Orhan Pamuk has placed the baubles boudoir a mysterious woman tidy boxes, one for each chapter of his new novel the Museum of Innocence, ready for display in a Museum opens in Istanbul next year. If someone visits the Museum small, eccentric, will be to see the artifacts of two love stories — the agonizing romance between Kemal, a member of the elite of Istanbul and its relationship with far more poor Fusun and tender, devoted Pamuk's relationship with Istanbul itself. The show will feature Butterfly hair clips, 4.214 cigarette butts, Turkish cinema posters since the 1970s, teacups taxidermy of popular birds of Istanbul. The only way to buy the entrance is the purchase of Guide, novel Pamuk Museum — a single-admission ticket is printed on page 713.
Pamuk has gone to great lengths to illustrate unusual structure of Museum of Innocence. The Museum of real life imitates the imaginary Museum that Pamuk constructs in the novel, a love story told in first person by Kemal and divided into short chapters 83. Each chapter contains a central memory and resource objects that become the significant material from memory.
Pamuk works this technique in narrative doing Kemal a collector obsessive of everyday objects that his mistress, Fusun, has touched. Stormy relationship with Kemal Fusun lasts eight years and pages 671 and generates thousands of objects. After the tragic death of Kemal Fusun, decides to open a Museum, really a shrine, in his former home to showcase their collection and enlists the character "Orhan Pamuk" writing the Guide to the Museum. The narration reveals that the guide is the novel itself; "Pamuk" has been ghostwriting story all together, which leads us to the page 713, in the last chapter of the novel, where we are presented with real ticket not imaginary Museum Pamuk.
The mediums and voices in the novel shifting can impair the simple elegance of the plot, but they are much more than Fireworks a writer. Working with the idea of romance as a Museum of imagination, Pamuk creatively discusses a modern, very Proustian, writing the dilemma: time should always be a creation inorganic, a meta-narrative, into a work of fiction. If the material is fiction, fantasy and imagination memory, which are all elements of time absent, how can a writer honestly incorporate time in a novel? Kemal articulates Pamuk's attempt of a solution in the last chapter of the book: "because all objects in my Museum — and with it my entire story — can be seen at the same time from any perspective, visitors will lose all sense of time."
Pamuk uses structure of romance to chase this ideal of timelessness. But it also keeps a history linear in time that hinders the characters ' relationship with each other and life. As Shakespeare's tragic tales Antony and Cleopatra or Tolstoy's Anna Karenina, the Museum of innocence love plot, which begins with Kemal having virginity of Fusun and ends with the suicide of Fusun runs on steam determinism. Pamuk cultivates the tension of the disparity between the structure and functioning of narrative time in each one. But the story of love, as inseparable from the history museum, is the most interesting aspect of the novel. The Museum of Innocence happens mainly because of his portrayal of course, penetrating and revealing love non-Western.
At the end of the novel, mother of Kemal, in a fit of frustration with the life of his son, spits out: "in a country where men and women cannot be together socially, where they cannot see each other or even have a conversation, there is no such thing as love." Pamuk uses the entire novel to respond to this view non-rare, exploring love how prolonged and intense attention one person to another, which can grow despite the physical distance. Fusun and sexual Love of Kemal, evoked in highly erotic scenes of the opening of the book is the destructive force of history two traumatic events and disappearance of love affair. Pamuk uses the plot as a way to illustrate how sexual love is incompatible with the Turkish Islamic society. A third of the way in the book, wedding Fusun with another man ensures that Kemal can only experience it from afar. The romance — Read society — forces Kemal to express his love for reveling in the minutiae of beauty of Fusun (the curve of your shoulders, the way she holds a cigarette) and what he sees as extensions of your self (your earrings, their cigarette butts that show tantalizing lipstick traces). This concept of love is both strangely familiar — echoing the philosophy of Plato and romance of cavalry — and deeply unsettling in your imbuing of material goods with ecstatic power.
Pamuk has more a love story to tell and it is your own. Their lyrical descriptions, worshipper of Istanbul in the 1970s — back alleys of poorer neighborhoods, restaurants adorned with exuberant cyclamen trees and the sounds of Turkish classical music, public outdoor cinemas, fisherman wading around in the Bosporus misty wafting aroma — have attention to detail and the Fiery look we associate this book with true love. Istanbul Pamuk is chock full of tensions and contradictions of a traditional culture adapt the influence of the West. His impression of the city is emotionally differentiated sometimes melancholic, often hopeful. At the Museum of Innocence, experience the Turkey in a way big-picture through the cumulation of miniature — a love story between million, humble memories of sticky summer nights, thousands of everyday items.
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