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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After so much suffering, a calm overcame me. Death did not cause me the pain I’d feared; on the contrary, I relaxed, quickly realizing that my present situation was a permanent one, whereas the constraints I’d felt in life were only temporary. This was how it would be from now on, for century upon century, until the end of the universe. This neither upset nor gladdened me. Events I’d once endured briskly and sequentially were now spread over infinite space and existed simultaneously. As in one of those large double-leaf paintings wherein a witty miniaturist has painted a number of unrelated things in each corner-many things were happening all at once.

I, SHEKURE

It was snowing so hard that snowflakes occasionally passed right through my veil into my eyes. I picked my way through the garden covered in rotting grass, mud and broken branches, then quickened my pace once I’d exited onto the street. I know you’re all wondering what I’m thinking. How much do I trust Black? Let me be frank with you, then. I myself don’t know what to think. You do understand, don’t you? I’m confused. This much, however, I do know: As always, I’ll fall into the routine of meals, children, my father and errands, and before long my heart, without even having to be asked, will whisper the truth to me of its own accord. Tomorrow, before noon, I’ll know whom I am to marry.

I want to share something with you before I arrive home. No! Come off it, now, it’s not about the size of that monstrosity Black showed me. If you want we can talk about that later. What I was going to discuss was Black’s haste. It’s not that he seems to think only of satisfying his lust. To be honest, it’d make no difference if he did. What surprises me is his stupidity! I suppose it never crossed his mind that he could frighten and abduct me, play with my honor and put me off, or open the door to even more dangerous outcomes. I can tell from his innocent expression how much he loves and desires me. But after waiting twelve years, why can’t he play the game according to the rules and wait another twelve days?

Do you know I have the sinking feeling I’ve fallen in love with his incompetence and his melancholy childlike glances? At a time when it would’ve been more appropriate to be irate with him, instead, I pitied him. “Oh, my poor child,” a voice inside me said, “you suffer such torment and are still so utterly incompetent.” I felt so protective of him that I might’ve even made a mistake, I might’ve actually given myself to that spoiled little boy.

Thinking of my unfortunate children, I quickened my steps. Just then, in the early darkness and blinding snow, I thought a phantom of a man would run right over me. Ducking my head, I slipped by him.

Upon entering through the courtyard gate, I knew that Hayriye and the children hadn’t yet returned. Very well then, I’d come back in time, the evening prayers hadn’t yet been called. I climbed the stairs, the house smelled of orange jam. My father was in his darkened room with the blue door; my feet were freezing. I entered my room to the right beside the stairs holding a lamp, and when I saw that the cabinet had been opened, that the cushions had fallen out and the room had been ransacked, I assumed it was the naughty work of Shevket and Orhan. There was a silence in the house, not unusual, yet unlike the usual silence. I donned my house clothes and sat alone in the darkness, and as I gave myself over to momentary daydreaming, my mind registered a noise coming from below, directly below me, not from the kitchen but from the large room next to the stable, used in summertime as the illustrating workshop. Had my father gone down there, in this cold? I didn’t remember seeing the light of an oil lamp there; suddenly, I heard the squeak of the front door between the stone walkway and the courtyard, and afterward, the cursed and ominous barking of the pesky dogs roaming past the courtyard gate-I was alarmed, to put it mildly.

“Hayriye,” I shouted. “Shevket, Orhan…”

I felt a cold draft. My father’s brazier must be burning; I ought to sit with him and warm up. As I went to be with him, holding an oil lamp aloft, my thoughts weren’t with Black any longer, but with the children.

I crossed the wide hall diagonally, wondering if I should set water to boil on the downstairs brazier for the gray mullet soup. I entered the room with the blue door. Everything was in shambles. Without thinking, I was about to say, “What has my father done?”

Then I saw him on the floor.

I screamed, overcome with horror. Then I screamed again. Gazing at my father’s body, I fell silent.

Listen, I can tell by your tight-lipped and cold-blooded reaction that you’ve known for some time what’s happened in this room. If not everything, then quite a lot. What you’re wondering about now is my reaction to what I’ve seen, what I feel. As readers sometimes do when studying a picture, you’re trying to discern the pain of the hero and thinking about the events in the story leading up to this agonizing moment. And then, having considered my reaction, you’ll take pleasure in trying to imagine, not my pain, but what you’d feel in my place, had it been your father murdered like this. I know this is what you’re so craftily trying to do.

Yes, I returned home in the evening to discover that someone had killed my father. Yes, I tore out my hair. Yes, as I would do in my childhood, I hugged him with all my might and smelled his skin. Yes, I trembled and I couldn’t breathe. Yes, I begged Allah to raise him up and have him sit silently in his corner among his books as he always did. Get up, Father, get up, don’t die. His bloodied head was crushed. More than the torn papers and books, more than the breaking and tossing about of the end tables, paint sets and inkpots, more than the wild destruction of cushions, worktables and writing boards, and the ransacking of everything, more even than the anger that had killed my father, I feared the hatred that had destroyed the room and everything within it. I was no longer crying. A couple passed down the street outside, laughing and talking in the blackness; meanwhile, I could hear the infinite silence of the world in my mind; with my hands I wiped my running nose and the tears off my cheeks. For a long long time I thought about the children and our lives.

I listened to the silence. I ran, I grabbed my father by the ankles and dragged him into the hallway. For whatever reason, he felt heavier out there, but without paying any mind to this, I began to pull him down the stairs. Halfway down, my strength gave out and I sat on a step. I was on the verge of tears again when I heard a noise that made me assume that Hayriye and the children had returned. I grabbed my father by the ankles, and pressing them into my armpits, I continued to descend, faster this time. My dear father’s head had been so crushed and was so soaked in blood that it made the sound of a wrung-out mop as it struck each step. At the base of the stairs, I turned his body, which now seemed to have grown lighter, and with one great effort, dragging him across the stone floor, I took him into the summer painting room. In order to see within the pitch-black room, I hastened back out to the stove in the kitchen. When I returned with a candle I saw how thoroughly the room where I’d dragged my father had been pillaged. I was dumbstruck.

Who is it, my God, which one of them?

My mind was churning. Closing the door tightly, I left my father in the demolished room. I grabbed a bucket from the kitchen, and filled it with water from the well. I climbed the stairs, and by the light of an oil lamp, I quickly wiped away the blood in the hallway, on the staircase and everywhere else. I went back upstairs to my room, removed my bloodied clothes and put on clean clothes. Carrying the bucket and rag, I was about to enter the room with the blue door when I heard the courtyard gate swing open. The evening call to prayer had begun. I mustered all my strength, and holding the oil lamp in my hand, I waited for them at the top of the stairs.

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