This article examines a social romantic author and the reading of his discourse association in two of his works. Since the foreigners policy updated by the political will gradually makes things harder, foreign workers live like machines. Even foreigners who are given dual citizenship privileges are facing the loss of social rights and their jobs; are being exposed to violent acts and arsons. Even though approaches specific in this frame to sociologic incidents are left more to field experts, there are also others who watch the developments closely. At this point where the author takes responsibility, art searches for ways to transfer experiences into literature, make readers, interpreters, and critics pursue via the told; witnesses the deformation of the language as the direction of the told changes. It cares about transferring outcast and humiliation into harsh and serious expressions directly or indirectly instead of carrying them over into pessimistic words. It points out the rebellion against oppression caused by lack of communication, the reasons for psychological disorder; it reacts to power. In other words, it loads the consumption of a lifetime in the labyrinths of modern life, the development of the ability to take roots as human breaks into pieces, onto images. The significant example of this type of art is Feridun Zaimoğlu’s, who himself also is a half-caste, thematic of transferring the feeling of Turks’ abandonment outside the door via clear expressions, human’s calling someone to account for as they become estranged and becoming common as their values suffer. The voice of young generations who are the ones that call somebody to account for the former generations rises via Feridun Zaimoğlu; the language of the works’ harshens as the uneasiness of the streets causes the hardening of social understanding. So much that this language is so deformed that it makes the readers think they are watching a movie with wrongly translated subtitles.