Orhan Pamuk
Orhan Pamuk
Ferit Orhan Pamukis a Turkish novelist, screenwriter, academic and recipient of the 2006 Nobel Prize in Literature. One of Turkey's most prominent novelists, his work has sold over thirteen million books in sixty-three languages, making him the country's best-selling writer...
ProfessionNovelist
Date of Birth7 June 1952
CityIstanbul, Turkey
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Museums are western inventions where the rich and the powerful or the government and the state tend to exhibit the signs and symbol and images of their culture.
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Let us say in the pocket of one of my old coats I find a movie ticket from many years ago. Once I see the ticket, not only do I remember that I saw this movie, but also scenes from this movie, which I think I have entirely forgotten, come back to me. Objects have this power, and I like it.
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If I think back on the books to which I have devoted my entire life, I am most surprised by those moments when I have felt as if the sentences, dreams, and pages that have made me so ecstatically happy have not come from my own imagination - that another power has found them and generously presented them to me.
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If a writer is to tell his own story - tell it slowly, and as if it were a story about other people - if he is to feel the power of the story rise up inside him, if he is to sit down at a table and patiently give himself over to this art - this craft - he must first have been given some hope.
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I don't much care whether rural Anatolians or Istanbul secularists take power. I'm not close to any of them. What I care about is respect for the individual.
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The habit of collecting, of attachment to things, is an essential human trait. But Western civilization put collecting on a pedestal by inventing museums. Museums are about representing power. It could be the king's power or, later, people's power.
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How much can we ever know about the love and pain in another's heart? How much can we hope to understand those who have suffered deeper anguish, greater deprivation, and more crushing disappointments than we ourselves have known? Even if the world's rich and powerful were to put themselves in the shoes of the rest, how much would they really understand the wretched millions suffering around them? So it is when Orhan the novelist peers into the dark corners of his poet friend's difficult and painful life: How much can he really see?
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Turkey, with its political intolerance, as I have described it, is prepared to march forward, to break with its taboo about the Armenians, and is making great strides with respect to human rights and freedom of speech so that it can join the European Union. This alone shows how powerful the European idea is.
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At some point they figured out that you can win elections with a pro-European policy because the voters hope this will improve their lives.
perhaps
I think perhaps it is a generational thing,
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Modernity means overabundance. We are living in the age of mass-produced objects, things that come without announcing themselves and end up on our tables, on our walls. We use them - most of us don't even notice them - and then they vanish without fanfare.
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When people read a novel 600 pages long, six months pass, and all they will remember are five pages. They don't remember the text - instead, they remember the sensations the text gives them.
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When I write, I feel that I'm writing with my intellect. When I paint, I think it's some other force making me paint. I - as I wrote in my novel 'My Name is Red' - watch with amazement what my hand is doing on the paper, what kind of line, what kind of strange, beautiful thing it's doing in spite of my will, so to speak.
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We should not judge Islam by terrorists. All civilizations and cultures produce terrorists. Every time there is a flag-burning, killing, or provocative films, I'm worried, not because something radical will happen, and this time, some people are killed. We're very sorry for that.