very essence of human experience – where emotions transcend time, and their world becomes ours through all our senses, even if only for a moment through the page.

In “The Gilded Cage,” you mentioned feeling hesitant about embellishing or misrepresenting your ancestors’ true natures. How do you balance historical accuracy with the need to create compelling fictional characters based on real people?

Historical accuracy will always take precedence for me. Out of respect for my ancestors, I will never embellish or take liberties with the truth to make the story more enticing. The truth itself is compelling enough, and I believe it’s important to honour the integrity of their true natures and experiences. By staying true to the facts, I try to create realistic characters and allow their genuine voices to be heard.

Your novels deal with complex political events while maintaining focus on personal and family stories. How do you strike this balance in your narrative approach?

I admit that striking a balance between complex political events and personal family stories is a challenge. I’m definitely more of an historian than a creative writer, so there are times when I have to remind myself to step back from over-explaining historical details and allow the storyteller in me to take the lead.

That said, the political context is essential because it shapes the world my characters inhabit. I want readers to truly grasp the seismic issues at play – such as the rise of nationalism, encroaching Western imperialism, and the many factors that led to the Balkan Wars, World War I, and the collapse of the Romanov, Hohenzollern and Habsburg Empires, as well as the abolition of the Ottoman Sultanate and Caliphate.

History is often written by the victors, which means events are not always portrayed as they happened. So, I see my books as a way to give voice to the Ottoman perspective and, more specifically, to share my family’s unique experiences during this turbulent period of history.

Could you describe your writing routine? How do you organize your research and incorporate it into your creative writing process?

My writing routine starts with research – reading books, articles, and memoirs, and jotting down handwritten notes, which I then organise into files. Once I’ve gathered my material, I review my notes, highlight key details to include, and plot a rough outline. From there, I refine it into a more detailed chapter-by-chapter, scene-by-scene plan.

When it’s time to start writing, I usually begin around 10:30 in the morning and work in three-hour blocks, aiming for three to six hours a day. I tackle one scene at a time in chronological order, revisiting and editing it before moving on. While editing as I go might not work for everyone, I prefer to polish each scene, so it feels right before continuing. Sometimes, I’ll stop mid-scene to do more research if a specific detail or fact needs double-checking. 

I’m quite methodical, so I like this structured approach as it helps me stay organised and focussed.

What inspired you to begin the Ottoman Dynasty Novels Series with “The Gilded Cage on the Bosphorus”? Why focus specifically on Sultan Murad V’s family for your first novel?

I’m descended from Sultan Murad V, so focussing on my branch of the Ottoman family for the Ottoman Dynasty Chronicles felt like a natural choice. The opening scene of the first book, The Gilded Cage on the Bosphorus, is set in October 1903 and depicts the birth of my grandfather, Prince Ali Vasıb, in the Çırağan Palace.

My grandfather was my favourite person in the world – I absolutely adored him. So, the inspiration to begin the series there really came from my love for him. 

“A Farewell to Imperial Istanbul” commemorates the centenary of your family’s exile. Could you discuss the emotional challenges of writing about this traumatic period in your family’s history?

Writing A Farewell to Imperial Istanbul was deeply emotional, because it served as a personal homage to my family on the centenary of their exile from their homeland. As I tried to capture the immense pain my grandparents endured, I often found myself blinking back tears, particularly during the more emotionally charged scenes.

I strongly believe in the concept of ‘generational trauma’ – the notion that our ancestors’ pain can be passed down through the generations. Even though I was born long after my grandparents’ displacement, I feel as though a part of their trauma lives within me. This connection has shaped my understanding of their experiences and heightened my empathy for others who have faced similar struggles, including the hundreds of thousands affected by the population exchanges between Türkiye and Greece, the millions uprooted during the partition of India, and countless others fleeing conflict or persecution. Their experiences resonate with me, and I’m acutely aware of the lasting scars exile and displacement can leave on descendants.

In many ways, writing this book was a cathartic journey. It allowed me not only to pay homage to the strength and resilience of my grandparents but also to process their experiences and find a sense of healing by sharing their story with the world.

Your books incorporate both Turkish and English language elements. How do you approach this linguistic aspect, particularly regarding titles, terms, and cultural concepts?

Incorporating Turkish words and linguistic elements into my books was a deliberate choice to enhance the authenticity and immerse readers in the world I’m depicting. For example, I’ve included terms like caïque and yalı, which can be used in English, as well as culturally significant words like temenna and selamlık, which don’t have exact English equivalents. These are italicised in the text and explained in the Glossary for clarity.

I also opted for the Turkish spelling of certain words, most notably İstanbul (note the dot on the capital İ), to honour the language and provide a stronger sense of place. When introducing my characters, I initially use their Ottoman titles, such as Sultan and Kadınefendi, to ground readers in the historical context before transitioning to English translations for easier readability.

This approach allows me to celebrate the richness of the Turkish language, culture and history while making the text easy to follow for an English-speaking audience.

How has your work been received in Turkey, particularly the Turkish translation “Boğaz’daki Altın Kafes”? What challenges did you face in the translation process?

I have self-published all my books, and have yet to officially launch them in Türkiye as I’m hoping to partner with a traditional Turkish publisher. Despite this, I’ve been fortunate to receive some positive press coverage from Turkish news outlets and some lovely messages from readers who discovered Boğaz’daki Altın Kafes on their own. Each message means the world to me, and I am extremely grateful to everyone who has purchased, read, and taken the time to review my book. 

As a self-published author, finding a skilled translator was challenging, but I was lucky to have an excellent one recommended to me. My stepmother generously edited the Turkish translation, and I was able to make it available digitally through platforms like Kobo, Apple Books, and my website. Recently, I also discovered Book Vault, and the print version is now available from their distributer, The Great British Bookshop.

The translation process is both time-consuming and expensive, which is why it can be particularly difficult for self-published authors to translate their work. Despite these obstacles, I hope to translate A Farewell to Imperial İstanbul into Turkish one day, and perhaps both books into other languages such as French, Arabic, Urdu, and possibly the Balkan languages, where there’s a shared historical connection to the Ottomans. It would be a dream to make my work accessible to an even broader audience, so watch this space!

Your books offer insights into Ottoman history for both Turkish and international readers. What misconceptions about Ottoman history do you hope to address through your work?

The main misconception I aim to address, particularly for Turkish readers, is the false narrative that my family were traitors to the State. This claim, propagated at the time of our exile, is entirely untrue. My family were loyal servants of the Ottoman Empire, committed to serving their people and performing their duty. Above all, they loved their homeland. Even in exile, their loyalty remained steadfast – they never spoke ill of the new Republic, despite the immense personal loss and injustice they endured, and their love for their country never wavered.

For international readers, I hope to challenge the oversimplified portrayals of the Ottoman Empire as either a paradise of indulgent splendour or a corrupt, oppressive regime. By the late 19th and early 20th centuries, the Empire was grappling with existential threats, its borders and sovereignty undermined by the rise of nationalism and relentless Western imperialism. These pressures created immense turmoil, and my books seek to highlight the human dimension of this period – the challenges, sacrifices, and resilience of those who lived through these turbulent times.

Ultimately, my goal is to provide a more balanced understanding of Ottoman history, one that goes beyond stereotypes and honours my family’s memory with the dignity and respect they were denied in exile.

As a female author writing about the Ottoman dynasty, how do you approach depicting the roles and experiences of women in your historical narratives?

As a female author, I aim to challenge the outdated notion that Ottoman women, particularly those in the Imperial family, were passive or uneducated – misconceptions often unfairly associated with Moslem women more broadly. The women I write about were remarkably progressive, liberal, and modern for their time. They received excellent educations comparable to their brothers, studying mathematics, languages, literature, politics, and the arts. They followed European fashions and ideas, were deeply aware of global movements like female suffrage, and many played active roles in their society.

Fehime Sultan, for example, was a fierce patriot who courageously supplied critical intelligence to the Turkish army during the Turkish War of Independence, using information she obtained from Allied officers’ wives during the occupation of İstanbul. Her bravery and devotion to her country are just one example of the strength and agency these women possessed.

Through my narratives, I hope to honour these remarkable women by portraying their resilience, intelligence, and active engagement in their society, challenging stereotypes and giving them the recognition they truly deserve.

How do you see your work contributing to the preservation and understanding of Ottoman history for future generations?

I am under no illusion that my work will appeal to a large audience, nor do I believe that my books will make a significant contribution to the preservation and understanding of Ottoman history on a grand scale. However, I do hope that through my writing, I can provide my own children, their children, and future generations of my own family with a genuine connection to their heritage. I want them to feel proud of their roots and to recognise the strength and resilience that has defined our family throughout history. If I can achieve that, I will consider my work a success in preserving the memory of the Ottoman Dynasty for those who come after me.

You’ve mentioned that “the next book is already underway.” Without revealing too much, could you share the general direction of your upcoming work in the Ottoman Dynasty Novels Series?

Absolutely! The next book in the Ottoman Dynasty Chronicles is the sequel to The Gilded Cage on the Bosphorus. It covers the turbulent period of Ottoman history from 1906 to 1909, continuing the story of the family of Sultan Murad V living in the Çırağan Palace. Familiar characters, such as Sultan Abdülhamid II and his loyal eunuch Cevher Ağa, play prominent roles, while new characters, including a dashing young army officer stationed in Macedonia, are also introduced.

Beyond the current series, do you plan to explore other aspects of Ottoman history or different genres entirely?

I’m definitely not interested in exploring different genres, so anything beyond the Ottoman Dynasty Chronicles, which has another four books to come, will be historical fiction based on Ottoman history. I’m considering writing a prequel trilogy on the life of Sultan Murad V, covering his years as Crown Prince, as Sultan and later as a prisoner in the Çırağan Palace.

What advice would you give to other writers tackling historical fiction, particularly those writing about their own family history?

I’m something of a novice amateur writer myself, so I’m not sure I’m qualified to offer meaningful advice to other authors writing historical fiction about their own family history. But, if pressed, I would say, stay true to the historical facts. History is already rich and compelling, so there’s no need to embellish or sensationalise it. Use primary sources as much as possible – diaries, letters, memoirs, and photographs. And most importantly, enjoy the process of connecting with your roots through your research and words. It’s a unique and rewarding experience to bring history to life, especially your own history, and if you’re passionate about what you’re writing about, that passion will shine through and resonate with your readers.

Looking back at your journey as an author so far, what has been the most rewarding aspect of sharing these Ottoman stories with the world?

Looking back at my journey as an author, the most rewarding aspect has been the opportunity to give a voice to my ancestors and share their stories with the world. It’s incredibly special when I receive feedback from readers saying they enjoyed my books and that my writing has given them a new perspective on Ottoman history. Every positive review, lovely message, and connection made through social media or my website makes me smile and reminds me of why I write. 

What truly fills me with gratitude, though, is knowing that my books have inspired readers to open their hearts to Sultan Murad V and his family. That realisation makes all the solitary hours spent at my writing desk so worthwhile. It’s such a humbling feeling to know that my writing has touched someone and helped them discover a past that means so much to me.

What do you hope readers will take away from your books about the Ottoman dynasty and its legacy?

I hope readers find my books interesting and are inspired to learn more about Ottoman history and the family, the dynasty, that ruled the Ottoman Empire for over six hundred years. I also hope they’re encouraged to plan a trip to İstanbul one day to visit some of the amazing places mentioned in my books, enabling them to experience the beauty of the city first-hand.

Book Review by Jonathan Crain

Ayşe Osmanoğlu’s Ottoman Dynasty Chronicles highlights the interplay between personal memory and historical narrative. Her works are not merely stories of a bygone empire but deeply personal tributes to resilience, identity, and the enduring connections between past and present. By weaving historical accuracy with intimate family anecdotes, Osmanoğlu invites readers to experience the world of the Ottoman dynasty with both reverence and curiosity.

As she continues to expand the series, Osmanoğlu’s commitment to authenticity illuminates broader themes of displacement and belonging. Her writing bridges cultures and generations, offering insight into the complexities of navigating dual identities in an ever-changing world. Through her novels, readers engage with Ottoman history through the eyes of those who lived it, discovering the human stories behind historical events.

Ultimately, Osmanoğlu’s work testifies to the power of storytelling in preserving heritage. Her voice, shaped by scholarly rigor and personal connection, clarifies the shadows of the past, ensuring that the Ottoman dynasty’s legacy continues to resonate with future generations.

I would like to thank each of the lovely book bloggers who hosted me on their blogs, and who made my virtual book tour to launch A Farewell To Imperial Istanbul such a fabulous success.

With their help, A Farewell To Imperial Istanbul launched as the Top New Release in Amazon.com in various categories, including History of Turkey and the Ottoman Empire, Historical Middle Eastern Fiction, and Historical World War I Fiction which was amazing. I had a lot of fun answering their many questions, ranging from the inspiration behind the book to my writing routine and so much in-between!

Thank you to everyone who took part in the book launch and for being part of my writing journey…

Mai’s Musings

Where does the inspiration for your books come from?

The inspiration for my books originates from the many fascinating stories and memories my grandparents shared with me. They were both born in İstanbul during the twilight years of the Ottoman Empire and lived through immense change and upheaval. As a child, I was captivated by all that they had witnessed, and this ignited my passion for preserving their forgotten world and honouring their legacy through storytelling. Through my books, I want to ensure that my children and grandchildren understand and appreciate their heritage. I also hope that the curiosity sparked in my readers by the glimpse into this era will encourage them to delve further into Ottoman history and perhaps inspire them to embark on their own journey to discover the beauty of İstanbul.

You can read the interview in full here.

My Reading Getaway

How do you balance historical accuracy with creative storytelling when crafting your narrative?

I am naturally more of an historian than a storyteller, so I do find balancing historical accuracy with creative storytelling a challenge. When I start a new project, I dive into conducting extensive research to fully understand the historical context, setting, and characters. This takes me months, if not years, as I always seem to get dragged down rabbit holes and wander off at tangents! Once I have a solid foundation, I try to weave a compelling narrative around these historical elements. I strive to remain true to the spirit of the era and the nature of the characters while infusing the story with life and imagination.

You can read the interview in full here.

Splashes Into Books

Which scene in your book was the most challenging to write, and why?

The most challenging scene to write was definitely the final one in the book. It was deeply personal and emotional for me because it is based on the tragic experiences of my grandparents at the moment they were forced to leave their homeland and go into exile. Imagining how they must have felt at such an incomprehensibly unbearable time made my eyes well up with tears as I typed the words. It was difficult because I really wanted to capture the depth of their emotions and the weight of their circumstances while creating an ending that was both poignant and reflective. I wanted to leave readers with a sense of closure while honouring the memory of my family – I just hope I managed to do this, even in a small way…

You can read the interview in full here.

Portobello Book Blog

Tell me about TWO of the characters in your book

Prince Ali Vâsıb : The main character is my grandfather, His Imperial Highness Prince Ali Vâsıb, the great grandson of Sultan Murad V. He emerges as a sensitive yet rebellious protagonist, motivated by a desire to challenge the status quo and usher in a new era of progress for his nation. He enjoys riding, hunting, and dancing with beautiful White Russian aristocrats at the thés dansants held at the Pera Palace Hotel! Vâsıb’s motivations stem from a frustration at the limitations imposed by his position and with conservative attitudes that resist change and modernisation. His character embodies youthful optimism and a longing for a liberated and more forward-thinking Turkey.

Princess Fehime : A character I most relate to is Her Imperial Highness Princess Fehime, the daughter of Sultan Murad V. At first glance, Fehime is the quintessential Princess, known for her social charm, grace and elegance. Yet, beneath this façade lies a fierce determination to contribute meaningfully to her country’s defence during the Turkish War of Independence, involving her in the gathering of vital intelligence for the Turkish Nationalist Movement. She emerges as a courageous and strong figure, whose resilience and patriotism echo through history – a woman who risked everything to shape the destiny of her nation.

You can read the interview in full here.

The full interview with Murat Öztekin…

To read the full interview with Murat Öztekin in Turkish, please click on this link.

The Ottoman Dynasty family lives in different parts of the world after the tragedy of exile. You also continue your life in the UK. How does it feel to be a sultan in 21st century Europe? 

Yes, the exile of my entire family was a terrible tragedy. One that brought great pain and suffering to all those forced to leave their homeland and settle in foreign lands. Both my grandparents suffered this tragic fate, and my father was born and raised in exile in Egypt before coming to the UK to further his education. After meeting my mother in London he decided to stay in England, as at that time he was still forbidden to go to Turkey, and so fate dictated that I would be born in the UK and my life would be there. 

I am often asked what it feels like to be an Ottoman Sultan. Well, I obviously feel incredibly proud, deeply honoured, and very privileged to be a member of the Ottoman dynasty. However your question is rather more specific than that. Being an Ottoman Sultan living in Europe, or indeed living anywhere in the 21^st Century, can be difficult at times. I often feel that I do not really fit in or belong anywhere, despite trying to assimilate with those around me when I am in England and despite spending as much time as I can in Turkey. I feel a profound sense of duty and respect towards my family and for my heritage, and a deep love for my homeland and its people, yet a sadness exists in my soul that I believe was passed down from my grandparents and through my father as a result of their long years in exile. I very much appreciate the recent interest many people have in me and in other members of my family, but it is sometimes hard to balance their expectations of us with the fact that we live as private citizens with no defined role to play, and have been forced to make our lives outside Turkey. Social media brings added challenges for the 21^stCentury – I know that I am not alone when I say that I have experienced cruel and vindictive online abuse, and it is hard to receive such criticism from people who have never met me yet feel entitled to insult me and my family. But I have learned to accept these and all other difficulties and challenges associated with my heritage, because the sense of immense pride that I feel at being a direct descendant of the Ottoman Sultans far outweighs any other emotion I have.

What kind of family environment did you grow up in and what kind of family do you have now?

I grew up in a small riverside town in the south of England. We had a modest house and lifestyle, and were taught the important values of life such as honesty, respect and kindness. My parents love my brothers and me very much, but sadly when I look back I do not feel that our childhoods were particularly happy ones. I think my father felt frustrated by some of his life choices and was not happy living permanently in England, and my mother never really recovered from the grief that consumed her following the sudden death of my three month old baby brother, Nihad Reşad Efendi. My father was quite strict and placed a lot of importance on education, so my brothers and I worked hard at school and were encouraged and pushed to excel. This was a good thing as we all did well at school before going on to study at University. I went to Exeter University where I studied History and Politics, and then I took a Masters Degree in Turkish Studies at SOAS, in London, specialising in Ottoman History. 

Today I still live in the south of England, but in a small village surrounded by fields. I live with my husband who I met at University, our five beautiful and amazing children and two cats! I have four sons – Ali 21, Tarik 20, Cengiz 18 and Ziya 15 and one daughter named Aliye who is 16. Our house is filled with love and laughter, and is never quiet! We love gathering round the table for long lunches and dinners, we enjoy playing all sorts of sport, snuggling on the sofa to watch Netflix, skiing in the winter, travelling to our home in Bodrum in the summer and simply just being together. Nothing makes me happier than being with my family.

Your interest in history is remarkable. Thank you so much. I think historical events were always talked about in your house. Yes, you are absolutely right. Is it simply being a member of a great dynasty behind this?

Obviously many people have an inherent love for and interest in History. Such a passion is certainly not reserved exclusively to those descended from the great dynasties of the past. However, as a member of such a dynasty, my own family history is inextricably intertwined with the illustrious six hundred year history of the Ottoman Empire which I find incredibly humbling, and which has made me want to learn and understand as much as I can about it. From as early as I can remember, my father and my grandparents told me stories about the Ottoman Empire, about the Ottoman Caliphate and about my family. These stories left an indelible mark on my heart that can never be erased, and these stories are what fostered my interest in history. 

Well, what was it like for you to research your historical roots?

It was actually a very emotional journey. I cried a lot, but smiled to myself too. I learned so much about the late Ottoman period, but what I value most about my research is that I learned so much about my ancestors, and what life was like for them during their enforced confinement at the Çırağan Palace. In fact I feel like I got to know them as individuals, as the personalities that they were. To me they are no longer just names on a family tree or faces in a faded photograph – my research has brought them to life and in so doing has connected me to my roots. And in some ways, by understanding who they were, I understand more about myself. 

Sultan V. Murad, one of the most unfortunate sultans in Ottoman history, becomes one of your great grandfathers. How did you first learn about his life?

I am not exactly sure when I first learned about Sultan Murad V. I just grew up always knowing about him. Perhaps this is because my brother is called Murad and I knew he was named after my Dede’s great-grandfather. Perhaps it is because my Dede told me many stories about Sultan Murad V when I was a little girl. Or perhaps it is because his portrait hung in our house and I looked at it every day. I cannot honestly remember. But he has always been part of my life, and I have always wanted to know more about him.

Your work, in which you describe the life of Sultan Murad V., was translated into Turkish with the name “BOĞAZ’DAKİ ALTIN KAFES”. What were the reasons that prompted you to write the life of Sultan Murad V?

I always felt that the story of Sultan Murad V needed to be told from his perspective. History has not been kind to him, and he is very misunderstood. We must remember that History is most often written by the victors, so we must always question what we read. So I set about researching and writing about my great great grandfather in the hope that my children would know him as he really was, rather than as he is portrayed in history books. I wanted them to learn about the sensitive, enlightened liberal prince. The loving father. The talented composer. The modern reformist. I wanted his voice to be heard. And I wanted his truth to be shared. In fact, it was never my intention to publish my book. I wrote it for my children, for my future grandchildren, and for all the descendants of Sultan Murad V as I wanted them to feel proud of the man that he was. But then my father read my manuscript and he persuaded me to publish it! So I did! After all, who does not want to please their father?! 

How did the work called “THE GILDED CAGE ON THE BOSPHORUS” come about? What research have you done? Have you benefited from your family’s memories?

I absolutely loved doing the research. Being an historian, it was by far my most favourite part of the whole writing and publication process. I spent four years meticulously researching and writing ‘The Gilded Cage on the Bosphorus’. I read a number of first hand accounts, many books, journals, theses and contemporary newspaper articles. I have included these in the Select Bibliography at the end of the book in case readers want to delve deeper into the facts for themselves. I found the first hand accounts of Sultan Murad V’s Gözde, Filizten Hanım, and of Sultan Abdülhamid’s daughter, Ayşe Sultan, particularly valuable. I also sought advice and help from my father, and spoke to respected and highly knowledgeable historians and experts to try to corroborate facts and substantiate information. I only wish that I spoke fluent Turkish and was familiar with Ottoman Turkish as that would have opened up even more research material to me. However, my greatest source of inspiration, of interesting stories, and of personal memories, came from my grandparents – Şehzade Ali Vâsıb Efendi and Emine Mukbile Sultan. Such recollections cannot be found in history books or in archives. I know how lucky I am that my grandparents shared them with me, and I felt that I had to record them before they were lost forever. 

Did you discover any interesting information while writing the work? 

Oh, so much. I discovered so much new information that I had not known before. I learned a huge amount. I also changed my opinion on certain issues too. 

What information surprised you the most? 

We all know that Sultan Murad’s younger brother Sultan Abdülhamid assumed the throne following the coup against him, but what is less well known is that initially this was only intended to be a temporary measure until Murad recovered from his nervous breakdown brought on by the death of his uncle Sultan Abdülaziz. What is also largely unknown is that Sultan Murad recovered from his illness extremely quickly, but doctors were told to falsify their reports to prevent him from regaining his position as Sultan. The conservative elements feared Sultan Murad’s plans for liberal constitutional reform and Sultan Abdülhamid did not want to relinquish the absolute power he had assumed, so fate dictated that Murad V would never regain his throne and instead would languish in his ‘gilded cage’ for over twenty eight years. 

What surprised me the most during my research was learning that after Sultan Murad V was deposed, most of his adult siblings wanted to see him restored to the throne. You will have to read ‘The Gilded Cage on the Bosphorus’ to find out which two sisters remained loyal to Murad throughout their lives, and which of his two brothers always regarded him as the rightful sultan. Discovering this information not only surprised me, but it made me happy to know that Sultan Murad retained the enduring love, respect and loyalty of many of his siblings.

As emphasized in your work, the isolation life of Sultan Murad V was very difficult. But did he not have any role in the famous coup? Therefore, in your work, don’t you use some harsh, emotional and anachronistic expressions against Sultan Abdulhamid, who survived many assassination attempts?

Life in such strict confinement was cruel and torturous, and must have been absolutely horrendous for Sultan Murad V and his immediate family. In the book I try to imagine the severe mental and physical effects this must have had on them all, and I hope that I have portrayed their tragic situation with the sensitivity it deserves.

As to your question, I am assuming that you are referring to the Çırağan Incident of 1878? There is very little evidence to tell us who was involved in the plan to restore Sultan Murad V to the throne. I do not use the word ‘plot’ or ‘coup’, because Sultan Murad V’s throne was usurped. As the rightful Sultan he had every right, and some might even say a duty, to attempt to escape his imprisonment and try to regain power. However from what I have read about Murad V’s reaction when confronted by Ali Suavi and his soldiers I am inclined to believe that, although he may have known of the possibility of a plan, he certainly did not know details as he froze in fear. But I do believe that two of Murad V’s brothers, who both shared his  liberal views, played a critical role in the planning. I mention the episode in my book, so for my account of events you will need to get a copy!

You are correct to say that I use harsh and emotional words when I refer to Sultan Abdülhamid. However, I also use flattering and respectful expressions too. You mention the many assassination attempts made on Sultan Abdülhamid – in fact in the book I recount one such attempt made at the Yıldız Mosque and I emphasise the bravery and composure of the Sultan. I would like to add that I also describe Sultan Murad V’s failings and weaknesses, and do not try to hide them or ignore them. I think it is important to try to establish a fair and balanced picture. I have great respect and admiration for Sultan Abdülhamid but no one in this world is perfect, not even the Caliphs of Islam – only Allah Himself is. I would also like to remind you that I am a Muradiye Sultan, and my family suffered greatly on account of Sultan Abdülhamid. I have tried to be objective, but I make it quite clear where my sympathies lie and make no apologies for this. I would ask anyone reading my book to remember that I have written about my own family, and essentially for my own family, so would appreciate their understanding of this fact.

Will you continue to write such books from now on and do you plan to live in Turkey like your father Şehzade Osman Selâhaddin Efendi?

I have already begun the research for the sequel, and written the plot outline! The next book will cover the turbulent period in late Ottoman history between 1906-1909. My dream is to write a series of books that will culminate with the exile of my family from our homeland in March 1924. We all have our dreams, and this is mine.

As to living in Turkey, well that would be another dream. I am very lucky to have a house in Bodrum as I mentioned before, and I do spend my summers there every year with my children. Perhaps when my children get older and eventually leave home to make their own way in the world, I will be able to come home to İstanbul…

To read the published online interview please click on this link.