Özet:

In this article, first of all, I suggest the idea that the diseases that have long been stuck in the narrative language of medicine, and that they have gone away from life, through the possibilities of literature, can be brought back to life. I follow this idea in Peride Celal's Three Twenty-Four Hours novel in the late 1970s. Literary texts can do things that medical reports, medical imaging techniques or medical books cannot do. They can tell the human experience around a disease, the body, memory, identity, class, personal and social history. The disease, historical, spatial, personal and emotional relationships can be placed within the network. Peride Celal, in her novel from the beginning to the end in a hospital room, puts the illness of an elderly woman in the middle of the network of relationships that three women establish between themselves. The patient tells the whole life of the woman, her class membership, her anger and desire along with the disease. Secondly, I suggest that literary texts are difficult to describe the pain that the disease causes and to speak. Peride Celal overcomes this difficulty by telling the nightmares that the patient character he established saw in the death plot. As a result, the author in his Three Twenty-Four Hours novel removed a disease from a biological body, from a mortal layer and from a limited time. He has lived three generations of women. In order to explain the physical pain, he has hunted the depths of his emotional world through the nightmares of the sick woman.