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My Name Is Red: A Novel Paperback – August 27, 2002

by Orhan Pamuk (Author), Erdag Göknar (Translator)

4.2 1,688 ratings

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The Nobel Prize winner and one of today's most prominent contemporary Turkish writers delivers a novel that is a fiendishly devious mystery, a beguiling love story, a brilliant symposium on the power of art, and a “modern classic … rich and essential” (Los Angeles Times Book Review)—set amid the splendor and religious intrigue of sixteenth-century Istanbul.

The Sultan has commissioned a cadre of the most acclaimed artists in the land to create a great book celebrating the glories of his realm. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed. The ruling elite therefore mustn’t know the full scope or nature of the project, and panic erupts when one of the chosen miniaturists disappears. The only clue to the mystery—or crime?—lies in the half-finished illuminations themselves. Part fantasy and part philosophical puzzle, My Name is Red is a kaleidoscopic journey to the intersection of art, religion, love, sex and power.

Translated from the Turkish by Erda M Göknar

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Editorial Reviews

Review

A PARADE BEST BOOK OF ALL TIME

"It is neither passion nor homicide that makes Pamuk's latest, My Name is Red, the rich and essential book that it is.... It is Pamuk's rendering of the intense life of artists negotiating the devilishly sharp edge of Islam 1,000 years after its brith that elevates My Name is Red to the rank of modern classic.... To read Pamuk is to be steeped in a paradox that precedes our modern-day feuds beteween secularism and fundamentalism."
—Los Angeles Times Book Review

"Straddling the Dardanelles sits the city of Istanbul ... and in that city sits Orhan Pamuk, chronicler of its consciousness ... His novel's subject is the difference in perceptions between East and West ... [and] a mysterious killer ... driven by mad theology ... Pamuk is getting at a subject that has compelled modern thinkers from Heidegger to Derrida ... My Name is Red is a meditation on authenticity and originality ... An ambitious work on so many levels at once."
—Chicago Tribune

"Most enchanting ... Playful, intellectually challenging, with an engaging love story and a full canvas of memorable characters, My Name is Red is a novel many, many people will enjoy."
—Milwaukee Journal Sentinel

"Intensely exhilarating ... Arresting and provocative ... To say that Orhan Pamuk's new novel, My Name is Red, is a murder mystery is like saying that Dostoevsky's The Brothers Karamazov is a murder mystery: it is true, but the work so richly transcends the conventional limitations of genre as to make the definition seem almost irrelevant.... The techniques of classical Islamic literature are used to anchor the book within a tradition of local narrative, but they can also be used with a wonderfully witty and distancing lightness of touch ... All the exuberance and richly descriptive detail of a nineteenth-century European novel ... The technique of Pamuk's novel proclaims that he himself is a magnificently accomplished hybrid artist, able to take from Eastern and Western traditions with equal ease and flair ... Formally brilliant, witty, and about serious matters ... It conveys in a wholly convincing manner the emotional, cerebral, and physical texture of daily life, and it does so with great compassion, generosity, and humanity ... An extraordinary achievement."
—Times Literary Supplement, UK

"My Name is Red is a fabulously rich novel, highly compelling ... This pivotal
book, which absorbed Pamuk through the 1990s, could conclusively establish him as one of the world's finest living writers."
—The Independent, UK

"A murder mystery set in sixteenth-century Istanbul [that] uses the art of miniature illumination, much as Mann's 'Doctor Faustus' did music, to explore a nation's soul.... Erdag Goknar deserves praise for the cool, smooth English in which he has rendered Pamuk's finespun sentences, passionate art appreciations, sly pedantic debates, [and] eerie urban scenes."
—The New Yorker

"Pamuk is a novelist and a great one ... My Name is Red is by far the grandest and most astonishing contest in his internal East-West war ... It is chock-full of sublimity and sin...The story is told by each of a dozen characters, and now and then by a dog, a tree, a gold coin, several querulous corpses and the color crimson ('My Name is Red') ... [Readers will] be lofted by the paradoxical lightness and gaiety of the writing, by the wonderfully winding talk perpetually about to turn a corner, and by the stubborn humanity in the characters' maneuvers to survive. It is a humanity whose lies and silences emerge as endearing and oddly bracing individual truths."
—The New York Times Book Review

"The interweaving of human and philosophical intrigue is very much as I remember it in The Name of the Rose, as is the slow, dense beginning and the relentless gathering of pace ... But, in my view, his book is by far the better of the two. I would go so far as to say that Pamuk achieves the very thing his book implies is impossible ... More than any other book I can think of, it captures not just Istanbul's past and present contradictions, but also its terrible, timeless beauty. It's almost perfect, in other words. All it needs is the Nobel Prize."
—New Statesman, UK

"A perfect example of Pamuk's method as a novelist, which is to combine literary trickery with page-turning readability ... As a meditation on art, in particular, My Name is Red is exquisitely subtle, demanding and repaying the closest attention ... We in the West can only feel grateful that such a novelist as Pamuk exists, to act as a bridge between our culture and that of a heritage quite as rich as our own."
—Daily Telegraph, UK

"Readers ... will find themselves lured into a richly described and remarkable world ... Reading the novel is like being in a magically exotic dream ... Splendidly enjoyable and rewarding ... A book in which you can thoroughly immerse yourself."
—The Scotsman, UK

"A wonderful novel, dreamy, passionate and august, exotic in the most original and exciting way. Orhan Pamuk is indisputably a major novelist."
—The Spectator, UK

"[In this] magnificent new novel... Pamuk takes the reader into the strange and beautiful world of Islamic art,in which Western notions no longer make sense .... In this world of forgeries, where some might be in danger of losing their faith in literature, Pamuk is the real thing, and this book might well be one of the few recent works of fiction that will be remembered at the end of this century."
—The Observer, UK

From the Inside Flap

At once a fiendishly devious mystery, a beguiling love story, and a brilliant symposium on the power of art, My Name Is Red is a transporting tale set amid the splendor and religious intrigue of sixteenth-century Istanbul, from one of the most prominent contemporary Turkish writers.

The Sultan has commissioned a cadre of the most acclaimed artists in the land to create a great book celebrating the glories of his realm. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed. The ruling elite therefore mustn?t know the full scope or nature of the project, and panic erupts when one of the chosen miniaturists disappears. The only clue to the mystery?or crime? ?lies in the half-finished illuminations themselves. Part fantasy and part philosophical puzzle, My Name is Red is a kaleidoscopic journey to the intersection of art, religion, love, sex and power.

Translated from the Turkish by Erda M Göknar

From the Back Cover

At once a fiendishly devious mystery, a beguiling love story, and a brilliant symposium on the power of art, My Name Is Red is a transporting tale set amid the splendor and religious intrigue of sixteenth-century Istanbul, from one of the most prominent contemporary Turkish writers.
The Sultan has commissioned a cadre of the most acclaimed artists in the land to create a great book celebrating the glories of his realm. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed. The ruling elite therefore mustn't know the full scope or nature of the project, and panic erupts when one of the chosen miniaturists disappears. The only clue to the mystery-or crime? -lies in the half-finished illuminations themselves. Part fantasy and part philosophical puzzle, My Name is Red is a kaleidoscopic journey to the intersection of art, religion, love, sex and power.
Translated from the Turkish by Erda M Goknar

About the Author

ORHAN PAMUK is the author of seven novels and the recipient of major Turkish and international literary awards. He is one of Europe's most prominent novelists, and his work has been translated into twenty-six languages. He lives in Istanbul.

Excerpt. © Reprinted by permission. All rights reserved.

Chapter 1

I Am a Corpse

I am nothing but a corpse now, a body at the bottom of a well. Although I drew my last breath long ago and my heart has stopped beating, no one, apart from that vile murderer, knows what's happened to me. As for that wretch, he felt for my pulse and listened for my breath to be sure I was dead, then kicked me in the midriff, carried me to the edge of the well, raised me up and dropped me below. As I fell, my head, which he had smashed with a stone, broke apart; my face, my forehead and cheeks, were crushed; my bones shattered, and my mouth filled with blood.

For nearly four days I have been missing: My wife and children must be searching for me; my daughter, spent from crying, must be staring fretfully at the courtyard gate. Yes, I know they're all at the window, hoping for my return.

But, are they truly waiting? I can't even be sure of that. Maybe they've gotten used to my absence-how dismal! For here, on the other side, one gets the feeling that one's former life persists. Before my birth there was infinite time, and after my death, inexhaustible time. I never thought of it before: I'd been living luminously between two eternities of darkness.

I was happy; I realize now that I'd been happy. I made the best illuminations in Our Sultan's workshop; no one could rival my mastery. Through the work I did privately, I earned nine hundred silver coins a month, which, naturally, only makes all this even harder to bear.

I was responsible for painting and embellishing books. I illuminated the edges of pages, coloring their borders with the most lifelike designs of leaves, branches, roses, flowers and birds. I painted scalloped Chinese-style clouds, clusters of overlapping vines and forests of color that hid gazelles, galleys, sultans, trees, palaces, horses and hunters. In my youth, I would decorate a plate, or the back of a mirror, or a chest, or at times, the ceiling of a mansion or of a Bosphorus manor, or even, a wooden spoon. In later years, however, I applied myself only to manuscript pages because Our Sultan paid well for them. I can't say it seems insignificant now. You know the value of money even when you're dead.

After hearing the miracle of my voice, you might think, "Who cares what you earned when you were alive? Tell us what you can see. Is there life after death? Where's your soul? What about Heaven and Hell? What is death like? Are you in pain?" You're right, people are extremely curious about the Afterlife. Maybe you've heard the story of the man who was so driven by this curiosity that he roamed among soldiers in battlefields. He sought a man who had died and returned to life amid the wounded struggling for their lives in pools of blood, a soldier who could tell him about the secrets of the Otherworld. But one of Tamerlane's warriors, taking the seeker for one of the enemy, cleared him in half with a smooth stroke of his scimitar, causing him to conclude that in the Hereafter man is split in two.

Nonsense! Quite the opposite, I'd even allege that souls divided in life merge in the Hereafter. Contrary to the claims of sinful infidels who have fallen under the sway of the Devil, there is indeed another world, thank God, and the proof is that I am speaking to you from here. I've died, but as you can plainly tell, I haven't ceased to be. Granted, I must confess, I haven't encountered the rivers flowing beside the silver and gold kiosks of Heaven, the broad-leaved trees bearing plump fruit and the beautiful virgins mentioned in the Glorious Koran-though I do very well recall how often and enthusiastically I made pictures of those wide-eyed houris described in the chapter "That Which Is Coming." Nor is there a trace of those rivers of milk, wine, fresh water and honey described with such flourish, not in the Koran, but by visionary dreamers like Ibn Arabi. But I have no intention of tempting the faith of those who live rightly through their hopes and visions of the Otherworld, so let me declare that all I've seen relates specifically to my own very personal circumstances. Any believer with even a little knowledge of life after death would know that a malcontent in my state would be hard-pressed to see the rivers of Heaven.

In short, I, who am known as Master Elegant Effendi, am dead, but have not been interred, therefore my soul has not completely left my body. This extraordinary situation, although naturally my case is not the first, has inflicted a horrible suffering upon the immortal part of me. Though I cannot feel my crushed skull or my decomposing body covered in wounds, full of broken bones and partially submerged in ice-cold water, I do feel the deep torment of my soul struggling desperately to escape its mortal coil. It's as if the whole world, along with my body, were contracting into a bolus of anguish.

I can only compare this contraction to the surprising sense of release I felt during the unequaled moment of my death. Yes, I instantly understood that that wretch wanted to kill me when he unexpectedly struck me with a stone and cracked my skull, but I didn't believe he'd be able to follow through. I suddenly realized I was a hopeful man, something I hadn't been aware of while living my life in the shadows between workshop and household. I clung passionately to life with my nails, my fingers and my teeth, which I sank into his skin. I won't bore you with the painful details of the subsequent blows I received.

When in the course of this agony I knew I would die, an incredible feeling of relief filled me. I felt this relief during the moment of departure; my arrival to this side was soothing, like the dream of seeing oneself asleep. The snow- and mud-covered shoes of my murderer were the last things I noticed. I closed my eyes as if I were going to sleep, and I gently passed over.

My present complaint isn't that my teeth have fallen like nuts into my bloody mouth, or even that my face has been maimed beyond recognition, or that I've been abandoned in the depths of a well-it's that everyone assumes I'm still alive. My troubled soul is anguished that my family and intimates, who, yes, think of me often, imagine me engaged in some trivial business somewhere in Istanbul, or even chasing after another woman. Enough! Find my body without delay, pray for me and have me buried. Above all, find my murderer! For even if you bury me in the most magnificent of tombs, so long as that wretch remains free, I'll writhe restlessly in my grave, waiting, infecting you all with faithlessness. Find that son-of-a-whore murderer and I'll tell you in detail just what I see in the Afterlife-but know this, when he's caught, he must be tortured by slowly splintering eight or ten of his bones, preferably his ribs with a vise, before piercing his scalp with those skewers made especially for the task by torturers, and plucking out his disgusting, oily hair, strand by strand, so he shrieks each time.

Who is this murderer who vexes me so? Why has he killed me in this surprising way? Be curious and mindful of such matters. You say the world is full of base and worthless criminals? Perhaps this one did it, perhaps that one? In that case let me caution you: My death conceals an appalling conspiracy against our religion, our traditions and the way we see the world. Open your eyes, discover why the enemies of the life in which you believe, of the life you're living, and of Islam, have destroyed me. Learn why one day they might do the same to you. One by one, everything predicted by the great preacher Nusret Hoja of Erzurum, to whom I've tearfully listened, is coming to pass. Let me say also that if the situation into which we've fallen were described in a book, even the most expert of miniaturists could never hope to illustrate it. As with the Koran-God forbid I'm misunderstood-the staggering power of such a book arises from the impossibility of its being depicted. I doubt you've comprehended this fact.

Listen to me. When I was an apprentice, I too feared and thus ignored the underlying truths and the voices from beyond. I'd joke about such matters. But I've ended up in the depths of this deplorable well! It could happen to you, be wary. Now, I've nothing left to do but hope for thorough decay, so they can find me by tracing my stench. I've nothing to do but hope-and imagine the torture that some benevolent man will inflict upon that wretched murderer once he's been caught.

Product details

Publisher ‏ : ‎ Vintage; Reprint edition (August 27, 2002)
Language ‏ : ‎ English
Paperback ‏ : ‎ 432 pages
ISBN-10 ‏ : ‎ 0375706852
ISBN-13 ‏ : ‎ 978-0375706851
Item Weight ‏ : ‎ 10.8 ounces
Dimensions ‏ : ‎ 5.2 x 0.9 x 8 inches

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Orhan Pamuk
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Orhan Pamuk, described as 'one of the freshest, most original voices in contemporary fiction' (Independent on Sunday), is the author of many books, including The White Castle, The Black Book and The New Life. In 2003 he won the International IMPAC Award for My Name is Red, and in 2004 Faber published the translation of his novel Snow, which The Times described as 'a novel of profound relevance to the present moment'. His most recent book was Istanbul, described by Jan Morris as 'irresistibly seductive'. He was awarded the Nobel Prize for Literature in 2006. He lives in Istanbul.
Photo by David Shankbone (Orhan Pamuk discusses his new book about love) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)], via Wikimedia Commons.
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Erdağ M. Göknar
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Erdağ Göknar is Associate Professor of Turkish and Middle East Studies at Duke University and an award-winning translator. His translation of Orhan Pamuk's historical novel MY NAME IS RED won the International Dublin Literary Award (2003), marking Pamuk's emergence as an author of world literature and contributing to his selection as Nobel laureate (2006). The best selling novel was reissued in 2010 as part of the Everyman's Library Contemporary Classics series. Göknar is also the translator of A.H. Tanpınar's iconic novel of Istanbul, A MIND AT PEACE, and Atiq Rahimi's anti-war novella set in Afghanistan, EARTH AND ASHES. His critical literary study, ORHAN PAMUK, SECULARISM, AND BLASPHEMY: THE POLITICS OF THE TURKISH NOVEL (Routledge 2013), argues that the productive tension between Turkish Islam and state secularism give Pamuk's work currency as world literature. Göknar's poetry collection, NOMADOLOGIES (Turtle Point 2017), engages themes of Turkish-American diaspora.
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omarali50

an artist of the floating world

Reviewed in the United States on September 4, 2002

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Of Miniatures and Murder
One of these days, Turkish writer Orhan Pamuk will be awarded the Nobel Prize for literature. As is usually the case with this prize, it will be given for all the wrong reasons: a Muslim may be needed that year or the clash of East and West may demand a winner who is from both cultures. That said, it will be an honour long overdue and richly deserved. For 20 years, Pamuk has been spinning his postmodern yarns in Istanbul and getting better with every book. In Turkey, he is a publishing sensation (after his latest book his publisher successfully sued a newspaper which refused to believe the sales figures) and his books have been translated into 20 languages. His latest effort My Name is Red is a magnificent historical mystery, which manages to be a thrilling page-turner as well as a dense novel of ideas.
The book is set in Istanbul in 1591. The Ottoman Empire is a major superpower, perhaps the most powerful in the world, and the sultan has commissioned a new book of paintings. These are not just any paintings. They are to be rendered in the 'new' Venetian manner, a style that flies in the face of all the rules of Islamic miniature art. The book is so secret that even the miniaturists working on it are unaware of the whole picture. Only Enishte Effendi, the official supervising the book, knows how all the pieces will fit. But rumours of heresy and blasphemy swirl around the project and an extremist preacher, incensed at the new western influences, is preaching murder.
When one of the miniaturists working on the book is killed, anyone could be the killer. Was he killed because he was committing heresy? Or because he had discovered heresy and was about to unmask the heretic? Enishte and his lovesick nephew 'Black Effendi' are racing to find the killer when another murder is committed. Meanwhile, there are other complications: Black Effendi is in love with Enishte's widowed daughter Shekure, who is also being pursued by her brother-in-law. She is flirting with both through a Jewess who carries her messages through the streets of Istanbul. And always in the background is the conflict between the self-contained and insular Islamic civilisation and the brash and uncomfortably individualistic new challengers from Europe.
The book is written in the form of 59 short chapters, each a monologue by one of the characters. Most of the chapters are narrated by the central characters - Black Effendi, Enishte, Shekure, the miniaturists and so on - but several are unconventional. The opening chapter is narrated by a freshly killed corpse, while others are narrated by the picture of a dog, a horse and even the colour red, from which comes the title of the book. The multiple perspectives work very well as a murder mystery - the narration by the killer, for example, invites the reader to guess at his identity through his style - and help Pamuk to push his complex cultural debate much better than any single perspective could have managed.
The amazing thing is that the book works at every level. As a murder mystery, it is thrilling and loaded with suspense, while as an allegory on the clash of cultures, it is masterful and subtle. Pamuk is far from being didactic or one-dimensional. The Ottoman world is indeed depicted as a despotic and insular culture, increasingly constrained and hampered by rigid and oppressive orthodoxies. But the orthodoxies have their own internal justifications and rationalisations. In a world where "the center will not hold and mere anarchy is loosed upon the world", these certainties do have an appeal. Pamuk is too much of a postmodern intellectual to actually embrace these ideologies but he is not above suspecting that in all this 'progress' something has also been lost. Not all the illusions are on Don Quixote's side, some are also on the side of those who jeer at him.
In 1999, the Turkish government tried to give Pamuk the title of state artist, which he refused by saying: "For years I have been criticizing the state for putting authors in jail, for only trying to solve the Kurdish problem by force, and for its narrow-minded nationalism, I don't know why they tried to give me the prize." After September 11, he wrote: "The western world is scarcely aware of this overwhelming humiliation experienced by most of the world's population, which they have to overcome without losing their common sense and without being seduced by terrorists, extreme nationalists or fundamentalists. Neither the magical realistic novels that endow poverty and foolishness with charm, nor the exoticism of popular travel literature manage to fathom this cursed private sphere."
Near the end of the book, one of the miniaturists offers what could be Pamuk's own credo: "An artist should never succumb to hubris of any kind, he should simply paint the way he sees fit rather than troubling over East or West." Pamuk spent five years writing My Name is Red, one must spend a few days reading it. It will not be a disappointing experience.

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Sturmey Archer

My Name is Red

Reviewed in the United States on December 26, 2018

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A fascinating look at the relationship between art and life in the Ottoman empire. There is a murder mystery here, and a decidedly unromantic love story, but those simply serve as a framework for rumination on the purpose art should serve in society, particularly in the Ottoman empire of the 1500's. Art is a form of creation and the act of creation can be seen to infringe uncomfortably on the area of expertise that is the the domain of God. However, these creations serve to exalt God, inspire beholders, and establish legacies. Where do these worthwhile purposes intersect with the heresy of stepping on God's toes?

"Yes, these are our hidden traces, not those identical horses all in a row. When a painter renders the fury and speed of a horse, he doesn't paint his own fury and speed; by trying to make the perfect horse, he reveals his love for the richness of this world and its creator, displaying the colors of a passion for life -- only that and nothing more."

The Ottoman artists in this novel are miniaturists who decorate books to exalt the glory of the sultan. They are working in a style that is devoid of perspective and this puts their work at a comfortable distance from realism and the murky gray area between art and blasphemy. Their world is turned upside down by the radical trend towards realism in art that comes by way of Venice. At what point do these ideas cross from being aesthetically pleasing to being downright dangerous?

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Paul Murphy

Stick A Needle In My Eye

Reviewed in the United States on July 18, 2015

Verified Purchase

I chose the title only because of a couple of scenes....read the book and you find out why

This book is about 14th century art in Istanbul. It is a murder mystery that blends the life stories of miniaturist … artist that created the beautiful artwork and gold leaf edging in books of that era. Today’s miniaturist is better known as an illustrator of books. The author takes a unique approach in beginning a chapter with a title “I am”. Then each chapter is told in the voice of the name of what would follow “I am”; a first person story told by many different first persons. The name is not necessarily a person. It could be an object like a coin that would then set the setting for the commerce that crosses both Venetian or Ottoman, Christian or Muslim, of that era. There are love dramas, conspiracies, Greek tragedies, (so apropos a term for a setting in Istanbul), and a lot of art history in novel form. Any reader would be intrigued enough to start fact checking and eventually planning a trip to Istanbul to discover firsthand the art of an era so over looked by us Westerners.

Bikaner Miniature Painting You'll have to go to my blog cigarroomofbooks to see the picture. Apparently it would post here.

The murder and conspiracy spins around a real plot on a person’s conceit. Imagine a person of wealth having his portrait painted and hung on the walls of his palazzo. Take it a step further and imagine a famous scene, say a battle, and that a Doge would have himself painted in to the scene, though having not been there. It would be a false rendering of the story. And then imagine the concern of the miniaturists who see the betrayal of truth and Allah himself. Remember in the 1500’s there were no other material media for stories to get told in color. You then begin to appreciate how grave the crime might be. Of course Hollywood does this all the time, so one must question the sliding scale of the virtue of man. And then weigh in on the moral consequences in what may be a justified murder. Or was it just for the money after all?

As the murder plot thickens, the reader is rendered as the sleuth to figure out who the murderer is. The information is presented in first person of the prime character of any chapter. And the detectives are describing drawing styles of art that could be linked to one miniaturist or another. The reader cannot help but learn to become an art critic. The author, like in the book, sneaks up on you with art education while distracting you with a multi faced plot.

The 14th century Muslim art critic’s primary objection was in defense of Allah. It was not the goal to paint a scene objectively, but rather the painting should be rendered as though seen through the eyes of Allah. As the plot unfolds the objection unravels. To determine the author you had to examine all the artists for style. Style was at that time in the Ottoman Empire dictated by the masters of any given schools. Somehow a master artist would at the end of his career go blind from so much dedication to Allah’s work and he could still somehow be able to instruct his students. It was an achievement to go blind. Somehow the actors in the drama fail to see that Allah is really the master artist forcing his style on his students.

The real tragedy is the suspect artists feud with each other as they witness art from the Venetians who capture scenes objectively. Their feud is fueled with the competition of who would succeed their murdered master. Poor Black who is strapped with the job to figure out who done it so that he may earn the love and hand of the dead master’s daughter, finds himself being convinced, one by one by the arguments of each suspect. Every argument brings two themes. Fist is the sacrilege of their brethren actually painting with their own style. And second is that unique style is exactly evidence found in the murder scene painting.

The book is clearly poetry in prose. It is word art. It is a Walt Whitman rant style of poetry. The only thing missing is the artwork.

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Ms. Raghav

You will miss something

Reviewed in India on December 7, 2023

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Often in life, we come across literature so beautiful that we feel we would have missed something in life had we missed this literature.
This book is exactly that. It is extravagant and deep. Beautiful and haunting.
I've reordered this book after losing my previous copy while shifting homes because this is one of those book one should have on their shelves.

Note for the seller: please be conscious of your packaging.

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charlie k

Great read

Reviewed in the United Kingdom on February 16, 2019

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First book I've read by Orhan Pamuk and certainly it won't be the last! I think like Salman Rushdie, you need to understand the writer's psyche to enjoy books like this. That said, I found the Satanic Verses a tricky read but then again, I've been told by Muslims you need to understand the Koran. I am not religious so I'm not going to comment on that. My Name Is Red is not like the Satanic Verses so let's clear that up. It is in its entirety a great read. I read over the Christmas period and I was literally devouring great swathes of it at any time. When I finished it I gave it to my brother who wouldn't really read this sort of book but even though he's older, he's now prone to experiment with his reading. I haven't heard back from him on it. He may not read it for months! I love historical fiction and Orhan Pamuk does it as good as any one else. Umberto Eco springs to mind while I read this.

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MiguelAngel

Un curioso caleidoscopio oriental

Reviewed in Spain on February 18, 2017

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La novela está bien escrita, muy elaborada, fácil de leer, pero no tanto de seguir. Motivo: se cuenta la historia (ubicada en el Estambul del Imperio Otomano antiguo) de un grupito de ilustradores de libros (miniaturistas que adornan los márgenes de las páginas de libros manuscitos). Este grupo recibe del Sultán el encargo de adornar un nuevo libro que pretende competir en calidad con la pintura occidental, más avanzada al no tener las restricciones que impone el Corán a los retratos de personas o animales.En esto, uno de los miniaturistas es asesinado. Y el Sultán amenaza con torturarlos a todos si ellos mismos no descubren cuál de ellos es el asesino. Si cuento casi todo el argumento no es para fastidiar, sino porque la técnica novelística que usa Orhan Pamuk es bien complicada: cada capítulo es un monólogo, una parte de la historia contada por (y desde el punto de vista de) muy distintos "personajes". Entre estos no sólo hablan los miniaturistas sino otros tan extraños como una moneda, un perro, la muerte misma... Esto tiene el efecto siguiente: si empiezas a leer un capítulo e inturrumpes la lectura, luego tienes que tomarte la molestia de averiguar quién está hablando esta vez, a base de volver a atrás y ver el título del capítulo (por ejemplo, Mi nombre es Mariposa).
En resumen, esta novela está elaborada como un puzzle, o una colección caleidoscópica de distintos puntos de vista sobre los sucesos que van ocurriendo. Está bien ambientada históricamente, pero a veces da la impresión de ser harto repetitiva. A unos lectores les encantará, pero a otros los cansará hasta el agotamiento. Y es que el autor ha querido pintar un gran cuadro repleto de detalles, con planos de muy diverso estilo, y especulando con la idea de hasta qué punto la prohibición coránica de los retratos coharta la libertad del pintor. Es una parábola que puede que sea intencionada, reflejando la tesitura actual del Islam, dividido entre la adaptación al mundo moderno y la fidelidad a los preceptos musulmanes, división que parece estar en la base de los extremismos jihadistas de hoy día.

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Bobbameiser

Exotic

Reviewed in Australia on July 17, 2019

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Fabulous writing Gets you in from the start

Paul Tauberg

Fascinating, a great book

Reviewed in Canada on June 9, 2015

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Fascinating book offering a glimpse into a world very few of us know much about: The Ottoman Empire at the apex of its glory, in the middle of 16th century. Orhan Pamuk takes us to the heart of Istanbul of those times and immerses us in the customs, intrigues and daily preoccupations of people living in that time and place. Readers who enjoyed “The name of the Rose” by Umberto Eco will love this. Like the other book, “My name is Red” delivers a thriller wrapped in a deep intellectual debate. This time the debate involves the aesthetics of painting and the way it relates to religion, culture and the history of humanity in general. The atmosphere around the characters and their debates is medieval and dark. However, little sparks announcing the future can be clearly seen. Elite Ottoman miniaturists engrossed in their masterful but impersonal painting style become aware that in Venice and beyond, Western painters depict human faces as they really are, different from each other and enhanced by the use of shadows and perspective. Can Allah tolerate that? Soon, it’s time to take sides; some miniaturists reject the new style, others would like to imitate it, some are still ambiguous. In an environment already saturated with professional jealousy, the dispute leads to murder and then to the race to uncover the murderer.

Pamuk lead us with mastery toward the denouement where the culprit is revealed and punished. Along the way he uses various characters and even un-animated objects as first person narrators . This technique allows him to better move the plot forward and deepen the mystery. Despite the multitude of narrators, Pamuk’s voice remains easily recognizable. The writing is strong and handles with ease highly refined aesthetically or theological topics as well as sexual themes and naturalistic descriptions.

There is an enormous amount of detail about Ottoman and Muslim art or history. This can be overwhelming at times but it can motivate the reader to find out more and search for new learning opportunities. A great reading experience.

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