Книга: Pamuk O. «Istanbul: Memories of a City»

Istanbul: Memories of a City

Серия: "-"

A portrait, by turns intimate and panoramic, of one of the world’s great cities, by its foremost man of letters, author of the acclaimed novels Snow and My Name Is Red. Blending reminiscence with history; family photographs with portraits of poets and pashas; art criticism, metaphysical musing, and, now and again, a fanciful tale, Orhan Pamuk invents an ingenious form to evoke his lifelong home, the city that forged his imagination. He begins with his childhood among the eccentric extended Pamuk family in the dusty, carpeted, and hermetically sealed apartment building they shared. In this place came his first intimations of the melancholy awareness thatbinds all residents of his city together: that of living in the seat of ruined imperial glories, in a country trying to become “modern” at the dizzying crossroads of East and West. This elegiac communal spirit overhangs Pamuk’s reflections as he introduces the writers and painters (among the latter, most particularly the German Antoine-Ignace Melling) through whose eyes he came to see Istanbul. Against a background of shattered monuments, neglected villas, ghostly backstreets, and, above all, the fabled waters of the Bosphorus, he presents the interplay of his budding sense of place withthat of his predecessors. And he charts the evolution of a rich, sometimes macabre, imaginative life, which furnished a daydreaming boy refuge from family discord and inner turmoil, and which would continue to serve the famous writer he was to become. It was, and remains, a life fed by the changingmicrocosm of the apartment building and, even more, the beckoning kaleidoscope beyond its walls. As much a portrait of the artist as a young man as it is an oneiric Joycean map of the city, Istanbul is a masterful evocation of its subject through the idiosyncrasies of direct experience as much as the power of myth--the dazzling book Pamuk was born to write.

Издательство: "Faber and Faber"

ISBN: 978-0-571-21833-2

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PAMUK ORHAN (1952- )

Orhan Pamuk est né à Istanbul en 1952. Diplômé de l’École supérieure de l’université d’Istanbul, il a séjourné aux États-Unis et fréquenté l’université Columbia. Son premier roman, Karanlik ve Isik (L’Obscurité et la lumière), a reçu le prix du roman 1979 du quotidien Milliyet . En 1982, Cevdet Bey ve Ogullari (Djevdet Bey et ses fils) est récompensé par le prix du romancier Orhan Kemal 1984. Son roman Sessiz Ev (La Maison du silence, 1983) reçoit le prix Madarali en Turquie et en France, le Grand Prix de la découverte européenne en 1991, et Kara Kitab (Le Livre noir, 1990), le prix France Culture et le prix du Comité France-Turquie.

Avec Orhan Pamuk, ce n’est plus la problématique de la vie paysanne qui constitue les thèmes de l’œuvre romanesque. L’auteur s’efforce plutôt de narrer la recherche d’identité de ses personnages, et ceci dans le cadre de la vie sociale et historique de son pays. Ainsi, les questions liées au genre romanesque sont exploitées démesurément dans la structure de la narration.

Dans cette recherche d’identité, sans rapport avec celle que connut l’existentialisme, présentée dans une narration décousue où les détails historiques se mêlent à des visions éblouissantes, on peut lire en filigrane les mutations angoissantes d’un pays dépassé par l’histoire.

L’individu, chez Orhan Pamuk, symbolise l’évolution de la Turquie face à l’Occident. On est original si l’on remonte à ses propres origines. Telle est la conception de l’écrivain qui découvre dans les trésors de sa culture l’éblouissante richesse d’un passé plusieurs fois séculaire. Orhan Pamuk n’hésite pas à expérimenter différents procédés d’écriture comme le collage d’anecdotes historiques ou légendaires empruntées à des textes anciens ou nées d’un imaginaire fantastique. Bien que sa langue ne soit pas recherchée, dans ses digressions fréquentes, il crée ou recrée des images peu communes. L’écriture de Pamuk est très souvent bivalente et même souvent polyvalente, le mélange de plusieurs styles formant, en quelque sorte, une mosaïque pleine de richesses. La critique turque s’est montrée plus réservée que la critique internationale à l’égard de ce qu’elle appelle «des égarements de langage».

Источник: PAMUK (O.)

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