Ahmed Rasim’s Unknown Science Fiction Serialization: Ateş Adası (The Island of Fire)

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Ahmed Rasim’s Unknown Science Fiction Serialization: Ateş Adası (The Island of Fire)

Bünyamin Tan and Meltem Dağcı

Ahmed Rasim was born in 1865 in Fatih’s Sarıgüzel neighborhood. His father was Bahaeddin Efendi from the Menteşeoğulları family, and his mother was Nevber Hanım, who had been raised as an adopted child in a wealthy household. His father, who worked as a postal and telegraph officer, divorced his first wife while traveling from Ermenek to Istanbul and later married Nevber Hanım in Istanbul. When he was posted to Tekirdağ, he sent his pregnant wife Nevber Hanım back to Istanbul and never contacted her again. Ahmed Rasim’s mother, Nevber Hanım, was settled in a small house in Sarıgüzel by the family who had raised her, and it was in this house that Ahmed Rasim was born. Ahmed Rasim began his education at the neighborhood school in Sofular, later continuing at Tezgâhçılar School in Kırkçeşme and Çukurçeşme School in Haydar. He received writing and Arabic lessons from Yakup Hoca, hired by his brother-in-law, Colonel Laz Mehmet Bey, while also attending Hafız Paşa School in Fatih. On June 12, 1291 (June 24, 1875), Ahmed Rasim enrolled in Darüşşafaka, where he also began his literary and press career.

At school, the poet became acquainted with Divan poets and tried to compose nazires (poems written in imitation of another poet’s work) in their style. He improved his French and began reading French poets and writers. Through magazines and newspapers secretly brought into the school, he also kept up with literary and political developments. He began his career as a civil servant at the Ministry of Telegraph. He worked as a translator for the newspaper Ceride-i Havadis, and during that time, he left his post in the civil service to take up journalism. His first stop in his journalism career was Tercüman-ı Hakikat. At the request of Muallim Naci, he also wrote for the magazine İmdadü’l-Midad. In this magazine, he published four translations, and at the request of bookseller Arekel, he prepared a book series on new discoveries. In 1886, he taught for a time at Mekteb-i Behrami in Bakırköy and for a while at the Jewish Alliance School. Around the same period, his writings appeared in magazines such as Şafak, Gülşen, Berk, Sebat, Sa’y, Hamiyet, Güneş, Envar-ı Zekâ, İmdadü’l-Midad, and others. Deciding to compile his various works—articles, columns, essays, short stories, novels, memoirs, letters, prose poems, poems, translations, and critiques—published in newspapers and magazines, he produced the following books: Külliyat-ı Sa’y ve Tahrir: Makalât ve Musahabat, Külliyat-ı Sa’y ve Tahrirden Menakıb-ı İslâm, Tarih ve Muharrir, Şehir Mektupları, Cidd ü Mizah, Eşkâl-i Zaman, Gülüp Ağladıklarım, Muharrir Bu Ya, Romanya Mektupları, Ömr-i Edebî, Falaka, and Matbuat Hatıralarından Muharrir, Şair, Edip.

He published most of his novels and short stories between 1890 and 1899. Depicting the daily life of Istanbul, its people, important days and nights, the traditions and customs of society, the city’s problems, its entertainment life, and the changes in urban and human life according to the seasons, the author adopts a realist approach in these works (Nerkis, https://teis.yesevi.edu.tr/madde-detay/ahmet-rasim. Accessed: 05.05.2025).

He opposed the language and literary understanding of the Servet-i Fünun movement. Among his many works, the focus of this article is his unfinished science fiction piece Fire Island (1894), which was published in Resimli Gazete.

The History of Science Fiction Literature in the Ottoman Empire

The Tanzimat Era was a period of intellectual and cultural transformation in the Ottoman Empire, marked by a significant shift from Eastern civilization toward Western civilization. This rupture and social transformation inevitably influenced literature as well. In addition to the introduction of genres such as the novel, Western-style short stories, articles, conversational essays, and personal essays into Turkish literature, it is evident that developments in Western literature soon impacted Turkish literature, leading Turkish writers to produce translations and strive to create original works in Turkish. Science fiction literature was among these influences. Initially, Western works were introduced through translation, and later, uniquely Turkish examples were produced. In the realm of translated science fiction, the works ofJules Verne undoubtedly hold a significant place. Greatly influencing Turkish writers, the translations of Verne’s works are listed by Seda Uyanık in her book Osmanlı Bilim Kurgusu: Fennî Edebiyat as follows:

Translations between 1875–1885: Around the World in Eighty Days (1875), Captain Hatteras’s Journey (1877), Journey to the Center of the Earth (1885) (Uyanık 1, 45; Andı 1, 68–69).

Translations between 1886–1895: Five Weeks in a Balloon (1888), The Mysterious Island (1889), Around the World in Eighty Days (1889), A Doctor’s Dream (1890), Twenty Thousand Leagues Under the Sea (1890), In Search of the Castaways / Captain Grant’s Children (1890), Extraordinary Journey of Three Russians and Three Englishmen in Southern Africa (1890), Extraordinary Journey: Captain Grant’s Children (1890), Journey of Three Russians and Three Englishmen in Southern Africa (1890), Journey Through the Air (1891), Extraordinary Journey in China (1891), The Star of the South (1891), Two Years’ Vacation (1891), The Adventures of Captain Hatteras (1891), The Earth’s Axis (1891), The Black Indies / The Underground City (1891), The Floating City / A Sea Traveler’s Journal (1891), Around the World by Carriage or Caesar Cascabel (1892), Truth Within a Dream or A Journalist’s Busyness in America a Thousand Years Later (1892), From the Earth to the Moon (1892), The Floating City / A Sea Traveler’s Journal (1892), Journey Underground (1892), Twenty Thousand Leagues Under the Seas (1892), Around the World in Eighty Days (1893), Disaster in a Balloon (1893), The Mysterious Island (1893) (Uyanık 1, 45–46; Andı 1, 68–69).

Translations between 1896–1906: Around the World in Eighty Days (1896), In the Deserts (1902), Illustrated and Extraordinary Journey (1902), Extraordinary Journey: Spencer Island (1902), Spencer Island (1902), The Chancellor: The Diary of a Passenger on a Sailing Ship (1902), A Voyage to the Antilles (1903), Captain Gipson (1903), A Winter Amid the Ice (1904), The Lighthouse at the End of the World (1905) (Uyanık 1, 46; Andı 1, 68–69).

Translations between 1906–1915: The Golden Volcano (1908), A Captain at Fifteen (1909), The Comet or A Journey in the Solar System (n.d.), The Stubborn Hero Agha (1915) (Uyanık 1, 46; Andı 1, 68–69).

Translations between 1916–1927: Journey to the Moon (1927) (Uyanık 1, 46; Andı 1, 68–69).

Looking at other translated novels, Seda Uyanık notes that Karel Čapek’s Rossum’s Universal Robots was translated under the title Âlemşümul Sun’i Adamlar Fabrikası (1927) (Uyanık 1, 29). Mehmet Fatih Andı mentions Jules Gros’s A Volcano Amid the Ice (1308 [1892/1893]), André Armandi’s Rapa-Novi Island (1928), and works by Paul d’Ivoi (Bossenaar) (Andı 2, 20–24). In addition, H. G. Wells is generally discussed only in relation to translations of The Time Machine, yet we have identified other translations of his works: The Invisible Man (1918) and The First Men in the Moon (1918). Our research has also uncovered translations of Camille Flammarion’s works: The End of the World (1910), Terrestrial and Celestial Gravity (1896), and Uranie (1891). Other examples of Ottoman Turkish science fiction translations we have identified include Emilio Salgari’s The Savages of Australia and the Journey of Captain Istal (1906); A. Blunar’s Ever Smaller (1906) and The Secrets of the Hindus, or The Chemists of Paris (1890); Robert Louis Stevenson’s The Suicide Club and The Rajah’s Diamond (1911); and J. H. Rosny’s The Extraordinary Intelligence of an Indian (1895).

Among the works written under the headings “scientific literature” (fennî edebiyat) and “scientific novel” (fennî roman), which touch upon the civilizational and technological advancements the Ottoman Empire would achieve in future centuries and the influence of Islam in this process, it is necessary to examine them under the categories of science fiction and utopia. These include Rüyada Terakki ve Medeniyyet-i İslamiyye-i Rü’yet (A Vision of Progress and Islamic Civilization in a Dream, 1913) by Molla Davudzade Mustafa Nâzım; Tarih-i İstikbâl (The History of the Future, 1913) by Celal Nuri; Makineli Kafa (The Mechanical Mind, 1927) by Behlül Dânâ; Arzîler (The Terrestrials, 1925) by Abdülhak Hâmid; Tayflar Geçidi (The Parade of Ghosts, 1919) also by Abdülhak Hâmid (Uyanık 1, 29); Rûşenî’nin Rüyası – Müslümanların ‘Megali İdeası’ Gaye-i Hayâliyesi (Ruşeni’s Dream – The Muslims’ “Megali Idea” and Its Ideal Goal) by Hasan Ruşenî (Uyanık 1, 30); Fennî Bir Roman Yahut Amerika Doktorları (A Scientific Novel, or The Doctors of America) by Ahmet Mithat Efendi (Uyanık 1, 49; Uyanık 2, 49–55); Hülya Bu Ya.. (It’s Only a Dream.., 1921) (Uyanık 1, 102) and Ago Paşa’nın Hatıratı (Memoirs of Ago Pasha, 1918) by Refik Halit Karay, which are among the first and most important examples of science fiction in our literature. Although not a narrative text in the traditional sense, Osman Nuri Eralp’s Başka Dünyalarda Canlı Mahlukat Var Mıdır? (Are There Living Creatures on Other Worlds?, 1915) may also be considered a science fiction work, as it is a fictional piece that, based on the structural characteristics of planets in our solar system, speculates on the possible existence of living beings there and their qualities. Similarly, Mehmed Tevfik’s Toprak Altındır (It’s Underground, 1898) is regarded as the first social science fiction work in Turkish literature. In addition, Ahmed Rasim’s unfinished novel Ateş Adası (The Island of Fire, 1894), serialized in Resimli Gazete, is a significant work identified through field research and is the focus of this article.

In the realm of short fiction, Yahya Kemal’s Çamlar Altında Musahabe (A Conversation Beneath the Pines, 1913) (Uyanık 1, 29) is among the works mentioned. In addition, Ahmed Rasim’s Otuzbeş Saatte Devr-i Âlem (Around the World in Thirty-Five Hours, 1892) is actually a scientific news piece related to a volcanic eruption in the Sunda Islands, rather than a work of science fiction. Likewise, Gül (The Rose, 1918) and Gül Kavli Postalları (Rose-Patterned Boots, 1918), written by Abdülfeyyaz Tevfik and presented under the heading “Edebiyat-ı Fenniye” (Scientific Literature), are not science-fictional texts but rather essays discussing the mythological origins of literary uses of the rose and the nightingale.

Science Fiction Works Set on Islands

In science fiction literature, islands are often chosen as settings to depict humans isolated from nature and civilization, and to explore humanity’s fear of and curiosity about the unknown. Science fiction is, in essence, a literary reflection of mankind’s fascination with the unknown. One of the most significant settings for this exploration is islands. Often geographically and socially isolated, cut off from everyday life, these locations have found a natural place in science fiction works.

By its nature, an island is independent of and disconnected from life on the mainland. In science fiction, an island is not used merely as a setting; it also serves a metaphorical function. It can symbolize the desire to create a society isolated from the existing community or the collapse of an established system. All these metaphorical interpretations converge in the theme of the island. While an island represents the boundary of the unknown, it also provides a spatial framework that allows for the excitement, astonishment, or horror of discovering new places.

Translated works such as Jules Verne’s The Mysterious Island, Emilio Salgari’s The Savages of Australia and the Journey of Captain Istal, and André Armandi’s Rapa-Novi Island are among the examples of the island theme in Ottoman Turkish literature.

On the Work “Fire Island”

Ahmed Rasim is an author who produced works in many fields of Turkish literature, including novels, short stories, history, geography, travel writing, columns, memoirs, and grammar. Nearly all of these works deal with social life and are based on his observations. The only work he wrote in the science fiction genre is this serialized novel. Beyond this serialization, he did not produce any other science fiction work nor any writings expressing his thoughts on the genre. Therefore, it is not possible to provide information on his views regarding science fiction.

The serialized novel Fire Island was published in five installments in issues 110–114 of Resimli Gazete, which was issued by bookseller Karabet. The continuation of the work does not exist in this periodical, nor has it been traced in any other sources.

The first installment of the serialization, titled Fire Islands, begins with the following paragraph:

In Brazil, there is a small fortified place called Salem, located on the left bank of the Amazon River, directly opposite the area known as ‘Para,’ a few leagues from the sea. If one is to trust the accounts of travelers, this is the most remote and difficult region in the world. (Ahmed Rasim I, 819)

The novel begins with the appointment of an officer named Dom Louis Vagart as governor of this region. After assuming his post, he becomes bored with the dull atmosphere and takes up hunting. In particular, Vagart goes on a tiger hunt, and once that enthusiasm passes, he begins hunting crocodiles. He spends his days on hunting expeditions.

Two soldiers in the unit, Pedro Basao and Juao, also pass the time dealing with various snakes. Among them is a coral snake, notable for its red coloring. As a result of a prank with a stick played by the soldier Juao, Basao falls among the snakes and is bitten by five or six of them, dying shortly afterward. At that moment, his brother Alfonso arrives, kisses the deceased brother, and then shoots Sergeant Juao, whom he holds responsible for Basao’s death. Alfonso is subsequently arrested to be tried before the military tribunal.

Ahmed Rasim begins the second installment of the serialization with the following lines:

Since the founding of the Salem fortress and village, no death sentence had ever been carried out against either the local inhabitants or the garrison soldiers.

Therefore, Alfonso’s death sentence was considered a significant event. On Thursday morning at nine o’clock, the local population had been assembled on the platform. All the garrison soldiers were under arms, and even the deputy of the commander, though mounted, was present to oversee the execution. (Ahmed Rasim II, 826)

On the day of the execution, Alfonso Basao escapes. Vagart orders his soldiers to capture the fugitive, and they pursue him. A reward is even offered for his swift apprehension.

In the third installment, it is revealed that before his execution, Alfonso asked the priest who came to inquire about his last wish for a bottle of rakı. He spills half of it and gives the remaining half to the guard on duty, getting him drunk. In this way, he manages to escape from the prison where he was being held.

At first, the guard accepted the drink out of courtesy and drank it with great politeness, but due to the alcohol, he eventually fell asleep. Basao then seized the guard and dragged him into the prison, taking his place on watch. At that time, it was two o’clock in the morning. Alfonso had not yet had time to decide which direction to take. Poor Alfonso was filled with great despair, for nothing short of a miracle could save him. Escape seemed impossible. Yet, what choice did he have? Basao waited patiently for the right moment. (Ahmed Rasim III, 842)

He climbs the fortress wall and then descends from the platform, successfully escaping. The fugitive is not noticed until nine o’clock in the morning.

In the fourth installment of the novel, Alfonso Basao’s escape adventure continues from where it left off:

After dizzyingly falling, Alfonso got up and walked toward the north. This was not the direction he intended to take, but since the town lay to the east of the fortress, he chose this path so that no one could see him and reveal which way he had gone.

The lines written so far are meant to help readers fully understand the story. Alfonso’s most extraordinary adventure begins from this point onward. Within three days, he had witnessed the death of his own brother and, without even having time to mourn, had been condemned to death himself. That night, he endured all the pains of worldly suffering, yet he survived with remarkable composure. It seemed as though ill fortune had finally left him to his own devices. After passing Salem town, Alfonso entered the forest. The trails of Africans and Indians became somewhat familiar to him. Mentally calculating his steps, he turned eastward. His plan was to cross the Amazon River and reach ‘Para,’ approaching the shore as closely as possible. (Ahmed Rasim IV, 855)

He continues his escape through the untouched rainforests near the Equator. His journey lasts until morning, and in the wooded terrain, he manages to lose his trail. The fear within him fuels his courage. With the agility he has gained, he continues on his path for three days without proper sleep. He moves into areas the soldiers had never visited before, venturing into the densest parts of the forest. In this place, filled with gigantic trees and plants, there are grasses, shrubs, thorns, and large fig trees. There are also enormous turtles, terrifying-looking birds, and many other frightening creatures.

However, this exquisite scenery, which astonishes the mind, is what one sees at the edge of the main forest after walking for about an hour along the familiar paths. If you proceed a little further, either out of necessity or by chance, the view changes. At that point, the branches become so dense that your hands and face are torn by thorns as you try to pass through. To navigate this part of the forest, one would need to be either an Indian or a tiger.

Sometimes, very tall tree trunks are stacked in the middle of the path, and strong saplings grow in between them.

Gradually, the forest becomes so thick that the trunk of a large tree is as thin as a thread of cloth. (Ahmed Rasim IV, 856)

The fifth and final installment continues with a description of the forest. The existence of thousands of bird species, parrots, and monkeys is mentioned. In areas filled with cacao trees, the presence of tigers is noted.

Alfonso, awakened from sleep, still has about ten miles to go to escape from the soldiers pursuing him and from that land. As he walks, he occasionally looks back to check if any enemies are following him. Meanwhile, he is quite hungry, having not eaten for a long time. However, since he does not recognize the plants in the forest, he fears eating something that might harm him, which makes it difficult to satisfy his hunger. He eventually sustains himself by eating eggs he finds in a bird’s nest. He also drinks a few sips from a bag of rakı to quench his thirst.

By the end of the day, he was busy exploring the surroundings. When necessary, he found a passage through which, with a bit of agility, he could cover a quarter of a mile in half an hour to make a swift escape. (Ahmed Rasim IV, 862)

He wakes up in the morning from where he had fallen asleep, startled by the sound of a gunshot. As soon as he regains his composure, he looks around to locate the source of the sound. Peering through some branches below him, he sees someone surveying the area about twenty to twenty-five meters away. This is a sergeant who has been tracking him since Salem. After carefully examining the surroundings, the man concludes that Alfonso has already crossed the boundary he was seeking and begins to return along the path he came.

The sergeant walked toward the eastern side of the forest. He concluded to himself that a clever man would need to head toward the seashore in order to escape. (Ahmed Rasim IV, 863)

With these lines, the serialized novel comes to an end. There is no information regarding why the serialization was discontinued. No such explanation appears in the periodical in which it was published. The period during which the serialization appeared was under the reign of Sultan Abdulhamid II, a time when a strict regime of censorship prevailed. Any writings that did not pass the censorship board were removed and could not appear in periodicals. If passages in the installments following the fifth chapter contained content deemed objectionable, this may have been the reason for the discontinuation. However, there is no record to confirm this, so this remains speculative.

From the perspective of language and style, it is observed that this work, written in Ottoman Turkish, is composed in plain prose. Its style is more comprehensible than many other works of the same period. While some words and phrases whose meanings are unclear appear occasionally, the overall language of the work remains accessible and understandable.

Conclusion

In this study, the serialized science fiction work Fire Island by Ahmed Rasim, which remains unfinished, has been examined. This incomplete work, published in Resimli Gazete in 1894, is significant in terms of the understanding of the scientific novel (fenni roman) in the Ottoman context and as an example of Ottoman-era science fiction. In the work, Ahmed Rasim chooses an imaginary island near the Amazon River as the setting and explores a geography filled with exotic dangers. This portrayal is crafted to create a science fiction atmosphere through themes of escape from nature and the struggle for survival. The detailed descriptions of the island’s flora and fauna evoke both the natural environment and a sense of scientific curiosity.

 In Ottoman science fiction literature, alongside the use of reason and will against nature, a character’s adventure on an island also leads, in a sense, to an inner discovery of the self. The work demonstrates that, beyond reflecting Ahmed Rasim’s socially conscious, realist, and observant literary identity, he also displayed diversity in creating imagination-centered narratives. The text is notable for its detailed observations, depictions of nature, and the relationship between the individual and the natural world.

“Fire Island” bears witness to how the science fiction genre in the Ottoman context incorporated plots set on islands and other exotic locations throughout its development. This study contributes to both literary history and the field of Turkish science fiction literature, providing a basis for the comparison of similar texts and encouraging further research in the area.

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Bünyamin Tan was born on February 1, 1987 in Eskişehir. He completed his undergraduate degree in Turkish Language and Literature and his master’s degree in Old Turkish Literature at Mimar Sinan Fine Arts University. He is a teacher of Turkish Language and Literature at a high school affiliated to the Ministry of National Education. He has published popular and academic articles in various fields such as language, literature, history, archaeology and philosophy. He also translated academic articles from foreign languages in the same fields. His stories in the genres of fantasy, science fiction and detective fiction have been published and continue to be published in various magazines such as Hayalet Resimli Mecmua, Yerli Bilimkurgu Yükseliyor, Fantasantik, Roket Bilimkurgu, Aether, Orm1fantastik, Şato, Suçüstü, Hayal, Sahir Mecmua and on the Kayıp Rıhtım website. He also publishes story translations on the same platforms in order to bring examples from world literature in these genres to the literature. He continues to work in many different fields such as encyclopedia works, documentary works, etc.

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