?ne is a child-bride, who lived in a 16th century village of Aintab and introduced to us by historian Leslie Peirce in her Morality Tales (2003). Meryem, on the other hand, is a fictional character, originally created by Zülfü Livaneli in his novel Bliss (2002) that was adapted to cinema by Abdullah O?uz. Although there are a number of similarities between ?ne and Meryem, such as their young age and orphanage, the major common tragedy of their lives is that they are both raped within the family. ?ne is one of the very few girls whose case was taken to the local court so that we know of her. On the other hand, Meryem is fictional; yet, she represents the majority of the girls who disappeared in the dark pages of history. This paper discusses a case in history and a novel in comparison to its adaptation to cinema and how different genres attempt to reconstruct realities of blurry moral stories. To do so, I will first look at the strategies employed by Leslie Pierce as she tells the stories of women from the 16th century local court of Aintab. As opposed to historical facts with gaps and black holes, I will read Zülfü Livaneli’s novel entitled Bliss and its film adaptation with the same title by Abdullah O?uz and ask whether or not they could achieve to tell the story of the silent girl. The main reason for starting with a scholarly work and moving on to a comparison between literary and visual representations of the similar issue is to highlight the limitations of historical documents and the ability/authority of fiction to reflect the intimate stories of human condition. Although they cannot replace each other, I am interested in the fine line between history and fiction and how they create each other.