READIN

Sunday, August 31st, 2008

🦋 Pamuk on the radio

I found a radio interview with Orhan Pamuk -- the January 22nd episode of Robert Harrison's show "Entitled Opinions" on KZSU. The blogger at Coisas do Gomes alerted me to this interview when he posted this quote:

There were unfortunate institutional attempts in Turkey to purify Turkish in mid-thirties and forties but I don't believe in it. My standard for using the language is the language I hear from my grandmother, from my mother, from my father. I am a conservative, in the sense that I want to keep Turkish as it is. In my novels I use the language of my mother, of my grandmother, which is actually the language I also hear on the streets.

When I published my Istanbul book, some four years ago in Turkey, my readers from the younger generation object to the fact that this is not the colorful, happy, sunny Istanbul -- and I agreed with them. I wrote my Istanbul, and that's the Istanbul I like. The Istanbul of long winter nights; black and white, a poor black and white place, where the ruins of Ottoman empire, the ruins of all extravagant, wooden Ottoman buildings, they're in ruins -- that's how I spent my childhood, playing football among the Ottoman ruins, among the wooden houses, which were in the next two decades burned down one by one. My Istanbul, in the fifties, sixties, seventies, was an extraordinarily provincial place, where the sense of community was out, the sense of being outside of Europe, but so close to Europe, and still being poor; the sense of "nothing will change here, there is no future here," was still hovering around; perhaps a place where the presence of the loss of Ottoman empire, that this city had once upon a time, was once the capital of a great, magnamious (?) and very rich empire, now is in ruins and leading a poor, provincial life, hoping to develop a relationship with Europe...

I believe I have read similar sentiments to this in a published article of Pamuk's -- it sheds new light on them, to hear them straight from the horse's mouth.

posted evening of August 31st, 2008: Respond
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Tuesday, August 19th, 2008

🦋 Rats, I missed it!

BBC Radio 4 broadcast My Name is Red on its Classic Serial program -- it sounds from Gillian Reynolds' note like it was a fantastic adaptation. I didn't know about it until just now, which is too bad because you can listen to the latest episode online for a week after it airs. Hopefully they will rebroadcast it before too long, I'd love to hear it.

posted evening of August 19th, 2008: 2 responses
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Saturday, August second, 2008

🦋 Autobiographies of Orhan Pamuk

I read to the end of McGaha's Autobiographies of Orhan Pamuk today -- it is a good book and I think especially useful to the non-Turkish reader (i.e. myself) approaching Pamuk's books for the second time, to clarify cultural and historical references that might otherwise be lost. Does a really good job of drawing out common threads in Pamuk's books which the disparity of voices and styles can obscure. In short -- I would strongly recommend it if you have read all or most of Pamuk's novels to date and are thinking about rereading them. It also makes brief reference to the forthcoming Museum of Innocence, which will be translated by Erdağ Göknar -- in his application for a grant to do the translation, Göknar says,

the protagonist "comes from an upper-class Instanbul family who, after two failed relationships, goes on an obsessive journey in search of places and objects that remind him of his lost loves and that, once assembled, constitute the bulk of a museum of his obsessions"

McGaha ends by saying,

Orhan Pamuk is only fifty-five years old and is at the peak of his creative powers. There is every reason to believe that his best work still lies ahead of him. I look forward to reading his novels for many years to come.

Note: apparently Göknar's application did not pan out; Freely is doing the translation, which will be published in October '09.

posted evening of August second, 2008: Respond
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Thursday, July 31st, 2008

🦋 A perfect harmony between form and content

McGaha's observations about My Name is Red mostly just reinforce my own thoughts about that book, so not a lot worth posting about this chapter. He included a couple of details in his summary that I totally don't remember and may not have gotten when I was reading the book, like the Erzurumis strangling the storyteller, and the storyteller's chapters dividing the book into sections; good stuff to look for when rereading. A great line:

Pamuk has said he had so much fun writing My Name is Red that his "inner modernist" kept wagging his finger and reminding him that he was a serious writer and needed to be intellectual and literary.

Also I found really interesting, McGaha's discussion of how My Name is Red is similar to, and opposite to, The Black Book.

posted evening of July 31st, 2008: Respond
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Sunday, July 27th, 2008

🦋 Gün, Freely

Well this is a little surprising: in discussing the translations of The Black Book, McGaha very strongly recommends Güneli Gün's translation over Freely's later reworking. Wow! I didn't know much about Gün's translation besides that I'd heard it was unreadable -- and I know I had a lot of trouble with her translation of The Black BookThe New Life. But McGaha's recommendation, and his side-by-side comparison of the two treatments of the first paragraph, makes me want to find out more.

posted afternoon of July 27th, 2008: 2 responses
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Saturday, July 26th, 2008

🦋 -- Ohhhhh......

So I'm reading the third chapter of Autobiographies of Orhan Pamuk (which concerns The Silent House) and thinking, the family name Darvinoğlu sounds awfully familiar -- was it the name of one of the characters in The Black Book? And then I start reading the fourth chapter, which concerns The White Castle, and get to the following passage, which makes the scales fall from my eyes:

It was Don Quixote that inspired [Pamuk] to present his own novel as an old manuscript found and translated into modern Turkish; once that was decided, it occurred to him that it would be amusing to have the manuscript found in the archives at Gebze and translated by none other than Faruk Darvinoğlu, the historian of The Silent House.

Oh! So the characters I was wondering about in the winter have earlier roots. Wild -- I wish The Silent House were available in an English translation.

McGaha also says that some critics faulted Holbrook, in her translation of The White Castle, for including the references to The Silent House without any explanation -- this seems a little weird to me. I can't see how she could have provided any explanation within the text; maybe an afterword should have been included. Doesn't seem like it would have made a huge difference in the reading experience.

posted afternoon of July 26th, 2008: Respond
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Monday, July 7th, 2008

🦋 Something to check

My Name is Red is set in 1591 -- I am reading Pamuk's essay on "Bellini and the East," from Other Colors, and find out about Bellini's portrait of Sultan Mehmet II, dated 1480. I don't remember any specific reference to this painting in My Name is Red, but I am sure now that there must have been some -- I must have passed over it as something unfamiliar, not bothered to look it up.

Pamuk says,

The portrait has spawned so many copies, variations, and adaptations, and the reproductions made from these assorted images have gone on to adorn so many textbooks, book covers, newspapers, posters, banknotes, stamps, educational posters, and comic books, that there cannot be a literate Turk who has not seen it hundreds if not thousands of times.

(I see that with this entry, Pamuk becomes the first author about whom I've written 100 posts. Not exactly sure what to make of that, beyond that I'm totally gaga about his writing.)

posted morning of July 7th, 2008: Respond
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Sunday, July 6th, 2008

🦋 Omission

At the end of the second chapter of Autobiographies of Orhan Pamuk I learn that Other Colors, ostensibly a translation of Pamuk's 1999 collection Öteki Renkler: Seçme Yazılar ve Bir Hikaye, is actually a separate collection, with only about a third of the contents taken from the older book.*

All the essays on Turkish literature and politics were omitted from the English version. Replacing them were... assessments of the works of authors he admires -- ranging from Fyodor Dostoyevsky to Salman Rushdie -- ...others are autobiographical or contain thoughtful reflections on his own novels.

This is surprising to me. I like the selection in Other Colors; but I'd be very interested to read Pamuk's essays on Turkish literature and politics as well. McGaha quotes a passage from Pamuk's essay (which he had written in 1974, at the outset of his career) on the Turkish author Oğuz Atay:

Pamuk argues that critics were bewildered by the novelty of Atay's novels, in which the author's voice and attitude, his peculiar tone of intelligent sarcasm, were more important than plot or character development. What is most distinctive about these novels is their style:

When the novelist puts the objects that he saw into words in this or that way, what he is doing is a kind of deception that the ancients called "style," manifesting a kind of stylization. There are deceptions every writer uses, like a painter who portrays objects. This is the only way I can explain Faukner's fragmetation of time, Joyce's objectification of words, Yaşar Kemal's drawing his observations of nature over and over. Talented novelists begin writing their real novels after they discover this cunning. From the moment that we readers catch on to this trick, it means that we understand a little bit of the novelistic technique, what Sartre called "the writer's metaphysics."

This passage seems pretty key to an understanding of My Name is Red, and how it fits in with Pamuk's other novels. I'm sorry to see neither of Atay's novels has been translated into English.

* A little thought makes it obvious that many of the essays in Other Colors could not have appeared in the earlier collection, dealing as they do with events occuring in 2005 and later. My grasp of Pamuk's timeline was not as firm when I first looked at this book as it is now.

I also went back just now to reread the preface, which makes clear that this is a separate work from the earlier collection. Look at its beautiful final paragraph:

I am hardly alone in being a great admirer of the German writer-philosopher Walter Benjamin. But to anger one friend who is too much in awe of him (she's an academic, of course), I sometimes ask, "What is so great about this writer? He managed to finish only a few books, and if he's famous, it's not for the work he finished but the work he never managed to complete." My friend replies that Benjamin's œuvre is, like life itself, boundless and therefore fragmentary, and this was why so many literary critics tried so hard to give the pieces meaning, just as they did with life. And every time I smile and say, "One day I'll write a book that's made only from fragments too." This is that book, set inside a frame to suggest a center that I have tried to hide: I hope that readers will enjoy imagining that center into being.

posted afternoon of July 6th, 2008: Respond
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Friday, July 4th, 2008

🦋 Orhan growing up

To the extent that he had been exposed to [Sufi mystic] literature in school, he had found it boring, antiquated, and irrelevant to his own interests and concerns. Furthermore, he had always associated those texts with fanatical Islamic obscurantists and right-wing Turkish politicians. Now, as he immersed himself in three of the greatest masterpieces of the genre -- Farid ud-Din Attar's Conference of the Birds, Jelal ud-Din Rumi's Mathnawi, and Sheikh Galip's Beauty and Love -- he was shocked to discover in them all the qualities he most admired in the best Western literature (and which were so sorely lacking in modern Turkish literature): dizzying intellectual complexity, sophisticated self-consciousness, playfulness, and the most refined stylistic elegance.

Chapter 2 of Autobiographies of Orhan Pamuk concerns the actual story of Pamuk's childhood and young adulthood -- the story which has been transformed in various ways in many of his novels. Much of it seems very familiar to me -- mainly from The Black Book and from the essays in Other Colors. It is useful, I think, to see the ways the stories are rooted in reality; and I must say I'm liking McGaha's prose a lot -- it is elegant and easy to digest.

posted afternoon of July 4th, 2008: Respond

Wednesday, July second, 2008

🦋 Bad things happening in Turkey

The Independent reports that two officers retired from the Turkish army have been arrested over a plot to assassinate a number of targets* including Orhan Pamuk. Commentators are speaking of this as a coup d'état.

The prosecution is apparently calling for Islamicists (including Prime Minister Erdoğan) to be banned from politics in Turkey.

* (In the context of Turkish politics it is difficult to find the correct adjective to qualify the targets. I was going to say "liberal" but that is not correct as I'm sure their list included some Islamicists.)

posted morning of July second, 2008: Respond

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