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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Suddenly something happened. Shevket slid down my lap and began to cry. Why was this child crying now? All right then, I confess, I must’ve been unable to control myself just then, and I slapped him. I wouldn’t want anyone to think I was hard-hearted. But how could he say such nonsense about a man I’d been making arrangements to marry-and that, with the well-being of these boys in mind.

My poor little fatherless boy was still crying, and all at once, this upset me greatly. I, too, was on the verge of tears. We hugged each other. He hiccuped occasionally. Did this slap merit so much crying? I stroked his hair.

This is how it all began: The previous day, as you know, I’d told my father in passing that I’d dreamed my husband had died. Actually, as happened quite frequently over these four years during which my husband never returned from battling the Persians, I dreamed of him fleetingly, and there was also a corpse, but was he the corpse? This was a mystery to me.

Dreams are always used as a means to other ends. In Portugal, from where Esther’s grandmother had emigrated, it seems dreams were used as an excuse to prove heretics met with the Devil and made love. For example, even if Esther’s forebears denied their Jewishness by declaring, “We’ve become Catholics like you,” the Jesuit torturers of the Portuguese Church, unconvinced, would torture them, forcing them to describe the jinns and demons of their dreams, as well as burdening them with dreams they never had. Then they’d force the Jews to confess these dreams so in the end they could burn them at the stake. In this way, dreams could be manipulated over there, to show that people were having sex with the Devil and to accuse and condemn Jews.

Dreams are good for three things:

ALIF: You want something but you just can’t ask for it. So you’ll say that you’ve dreamed about it. In this manner, you can ask for what you want without actually asking for it.

BA: You want to harm someone. For example, you want to slander a woman. So, you’ll say that such-and-such woman is committing adultery or that such-and-such pasha is pilfering wine by the jug. I dreamed it, you’ll say. In this fashion, even if they don’t believe you, the mere mention of the sinful deed is almost never forgotten.

DJIM: You want something, but you don’t even know what it is. So, you’ll describe a confusing dream. Your friends or family will immediately interpret the dream and tell you what you need or what they can do for you. For example, they’ll say: You need a husband, a child, a house…

The dreams we recount are never the ones we actually see in our sleep. When people say they’ve “seen it,” they simply describe the dream that is “dreamed” during the day, and there’s always an underlying purpose. Only an idiot would describe his actual nighttime dreams exactly as he’s had them. If you do, everyone will make fun of you or, as always, interpret the dream as a bad omen. No one takes real dreams seriously, including those who dream them. Or, pray tell, do you?

Through a dream that I half-heartedly recounted, I hinted that my husband might truly be dead. Though my father at first wouldn’t accept this as an indication of the truth, after returning from the funeral, he was suddenly persuaded by the evidence of the dream, and concluded that my husband was indeed dead. Thus, everyone not only believed that my husband, who was virtually immortal these past four years, had died in a dream, they couldn’t have been more certain of his death had it been officially announced. It was only then that the boys truly realized that they’d been left fatherless. It was then that they truly began to grieve.

“Do you ever have dreams?” I asked Shevket.

“Yes,” he said smiling. “My father doesn’t return home, and I end up marrying you.”

His narrow nose, dark eyes and broad shoulders resemble me more than his father. Occasionally, I feel guilty that I wasn’t able to pass on to my children their father’s high, broad forehead.

“Go on then, play ”swordsman“ with your brother.”

“Can we use father’s old sword?”

“Yes.”

For some time, I gazed at the ceiling, listening to the sounds of the boys’ swords striking each other, as I struggled to quell the fear and anxiety that was brewing within me. I went down to the kitchen and said to Hayriye: “My father’s been asking for fish soup for quite some time now. Maybe I ought to send you to Galleon Harbor. Why don’t you take a few strips of that dried fruit pulp that Shevket likes out of its hiding place and let the kids have some.”

While Shevket was eating in the kitchen, Orhan and I went upstairs. I lifted him onto my lap and kissed his neck.

“You’re covered in sweat,” I said. “What happened here?”

“Shevket hit me with our uncle’s red sword.”

“It’s bruised,” I said and touched the spot. “Does it hurt? How thoughtless our Shevket is. Listen to what I have to say. You’re very smart and sensitive. I have a request to make of you. If you do what I say, I’ll tell you a secret that I won’t tell Shevket or anyone else.”

“What is it?”

“Do you see this piece of paper? You’re to go to your grandfather, and without letting him see, you’re to place this in Black Effendi’s hand. Do you understand?”

“I understand.”

“Will you do it?”

“What’s the secret?”

“Just take him the paper,” I said. I once again kissed his neck, which smelled fragrantly. And while we’re on the subject of fragrance, it’s been so very long since Hayriye has taken these boys to the public bath. They haven’t gone since Shevket’s thing began to rise in front of the women there. “I’ll tell you the secret later.” I kissed him. “You’re very bright and very pretty. Shevket’s a nuisance. He’d even have the audacity to lift a hand against his mother.”

“I’m not going to deliver this,” he said. “I’m afraid of Black Effendi. He’s the one who killed my father.”

“Shevket told you this, didn’t he?” I said. “Quick, go downstairs and tell him to come here.”

Orhan could see the rage in my face. Terrified, he slid off my lap and ran out of the room. Maybe he was even slightly pleased that Shevket was in trouble. A while later, both of them returned flushed and blushing. Shevket was holding a strip of dried fruit in one hand and a sword in the other.

“You’ve told your brother that Black was the one who killed your father,” I said. “I don’t ever want you to say such a thing in this house again. You should both show respect and affection to Black. Do we understand each other? I won’t allow you to live your entire lives without a father.”

“I don’t want him. I’d rather return to our house, where Uncle Hasan lives, and wait for my father,” Shevket said brazenly.

This made me so irate that I slapped him. He hadn’t put the sword down; it fell from his hand.

“I want my father,” he said through his tears.

But I was crying more than he was.

“You have no father anymore, he won’t be coming back,” I said tearfully. “You’re fatherless, don’t you understand, you bastards.” I was crying so much that I was afraid they’d heard me from within.

“We aren’t bastards,” said Shevket, crying.

We all cried long and hard. Weeping softened my heart and I sensed that I was crying because it made me a better person. In our communal fit of tears, we embraced each other and lay upon the roll-up mattress. Shevket had snuggled his head down between my breasts as if to nap. Sometimes, he’d cuddle up with me like this, as if we were stuck together, but I could sense that he wasn’t sleeping. I might’ve dozed off with them, except that my mind was preoccupied with what was going on downstairs. I could smell the sweet aroma of boiling oranges. I abruptly sat up in bed and made such a sound that the boys awoke.

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