Akademik Veri Yönetim Sistemi
SELCUK UNIVERSITESI EDEBIYAT FAKULTESI DERGISI-SELCUK UNIVERSITY JOURNAL OF FACULTY OF LETTERS, cilt.54, ss.189-208, 2025 (ESCI, TRDizin)
G & uuml;nter Grass's work, The Box: Tales from the Darkroom, is a sequel to his novel, Peeling the Onion. In the novel, where fairy-tale-like features are at the forefront, the box that has a symbolic importance is the Agfa Box Camera, which dates back to the 1930s and is like a treasure chest full of its owner's memories. In the novel, the fantastic and surreal motifs frequently used in the magical realism movement are constructed in a way that is extremely close to reality, blurring the boundaries between reality and the world of imagination. In this context, the novel's construction at the intersection of fiction and reality gives the work the appearance of an experimental novel with its unusual choice of subject and complex structure. Most of the author's works include discussions about the National Socialist period, which is considered taboo in German history. In this novel, the author aims to highlight the culture of remembering and reminding, rather than the culture of forgetting. The author, who uses the onion as a metaphor to explain his memories in Peeling the Onion, prefers to explain his memories through a camera in The Box: Tales from the Darkroom. The author questions the past of his ancestors and presents a narrative based on a family story based on a questioning at the point of reckoning with the past. "The Box: Tales from the Darkroom" also contains data on the taboos and debates it contains, as well as an analysis of magical realism based on trauma theory. This study aims to analyze the author's novel in question in terms of fairy tale, magical realism and an experimental novel analysis. In the study, an analysis was carried out using a mixed analysis method to benefit from intra-textual and extra-textual methods.