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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The third illustration should show the same scene, but this time the wall ornamentation should be darker and rendered in the Chinese style, the curly branches being more intricate and dense, and colorful clouds should appear above the judge’s proxy so the chicanery in the story might be apparent. Though the Imam Effendi and his brother have actually testified separately before the judge’s proxy, in the illustration they are shown together explaining how the husband of anguished Shekure hasn’t returned from war for four years, how she is in a state of destitution without a husband to look after her, how her two fatherless children are perpetually in tears and hungry, how there is no prospect for remarriage because she’s still considered married, and how in this state she can’t even receive a loan without permission from her husband. They’re so convincing that even a man as deaf as a stone would grant her a divorce through a cascade of tears. The heartless proxy, however, having none of it, asks about Shekure’s legal guardian. After a moment of hesitation, I immediately interrupt, declaring that her esteemed father, who has served as herald and ambassador for Our Sultan, is still alive.

“Until he testifies in court, I’ll never grant her a divorce!” said the proxy.

Thereupon, thoroughly flustered, I explained how my Enishte Effendi was ill, bed-ridden and struggling for his life, how his last wish to God was to see his daughter divorced, and how I was his representative.

“What does she want with a divorce?” asked the proxy. “Why would a dying man want to see his daughter divorced from her husband who’s long vanished at war anyway? Listen, I’d understand if there were a good, trustworthy candidate for son-in-law, because then he wouldn’t pass away with his wish unfulfilled.”

“There is a prospect, sir,” I said.

“Who might that be?”

“It is I!”

“Come now! You’re the guardian’s representative!” said the judge’s proxy. “What line of work are you in?”

“In the eastern provinces, I served as secretary, chief secretary and assistant treasurer to various pashas. I completed a history of the Persian wars that I intend to present to Our Sultan. I’m a connoisseur of illustrating and decoration. I’ve been burning with love for this woman for twenty years.”

“Are you a relative of hers?”

I was so embarrassed at having fallen so abruptly and unexpectedly into groveling meekness before the judge’s proxy, at having bared my life like some dull object devoid of any mystery, that I fell completely silent.

“Instead of turning beet red, give me an answer, young man, lest I refuse to grant her a divorce.”

“She’s the daughter of my maternal aunt.”

“Hmmm, I see. Will you be able to make her happy?”

When he asked the question he made a vulgar hand gesture. The miniaturist should omit this indelicacy. It’d be enough for him to show how much I blushed.

“I make a decent living.”

“As I belong to the Shafü sect, there is nothing contrary to the Holy Book or my creed in my granting the divorce of this unfortunate Shekure, whose husband has been missing at the front for four years,” said the Proxy Effendi. “I grant the divorce. And I rule that her husband no longer has any superceding rights should he return.”

The subsequent illustration, that is, the fourth, ought to depict the proxy recording the divorce in the ledger, unleashing obedient armies of black-ink letters, before presenting me with the document declaring that my Shekure is now a widow and there is no obstacle to her immediate remarriage. Neither by painting the walls of the courtroom red, nor by situating the picture within bloodred borders could the blissful inner radiance I felt at that moment be expressed. Running back through the crowd of false witnesses and other men gathering before the judge’s door seeking divorces for their sisters, daughters or even aunts, I set out on my return journey.

After I crossed the Bosphorus and headed directly to the Yakutlar neighborhood, I dismissed both the considerate Imam Effendi, who wanted to perform the marriage ceremony, and his brother. Since I suspected everyone I saw on the street of hatching some mischief out of jealousy over the incredible happiness I was on the verge of attaining, I ran straight to Shekure’s street. How had the ominous crows divined the presence of a body in the house and taken to hopping around excitedly on the terra-cotta shingles? I was overcome by guilt because I hadn’t been able to grieve for my Enishte or even shed a single tear; even so, I knew from the tightly closed shutters and door of the house, from the silence, and even from the look of the pomegranate tree that everything was proceeding as planned.

I was acting intuitively in a great haste. I tossed a stone at the courtyard gate but missed! I tossed another at the house. It landed on the roof. Frustrated, I began pelting the house with stones. A window opened. It was the second-story window where four days ago, on Wednesday, I’d first seen Shekure through the branches of the pomegranate tree. Orhan appeared, and from the gap in the shutters I could hear Shekure scolding him. Then I saw her. For a moment, we gazed hopefully at each other, my fair lady and I. She was so beautiful and becoming. She made a gesture that I took to mean “wait” and shut the window.

There was still plenty of time before evening. I waited hopefully in the empty garden, awestruck by the beauty of the world, the trees and the muddy street. Before long, Hayriye came in, dressed and covered not like a servant, but rather, like a lady of the house. Without nearing each other, we removed ourselves to the cover of the fig trees.

“Everything is progressing as planned,” I said to her. I showed her the document I’d obtained from the proxy. “Shekure is divorced. As for the preacher from another neighborhood…” I was going to add, “I’ll see to that,” but instead blurted out, “He’s on his way. Shekure should be ready.”

“No matter how small, Shekure wants a bride’s procession, followed by a neighborhood reception with a wedding repast. We’ve prepared a stewpot of pilaf with almonds and dried apricots.”

In her excitement, she seemed prepared to tell me everything else she’d cooked but I cut her off. “If the wedding is going to be such an elaborate affair,” I cautioned, “Hasan and his men will hear of it; they’ll raid the house, disgrace us, have the marriage nullified and we’ll be able to do nothing about it. All our efforts will have been in vain. We need to protect ourselves not only from Hasan and his father, but from the devil who murdered Enishte Effendi as well. Aren’t you afraid?”

“How could we not be?” she said and began to cry.

“You’re not to tell anyone a thing,” I said. “Dress Enishte in his nightclothes, spread out his mattress and lay him upon it, not as a dead man, but as though he were sick. Arrange glasses and bottles of syrup by his head, and draw the shutters closed. Make certain there are no lamps in his room so that he can act as Shekure’s guardian, her sick father, during the ceremony. There’s no place now for a bride’s procession. You can invite a handful of neighbors at the last minute, that’s all. While you’re inviting them, say that this was Enishte Effendi’s last wish…It won’t be a joyous wedding, but a melancholy one. If we don’t see ourselves through this affair, they’ll destroy us, and they’ll punish you as well. You understand, don’t you?”

She nodded as she wept. Mounting my white horse, I said I’d secure the witnesses and return before long, that Shekure ought to be ready, that hereafter, I would be master of the house, and that I was going to the barber. I hadn’t thought through any of this beforehand. As I spoke, the details came to me, and just as I’d felt during battles from time to time, I had the conviction that I was a cherished and favored servant of God and He was protecting me; thus, everything was going to turn out fine. When you feel this trust, do whatever comes to mind, follow your intuition and your actions will prove correct.

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