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賲鬲丨賮 丕賱亘乇丕亍丞
賱爻賳賵丕鬲 胤賵賷賱丞 馗賱 兀賵乇賴丕賳 亘丕賲賵賯 賷鬲賱賯賶 賴匕丕 丕賱爻丐丕賱: "賴賱 兀賳鬲 賰賲丕賱貨 亘胤賱 乇賵丕賷鬲賰 賲鬲丨賮 丕賱亘乇丕亍丞責"
賵毓賳丿賲丕 噩丕亍 丕賱賵賯鬲 賱賷賮鬲鬲丨 賰丕鬲亘 賳賵亘賱 丕賱鬲乇賰賷 丕賱兀卮賴乇 賲鬲丨賮賸丕 毓賱賶 丕賱囟賮丞 丕賱兀賵乇賵亘賷丞 賱賱亘賵爻賮賵乇 賷丨賲賱 丕爻賲 乇賵丕賷鬲賴貙 賯乇乇 兀禺賷乇賸丕 兀賳 賷噩賷亘 賯丕卅賱賸丕: "賳毓賲貙 兀賳丕 兀賷囟賸丕 賯囟賷鬲 胤賮賵賱鬲賷 賵卮亘丕亘賷 賮賷 丕賱賮鬲乇丞 亘賷賳 毓丕賲賷 1950 賵 1990貙 賵鬲乇毓乇毓鬲 賵爻胤 兀亘賳丕亍 丕賱胤亘賯丞 丕賱亘乇噩賵丕夭賷丞 賮賷 "賳賷卮丕賳 胤丕卮". 賵賮賷賲丕 亘毓丿貙 賰賲丕賱 賵兀賳丕 鬲毓乇囟賳丕 賱賱賳亘匕 賲賳 丕賱胤亘賯丞 丕賱鬲賷 賳賳鬲賲賷 廿賱賷賴丕. 賱賱丿賯丞貙 鬲賲 廿爻賯丕胤賳丕 禺丕乇噩賴丕. 賰賲丕賱 亘爻亘亘 毓卮賯賴 賱"賮爻賵賳"貙 賵兀賳丕 亘爻亘亘 丨亘賷 賱賱兀丿亘 賵賵囟毓賷 丕賱爻賷丕爻賷. 賵賰賱丕賳丕 賱爻賳丕 賳丕丿賲賷賳".
"賲鬲丨賮 丕賱亘乇丕亍丞" 賯亘賱 賰賱 卮賷亍 賮賰乇丞 丨賵賱 丕賱毓卮賯. 賯氐丞 丨亘 賲爻鬲丨賷賱丞 鬲噩賲毓 亘賷賳 賰賲丕賱 丕賱賲賳丨丿乇 賲賳 丕賱胤亘賯丞 丕賱兀乇爻鬲賯乇丕胤賷丞 賱廿爻胤賳亘賵賱 賮賷 爻亘毓賷賳賷丕鬲 丕賱賯乇賳 丕賱毓卮乇賷賳貙 賵"賮爻賵賳" 丕賱賮鬲丕丞 丕賱賮賯賷乇丞 丕賱鬲賷 鬲乇亘胤賴 亘賴丕 氐賱丞 賯乇丕亘丞 亘毓賷丿丞.
鬲鬲噩丕賵夭 丕賱鬲賮丕氐賷賱 丨丿賵丿 丕賱睾乇丕賲 丕賱鬲賯賱賷丿賷貙 賱鬲賰卮賮 丨賷乇丞 丕賱廿賳爻丕賳 亘賷賳 孬賯丕賮丞 丕賱卮乇賯 賵丕賱睾乇亘貙 丿賵賳 賲毓夭賱 毓賳 丕賱鬲睾賷乇丕鬲 丕賱丕噩鬲賲丕毓賷丞 賵丕賱爻賷丕爻賷丞 丕賱鬲賷 兀丨丕胤鬲 亘廿爻胤賳亘賵賱 賮賷 賴匕丕 丕賱賵賯鬲貙 賵鬲乇賰鬲 兀孬乇賸丕 毓賲賷賯賸丕 丨鬲賶 賮賷 賯氐氐 丕賱毓卮丕賯.
賵毓賳丿賲丕 噩丕亍 丕賱賵賯鬲 賱賷賮鬲鬲丨 賰丕鬲亘 賳賵亘賱 丕賱鬲乇賰賷 丕賱兀卮賴乇 賲鬲丨賮賸丕 毓賱賶 丕賱囟賮丞 丕賱兀賵乇賵亘賷丞 賱賱亘賵爻賮賵乇 賷丨賲賱 丕爻賲 乇賵丕賷鬲賴貙 賯乇乇 兀禺賷乇賸丕 兀賳 賷噩賷亘 賯丕卅賱賸丕: "賳毓賲貙 兀賳丕 兀賷囟賸丕 賯囟賷鬲 胤賮賵賱鬲賷 賵卮亘丕亘賷 賮賷 丕賱賮鬲乇丞 亘賷賳 毓丕賲賷 1950 賵 1990貙 賵鬲乇毓乇毓鬲 賵爻胤 兀亘賳丕亍 丕賱胤亘賯丞 丕賱亘乇噩賵丕夭賷丞 賮賷 "賳賷卮丕賳 胤丕卮". 賵賮賷賲丕 亘毓丿貙 賰賲丕賱 賵兀賳丕 鬲毓乇囟賳丕 賱賱賳亘匕 賲賳 丕賱胤亘賯丞 丕賱鬲賷 賳賳鬲賲賷 廿賱賷賴丕. 賱賱丿賯丞貙 鬲賲 廿爻賯丕胤賳丕 禺丕乇噩賴丕. 賰賲丕賱 亘爻亘亘 毓卮賯賴 賱"賮爻賵賳"貙 賵兀賳丕 亘爻亘亘 丨亘賷 賱賱兀丿亘 賵賵囟毓賷 丕賱爻賷丕爻賷. 賵賰賱丕賳丕 賱爻賳丕 賳丕丿賲賷賳".
"賲鬲丨賮 丕賱亘乇丕亍丞" 賯亘賱 賰賱 卮賷亍 賮賰乇丞 丨賵賱 丕賱毓卮賯. 賯氐丞 丨亘 賲爻鬲丨賷賱丞 鬲噩賲毓 亘賷賳 賰賲丕賱 丕賱賲賳丨丿乇 賲賳 丕賱胤亘賯丞 丕賱兀乇爻鬲賯乇丕胤賷丞 賱廿爻胤賳亘賵賱 賮賷 爻亘毓賷賳賷丕鬲 丕賱賯乇賳 丕賱毓卮乇賷賳貙 賵"賮爻賵賳" 丕賱賮鬲丕丞 丕賱賮賯賷乇丞 丕賱鬲賷 鬲乇亘胤賴 亘賴丕 氐賱丞 賯乇丕亘丞 亘毓賷丿丞.
鬲鬲噩丕賵夭 丕賱鬲賮丕氐賷賱 丨丿賵丿 丕賱睾乇丕賲 丕賱鬲賯賱賷丿賷貙 賱鬲賰卮賮 丨賷乇丞 丕賱廿賳爻丕賳 亘賷賳 孬賯丕賮丞 丕賱卮乇賯 賵丕賱睾乇亘貙 丿賵賳 賲毓夭賱 毓賳 丕賱鬲睾賷乇丕鬲 丕賱丕噩鬲賲丕毓賷丞 賵丕賱爻賷丕爻賷丞 丕賱鬲賷 兀丨丕胤鬲 亘廿爻胤賳亘賵賱 賮賷 賴匕丕 丕賱賵賯鬲貙 賵鬲乇賰鬲 兀孬乇賸丕 毓賲賷賯賸丕 丨鬲賶 賮賷 賯氐氐 丕賱毓卮丕賯.
768 pages, Paperback
First published September 1, 2008
3357 people are currently reading
33420 people want to read
About the author
Orhan Pamuk
145听books10.2k听followersFerit Orhan Pamuk is a Turkish novelist, screenwriter, academic, and recipient of the 2006 Nobel Prize in Literature. One of Turkey's most prominent novelists, he has sold over 13 million books in 63 languages, making him the country's best-selling writer.
Pamuk's novels include Silent House, The White Castle, The Black Book, The New Life, My Name Is Red and Snow. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018.
Of partial Circassian descent and born in Istanbul, Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre 脡tranger, 2002 Premio Grinzane Cavour and 2003 International Dublin Literary Award.
The European Writers' Parliament came about as a result of a joint proposal by Pamuk and Jos茅 Saramago. Pamuk's willingness to write books about contentious historical and political events put him at risk of censure in his homeland. In 2005, a lawyer sued him over a statement acknowledging the Armenian genocide in the Ottoman Empire. Pamuk said his intention had been to highlight issues of freedom of speech in Turkey. The court initially declined to hear the case, but in 2011 Pamuk was ordered to pay 6,000 liras in compensation for having insulted the plaintiffs' honor.
Pamuk's novels include Silent House, The White Castle, The Black Book, The New Life, My Name Is Red and Snow. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018.
Of partial Circassian descent and born in Istanbul, Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre 脡tranger, 2002 Premio Grinzane Cavour and 2003 International Dublin Literary Award.
The European Writers' Parliament came about as a result of a joint proposal by Pamuk and Jos茅 Saramago. Pamuk's willingness to write books about contentious historical and political events put him at risk of censure in his homeland. In 2005, a lawyer sued him over a statement acknowledging the Armenian genocide in the Ottoman Empire. Pamuk said his intention had been to highlight issues of freedom of speech in Turkey. The court initially declined to hear the case, but in 2011 Pamuk was ordered to pay 6,000 liras in compensation for having insulted the plaintiffs' honor.
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Displaying 1 - 30 of 3,810 reviews
October 16, 2011
Okay, I'm going to tell it as it is.听 Nobel-winning writer aside, this book is insufferable.听 I frankly don't understand the hype, the glowing reviews, attention from the New Yorker - this book is bad.听 Really bad.
The story revolves around a privileged man in Istanbul who has a short affair with a shopgirl and proceeds to become completely obsessed with her.听 So obsessed is he that after the girl marries someone else, he ends up sitting at their dinner table for the next 8 years.
When Kemal is not hopping around the latest upper-class Istanbul hotspots, he's becoming an expert kleptomaniac, pocketing everything around 贵眉蝉耻苍's house.听 He reports back about his activities with glee - "After having taken all those matchboxes, and Fusun's cigarette butts, and the saltshakers, the coffee cups, the hairpins, and the barrettes - things not difficult to pick up, because people rarely notice them missing - I began to set my sights on things like ashtrays, cups, and slippers鈥�"听 Several pages later, we find out that "during my eight years of going to the Keskins' for supper, I was able to squirrel away 4,213 of Fusun's cigarette buts.听 Each one of these had touched her rosy lips and entered her mouth, some even touching her tongue and becoming moist [shock of all shocks!] as I would discover when I put my finger on the filter soon after she had stubbed the cigarette out; the stubs, reddened by her lovely lipstick, bore the unique impress of her lips at some moment whose memory was laden with anguish or bliss鈥�"
There are plenty of signs that Kemal's obsession is not well received.听 Going back to cigarette stubbing, we find out that "sometimes she would stub it out with evident anger, sometimes with impatience. I had seen her stub out a cigarette in anger many times, and this caused me disquiet."
This might be an interesting storyline if it wasn't the same old hogwash repeating itself for 560 pages.听 There are entire chapters of this.听 Allow me to list out some chapter names for you:听 "The Melancholy of Autumn" is followed by "Cold and Lonely November Days".听 A few chapters later, there is a chapter titled "An Indignant and Broken Heart Is of No Use to Anyone." 听
Other reviewers have tried to find beauty in this book by its descriptions of Istanbul in the 1970's.听 Some have claimed that Pamuk's "museum" is a commemoration of a time and a place in Istanbul and that the book tries to showcase a lost culture. I disagree.听 Sure there are a few pages scattered here and there about Istanbul, and sure, the writing does shine in a few small听 segments.听 But the vast majority of the book is about Fusun's lips, tears, anger, family, dinners, cigarette butts, marriage, saltshakers, eyes, expressions and words.听 These discourses have only the most tangential relation to anything enlightening about 1970's Istanbul.
There is a disconcerting conceit about the author, when he introduces himself as a character - "This is how I came to seek out the esteemed Orhan Pamuk, who has narrated the story in my name and with my approval鈥� I had also heard that he was a man lovingly devoted to his work and who took storytelling seriously."听 There is a lot more self-advertising in this book, but I won't delve into it.听 Suffice it to say that I really suffered through this book and would have abandoned it were it not so bad that I spent most of my time thinking about how I would justify such a critical review of such a well-hyped book.
The story revolves around a privileged man in Istanbul who has a short affair with a shopgirl and proceeds to become completely obsessed with her.听 So obsessed is he that after the girl marries someone else, he ends up sitting at their dinner table for the next 8 years.
When Kemal is not hopping around the latest upper-class Istanbul hotspots, he's becoming an expert kleptomaniac, pocketing everything around 贵眉蝉耻苍's house.听 He reports back about his activities with glee - "After having taken all those matchboxes, and Fusun's cigarette butts, and the saltshakers, the coffee cups, the hairpins, and the barrettes - things not difficult to pick up, because people rarely notice them missing - I began to set my sights on things like ashtrays, cups, and slippers鈥�"听 Several pages later, we find out that "during my eight years of going to the Keskins' for supper, I was able to squirrel away 4,213 of Fusun's cigarette buts.听 Each one of these had touched her rosy lips and entered her mouth, some even touching her tongue and becoming moist [shock of all shocks!] as I would discover when I put my finger on the filter soon after she had stubbed the cigarette out; the stubs, reddened by her lovely lipstick, bore the unique impress of her lips at some moment whose memory was laden with anguish or bliss鈥�"
There are plenty of signs that Kemal's obsession is not well received.听 Going back to cigarette stubbing, we find out that "sometimes she would stub it out with evident anger, sometimes with impatience. I had seen her stub out a cigarette in anger many times, and this caused me disquiet."
This might be an interesting storyline if it wasn't the same old hogwash repeating itself for 560 pages.听 There are entire chapters of this.听 Allow me to list out some chapter names for you:听 "The Melancholy of Autumn" is followed by "Cold and Lonely November Days".听 A few chapters later, there is a chapter titled "An Indignant and Broken Heart Is of No Use to Anyone." 听
Other reviewers have tried to find beauty in this book by its descriptions of Istanbul in the 1970's.听 Some have claimed that Pamuk's "museum" is a commemoration of a time and a place in Istanbul and that the book tries to showcase a lost culture. I disagree.听 Sure there are a few pages scattered here and there about Istanbul, and sure, the writing does shine in a few small听 segments.听 But the vast majority of the book is about Fusun's lips, tears, anger, family, dinners, cigarette butts, marriage, saltshakers, eyes, expressions and words.听 These discourses have only the most tangential relation to anything enlightening about 1970's Istanbul.
There is a disconcerting conceit about the author, when he introduces himself as a character - "This is how I came to seek out the esteemed Orhan Pamuk, who has narrated the story in my name and with my approval鈥� I had also heard that he was a man lovingly devoted to his work and who took storytelling seriously."听 There is a lot more self-advertising in this book, but I won't delve into it.听 Suffice it to say that I really suffered through this book and would have abandoned it were it not so bad that I spent most of my time thinking about how I would justify such a critical review of such a well-hyped book.
December 19, 2009
(Additional notes below)
One thing I just realized, whenever I am about to finish reading a book, usually some sketchy ideas or sentences appear in my mind, so that right after I finish it, I can just open 欧宝娱乐, rate the book and write those ideas. I am also usually satisfied after writing three or four paragraphs, feeling that I have said what I have to say. But, I can't do that with Pamuk's books.
The night I finished this book, I was sitting at my desk with my hands laid on the closed book. I was staring past the glare of my computer screen. I smiled. Yes, I did smile! I slept soundly that night too. Rather victoriously..
I felt that I had just concluded a life story of a dear friend whom I know so well. He was in love. A love that tortured him, exhilarated him, inspired him to do mad things for "normal" people. "Normal" meaning people who are not in love.
Reading this book was not all a joyride. There were moments, when obsession really caught Kemal, whom later I called a friend just because I know so much about him, that I wanted to slap him in the face and say "Wake up! Enough already! Stop being this pathetic and get a life, man!" Of course, he didn't do that. I almost stopped reading at this point. That is how rich and heavy Pamuk can describe obsession.
Then the story took its turn and the mood was changing. I was exhausted. I read a review somewhere that the love would not end happily as in fairy tales. Somehow tragic love story is more worth writing, so they say. So, I didn't have much hope for the bright light at the end of the tunnel. I just wanted to complete the journey. I was prepared for the worst.
But Pamuk is such a master story-teller. He didn't just give you a relief from this journey. He took you to another path. A heroic one. A path that only a mad person would take. Well, mad.. or brave. Or simply in love!
This crazy friend of mine was not set to build a Taj Mahal for his love. But a museum! A place where Time becomes Space. I know I will never look at a museum in the way I used to.
Humorous element gave an extra flavour to the already rich taste in the last part of the book. I like when Pamuk himself appeared on the stage and interacted with his own creations, tying up loose ends and wrapping up the story with a victorious last sentence. For those who haven't read the book or are still reading it: Yes, you can take a peek at it first if you want to. But I would rather leave it for later :-)
=====
Additional note:
Finally Michael Silverblatt, the host of KCRW Bookworm podcast, interviewed Orhan Pamuk. So far, Silverblatt is the best talk show host for writers. Being an avid reader himself, his questions are insightful and often surprising to the writers themselves because he presents a point of view that the writers haven't thought of.
You can listen to the podcast here:
One thing I just realized, whenever I am about to finish reading a book, usually some sketchy ideas or sentences appear in my mind, so that right after I finish it, I can just open 欧宝娱乐, rate the book and write those ideas. I am also usually satisfied after writing three or four paragraphs, feeling that I have said what I have to say. But, I can't do that with Pamuk's books.
The night I finished this book, I was sitting at my desk with my hands laid on the closed book. I was staring past the glare of my computer screen. I smiled. Yes, I did smile! I slept soundly that night too. Rather victoriously..
I felt that I had just concluded a life story of a dear friend whom I know so well. He was in love. A love that tortured him, exhilarated him, inspired him to do mad things for "normal" people. "Normal" meaning people who are not in love.
Reading this book was not all a joyride. There were moments, when obsession really caught Kemal, whom later I called a friend just because I know so much about him, that I wanted to slap him in the face and say "Wake up! Enough already! Stop being this pathetic and get a life, man!" Of course, he didn't do that. I almost stopped reading at this point. That is how rich and heavy Pamuk can describe obsession.
Then the story took its turn and the mood was changing. I was exhausted. I read a review somewhere that the love would not end happily as in fairy tales. Somehow tragic love story is more worth writing, so they say. So, I didn't have much hope for the bright light at the end of the tunnel. I just wanted to complete the journey. I was prepared for the worst.
But Pamuk is such a master story-teller. He didn't just give you a relief from this journey. He took you to another path. A heroic one. A path that only a mad person would take. Well, mad.. or brave. Or simply in love!
This crazy friend of mine was not set to build a Taj Mahal for his love. But a museum! A place where Time becomes Space. I know I will never look at a museum in the way I used to.
Humorous element gave an extra flavour to the already rich taste in the last part of the book. I like when Pamuk himself appeared on the stage and interacted with his own creations, tying up loose ends and wrapping up the story with a victorious last sentence. For those who haven't read the book or are still reading it: Yes, you can take a peek at it first if you want to. But I would rather leave it for later :-)
=====
Additional note:
Finally Michael Silverblatt, the host of KCRW Bookworm podcast, interviewed Orhan Pamuk. So far, Silverblatt is the best talk show host for writers. Being an avid reader himself, his questions are insightful and often surprising to the writers themselves because he presents a point of view that the writers haven't thought of.
You can listen to the podcast here:
July 5, 2010
I must confess that for the last five years, I have had a love and hate relationship with Orhan Pamuk (I also had a similar relationship with Charles Dickens, but that鈥檚 another matter altogether).
Pamuk鈥檚 style is meticulous and ornate, intensely introspective, sometimes deliberately repetitive, shot through with that particular Turkish kind of melancholy called 鈥榟uzun鈥�. At his best, his prose achieves a poetic, hypnotic quality that makes such a compelling, mesmerizing read. But what John Updike described as a Proustian 鈥榓rabesques of introspection鈥� could also easily devolve into interminable navel gazing that makes wading through his novels, such as , a ponderous undertaking. This novel is a mixed bag of both the strengths and weaknesses of his style.
It begins promisingly enough with a love triangle between Kemal, the young scion of one of Istanbul鈥檚 wealthiest family, Sibel, his Sorbonne-educated fianc茅e, and Fusun, a poor, distant relation who happens to be a nubile 18 year-old beauty contest finalist. Their illicit romance, consummated in an empty apartment filled with his mother鈥檚 abandoned possessions (surely there鈥檚 a Freudian subtext here?), slowly consumes Kemal鈥檚 life, and yet he still clings to Sibel, who is not only understanding but is also willing to nurse him through lovesickness for her rival. This earlier part of the novel is quite compelling, although the eroticism occasionally veers towards the graphically icky territory (鈥淎s our kisses grew even longer, a honeyed pool of warm saliva gathered in the great cave that was our mouths combined, sometimes leaking a little down our chins鈥︹€�). However, as Sibel finally gives up on her errant fianc茅e and Fusun contracts a reputation-saving shotgun marriage to an aspiring screenwriter, Kemal (and the narrative) becomes bogged down in a mire of repetitive, increasingly self-indulgent ruminations. This part depicts eight years of the characters鈥� lives in which the following happens:
1. Kemal hangs out with Fusun, her husband, and her parents;
2. while with her, he is transcendentally moved by some gesture or words from his beloved;
3. he steals (鈥渃ollects鈥�) things that remind him of such moments, such as the soda bottle that she drank from, the saltshaker that she used during dinner, the ceramic dog figurine that sat on top of her TV, cigarette butts (all 4,213 of them, meticulously classified according to how they were crushed),etc. He then carefully stores these items in the empty apartment and sometimes mouths them when he misses her;
4. he makes feeble, half-hearted attempts at producing a movie in which she is going to star in, but is eventually too repulsed by the notion that she will have to do a kissing scene --- or worse, be pawed over by actors and directors --- that he never goes through with it;
5. Fusun pouts and sulks;
6. Kemal is devastated;
7. repeat.
This goes on for hundreds of pages. There is a chapter titled 鈥楽ometimes鈥� (in which every sentence begins with that word) which contains nothing but random snippets of their daily life. It is cute for one or two pages, but exhausting as a chapter-length exercise.
I began to scan the pages. How long is this thing going to be on?
And then suddenly there was a twist in the story and it became good --- really good. I couldn鈥檛 stop reading --- and hoping. I forgave Kemal for being a borderline creep with his 鈥榗ollecting鈥� and I forgave Fusun for being so wrapped up in her acting ambition. I wanted them to drive away into the sunset in Kemal鈥檚 鈥�56 Chevrolet and live happily ever after in a Turkish dreamland.
And it all ends in a sigh --- a big sigh.
And suddenly you understand everything: the years of waiting, the lifetime of remembering, the significance of mundane things, the obsession with collecting, and why there is a need for so many museums in this world.
鈥淚n poetically well built museums, formed from the heart鈥檚 compulsions, we are consoled not by finding in them old objects that we love, but by losing sense of Time.鈥�
Pamuk鈥檚 style is meticulous and ornate, intensely introspective, sometimes deliberately repetitive, shot through with that particular Turkish kind of melancholy called 鈥榟uzun鈥�. At his best, his prose achieves a poetic, hypnotic quality that makes such a compelling, mesmerizing read. But what John Updike described as a Proustian 鈥榓rabesques of introspection鈥� could also easily devolve into interminable navel gazing that makes wading through his novels, such as , a ponderous undertaking. This novel is a mixed bag of both the strengths and weaknesses of his style.
It begins promisingly enough with a love triangle between Kemal, the young scion of one of Istanbul鈥檚 wealthiest family, Sibel, his Sorbonne-educated fianc茅e, and Fusun, a poor, distant relation who happens to be a nubile 18 year-old beauty contest finalist. Their illicit romance, consummated in an empty apartment filled with his mother鈥檚 abandoned possessions (surely there鈥檚 a Freudian subtext here?), slowly consumes Kemal鈥檚 life, and yet he still clings to Sibel, who is not only understanding but is also willing to nurse him through lovesickness for her rival. This earlier part of the novel is quite compelling, although the eroticism occasionally veers towards the graphically icky territory (鈥淎s our kisses grew even longer, a honeyed pool of warm saliva gathered in the great cave that was our mouths combined, sometimes leaking a little down our chins鈥︹€�). However, as Sibel finally gives up on her errant fianc茅e and Fusun contracts a reputation-saving shotgun marriage to an aspiring screenwriter, Kemal (and the narrative) becomes bogged down in a mire of repetitive, increasingly self-indulgent ruminations. This part depicts eight years of the characters鈥� lives in which the following happens:
1. Kemal hangs out with Fusun, her husband, and her parents;
2. while with her, he is transcendentally moved by some gesture or words from his beloved;
3. he steals (鈥渃ollects鈥�) things that remind him of such moments, such as the soda bottle that she drank from, the saltshaker that she used during dinner, the ceramic dog figurine that sat on top of her TV, cigarette butts (all 4,213 of them, meticulously classified according to how they were crushed),etc. He then carefully stores these items in the empty apartment and sometimes mouths them when he misses her;
4. he makes feeble, half-hearted attempts at producing a movie in which she is going to star in, but is eventually too repulsed by the notion that she will have to do a kissing scene --- or worse, be pawed over by actors and directors --- that he never goes through with it;
5. Fusun pouts and sulks;
6. Kemal is devastated;
7. repeat.
This goes on for hundreds of pages. There is a chapter titled 鈥楽ometimes鈥� (in which every sentence begins with that word) which contains nothing but random snippets of their daily life. It is cute for one or two pages, but exhausting as a chapter-length exercise.
I began to scan the pages. How long is this thing going to be on?
And then suddenly there was a twist in the story and it became good --- really good. I couldn鈥檛 stop reading --- and hoping. I forgave Kemal for being a borderline creep with his 鈥榗ollecting鈥� and I forgave Fusun for being so wrapped up in her acting ambition. I wanted them to drive away into the sunset in Kemal鈥檚 鈥�56 Chevrolet and live happily ever after in a Turkish dreamland.
And it all ends in a sigh --- a big sigh.
And suddenly you understand everything: the years of waiting, the lifetime of remembering, the significance of mundane things, the obsession with collecting, and why there is a need for so many museums in this world.
鈥淚n poetically well built museums, formed from the heart鈥檚 compulsions, we are consoled not by finding in them old objects that we love, but by losing sense of Time.鈥�
November 14, 2012
An extremely tedious, depressing read.
I can honestly say that I read the first 150 pages, and then started skimming the rest (which I NEVER do, since I love reading) in search for dialogue.It is so melancholy and slow.
It reminded me of being in a room with an extremely self absorbed person, who blabbers on and on, touching the same points over and over again without really any concern if you're listening or not.
The writing style is also overly detailed, describing dry conversations with business associates, the Turkish movie industry, and one entire chapter was dedicated to a discussion about a clock in Fusun's home. Absolutely unnecessary!
It starts out well enough, with an interesting love triangle between Kemal, Fusun, and Sibel. I had high hopes that Kemal would take the high road and do the right thing (that is, break off his relationship with Sibel right away and start his pursuit of Fusun).
But NO! I did not feel an ounce of compassion for Kemal's plight. He was arrogant enough to think himself lucky to have a fianc茅e and mistress. He considered himself as part of an elite group of men happy enough to entertain the thought of having a wife and lover on the side.
In short, WHAT AN ASSHOLE!
I could see that he loved Fusun (or at the very least, was infatuated), but he didn't respect her enough to do what was right and break off his engagement to Sibel as soon as he started having an affair.
I felt extremely frustrated that it was Sibel, NOT Kemal, who eventually broke off the engagement.
My only consolation is that Kemal later acknowledges that he had been terribly irresponsible. Damn rights!
There was also a significant creep factor to Kemal's obsession with Fusun. I can sympathize that a parting gift to remind you of lost love can be soothing. But he takes his to a whole new level!
I hated him describing how he had a pair of her white panties on display in the museum (seriously??? Not cool, dude).
And how he'd "mouth" certain things he stole from her? Ewwww. Or how he'd try to imitate her and in some way, become Fusun? What a nut job.
But, being the romantic that I am, I rooted for them to end up together in the end. And when they finally do, I was elated! This whole depressing, awful book had suddenly been worth it. And then what happens?
Fusun dies! I won't give away all the details about how that happens, but it left me feeling as if the book had been meaningless.
Take two irresponsible, immature people, add sex to the equation and what do you get? An absolute disaster.
I had been excited to read this book, as I would love to see Turkey someday and thought it would be an incredible romance. But it ended up being horrible.
I can't believe this book has received so many 4 or 5 star ratings.
I can honestly say that I read the first 150 pages, and then started skimming the rest (which I NEVER do, since I love reading) in search for dialogue.It is so melancholy and slow.
It reminded me of being in a room with an extremely self absorbed person, who blabbers on and on, touching the same points over and over again without really any concern if you're listening or not.
The writing style is also overly detailed, describing dry conversations with business associates, the Turkish movie industry, and one entire chapter was dedicated to a discussion about a clock in Fusun's home. Absolutely unnecessary!
It starts out well enough, with an interesting love triangle between Kemal, Fusun, and Sibel. I had high hopes that Kemal would take the high road and do the right thing (that is, break off his relationship with Sibel right away and start his pursuit of Fusun).
But NO! I did not feel an ounce of compassion for Kemal's plight. He was arrogant enough to think himself lucky to have a fianc茅e and mistress. He considered himself as part of an elite group of men happy enough to entertain the thought of having a wife and lover on the side.
In short, WHAT AN ASSHOLE!
I could see that he loved Fusun (or at the very least, was infatuated), but he didn't respect her enough to do what was right and break off his engagement to Sibel as soon as he started having an affair.
I felt extremely frustrated that it was Sibel, NOT Kemal, who eventually broke off the engagement.
My only consolation is that Kemal later acknowledges that he had been terribly irresponsible. Damn rights!
There was also a significant creep factor to Kemal's obsession with Fusun. I can sympathize that a parting gift to remind you of lost love can be soothing. But he takes his to a whole new level!
I hated him describing how he had a pair of her white panties on display in the museum (seriously??? Not cool, dude).
And how he'd "mouth" certain things he stole from her? Ewwww. Or how he'd try to imitate her and in some way, become Fusun? What a nut job.
But, being the romantic that I am, I rooted for them to end up together in the end. And when they finally do, I was elated! This whole depressing, awful book had suddenly been worth it. And then what happens?
Fusun dies! I won't give away all the details about how that happens, but it left me feeling as if the book had been meaningless.
Take two irresponsible, immature people, add sex to the equation and what do you get? An absolute disaster.
I had been excited to read this book, as I would love to see Turkey someday and thought it would be an incredible romance. But it ended up being horrible.
I can't believe this book has received so many 4 or 5 star ratings.
May 14, 2025
"A museum of memories, each object a key,
To the love that lived,but was never meant to be."
"What if love isn鈥檛 meant to be lived鈥攂ut something to recall endlessly?"-That鈥檚 what The Museum of Innocence made me ask. This book didn鈥檛 feel like fiction鈥攊t felt like trespassing into someone鈥檚 private grief. A love so consuming, it needed a museum to hold it. A heartbreak so vast, it turned a man into a curator of pain. Welcome to a world where love isn鈥檛 just a feeling鈥攊t鈥檚 a memory, a place, a museum. his isn鈥檛 your average love story; it鈥檚 a slow-burning journey of longing, where the heart never lets go, even when the reality is cruel. Kemal, in his desperation, builds a museum to preserve the fragments of his fleeting love鈥攁 shrine of things she touched, things she left behind. What happens when devotion blurs into madness, and longing becomes a shrine? This isn鈥檛 just a love story鈥攊t鈥檚 a question of what we鈥檙e willing to do for love when it鈥檚 lost forever.
Orhan Pamuk鈥檚 The Museum of Innocence isn鈥檛 just a love story鈥攊t's an elegy, an obsession, a memoir of longing that tiptoes between the personal and the political, the nostalgic and the neurotic. Set in Istanbul between the 1970s and early 2000s, this Turkish classic is a slow-burn descent into the psyche of Kemal Bey, a wealthy man who spends his life trying to preserve a moment of happiness with a woman he could never truly have. I don鈥檛 know what it is with Turkish literature and longing, but God 鈥� it undoes me. We love pathetic, yearning men.. First Madonna in a Fur Coat, and now this. There鈥檚 a distinct kind of ache in these books, a bruise that never quite heals, a man who waits, mourns, obsesses..
鈥淪ometimes, we simply collect the dust of what we鈥檝e lost.鈥�
馃崅Key Points
We meet Kemal, a privileged man from Istanbul's elite, engaged to a woman from his own class, Sibel. But everything shifts the moment he falls for 贵眉蝉耻苍, his distant relative鈥攜oung, dazzling, and utterly unreachable. Their brief, stolen affair transforms into a lifelong obsession. An obsession that costs him everything.
Kemal loses 贵眉蝉耻苍, but instead of moving on, he builds a museum. Yes. A real museum. A place to store the memories of her鈥攅arrings, cigarette butts, hairpins, napkins鈥攁ll the mundane objects that become sacred simply because she once touched them.
This isn鈥檛 about romance鈥攊t鈥檚 about devotion. The haunting kind. The irrational kind. The kind that turns a man into a curator of his own heartbreak.
馃奖Themes: Obsession,Yearnings, Memory, and Istanbul Itself..
Pamuk doesn鈥檛 just write about a man in love鈥攈e writes about a city in love with its own contradictions. Istanbul is not a backdrop but a breathing, aging character. The city鈥檚 transformation mirrors Kemal鈥檚 personal decline, its modernization underscoring his desperate need to cling to the past.
Objects in this book carry more emotional weight than most dialogue. A dropped earring, a comb, a cigarette butt鈥攁ll become sacred relics in Kemal鈥檚 private shrine to 贵眉蝉耻苍. The museum he builds is literal and metaphorical, a manifestation of the very human desire to freeze time, to curate memory, to make pain beautiful.
"Some people collect stamps. He collected her 鈥� every glass she drank from, every hairpin,ear-rings she lost,every cigarette she smoke, every second she looked at him like he mattered. Give me A pathetic, love-sick Turkish man, building a shrine of memories for a woman who was never his."馃
贵眉蝉耻苍 gets married. Kemal waits. She drifts in and out of his orbit. He waits. Years pass. He keeps visiting her home, eats with her family, smiles through her husband鈥檚 bad jokes, collects the things she touches, and stores them in boxes 鈥� all while his heart bleeds quietly on the floor. It鈥檚 not just love. It鈥檚 delusion turned devotion. Madness dressed as memory.
"Anytime I entered the house of an evening and our eyes met, it was like a conquest. In spite of everything, and no matter what had happened to dash my hopes and my pride, there was the glory of being here once more, and most of the time I saw the light of the same happiness in 贵眉蝉耻苍鈥檚 eyes. Or so I would believe, and, convinced that my stubbornness, my resolve had made an impression on her, I would find my life鈥檚 beauty was restored."
"May happiness be yours, and may the memories be mine."
馃彿锔�Where it lost me:
-Kemal Bey.
He yearns, yes. But at first it鈥檚 not the kind of yearning that redeems..
He was 30. She was 18.
He was engaged. She was his distant cousin- a young girl.
He touched her with the hands meant for another. But let鈥檚 be real, at first, it was a fling, a fleeting sign.
He teaches her math,They kiss, they make love. Rinse, repeat.
-It was passion, yes鈥攂ut not always depth.
-The pacing. It鈥檚 long. 700 pages long. And for what? Half of it could鈥檝e been trimmed. There鈥檚 beauty in detail, yes, but some parts felt exaggerated and self-indulgent. Like Kemal, the novel refuses to let go. It lingers, obsessed.
鈥淭his thing you thought was love鈥攊t was just a passing obsession.鈥�- Kemal thought he was the one suffering. But Sibel? His fianc茅!?
Still there鈥檚 a part of me that understood his loneliness. That soft, hollow space where guilt, nostalgia, and desire blur into something that feels like love.
And maybe that鈥檚 what this book is about 鈥� not love itself, but the idea of love. The fantasy of it. The unbearable weight of memory. Because some people don鈥檛 move on. And that is a story too. One worth telling.
"Once you were my sweetheart,
I yearned for you even when you were near.
Now you鈥檝e found another love,
May happiness be yours,
And mine the trials and troubles.
Let life be yours, be yours."
鉁掞笍The writing?Gorgeous. Pamuk鈥檚 Istanbul is a city drenched in sunlight and regret, where every dusty shop window, every bus ride, every worn-out street corner carries a memory.
The atmosphere 鈥� tender, cinematic, still as a paused breath.
You can feel the perfume, the heat, the slow passage of time.
馃崄Final sigh!-After the accident that took 贵眉蝉耻苍鈥檚 life, Kemal didn't just grieve her 鈥� he immortalized her. Every spoon she touched, every cigarette she smoked, every moment they shared became sacred. His love turned into a museum, a mausoleum, a madness. And in the end, he died the way he lived 鈥� wrapped in memory, clutching a photograph, telling the world he had been happy.
His death, quiet and solitary in a hotel room after a life devoted to love and memory, feels hauntingly poetic, doesn鈥檛 it? Especially dying on 贵眉蝉耻苍鈥檚 birthday鈥擮rhan Pamuk really knows how to end with a gut-punch.
He kissed 贵眉蝉耻苍鈥檚 photograph lovingly, and placed it with care into the breast pocket of his jacket. Then he smiled -Let everyone know I lived a very happy life
鈥淭his isn鈥檛 just a love story鈥攊t鈥檚 an archive of ache, a shrine of memory, and a man鈥檚 lifelong vow to never, ever forget. Kemal Bey? He doesn鈥檛 just fall in love鈥攈e builds a damn museum. Because when you're in love with something that was never yours, you make sure the world knows. Every earring, every hairpin, every cigarette butt... they鈥檙e not just objects; they鈥檙e relics of a love that never stopped burning.鈥�
Like imagine鈥� you're married to someone else, and this man just shows up for dinner at your house for eight years straight, collecting the napkin you wiped your mouth with. That鈥檚 not love鈥攖hat鈥檚 devotion dressed as delusion wrapped in nostalgia, garnished with a touch of madness 馃槶
The real-life Museum of Innocence in Istanbul is a further manifestation of this idea, allowing visitors to experience the objects that represent the novel's story, blending the fictional world of Kemal and 贵眉蝉耻苍 with the tangible world of the reader. It's a unique way of creating a connection between the imagination and reality.
嗒溾亐鉃粹櫋Lingering reflections "The Museum of Innocence" by Orhan Pamuk had a promising premise, but ultimately, it left me feeling a bit disengaged. Ultimately, The Museum of Innocence is a tale of unrelenting love and the passage of time. It invites readers to reflect on how love can shape our identities, leave lasting legacies, and sometimes turn into something more tragic than beautiful. Kemal鈥檚 creation of a museum to preserve the memory of 贵眉蝉耻苍 is a bittersweet conclusion to a life spent in longing鈥攁 tribute to a love that could never be.
3/5鈽呪槄鈽呪槅鈽� -鈥淚f this book were a season, it would be late autumn鈥攓uiet, aching, and brown.鈥� If Madonna in a Fur Coat is about love lost too soon, The Museum of Innocence is about never letting go 鈥� until love rots in your hands.
If you鈥檝e ever kept an old ticket stub or stared too long at a photograph, this book will find you.
February 24, 2021
賲鬲丨賮 兀賵乇賴丕賳 亘丕賲賵賯 賷毓乇囟 鬲賮丕氐賷賱 丨丕賱丞 毓卮賯 賲丕 亘賷賳 丕賱亘賴噩丞 賵丕賱兀賱賲
賷囟賲 賲毓丕賱賲 賵賱丨馗丕鬲 賵賲卮丕毓乇 鬲亘賯賶 賱賱匕賰乇賶
賷賰鬲亘 亘丕賲賵賯 毓賳 兀孬乇 丕賱丨亘 賵丕賱賮乇丕賯 毓賱賶 丕賱賳賮爻 賵丕賱噩爻丿
賵毓賳 丕賱賲噩鬲賲毓 丕賱鬲乇賰賷 亘胤亘賯丕鬲賴 賵賲毓鬲賯丿丕鬲賴 賮賷 丕賱賳氐賮 丕賱孬丕賳賷 賲賳 丕賱賯乇賳 丕賱毓卮乇賷賳
賵丕賱鬲兀孬購乇 亘兀賮賰丕乇 賵兀爻賱賵亘 丕賱睾乇亘 賮賷 丕賱賲毓賷卮丞 賵丕賱毓賱丕賯丕鬲
丕賱兀爻賱賵亘 爻賱爻 賵賮賷賴 賲毓丕賳賷 噩賲賷賱丞 賰孬賷乇丞 賲鬲賳丕孬乇丞 賮賷 丕賱爻乇丿
亘噩丕賳亘 丕賱丕爻鬲睾乇丕賯 賮賷 丕賱鬲賮丕氐賷賱 賵丕賱廿胤丕賱丞 賮賷 亘毓囟 丕賱兀噩夭丕亍
丕賱鬲乇噩賲丞 噩賷丿丞 賵丕賱乇賵丕賷丞 丌禺乇 賲丕 鬲乇噩賲賴 丕賱賰丕鬲亘 賵丕賱賲鬲乇噩賲 丕賱爻賵乇賷 丕賱乇丕丨賱 毓亘丿 丕賱賯丕丿乇 毓亘丿 丕賱賱賷
賷囟賲 賲毓丕賱賲 賵賱丨馗丕鬲 賵賲卮丕毓乇 鬲亘賯賶 賱賱匕賰乇賶
賷賰鬲亘 亘丕賲賵賯 毓賳 兀孬乇 丕賱丨亘 賵丕賱賮乇丕賯 毓賱賶 丕賱賳賮爻 賵丕賱噩爻丿
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賵丕賱鬲兀孬購乇 亘兀賮賰丕乇 賵兀爻賱賵亘 丕賱睾乇亘 賮賷 丕賱賲毓賷卮丞 賵丕賱毓賱丕賯丕鬲
丕賱兀爻賱賵亘 爻賱爻 賵賮賷賴 賲毓丕賳賷 噩賲賷賱丞 賰孬賷乇丞 賲鬲賳丕孬乇丞 賮賷 丕賱爻乇丿
亘噩丕賳亘 丕賱丕爻鬲睾乇丕賯 賮賷 丕賱鬲賮丕氐賷賱 賵丕賱廿胤丕賱丞 賮賷 亘毓囟 丕賱兀噩夭丕亍
丕賱鬲乇噩賲丞 噩賷丿丞 賵丕賱乇賵丕賷丞 丌禺乇 賲丕 鬲乇噩賲賴 丕賱賰丕鬲亘 賵丕賱賲鬲乇噩賲 丕賱爻賵乇賷 丕賱乇丕丨賱 毓亘丿 丕賱賯丕丿乇 毓亘丿 丕賱賱賷
October 30, 2015
Wow!!!!!!!!
Update: WOW!!!!!
NOTE: Some people may think ..."what is she talking about?" ...nails on a chalkboard & obsessive? Yes...'sometimes'...but My God --in the best of all ways!! The writing is beyond gorgeous -and the story --OMG!
I own this book! (Sorry...'not' giving it away).
When I saw that Steve-goodreads member, was reading the 'not yet' released book, "A Strangeness in My Mind" --due out in a couple of days --I was a little envious! :)
Istanbul: "A Love letter to a City"....(nobody could write it better than Orhan Pamuk)!
Update: WOW!!!!!
NOTE: Some people may think ..."what is she talking about?" ...nails on a chalkboard & obsessive? Yes...'sometimes'...but My God --in the best of all ways!! The writing is beyond gorgeous -and the story --OMG!
I own this book! (Sorry...'not' giving it away).
When I saw that Steve-goodreads member, was reading the 'not yet' released book, "A Strangeness in My Mind" --due out in a couple of days --I was a little envious! :)
Istanbul: "A Love letter to a City"....(nobody could write it better than Orhan Pamuk)!
December 27, 2013
鈥淭ime had not faded my memories (as I had prayed to God it might), nor had it healed my wounds as it is said always to do. I began each day with the hope that the next day would be better, my recollections a little less pointed, but I would awake to the same pain, as if a black lamp were burning eternally inside me, radiating darkness.鈥�
鈥� Orhan Pamuk, The Museum of Innocence
I must say, when I first started reading this book, I groaned inwardly. I had come across it while I was researching the Turkish word huzun (melancholia). However, I鈥檓 not a big fan of books with romantic storylines (I had my fill as a teen), and when I found out this particular romantic storyline was between two cousins, Kemal, a rich 30 year old who happens to be engaged, and 18 year old Fusun, a poor shopkeeper, I groaned even more.
Kemal is creepy! His obsession with Fusun didn鈥檛 sound believable at all to me. He gets to the point of collecting all of Fusun鈥檚 cigarette butts for his museum which is in honour of her, as well as other knick-knacks. I don鈥檛 think many men would collect their loved one鈥檚 cigarette butts and label them by date collected. Kemal reminds me a bit of Bella from Twilight in the sense that he dumps all his friends and family to obsessively mope over his love. This particular sort of angst isn鈥檛 becoming in someone over the age of 16.
The book did have some redeeming points. I鈥檝e never read any books set in Turkey before and Pamuk sets the book in an interesting time period (the 1970s) when Turkey was still traditional but moving towards the modern. On top of that, there鈥檚 the political unrest. I think that made the story slightly more interesting. Discussions on the clashes of cultures between traditional Turkey and modern Turkey, including Turkish elites who had been educated in Europe and America, were interesting. I wish this part had been elaborated more because I would have liked a more in-depth comparison.
I got annoyed by the one-dimensional portrayal of women. I feel that Kemal only fell in love with Fusun because she was beautiful and had entered a beauty pageant. Kemal鈥檚 fianc茅e stayed with him despite knowing he cheated. Women were obviously looked at as mere trophies. Then again, that鈥檚 true in a lot of places even now.
I did get a Proustian feel while reading it. The protagonist鈥檚 musings were indeed very introspective but more obsessive than Proust鈥檚, obsessive to a point that they didn鈥檛 seem believable, I鈥檇 say. Kemal was definitely absolutely obsessed and extreme but reading his thoughts was interesting.
Maybe not the best book to read on Christmas day but I'm glad I finally read something by Pamuk.
鈥� Orhan Pamuk, The Museum of Innocence
I must say, when I first started reading this book, I groaned inwardly. I had come across it while I was researching the Turkish word huzun (melancholia). However, I鈥檓 not a big fan of books with romantic storylines (I had my fill as a teen), and when I found out this particular romantic storyline was between two cousins, Kemal, a rich 30 year old who happens to be engaged, and 18 year old Fusun, a poor shopkeeper, I groaned even more.
Kemal is creepy! His obsession with Fusun didn鈥檛 sound believable at all to me. He gets to the point of collecting all of Fusun鈥檚 cigarette butts for his museum which is in honour of her, as well as other knick-knacks. I don鈥檛 think many men would collect their loved one鈥檚 cigarette butts and label them by date collected. Kemal reminds me a bit of Bella from Twilight in the sense that he dumps all his friends and family to obsessively mope over his love. This particular sort of angst isn鈥檛 becoming in someone over the age of 16.
The book did have some redeeming points. I鈥檝e never read any books set in Turkey before and Pamuk sets the book in an interesting time period (the 1970s) when Turkey was still traditional but moving towards the modern. On top of that, there鈥檚 the political unrest. I think that made the story slightly more interesting. Discussions on the clashes of cultures between traditional Turkey and modern Turkey, including Turkish elites who had been educated in Europe and America, were interesting. I wish this part had been elaborated more because I would have liked a more in-depth comparison.
I got annoyed by the one-dimensional portrayal of women. I feel that Kemal only fell in love with Fusun because she was beautiful and had entered a beauty pageant. Kemal鈥檚 fianc茅e stayed with him despite knowing he cheated. Women were obviously looked at as mere trophies. Then again, that鈥檚 true in a lot of places even now.
I did get a Proustian feel while reading it. The protagonist鈥檚 musings were indeed very introspective but more obsessive than Proust鈥檚, obsessive to a point that they didn鈥檛 seem believable, I鈥檇 say. Kemal was definitely absolutely obsessed and extreme but reading his thoughts was interesting.
Maybe not the best book to read on Christmas day but I'm glad I finally read something by Pamuk.
October 22, 2019
Orhan Pamuk. Why have I waited so long to experience your writing? Because that is what this was. An experience. The Museum of Innocence has a deceitfully simple premise. Kemal Bey, from one of the wealthiest, more prominent families in Turkish society, is to be married to the lovely Sibel, daughter of a diplomat. She is well educated, beautiful, resourceful, well matched for his family even; no one can be anything but ecstatic at their engagement party, where they are on display for all of the nouveau riche to see. No one, that is, except for a young lyc茅e graduate from the poor lower class family named Fusun. Having met only months ago when Kemal came into the gift store where she is employed for a purse for Sibel, the two lovers have since begun a series of rendezvous & barely hidden trysts that, now started, cannot be ended without great pain, trials, & sacrifices. Even worse, though Kemal (through a complex series of cognitive deceptions) is not aware of it at the time, his attachment to young Fusun has become so rich, so deep, so "fated", so obsessive, that the groom to be himself shares her sentiments.
Although Sibel is obviously devastated when she finds out, she remains with him for months after, trying to support his "recovery". This, of course, is not to be. His love, his obsession with Fusun inevitably leads to the abandonment of his fianc茅e, a near perfect marriage/family, the family company, his status in Turkish societies, & many of his closest friends as he devotes almost another decade "winning Fusun back" (whom is now herself married). He visits Fusun four to five times a week for eight years, ingratiating himself with her family; they become more family to him than his own as the years elapse. He even becomes friends, then business partners, with Fusun's aspiring film director husband Feridun. Serving as a cover for his frequent visits to the Kreskin household is his monetary support on Lemon Films, which in turn supports an interestingly complex but unstated understanding between Kemal and Feridun, whom are both vying for the same young lady; sadly, the more deeply felt, true love is hidden, unable to be discussed, while the neatly arranged marriage founded on convenience and something closer to an affinity is what everyone openly imagines and acknowledges. Reading about Turkish cinema, the difficulties with the censor board, young stars trying to remain chaste in the harsh eyes of the public; Kemal and Feridun networking in local bars, Kemal and Fusun watching both Turkish and international films in classic theaters together, first with Feridun then without, first as distant cousins that avoid acknowledging each other, then looking at each other under the soft glow of lights with as much passion and devotion as any long married husband and wife, holding hands with such delicate coyness, I was reminded of something akin to Lolita, The Unbearable Lightness Of Being, Cinema Paradiso, Amelie. There is whimsy, love, loyalty, unstated values, honor and chaste societal expectations, secrets, obsession, mystery, and many illogical decisions in the name of love.
Indeed, his life is completely transformed; though his life continues, for the most part Kemal Bey lives for one purpose, one aim, one girl. As the love story came to a conclusion, I was aware of the thought that this was the first time, at least in quite some time, that such a detailed, complex, saga-like, epic-akin storyline was written to conclusion with such perfection. It was not necessarily an expected, clear, neat ending, but any ambiguity, any decisions the author made that I did not agree with, was unable to remove the smile from my face, the warm, cozy feeling inside as if I had had a warm cup of hot chocolate.
Then, what do you know, another part of Kemal's story begins. The perfect book gets better. He outlines his single minded determination to establish The Museum Of Innocence. Pamuk insightfully forays into the psychology of collecting, collectors, their collections. What makes these people pursue such a passion? Is it true that it is always reflective of a psychological flaw? At what point does a respected, admired endeavor become an obsession? An unappreciated flaw? Which is correct, the "proud" Western collector, whom strives to display there collections for public appreciation? The "bashful" Non-Western collector whom hides it, shunned by their peers? A museum connoisseur myself, I truly loved reading about all the real life museums and/or private collections Kemal visited worldwide as he reflected on his life this far, lived for Fusun.
This is what I cherish about fiction. Nonfiction "Elitist" Readers question the value of fiction. The right amount of disconnect from real life, what they do not realize, is necessary for full absorption of topics that may be uninteresting otherwise. There is so much more to learn, question, explore, discover in fiction in ways more beautiful than the straight facts of nonfiction can.
Throughout the main novel, Kemal Bey refers to Orhan Pamuk a few times, and I loved that an author would put himself in his novel, especially when he was sometimes referred to in a negative way. A great author should always know how to laugh at himself! At the end of The Museum Of Innocence, we learn that Kemal Bey hired Pamuk to write what we have finished reading in his voice. His aim was to have readers really know his story, his Fusun, his life. As readers, a free admission to his Museum has been placed between to paragraphs of text in the last few pages. He tells Orhan Pamuk that the last thing that must be included in the book; what the readers need to realize, is that he, Kemal, "have lived a good life."
What brings The Museum Of Innocence to such a level, of course, is Orhan Pamuk's elegiac, incomparable prose. To portray so much, such visual imagery with seemingly so few words; to describe specific emotions with such preciseness yet eloquently. At chapters, this is a long novel. Yet I always found myself desperately looking at the pages on the right side of my hand, wishing they would always be more than those on my left! There are so many passages that I would love to quote here (i.e. 1) Describing the love you can have simple watching someone, holding items they once held; 2) The chapter illuminating Kemal & Fusun's "language of looks", how meaningful a look, even a non-look could be, during his eight years visiting her family under the guise of assisting her & her husbands' film careers, 3) The kinship he discovered in the subculture of collectors, touring the world to visit museum after museum of niche collections, finding he was not alone, 4) The almost-story-in-itself regarding the passage of time, how we use time to guide us in conducting our lives as it relates to outside society, but to truly live is to live without clocks, as they did in Fusun's house for a time), but I shall leave those hidden gems for you, the next formidable reader of this great novel!
Although Sibel is obviously devastated when she finds out, she remains with him for months after, trying to support his "recovery". This, of course, is not to be. His love, his obsession with Fusun inevitably leads to the abandonment of his fianc茅e, a near perfect marriage/family, the family company, his status in Turkish societies, & many of his closest friends as he devotes almost another decade "winning Fusun back" (whom is now herself married). He visits Fusun four to five times a week for eight years, ingratiating himself with her family; they become more family to him than his own as the years elapse. He even becomes friends, then business partners, with Fusun's aspiring film director husband Feridun. Serving as a cover for his frequent visits to the Kreskin household is his monetary support on Lemon Films, which in turn supports an interestingly complex but unstated understanding between Kemal and Feridun, whom are both vying for the same young lady; sadly, the more deeply felt, true love is hidden, unable to be discussed, while the neatly arranged marriage founded on convenience and something closer to an affinity is what everyone openly imagines and acknowledges. Reading about Turkish cinema, the difficulties with the censor board, young stars trying to remain chaste in the harsh eyes of the public; Kemal and Feridun networking in local bars, Kemal and Fusun watching both Turkish and international films in classic theaters together, first with Feridun then without, first as distant cousins that avoid acknowledging each other, then looking at each other under the soft glow of lights with as much passion and devotion as any long married husband and wife, holding hands with such delicate coyness, I was reminded of something akin to Lolita, The Unbearable Lightness Of Being, Cinema Paradiso, Amelie. There is whimsy, love, loyalty, unstated values, honor and chaste societal expectations, secrets, obsession, mystery, and many illogical decisions in the name of love.
Indeed, his life is completely transformed; though his life continues, for the most part Kemal Bey lives for one purpose, one aim, one girl. As the love story came to a conclusion, I was aware of the thought that this was the first time, at least in quite some time, that such a detailed, complex, saga-like, epic-akin storyline was written to conclusion with such perfection. It was not necessarily an expected, clear, neat ending, but any ambiguity, any decisions the author made that I did not agree with, was unable to remove the smile from my face, the warm, cozy feeling inside as if I had had a warm cup of hot chocolate.
Then, what do you know, another part of Kemal's story begins. The perfect book gets better. He outlines his single minded determination to establish The Museum Of Innocence. Pamuk insightfully forays into the psychology of collecting, collectors, their collections. What makes these people pursue such a passion? Is it true that it is always reflective of a psychological flaw? At what point does a respected, admired endeavor become an obsession? An unappreciated flaw? Which is correct, the "proud" Western collector, whom strives to display there collections for public appreciation? The "bashful" Non-Western collector whom hides it, shunned by their peers? A museum connoisseur myself, I truly loved reading about all the real life museums and/or private collections Kemal visited worldwide as he reflected on his life this far, lived for Fusun.
This is what I cherish about fiction. Nonfiction "Elitist" Readers question the value of fiction. The right amount of disconnect from real life, what they do not realize, is necessary for full absorption of topics that may be uninteresting otherwise. There is so much more to learn, question, explore, discover in fiction in ways more beautiful than the straight facts of nonfiction can.
Throughout the main novel, Kemal Bey refers to Orhan Pamuk a few times, and I loved that an author would put himself in his novel, especially when he was sometimes referred to in a negative way. A great author should always know how to laugh at himself! At the end of The Museum Of Innocence, we learn that Kemal Bey hired Pamuk to write what we have finished reading in his voice. His aim was to have readers really know his story, his Fusun, his life. As readers, a free admission to his Museum has been placed between to paragraphs of text in the last few pages. He tells Orhan Pamuk that the last thing that must be included in the book; what the readers need to realize, is that he, Kemal, "have lived a good life."
What brings The Museum Of Innocence to such a level, of course, is Orhan Pamuk's elegiac, incomparable prose. To portray so much, such visual imagery with seemingly so few words; to describe specific emotions with such preciseness yet eloquently. At chapters, this is a long novel. Yet I always found myself desperately looking at the pages on the right side of my hand, wishing they would always be more than those on my left! There are so many passages that I would love to quote here (i.e. 1) Describing the love you can have simple watching someone, holding items they once held; 2) The chapter illuminating Kemal & Fusun's "language of looks", how meaningful a look, even a non-look could be, during his eight years visiting her family under the guise of assisting her & her husbands' film careers, 3) The kinship he discovered in the subculture of collectors, touring the world to visit museum after museum of niche collections, finding he was not alone, 4) The almost-story-in-itself regarding the passage of time, how we use time to guide us in conducting our lives as it relates to outside society, but to truly live is to live without clocks, as they did in Fusun's house for a time), but I shall leave those hidden gems for you, the next formidable reader of this great novel!
April 12, 2012
I think this will be a short review because i don't want to give too much away. This is probably one of the more unique books i've ever read, done completely unpretentiously. most of the time i was reading it, i was thoroughly swept up in its melancholy atmosphere, but as the story began to resolve toward the very end, the tone lightened and i happily noted Orhan Pamuk's sense of humor and ability to make fun of himself. at least that is how i processed certain things at the end of the book.
as a novelized catalog of a very intimate and personal museum, the book cleverly documents one man's (Kemal) tragic attempt to spend his life happily with the one woman (Fus眉n) he truly loves. the reader knows from the outset that they are aboard a trainwreck, but it's never clear, despite hints all along the way, how the train will ultimately wreck and what will become of Kemal. The reader accompanies Kemal in his besotted state, followed by obsession, and then grief, observing with slight discomfort and sadness Kemal's years collecting various objects connected to Fus眉n in order to feel close to his beloved. Although we don't know until the end what becomes of Kemal or how his story got written, we do know what becomes of his collected objects. They are part of a museum and as we learn his story we are introduced to these objects, or perhaps, as we are introduced to these objects, we learn his story.
I don't know if the five stars will hold up, but i gave it five stars today because i got so entirely wrapped up in the story, and more so as it reached its resolution. i had expected the opposite to be true, but i was wrong. I also feel terrible that i have yet to read Snow, which i have been avoiding since i have been unable to finish My Name is Red and i had heard from several people that Snow is difficult. I've been afraid of it. But now i really want to read it. And everything else that i have yet to read (or finish reading) by Orhan Pamuk.
ETA 04/12/2012: Life art and becomes real-life art. Moved up on my To-Do list: Visit Istanbul.
as a novelized catalog of a very intimate and personal museum, the book cleverly documents one man's (Kemal) tragic attempt to spend his life happily with the one woman (Fus眉n) he truly loves. the reader knows from the outset that they are aboard a trainwreck, but it's never clear, despite hints all along the way, how the train will ultimately wreck and what will become of Kemal. The reader accompanies Kemal in his besotted state, followed by obsession, and then grief, observing with slight discomfort and sadness Kemal's years collecting various objects connected to Fus眉n in order to feel close to his beloved. Although we don't know until the end what becomes of Kemal or how his story got written, we do know what becomes of his collected objects. They are part of a museum and as we learn his story we are introduced to these objects, or perhaps, as we are introduced to these objects, we learn his story.
I don't know if the five stars will hold up, but i gave it five stars today because i got so entirely wrapped up in the story, and more so as it reached its resolution. i had expected the opposite to be true, but i was wrong. I also feel terrible that i have yet to read Snow, which i have been avoiding since i have been unable to finish My Name is Red and i had heard from several people that Snow is difficult. I've been afraid of it. But now i really want to read it. And everything else that i have yet to read (or finish reading) by Orhan Pamuk.
ETA 04/12/2012: Life art and becomes real-life art. Moved up on my To-Do list: Visit Istanbul.
October 4, 2015
diyecek bir 艧ey bulamad谋m. be艧 dakikad谋r bak谋yorum ekrana. 莽ok, 莽ok g眉zel. the washington post'un 艧u dedi臒ine kat谋larak: "pamuk bu kitapla a艧k谋 elle tutulur bir 艧ey olarak 枚n眉m眉ze koyuyor", ve orhan pamuk kitaplar谋n谋n hayat谋mdaki tesad眉fi (ya da de臒il?) do臒ru zamanlamas谋na 艧a艧谋rarak bitireyim. ha bir de, bana istanbul'u sevdiriyor orhan pamuk kitaplar谋.
August 15, 2024
丕賱丨亘 責 丕賱毓卮賯 責 丕賱賴賷丕賲 責 丕賱賵賱賴 責
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兀賲 賷兀鬲賷 囟賲賳 鬲毓夭賷夭 賵鬲乇爻賷禺 賲毓賳賷 丕賱丕乇鬲亘丕胤 賵卮丿丞 丕賱鬲毓賱賯 亘丕賱丨亘賷亘 賰賳丕賷丞 毓賳 睾夭丕乇丞 賵毓賲賯 賵賯賵丞 丨亘 賰賲丕賱 賱賮爻賵賳
爻乇丿 鬲丕乇賷禺 賵賮丕丞 丕賱亘胤賱 亘毓丿 賰賱 賲丕 賱丕賯丕賴 賲賳 丕賱丌賱丌賲 丕賱毓卮賯 毓賱賷 賲丿丕乇 爻賳賵丕鬲 貙
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April 2, 2019
賳夭丿蹖讴 亘賴 賳蹖賲蹖 丕夭 讴鬲丕亘 乇丕 禺賵丕賳丿賴 亘賵丿賲 讴賴 亘賴 丕爻鬲丕賳亘賵賱 乇賮鬲賲貙 噩丕蹖蹖 讴賴 丿丕爻鬲丕賳 讴鬲丕亘 丿乇 丌賳 賲蹖鈥屭柏必�. 丕夭 丕蹖賳 賴蹖噩丕賳鈥屫з嗂屫藏� 賲賵夭賴鈥屫й� 丕爻鬲 賴賲鈥屬嗀з� 賵 賲禺鬲氐 讴鬲丕亘 丿乇 丕爻鬲丕賳亘賵賱. 賲賵夭賴 鬲賵爻胤 丕賵乇賴丕賳 倬丕賲賵讴 鬲兀爻蹖爻 卮丿賴. 丿乇 丕蹖賳 賲賵夭賴 亘乇禺蹖 丕夭 丕卮蹖丕卅蹖 讴賴 讴鬲丕亘 亘賴 丌賳 丕卮丕乇賴 賲蹖鈥屭┵嗀� 賳賲丕蹖卮 丿丕丿賴 賲蹖鈥屫促堌�. 亘乇禺蹖 丕夭 氐丨賳賴鈥屬囏� 賵 鬲氐丕賵蹖乇 讴鬲丕亘 賴賲 亘丕夭爻丕夭蹖 卮丿賴. 丿乇 噩丕蹖鈥屫й� 讴鬲丕亘貙 倬丕賲賵讴 氐乇蹖丨丕賸 亘賴 賲賵夭賴 賵 丕卮蹖丕蹖 丌賳 丕卮丕乇賴 賲蹖鈥屭┵嗀�.
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亘爻蹖丕乇蹖 丕夭 賲卮禺氐賴鈥屬囏й� 爻乇蹖丕賱鈥屬囏й� 鬲乇讴蹖 乇丕 丿丕乇丿貙 丕氐賱丕賸 賳賲蹖鈥屫促堌� 賲賳讴乇 卮丿. 賲賳 丕夭 禺賵丕賳丿賳卮 賱匕鬲 亘乇丿賲. 卮丕蹖丿 爻乇蹖丕賱鈥屬囏й� 鬲乇讴蹖 賴賲 丌賳賯丿乇賴丕 亘丿 賳蹖爻鬲賳丿 賵 丿蹖丿賳 蹖讴蹖-丿賵 鬲丕 丕夭 亘賴鬲乇蹖賳鈥屬囏й屸€屫簇з� 賱匕鬲鈥屫ㄘ� 亘丕卮丿. 亘賴 賴乇 氐賵乇鬲 丿乇 讴賳丕乇 卮亘丕賴鬲鈥屬囏й屫簇� 丕夭 爻乇蹖丕賱鈥屬囏й� 鬲乇讴蹖 亘爻蹖丕乇 亘蹖卮鬲乇 丿丕乇丿 賵 倬乇亘丕乇鬲乇 丕爻鬲.
噩丕賲毓賴鈥屰� 爻賳鬲蹖賽 丿乇 丨丕賱 诏匕丕乇蹖 讴賴 亘爻鬲乇 丕鬲賮丕賯丕鬲 讴鬲丕亘 丕爻鬲貙 亘爻蹖丕乇 卮亘蹖賴 賲丿賱賽 丿丕禺賱蹖賽 禺賵丿賲丕賳 丕爻鬲. 賲孬賱丕賸 丌賳噩丕 賴賲 丿乇 夭賲丕賳賽 賯氐賴貙 丨乇賮 丕夭 丕乇鬲亘丕胤 鬲賳诏丕鬲賳诏 亘讴丕乇鬲 賵 丌亘乇賵爻鬲.
亘蹖卮 丕夭 丕蹖賳 芦噩賳鈥屬嗀з呝団€屄慧� 诏賱卮蹖乇蹖 乇丕 讴賴 亘禺卮蹖 丕夭 乇賵丕蹖鬲卮 丿乇 丕氐賮賴丕賳 賲蹖鈥屭柏必� 夭賲丕賳蹖 讴賴 爻賮乇蹖 亘賴 丕氐賮賴丕賳 丿丕卮鬲賲 禺賵丕賳丿賲. 丨丕賱丕 賯氐丿 丿丕乇賲 丕蹖賳 鬲噩乇亘賴 乇丕 賯賵蹖鈥屫� 賵 噩丿蹖鈥屫� 亘丕 賲賵夭賴鈥屰� 賲毓氐賵賲蹖鬲 鬲讴乇丕乇 讴賳賲!
賳賵蹖爻賳丿賴 讴丕賲賱丕賸 爻乇丨賵氐賱賴 賵 爻乇賮乇氐鬲 賲蹖鈥屬嗁堐屫池� 丕氐賱丕賸 毓噩賱賴鈥屫й� 亘乇丕蹖 噩賲毓 讴乇丿賳 賲丕噩乇丕 賳丿丕乇丿. 诏丕賴蹖 賲賲讴賳 丕爻鬲 禺爻鬲賴鈥屭┵嗁嗀� 卮賵丿貙 賵賱蹖 賲賳 亘丕 禺賵丿賲 賮讴乇 賲蹖鈥屭┴必呚� 丿丕乇賲 亘賴 蹖讴 毓丕卮賯 诏賵卮 賲蹖鈥屫囐� 讴賴 丕夭 丕爻丕乇丕鬲鈥�-鈥屫ж� 賱匕鬲 賲蹖鈥屫ㄘ必� 賵 趩蹖夭賴丕蹖蹖 乇丕 讴卮賮 讴乇丿賴 讴賴 丿賵爻鬲 丿丕乇丿 丿乇亘丕乇賴鈥屰� 丌賳鈥屬囏� 倬乇丨乇賮蹖 讴賳丿. 亘丕 趩賳蹖賳 鬲氐賵乇蹖 亘賴 乇丕賵蹖 丨賯 賲蹖鈥屫ж� 賵 禺賵丿賲 乇丕 亘丕 丕賵 賴賲乇丕賴 賲蹖鈥屭┴必�.
亘爻蹖丕乇蹖 丕夭 賲卮禺氐賴鈥屬囏й� 爻乇蹖丕賱鈥屬囏й� 鬲乇讴蹖 乇丕 丿丕乇丿貙 丕氐賱丕賸 賳賲蹖鈥屫促堌� 賲賳讴乇 卮丿. 賲賳 丕夭 禺賵丕賳丿賳卮 賱匕鬲 亘乇丿賲. 卮丕蹖丿 爻乇蹖丕賱鈥屬囏й� 鬲乇讴蹖 賴賲 丌賳賯丿乇賴丕 亘丿 賳蹖爻鬲賳丿 賵 丿蹖丿賳 蹖讴蹖-丿賵 鬲丕 丕夭 亘賴鬲乇蹖賳鈥屬囏й屸€屫簇з� 賱匕鬲鈥屫ㄘ� 亘丕卮丿. 亘賴 賴乇 氐賵乇鬲 丿乇 讴賳丕乇 卮亘丕賴鬲鈥屬囏й屫簇� 丕夭 爻乇蹖丕賱鈥屬囏й� 鬲乇讴蹖 亘爻蹖丕乇 亘蹖卮鬲乇 丿丕乇丿 賵 倬乇亘丕乇鬲乇 丕爻鬲.
噩丕賲毓賴鈥屰� 爻賳鬲蹖賽 丿乇 丨丕賱 诏匕丕乇蹖 讴賴 亘爻鬲乇 丕鬲賮丕賯丕鬲 讴鬲丕亘 丕爻鬲貙 亘爻蹖丕乇 卮亘蹖賴 賲丿賱賽 丿丕禺賱蹖賽 禺賵丿賲丕賳 丕爻鬲. 賲孬賱丕賸 丌賳噩丕 賴賲 丿乇 夭賲丕賳賽 賯氐賴貙 丨乇賮 丕夭 丕乇鬲亘丕胤 鬲賳诏丕鬲賳诏 亘讴丕乇鬲 賵 丌亘乇賵爻鬲.
亘蹖卮 丕夭 丕蹖賳 芦噩賳鈥屬嗀з呝団€屄慧� 诏賱卮蹖乇蹖 乇丕 讴賴 亘禺卮蹖 丕夭 乇賵丕蹖鬲卮 丿乇 丕氐賮賴丕賳 賲蹖鈥屭柏必� 夭賲丕賳蹖 讴賴 爻賮乇蹖 亘賴 丕氐賮賴丕賳 丿丕卮鬲賲 禺賵丕賳丿賲. 丨丕賱丕 賯氐丿 丿丕乇賲 丕蹖賳 鬲噩乇亘賴 乇丕 賯賵蹖鈥屫� 賵 噩丿蹖鈥屫� 亘丕 賲賵夭賴鈥屰� 賲毓氐賵賲蹖鬲 鬲讴乇丕乇 讴賳賲!
May 28, 2020
Sonia rushes to the shelf that houses the Pamuk collection, his visit to Goa has got everyone in a tizzy, should we read Pamuk or not is the question of the day.
Nobel Laureate visiting our homeland after all. Museum of Innocence she thinks, how quaint, comfortably seated she plunges into the book; her eagerness knows no bounds鈥�.
Page 1; Wow, sex on the very first page. Isn鈥檛 that a tad antiquated? A Nobel Laureate knows what he is doing. She reads better writing is sure to follow鈥�
Page 5-25; High society of Istanbul, Kamal bey, the protagonist belongs to this set of aristocrats, they control most of the wealth in Turkey. Privileged people, living the life of the 眉ber rich, visiting all the hot spots, eating delicious food, drinking imported champagne, their women most of them Sorbonne educated, liberated, think nothing of sleeping with their fianc茅 before marriage. Sibel and Kamal bey are all set to marry and live a beautiful life just like all the wealthy do in Istanbul.
Pages 30-6o; Enter Fusun, beautiful, impoverished a distant relative to Kamal bey, torrid love affair begins, but should a nice girl like Fusun 鈥榬uin鈥� her reputation in such a fashion? After all Kamal bey cannot marry her. Come now her mother is just a seamstress, worked for Kamal bey鈥檚 Mother. Of course she is tolerated as a poor relative; the family even invites her for Kamal bey鈥檚 engagement to Sibel. That was so nice, her parents were overjoyed.
Pages 65 鈥� 100; Affair continues, lovers quarrel incessantly, their love is not written in the stars, it just cannot be. Kamal bey obsessed by Fusun runs to his parent鈥檚 apartment where he sleeps with her every evening at the appointed hour, when he is not making love to her he paces the streets like a madman hoping to see Fusun. A man possessed. Hey is this just a triangular love story...?
Pages 119 鈥� 203; Affair continues, lovers quarrel incessantly, Sibel breaks off the engagement, she wants to marry a very rich normal guy after all there are many such men in Istanbul. Kamal bey begins visiting Fusun鈥檚 home, turns a kleptomaniac, nothing of importance mind you, just cigarette butts, occasional saltshakers, some forgotten hairpins, and barrettes - things not difficult to pick up.
Pages 216 鈥� 250; Fusun wants to act in movies, affair continues, lovers quarrel incessantly. Kamal bey has now amassed a huge collection of cigarette butts; all have touched Fusun鈥檚 rosy lips, graduates to larger and more visible objects like ashtrays, cups, and slippers. Is it for the thrill of it? What鈥檚 this new avatar?
Pages 270 鈥� 299; Obsession continues, somewhere down the line Fusun gets married, Kamal bey begins having dinner regularly at Fusun鈥檚 home, no affair, only haughty glances from Fusun and an occasional brushing of bodies. Tiny apartments are good for such close contacts. Kamal bey decides to back Feridun, Fusun鈥檚 husband, in producing a film. Kleptomania continues.
Pages 299-350; The movie is stuck, nothing comes out of it, Psssst Kamal bey was just humouring Fusun so that he could meet her every day. Fusun very tired and dejected, Feridun very tired and dejected, obsession continues, kleptomania continues. Kamal bey is turning his parent鈥檚 apartment into a shrine of obsession.
Pages 359- 400; Obsession continues, kleptomania continues.
Pages 450 - 500; Obsession continues, kleptomania continues.
Sonia gives up...This book she decides is only for people who can understand the meaning behind the meaning.
Realises her mental capacities are way below those of a Nobel laureate...Gives up.
Nobel Laureate visiting our homeland after all. Museum of Innocence she thinks, how quaint, comfortably seated she plunges into the book; her eagerness knows no bounds鈥�.
Page 1; Wow, sex on the very first page. Isn鈥檛 that a tad antiquated? A Nobel Laureate knows what he is doing. She reads better writing is sure to follow鈥�
Page 5-25; High society of Istanbul, Kamal bey, the protagonist belongs to this set of aristocrats, they control most of the wealth in Turkey. Privileged people, living the life of the 眉ber rich, visiting all the hot spots, eating delicious food, drinking imported champagne, their women most of them Sorbonne educated, liberated, think nothing of sleeping with their fianc茅 before marriage. Sibel and Kamal bey are all set to marry and live a beautiful life just like all the wealthy do in Istanbul.
Pages 30-6o; Enter Fusun, beautiful, impoverished a distant relative to Kamal bey, torrid love affair begins, but should a nice girl like Fusun 鈥榬uin鈥� her reputation in such a fashion? After all Kamal bey cannot marry her. Come now her mother is just a seamstress, worked for Kamal bey鈥檚 Mother. Of course she is tolerated as a poor relative; the family even invites her for Kamal bey鈥檚 engagement to Sibel. That was so nice, her parents were overjoyed.
Pages 65 鈥� 100; Affair continues, lovers quarrel incessantly, their love is not written in the stars, it just cannot be. Kamal bey obsessed by Fusun runs to his parent鈥檚 apartment where he sleeps with her every evening at the appointed hour, when he is not making love to her he paces the streets like a madman hoping to see Fusun. A man possessed. Hey is this just a triangular love story...?
Pages 119 鈥� 203; Affair continues, lovers quarrel incessantly, Sibel breaks off the engagement, she wants to marry a very rich normal guy after all there are many such men in Istanbul. Kamal bey begins visiting Fusun鈥檚 home, turns a kleptomaniac, nothing of importance mind you, just cigarette butts, occasional saltshakers, some forgotten hairpins, and barrettes - things not difficult to pick up.
Pages 216 鈥� 250; Fusun wants to act in movies, affair continues, lovers quarrel incessantly. Kamal bey has now amassed a huge collection of cigarette butts; all have touched Fusun鈥檚 rosy lips, graduates to larger and more visible objects like ashtrays, cups, and slippers. Is it for the thrill of it? What鈥檚 this new avatar?
Pages 270 鈥� 299; Obsession continues, somewhere down the line Fusun gets married, Kamal bey begins having dinner regularly at Fusun鈥檚 home, no affair, only haughty glances from Fusun and an occasional brushing of bodies. Tiny apartments are good for such close contacts. Kamal bey decides to back Feridun, Fusun鈥檚 husband, in producing a film. Kleptomania continues.
Pages 299-350; The movie is stuck, nothing comes out of it, Psssst Kamal bey was just humouring Fusun so that he could meet her every day. Fusun very tired and dejected, Feridun very tired and dejected, obsession continues, kleptomania continues. Kamal bey is turning his parent鈥檚 apartment into a shrine of obsession.
Pages 359- 400; Obsession continues, kleptomania continues.
Pages 450 - 500; Obsession continues, kleptomania continues.
Sonia gives up...This book she decides is only for people who can understand the meaning behind the meaning.
Realises her mental capacities are way below those of a Nobel laureate...Gives up.
November 18, 2022
Masumiyet M眉zesi, 艧imdiye kadar Orhan Pamuk鈥檛an okudu臒um kitaplar谋n aras谋nda en sevdi臒im oldu. Kendisi zaten bir atmosfer yaratmak ve okurunu bu atmosferin i莽ine 莽ekmek konusunda 莽ok ba艧ar谋l谋. Kitab谋 okurken, Kemal鈥檌n pe艧inde 1970鈥檒erden ba艧layarak 陌stanbul鈥檜nu ad谋m ad谋m geziyor, zamanda ilerliyor ve adeta b眉t眉n d枚nemi ya艧谋yorsunuz. San谋r谋m ayr谋ld谋臒谋m g眉n眉n 眉zerinden ge莽en 14 ay谋n ard谋ndan, ilk defa bu kitab谋 okurken 陌stanbul鈥檜 枚zledim. o Kadar g眉莽l眉 bir anlat谋m谋 var. Kitab谋n di臒er bir g眉zelli臒i ise, gayet ki艧isel bir a艧k -ya da bana g枚re tak谋nt谋- hikayesini ana merkeze alsa da yakla艧谋k 30 y谋ll谋k bir s眉re莽te, T眉rkiye鈥檔in hem siyasi, hem de sosyo-k眉lt眉rel toplum dinamikleri a莽谋s谋ndan ya艧ad谋臒谋 de臒i艧imleri, hikayenin ak谋艧谋n谋 bozmadan, g眉ndelik hayat谋n ak谋艧谋nda aktarmas谋. Haf谋za ve zaman kavramlar谋n谋 hem kolektif hem de ki艧isel d眉zeyde 莽ok etkileyici bir 艧ekilde ele al谋yor. Ki艧isel d眉zeyde Kemal鈥檌n ya艧ad谋臒谋 buhranlar, 眉lkenin ge莽irdi臒i keskin k谋r谋l谋mlarla birlikte ilerlerken hikayede ayr谋艧ma ya da g枚ze batma ya艧anm谋yor. Asl谋nda bu a莽谋dan da k枚t眉 zamanlarda elinizin gitmemesi gereken kitaplardan, zira karamsar ruh hali, anlat谋n谋n b眉t眉n ger莽ekli臒iyle insan谋 ele ge莽iriyor.
Ancak b眉t眉n bu iyi yanlar谋n谋n aras谋nda beni 莽ok rahats谋z eden bir 艧ey; 鈥渁艧k谋 elle tutulur bir 艧ey olarak 枚n眉m眉ze koyuyor.鈥� diye tan谋mlanan bir kitapta kad谋n karakterlerin hi莽bir derinli臒inin olmamas谋. Saplant谋l谋 bir tutkuyla sevilen, u臒runa y谋llar verilip m眉ze kurulan, ruhunun g眉zelli臒ine 枚m眉r harcanan 贵眉蝉耻苍鈥檜n o g眉zel ruhunu -Kemal鈥檌n vurgular谋 d谋艧谋nda- okuyucu asla g枚remiyor. Tabii Orhan Pamuk鈥檜n anlatmak istedi臒i, bir a艧k roman谋ndan ziyade do臒uyla bat谋 aras谋nda bocalayan, kendisi i莽in ideal g枚r眉len bir evlilik 枚ncesi depresyona s眉r眉klenen, 鈥渕asumiyet鈥� kavram谋n谋 do臒u d眉zeyinde alg谋layan lakin bununla y眉zle艧emeyen bir adam谋n s谋k谋艧m谋艧l谋臒谋, i莽e d枚n眉艧眉 ve b眉t眉n bunlar谋n sonunda d眉艧t眉臒眉 saplant谋 da olabilir. Bu durumda kad谋n karakterlerin yaln谋zca ismen ve bir g枚rev gibi var olmalar谋 da ayr谋 bir anlam kazan谋yor. Hikayenin en ba艧谋ndaki gayet detayl谋 anlat谋lan arkada艧 ili艧kileri, i艧 d眉nyas谋 ve g眉ndelik hayat谋n, kitap ilerledik莽e git gide silikle艧ip yaln谋zca f眉suna dair detaylara odakland谋臒谋 g枚z 枚n眉ne al谋n谋rsa bu daha da mant谋kl谋 geliyor insana.
Orhan Pamuk y谋ld谋z谋m谋n pek bar谋艧mad谋臒谋 o y眉zden de 莽ok fazla kitab谋n谋 okumad谋臒谋mdan, 眉zerine ne s枚ylesem eksik ya da hatal谋 olma ihtimali y眉ksek olan yazarlardan. Ancak kendimden yola 莽谋karak s枚yleyebilece臒im yazar ile anla艧amasan谋z dahi severek okuyaca臒谋n谋z bir kitap. 脟眉nk眉 m眉ze 眉zerine in艧a edilen bir kitap fikriyle gerekse saplant谋y谋 anlatma 艧ekliyle ve okuruna ge莽irdi臒i ger莽ek莽ili臒iyle 莽ok etkileyici. Kimi tekrarlar ve ayr谋nt谋lar kitab谋 s谋k谋c谋 yap谋yor gibi g枚r眉nse de bence bo臒ulan ruhu, ya艧anan tak谋nt谋 halini 莽ok daha iyi yans谋tan ve Kemal鈥檌n yan谋nda oturup, sanki onunla ayn谋 yorgun havay谋 soluyor gibi hissetmenize sebep olan detaylar. E臒er okumasayd谋m, T眉rk edebiyat谋na dair 枚nemli bir noktam eksik kal谋rd谋 o y眉zden iyi ki okudum dedi臒im kitaplardan birisi oldu.
Ancak b眉t眉n bu iyi yanlar谋n谋n aras谋nda beni 莽ok rahats谋z eden bir 艧ey; 鈥渁艧k谋 elle tutulur bir 艧ey olarak 枚n眉m眉ze koyuyor.鈥� diye tan谋mlanan bir kitapta kad谋n karakterlerin hi莽bir derinli臒inin olmamas谋. Saplant谋l谋 bir tutkuyla sevilen, u臒runa y谋llar verilip m眉ze kurulan, ruhunun g眉zelli臒ine 枚m眉r harcanan 贵眉蝉耻苍鈥檜n o g眉zel ruhunu -Kemal鈥檌n vurgular谋 d谋艧谋nda- okuyucu asla g枚remiyor. Tabii Orhan Pamuk鈥檜n anlatmak istedi臒i, bir a艧k roman谋ndan ziyade do臒uyla bat谋 aras谋nda bocalayan, kendisi i莽in ideal g枚r眉len bir evlilik 枚ncesi depresyona s眉r眉klenen, 鈥渕asumiyet鈥� kavram谋n谋 do臒u d眉zeyinde alg谋layan lakin bununla y眉zle艧emeyen bir adam谋n s谋k谋艧m谋艧l谋臒谋, i莽e d枚n眉艧眉 ve b眉t眉n bunlar谋n sonunda d眉艧t眉臒眉 saplant谋 da olabilir. Bu durumda kad谋n karakterlerin yaln谋zca ismen ve bir g枚rev gibi var olmalar谋 da ayr谋 bir anlam kazan谋yor. Hikayenin en ba艧谋ndaki gayet detayl谋 anlat谋lan arkada艧 ili艧kileri, i艧 d眉nyas谋 ve g眉ndelik hayat谋n, kitap ilerledik莽e git gide silikle艧ip yaln谋zca f眉suna dair detaylara odakland谋臒谋 g枚z 枚n眉ne al谋n谋rsa bu daha da mant谋kl谋 geliyor insana.
Orhan Pamuk y谋ld谋z谋m谋n pek bar谋艧mad谋臒谋 o y眉zden de 莽ok fazla kitab谋n谋 okumad谋臒谋mdan, 眉zerine ne s枚ylesem eksik ya da hatal谋 olma ihtimali y眉ksek olan yazarlardan. Ancak kendimden yola 莽谋karak s枚yleyebilece臒im yazar ile anla艧amasan谋z dahi severek okuyaca臒谋n谋z bir kitap. 脟眉nk眉 m眉ze 眉zerine in艧a edilen bir kitap fikriyle gerekse saplant谋y谋 anlatma 艧ekliyle ve okuruna ge莽irdi臒i ger莽ek莽ili臒iyle 莽ok etkileyici. Kimi tekrarlar ve ayr谋nt谋lar kitab谋 s谋k谋c谋 yap谋yor gibi g枚r眉nse de bence bo臒ulan ruhu, ya艧anan tak谋nt谋 halini 莽ok daha iyi yans谋tan ve Kemal鈥檌n yan谋nda oturup, sanki onunla ayn谋 yorgun havay谋 soluyor gibi hissetmenize sebep olan detaylar. E臒er okumasayd谋m, T眉rk edebiyat谋na dair 枚nemli bir noktam eksik kal谋rd谋 o y眉zden iyi ki okudum dedi臒im kitaplardan birisi oldu.
May 4, 2019
蹖讴 賲孬丕賱 丿蹖诏賴 亘乇丕蹖 禺賵丿賲 讴賴 亘賮賴賲賲 讴鬲丕亘賴丕蹖蹖 讴賴 蹖讴 丿賮毓賴 禺蹖賱蹖 賲毓乇賵賮 賲蹖卮賳丿 噩丕賱亘 賳蹖爻鬲賳丿 爻乇丕睾 丕蹖賳賴丕 賳乇賵
丕蹖賳 丕賵賱蹖賳 賵 氐丿 丕賱亘鬲賴 丕禺乇蹖賳 讴鬲丕亘 賲賳 丕夭 倬丕賲賵讴 亘賵丿 賵 亘賴 丨丿蹖 賳丕丕賲蹖丿 讴賳賳丿賴 亘賵丿 讴賴 丿蹖诏賴 賴乇诏夭 爻乇丕睾 讴鬲丕亘 賴丕蹖 丕蹖賳 賳賵蹖爻賳丿賴 丨鬲蹖 亘丕 賵噩賵丿 鬲毓乇蹖賮 賴丕 賵 噩賵丕蹖夭 賳乇賲
丕賳诏丕乇 讴賴 鬲賲丕賲 賲丿鬲 丿乇 丨丕賱 丿蹖丿賳 蹖讴 爻乇蹖丕賱 鬲乇讴蹖賴 丕蹖 胤賵賱丕賳蹖 丌亘讴蹖 鬲賲丕賲 毓蹖丕乇 賴爻鬲蹖
丿丕爻鬲丕賳 亘爻蹖丕乇 賳丕夭賱 賵 夭乇丿 賵 亘丿賵賳 賲賳胤賯
丕蹖賳 丕賵賱蹖賳 賵 氐丿 丕賱亘鬲賴 丕禺乇蹖賳 讴鬲丕亘 賲賳 丕夭 倬丕賲賵讴 亘賵丿 賵 亘賴 丨丿蹖 賳丕丕賲蹖丿 讴賳賳丿賴 亘賵丿 讴賴 丿蹖诏賴 賴乇诏夭 爻乇丕睾 讴鬲丕亘 賴丕蹖 丕蹖賳 賳賵蹖爻賳丿賴 丨鬲蹖 亘丕 賵噩賵丿 鬲毓乇蹖賮 賴丕 賵 噩賵丕蹖夭 賳乇賲
丕賳诏丕乇 讴賴 鬲賲丕賲 賲丿鬲 丿乇 丨丕賱 丿蹖丿賳 蹖讴 爻乇蹖丕賱 鬲乇讴蹖賴 丕蹖 胤賵賱丕賳蹖 丌亘讴蹖 鬲賲丕賲 毓蹖丕乇 賴爻鬲蹖
丿丕爻鬲丕賳 亘爻蹖丕乇 賳丕夭賱 賵 夭乇丿 賵 亘丿賵賳 賲賳胤賯
August 18, 2019
韦蔚位喂魏维 蠈位慰 魏伪喂 蟺喂慰 蟺慰位蠉 蟽喂纬慰蠀蟻蔚蠉慰渭伪喂 纬喂伪 魏维蟿喂 蟺慰蠀 苇蠂蠅 尉伪谓伪纬蟻维蠄蔚喂 蔚未蠋 蟽蟿慰 欧宝娱乐, 蠈蟿喂 畏 蟽蟿喂纬渭萎 蟿畏蟼 渭蔚纬维位畏蟼 苇渭蟺谓蔚蠀蟽畏蟼 纬喂伪 蟿慰蠀蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰蠀蟼 蟽蠀纬纬蟻伪蠁蔚委蟼, 苇蟻蠂蔚蟿伪喂 渭委伪 维谓蟿蔚 未蠉慰 蠁慰蟻苇蟼 蟽蟿畏 味蠅萎 蟿慰蠀蟼.
螣 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 苇纬蟻伪蠄蔚 蟿慰 , 苇纬蟻伪蠄蔚 魏伪喂 伪蠀蟿蠈 蔚未蠋.
桅蠀蟽喂魏维, 畏 纬蟻伪蠁萎 蟿慰蠀 螣蟻蠂维谓 螤伪渭慰蠉魏, 蔚委谓伪喂 畏 纬蟻伪蠁萎 蟿慰蠀 螣蟻蠂维谓 螤伪渭慰蠉魏. 螒魏蠈渭伪 魏伪喂 蟽蠀谓蟿伪纬萎 渭伪纬蔚喂蟻喂魏萎蟼 谓伪 纬蟻维蠄蔚喂, 胃伪 蔚委谓伪喂 蠀蠄畏位萎 位慰纬慰蟿蔚蠂谓委伪, 慰蟺蠈蟿蔚 未蔚谓 渭蟺慰蟻蠋 谓伪 未蠋蟽蠅 位喂纬蠈蟿蔚蟻伪 伪蟺蠈 4 伪蟽蟿苇蟻喂伪. 螖蔚谓 蟺维蔚喂 蟿慰 蠂苇蟻喂 渭慰蠀!
螤苇蟻伪 伪蟺蠈 伪蠀蟿蠈 蠈渭蠅蟼, 蟿喂? 韦喂 伪魏蟻喂尾蠋蟼 蟽魏蔚蠁蟿蠈蟿伪谓 纬蟻维蠁慰谓蟿伪蟼 蟿慰 渭慰蠀蟽蔚委慰 蟿畏蟼 伪胃蠅蠈蟿畏蟿伪蟼? 螌位慰 蟿慰 尾喂尾位委慰 蟺蔚蟻喂纬蟻维蠁蔚喂 渭喂伪 伪蟻蟻蠅蟽蟿畏渭苇谓畏 蔚蟻蠅蟿喂魏萎 蔚渭渭慰谓萎 蟿慰蠀 伪蠁畏纬畏蟿萎, 渭苇蟽蠅 蟿畏蟼 慰蟺慰委伪蟼 萎胃蔚位蔚 谓伪 渭伪蟼 蟺蔚喂 蟿喂?
违蟺维蟻蠂慰蠀谓 伪谓伪蠁慰蟻苇蟼 蟽蟿喂蟼 蟽蟿喂纬渭苇蟼 蟺慰蠀 蟽蠀谓未苇慰蠀谓 蟿慰 蠂蟻蠈谓慰 魏伪喂 蟿蔚位喂魏维 伪蟺慰蟿蔚位慰蠉谓 蟿慰 蠂蟻蠈谓慰, 蠈蟺蠅蟼 蟿慰 苇蠂蔚喂 蟺蔚蟻喂纬蟻维蠄蔚喂 慰 螒蟻喂蟽蟿慰蟿苇位畏蟼, 魏伪喂 纬委谓蔚蟿伪喂 伪谓蟿喂蟽蟿慰喂蠂委伪 渭蔚 蟿喂蟼 蟽蟿喂纬渭苇蟼 蔚蠀蟿蠀蠂委伪蟼 蟿慰蠀 伪蠁畏纬畏蟿萎 蟺慰蠀 蟿蔚位喂魏维 胃蔚蠅蟻蔚委 蠈蟿喂 未喂魏伪喂蠋谓慰蠀谓 渭喂伪 慰位蠈魏位畏蟻畏 味蠅萎 魏伪喂 蟿畏谓 魏维谓慰蠀谓 蔚蠀蟿蠀蠂喂蟽渭苇谓畏, 伪位位维 伪蠀蟿蠈 伪蟻魏蔚委 纬喂伪 谓伪 未喂魏伪喂蠋蟽蔚喂 苇谓伪 慰位蠈魏位畏蟻慰 尾喂尾位委慰?
螕蔚谓喂魏维 蠈蠂喂 伪蟺蠈 蟿伪 尾喂尾位委伪 蟺慰蠀 胃伪 蟺蟻蠈蟿蔚喂谓伪, 蟺伪蟻维 蟿伪 4 伪蟽蟿苇蟻喂伪.
螣 维谓胃蟻蠅蟺慰蟼 蟺慰蠀 苇纬蟻伪蠄蔚 蟿慰 , 苇纬蟻伪蠄蔚 魏伪喂 伪蠀蟿蠈 蔚未蠋.
桅蠀蟽喂魏维, 畏 纬蟻伪蠁萎 蟿慰蠀 螣蟻蠂维谓 螤伪渭慰蠉魏, 蔚委谓伪喂 畏 纬蟻伪蠁萎 蟿慰蠀 螣蟻蠂维谓 螤伪渭慰蠉魏. 螒魏蠈渭伪 魏伪喂 蟽蠀谓蟿伪纬萎 渭伪纬蔚喂蟻喂魏萎蟼 谓伪 纬蟻维蠄蔚喂, 胃伪 蔚委谓伪喂 蠀蠄畏位萎 位慰纬慰蟿蔚蠂谓委伪, 慰蟺蠈蟿蔚 未蔚谓 渭蟺慰蟻蠋 谓伪 未蠋蟽蠅 位喂纬蠈蟿蔚蟻伪 伪蟺蠈 4 伪蟽蟿苇蟻喂伪. 螖蔚谓 蟺维蔚喂 蟿慰 蠂苇蟻喂 渭慰蠀!
螤苇蟻伪 伪蟺蠈 伪蠀蟿蠈 蠈渭蠅蟼, 蟿喂? 韦喂 伪魏蟻喂尾蠋蟼 蟽魏蔚蠁蟿蠈蟿伪谓 纬蟻维蠁慰谓蟿伪蟼 蟿慰 渭慰蠀蟽蔚委慰 蟿畏蟼 伪胃蠅蠈蟿畏蟿伪蟼? 螌位慰 蟿慰 尾喂尾位委慰 蟺蔚蟻喂纬蟻维蠁蔚喂 渭喂伪 伪蟻蟻蠅蟽蟿畏渭苇谓畏 蔚蟻蠅蟿喂魏萎 蔚渭渭慰谓萎 蟿慰蠀 伪蠁畏纬畏蟿萎, 渭苇蟽蠅 蟿畏蟼 慰蟺慰委伪蟼 萎胃蔚位蔚 谓伪 渭伪蟼 蟺蔚喂 蟿喂?
违蟺维蟻蠂慰蠀谓 伪谓伪蠁慰蟻苇蟼 蟽蟿喂蟼 蟽蟿喂纬渭苇蟼 蟺慰蠀 蟽蠀谓未苇慰蠀谓 蟿慰 蠂蟻蠈谓慰 魏伪喂 蟿蔚位喂魏维 伪蟺慰蟿蔚位慰蠉谓 蟿慰 蠂蟻蠈谓慰, 蠈蟺蠅蟼 蟿慰 苇蠂蔚喂 蟺蔚蟻喂纬蟻维蠄蔚喂 慰 螒蟻喂蟽蟿慰蟿苇位畏蟼, 魏伪喂 纬委谓蔚蟿伪喂 伪谓蟿喂蟽蟿慰喂蠂委伪 渭蔚 蟿喂蟼 蟽蟿喂纬渭苇蟼 蔚蠀蟿蠀蠂委伪蟼 蟿慰蠀 伪蠁畏纬畏蟿萎 蟺慰蠀 蟿蔚位喂魏维 胃蔚蠅蟻蔚委 蠈蟿喂 未喂魏伪喂蠋谓慰蠀谓 渭喂伪 慰位蠈魏位畏蟻畏 味蠅萎 魏伪喂 蟿畏谓 魏维谓慰蠀谓 蔚蠀蟿蠀蠂喂蟽渭苇谓畏, 伪位位维 伪蠀蟿蠈 伪蟻魏蔚委 纬喂伪 谓伪 未喂魏伪喂蠋蟽蔚喂 苇谓伪 慰位蠈魏位畏蟻慰 尾喂尾位委慰?
螕蔚谓喂魏维 蠈蠂喂 伪蟺蠈 蟿伪 尾喂尾位委伪 蟺慰蠀 胃伪 蟺蟻蠈蟿蔚喂谓伪, 蟺伪蟻维 蟿伪 4 伪蟽蟿苇蟻喂伪.
April 4, 2019
Obsession
The Museum of Innocence is a novel developed with significant depth in relation to the main character, Kemal, and the obsession he has towards a beautiful woman, Fusan. Kemal never managed to secure a full relationship with Fusan because of his obliged engagement to marry Sibel. He always remained infatuated and felt she held his heart. The obsession manifested itself through Kemal collecting objects that had a connection with her, from cigarette butts to kitchen-ware. He would collect anything and everything that she encountered as though it harboured her essence, which he could derive pleasure from.
Kemal marries Sibel but he never fully commits his heart in his marriage, which he has pledged part of to Fusan. He has created this idol, which has grown in standing and adoration, that in his own mind is far superior to the reality. This is actually really sad and I do think more could have been made of his wife's feelings, and what she contended with throughout their marriage.
Over the years Kemal collects so many items that he finally establishes a museum of memorabilia devoted to Fusan. A Museum of Innocence. Or a Museum of Impotence. Depending on your grip of reality. :)
Kemal is a very frustrating person and someone that I have very little empathy with. While we don't have to love every character in a story it's very difficult to connect with the story when you dislike ALL the characters. On a positive note, I appreciate the opportunity to look into the mind of someone so different and wonder was his conscious and subconscious mind a driving force to, hold onto something OR fear of letting go? So are you intrigued or frustrated, are you inspired or unimpressed, or are you wondering what other books I could have read during the time it took to read this 752-page monster?
The writing is never in question and it conveys an imaginary into Istanbul that is wonderful and atmospheric. The level of detail of places and people is remarkable and while I鈥檝e never been, it conveys the cultural and material clash between the West and the Middle East, especially with the more affluent of society.
Personally, I couldn't recommend this book and I've often wondered why I saw it through. Maybe this was the book that convinced me that Not Finishing a book is a legitimate decision.
The Museum of Innocence is a novel developed with significant depth in relation to the main character, Kemal, and the obsession he has towards a beautiful woman, Fusan. Kemal never managed to secure a full relationship with Fusan because of his obliged engagement to marry Sibel. He always remained infatuated and felt she held his heart. The obsession manifested itself through Kemal collecting objects that had a connection with her, from cigarette butts to kitchen-ware. He would collect anything and everything that she encountered as though it harboured her essence, which he could derive pleasure from.
Kemal marries Sibel but he never fully commits his heart in his marriage, which he has pledged part of to Fusan. He has created this idol, which has grown in standing and adoration, that in his own mind is far superior to the reality. This is actually really sad and I do think more could have been made of his wife's feelings, and what she contended with throughout their marriage.
Over the years Kemal collects so many items that he finally establishes a museum of memorabilia devoted to Fusan. A Museum of Innocence. Or a Museum of Impotence. Depending on your grip of reality. :)
Kemal is a very frustrating person and someone that I have very little empathy with. While we don't have to love every character in a story it's very difficult to connect with the story when you dislike ALL the characters. On a positive note, I appreciate the opportunity to look into the mind of someone so different and wonder was his conscious and subconscious mind a driving force to, hold onto something OR fear of letting go? So are you intrigued or frustrated, are you inspired or unimpressed, or are you wondering what other books I could have read during the time it took to read this 752-page monster?
The writing is never in question and it conveys an imaginary into Istanbul that is wonderful and atmospheric. The level of detail of places and people is remarkable and while I鈥檝e never been, it conveys the cultural and material clash between the West and the Middle East, especially with the more affluent of society.
Personally, I couldn't recommend this book and I've often wondered why I saw it through. Maybe this was the book that convinced me that Not Finishing a book is a legitimate decision.
April 3, 2023
Aren't we all surrounded by thousands of tiny little things of the ones we love(d)?
"What a bore is life and how predictable: to be born, live and die." This is what I told my grandma (from my mothersside) at the age of eight after reading next weeks TV-guide completely. She looked at me with a little mysterious smile and said "Yes, you are right". I was old at the age of eight. The strange thing is this feeling never really left me. In retrospect my opinion in hindsight was only a part of 'homo sapiens' life' truth. In life it's not about milestones it's about all the days in between. It's not about being born, learn to ride a bicycle, fall in love, graduate at highschool, buy a house, become a (grand)parent and die. It's about the 26,000 days in between. Sometimes we think we will never really fall in love. Sometimes we are in doubt about the love we feel. Sometimes we hate our lover. Sometimes it feels as if we are not good enough for our lover and need above all affirmation. Sometimes it's a perfect day full of love and being loved. Sometimes we don't think at all about our lover - and feel guilty when we realize that. What I'm trying to say is, we (better: I) live our life one day after another. In retrospect we can put milestones in our personal life but it's hardly sensible in the days we are living one by one. Yesterday is one day. Today is one day. Tomorrow and all the other days are one day.
All bookreviews tell more about the reviewer than about the writer of a book. I'm completely aware of that. Last weekend I finished reading Orhan Pamuk' (1952-) book 'The museum of innocence' (in a dutch translation). From a milestone point of view this book is a bore. 30 year old male Pamuk falls in love with 18 year female Fusun while he is going to be engaged in a few weeks with 26 (?) year old female Sibel. The setting is Istanbul, Turkey in the seventies (of the 20th century). Pamuk and Sibel are both rich and are the perfect couple. Fusun is poor.
I was completely addicted to the book after reading the first 20 pages. I knew - not really but I guessed how it would end otherwise there would have been no reason for a "museum" - how the book was going to end but I loved all those thousands and thousands of tiny little lovely details of a love. A love between Kemal and Sibel. A love between Kemal and Fusun. All the hesitations, the anger, the insecurity, the perfect moments, the jealousy, the lack of affirmation, the tears, the smiles and the feeling of happiness when you just can touch her or finally see her smile while she looks at you. I loved to read about all the "normal" days when Kemal was surrounded by things of Fusun: touching the saltshacker that once stood at Fusun' house, smelling at the red dress Fusun wore on the day of Kemal and Fusun' engagement and drinking from a glass Fusun once drank out of.
This is it. This is life. For me it's a book of love in all it's tiny little elements. It is telling it all: the hesitations, the good and bad moments and all the feelings in between. It's not a book of milestones. It's a book of all the days in between. For me personally to found a museum for the love-of-my-life is too much. It would be too neurotic. I'll never found a museum for the ones I loved so much and the ones I love right now. I'll never found a museum for the love-of-my-life but aren't we all surrounded by hundreds of things, books, smells, songs, thoughts and dreams of the ones we love(d)?
P.s. More bookreviews of this book can be found here.
@jeand99
"What a bore is life and how predictable: to be born, live and die." This is what I told my grandma (from my mothersside) at the age of eight after reading next weeks TV-guide completely. She looked at me with a little mysterious smile and said "Yes, you are right". I was old at the age of eight. The strange thing is this feeling never really left me. In retrospect my opinion in hindsight was only a part of 'homo sapiens' life' truth. In life it's not about milestones it's about all the days in between. It's not about being born, learn to ride a bicycle, fall in love, graduate at highschool, buy a house, become a (grand)parent and die. It's about the 26,000 days in between. Sometimes we think we will never really fall in love. Sometimes we are in doubt about the love we feel. Sometimes we hate our lover. Sometimes it feels as if we are not good enough for our lover and need above all affirmation. Sometimes it's a perfect day full of love and being loved. Sometimes we don't think at all about our lover - and feel guilty when we realize that. What I'm trying to say is, we (better: I) live our life one day after another. In retrospect we can put milestones in our personal life but it's hardly sensible in the days we are living one by one. Yesterday is one day. Today is one day. Tomorrow and all the other days are one day.
All bookreviews tell more about the reviewer than about the writer of a book. I'm completely aware of that. Last weekend I finished reading Orhan Pamuk' (1952-) book 'The museum of innocence' (in a dutch translation). From a milestone point of view this book is a bore. 30 year old male Pamuk falls in love with 18 year female Fusun while he is going to be engaged in a few weeks with 26 (?) year old female Sibel. The setting is Istanbul, Turkey in the seventies (of the 20th century). Pamuk and Sibel are both rich and are the perfect couple. Fusun is poor.
I was completely addicted to the book after reading the first 20 pages. I knew - not really but I guessed how it would end otherwise there would have been no reason for a "museum" - how the book was going to end but I loved all those thousands and thousands of tiny little lovely details of a love. A love between Kemal and Sibel. A love between Kemal and Fusun. All the hesitations, the anger, the insecurity, the perfect moments, the jealousy, the lack of affirmation, the tears, the smiles and the feeling of happiness when you just can touch her or finally see her smile while she looks at you. I loved to read about all the "normal" days when Kemal was surrounded by things of Fusun: touching the saltshacker that once stood at Fusun' house, smelling at the red dress Fusun wore on the day of Kemal and Fusun' engagement and drinking from a glass Fusun once drank out of.
This is it. This is life. For me it's a book of love in all it's tiny little elements. It is telling it all: the hesitations, the good and bad moments and all the feelings in between. It's not a book of milestones. It's a book of all the days in between. For me personally to found a museum for the love-of-my-life is too much. It would be too neurotic. I'll never found a museum for the ones I loved so much and the ones I love right now. I'll never found a museum for the love-of-my-life but aren't we all surrounded by hundreds of things, books, smells, songs, thoughts and dreams of the ones we love(d)?
P.s. More bookreviews of this book can be found here.
@jeand99
July 20, 2019
Lisede birka莽 kitab谋n谋 okuyup Benim Ad谋m K谋rm谋z谋鈥檡谋 okumay谋 beceremeyince Orhan Pamuk okumay谋 tamamen b谋rakm谋艧t谋m. Birka莽 y谋l 枚nce Kara Kitap鈥櫮� mutlaka okumam y枚n眉nde birden fazla insandan tavsiye al谋nca kitaba ba艧lay谋p yar谋s谋na kadar gelip okudu臒um 艧eyden mutsuz olup b谋rakm谋艧t谋m. Fikrine 枚nem verdi臒im herkes Kara Kitap鈥櫮� Orhan Pamuk鈥檜n en iyi i艧i olarak anlat谋yor. Kara Kitap benim i莽in Orhan Pamuk鈥檜n kitab谋 yazma evresinde akl谋na gelen gereksiz metinleri kitaba yedirdi臒i, kitab谋 ana hikayenin y枚r眉ngesinden 莽谋kard谋臒谋, ekledi臒i serbest metinlerle self-oryantalist oldu臒unu g枚sterdi臒i, kitaptaki t眉m c眉mleler i莽in 莽ok 莽al谋艧t谋臒谋n谋, u臒ra艧t谋臒谋n谋 g枚z眉me soktu臒u bir eser oldu. En iyi i艧iyle ilgili b枚yle d眉艧眉nd眉臒眉m i莽in de art谋k kendisiyle yollar谋m谋z谋n kesi艧memesi gerekti臒ini d眉艧眉nd眉m.
Bu y谋l, fikrine 枚nem verdi臒im, Orhan Pamuk ve edebiyat谋yla ilgili 眉zerine konu艧up tart谋艧abildi臒im arkada艧lar谋m Orhan Pamuk sevmesem bile Masumiyet M眉zesi鈥檔e bir 艧ans vermemi istediler. Ben de ba艧ka konularda 枚nyarg谋lar谋m谋n kendimin en b眉y眉k d眉艧man谋 oldu臒una inand谋臒谋m i莽in 枚nyarg谋m谋 bir kenara b谋rak谋p o 艧ans谋 verdim. 陌yi ki vermi艧im yoksa 枚nyarg谋m y眉z眉nden b枚ylesine bir kitab谋 谋skalam谋艧 olacakt谋m. Orhan Pamuk鈥檃 dair fikirlerim hala ayn谋, benim tarz谋m bir edebiyat莽谋 de臒il ama Masumiyet M眉zesi fikrinden ba艧layarak iyi bir kitap.
A艧k gibi bir duyguyu m眉ze olarak kurgulamak fikri, kitab谋 bu m眉zeye g枚re anlatmak harika bir fikir. M眉ze gezmeyi sevenler s谋rf bu sebepten sever kitab谋. Kitab谋 iyi yapan tek 艧ey bu fikir de臒il, 贵眉蝉耻苍鈥檃 kar艧谋 hissettiklerini ifade edebilmek i莽in m眉zeyi kurgulayan Kemal鈥檌n t眉m kitap boyunca anlatt谋臒谋, ya艧ad谋klar谋na ortak etti臒i, 70li y谋llar 陌stanbul鈥檜nda sizi bir yolculu臒a 莽谋karabildi臒i i莽in iyi bir kitap.
Kitapla ilgili beni tek 眉zen 艧ey Kemal鈥檌 bu kadar iyi 莽izebilmi艧ken, her 艧eyiyle 莽ok iyi anlatabilmi艧ken 贵眉蝉耻苍鈥檜 hi莽 anlatamam谋艧 olmas谋. Erkek karakteri bu kadar iyi anlatabilen bir yazardan kad谋n karakteri de dinlemek isterdim. Ahmet Hamdi Tanp谋nar ve O臒uz Atay gibi devlerin bile kad谋n karakter yazmakta g眉d眉k kalmalar谋na benzer bir durum bu da. Uzun y谋llar kad谋n谋n erke臒in bak谋艧 a莽谋s谋yla var olmas谋 yeterli oldu臒u i莽in 眉lkemiz erkek yazarlar谋 kad谋n karakter yazmakta pek ba艧ar谋l谋 de臒iller. Biz hala kad谋n olarak var olmay谋 konu艧uyoruz, kitaplarda da bunlar谋 konu艧maya devam edece臒iz.
Orhan Pamuk sevmeyenlerin dahi sevece臒ini d眉艧眉nd眉臒眉m bir kitap, merak eden bir 艧ans versin.
Bu y谋l, fikrine 枚nem verdi臒im, Orhan Pamuk ve edebiyat谋yla ilgili 眉zerine konu艧up tart谋艧abildi臒im arkada艧lar谋m Orhan Pamuk sevmesem bile Masumiyet M眉zesi鈥檔e bir 艧ans vermemi istediler. Ben de ba艧ka konularda 枚nyarg谋lar谋m谋n kendimin en b眉y眉k d眉艧man谋 oldu臒una inand谋臒谋m i莽in 枚nyarg谋m谋 bir kenara b谋rak谋p o 艧ans谋 verdim. 陌yi ki vermi艧im yoksa 枚nyarg谋m y眉z眉nden b枚ylesine bir kitab谋 谋skalam谋艧 olacakt谋m. Orhan Pamuk鈥檃 dair fikirlerim hala ayn谋, benim tarz谋m bir edebiyat莽谋 de臒il ama Masumiyet M眉zesi fikrinden ba艧layarak iyi bir kitap.
A艧k gibi bir duyguyu m眉ze olarak kurgulamak fikri, kitab谋 bu m眉zeye g枚re anlatmak harika bir fikir. M眉ze gezmeyi sevenler s谋rf bu sebepten sever kitab谋. Kitab谋 iyi yapan tek 艧ey bu fikir de臒il, 贵眉蝉耻苍鈥檃 kar艧谋 hissettiklerini ifade edebilmek i莽in m眉zeyi kurgulayan Kemal鈥檌n t眉m kitap boyunca anlatt谋臒谋, ya艧ad谋klar谋na ortak etti臒i, 70li y谋llar 陌stanbul鈥檜nda sizi bir yolculu臒a 莽谋karabildi臒i i莽in iyi bir kitap.
Kitapla ilgili beni tek 眉zen 艧ey Kemal鈥檌 bu kadar iyi 莽izebilmi艧ken, her 艧eyiyle 莽ok iyi anlatabilmi艧ken 贵眉蝉耻苍鈥檜 hi莽 anlatamam谋艧 olmas谋. Erkek karakteri bu kadar iyi anlatabilen bir yazardan kad谋n karakteri de dinlemek isterdim. Ahmet Hamdi Tanp谋nar ve O臒uz Atay gibi devlerin bile kad谋n karakter yazmakta g眉d眉k kalmalar谋na benzer bir durum bu da. Uzun y谋llar kad谋n谋n erke臒in bak谋艧 a莽谋s谋yla var olmas谋 yeterli oldu臒u i莽in 眉lkemiz erkek yazarlar谋 kad谋n karakter yazmakta pek ba艧ar谋l谋 de臒iller. Biz hala kad谋n olarak var olmay谋 konu艧uyoruz, kitaplarda da bunlar谋 konu艧maya devam edece臒iz.
Orhan Pamuk sevmeyenlerin dahi sevece臒ini d眉艧眉nd眉臒眉m bir kitap, merak eden bir 艧ans versin.
May 12, 2025
Um Amor em Istambul
Se proibido um amor tende a tornar-se obsessivo. Ao n茫o ser praticado torna-se no 鈥渇ruto proibido mais apetecido鈥� nutrido pelas mem贸rias que o conceberam, tal como um museu, onde o passado 茅 imortalizado e... revivido sempre que revisitado...
O Museu da Inoc锚ncia 茅 simultaneamente um ensaio sobre o Amor e uma viagem por Istambul鈥� 茅 mais uma obra 铆mpar onde consta a assinatura de Orhan Pamuk!!!
馃挅馃専馃専馃専馃専馃挅
Se proibido um amor tende a tornar-se obsessivo. Ao n茫o ser praticado torna-se no 鈥渇ruto proibido mais apetecido鈥� nutrido pelas mem贸rias que o conceberam, tal como um museu, onde o passado 茅 imortalizado e... revivido sempre que revisitado...
O Museu da Inoc锚ncia 茅 simultaneamente um ensaio sobre o Amor e uma viagem por Istambul鈥� 茅 mais uma obra 铆mpar onde consta a assinatura de Orhan Pamuk!!!
馃挅馃専馃専馃専馃専馃挅
September 26, 2017
I have been trying to finish this novel for such a long time. It took three tries. Third time lucky. I finally finished it.
An obsessive man shares his memories of a doomed love affair in a society where East and West are fusing. There is a confusion of cultures driven by mosques on the one hand, and malls on the other, which leads to civil unrest and even war in the vibrant ancient city of Istanbul.
I did not manage to become as obsessed as single-minded Kamul with 贵眉蝉耻苍, the eighteen-year old girl, and that makes a difference in as far as I was willing to tolerate his stream of consciousness drive to conquer and take possession of the object of his lust. His ignorance of the violence playing out on the streets of the city, while pursuing his goal, does not alter his vivid descriptions of a city in transition as the cultural and political situation pendulum in daily tumult.
The elaborate backdrop is the 1970s and '80s in Turkey. The style is similar to Nabokov's Humbert and his Lolita, about a man and the woman he loves, but also his love for his city.
I was wondering if 贵眉蝉耻苍, his unforgettable love interest, does not represent the western lifestyle, even America. I can just imagine how important this novel is in the Turkish psyche, exposing the deeper state behind the religious and political mantras ruling over the inhabitants. It serves as an open letter to a divided society, telling the truth where lies are preferred. A quest for tolerance, respect, understanding.
Nevertheless, the repetitious nature of Kamul's obsession dampened my enthusiasm for this novel. There might be a lot of symbolism which got lost on me. It just became tedious and boring. Although it was only 400 pages long, it felt typical of what Stephen King confessed about his own novels: being 鈥渓iterary elephantiasis鈥� - that is, his novels tend to bloat.
However, this novel is an important literary event and deserves the many awards it has won. I'm just happy to have finished it. It is too high to come by for me personally.
An obsessive man shares his memories of a doomed love affair in a society where East and West are fusing. There is a confusion of cultures driven by mosques on the one hand, and malls on the other, which leads to civil unrest and even war in the vibrant ancient city of Istanbul.
I did not manage to become as obsessed as single-minded Kamul with 贵眉蝉耻苍, the eighteen-year old girl, and that makes a difference in as far as I was willing to tolerate his stream of consciousness drive to conquer and take possession of the object of his lust. His ignorance of the violence playing out on the streets of the city, while pursuing his goal, does not alter his vivid descriptions of a city in transition as the cultural and political situation pendulum in daily tumult.
The elaborate backdrop is the 1970s and '80s in Turkey. The style is similar to Nabokov's Humbert and his Lolita, about a man and the woman he loves, but also his love for his city.
I was wondering if 贵眉蝉耻苍, his unforgettable love interest, does not represent the western lifestyle, even America. I can just imagine how important this novel is in the Turkish psyche, exposing the deeper state behind the religious and political mantras ruling over the inhabitants. It serves as an open letter to a divided society, telling the truth where lies are preferred. A quest for tolerance, respect, understanding.
Nevertheless, the repetitious nature of Kamul's obsession dampened my enthusiasm for this novel. There might be a lot of symbolism which got lost on me. It just became tedious and boring. Although it was only 400 pages long, it felt typical of what Stephen King confessed about his own novels: being 鈥渓iterary elephantiasis鈥� - that is, his novels tend to bloat.
However, this novel is an important literary event and deserves the many awards it has won. I'm just happy to have finished it. It is too high to come by for me personally.
March 9, 2018
莽ookk uzun bir s眉redir -san谋r谋m 15-16 sene olmu艧tur- Orhan Pamuk okumuyordum. Daha do臒rusu kronolojik olarak okudu臒um yazar谋 Benim Ad谋m K谋rm谋z谋 dan sonra okumay谋 b谋rakm谋艧t谋m. Sanki benim bildi臒im ve sevdi臒im yazar Benim Ad谋m K谋rm谋z谋' dan sonra ba艧ka bir yazar olmu艧tu. Arada okudu臒um K谋rm谋z谋 Sa莽l谋 Kad谋n 谋 saym谋yorum. Saymak istemiyorum.
Orhan Pamuk kesinlikle 莽ok tart谋艧谋lan bir yazar. Seversiniz sevmezsiniz ancak bence 莽ok 莽al谋艧kan bir yazar. Hakk谋n谋 teslim etmek laz谋m.
Kitaba gelince; benim o Yeni Hayat ile hayran oldu臒um Sessiz Ev, Kara Kitap gibi kitaplar谋 gibi olmasa da yine 眉zerine 莽ok莽a ve samimiyetle a艧kla 莽al谋艧谋lm谋艧 bir kitap Masumiyet M眉zesi. A艧k 眉zerine kitaplar a艧k谋n subjektifli臒inden midir nedir 莽ok ho艧uma gitmese de kitab谋n bu k谋sm谋n谋 bir kenara b谋rak谋rsak asl谋nda de臒i艧ik edebi hilelerin yap谋ld谋臒谋 bir yandan da bu hilelerin samimiyetle de艧ifre edildi臒i g眉zel bir kitap olmu艧. Yine b眉y眉k bir emek var kitapta. Baz谋 zamanlar okumakta zorland谋m hatta kitab谋n notu 3 眉 ge莽mez diyordum ama 枚zellikle son k谋s谋mlar heyecan vericiydi.
Orhan Pamuk kesinlikle 莽ok tart谋艧谋lan bir yazar. Seversiniz sevmezsiniz ancak bence 莽ok 莽al谋艧kan bir yazar. Hakk谋n谋 teslim etmek laz谋m.
Kitaba gelince; benim o Yeni Hayat ile hayran oldu臒um Sessiz Ev, Kara Kitap gibi kitaplar谋 gibi olmasa da yine 眉zerine 莽ok莽a ve samimiyetle a艧kla 莽al谋艧谋lm谋艧 bir kitap Masumiyet M眉zesi. A艧k 眉zerine kitaplar a艧k谋n subjektifli臒inden midir nedir 莽ok ho艧uma gitmese de kitab谋n bu k谋sm谋n谋 bir kenara b谋rak谋rsak asl谋nda de臒i艧ik edebi hilelerin yap谋ld谋臒谋 bir yandan da bu hilelerin samimiyetle de艧ifre edildi臒i g眉zel bir kitap olmu艧. Yine b眉y眉k bir emek var kitapta. Baz谋 zamanlar okumakta zorland谋m hatta kitab谋n notu 3 眉 ge莽mez diyordum ama 枚zellikle son k谋s谋mlar heyecan vericiydi.
March 13, 2019
T么i kh么ng bi岷縯 m矛nh c贸 膽峄� s峄ヽ 膽峄� di峄卬 t岷� nh峄痭g g矛 t么i c岷 nh岷璶 th岷 v峄沬 quy峄僴 s谩ch n脿y. D岷 n脿y t峄� ng峄� c峄 t么i h啤i b峄� y岷縰 膽u峄慽, nh瓢 ch峄� c峄 ch煤ng v岷瓂. 峄�, d岷玼 sao th矛 b岷 th芒n vi峄嘽 vi岷縯 ra 膽茫 l脿 m峄檛 c峄� g岷痭g r峄搃.
C贸 l岷� kh么ng tr谩nh kh峄廼 m峄檛 ch煤t spoil.
T么i mua quy峄僴 s谩ch n脿y 膽茫 膽瓢峄 nhi峄乽 n膬m r峄搃. T么i kh么ng nh峄� r玫 bao l芒u. V脿 th峄漣 gian t么i b岷痶 膽峄峜 quy峄僴 n脿y c农ng trong ng岷 岷 n膬m.
Nh瓢ng khi b岷痶 膽岷 膽峄峜, t么i 膽茫 b峄� ch峄痭g l岷 ch峄� l脿m t矛nh. C峄� 膽峄峜 膽岷縩 膽o岷 l脿m t矛nh l脿 t么i l岷 th岷 r岷 r峄眂, t么i kh么ng 膽峄峜 ti岷縫 膽瓢峄 :))). M脿 c谩i 膽o岷 岷 n贸 l岷 峄� ngay 膽岷 s谩ch. Cho n锚n m茫i trong m峄檛 th峄漣 gian d脿i t么i kh么ng th峄� 膽峄峜 qua v脿 c峄� b峄� d峄� 峄� 膽贸.
Th岷� r峄搃, trong m峄檛 th峄漣 k峄� khi b峄� b岷 lo岷 v脿 膽岷 膽i锚n v矛 c岷 gi谩c b峄� ph岷 b峄檌 (d霉 th峄眂 t岷� kh么ng 膽岷縩 n峄梚 th岷�), t么i c岷 t矛m m峄檛 c谩i g矛 膽贸 膽峄� ph芒n t谩n t瓢 t瓢峄焠g c峄 m矛nh, n锚n 膽茫 t矛nh c峄� nh岷穞 quy峄僴 s谩ch n脿y l锚n. Nh峄痭g 膽o岷 l脿m t矛nh kh么ng c貌n s峄ヽ h煤t v峄沬 m峄檛 k岷� ki峄噒 s峄ヽ v脿 m峄噒 m峄廼 v峄沬 t矛nh y锚u, n锚n t么i ti岷縫 t峄 膽峄峜 n峄痑. V脿 trong t芒m tr岷g 膽au 膽峄沶 v岷璽 v茫 kh么n c霉ng c峄 nh峄痭g suy ngh末 d岷眓 v岷穞 c峄� b峄� nhai 膽i nhai l岷 trong 膽岷, t么i c岷 th岷 nh峄痭g c芒u ch峄� trong truy峄噉 膽em 膽岷縩 cho t么i m峄檛 s峄� an 峄. L岷 膽岷 ti锚n t么i nh岷璶 ra quy峄僴 s谩ch n脿y cu峄憂 h煤t nh瓢 th岷� n脿o. Nh峄痭g 膽o岷 mi锚u t岷� v峄� t矛nh y锚u ch芒n th岷璽 v脿 tinh t岷�. Nh峄痭g quan s谩t v脿 k峄� ni峄噈 nh峄� nh岷穞 v峄� ng瓢峄漣 m矛nh y锚u v脿 cu峄檆 s峄憂g th瓢峄漬g ng脿y l脿m t么i c岷 膽峄檔g. Nh峄痭g c芒u ch峄� k峄� l岷 t峄� m峄� d瓢峄漬g nh瓢 m峄峣 cung b岷璫 c岷 x煤c c贸 th峄� c贸 khi y锚u, l脿m t么i b峄� cu峄憂 h煤t 膽岷縩 say s瓢a, th岷璵 ch铆 c贸 th峄� gi煤p t么i c贸 膽煤ng c岷 gi谩c c峄 nh芒n v岷璽 trong truy峄噉, l脿 t谩ch r峄漣 膽瓢峄 v峄沬 th峄眂 t岷. T么i th岷 m矛nh tho谩t ra 膽瓢峄 kh峄廼 nh峄痭g th峄� t岷 th瓢峄漬g v峄 v岷穞, nh峄痭g tranh c茫i bon chen trong cu峄檆 膽峄漣, v脿 tr峄� l岷 v峄沬 n啤i m脿 m矛nh thu峄檆 v峄�. Th岷璽 bu峄搉 c瓢峄漣, l脿 m峄檛 k岷� th岷 t矛nh l岷 t矛m th岷 m峄檛 s峄� an 峄 k峄� l岷� v脿 kh么n ngu么i trong c芒u chuy峄噉 c峄 m峄檛 k岷� ngo岷 t矛nh.
S谩ch l脿 m峄檛 c芒u chuy峄噉 d脿i. Xen l岷玭 gi峄痑 nh峄痭g chi ti岷縯 mi锚u t岷� t矛nh y锚u tuy峄噒 膽岷筽, l脿 nh峄痭g suy ng岷玬 v脿 tri岷縯 l媒 v峄� th峄漣 gian v脿 媒 ngh末a cu峄檆 膽峄漣, b峄慽 c岷h x茫 h峄檌 Istanbul v脿o th岷璸 ni锚n 70 - 80 v脿 nh峄痭g s峄� ki峄噉 l峄媍h s峄� v芒y quanh, t矛nh y锚u v脿 c岷 x煤c b峄� 膽猫 n茅n b峄焛 谩p l峄眂 n岷穘g n峄� c峄 khu么n m岷玼 gia 膽矛nh v脿 x茫 h峄檌 truy峄乶 th峄憂g, 膽峄媙h ki岷縩 c峄 giai c岷 v脿 gi峄沬 t铆nh, 膽峄媙h ki岷縩 c峄 ng瓢峄漣 kh谩c v峄� ch煤ng ta v脿 c岷� 膽峄媙h ki岷縩 c峄 ta v峄� ch铆nh m矛nh, t岷 c岷� 膽猫 n岷穘g l锚n nhau khi岷縩 con ng瓢峄漣 ta kh么ng th峄� h脿nh 膽峄檔g t峄� do. T么i 膽茫 ng峄� ng脿ng nh岷璶 ra x茫 h峄檌 Th峄� Nh末 K峄� th岷璸 ni锚n 70 c峄 th岷� k峄� tr瓢峄沜 c贸 nh峄痭g n茅t t瓢啤ng 膽峄搉g k峄� l岷� v峄沬 x茫 h峄檌 Vi峄噒 Nam trong th峄漣 b芒y gi峄�.
Nh瓢ng tr锚n h岷縯, B岷 t脿ng Ng芒y th啤 l脿 m峄檛 quy峄僴 s谩ch v峄� c谩i 膽岷筽. C谩i 膽岷筽 u bu峄搉 v脿 r峄眂 r峄� c峄 m峄檛 c芒u chuy峄噉 t矛nh. V岷� 膽岷筽 k峄� l岷� v峄玜 m啤 m峄檔g n锚n th啤, v峄玜 hoang t脿n 膽峄� n谩t c峄 th脿nh ph峄� d瓢峄沬 nh峄痭g bi岷縩 膽峄檔g ch铆nh tr峄� v脿 岷h h瓢峄焠g c峄 c啤n b茫o v膬n h贸a t峄� ph瓢啤ng T芒y. V岷� 膽岷筽 c峄 cu峄檆 s峄憂g ng峄漣 l锚n d瓢峄沬 谩nh m岷痶 trong s谩ng v脿 ng芒y th啤 c峄 m峄檛 ng瓢峄漣 膽ang y锚u. V岷� 膽岷筽 khi mi锚u t岷� n峄檌 t芒m v脿 h脿nh 膽峄檔g 膽岷 m芒u thu岷玭 c峄 con ng瓢峄漣. V脿 v岷� 膽岷筽 t芒m h峄搉 v脿 t铆nh c谩ch, c峄 m峄檛 nh芒n v岷璽 nh岷� nh脿ng, nh岷 c岷, d峄� t峄昻 th瓢啤ng.
Th岷璽 k峄� l岷�, l脿 t么i c农ng 膽峄峜 quy峄僴 s谩ch qua bao bi岷縩 膽峄檔g c峄 cu峄檆 膽峄漣 m矛nh. Qua l煤c th岷 t矛nh, th岷 m矛nh c么 膽峄檆 v脿 l岷� loi nh瓢 m峄檛 con ch贸 nh峄� trong v农 tr峄�, kh么ng kh谩c g矛 nh芒n v岷璽 trong truy峄噉. Qua m霉a 么n thi GRE c膬ng th岷硁g, khi t么i n贸ng n岷 qu峄� tr谩ch nh芒n v岷璽 ch铆nh l脿 m峄檛 th岷眓g cha 膽i锚n kh霉ng, tham lam, v脿 y岷縰 膽u峄慽. Qua m峄檛 d峄媝 t岷縯 岷 谩p c霉ng v峄沬 gia 膽矛nh, khi t么i th岷 m矛nh nh瓢 tay Kemal g脿n d峄�, c农ng t峄玭g c贸 l岷 trong h脿nh tr矛nh t矛m ki岷縨 d瓢峄漬g nh瓢 v么 v峄峮g v峄� m峄檛 膽i峄乽 g矛 膽贸 cho b岷 th芒n m矛nh, 膽茫 v么 t矛nh t矛m th岷 v岷� 膽岷筽 trong m峄檛 膽i峄乽 kh谩c. Qua nh峄痭g l煤c t矛m th么ng tin vi岷縯 b脿i lu岷璶 v脿 th岷 v脿i ph岷 trong quy峄僴 s谩ch n脿y nh脿m ch谩n v脿 d脿i l锚 th锚.
V脿 ng脿y h么m nay, khi t么i 膽ang 膽峄﹏g tr瓢峄沜 m峄檛 cu峄檆 ph峄弉g v岷 h峄峜 b峄昻g quan tr峄峮g v峄沬 cu峄檆 膽峄漣 m矛nh, khi trong l貌ng t么i 膽ang c岷 th岷 c么 膽啤n, tan n谩t v矛 nh峄痭g ng瓢峄漣 m脿 t么i y锚u th瓢啤ng, th岷 b峄� c么 l岷璸 v脿 c谩ch ly v峄沬 c岷� x茫 h峄檌 lo脿i ng瓢峄漣, t么i ch峄 c岷 nh岷璶 r玫 c岷 x煤c c贸 ph岷 "si锚u vi峄噒" c峄 nh芒n v岷璽 Kemal, l脿 n峄梚 膽au l脿m con ng瓢峄漣 ta c岷 nh岷璶 cu峄檆 s峄憂g m峄檛 c谩ch tr脿n 膽岷 v脿 s芒u s岷痗 h啤n, r岷眓g t峄� n峄梚 膽au, ta c贸 th峄� c岷 nh岷璶 膽瓢峄 s峄� nh峄� b茅 c峄 ch铆nh m矛nh, c岷 nh岷璶 th岷� gi峄沬 k峄� di峄噓 v脿 b铆 岷﹏, v脿 l岷 n峄痑, m峄檛 c谩ch k峄� l岷�, l脿 c岷 nh岷璶 v峄� t矛nh y锚u cu峄檆 s峄憂g qua n峄梚 膽au c峄 ri锚ng m矛nh.
V脿 t么i ch峄 nh岷璶 th岷, t岷 c岷� nh峄痭g 膽i峄乽 膽贸 c农ng kh么ng c贸 g矛 quan tr峄峮g. D霉 nh峄痭g l煤c b峄� t峄昻 th瓢啤ng, b峄� c么 l岷璸, d霉 nh峄痭g l煤c c岷 th岷 m矛nh kh么ng 膽瓢峄 t么n tr峄峮g, b峄� coi th瓢峄漬g, khinh b峄� hay k茅m gi谩 tr峄�, c农ng kh么ng c岷 ph岷 thanh minh hay ph脿n n脿n g矛. N啤i t么i thu峄檆 v峄� l脿 峄� 膽芒y, th岷� gi峄沬 c峄 nh峄痭g quy峄僴 s谩ch k峄� di峄噓. V脿 膽i峄乽 t么i c岷 l脿m, kh么ng g矛 kh谩c h啤n, l脿 n峄� l峄眂 t岷 ra nh峄痭g quy峄僴 s谩ch 膽岷筽 膽岷� kh谩c.
脌, 膽峄峜 膽岷縩 膽o岷 k岷縯, t么i ch峄 c岷 th岷 ng岷璵 ng霉i l脿 c峄� V瓢啤ng H峄搉g S峄僴 膽茫 kh么ng c贸 膽瓢峄 b岷 t脿ng cho ri锚ng m矛nh. T么i th铆ch nh峄痭g b岷 t脿ng, nh岷 l脿 nh峄痭g b岷 t脿ng t瓢 nh芒n m脿 t么i c贸 d峄媝 gh茅 膽岷縩. Ch煤ng ch峄゛ 膽峄眓g nh峄痭g k峄� ni峄噈, nh峄痭g cu峄檆 膽峄漣, nh峄痭g 膽i峄乽 tinh t岷� v脿 ri锚ng t瓢 c峄 cu峄檆 s峄憂g gia 膽矛nh, v脿 nh峄痭g s峄� ph岷璶. T么i h岷筺 v峄沬 m矛nh 膽岷縩 m峄檛 l煤c n脿o 膽贸, s岷� 膽em quy峄僴 s谩ch n脿y 膽岷縩 膽贸ng d岷 t岷 Museum of Innocence t岷 Istanbul.
C贸 l岷� kh么ng tr谩nh kh峄廼 m峄檛 ch煤t spoil.
T么i mua quy峄僴 s谩ch n脿y 膽茫 膽瓢峄 nhi峄乽 n膬m r峄搃. T么i kh么ng nh峄� r玫 bao l芒u. V脿 th峄漣 gian t么i b岷痶 膽峄峜 quy峄僴 n脿y c农ng trong ng岷 岷 n膬m.
Nh瓢ng khi b岷痶 膽岷 膽峄峜, t么i 膽茫 b峄� ch峄痭g l岷 ch峄� l脿m t矛nh. C峄� 膽峄峜 膽岷縩 膽o岷 l脿m t矛nh l脿 t么i l岷 th岷 r岷 r峄眂, t么i kh么ng 膽峄峜 ti岷縫 膽瓢峄 :))). M脿 c谩i 膽o岷 岷 n贸 l岷 峄� ngay 膽岷 s谩ch. Cho n锚n m茫i trong m峄檛 th峄漣 gian d脿i t么i kh么ng th峄� 膽峄峜 qua v脿 c峄� b峄� d峄� 峄� 膽贸.
Th岷� r峄搃, trong m峄檛 th峄漣 k峄� khi b峄� b岷 lo岷 v脿 膽岷 膽i锚n v矛 c岷 gi谩c b峄� ph岷 b峄檌 (d霉 th峄眂 t岷� kh么ng 膽岷縩 n峄梚 th岷�), t么i c岷 t矛m m峄檛 c谩i g矛 膽贸 膽峄� ph芒n t谩n t瓢 t瓢峄焠g c峄 m矛nh, n锚n 膽茫 t矛nh c峄� nh岷穞 quy峄僴 s谩ch n脿y l锚n. Nh峄痭g 膽o岷 l脿m t矛nh kh么ng c貌n s峄ヽ h煤t v峄沬 m峄檛 k岷� ki峄噒 s峄ヽ v脿 m峄噒 m峄廼 v峄沬 t矛nh y锚u, n锚n t么i ti岷縫 t峄 膽峄峜 n峄痑. V脿 trong t芒m tr岷g 膽au 膽峄沶 v岷璽 v茫 kh么n c霉ng c峄 nh峄痭g suy ngh末 d岷眓 v岷穞 c峄� b峄� nhai 膽i nhai l岷 trong 膽岷, t么i c岷 th岷 nh峄痭g c芒u ch峄� trong truy峄噉 膽em 膽岷縩 cho t么i m峄檛 s峄� an 峄. L岷 膽岷 ti锚n t么i nh岷璶 ra quy峄僴 s谩ch n脿y cu峄憂 h煤t nh瓢 th岷� n脿o. Nh峄痭g 膽o岷 mi锚u t岷� v峄� t矛nh y锚u ch芒n th岷璽 v脿 tinh t岷�. Nh峄痭g quan s谩t v脿 k峄� ni峄噈 nh峄� nh岷穞 v峄� ng瓢峄漣 m矛nh y锚u v脿 cu峄檆 s峄憂g th瓢峄漬g ng脿y l脿m t么i c岷 膽峄檔g. Nh峄痭g c芒u ch峄� k峄� l岷 t峄� m峄� d瓢峄漬g nh瓢 m峄峣 cung b岷璫 c岷 x煤c c贸 th峄� c贸 khi y锚u, l脿m t么i b峄� cu峄憂 h煤t 膽岷縩 say s瓢a, th岷璵 ch铆 c贸 th峄� gi煤p t么i c贸 膽煤ng c岷 gi谩c c峄 nh芒n v岷璽 trong truy峄噉, l脿 t谩ch r峄漣 膽瓢峄 v峄沬 th峄眂 t岷. T么i th岷 m矛nh tho谩t ra 膽瓢峄 kh峄廼 nh峄痭g th峄� t岷 th瓢峄漬g v峄 v岷穞, nh峄痭g tranh c茫i bon chen trong cu峄檆 膽峄漣, v脿 tr峄� l岷 v峄沬 n啤i m脿 m矛nh thu峄檆 v峄�. Th岷璽 bu峄搉 c瓢峄漣, l脿 m峄檛 k岷� th岷 t矛nh l岷 t矛m th岷 m峄檛 s峄� an 峄 k峄� l岷� v脿 kh么n ngu么i trong c芒u chuy峄噉 c峄 m峄檛 k岷� ngo岷 t矛nh.
S谩ch l脿 m峄檛 c芒u chuy峄噉 d脿i. Xen l岷玭 gi峄痑 nh峄痭g chi ti岷縯 mi锚u t岷� t矛nh y锚u tuy峄噒 膽岷筽, l脿 nh峄痭g suy ng岷玬 v脿 tri岷縯 l媒 v峄� th峄漣 gian v脿 媒 ngh末a cu峄檆 膽峄漣, b峄慽 c岷h x茫 h峄檌 Istanbul v脿o th岷璸 ni锚n 70 - 80 v脿 nh峄痭g s峄� ki峄噉 l峄媍h s峄� v芒y quanh, t矛nh y锚u v脿 c岷 x煤c b峄� 膽猫 n茅n b峄焛 谩p l峄眂 n岷穘g n峄� c峄 khu么n m岷玼 gia 膽矛nh v脿 x茫 h峄檌 truy峄乶 th峄憂g, 膽峄媙h ki岷縩 c峄 giai c岷 v脿 gi峄沬 t铆nh, 膽峄媙h ki岷縩 c峄 ng瓢峄漣 kh谩c v峄� ch煤ng ta v脿 c岷� 膽峄媙h ki岷縩 c峄 ta v峄� ch铆nh m矛nh, t岷 c岷� 膽猫 n岷穘g l锚n nhau khi岷縩 con ng瓢峄漣 ta kh么ng th峄� h脿nh 膽峄檔g t峄� do. T么i 膽茫 ng峄� ng脿ng nh岷璶 ra x茫 h峄檌 Th峄� Nh末 K峄� th岷璸 ni锚n 70 c峄 th岷� k峄� tr瓢峄沜 c贸 nh峄痭g n茅t t瓢啤ng 膽峄搉g k峄� l岷� v峄沬 x茫 h峄檌 Vi峄噒 Nam trong th峄漣 b芒y gi峄�.
Nh瓢ng tr锚n h岷縯, B岷 t脿ng Ng芒y th啤 l脿 m峄檛 quy峄僴 s谩ch v峄� c谩i 膽岷筽. C谩i 膽岷筽 u bu峄搉 v脿 r峄眂 r峄� c峄 m峄檛 c芒u chuy峄噉 t矛nh. V岷� 膽岷筽 k峄� l岷� v峄玜 m啤 m峄檔g n锚n th啤, v峄玜 hoang t脿n 膽峄� n谩t c峄 th脿nh ph峄� d瓢峄沬 nh峄痭g bi岷縩 膽峄檔g ch铆nh tr峄� v脿 岷h h瓢峄焠g c峄 c啤n b茫o v膬n h贸a t峄� ph瓢啤ng T芒y. V岷� 膽岷筽 c峄 cu峄檆 s峄憂g ng峄漣 l锚n d瓢峄沬 谩nh m岷痶 trong s谩ng v脿 ng芒y th啤 c峄 m峄檛 ng瓢峄漣 膽ang y锚u. V岷� 膽岷筽 khi mi锚u t岷� n峄檌 t芒m v脿 h脿nh 膽峄檔g 膽岷 m芒u thu岷玭 c峄 con ng瓢峄漣. V脿 v岷� 膽岷筽 t芒m h峄搉 v脿 t铆nh c谩ch, c峄 m峄檛 nh芒n v岷璽 nh岷� nh脿ng, nh岷 c岷, d峄� t峄昻 th瓢啤ng.
Th岷璽 k峄� l岷�, l脿 t么i c农ng 膽峄峜 quy峄僴 s谩ch qua bao bi岷縩 膽峄檔g c峄 cu峄檆 膽峄漣 m矛nh. Qua l煤c th岷 t矛nh, th岷 m矛nh c么 膽峄檆 v脿 l岷� loi nh瓢 m峄檛 con ch贸 nh峄� trong v农 tr峄�, kh么ng kh谩c g矛 nh芒n v岷璽 trong truy峄噉. Qua m霉a 么n thi GRE c膬ng th岷硁g, khi t么i n贸ng n岷 qu峄� tr谩ch nh芒n v岷璽 ch铆nh l脿 m峄檛 th岷眓g cha 膽i锚n kh霉ng, tham lam, v脿 y岷縰 膽u峄慽. Qua m峄檛 d峄媝 t岷縯 岷 谩p c霉ng v峄沬 gia 膽矛nh, khi t么i th岷 m矛nh nh瓢 tay Kemal g脿n d峄�, c农ng t峄玭g c贸 l岷 trong h脿nh tr矛nh t矛m ki岷縨 d瓢峄漬g nh瓢 v么 v峄峮g v峄� m峄檛 膽i峄乽 g矛 膽贸 cho b岷 th芒n m矛nh, 膽茫 v么 t矛nh t矛m th岷 v岷� 膽岷筽 trong m峄檛 膽i峄乽 kh谩c. Qua nh峄痭g l煤c t矛m th么ng tin vi岷縯 b脿i lu岷璶 v脿 th岷 v脿i ph岷 trong quy峄僴 s谩ch n脿y nh脿m ch谩n v脿 d脿i l锚 th锚.
V脿 ng脿y h么m nay, khi t么i 膽ang 膽峄﹏g tr瓢峄沜 m峄檛 cu峄檆 ph峄弉g v岷 h峄峜 b峄昻g quan tr峄峮g v峄沬 cu峄檆 膽峄漣 m矛nh, khi trong l貌ng t么i 膽ang c岷 th岷 c么 膽啤n, tan n谩t v矛 nh峄痭g ng瓢峄漣 m脿 t么i y锚u th瓢啤ng, th岷 b峄� c么 l岷璸 v脿 c谩ch ly v峄沬 c岷� x茫 h峄檌 lo脿i ng瓢峄漣, t么i ch峄 c岷 nh岷璶 r玫 c岷 x煤c c贸 ph岷 "si锚u vi峄噒" c峄 nh芒n v岷璽 Kemal, l脿 n峄梚 膽au l脿m con ng瓢峄漣 ta c岷 nh岷璶 cu峄檆 s峄憂g m峄檛 c谩ch tr脿n 膽岷 v脿 s芒u s岷痗 h啤n, r岷眓g t峄� n峄梚 膽au, ta c贸 th峄� c岷 nh岷璶 膽瓢峄 s峄� nh峄� b茅 c峄 ch铆nh m矛nh, c岷 nh岷璶 th岷� gi峄沬 k峄� di峄噓 v脿 b铆 岷﹏, v脿 l岷 n峄痑, m峄檛 c谩ch k峄� l岷�, l脿 c岷 nh岷璶 v峄� t矛nh y锚u cu峄檆 s峄憂g qua n峄梚 膽au c峄 ri锚ng m矛nh.
V脿 t么i ch峄 nh岷璶 th岷, t岷 c岷� nh峄痭g 膽i峄乽 膽贸 c农ng kh么ng c贸 g矛 quan tr峄峮g. D霉 nh峄痭g l煤c b峄� t峄昻 th瓢啤ng, b峄� c么 l岷璸, d霉 nh峄痭g l煤c c岷 th岷 m矛nh kh么ng 膽瓢峄 t么n tr峄峮g, b峄� coi th瓢峄漬g, khinh b峄� hay k茅m gi谩 tr峄�, c农ng kh么ng c岷 ph岷 thanh minh hay ph脿n n脿n g矛. N啤i t么i thu峄檆 v峄� l脿 峄� 膽芒y, th岷� gi峄沬 c峄 nh峄痭g quy峄僴 s谩ch k峄� di峄噓. V脿 膽i峄乽 t么i c岷 l脿m, kh么ng g矛 kh谩c h啤n, l脿 n峄� l峄眂 t岷 ra nh峄痭g quy峄僴 s谩ch 膽岷筽 膽岷� kh谩c.
脌, 膽峄峜 膽岷縩 膽o岷 k岷縯, t么i ch峄 c岷 th岷 ng岷璵 ng霉i l脿 c峄� V瓢啤ng H峄搉g S峄僴 膽茫 kh么ng c贸 膽瓢峄 b岷 t脿ng cho ri锚ng m矛nh. T么i th铆ch nh峄痭g b岷 t脿ng, nh岷 l脿 nh峄痭g b岷 t脿ng t瓢 nh芒n m脿 t么i c贸 d峄媝 gh茅 膽岷縩. Ch煤ng ch峄゛ 膽峄眓g nh峄痭g k峄� ni峄噈, nh峄痭g cu峄檆 膽峄漣, nh峄痭g 膽i峄乽 tinh t岷� v脿 ri锚ng t瓢 c峄 cu峄檆 s峄憂g gia 膽矛nh, v脿 nh峄痭g s峄� ph岷璶. T么i h岷筺 v峄沬 m矛nh 膽岷縩 m峄檛 l煤c n脿o 膽贸, s岷� 膽em quy峄僴 s谩ch n脿y 膽岷縩 膽贸ng d岷 t岷 Museum of Innocence t岷 Istanbul.
August 23, 2022
丨賷賳 兀賳賴賷鬲 丕賱乇賵丕賷丞 鬲賲賱賰賳賷 卮毓賵乇 賲鬲囟丕丿 兀兀賳鬲賯丿 兀賳丕賳賷丞" 賰賲丕賱" 兀賲 兀丨夭賳 毓賱賷賴 賵鬲賳鬲丕亘賷 卮丕毓乇賷丞 丕賱毓卮賯
賱賲 兀卮毓乇 兀亘丿丕 兀賳 丕賱乇賵丕賷丞 胤賵賷賱丞貙賰賳鬲 兀鬲丕亘毓 丕賱鬲胤賵乇 丕賱賳賮爻賷 賱卮禺氐賷丞 兀噩丕丿 丕賱賰丕鬲亘 賮賷 賳賯賱 鬲賮丕毓賱丕鬲賴丕 亘氐賮丞 鬲丿乇噩賷丕.
丨爻賳丕 賱賳毓丿 賱賱乇賵丕賷丞 賴賷 賰賲丕 毓亘乇 毓賳賴丕 賰丕鬲亘賴丕 丨賰丕賷丞 毓卮賯 "鬲卮乇丨 丕賱丨丕賱丞 丕賱賳賮爻賷丞 賵丕賱孬賯丕賮賷丞 賵丕賱廿賳爻丕賳賷丞 丕賱鬲賷 賳爻賲賷賴丕 毓卮賯丕 亘亘乇賵丿丞 兀毓氐丕亘."
亘丕賱廿囟丕賮丞 賱賲賵囟賵毓 丕賱毓卮賯 胤乇丨鬲 賴匕賴 丕賱乇賵丕賷丞 賲乇囟 賳賮爻賷丕 賲賳鬲卮乇丕 亘胤乇賷賯丞 匕賰賷丞
丿賵賳 兀賳 賷亘乇夭 兀賳賴 賲乇囟 賵兀毓噩亘賳賷 爻亘亘 丕賱賲乇囟 賲賳 賵噩賴丞 賳馗乇 丕賱賰丕鬲亘 賮爻乇賯丞 丕賱丕卮賷丕亍 丕賱鬲賷 賱丕 鬲丨賲賱 賯賷賲丞 賲丕丿賷丞 亘賳爻亘丞 賱賱兀睾賱賷賷丞貙 賱賴丕 賯賷賲丞 賲毓賳賵賷丞 賱賱匕賷賳 賷爻乇賯賵賳賴丕 :
賴賵 丕囟胤乇丕亘 賳賮爻賷 噩乇丕亍 丨丕賱丞 丨乇賲丕賳 兀賵 氐丿賲丞 兀賵 賮賯丿丕賳.
賵 匕賱賰 丨丕賱 亘胤賱賳丕 賮亘毓丿 兀賳 賮賯丿 亘卮賰賱 賲賮丕噩卅 丨亘賷亘鬲賴 "賮爻賵賳" 亘丿兀 亘丕賱亘丨孬 毓賳 兀卮賷丕亍 鬲匕賰乇賴 亘賴丕 賵鬲毓賵囟 賱賴 卮毓賵乇 丨乇賲丕賳賴.
賮亘丿兀 亘鬲乇丿丿 毓賱賶 賲賰丕賳 賱賯丕卅賴賲 賵賱賲爻 兀卮賷丕卅賴丕 孬賲 鬲胤賵乇鬲 丕賱丨丕賱丞 賱鬲氐亘丨 賴賵爻丕.
賱賯丿 丕爻鬲賮夭賳賷 丕賱賮氐賱 "毓賯亘 丕賱爻賷噩丕乇丞" 賱賯丿 賯丕賲 亘丕賱廿丨氐丕亍 亘賱 亘丕賱廿丨鬲賮丕馗 亘賰賱 兀毓賯丕亘 爻噩丕卅乇賴丕 胤賷賱丞 9 爻賳賵丕鬲.
賵 乇丕賯賳賷 鬲匕賰乇賴 賱賰賱 鬲毓亘賷乇丞 賵 賱賰賱 丨丕丿孬丞 賲乇鬲亘胤丞 亘毓賯亘 丕賱爻賷噩丕乇丞 亘賱 兀賰孬乇 賲賳 匕賱賰 賮賯丿 兀氐亘丨 賷毓賷 丕賱丨丕賱丞 丕賱賳賮爻賷丞 賱丨亘賷亘鬲賴 賲賳 禺賱丕賱 胤乇賷賯丞 丕禺賲丕丿賴丕 賱賱爻賷噩丕乇丞 : 睾囟亘 兀賲 廿爻鬲賷丕亍.
賱賰賳 丕賱匕賷 賲賷夭 "賰賲丕賱" 丕賳賴 兀氐亘丨 賷賯賵賲 亘賴 亘賵毓賷 賲賳賴 亘賱 賷鬲乇賰 賲賰丕賳 丕賱睾乇囟 丕賱匕賷 丕禺匕賴 賳賯賵丿丕.
孬賲 賯丕賲 亘丕賱廿賳卮丕亍 賲鬲丨賮 亘賰賱 賲賯鬲賳賷丕鬲賴 .
賲丕 廿爻鬲賮夭賳賷 廿賷噩丕亘賷丕 賮賷 丕賱乇賵丕賷丞 兀賷囟丕 賴賵 兀爻賱賵亘 兀賵乇乇賴丕賳 丕賱賲毓賴賵丿 亘賳賯賱賴 賱賲卮賰賱丞 丕賱賴賵賷丞 丕賱鬲乇賰賷丞.
賮鬲乇賰賷丕 亘丕賱廿毓鬲亘丕乇賴丕 丿賵賱丞 鬲胤賱 毓賱賶 兀賵乇賵亘丕 賵 賱丕 鬲賳鬲賲賷 廿賱賷賴丕 賵賲鬲兀孬乇丞 亘賴丕.
廿禺鬲丕乇 賴匕賴 丕賱賲乇丞 賲賵囟賵毓 丕賱毓賱丕賯丕鬲 賯亘賱 丕賱夭賵丕噩 亘丕賱賳爻亘丞 賱賱賮鬲丕丞 賵丌孬丕乇 匕賱賰 賮賷 丕賱賲噩鬲賲毓丕鬲 賮賷 鬲乇賰賷丕.
丕爻鬲毓賲賱 丕賱賮賰乇丞 賱賷亘乇夭 毓丿賲 賯丿乇丞 丕賱卮毓亘 丕賱鬲乇賰賷 丕賳 賷鬲賲乇賰夭 "胤亘毓丕 賮賷 鬲賱賰 丕賱賮鬲乇丞" 亘賷賳 丕賱丨丿丕孬丞 " 丕賵乇賵亘丕" 賵 亘賷賳 丕賱鬲賯丕賱賷丿 賵丕賱兀毓乇丕賮 丕賱賲鬲亘毓丞.
賰匕賱賰 賱賷亘乇夭 賳賮丕賯 丕賱賲噩鬲賲毓 賮賳賮爻 丕賱賵丕賯毓丞 賷禺鬲賱賮 鬲兀孬賷乇賴丕 丨爻亘 丕賱賵爻胤.
兀賵 亘兀丨乇賶 賰賷賮 兀賳 丕賱胤亘賯丞 丕賱賲禺賲賱賷丞 鬲氐賵乇賴 毓賱賶 兀爻丕爻 丨丿丕孬丞 賵 鬲胤賵乇 賵 亘賳爻亘丞 賱賱賮賯乇丕亍 鬲氐乇賮 囟丿 丕賱賳丕賲賵爻 賵丕賱毓乇賮.
丕賱丌賳 賳兀鬲賷 賱賱賳噩賲丕鬲 賱賲 兀毓胤 丕賱乇賵丕賷丞 丕賱毓賱丕賲丞 丕賱賰丕賲賱丞 賱丕賳賳賷 賰乇賴鬲 卮禺氐賷丞 丕賱爻賷丿" 胤丕乇賯 " 丕賱鬲賷 賱賲 兀噩丿 賲丕 丕氐賮賴 亘賴:
乇噩賱 賷毓賱賲 兀賳 賯乇賷亘賴 丕賱匕賷 賷賰亘乇 丕亘賳鬲賴 亘 12爻賳丞 賰丕賳 毓賱賶 毓賱丕賯丞 亘賴丕 賵 乇睾賲 匕賱賰 賷爻鬲賯亘賱賴 賮锟斤拷 亘賷鬲賴 賵 毓賱賶 胤丕賵賱鬲賴 胤賷賱丞 4 兀賷丕賲 賮賷 丕賱兀爻亘賵毓 毓賱賶 丕賲鬲丿丕丿 8爻賳賵丕鬲 賵賴賵 毓賱賶 毓賱賲 亘毓卮賯賴 賱賴丕 賵 賷賲丕夭丨賴 .
賰匕賱賰 兀夭毓噩鬲賳賷 丕賳丕賳賷丞 "賰賲丕賱" 賵胤乇丨鬲 毓賳丿賷 賰賲 賴丕卅賱 賲賳 鬲爻丕丐賱丕鬲 :
賲鬲賶 賷噩亘 兀賳 賳鬲兀禺匕 丕賱賯乇丕乇 丕賱氐賵丕亘責 賵 賱賵 丕鬲禺匕賳丕 丕賱賯乇丕乇 賲鬲兀禺乇賷賳 賴賱 賳毓鬲亘乇 兀賳賳丕 賯賲賳丕 亘賲丕 賴賵 賱兀賮囟賱責
匕賰乇鬲賳賷 丕賱丕噩賵丕亍 丕賱鬲賷 賷氐賮賴丕 賮賷 丕賱賵爻胤 丕賱乇丕賯賷 亘丕賱毓賴丿 丕賱賮賰鬲賵乇賷 丕賱賯乇賳 18:
賲賳 賳丕丨賷丞 毓卮賯 丕賱乇噩賱 丕賱睾賳賷 賱賱賮賯賷乇丞 賵賳亘匕賴 賲賳 丕賱賵爻胤 丕賱乇丕賯賷.
丕囟丕賮丞 賱匕賱賰 賱賯丿 匕賰乇鬲賳賷 丕賷囟丕 亘乇賵丕賷丞 "madame bovary" flaubert 賵 賱賯丿 賵噩丿鬲 賲丿賶 鬲兀孬乇 丕賱賰丕鬲亘 亘賴 賮賷 乇賵丕賷鬲賴.
賮賰賱賴賲丕 毓卮賯 丕賲乇兀丞 賲鬲夭賵噩丞 賵賰賱丕賴賲丕 鬲丨賵賱 毓卮賯賴賲 賱賱賴賵爻.
賵 賱賯丿 毓乇噩 "賰賲丕賱 " 毓賱賶 匕賱賰 賵 賯丕賱 兀賳 兀賮囟賱 賲鬲丨賮 夭丕乇賴 賴賵 賲鬲丨賮" 賮賱賵亘賷乇" 丕賱匕賷 賵噩丿 賮賷賴 亘賯丕賷丕 賱乇爻丕卅賱 賵 卮毓乇 丨亘賷亘鬲賴 丕賱鬲賷 丕賱賴賲鬲鬲賴 賰鬲丕亘丞 乇丕卅毓鬲賴.
丕賱鬲乇噩賲丞 丕賱賲賲鬲丕夭丞 丕囟賮鬲 乇賵賳賯丞 禺丕氐丕 毓賱賶 丕賱乇賵丕賷丞.
鬲毓鬲亘乇 賴匕賴 丕賱乇賵丕賷丞 賵 乇賵丕賷丞" 孬賱噩" 丕賮囟賱 賲丕 賯乇兀亍鬲 賱丕賵乇賴丕賳.
賵 丕賮囟賱 賲丕 兀賳賴賷 亘賴 賲丕 賯丕賱 丕賵乇賴丕賳:
" 丕賱毓卮賯 兀賲乇 賷丐賱賲賳丕 賷丨賱 亘賳丕 丿賵賳 兀賳 賳乇睾亘 亘匕賱賰 兀丨賷丕賳丕 賲孬賱 丨丕丿孬 爻賷乇 "
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賱賲 兀卮毓乇 兀亘丿丕 兀賳 丕賱乇賵丕賷丞 胤賵賷賱丞貙賰賳鬲 兀鬲丕亘毓 丕賱鬲胤賵乇 丕賱賳賮爻賷 賱卮禺氐賷丞 兀噩丕丿 丕賱賰丕鬲亘 賮賷 賳賯賱 鬲賮丕毓賱丕鬲賴丕 亘氐賮丞 鬲丿乇噩賷丕.
丨爻賳丕 賱賳毓丿 賱賱乇賵丕賷丞 賴賷 賰賲丕 毓亘乇 毓賳賴丕 賰丕鬲亘賴丕 丨賰丕賷丞 毓卮賯 "鬲卮乇丨 丕賱丨丕賱丞 丕賱賳賮爻賷丞 賵丕賱孬賯丕賮賷丞 賵丕賱廿賳爻丕賳賷丞 丕賱鬲賷 賳爻賲賷賴丕 毓卮賯丕 亘亘乇賵丿丞 兀毓氐丕亘."
亘丕賱廿囟丕賮丞 賱賲賵囟賵毓 丕賱毓卮賯 胤乇丨鬲 賴匕賴 丕賱乇賵丕賷丞 賲乇囟 賳賮爻賷丕 賲賳鬲卮乇丕 亘胤乇賷賯丞 匕賰賷丞
丿賵賳 兀賳 賷亘乇夭 兀賳賴 賲乇囟 賵兀毓噩亘賳賷 爻亘亘 丕賱賲乇囟 賲賳 賵噩賴丞 賳馗乇 丕賱賰丕鬲亘 賮爻乇賯丞 丕賱丕卮賷丕亍 丕賱鬲賷 賱丕 鬲丨賲賱 賯賷賲丞 賲丕丿賷丞 亘賳爻亘丞 賱賱兀睾賱賷賷丞貙 賱賴丕 賯賷賲丞 賲毓賳賵賷丞 賱賱匕賷賳 賷爻乇賯賵賳賴丕 :
賴賵 丕囟胤乇丕亘 賳賮爻賷 噩乇丕亍 丨丕賱丞 丨乇賲丕賳 兀賵 氐丿賲丞 兀賵 賮賯丿丕賳.
賵 匕賱賰 丨丕賱 亘胤賱賳丕 賮亘毓丿 兀賳 賮賯丿 亘卮賰賱 賲賮丕噩卅 丨亘賷亘鬲賴 "賮爻賵賳" 亘丿兀 亘丕賱亘丨孬 毓賳 兀卮賷丕亍 鬲匕賰乇賴 亘賴丕 賵鬲毓賵囟 賱賴 卮毓賵乇 丨乇賲丕賳賴.
賮亘丿兀 亘鬲乇丿丿 毓賱賶 賲賰丕賳 賱賯丕卅賴賲 賵賱賲爻 兀卮賷丕卅賴丕 孬賲 鬲胤賵乇鬲 丕賱丨丕賱丞 賱鬲氐亘丨 賴賵爻丕.
賱賯丿 丕爻鬲賮夭賳賷 丕賱賮氐賱 "毓賯亘 丕賱爻賷噩丕乇丞" 賱賯丿 賯丕賲 亘丕賱廿丨氐丕亍 亘賱 亘丕賱廿丨鬲賮丕馗 亘賰賱 兀毓賯丕亘 爻噩丕卅乇賴丕 胤賷賱丞 9 爻賳賵丕鬲.
賵 乇丕賯賳賷 鬲匕賰乇賴 賱賰賱 鬲毓亘賷乇丞 賵 賱賰賱 丨丕丿孬丞 賲乇鬲亘胤丞 亘毓賯亘 丕賱爻賷噩丕乇丞 亘賱 兀賰孬乇 賲賳 匕賱賰 賮賯丿 兀氐亘丨 賷毓賷 丕賱丨丕賱丞 丕賱賳賮爻賷丞 賱丨亘賷亘鬲賴 賲賳 禺賱丕賱 胤乇賷賯丞 丕禺賲丕丿賴丕 賱賱爻賷噩丕乇丞 : 睾囟亘 兀賲 廿爻鬲賷丕亍.
賱賰賳 丕賱匕賷 賲賷夭 "賰賲丕賱" 丕賳賴 兀氐亘丨 賷賯賵賲 亘賴 亘賵毓賷 賲賳賴 亘賱 賷鬲乇賰 賲賰丕賳 丕賱睾乇囟 丕賱匕賷 丕禺匕賴 賳賯賵丿丕.
孬賲 賯丕賲 亘丕賱廿賳卮丕亍 賲鬲丨賮 亘賰賱 賲賯鬲賳賷丕鬲賴 .
賲丕 廿爻鬲賮夭賳賷 廿賷噩丕亘賷丕 賮賷 丕賱乇賵丕賷丞 兀賷囟丕 賴賵 兀爻賱賵亘 兀賵乇乇賴丕賳 丕賱賲毓賴賵丿 亘賳賯賱賴 賱賲卮賰賱丞 丕賱賴賵賷丞 丕賱鬲乇賰賷丞.
賮鬲乇賰賷丕 亘丕賱廿毓鬲亘丕乇賴丕 丿賵賱丞 鬲胤賱 毓賱賶 兀賵乇賵亘丕 賵 賱丕 鬲賳鬲賲賷 廿賱賷賴丕 賵賲鬲兀孬乇丞 亘賴丕.
廿禺鬲丕乇 賴匕賴 丕賱賲乇丞 賲賵囟賵毓 丕賱毓賱丕賯丕鬲 賯亘賱 丕賱夭賵丕噩 亘丕賱賳爻亘丞 賱賱賮鬲丕丞 賵丌孬丕乇 匕賱賰 賮賷 丕賱賲噩鬲賲毓丕鬲 賮賷 鬲乇賰賷丕.
丕爻鬲毓賲賱 丕賱賮賰乇丞 賱賷亘乇夭 毓丿賲 賯丿乇丞 丕賱卮毓亘 丕賱鬲乇賰賷 丕賳 賷鬲賲乇賰夭 "胤亘毓丕 賮賷 鬲賱賰 丕賱賮鬲乇丞" 亘賷賳 丕賱丨丿丕孬丞 " 丕賵乇賵亘丕" 賵 亘賷賳 丕賱鬲賯丕賱賷丿 賵丕賱兀毓乇丕賮 丕賱賲鬲亘毓丞.
賰匕賱賰 賱賷亘乇夭 賳賮丕賯 丕賱賲噩鬲賲毓 賮賳賮爻 丕賱賵丕賯毓丞 賷禺鬲賱賮 鬲兀孬賷乇賴丕 丨爻亘 丕賱賵爻胤.
兀賵 亘兀丨乇賶 賰賷賮 兀賳 丕賱胤亘賯丞 丕賱賲禺賲賱賷丞 鬲氐賵乇賴 毓賱賶 兀爻丕爻 丨丿丕孬丞 賵 鬲胤賵乇 賵 亘賳爻亘丞 賱賱賮賯乇丕亍 鬲氐乇賮 囟丿 丕賱賳丕賲賵爻 賵丕賱毓乇賮.
丕賱丌賳 賳兀鬲賷 賱賱賳噩賲丕鬲 賱賲 兀毓胤 丕賱乇賵丕賷丞 丕賱毓賱丕賲丞 丕賱賰丕賲賱丞 賱丕賳賳賷 賰乇賴鬲 卮禺氐賷丞 丕賱爻賷丿" 胤丕乇賯 " 丕賱鬲賷 賱賲 兀噩丿 賲丕 丕氐賮賴 亘賴:
乇噩賱 賷毓賱賲 兀賳 賯乇賷亘賴 丕賱匕賷 賷賰亘乇 丕亘賳鬲賴 亘 12爻賳丞 賰丕賳 毓賱賶 毓賱丕賯丞 亘賴丕 賵 乇睾賲 匕賱賰 賷爻鬲賯亘賱賴 賮锟斤拷 亘賷鬲賴 賵 毓賱賶 胤丕賵賱鬲賴 胤賷賱丞 4 兀賷丕賲 賮賷 丕賱兀爻亘賵毓 毓賱賶 丕賲鬲丿丕丿 8爻賳賵丕鬲 賵賴賵 毓賱賶 毓賱賲 亘毓卮賯賴 賱賴丕 賵 賷賲丕夭丨賴 .
賰匕賱賰 兀夭毓噩鬲賳賷 丕賳丕賳賷丞 "賰賲丕賱" 賵胤乇丨鬲 毓賳丿賷 賰賲 賴丕卅賱 賲賳 鬲爻丕丐賱丕鬲 :
賲鬲賶 賷噩亘 兀賳 賳鬲兀禺匕 丕賱賯乇丕乇 丕賱氐賵丕亘責 賵 賱賵 丕鬲禺匕賳丕 丕賱賯乇丕乇 賲鬲兀禺乇賷賳 賴賱 賳毓鬲亘乇 兀賳賳丕 賯賲賳丕 亘賲丕 賴賵 賱兀賮囟賱責
匕賰乇鬲賳賷 丕賱丕噩賵丕亍 丕賱鬲賷 賷氐賮賴丕 賮賷 丕賱賵爻胤 丕賱乇丕賯賷 亘丕賱毓賴丿 丕賱賮賰鬲賵乇賷 丕賱賯乇賳 18:
賲賳 賳丕丨賷丞 毓卮賯 丕賱乇噩賱 丕賱睾賳賷 賱賱賮賯賷乇丞 賵賳亘匕賴 賲賳 丕賱賵爻胤 丕賱乇丕賯賷.
丕囟丕賮丞 賱匕賱賰 賱賯丿 匕賰乇鬲賳賷 丕賷囟丕 亘乇賵丕賷丞 "madame bovary" flaubert 賵 賱賯丿 賵噩丿鬲 賲丿賶 鬲兀孬乇 丕賱賰丕鬲亘 亘賴 賮賷 乇賵丕賷鬲賴.
賮賰賱賴賲丕 毓卮賯 丕賲乇兀丞 賲鬲夭賵噩丞 賵賰賱丕賴賲丕 鬲丨賵賱 毓卮賯賴賲 賱賱賴賵爻.
賵 賱賯丿 毓乇噩 "賰賲丕賱 " 毓賱賶 匕賱賰 賵 賯丕賱 兀賳 兀賮囟賱 賲鬲丨賮 夭丕乇賴 賴賵 賲鬲丨賮" 賮賱賵亘賷乇" 丕賱匕賷 賵噩丿 賮賷賴 亘賯丕賷丕 賱乇爻丕卅賱 賵 卮毓乇 丨亘賷亘鬲賴 丕賱鬲賷 丕賱賴賲鬲鬲賴 賰鬲丕亘丞 乇丕卅毓鬲賴.
丕賱鬲乇噩賲丞 丕賱賲賲鬲丕夭丞 丕囟賮鬲 乇賵賳賯丞 禺丕氐丕 毓賱賶 丕賱乇賵丕賷丞.
鬲毓鬲亘乇 賴匕賴 丕賱乇賵丕賷丞 賵 乇賵丕賷丞" 孬賱噩" 丕賮囟賱 賲丕 賯乇兀亍鬲 賱丕賵乇賴丕賳.
賵 丕賮囟賱 賲丕 兀賳賴賷 亘賴 賲丕 賯丕賱 丕賵乇賴丕賳:
" 丕賱毓卮賯 兀賲乇 賷丐賱賲賳丕 賷丨賱 亘賳丕 丿賵賳 兀賳 賳乇睾亘 亘匕賱賰 兀丨賷丕賳丕 賲孬賱 丨丕丿孬 爻賷乇 "
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August 2, 2019* 莽ok g眉zel kitap *
* a beautiful story *
* 苇谓伪 蟿伪尉委未喂 蟽蟿畏 蠂蠋蟻伪 蟿畏蟼 纬蟻伪蠁萎蟼 蟿慰蠀 螤伪渭慰蠉魏 *
螌蟿伪谓 伪纬蠈蟻伪蟽伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 萎尉蔚蟻伪 蠈蟿喂 蟽蟿慰 蔚纬纬蠉蟼 渭苇位位慰谓 胃伪 蟺萎纬伪喂谓伪 蟽蟿畏谓 慰未蠈 韦蟽慰蠀魏慰蠀蟻蟿味慰蠀渭维 谓伪 蔚蟺喂蟽魏蔚蠁蟿蠋 蟿慰 渭慰蠀蟽蔚委慰, 伪位位维 伪蟺蠈 蟿蠈蟿蔚 渭苇蠂蟻喂 蟽萎渭蔚蟻伪 蟺慰位位维 苇蠂慰蠀谓 纬委谓蔚喂, 蟽蟿' 伪蔚蟻慰未蟻蠈渭喂慰, 蟽蟿慰蠀蟼 未蟻蠈渭慰蠀蟼, 苇谓伪 伪渭蠁喂位蔚纬蠈渭蔚谓慰 蟺蟻伪尉喂魏蠈蟺畏渭伪, 蔚蟺委胃蔚蟽畏 渭蔚 蠈蟺位慰 蟽蔚 魏苇谓蟿蟻慰 蟿畏谓 蟺蟻蠅蟿慰蠂蟻慰谓喂维. 螤慰位位维. 桅伪委谓蔚蟿伪喂 胃伪 伪谓伪尾维位蠅 蟿畏谓 蔚蟺委蟽魏蔚蠄萎 渭慰蠀 蟽蟿慰 渭慰蠀蟽蔚委慰 纬喂伪 蟿慰 渭伪魏蟻喂谓蠈 渭苇位位慰谓. 螌蟿伪谓 胃伪 蟺位畏蟽喂维味蠅 蟿伪 40.
韦慰 [尾喂尾位委慰 魏伪喂 蟿慰] 渭慰蠀蟽蔚委慰 蟿畏蟼 伪胃蠅蠈蟿畏蟿伪蟼
螣 螤伪渭慰蠉魏 蔚委谓伪喂 苇尉蠀蟺谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼.
螘委蠂蔚 蟿畏谓 喂未苇伪 谓伪 蠁蟿喂维尉蔚喂 苇谓伪 渭慰蠀蟽蔚委慰 蟿伪蠀蟿蠈蠂蟻慰谓伪 渭蔚 苇谓伪 尾喂尾位委慰.
螠伪味蔚蠉慰谓蟿伪蟼 伪谓蟿喂魏蔚委渭蔚谓伪 纬喂伪 蟿慰 渭慰蠀蟽蔚委慰 苇蠁蟿喂伪蠂谓蔚 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 尾喂尾位委慰蠀.
韦慰 尾喂尾位委慰 蟿蔚位蔚委蠅蟽蔚 蟺蟻蠋蟿慰 蔚谓蠋 蟿慰 渭慰蠀蟽蔚委慰 维谓慰喂尉蔚 4 蠂蟻蠈谓喂伪 渭蔚蟿维.
螝伪喂 蟿慰 尾喂尾位委慰 魏伪喂 蟿慰 渭慰蠀蟽蔚委慰 苇蠂慰蠀谓 蟿慰 委未喂慰 蠈谓慰渭伪:
韦慰 渭慰蠀蟽蔚委慰 苇蠂蔚喂 83 蟺蟻慰胃萎魏蔚蟼 渭蔚 伪谓蟿喂魏蔚委渭蔚谓伪 蟺慰蠀 蔚尉喂蟽蟿慰蟻慰蠉谓 渭喂伪 喂蟽蟿慰蟻委伪.
韦慰 尾喂尾位委慰 苇蠂蔚喂 83 魏蔚蠁维位伪喂伪 蟺慰蠀 蔚尉喂蟽蟿慰蟻慰蠉谓 蟿畏谓 委未喂伪 喂蟽蟿慰蟻委伪 渭蔚 蟿' 伪谓蟿喂魏蔚委渭蔚谓伪 蟽蟿慰 渭慰蠀蟽蔚委慰.
螤蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 尾喂尾位委慰蠀 蠀蟺维蟻蠂蔚喂 蟿蠀蟺蠅渭苇谓慰 蟿慰 蔚喂蟽喂蟿萎蟻喂慰 纬喂伪 蟿慰 渭慰蠀蟽蔚委慰. 螡伪喂, 纬喂伪 蠈蟽慰蠀蟼 苇蠂慰蠀谓 蟿慰 尾喂尾位委慰 渭伪味委 蟿慰蠀蟼 魏蔚蟻未委味慰蠀谓 未蠅蟻蔚维谓 蔚委蟽慰未慰. 螝伪喂 慰 蠀蟺维位位畏位慰蟼 蔚魏蔚委 胃伪 蟽' 蟿慰 蟽蟿伪渭蟺维蟻蔚喂.
螠喂伪 喂蟽蟿慰蟻委伪 伪纬维蟺畏蟼. 螆谓伪 蟻慰渭伪谓蟿喂魏蠈 尾喂尾位委慰. 螆谓伪 尾喂尾位委慰 渭蔚 蔚蟻蠅蟿喂魏维 蟿蟻委纬蠅谓伪.
危蟿慰喂蠂蔚委伪 蟺慰蠀 伪蟺慰蠁蔚蠉纬蠅 蠈蟺蠅蟼 慰 未喂维慰位慰蟼 蟿慰 位喂尾维谓喂.
螒位位维 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 蔚委谓伪喂 螤伪渭慰蠉魏, 蔚委谓伪喂 渭蔚蟿伪渭慰谓蟿苇蟻谓慰, 蔚委谓伪喂 苇尉蠀蟺谓慰. 螝伪喂 渭' 维蟻蔚蟽蔚.
危蟿慰喂蠂蔚委伪 渭蔚蟿伪渭慰谓蟿蔚蟻谓喂蟽渭慰蠉 蟽蟿慰 尾喂尾位委慰
+ 危蟿伪 未蠉慰 渭蔚纬伪位蠉蟿蔚蟻伪 魏蔚蠁维位伪喂伪 蟿慰蠀 尾喂尾位委慰蠀: 24. 韦慰 蟺维蟻蟿喂 伪蟻蟻伪尾蠋谓蠅谓 (58 蟽蔚位.) 魏伪喂 蟿慰 83. 螘蠀蟿蠀蠂委伪 (27 蟽蔚位.) 蔚渭蠁伪谓委味蔚蟿伪喂 慰 委未喂慰蟼 慰 .
"[...] 贵眉蝉耻苍 had danced with two people early on. [...] The second, however, was the young man with whom I had exchanged glances a short time earlier while visiting the Pamuk family table鈥擮rhan Pamuk himself, as he proudly told me years later." 蟽蔚位. 170
*
"It was around then that I decided my voice had been heard too much anyway and that it was time I left it to him to finish my story. From the next paragraph until the end, it will, in essence, be Orhan Bey who is telling the story. Having paid 贵眉蝉耻苍 such sincere, detailed attention during their dance, he will, I am sure, do no less in these last pages. Farewell!
HELLO, THIS IS ORHAN PAMUK! With Kemal Bey's permission I shall begin describing my dance with 贵眉蝉耻苍: She was the. . ." 蟽蔚位. 708
+违蟺维蟻蠂蔚喂 蠂维蟻蟿畏蟼 纬喂伪 蟿慰 蟺蠋蟼 胃伪 尾蟻蔚喂蟼 蟿慰 渭慰蠀蟽蔚委慰.
+违蟺维蟻蠂蔚喂 蔚蠀蟻蔚蟿萎蟻喂慰 慰谓慰渭维蟿蠅谓 (魏维蟿喂 蟺慰蠀 蟺慰位蠉 蟽蟺维谓喂伪 尾位苇蟺慰蠀渭蔚 蟽蔚 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 魏伪喂 蟺喂慰 蟽蠀蠂谓维 蟽蔚 渭蔚位苇蟿蔚蟼.)
+螒蟻魏蔚蟿慰委 蠂伪蟻伪魏蟿萎蟻蔚蟼 伪蟺蠈 蟺蟻慰畏纬慰蠉渭蔚谓维 蟿慰蠀 尾喂尾位委伪 蟺蔚蟻谓慰蠉谓 渭苇蟽' 伪蟺' 蟿喂蟼 蟽蔚位委未蔚蟼 伪蠀蟿慰蠉 蟿慰蠀 尾喂尾位委慰蠀:
[...] it was generally believed I had misinterpreted [...] many Ni艧anta艧谋 notables [...] including , and his family, my poet friend Ka; () and Cel芒l Salik, the famous [...] columnist () 蟽蔚位. 721
+违蟺维蟻蠂慰蠀谓 伪谓伪蠁慰蟻苇蟼 蟽蟿伪 尾喂尾位委伪 蟿慰蠀:
"Orhan Bey, I read your novel all the way to the end," he said. "I don't like politics. So please don't be offended if I say I found it a bit of a struggle." 蟽蔚位. 727
+螠慰蠀蟽蔚委慰 魏伪喂 尾喂尾位委慰 纬委谓慰谓蟿伪喂 苇谓伪.
+螙蠅萎 魏伪喂 蟿苇蠂谓畏 纬委谓慰谓蟿伪喂 苇谓伪.
螘委谓伪喂 苇尉蠀蟺谓慰蟼 伪蠀蟿蠈蟼 慰 螤伪渭慰蠉魏 魏伪喂 渭' 伪蟻苇蟽蔚喂.
-韦蠈蟽伪 魏伪喂 蟿蠈蟽伪 渭伪蟼 蔚委蟺蔚蟼, 未蔚谓 渭伪蟼 蔚委蟺蔚蟼 蟺蔚蟻委 蟿委谓慰蟼 蟺蟻蠈魏蔚喂蟿伪喂:
-螘, 畏 喂蟽蟿慰蟻委伪 蔚委谓伪喂 伪蟺位萎. 螣 螝蔚渭维位 苇谓伪蟼 蟺位慰蠉蟽喂慰蟼 魏位畏蟻慰谓蠈渭慰蟼 蟺慰蠀 蔚蟿慰喂渭维味蔚蟿伪喂 谓伪 伪蟻蟻伪尾蠅谓喂伪蟽蟿蔚委 蟿畏谓 危喂渭蟺苇位 渭喂伪 蔚蟺委蟽畏蟼 蟺位慰蠉蟽喂伪 魏慰蟺苇位伪, 蟽蟺慰蠀未伪蟽渭苇谓畏 蟽蟿畏 危慰蟻尾蠈谓谓畏, 胃伪 蔚蟻蠅蟿蔚蠀蟿蔚委 蟿畏谓 蠁蟿蠅蠂萎 桅喂蟽慰蠉谓 魏伪喂 味慰蠀谓 蟽伪蟻维谓蟿伪 未蠉慰 渭苇蟻蔚蟼 蟺维胃慰蠀蟼 魏伪喂 畏未慰谓萎蟼. 螒蟺' 蔚未蠋 魏伪喂 蟺苇蟻伪 尉蔚魏喂谓维 畏 魏维胃慰未慰蟼 蟿慰蠀 螝蔚渭维位 蟽蔚 渭喂伪 未委谓畏 蠈蟺慰蠀 畏 伪纬维蟺畏 纬委谓蔚蟿伪喂 苇蟻蠅蟿伪蟼, 慰 苇蟻蠅蟿伪蟼 蟺维胃慰蟼, 魏伪喂 蟿慰 蟺维胃慰蟼 苇渭渭慰谓畏 喂未苇伪.
螝伪喂 蔚未蠋 蔚委谓伪喂 蟺慰蠀 尾蟻委蟽魏蠅 蟿慰 伪蟻谓畏蟿喂魏蠈 蟿慰蠀 尾喂尾位委慰蠀 纬喂伪 渭苇谓伪.
螕喂伪 195 蟽蔚位委未蔚蟼 (387-581) 慰 螝蔚渭维位 蔚尉喂蟽蟿慰蟻蔚委 蟿伪 7 蠂蟻蠈谓喂伪 魏伪喂 未苇魏伪 渭萎谓蔚蟼 蟺慰蠀 蟺苇蟻伪蟽蔚 蟽蟿慰 蟽蟺委蟿喂 蟿蠅谓 纬慰谓喂蠋谓 蟿畏蟼 桅喂蟽慰蠉谓. 韦伪 未蔚委蟺谓伪, 慰喂 蟽蠀味畏蟿萎蟽蔚喂蟼, 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪 蟺慰蠀 苇魏位蔚尾蔚 纬喂伪 谓伪 蟿畏 胃蠀渭维蟿伪喂, 蟿慰 蟿喂 苇尾位蔚蟺伪谓 蟽蟿畏谓 蟿畏位蔚蠈蟻伪蟽畏 魏伪喂 维位位伪 蟺蔚味维 魏伪胃畏渭蔚蟻喂谓维. 螕喂伪 195 蟽蔚位委未蔚蟼 蟿伪 苇尾位蔚蟺伪 尉伪谓维 魏伪喂 尉伪谓维 魏伪喂 尉伪谓维 魏伪喂 尉伪谓维 魏喂 伪蠀蟿蠈 渭蔚 魏慰蠉蟻伪蟽蔚. 螒位位维 伪蟺蠈 蟿畏谓 蟽蔚位委未伪 582 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼 (728) 蟿慰 尾喂尾位委慰 蟺萎蟻蔚 渭蟺蟻慰蟼 魏伪喂 渭蔚 苇魏伪谓蔚 尉伪谓维 谓伪 伪蟺慰位伪渭尾维谓蠅 蟿畏谓 位蔚蟺蟿慰渭蔚蟻苇蟽蟿伪蟿畏 魏伪喂 蟺蠀魏谓萎 纬蟻伪蠁萎 蟿慰蠀 螤伪渭慰蠉魏.
螛伪 蟺蟻蠈蟿蔚喂谓伪 谓伪 未喂伪尾维味伪蟿蔚 蟺蟻蠋蟿伪 蟿慰 纬喂伪 谓伪 苇蠂蔚蟿蔚 渭喂伪 蟺喂慰 蔚渭蟺蔚蟻喂蟽蟿伪蟿蠅渭苇谓畏 蔚喂魏蠈谓伪 蟿畏蟼 螤蠈位畏蟼 蟺蟻喂谓 蟺维蟻蔚蟿蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 螠慰喂维味慰蠀谓 魏伪蟿维 魏维蟺慰喂慰 蟿蟻蠈蟺慰.
螤伪蟻蠈位慰 蟺慰蠀 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟽蔚 蠈位伪 蟿伪 尾喂尾位委伪 蟿慰蠀 螤伪渭慰蠉魏 蟺慰蠀 未喂维尾伪蟽伪 蔚委谓伪喂 蠅蟼 蔚蟺委 蟿慰 蟺位蔚委蟽蟿慰谓 谓蔚蠀蟻蠅蟿喂魏慰委 魏伪喂 喂未喂伪委蟿蔚蟻慰喂 伪蠀蟿蠈蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚尉蔚位委蟽蟽蔚蟿伪喂 蟽蟿慰 谓伪 纬委谓蔚喂 慰 伪纬伪蟺畏渭苇谓慰蟼 渭慰蠀. 螠蔚纬维位伪 位蠈纬喂伪. . .
螖喂伪尾维蟽蟿蔚 蟿慰! 7/10
* a beautiful story *
* 苇谓伪 蟿伪尉委未喂 蟽蟿畏 蠂蠋蟻伪 蟿畏蟼 纬蟻伪蠁萎蟼 蟿慰蠀 螤伪渭慰蠉魏 *
螌蟿伪谓 伪纬蠈蟻伪蟽伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 萎尉蔚蟻伪 蠈蟿喂 蟽蟿慰 蔚纬纬蠉蟼 渭苇位位慰谓 胃伪 蟺萎纬伪喂谓伪 蟽蟿畏谓 慰未蠈 韦蟽慰蠀魏慰蠀蟻蟿味慰蠀渭维 谓伪 蔚蟺喂蟽魏蔚蠁蟿蠋 蟿慰 渭慰蠀蟽蔚委慰, 伪位位维 伪蟺蠈 蟿蠈蟿蔚 渭苇蠂蟻喂 蟽萎渭蔚蟻伪 蟺慰位位维 苇蠂慰蠀谓 纬委谓蔚喂, 蟽蟿' 伪蔚蟻慰未蟻蠈渭喂慰, 蟽蟿慰蠀蟼 未蟻蠈渭慰蠀蟼, 苇谓伪 伪渭蠁喂位蔚纬蠈渭蔚谓慰 蟺蟻伪尉喂魏蠈蟺畏渭伪, 蔚蟺委胃蔚蟽畏 渭蔚 蠈蟺位慰 蟽蔚 魏苇谓蟿蟻慰 蟿畏谓 蟺蟻蠅蟿慰蠂蟻慰谓喂维. 螤慰位位维. 桅伪委谓蔚蟿伪喂 胃伪 伪谓伪尾维位蠅 蟿畏谓 蔚蟺委蟽魏蔚蠄萎 渭慰蠀 蟽蟿慰 渭慰蠀蟽蔚委慰 纬喂伪 蟿慰 渭伪魏蟻喂谓蠈 渭苇位位慰谓. 螌蟿伪谓 胃伪 蟺位畏蟽喂维味蠅 蟿伪 40.
韦慰 [尾喂尾位委慰 魏伪喂 蟿慰] 渭慰蠀蟽蔚委慰 蟿畏蟼 伪胃蠅蠈蟿畏蟿伪蟼
螣 螤伪渭慰蠉魏 蔚委谓伪喂 苇尉蠀蟺谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼.
螘委蠂蔚 蟿畏谓 喂未苇伪 谓伪 蠁蟿喂维尉蔚喂 苇谓伪 渭慰蠀蟽蔚委慰 蟿伪蠀蟿蠈蠂蟻慰谓伪 渭蔚 苇谓伪 尾喂尾位委慰.
螠伪味蔚蠉慰谓蟿伪蟼 伪谓蟿喂魏蔚委渭蔚谓伪 纬喂伪 蟿慰 渭慰蠀蟽蔚委慰 苇蠁蟿喂伪蠂谓蔚 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏伪喂 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰蠀 尾喂尾位委慰蠀.
韦慰 尾喂尾位委慰 蟿蔚位蔚委蠅蟽蔚 蟺蟻蠋蟿慰 蔚谓蠋 蟿慰 渭慰蠀蟽蔚委慰 维谓慰喂尉蔚 4 蠂蟻蠈谓喂伪 渭蔚蟿维.
螝伪喂 蟿慰 尾喂尾位委慰 魏伪喂 蟿慰 渭慰蠀蟽蔚委慰 苇蠂慰蠀谓 蟿慰 委未喂慰 蠈谓慰渭伪:
韦慰 渭慰蠀蟽蔚委慰 苇蠂蔚喂 83 蟺蟻慰胃萎魏蔚蟼 渭蔚 伪谓蟿喂魏蔚委渭蔚谓伪 蟺慰蠀 蔚尉喂蟽蟿慰蟻慰蠉谓 渭喂伪 喂蟽蟿慰蟻委伪.
韦慰 尾喂尾位委慰 苇蠂蔚喂 83 魏蔚蠁维位伪喂伪 蟺慰蠀 蔚尉喂蟽蟿慰蟻慰蠉谓 蟿畏谓 委未喂伪 喂蟽蟿慰蟻委伪 渭蔚 蟿' 伪谓蟿喂魏蔚委渭蔚谓伪 蟽蟿慰 渭慰蠀蟽蔚委慰.
螤蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 尾喂尾位委慰蠀 蠀蟺维蟻蠂蔚喂 蟿蠀蟺蠅渭苇谓慰 蟿慰 蔚喂蟽喂蟿萎蟻喂慰 纬喂伪 蟿慰 渭慰蠀蟽蔚委慰. 螡伪喂, 纬喂伪 蠈蟽慰蠀蟼 苇蠂慰蠀谓 蟿慰 尾喂尾位委慰 渭伪味委 蟿慰蠀蟼 魏蔚蟻未委味慰蠀谓 未蠅蟻蔚维谓 蔚委蟽慰未慰. 螝伪喂 慰 蠀蟺维位位畏位慰蟼 蔚魏蔚委 胃伪 蟽' 蟿慰 蟽蟿伪渭蟺维蟻蔚喂.
螠喂伪 喂蟽蟿慰蟻委伪 伪纬维蟺畏蟼. 螆谓伪 蟻慰渭伪谓蟿喂魏蠈 尾喂尾位委慰. 螆谓伪 尾喂尾位委慰 渭蔚 蔚蟻蠅蟿喂魏维 蟿蟻委纬蠅谓伪.
危蟿慰喂蠂蔚委伪 蟺慰蠀 伪蟺慰蠁蔚蠉纬蠅 蠈蟺蠅蟼 慰 未喂维慰位慰蟼 蟿慰 位喂尾维谓喂.
螒位位维 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 蔚委谓伪喂 螤伪渭慰蠉魏, 蔚委谓伪喂 渭蔚蟿伪渭慰谓蟿苇蟻谓慰, 蔚委谓伪喂 苇尉蠀蟺谓慰. 螝伪喂 渭' 维蟻蔚蟽蔚.
危蟿慰喂蠂蔚委伪 渭蔚蟿伪渭慰谓蟿蔚蟻谓喂蟽渭慰蠉 蟽蟿慰 尾喂尾位委慰
+ 危蟿伪 未蠉慰 渭蔚纬伪位蠉蟿蔚蟻伪 魏蔚蠁维位伪喂伪 蟿慰蠀 尾喂尾位委慰蠀: 24. 韦慰 蟺维蟻蟿喂 伪蟻蟻伪尾蠋谓蠅谓 (58 蟽蔚位.) 魏伪喂 蟿慰 83. 螘蠀蟿蠀蠂委伪 (27 蟽蔚位.) 蔚渭蠁伪谓委味蔚蟿伪喂 慰 委未喂慰蟼 慰 .
"[...] 贵眉蝉耻苍 had danced with two people early on. [...] The second, however, was the young man with whom I had exchanged glances a short time earlier while visiting the Pamuk family table鈥擮rhan Pamuk himself, as he proudly told me years later." 蟽蔚位. 170
*
"It was around then that I decided my voice had been heard too much anyway and that it was time I left it to him to finish my story. From the next paragraph until the end, it will, in essence, be Orhan Bey who is telling the story. Having paid 贵眉蝉耻苍 such sincere, detailed attention during their dance, he will, I am sure, do no less in these last pages. Farewell!
HELLO, THIS IS ORHAN PAMUK! With Kemal Bey's permission I shall begin describing my dance with 贵眉蝉耻苍: She was the. . ." 蟽蔚位. 708
+违蟺维蟻蠂蔚喂 蠂维蟻蟿畏蟼 纬喂伪 蟿慰 蟺蠋蟼 胃伪 尾蟻蔚喂蟼 蟿慰 渭慰蠀蟽蔚委慰.
+违蟺维蟻蠂蔚喂 蔚蠀蟻蔚蟿萎蟻喂慰 慰谓慰渭维蟿蠅谓 (魏维蟿喂 蟺慰蠀 蟺慰位蠉 蟽蟺维谓喂伪 尾位苇蟺慰蠀渭蔚 蟽蔚 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 魏伪喂 蟺喂慰 蟽蠀蠂谓维 蟽蔚 渭蔚位苇蟿蔚蟼.)
+螒蟻魏蔚蟿慰委 蠂伪蟻伪魏蟿萎蟻蔚蟼 伪蟺蠈 蟺蟻慰畏纬慰蠉渭蔚谓维 蟿慰蠀 尾喂尾位委伪 蟺蔚蟻谓慰蠉谓 渭苇蟽' 伪蟺' 蟿喂蟼 蟽蔚位委未蔚蟼 伪蠀蟿慰蠉 蟿慰蠀 尾喂尾位委慰蠀:
[...] it was generally believed I had misinterpreted [...] many Ni艧anta艧谋 notables [...] including , and his family, my poet friend Ka; () and Cel芒l Salik, the famous [...] columnist () 蟽蔚位. 721
+违蟺维蟻蠂慰蠀谓 伪谓伪蠁慰蟻苇蟼 蟽蟿伪 尾喂尾位委伪 蟿慰蠀:
"Orhan Bey, I read your novel all the way to the end," he said. "I don't like politics. So please don't be offended if I say I found it a bit of a struggle." 蟽蔚位. 727
+螠慰蠀蟽蔚委慰 魏伪喂 尾喂尾位委慰 纬委谓慰谓蟿伪喂 苇谓伪.
+螙蠅萎 魏伪喂 蟿苇蠂谓畏 纬委谓慰谓蟿伪喂 苇谓伪.
螘委谓伪喂 苇尉蠀蟺谓慰蟼 伪蠀蟿蠈蟼 慰 螤伪渭慰蠉魏 魏伪喂 渭' 伪蟻苇蟽蔚喂.
-韦蠈蟽伪 魏伪喂 蟿蠈蟽伪 渭伪蟼 蔚委蟺蔚蟼, 未蔚谓 渭伪蟼 蔚委蟺蔚蟼 蟺蔚蟻委 蟿委谓慰蟼 蟺蟻蠈魏蔚喂蟿伪喂:
-螘, 畏 喂蟽蟿慰蟻委伪 蔚委谓伪喂 伪蟺位萎. 螣 螝蔚渭维位 苇谓伪蟼 蟺位慰蠉蟽喂慰蟼 魏位畏蟻慰谓蠈渭慰蟼 蟺慰蠀 蔚蟿慰喂渭维味蔚蟿伪喂 谓伪 伪蟻蟻伪尾蠅谓喂伪蟽蟿蔚委 蟿畏谓 危喂渭蟺苇位 渭喂伪 蔚蟺委蟽畏蟼 蟺位慰蠉蟽喂伪 魏慰蟺苇位伪, 蟽蟺慰蠀未伪蟽渭苇谓畏 蟽蟿畏 危慰蟻尾蠈谓谓畏, 胃伪 蔚蟻蠅蟿蔚蠀蟿蔚委 蟿畏谓 蠁蟿蠅蠂萎 桅喂蟽慰蠉谓 魏伪喂 味慰蠀谓 蟽伪蟻维谓蟿伪 未蠉慰 渭苇蟻蔚蟼 蟺维胃慰蠀蟼 魏伪喂 畏未慰谓萎蟼. 螒蟺' 蔚未蠋 魏伪喂 蟺苇蟻伪 尉蔚魏喂谓维 畏 魏维胃慰未慰蟼 蟿慰蠀 螝蔚渭维位 蟽蔚 渭喂伪 未委谓畏 蠈蟺慰蠀 畏 伪纬维蟺畏 纬委谓蔚蟿伪喂 苇蟻蠅蟿伪蟼, 慰 苇蟻蠅蟿伪蟼 蟺维胃慰蟼, 魏伪喂 蟿慰 蟺维胃慰蟼 苇渭渭慰谓畏 喂未苇伪.
螝伪喂 蔚未蠋 蔚委谓伪喂 蟺慰蠀 尾蟻委蟽魏蠅 蟿慰 伪蟻谓畏蟿喂魏蠈 蟿慰蠀 尾喂尾位委慰蠀 纬喂伪 渭苇谓伪.
螕喂伪 195 蟽蔚位委未蔚蟼 (387-581) 慰 螝蔚渭维位 蔚尉喂蟽蟿慰蟻蔚委 蟿伪 7 蠂蟻蠈谓喂伪 魏伪喂 未苇魏伪 渭萎谓蔚蟼 蟺慰蠀 蟺苇蟻伪蟽蔚 蟽蟿慰 蟽蟺委蟿喂 蟿蠅谓 纬慰谓喂蠋谓 蟿畏蟼 桅喂蟽慰蠉谓. 韦伪 未蔚委蟺谓伪, 慰喂 蟽蠀味畏蟿萎蟽蔚喂蟼, 蟿伪 伪谓蟿喂魏蔚委渭蔚谓伪 蟺慰蠀 苇魏位蔚尾蔚 纬喂伪 谓伪 蟿畏 胃蠀渭维蟿伪喂, 蟿慰 蟿喂 苇尾位蔚蟺伪谓 蟽蟿畏谓 蟿畏位蔚蠈蟻伪蟽畏 魏伪喂 维位位伪 蟺蔚味维 魏伪胃畏渭蔚蟻喂谓维. 螕喂伪 195 蟽蔚位委未蔚蟼 蟿伪 苇尾位蔚蟺伪 尉伪谓维 魏伪喂 尉伪谓维 魏伪喂 尉伪谓维 魏伪喂 尉伪谓维 魏喂 伪蠀蟿蠈 渭蔚 魏慰蠉蟻伪蟽蔚. 螒位位维 伪蟺蠈 蟿畏谓 蟽蔚位委未伪 582 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼 (728) 蟿慰 尾喂尾位委慰 蟺萎蟻蔚 渭蟺蟻慰蟼 魏伪喂 渭蔚 苇魏伪谓蔚 尉伪谓维 谓伪 伪蟺慰位伪渭尾维谓蠅 蟿畏谓 位蔚蟺蟿慰渭蔚蟻苇蟽蟿伪蟿畏 魏伪喂 蟺蠀魏谓萎 纬蟻伪蠁萎 蟿慰蠀 螤伪渭慰蠉魏.
螛伪 蟺蟻蠈蟿蔚喂谓伪 谓伪 未喂伪尾维味伪蟿蔚 蟺蟻蠋蟿伪 蟿慰 纬喂伪 谓伪 苇蠂蔚蟿蔚 渭喂伪 蟺喂慰 蔚渭蟺蔚蟻喂蟽蟿伪蟿蠅渭苇谓畏 蔚喂魏蠈谓伪 蟿畏蟼 螤蠈位畏蟼 蟺蟻喂谓 蟺维蟻蔚蟿蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰. 螠慰喂维味慰蠀谓 魏伪蟿维 魏维蟺慰喂慰 蟿蟻蠈蟺慰.
螤伪蟻蠈位慰 蟺慰蠀 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟽蔚 蠈位伪 蟿伪 尾喂尾位委伪 蟿慰蠀 螤伪渭慰蠉魏 蟺慰蠀 未喂维尾伪蟽伪 蔚委谓伪喂 蠅蟼 蔚蟺委 蟿慰 蟺位蔚委蟽蟿慰谓 谓蔚蠀蟻蠅蟿喂魏慰委 魏伪喂 喂未喂伪委蟿蔚蟻慰喂 伪蠀蟿蠈蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚尉蔚位委蟽蟽蔚蟿伪喂 蟽蟿慰 谓伪 纬委谓蔚喂 慰 伪纬伪蟺畏渭苇谓慰蟼 渭慰蠀. 螠蔚纬维位伪 位蠈纬喂伪. . .
螖喂伪尾维蟽蟿蔚 蟿慰! 7/10
February 16, 2018
Am ezitat destul de mult daca sa incep sau nu 鈥淢uzeul Inocentei鈥�, am ocolit-o poate din cauza numarului de pagini destul de mare, peste 600, asta dupa ce prima mea experienta cu scriitura lui Pamuk a fost cu o carte a sa de non-fictiune 鈥淚stanbul鈥� care mi-a placut. Apoi am citit romanul 鈥滿a numesc rosu鈥� capodopera sa, care mi-a placut la fel de mult este o carte care te solicita, nu este o carte usoara, dar merita efortul de a fi citita pana la final, jurul Comitetului Nobel luand decizia cea mai buna decerandu-i acestuia in 2006 premiul Nobel pentru Literatura.
Si am ajuns la鈥� Muzeul Incocentei鈥� cartea care poate fi asezata asa cum este mentionat si pe coperta editiei de la Polirom, alaturi de romane precum 鈥淎nna Karenina鈥�, 鈥淒oamna Bovary鈥� precum si 鈥淟olita鈥� lui Nabokov, aici doar din prisma diferentei de varsta dintre Kemal si Fusun, desi aceasta nu era minora spre deosebire de Lolita.
Am devorat cartea pur si simplu. Vocea lui Kemal istorisindu-si poveste de dragoste alaturi de Fusun te cucereste pana la final. Cartea te urmareste chiar si dupa ce ai terminat-o iti ramane acolo intiparita in minte.
"Nimeni nu 艧tie, de fapt, c膬 tr膬ie艧te cea mai fericit膬 clip膬 a vie牛ii sale atunci c芒nd o tr膬ie艧te. Poate c膬 unii oameni pot cugeta sau afirma cu sinceritate (艧i adeseori), 卯n anumite momente de euforie, c膬 鈥瀉cum鈥� tr膬iesc acea clip膬 de aur a vie牛ii lor, dar, 卯n ciuda acestui fapt, o parte a sufletului lor este convins膬 c膬 pe viitor vor tr膬i clipe 艧i mai frumoase, 艧i mai fericite. Nimeni nu 艧i ar putea continua via牛a, mai cu seam膬 la tinere牛e, g芒ndind c膬, de la un anumit moment, lucrurile vor merge mai prost. Dac膬 e艧ti 卯ns膬 suficient de fericit pentru a 牛i putea imagina c膬 tr膬ie艧ti cea mai fericit膬 clip膬 a vie牛ii tale, vei fi, totodat膬, suficient de optimist pentru a crede c膬 艧i viitorul va fi frumos"
Pamuk este un mare povestitor asemenea lui Tolstoi. Desi in cele peste 600 de pagini ale cartii nu se intampla foarte multe lucruri, intamplarile decurgand lent interesul cititorului este mentinut pana la ultima pagina. Cititorii nu ar trebui sa se astepte la un roman siropos de dragoste cu diverse rasturnari de situatii. Actiunea cartii de desfasoara pe parcursului a 15-20 de ani. Sunt evocati anii`70-80 ai Istanbulului, precum si viata oamenilor care traiau pe atunci: obiceiuri, traditii, conceptii care desi se vroiau occidentalizati aveau diverse conceptii si prejudecati in ceea ce priveste statutul femeii. De multe ori in carte este mentionat faptul ca o femeie care 鈥渕erge pana la capat鈥� e privita cu alti ochi si isi pierde statutul de femeie 鈥渟erioasa鈥�, multi dintre barbati refuzand sa le ceara in casatorie, ele adesea ramanand cu acest stigmat.
"艦tim 卯ns膬 c膬 atunci c芒nd ar膬t膬m care a fost cea mai fericit膬 clip膬 a vie牛ii noastre, aceasta a trecut de mult 艧i c膬, din aceast膬 pricin膬, ne provoac膬 suferin牛膬. Singurul lucru care face suportabil膬 aceast膬 suferin牛膬 este c芒te un obiect r膬mas 卯n urma acelei clipe. Obiectele r膬mase de pe urma clipelor fericite conserv膬 cu mult mai mult膬 fidelitate dec芒t oamenii care ne au procurat acea fericire amintirile, culorile, pl膬cerea"
Romanul este scris la persoana I, cu trairile interioare ale lui Kemal, prin urmare suntem tentati sa credem ca personajul este un alter-ego al autorului, dar intr-o scena cheie in roman (petrecerea de sarbatorire a logodnei lui Sibel cu Kemal) autorul apare ca personaj in propria carte, iar in finalul romanului acesta face o schimbare subtila relatandu-ne povestea chiar din prisma sa schimband adresarea la persoana a III a.
Romanul este o istorie personala unde ne sunt prezentate propriile sentimente impletite cu atmosfera care domnea pe atunci in Istanbul.
Suntem purtati prin diverse cartiere si strazi ale orasului, prin zone frecventate de lumea buna a Istanbulului, lumea producatorilor de film, o industrie ce se dorea a fi asemanatoare cu cea de la Hollywood.
Nu vreau sa dezvalui aici subiectul romanului, las placerea cititorului pentru a intra in poveste si a o savura pe indelete pentru ca merita.
Si am ajuns la鈥� Muzeul Incocentei鈥� cartea care poate fi asezata asa cum este mentionat si pe coperta editiei de la Polirom, alaturi de romane precum 鈥淎nna Karenina鈥�, 鈥淒oamna Bovary鈥� precum si 鈥淟olita鈥� lui Nabokov, aici doar din prisma diferentei de varsta dintre Kemal si Fusun, desi aceasta nu era minora spre deosebire de Lolita.
Am devorat cartea pur si simplu. Vocea lui Kemal istorisindu-si poveste de dragoste alaturi de Fusun te cucereste pana la final. Cartea te urmareste chiar si dupa ce ai terminat-o iti ramane acolo intiparita in minte.
"Nimeni nu 艧tie, de fapt, c膬 tr膬ie艧te cea mai fericit膬 clip膬 a vie牛ii sale atunci c芒nd o tr膬ie艧te. Poate c膬 unii oameni pot cugeta sau afirma cu sinceritate (艧i adeseori), 卯n anumite momente de euforie, c膬 鈥瀉cum鈥� tr膬iesc acea clip膬 de aur a vie牛ii lor, dar, 卯n ciuda acestui fapt, o parte a sufletului lor este convins膬 c膬 pe viitor vor tr膬i clipe 艧i mai frumoase, 艧i mai fericite. Nimeni nu 艧i ar putea continua via牛a, mai cu seam膬 la tinere牛e, g芒ndind c膬, de la un anumit moment, lucrurile vor merge mai prost. Dac膬 e艧ti 卯ns膬 suficient de fericit pentru a 牛i putea imagina c膬 tr膬ie艧ti cea mai fericit膬 clip膬 a vie牛ii tale, vei fi, totodat膬, suficient de optimist pentru a crede c膬 艧i viitorul va fi frumos"
Pamuk este un mare povestitor asemenea lui Tolstoi. Desi in cele peste 600 de pagini ale cartii nu se intampla foarte multe lucruri, intamplarile decurgand lent interesul cititorului este mentinut pana la ultima pagina. Cititorii nu ar trebui sa se astepte la un roman siropos de dragoste cu diverse rasturnari de situatii. Actiunea cartii de desfasoara pe parcursului a 15-20 de ani. Sunt evocati anii`70-80 ai Istanbulului, precum si viata oamenilor care traiau pe atunci: obiceiuri, traditii, conceptii care desi se vroiau occidentalizati aveau diverse conceptii si prejudecati in ceea ce priveste statutul femeii. De multe ori in carte este mentionat faptul ca o femeie care 鈥渕erge pana la capat鈥� e privita cu alti ochi si isi pierde statutul de femeie 鈥渟erioasa鈥�, multi dintre barbati refuzand sa le ceara in casatorie, ele adesea ramanand cu acest stigmat.
"艦tim 卯ns膬 c膬 atunci c芒nd ar膬t膬m care a fost cea mai fericit膬 clip膬 a vie牛ii noastre, aceasta a trecut de mult 艧i c膬, din aceast膬 pricin膬, ne provoac膬 suferin牛膬. Singurul lucru care face suportabil膬 aceast膬 suferin牛膬 este c芒te un obiect r膬mas 卯n urma acelei clipe. Obiectele r膬mase de pe urma clipelor fericite conserv膬 cu mult mai mult膬 fidelitate dec芒t oamenii care ne au procurat acea fericire amintirile, culorile, pl膬cerea"
Romanul este scris la persoana I, cu trairile interioare ale lui Kemal, prin urmare suntem tentati sa credem ca personajul este un alter-ego al autorului, dar intr-o scena cheie in roman (petrecerea de sarbatorire a logodnei lui Sibel cu Kemal) autorul apare ca personaj in propria carte, iar in finalul romanului acesta face o schimbare subtila relatandu-ne povestea chiar din prisma sa schimband adresarea la persoana a III a.
Romanul este o istorie personala unde ne sunt prezentate propriile sentimente impletite cu atmosfera care domnea pe atunci in Istanbul.
Suntem purtati prin diverse cartiere si strazi ale orasului, prin zone frecventate de lumea buna a Istanbulului, lumea producatorilor de film, o industrie ce se dorea a fi asemanatoare cu cea de la Hollywood.
Nu vreau sa dezvalui aici subiectul romanului, las placerea cititorului pentru a intra in poveste si a o savura pe indelete pentru ca merita.
February 22, 2014
It was quite an experience reading this book.
At one stage i almost abandoned it as i just had
too much of Kemal's obsession and it was getting a bit tiresome.
However,while i was not reading the book and moved on to other books i keep thinking about it and realised it was beautifully written.The descriptions of Istanbul life in the 1970's and 1980's were so brilliant.
I would be having a coffee in my local cafe(wet and damp and indoors) and would start thinking about Istanbul and the warm feeling i got when reading about drinking raki or Turkish Tea on the Bosphorus in the sunshine.How cool is that!I could almost smell the Turkish tea.
The only writer who effected me like that before was Hemingway although
their styles are totally different.
Kemal's obsession with Fusun and his robbing of little knick knacks was a bit tiresome but i am really glad i did not abandon the book and returned to complete it.
Orhan Pamuk is some writer.You can see he really loves his country and his people and really goes to great lengths to let you understand Istanbul and the Turkish people.
It must have taken a lot of energy to write a book like this.
I really loved this book and have three more Orhan Pamuk books lined up ready to go.
At one stage i almost abandoned it as i just had
too much of Kemal's obsession and it was getting a bit tiresome.
However,while i was not reading the book and moved on to other books i keep thinking about it and realised it was beautifully written.The descriptions of Istanbul life in the 1970's and 1980's were so brilliant.
I would be having a coffee in my local cafe(wet and damp and indoors) and would start thinking about Istanbul and the warm feeling i got when reading about drinking raki or Turkish Tea on the Bosphorus in the sunshine.How cool is that!I could almost smell the Turkish tea.
The only writer who effected me like that before was Hemingway although
their styles are totally different.
Kemal's obsession with Fusun and his robbing of little knick knacks was a bit tiresome but i am really glad i did not abandon the book and returned to complete it.
Orhan Pamuk is some writer.You can see he really loves his country and his people and really goes to great lengths to let you understand Istanbul and the Turkish people.
It must have taken a lot of energy to write a book like this.
I really loved this book and have three more Orhan Pamuk books lined up ready to go.
April 30, 2022
After finishing "The Museum of Innocence," I found myself in need to talk about it. I wanted my friends to know about this, but I wanted them to know about it slowly, in small drips, and tiny pieces.
-"Do you have time for another cup of coffee?" I'd ask, "This might take a while, but chances are this book might be too long for your taste and you might not want to read it yourself, but you have to at least hear me out till the end. Let me tell you about it!"
It's not typical of me to do this sort of thing. I rarely share stories orally and usually do not even have the patience to tell a short joke, much less listen to one. But everything about "The Museum of Innocence" was different. With this, Orhan Pamuk first created an idea, then built an idea, then created a reality for his idea, and he gave a different meaning to the word "Imagination", and he left me with no option but to want to TELL, to HAVE TO tell, about the "Museum of Innocence."
Yet this is supposed to be a review so I cannot sit here and write my own summary to the book and what it represents and spoil it in this review. But what I will say is: yes, you need to read this, and yes, it will make you look at objects differently. It might make you look at life differently. In fact, this book might have a chance to ruin you. It might seduce you and leave you with no choice to resist it, and yes, it might actually ruin you. But would I still recommend it for you? The answer is yes.
If you do not plan to read the book, then I hope we'll meet one day. I'll ask you whether you have time for a cup of coffee, and if you're willing to hear me out, I'll be happy to tell you about "the museum of innocence."
Till then, you might want to consider reading "the museum of innocence"!
UPDATE:
On March 16, 2022, I actually walked into the actual "Museum of Innocence" in Istanbul. I got goosebumps walking in - to think that literature does in fact change people. As an ARmenian, I had refused to go to Istanbul, but Pamuk through his writing made me change my mind. As I browsed through the museum slowly, and went down to the basement and watched snippets of the documentary film about him, I felt comfortable in that space.
-"Do you have time for another cup of coffee?" I'd ask, "This might take a while, but chances are this book might be too long for your taste and you might not want to read it yourself, but you have to at least hear me out till the end. Let me tell you about it!"
It's not typical of me to do this sort of thing. I rarely share stories orally and usually do not even have the patience to tell a short joke, much less listen to one. But everything about "The Museum of Innocence" was different. With this, Orhan Pamuk first created an idea, then built an idea, then created a reality for his idea, and he gave a different meaning to the word "Imagination", and he left me with no option but to want to TELL, to HAVE TO tell, about the "Museum of Innocence."
Yet this is supposed to be a review so I cannot sit here and write my own summary to the book and what it represents and spoil it in this review. But what I will say is: yes, you need to read this, and yes, it will make you look at objects differently. It might make you look at life differently. In fact, this book might have a chance to ruin you. It might seduce you and leave you with no choice to resist it, and yes, it might actually ruin you. But would I still recommend it for you? The answer is yes.
If you do not plan to read the book, then I hope we'll meet one day. I'll ask you whether you have time for a cup of coffee, and if you're willing to hear me out, I'll be happy to tell you about "the museum of innocence."
Till then, you might want to consider reading "the museum of innocence"!
UPDATE:
On March 16, 2022, I actually walked into the actual "Museum of Innocence" in Istanbul. I got goosebumps walking in - to think that literature does in fact change people. As an ARmenian, I had refused to go to Istanbul, but Pamuk through his writing made me change my mind. As I browsed through the museum slowly, and went down to the basement and watched snippets of the documentary film about him, I felt comfortable in that space.
March 15, 2020
I can't believe I finished a 532 page book that was pure drudgery. But I have a good reason - I've liked every other Orhan Pamuk book I have read. I assumed that at some point it would all come together and I would understand why it was meaningful to suffer through years of a narcissistic man's wearisome obsessions about his unrequited love. Since others have rated this highly and Pamuk is brilliant, I'm probably missing something here.
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