Orhan Pamuk - My Name is Red

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My Name is Red: краткое содержание, описание и аннотация

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From one of the most important and acclaimed writers at work today, a thrilling new novel-part murder mystery, part love story-set amid the perils of religious repression in sixteenth-century Istanbul.
When the Sultan commissions a great book to celebrate his royal self and his extensive dominion, he directs Enishte Effendi to assemble a cadre of the most acclaimed artists in the land. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed, and no one in the elite circle can know the full scope or nature of the project.
Panic erupts when one of the chosen miniaturists disappears, and the Sultan demands answers within three days. The only clue to the mystery-or crime?-lies in the half-finished illuminations themselves. Has an avenging angel discovered the blasphemous work? Or is a jealous contender for the hand of Enishte’s ravishing daughter, the incomparable Shekure, somehow to blame?
Orhan Pamuk’s My Name Is Red is at once a fantasy and a philosophical puzzle, a kaleidoscopic journey to the intersection of art, religion, love, sex, and power.
"Pamuk is a novelist and a great one…My Name is Red is by far the grandest and most astonishing contest in his internal East-West war…It is chock-full of sublimity and sin…The story is told by each of a dozen characters, and now and then by a dog, a tree, a gold coin, several querulous corpses and the color crimson ('My Name is Red')…[Readers will] be lofted by the paradoxical lightness and gaiety of the writing, by the wonderfully winding talk perpetually about to turn a corner, and by the stubborn humanity in the characters' maneuvers to survive. It is a humanity whose lies and silences emerge as endearing and oddly bracing individual truths."- Richard Eder, New York Times Book Review
"A murder mystery set in sixteenth-century Istanbul [that] uses the art of miniature illumination, much as Mann's 'Doctor Faustus' did music, to explore a nation's soul… Erdag Goknar deserves praise for the cool, smooth English in which he has rendered Pamuk's finespun sentences, passionate art appreciations, sly pedantic debates, [and] eerie urban scenes."- John Updike, The New Yorker
"The interweaving of human and philosophical intrigue is very much as I remember it in The Name of the Rose, as is the slow, dense beginning and the relentless gathering of pace… But, in my view, his book is by far the better of the two. I would go so far as to say that Pamuk achieves the very thing his book implies is impossible… More than any other book I can think of, it captures not just Istanbul's past and present contradictions, but also its terrible, timeless beauty. It's almost perfect, in other words. All it needs is the Nobel Prize."-Maureen Freely, New Statesman (UK)
"A perfect example of Pamuk's method as a novelist, which is to combine literary trickery with page-turning readability… As a meditation on art, in particular, My Name is Red is exquisitely subtle, demanding and repaying the closest attention.. We in the West can only feel grateful that such a novelist as Pamuk exists, to act as a bridge between our culture and that of a heritage quite as rich as our own."-Tom Holland, Daily Telegraph (UK)
"Readers… will find themselves lured into a richly described and remarkable world… Reading the novel is like being in a magically exotic dream…Splendidly enjoyable and rewarding… A book in which you can thoroughly immerse yourself." -Allan Massie, The Scotsman (UK)
"A wonderful novel, dreamy, passionate and august, exotic in the most original and exciting way. Orhan Pamuk is indisputably a major novelist."-Philip Hensher, The Spectator (UK)
"[In this] magnificent new novel… Pamuk takes the reader into the strange and beautiful world of Islamic art,in which Western notions no longer make sense… In this world of forgeries, where some might be in danger of losing their faith in literature, Pamuk is the real thing, and this book might well be one of the few recent works of fiction that will be remembered at the end of this century."-Avkar Altinel, The Observer (UK)

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How wonderful it is to be home with children as evening approaches! My father had quietly given himself over to a book.

“Your guest has departed,” I said. “I hope he didn’t trouble you much?”

“On the contrary,” he said. “He entertained me. He’s as respectful as ever of his Enishte.”

“Good.”

“But now he’s also measured and calculating.”

He’d said that less to observe my reaction than to close the subject in a manner that made light of Black. On any other occasion, I would’ve answered him with a sharp tongue, as I am wont to do. This time, though, I just thought of Black making ground on his white horse, and I shuddered.

I’m not sure how it happened, but later in the room with the closet, Orhan and I found ourselves hugging each other. Shevket joined us; there was a brief skirmish between them. As they tussled we all rolled over onto the floor. I kissed them on the backs of their necks and their hair, I pressed them to my bosom and felt their weight on my breasts.

“Ahhh,” I said. “Your hair stinks. I’m going to send you to the baths tomorrow with Hayriye.”

“I don’t want to go to the baths with Hayriye anymore,” Shevket said.

“Why? Are you too grown-up?” I said.

“Mother, why did you wear your fine purple blouse?” Shevket said.

I went into the other room and removed my purple blouse. I pulled on the faded green one that I usually wear. As I was changing, I felt cold and shivered, but I could sense that my skin was aflame, my body vibrant and alive. I’d rubbed a bit of rouge onto my cheeks, which probably smudged while I was rolling around with the children, but I evened it out by licking my palm and rubbing my cheeks. Are you aware that my relatives, the women whom I meet at the baths and everyone who sees me, swear that I look more like a sixteen-year-old maiden than a twenty-four-year-old mother of two past her prime? Believe them, truly believe them, or I shan’t tell you any more.

Don’t be surprised that I’m talking to you. For years I’ve combed through the pictures in my father’s books looking for images of women and great beauties. They do exist, if few and far between, and always look shy, embarrassed, gazing only at one another, as if apologetically. Never do they raise their heads, stand straight and face the people of the world as soldiers and sultans would. Only in cheap, hastily illustrated books by careless artists are the eyes of some women trained not on the ground or on some thing in the illustration-oh, I don’t know, let’s say a lover or a goblet-but directly at the reader. I’ve long wondered about that reader.

I shudder in delight when I think of two-hundred-year-old books, dating back to the time of Tamerlane, volumes for which acquisitive giaours gleefully relinquish gold pieces and which they carry all the way back to their own countries: Perhaps one day someone from a distant land will listen to this story of mine. Isn’t this what lies behind the desire to be inscribed in the pages of a book? Isn’t it just for the sake of this delight that sultans and viziers proffer bags of gold to have their histories written? When I feel this delight, just like those beautiful women with one eye on the life within the book and one eye on the life outside, I, too, long to speak with you who are observing me from who knows which distant time and place. I’m an attractive and intelligent woman, and it pleases me that I’m being watched. And if I happen to tell a lie or two from time to time, it’s so you don’t come to any false conclusions about me.

Maybe you’ve noticed that my father adores me. He had three sons before me, but God took them one by one and left me, his daughter. My father dotes on me, though I married a man not of his choosing. I went to a spahi cavalry soldier whom I’d noticed and fancied. If it were left to my father, my husband would not only be the greatest of scholars, he’d also have an appreciation for painting and art, be possessed of power and authority, and be as rich as Karun, the wealthiest of men in the Koran. The inkling of such a man couldn’t even be found in the pages of my father’s books, and so I would’ve been forced to pine away at home forever.

My husband’s handsomeness was legendary, and I gave him the nod through intermediates. He found the opportunity to appear before me as I was returning from the public baths. His eyes were as brilliant as fire, and I immediately fell in love. He was a dark-haired, fair-skinned, green-eyed man with strong arms; but at heart, he was innocent and quiet like a sleepy child. Nevertheless, it seemed, to me at least, that he also had the tang of blood about him, perhaps because he expended all his strength slaying men in battle and amassing booty, even though at home he was as gentle and quiet as a lady. This man-whom my father looked upon as a penniless soldier, and hence, disapproved of-was later allowed to marry me because I threatened to kill myself otherwise. And after they gave him a military fief worth ten thousand silver coins, a reward for his heroism in battle after battle wherein he performed the greatest acts of bravery, truly, everyone envied us.

Four years ago when he failed to return with the rest of the army from warring against the Safavids I wasn’t worried at first. For the more experience he had on the battlefield, the more adept and clever he became in creating opportunities for himself, in bringing home greater spoils, in winning larger fiefs, and in enlisting more soldiers of his own. There were witnesses who said he fled to the mountains with his own men after he became separated from a division of the army. In the beginning, I suspected a scheme and hoped he’d return, but after two years, I slowly grew accustomed to his absence; and when I realized how many lonely women like me with missing soldier-husbands there were in Istanbul, I resigned myself to my fate.

At night, in our beds, we’d hug our children and mope and cry. To quiet their tears, I’d tell them hopeful lies; for example, that so-and-so had proof their father would return before spring. Afterward, when my lie would circulate, changing and spreading until it found its way back to me, I’d be the first to believe the good news.

When the main support of the household vanished, we fell upon hard times. We were living in a rented house in Charshıkapı with my husband’s gentlemanly Abkhazian father, who’d never lived an easy life, and his brother, who had green eyes as well. My father-in-law, who left his mirror-making business after his oldest son made his fortune soldiering, returned to take up his trade at a late age. Hasan, my husband’s bachelor brother, worked in customs, and as he prospered he made plans to assume the role of “man of the house.” One winter, fearing they wouldn’t be able to pay rent, they hastily took the slave who saw to the household chores to the slave market and sold her, after which they wanted me to do the kitchen work, wash the clothes and even go out to the bazaars to do the shopping in her stead. I didn’t protest by saying, “Am I the type of woman to take on such drudgery?” I swallowed my pride and went to work. But when that brother-in-law of mine Hasan, now without his slave girl to take into his room at night, began forcing my door, I didn’t know what to do.

Of course, I could’ve immediately come back here to the home of my father, but according to the kadi judge my husband was legally alive, and were I to anger my in-laws, they might not stop at forcing my children and me back to my husband’s home, but humiliate us further by having me and my father, who had “detained” me, punished. To tell the truth, I could’ve loved Hasan, whom I found to be more humane and reasonable than my husband, and who was obviously very much in love with me. But if I were to do this without careful thought, I might find myself, God forbid, his slave instead of his wife. In any event, because they were afraid that I would demand my portion of the inheritance and then abandon them and return to my father with the children, they, too, weren’t eager for a judge’s decision proclaiming my husband’s death. If, in the eyes of the judge, my husband wasn’t dead, I naturally couldn’t wed Hasan, nor could I marry anyone else. Because this dilemma bound me to that house and that marriage, my in-laws preferred my having a “missing” husband, and the continuation of this vague situation. For lest you forget, I saw to all their household chores, I did everything from their cooking to their laundry, and furthermore, one of them was madly in love with me.

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