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Abstract
M fy essay has two beginnings. The first is the silence of the Turks in works of contemporary drama. In the scene ironically titled Foreigners' German (Ausldnderdeutsch) in Franz Xaver Kroetz's Furcht und Hoffnung der BRD (1984), the Turk smiles, laughs, nods, shows hesitation, confusion, and even deliberation. But he never speaks.' The woman who has invited him to her apartment converses with him about relationships between men and women in Turkey and in Germany, about intercultural marriage between Turkish men and women, and, nervously and coyly, about the possibility of their own sexual relationship. Assured by his responses that he finds her desirable and would want to marry her even if they were in Turkey, she decides to go to bed with him, with the proviso that the Turk be careful (77); she is fearful, she explains, of becoming the mother of a Turkish child in Germany. Kroetz's short scene depicts the development of a kind of trust on the part of the woman. Her questions throughout express
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