In “Transnationalism: A Category of Analysis” Laura Briggs, Gladys McCormick and J.T. Way argue that transnationalism’s value as a concept lies in its ability to denaturalize the category of the nation. By focusing on the movements and exchanges between nationally delimited contexts, transnational approaches expose the constructedness of national boundaries and the miscegenation that is part and parcel of culture. And yet, as the term itself suggests, transnationalism cannot do away with the nation and must always work in relation to national categories. This paper discusses Murat Uyurkulak’s 2002 novel Tol: Bir Intikam Romani (Tol: A Revenge Novel) as a concurrently transnational and nationally specific work that actively undermines the national myths of homogeneity and consensus, while simultaneously (and inadvertently) demonstrating the dependence of transnationalism on nationally specific contexts. The novel tells the story of the (collapse of) the Turkish Left in the aftermath of military coups. Instead of adopting the socialist realism conventional in such narratives in Turkish literature, Uyurkulak uses a fragmented, experimental and highly colloquial language that is full of references to global pop culture, domesticated in a comically Turkish manner. As this panel contends, Turkish literature occupies a range of subject positions in transnational contexts. By analyzing this new language that Uyurkulak utilizes, this paper will show the transnational dialogues that occur within Turkish literature that make it impossible to see Turkish literature only as Turkish. What sets apart Uyurkulak’s novel from similarly transnational Turkish novels (the best known of which are Orhan Pamuk’s works) is its ability to create a cacophonous language that challenges homogenous national myths and gestures towards a need for transnationalism that is nevertheless extremely culturally specific. As a result, the novel resists transnational displacements even as it is informed by transnational dialogues. The paper will discuss this style through an analysis of the novel and by situating it in a larger discussion of a Turkish literary group named Afili Filintalar, which became famous in mid 2000s with a very popular literary and cultural blog and which Uyurkulak left in the aftermath of Gezi Protests in 2013.