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From the Nobel Prize winner and acclaimed author of My Name is Red comes a portrait of Istanbul by its foremost writer, revealing the melancholy that comes of living amid the ruins of a lost empire. "Delightful, profound, marvelously origina.... Pamuk tells the story of the city through the eyes of memory." —The Washington Post Book World
A shimmering evocation, by turns intimate and panoramic, of one of the world’s great cities, by its foremost writer. Orhan Pamuk was born in Istanbul and still lives in the family apartment building where his mother first held him in her arms. His portrait of his city is thus also a self-portrait, refracted by memory and the melancholy—or hüzün—that all Istanbullus share. With cinematic fluidity, Pamuk moves from his glamorous, unhappy parents to the gorgeous, decrepit mansions overlooking the Bosphorus; from the dawning of his self-consciousness to the writers and painters—both Turkish and foreign—who would shape his consciousness of his city. Like Joyce’s Dublin and Borges’ Buenos Aires, Pamuk’s Istanbul is a triumphant encounter of place and sensibility, beautifully written and immensely moving.
From the Nobel Prize winner and acclaimed author of My Name is Red comes a portrait of Istanbul by its foremost writer, revealing the melancholy that comes of living amid the ruins of a lost empire. "Delightful, profound, marvelously origina.... Pamuk tells the story of the city through the eyes of memory." —The Washington Post Book World
A shimmering evocation, by turns intimate and panoramic, of one of the world’s great cities, by its foremost writer. Orhan Pamuk was born in Istanbul and still lives in the family apartment building where his mother first held him in her arms. His portrait of his city is thus also a self-portrait, refracted by memory and the melancholy—or hüzün—that all Istanbullus share. With cinematic fluidity, Pamuk moves from his glamorous, unhappy parents to the gorgeous, decrepit mansions overlooking the Bosphorus; from the dawning of his self-consciousness to the writers and painters—both Turkish and foreign—who would shape his consciousness of his city. Like Joyce’s Dublin and Borges’ Buenos Aires, Pamuk’s Istanbul is a triumphant encounter of place and sensibility, beautifully written and immensely moving.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
From a very young age, I suspected there was more to my world than I could see: Somewhere in the streets of Istanbul, in a house resembling ours, there lived another Orhan so much like me that he could pass for my twin, even my double. I can’t remember where I got this idea or how it came to me. It must have emerged from a web of rumors, misunderstandings, illusions, and fears. But in one of my earliest memories, it is already clear how I’ve come to feel about my ghostly other.
When I was five I was sent to live for a short time in another house. After one of their many stormy separations, my parents arranged to meet in Paris, and it was decided that my older brother and I should remain in Istanbul, though in separate places. My brother would stay in the heart of the family with our grandmother in the Pamuk Apartments, in Niflantaflý, but I would be sent to stay with my aunt in Cihangir. Hanging on the wall in this house–where I was treated with the utmost kindness–was a picture of a small child, and every once in a while my aunt or uncle would point up at him and say with a smile, “Look! That’s you!”
The sweet doe-eyed boy inside the small white frame did look a bit like me, it’s true. He was even wearing the cap I sometimes wore. I knew I was not that boy in the picture (a kitsch representation of a “cute child” that someone had brought back from Europe). And yet I kept asking myself, Is this the Orhan who lives in that other house?
Of course, now I too was living in another house. It was as if I’d had to move here before I could meet my twin, but as I wanted only to return to my real home, I took no pleasure in making his acquaintance. My aunt and uncle’s jovial little game of saying I was the boy in the picture became an unintended taunt, and each time I’d feel my mind unraveling: my ideas about myself and the boy who looked like me, my picture and the picture I resembled, my home and the other house–all would slide about in a confusion that made me long all the more to be at home again, surrounded by my family.
Soon my wish came true. But the ghost of the other Orhan in another house somewhere in Istanbul never left me. Throughout my childhood and well into adolescence, he haunted my thoughts. On winter evenings, walking through the streets of the city, I would gaze into other people’s houses through the pale orange light of home and dream of happy, peaceful families living comfortable lives. Then I would shudder to think that the other Orhan might be living in one of these houses. As I grew older, the ghost became a fantasy and the fantasy a recurrent nightmare. In some dreams I would greet this Orhan–always in another house–with shrieks of horror; in others the two of us would stare each other down in eerie merciless silence. Afterward, wafting in and out of sleep, I would cling ever more fiercely to my pillow, my house, my street, my place in the world. Whenever I was unhappy, I imagined going to the other house, the other life, the place where the other Orhan lived, and in spite of everything I’d half convince myself that I was he and took pleasure in imagining how happy he was, such pleasure that, for a time, I felt no need to go to seek out the other house in that other imagined part of the city.
Here we come to the heart of the matter: I’ve never left Istanbul, never left the houses, streets, and neighborhoods of my childhood. Although I’ve lived in different districts from time to time, fifty years on I find myself back in the Pamuk Apartments,...
Au sujet de l’auteur-
ORHAN PAMUK won the Nobel Prize for Literature. His novel My Name Is Red won the IMPAC Dublin Literary Award. His work has been translated into more than 50 languages. The author lives in Istanbul.
Critiques-
Orhan Pamuk describes his native Istanbul in this personal account of the city and its inhabitants. Speaking through the prism of his own experiences while growing up in an upper-class family, Pamuk evokes the consciousness of the Istanbul "huzun," or melancholy, that, in his view, pervades the crumbling city of the lost Ottoman empire. John Lee narrates the work in a measured and deliberate tone, lingering over the author's rich depictions of his life and descriptions of a city steeped in history. He is engaging while still capturing the melancholy, introspective spirit of Pamuk's work, which covers the author's formative experiences, literary and artistic representations of Istanbul by the greats, and the current westward-reaching spirit of the city. S.E.G. (c) AudioFile 2013, Portland, Maine
April 18, 2005 Turkish novelist Pamuk (Snow ) presents a breathtaking portrait of a city, an elegy for a dead civilization and a meditation on life's complicated intimacies. The author, born in 1952 into a rapidly fading bourgeois family in Istanbul, spins a masterful tale, moving from his fractured extended family, all living in a communal apartment building, out into the city and encompassing the entire Ottoman Empire. Pamuk sees the slow collapse of the once powerful empire hanging like a pall over the city and its citizens. Central to many Istanbul residents' character is the concept of hüzün (melancholy). Istanbul's hüzün , Pamuk writes, "is a way of looking at life that... is ultimately as life affirming as it is negating." His world apparently in permanent decline, Pamuk revels in the darkness and decay manifest around him. He minutely describes horrific accidents on the Bosphorus Strait and his own recurring fantasies of murder and mayhem. Throughout, Pamuk details the breakdown of his family: elders die, his parents fight and grow apart, and he must find his way in the world. This is a powerful, sometimes disturbing literary journey through the soul of a great city told by one of its great writers. 206 photos.
The Economist
Delightful, profound, marvelously original. . . . Pamuk tells the story of the city through the eyes of memory." --The Washington Post Book World"Far from a conventional appreciation of the city's natural and architectural splendors, Istanbul tells of an invisible melancholy and the way it acts on an imaginative young man, aggrieving him but pricking his creativity." --The New York Times"Brilliant. . . . Pamuk insistently discribes a]dizzingly gorgeous, historically vibrant metropolis." --Newsday "A fascinating read for anyone who has even the slightest acquaintance with this fabled bridge between east and west."
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Orhan Pamuk describes his native Istanbul in this personal account of the city and its inhabitants. Speaking through the prism of his own experiences while growing up in an upper-class family, Pamuk evokes the consciousness of the Istanbul "huzun," or melancholy, that, in his view, pervades the crumbling city of the lost Ottoman empire. John Lee narrates the work in a measured and deliberate tone, lingering over the author's rich depictions of his life and descriptions of a city steeped in history. He is engaging while still capturing the melancholy, introspective spirit of Pamuk's work, which covers the author's formative experiences, literary and artistic representations of Istanbul by the greats, and the current westward-reaching spirit of the city. S.E.G. (c) AudioFile 2013, Portland, Maine
