Read Neve by Orhan Pamuk Şemsa Gezgin Marta Bertolini Online


Nella città di Kars, al confine tra Turchia, Armenia e Georgia, alcune giovani ragazze si sono uccise, a quanto sembra perché costrette a togliersi il velo nelle aule dell'università. Il poeta Ka, esule turco in Germania, inviato a Kars per un reportage, inizia a indagare, tormentato dal confronto tra Occidente e Islam. Intanto la neve, indifferente alle passioni umane, coNella città di Kars, al confine tra Turchia, Armenia e Georgia, alcune giovani ragazze si sono uccise, a quanto sembra perché costrette a togliersi il velo nelle aule dell'università. Il poeta Ka, esule turco in Germania, inviato a Kars per un reportage, inizia a indagare, tormentato dal confronto tra Occidente e Islam. Intanto la neve, indifferente alle passioni umane, continua a cadere.Investita da una tormenta di neve, la città è un miscuglio di etnie e fazioni politiche. Ci sono turchi, curdi, georgiani, nazionalisti laici e integralisti religiosi. C'è la polizia segreta, c'è l'esercito e ci sono i terroristi islamici. Ka inizia la sua indagine, mentre la neve continua a cadere e le strade vengono chiuse. Kars è isolata. In città, Ka rivede dopo diversi anni Ipek, una compagna di università molto bella. Ka se ne innamora e sogna di portarla con sé in Germania. Per realizzare questo sogno, farà di tutto. La situazione precipita quando una compagnia di teatro mette in scena un dramma degli anni Venti, scritto in sostegno della laicità dello Stato fondato da Atatürk, dove una donna, coraggiosamente, brucia il chador in pubblico. Durante lo spettacolo alcuni giovani del liceo religioso inscenano una protesta. E la serata finisce nel sangue. Ka viene coinvolto suo malgrado. È uno spettatore imparziale, ma molto confuso. Non sa nemmeno rispondere alla domanda: credi in Dio? Sostiene che a Kars ha ritrovato Allah, ma poi l'unica cosa che gli interessa è la ricerca, molto occidentale, della felicità. Il dilemma di Ka ruota intorno al confronto tra Occidente e Islam....

Title : Neve
Author :
Rating :
ISBN : 9788806186180
Format Type : Paperback
Number of Pages : 468 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Neve Reviews

  • Lisa
    2018-11-29 09:58

    A mystery. A social case study.A culture clash.A literary masterpiece.Unreliable narrators.Misogyny.Protest.Political campaigns.Multiple truths.Diverse realities.Deeply moving characters.Darkly funny storylines.Religious fundamentalism.Arrogant humanism.Liberal press coverage.Fake News.National identity divergences. This novel contains so many different strands, I am hopelessly incapable of reviewing it. Ever since I first read it, just after Orhan Pamuk received the Nobel Prize, it has been one of my most cherished literary treasures, a book full of truth and lies, of foolishness and wisdom, of love and hate, of passion and indifference. A book full of LIFE!If anything, it has gained more power in recent years, as we see Turkish democracy facing ever harder challenges, and various traditions clashing with liberal ideas and freedom of thought. As history moves on, the story of the Istanbul journalist who visits remote Kars to investigate young women's suicides becomes more real, and relevant, and the questions raised shine in a bright new light.The power of a novel to speak truth to power and to enrage people!Recommended to the world!

  • Hallie
    2018-12-02 18:15

    After finishing this book I felt virtuous, relieved. Then baffled, irritated, and finally dismissive. Other Good Reads reviewers express the desire to like this book, but proceed to be confused, bored, and insecure. Most wrap up with the dismal feeling that they didn’t GET it, and so didn’t succeed in really liking it. I felt the same, but in addition was supremely annoyed and turned off by it. I’m not so good at post-modern fiction to begin with, but I decided to leave my bias at the door because I had heard such great things about this author, and Pamuk didn’t seem like a bogus poser from what I’d read. The story is about an expatriate Turkish poet named Ka who leads a solitary and arid life in Frankfurt and travels to a remote village in his homeland, ostensibly to investigate a spate of suicides by religious Muslim women protesting the injunction to remove their head scarves at school. He is really there to kindle a romance with a recently divorced woman he knew at university. The novel unfolds over three days when the snow has cut off the town from the outside world. What transpires is a coup led by a dysfunctional theater troupe, a lot of political intrigue, and much ball batting between secular and religious townspeople. Pamuk gives equal billing to every opinion, although they do not differ much in terms of their reductive, inflamed and binary natures, or in ability to capture my interest or sustained attention. This is in large part because the protagonist Ka is stunted,childish and infuriating himself, and the writing is both busy and detached. The political intrigue and opinions in Snow are not interesting or illuminating, as they do not emanate from fleshed-out people, but cardboard cut-outs spouting giant, densely packed and tedious word bubbles.Inspiration strikes Ka while in Kars, and he stops to transcribe a series of nineteen poems, whenever they descend on him in perfectly realized form. Conveniently they get lost, but a conversation about them between Ka and his paramour goes like this: “Is it beautiful?” he asked her a few moments later.“Yes, it’s beautiful!” said Ipek.Ka read a few more lines aloud and then asked her again, “Is it beautiful?”“It’s beautiful,” Ipek replied.When he finished reading the poem, he asked, “So what was it that made it beautiful?”“I don’t know,” Ipek replied, “but I did find it beautiful.”“Did Muhtar [her ex] ever read you a poem like this?”“Never,” she said.Ka began to read the poem aloud again, this time with growing force, but he still stopped at all the same places to ask, “Is it beautiful?” He also stopped at a few new places to say, “It really is very beautiful, isn’t it?”“Yes, it’s very beautiful!” Ipek replied.To my mind, only a child under ten should ever be indulged in this sort of megalomania, and then only by his mother, but Ka is nowhere punished, ridiculed or even chided for his insufferable personality, and in fact I think we are supposed to admire him as embodying the innocence, purity, pathos and single-mindedness that come with being a true artist. Margaret Atwood says, in the New York Times Book Review “Not only an engrossing feat of tale-spinning, but essential reading for our times. [Pamuk is] narrating his country into being.” This seems to me the best case for why Snow won the Nobel Prize. The book makes Turkey legible, as well as digestible, to the West. The novel is chock a block with allusions to white western male institutions – Kafka, Coleridge, Mann, Nabokov (he wrote a lot of stuff in the west, anyway): an annoying and intrusive narrator, a novelist named Orhan, whose games of peek-a-boo get harder and harder to humor, an abysmal, abyssal usage of literary envelopes, a morose and misunderstood genius of a hero who falls desparately in love with a woman he obstinately refuses to lend more than one dimension – the sex scenes, incidentally, are some of the most unintentionally off-putting I have ever read, and recall the experience almost every woman has been unfortunate to undergo at least once, where she feels she might leave the room, go get some cheesecake and stand in the door frame watching her partner rythmically brutalizing a stack of pillows in laughable ignorance of her whereabouts or even existence. Afterwards our hero has the witlessness to add to the injury by calling this essentially masturbatory act “love-making”. In fact, this pretty much sums up my response to the whole book.

  • Jaidee
    2018-12-14 10:53

    5 " provocative, desolate, yearnful" stars !! To read Snow is to laugh loudly and cry quietly. Kars, a small city in northeast Turkey, a backwater that had glory days and multiple conquerings over the centuries. There are Turks, Kurds, Azeris and a few Russians. Most of the men are unemployed and spend their days in teahouses discussing politics and religion. They are demoralized and oppress their women and children.Ka is a poet of Turkish descent who now lives in Frankfurt and is a political exile. He comes to Kars to investigate the suicides of young Muslim women for a German newspaper and becomes embroiled in a world that used to be familiar and now so foreign. He is both revered and disdained by the townspeople and falls madly in love with Ipek, an old college friend that is separated from her husband who is running for mayor. The plot gets more and more complicated and farcical but not just in a funny way, in a convoluted way that speaks to the nature of identity, ethnic strife, fundamentalism, poverty and gender relations. So much happens in three days and you feel the sadness and despair permeate your being along with guffaws at the ridiculousness of men trying to make sense of their world and fear for women who are trying to survive and be safe.The story is complex, beautiful and you reflect on your own existence and wonder if you are living the fullest life that you have available to you.I very much look forward to reading more of Mr. Pamuk's work.

  • N W James
    2018-11-30 14:14

    Nine Reasons I (strongly) disliked this book:1. The author made himself a character in his story. I just don't like that. I always wonder if they had writer's block and couldn't invent a fictional character to take the reins.2. A snowflake diagram of poetry is involved. I'll say no more. 3. The men in this novel are whiny, infantile, and fall in love with every woman they encounter. 4. In the same paragraph the female lead character is described as seething in hatred and laughing adoringly at the whiny, infantile male main character.5. This story has no cohesion. Things happen to the main character without foreshadowing. The exposition that did come was mainly philosophical and seemingly tangential. And if I have to read another sentence about whether a Muslim woman should wear a scarf or not or how beautiful and terrifying snow can be, I will go batty.6. I did not understand the motivations behind most of the characters' actions. This may be because I'm ignorant to the social intricacies of the Turkish realm. But this book did not help me to care.7. As a fellow poet, I hated that the main character wrote 19 poems throughout the novel, but the reader never got to read any of them. This point is explained in the story, but it still bugged me. 8. The author inexplicably tried his hardest to make the novel seem like a biography even though A NOVEL is featured prominently on the cover.9. From this novel I am to presume that every Turkish woman is profoundly beautiful and that Turkish men can only drag themselves after these creatures in the hope of being noticed. Bonus reason: two years later I'm still angry I read this book!

  • BillKerwin
    2018-11-19 16:56

    The expatriate poet Ka returns to his native Turkey ostensibly to investigate a growing number of suicides among "head scarf girls" for an article in a German newspaper, but actually to reconnect with the beautiful divorcee Ipek whom he knew in college. While there, he is caught up in religious and political intrigue. I thought the book was too long, and the characters didn't interest me much, but I really liked the way Nobel prize winner Pamuk creates the atmosphere of the small city of Kars (and its many kinds of people) during a great snowstorm. I also liked the way he portrays the Islamists of Turkish culture--and the secular revolutionaries and artists as well--as fiercely Romantic individualists who are angry at the West--above all other things--because we refuse to recognize and respect the individuality of their religious passion.

  • BlackOxford
    2018-11-23 16:15

    An Aorist CountryReligion is rarely about dogma or belief and almost always about membership in a group and the feeling of belonging it creates. Snow is an absurdist novel about religion as community and its communal conflicts.The protagonist, Ka, is a sort of thirty-something adolescent who finds himself in a blizzard, in love, in a state ruled by paranoia, and in the midst of a local revolution begun by a provincial theatre-group (remarkably like a Turkish version of Heinrich Boll's Clown). This constitutes his isolated but very god-like, omniscient community: "In Kars everyone always knows about everything that’s going on."But Kars, situated as it is in Eastern Turkey, is hardly a single community. Its history is Russian, and Iranian, and Ottoman, and even a bit of English. Its inhabitants are Kurds, and Armenians, and Georgians and Azeris as well as Turks. And even among the ethnic Turks there are as many communities as there are distinctive interpretations of Islam.Each of these communities, according to their members, is created by God. Various physical aspects of the Karsian world evoke God for the various communities. For example, “Snow reminds Ka of God!” Particularly its silence. But this is his community; mainly because after living as an emigre in Germany for so many years, he has no other. In Kars, he finds solace mainly because he has discovered empathy "with someone weaker than himself," namely the poor, uneducated, confused provincial Turkish folk. But that isn't how the locals see things.The locals have a variety of religious communities from which to choose, ranging from radical Islam to secularist atheism. This latter term is not one of belief but of membership: "...that word doesn’t refer to people who don’t believe in God: it refers to the lonely ones, the people whom the gods have abandoned." That is, those who have no community.Most of the local communities have a common enemy - the state. The state, since the destruction of the Ottoman Empire, has attempted to replace rather than include local communities within itself. But it is merely a source of what we have come to know in the age of Trump as 'fake news.' Moreover, also as in the Trumpian vein, the state is an aspiring religion, with the sovereign power that all other religions would like to have. It uses this power and legal violence to present a binary choice to the population: ‘My Fatherland or My Headscarf.’The intractable conflict created by this situation isn't new in Turkey (nor for that matter in America). It existed even in the Empire. In part Pamuk expresses this through constant historical flashbacks and frequent narrative references like 'later I found out' or 'eventually we learned.' But he also captures the repetitive character of Turkish life through an ingenious literary technique that probably can't be rendered exactly in English.Like Classical Greek, Turkish has a verb form, the Aorist or Habitual, which, although expressed in English, isn't explicit. The Aorist aspect is one of timeless repetition. It connotes past and future as well as present. The sense of the Aorist can be shown most simply in the crude English expression 'shit happens.' It doesn't just happen now; it has always happened and it always will. Turkey is the ancient, empoverished, embattled city of Kars, writ large, with its "endless wars, rebellions, massacres and atrocities." Shit just keeps happening.The American version hasn't been written yet but it's long overdue.

  • Darcy
    2018-11-20 09:55

    (view spoiler)[In a lot of ways, Snow isn't much different from some of Pamuk's other novels--Ka wanders around Kars just as Galip wanders around Istanbul in The Black Book, and Ka's vacillation between acute perception of others and paralytic insecurities about himself is straight from Black in My Name is Red. It's almost as though Pamuk keeps writing the same novel over and over--a novel about how men define themselves, particularly those men who discover they no longer seem to fit into the very physical space they occupy; in this case, Ka can't decide if he can still be Turkish after living in Germany for so many years.It isn't a question that the book ends up answering, either. Ka returns to Turkey only to discover that writing doesn't make it any easier to deal with the decisions he finds himself making throughout his stay in Kars: does he believe in God or not? Does he love Ipek or not? Should he stay in Turkey or not? Does he support Westernization or not? It would be easy to reduce this novel to a story in which East meets West through the figure of Ka, but the novel seems to be much more interested not in that intersection, but in what occurs when one tries to write about that intersection. In fact, this is a novel made up entirely of all kinds of writing--newspaper articles, play productions, poems, speeches, video recordings, and Ka's notes. All these are filtered through the narrator, who is attempting to locate "Ka" in those very documents--as though if one could simply find the green notebook, or discover the meaning of the snowflake diagram then one could concretely define Ka's identity. The end result is a rather nasty joke--Orhan Pamuk the narrator spends ages collecting all the bits of paper that comprise the life of Ka and then spends even more time piecing it all together, only to come up with not much: Ka is not a terribly interesting person. He's a washed-up poet and a crappy lover. The intense focus on identity leads only to a dead end in which Ka cannot be recovered through writing, just as the events in Kars cannot be explained or understood through the novel.Ka's motivations, his misogyny, and his indifference to others generally go unremarked by the narrator, causing the reader to wonder where, exactly, the narrator's fascination with Ka comes from. It is, of course, an ironic fascination--in becoming so wrapped up in Ka and Ka's actions, the narrator has failed to understand the underlying problems in the system and in the coup: there is no "right" side in this novel--the secularists, the Kurdish Nationalists, the Islamic fundamentalists, the Westernized Turkish exiles, the ex-Communists are all simply passing around the same system of power. It is a system (and one that Ka participates in throughout the novel) in which women become icons for men, just as Ipek is an icon for Ka. As a result, the initial story that brings Ka to Kars--the suicide girls--drops out of the narrative until even Kadife becomes fed up with it. This story fizzles out as Kadife neatly sums it all up: "I'm sick of hearing men talking about why suicide girls commit suicide." It is this story--this initial narrative that Ka sympathizes with but does not apply in his own life--that provides the keys to the other stories of isolation, social pressure, and political coercion. But the suicide girls end up forgotten in this book as the men talk about them to the point of rendering those women only stories.I like Pamuk's novels, but I find them very difficult to read. They are slow, philosophical, and the main character is often so contradictory as to be slippery. This novel doesn't have the same type of experimental structure as My Name is Red--the narrative framework is more subtle. But I think that given the focus on writing (Ka cannot discover himself through his poems, Orhan Pamuk cannot discover Ka through the novel, and no one can figure out the suicide girls), identity and politics, this strategy is better.(hide spoiler)]

  • Saleh MoonWalker
    2018-11-21 10:54

    Onvan : Snow - Nevisande : Orhan Pamuk - ISBN : 375706860 - ISBN13 : 9780375706868 - Dar 463 Safhe - Saal e Chap : 2002

  • hadashi
    2018-11-21 14:50

    This novel has won a zillion prizes, and has received deafening international acclaim for the way it takes on the clash of the Islamic fundamentalist East & secular West while retaining the humanity of its characters. I disagree. The book starts out fine, but it devolves into this really odd stream-of-consciousness craziness that feels like a fever dream and makes little sense of events at the end. In addition, the narrator keeps telling you what’s going to happen – big stuff, like deaths, etc. – and if it was supposed to focus me and keep me from being distracted wondering what was going to happen, it did the exact opposite. I ended up skimming the last third because I was so annoyed with how all plot tension was gone, the protagonist was quickly becoming a snivelly annoyance, and – here’s my main beef – no poems. Ka’s whole character hinges on the fact that he’s been blocked for all his years in the West, and when he comes “home” he has this rush of nineteen poems that just flow out of him. A great deal of time is spent talking about them and dissecting them, but because the green notebook he wrote them in is never found, we never get to actually read them. I find this to be a cheap, lame, cheater literary trick that shirks responsibility. The plot structure even would have allowed at least one poem to be printed, but why couldn’t Pamuk have done even that? The one thing that struck me was listening to characters wrestle with the idea of God and His relationship to life, and even that was presented as either fanaticism or a mind-salve for miserable people – nothing joyful or life-affirming.

  • Jim Fonseca
    2018-12-02 12:57

    Written in 2002, this novel predates Pamuk’s winning of the Nobel Prize in 2006. The main character is a Turkish emigre, one of many who live in Germany. He is returning home after years away. We are told he ran into political difficulties with his poetry and decided to leave Turkey. He returns to Turkey ostensibly for his mother’s funeral, but he has also learned through the grapevine that an old flame of his is now divorced. His instinct is that this journey will change his life. Once back in Turkey, when he needs a reason to stay on, he tells people he is a journalist doing a story on the “headscarves suicides.” A number of young women have committed suicide in Kars. Depending on folks’ political perspective, they killed themselves because they were devout Moslems banned from wearing headscarves in public; or because of their dire poverty; or because they were forced by their families to marry old men; or because they faced lives of virtual slavery to abusive men -- bearing children, cooking and scrubbing. A good part of the story centers on the production and delivery of a play about headscarves. They state-sponsored play comes across as reminiscent of the type of thing put on in Mao’s China that everyone had to attend. Kars, where the novel is set, is a real city in the northeast corner of Turkey, near Georgia, and Armenia and not far from the Caucasus Mountains and Russia -- thus the severe winter weather of the title. Its nearness to many borders has also given it a complex ethnic and political history, with Greeks, Georgians, Kurds and Persians in its past and present. Abandoned Russian and Armenian mansions and other buildings figure in the story. One theme is that the city is “down and out,” destitute really, by-passed by the modern economy. It seems like twenty times the narrator walks the snow-filed streets and tells us he looks in on the teahouses filled with unemployed men smoking themselves to death. During his visit, a week-long snowstorm paralyzes the city. In fact the snow receives so much emphasis that it make it almost what I like to call an environmental novel (like The Shipping News) where the environment is almost a character in the novel.So the narrator is a small-time poet. (Are there any big-time poets left?) He’s hit a dry spell but his muse strikes in Kars and he writes a series of poems, or, we are told, “they write themselves” through his hands in a trance-like state. But he’s very analytical for a poet – we’re shown a geometric diagram he creates to show the relationships among his poems. He’s also obsessed with examining his level of happiness, deliberately trying to improve his happiness, and we all know where that leads.There’s a lot of political intrigue. Turkey is struggling to remain a Moslem, yet secular state. There is a lot of police tyranny and censorship. The prisons offer equal opportunity confinement and torture for Kurds, communists, and Islamic fundamentalists. “…three days, that’s all it takes, three days and they’re dead: gone, shot, forgotten.” We are told fairly early in the story that the poet was assassinated after his return to Germany and that any number of groups could have been responsible.The narrator makes a point of telling us about his beliefs in a geometry of opposites. We see this several times: his old flame has a sister; one sister is very modern and one a fundamentalist. We have atheists and religious fanatics. We are told that old Marxists and communists make good religious zealots when they convert. Two fundamentalist religious boys are “halves” of each other and when one is shot by the army, the other feels that part of the murdered youth has been reincarnated in him (the living youth). The poet’s biographer who narrates parts of the story after the poet is assassinated says that at times he feels he is becoming the now-dead poet. One intriguing theme discussed a couple of times; Are strongly-held religious and political beliefs a luxury for the rich? Or are they the only consolation available to the poor? The blurbs are right in telling us this is a very political novel. It’s dense with themes, and overly long (it could be cut by a third) but still a good read.

  • Zinta
    2018-12-15 11:12

    I read a few sample pages of Snow in the bookstore, drawn by its blurry, snowy cover; drawn by a recent New York Times review; drawn by its non-westernized roots in Turkish writer Orhan Pamuk; drawn, too, by curiosity at this recent Nobel Prize winner for literature. The first few pages mesmerized me, the scene of a Turkish poet riding a bus through the snow capturing my imagination even as I left the bookstore. "The silence of snow, thought the man sitting just behind the bus driver. If this were the beginning of a poem, he would have called the thing he felt inside him the silence of snow..." Snow never stops falling throughout this lengthy novel, and indeed becomes a barometer of the human condition. "Snow" is also the title of a poetry collection the Turkish poet, Ka, writes over its time span. A diagram of a snowflake is his diagram of his core self, with branches into imagination, reason and memory. As snow gathers over the events of the story, it becomes at times a blizzard, at other times a gentle white blanketing over a trampled earth. Ka is traveling to the city of Kars to write an article about an epidemic of suicides among young Turkish women. As the force of westernization has entered the predominantly Muslim city, these young women have been "freed" to discard their head scarves. Their religious beliefs, however, are such that to bare their heads in public is more than they can bear--they would rather die. While investigating the suicides, Ka meets recently divorced Ipek, and he is instantly enthralled. The ensuing story is as much one of political rebellion as it is love story, complete with executions, betrayals, love found and love lost, and mysteries never quite solved. I've grown up on European literature, with its dense and intricate plotlines, stories with no particular rush to reach conclusion and no linear path in getting there, in contrast to the fast-paced western literature with spare plotlines, quick action, and neatly wrapped-up endings. Of course, there are exceptions, but when I am in the mood to sink deep into a multi-layered tome, I choose non-western literature, and when I want a quick tap-dance of literary skill, I choose American literature. Each has its own pleasures. Snow is no exception. I enjoyed this blizzard, even if at times I lost sight of the path for all the white stuff. Even the love story reminded me of the difference in the expression of love in different cultures, with Ka's falling into something nearing a worshipful obsession, immersing himself whole into the object of his affection--while a westernized love story would be more geared toward seduction and conquest, less about the dance of courtship and romance. There is surrender to the heart with nothing left in reserve in non-western literature that fascinates me. Do or die. Love or leave. For this reason alone, I enjoy reading literature by a variety of international authors; each provides a view into a varied perspective and life sense. In any culture, however, the human heart breaks for the same reasons. We read of Ka's devastation at learning his beloved has betrayed him with another--from this heartbreak is seeded a suspicion of murder (did Ka or didn't he?). The scene of confrontation between Ka and Ipek is perhaps the novel's most moving: hearts are shattered even as they continue to find comfort in each other's arms, a fatal mix of love threaded with hatred, and finally released by the chill of apathy. Pamuk writes of the complexities of love as far more baffling than reason alone might explain, and each time as unique as a snowflake. Snow is not a quick read. Nor is it an easy one. Like Ka's love, it requires immersion and a certain degree of surrender. It is a skilled and often marvelous novel, even if I am not convinced it is worthy of the Nobel. I would say not. Yet it is worth the effort to move through this snowfall, if only for the occasional moment of sheer literary mastery.

  • Ahmad Sharabiani
    2018-12-12 18:14

    Kar = Snow, c2002, Orhan Pamuk (1952)عنوان: برف؛ نویسنده: اورهان پاموک؛ برگردان: شهرام دشتی، مشخصات نشر: تهران، البرز، 1386، در 624 ص، شابک: 9789644425608؛ چاپ پیشین: با ترجمه: سیمین موحد؛ نشر ورجاوند، 1385، در 687 ص. شابک: 9647656572؛ ترجمه از متن انگلیسی؛ موضوع: داستانهای نویسندگان ترک، ترکیه، قرن 21 مبرف؛ اثر: اورهان پاموک؛ روایتگر داستانی عاشقانه است؛ که در پس زمینه ی مشوش ترکیه ی امروز، که سرشارست از تنشهای موجود میان سنت و اصلاح طلبی، دین و خدا ناباوری مدرن و…؛ روی میدهد – داستانی عاشقانه که در فضای زیبا –و البته بعضاً فریبکار- شهری مرزی، که درگیر بورانی سخت شده؛ شکل می‌گیرد. کا شاعری تبعیدی ست، که به دلیل درگذشت مادر خویش به ترکیه باز گشته است. پس از خاکسپاری مادر در استانبول، کا خبردار می‌شود دختری که در زمان دانشجویی از دور عاشقش بوده، از همسرش جدا شده، به قصد ملاقات او به شهر شمالی قارص سفر می‌کند. او خود را روزنامه نگار معرفی کرده، و به بهانه‌ ی تهیه ی گزارش، درباره‌ ی مسائلی از قبیل خودکشی‌های اخیر دختران جوان، و انتخابات شهرداری که به زودی برگزار خواهد شد، وارد شهر می‌شود. کا دوباره ایپک را می‌بیند، و دوباره مسحور زیبایی‌ اش می‌شود، زیبایی‌ ای که به مراتب از آنچه که در یادش مانده بود، خارق العاده‌ تر است. او به این نتیجه رسیده است که ایپک پاسخ تمام رویاهای او هست، در مدت زمان اقامت کوتاهش در قارص، با بیقراری تمام ایپک را دنبال می‌کند. در هتلی که مالکش پدر ایپک است، اتاقی کرایه می‌کند، تا از آن راه بتواند راحت‌تر ایپک را ملاقات کند. پدر ایپک، کا را برای شام دعوت می‌کند، و کا با دیدن ایپک، بیشتر و بیشتر عاشقش می‌شود. کا به دلیل مصاحبه‌ هایی که برای گزارش نمایشی‌ اش با مردم انجام می‌دهد، بلافاصله درگیر وقایع روز شهر می‌شود؛ نامزد پست شهرداری؛ که کسی نیست جز همسر سابق ایپک، و دوست سابق کا، موهتار؛ خانواده‌ های قربانیان خودکشی‌ها؛ معاون رئیس پلیس؛ و حتی رهبر گروه تثاتر، سونای زعیم، که سالها قبل دوستی مختصری با کا داشته، و حالا برای اجرای نمایشی در سالن تئاتر ملی، در شهر است. کا بعضی از دانش آموزان دبیرستان مذهبی را نیز ملاقات می‌کند، دانش آموزانی که از او به خاطر صحبت کردن با دخترانی که حاضر به برهنه کردن سرهاشان نشده بودند، خوششان آمده است. آنها کا را به چند تن از رهبرانشان، «نجیب» و «فاضل»، که از قضا از طرفداران متعصب خواهر ایپک، ردیفه –عاشق سینه چاک و معشوقه ی تروریست اسلامی بدنام شهر، آبی (بلو)- هم هستند، معرفی می‌کنند. کا در مدت زمان کوتاهی که در قارص اقامت دارد، موفق می‌شود دل ایپک را به دست آورده، و چه زبانی و چه فیزیکی، عشقش را ابراز کند. این مسئله باعث می‌شود کا بیش از هر زمان دیگری در زندگی خویش احساس خوشبختی کند. با این حال، خوشبختی‌ او در سایه‌ ی تردیدهایی که در هر قدم، بر سر راهش قرار می‌گیرند، فرو می‌رود. البته یکی از عمیقترین اثرات این خوشبختی این است که کا دوباره توانایی سرودن پیدا کرده، و در مدت چند روز نوزده شعر عاشقانه سروده، که بهترین اشعار عمرش نیز هستند، اشعاری که گویی از وجود کس دیگری سرچشمه می‌گیرند. یکی دیگر از مسائلی که کا در زمان اقامتش با آن مواجه می‌شود، کشمکشی ست که در درونش در مورد اعتقاد به خدا وجود دارد. او بارها و بارها خود را خداناباور پنداشته، اما در زمان اقامتش در قارص، به دیدار شیخ اعظم شهر رفته، و عشقش به خدا را اعتراف می‌کند. با این حال، اسلام‌گرایان شهر، صحت ادعاهایش را به چالش کشیده، و او را متظاهری می‌خوانند، که تنها برای به دست آوردن نظر مثبت آنان، ادعای خداپرستی می‌کند. نهایتاً، در آخر، …؛ا. شربیانی

  • Sidharth Vardhan
    2018-12-14 15:02

    "To play the rebel heroine in Turkey, you don't pull off your scarf, you put it on"If you were interested in the whole controversy raised by ban of veil in France a few years ago, then this book too might interest you. It is based on real events in a modern and secular Turkey. Here too there is a ban on wearing head-scarves in universities and like, though this is in a country where the majority of the population is Muslim but rulers are still liberals (or rather ultra-liberals). As a consequence several innocent religious women are deprived of their right to education and, forced to choose between education and religion; they end up committing suicide. What made their misfortune worse is the guilt they must have carried to graves since Koran prohibits suicide. And so, in a way, they must have felt condemned by the very religion they were fighting for.To me, the book shows that the dangers of ultra-liberalism. Liberals should and must fight for the oppressed - Turgut Bey, a liberal who is also one of the better characters, argues "It's not enough to be oppressed, you must also be right". I find Kadife more agreeable who puts on scarf, not for religious reasons but to protest against an unjust law. Here liberals are causing the oppression by forcing their values on unwilling people. Most people sort-of get married with their religious beliefs over time, to force them to leave behind their religion is like forcing a drug addict to abandon his drugs. To begin with, it is inhumane. Next, it is too late - it will create a lot of pain and you probably won't succeed. And even if you did, religion (or drug) will leave behind a void (a sort of need it has created in person for itself) and the person will never be comfortable. Marx was right when he said religion is the opium of masses. It is the case here.The suicides are, of course, turned into political symbols. Some good religious young men disturbed by what is being done to women took to revolt. Pamuk managed to humanized one such young man by making him tell the protagonist about his love for a girl who had committed suicide and his own wish to be a science fiction writer.

  • Liza Bolitzer
    2018-11-23 10:18

    I have to say, it's been a while since I liked a novel as much as this one and it's been even longer that I've had the chance to lie on a beach and read for a week, so I will say that you may want to take this review with a grain of sand. Pamuk reminded me of what really defines a novel, what moves it beyond a series of events and into a world and Pamuk's Kars is certainly its own world, full of characters whose degree of nuance is exactly as deep as those in a real place--in life you don't know everyone well and so to should it be in a novel. But if what makes a novel a novel is the creation of a world, what makes a novel good is the creation of a tone, a space, a way of seeing the world that reaches outside and it is this quality which I really loved. It's hard to describe, and I think the Russians do it best, Gogol in particular, but Pamuk constantly maintains a funny sadness that is neither light nor depressing. I am sure there is a word for this in some language, but it is complete and it made me forget that I was reading at many points. However, it is also distinct enough that I can see how not everyone would love it. You have to read for the humor, indulge the poetry (this is not a veiled language reference, I mean the actual poetry in the text) and take the characters just seriously enough to care but not to mourn. So maybe, just to indulge my english teacher self once more, what makes a novel great is also this quality--it must be singular enough to be disliked and good enough to love.

  • Spider the Doof Warrior
    2018-12-03 12:55

    Say you pay 100 dollars for good seats at a show. You're so excited and full of anticipation. You sit down in your seat and hear the familiar strains of the instruments tuning.Only for the ensemble to sit, instruments in their hand doing absolutely nothing for 4 minutes and 33 seconds! 4 minutes and 33 seconds of COUGHING, fidgeting and someone shouting "When are they going to start?"This is how this book is to me. You think it's going to be brilliant because it won a Nobel prize. Surely it should be excellent? The best book you've read full of interesting characters that come alive on page and draw you into the book.Well, you're not going to get that from this book. You'll get the narrator going on and on about snow, about how beautiful Ipek is and even what seems like it would be interesting; the conflict between religion and secularism, women's rights and poetry IT'S NOT! Because this book focuses on the dull, bland main character Ka.Also, worse crime of all AUTHOR SELF INSERTION!Trying to read this book again. It still sucks! I still can't stand it! The writing. The characters! Everything about it annoys me. I thought Saints by Orson Scott Card was annoying.6/8/15Making the horrible mistake of trying to read this book again. It's awful. Bad enough you'd die of alcohol poisoning drinking the weakest alcohol if you drank every time you saw the word snow in this book but I am at a part where an extremist takes a gun to a principal and goes on and on about head scarves and how girls wearing headscarves will keep them from being raped or harass. He goes on about how headscarves help a man respect a woman.But you should respect women as people in the first place and NOT rape or harass them whether they're in a bikini or naked or covered from head to toe! Men are not evil rape beasts who have to harass every woman they see unless she covers her hair.UGH! I despise this book!Another thing that sucks about this book is it's a sausage fest. It's like all the interesting stuff about these young girls gets pushed aside and no one cares about them. The rest of the women and girls in this are just props or love interests to obsess over. Not real complete people. Avoid this like a plague. A plague would be easier to deal with than reading this damn book.

  • بثينة العيسى
    2018-12-04 18:18

    رواية قديرة. استحقت كل ساعة أمضيتها معها. التجريب الذي مارسه باموق هنا في الكتابة بالصوت العليم، الذي هو في الباطن صوتٌ ذاتي، عظيمة. والشخوص المتراوحة ما بين قطبين متضادين، الشخوص المركبة والغنية والخصبة.. يستطيع المرء أن يكتب لأجلها كتبًا.

  • Anna
    2018-11-25 12:50

    Το βιβλίο είναι φάση η-μικρή-Αννούλα-πήγε-στη-δημοτική-βιβλιοθήκη-και-είπε-να-γνωρίσει-τον-κόσμο. Ακολουθεί επομένως κριτική ανάλογου επιπέδου. .Από καιρό ήθελα να διαβάσω έργο του Παμούκ και με μια μικρή έρευνα που έκανα (βασικά στο goodreads) είδα ότι όλα του τα βιβλία θεωρούνται το ίδιο καλά, οπότε διάλεξα το παρόν καθαρά από θέμα τύχης (η επίσκεψή μου στη βιβλιοθήκη δεν πρέπει να κράτησε πάνω από λίγα λεπτά). Ήξερα επίσης ότι ο συγγραφέας ζει στην Κωνσταντινούπολη και νόμιζα ότι όλα του τα βιβλία διαδραματίζονται εκεί. ΚΑΜΙΑ ΣΧΕΣΗ… Το συγκεκριμένο διαδραματίζεται στο Καρς, μια πόλη στη βορειοδυτική πλευρά της χώρας, κοντά στα σύνορα με την Αρμενία. Πρόκειται για μια μικρή πόλη περίπου 70.000 κατοίκων (κάτι σαν τη Βέροια δηλαδή), που κατοικείται από πολλές φυλές ανθρώπων (Τούρκοι, Κούρδοι, Αρμένιοι, Γεωργιανοί, Αζέροι…), για χρόνια ανήκε στη Σοβιετική Ένωση, ενώ είναι από τα εδάφη που διεκδικούν οι Κούρδοι. Επίσης απέχει από την Κωνσταντινούπολη 1,5 μέρα με το λεωφορείο και το χειμώνα έχει υπερβολικό κρύο (και χιόνι). Για περισσότερες πληροφορίες για την πόλη: ήΤην πόλη αυτή επισκέπτεται λοιπόν ο Κα, γνωστός Τούρκος ποιητής (πρόκειται για φανταστικό πρόσωπο), ο οποίος ζει ως πολιτικός εξόριστος στη Φρανκφούρτη και βρέθηκε για λίγες μέρες την Τουρκία. Πήγε στο Καρς ως απεσταλμένος μιας εφημερίδας της Πόλης προκειμένου να καλύψει τις τοπικές δημοτικές εκλογές, τις οποίες οι δημοσκοπήσεις έβγαζαν ότι θα κέρδιζε το κόμμα που εκπροσωπούσε το πολιτικό Ισλάμ. Παράλληλα, την ίδια περίοδο πολλά κορίτσια που φορούσαν μαντίλα αυτοκτονούσαν, με κοινό χαρακτηριστικό όλων ότι είχαν πιεστεί να βγάλουν τη μαντίλα τους, καθώς το κράτος ήθελε να επιβάλλει έναν πιο εξευρωπαϊσμένο τρόπο ζωής. Ο Κα επισκέπτεται την πόλη και για έναν τρίτο λόγο, προσωπικό αυτή τη φορά: εκεί μένει μια παλιά του συμφοιτήτρια, με την οποία είναι σφόδρα ερωτευμένος. Κατά τη διάρκεια της παραμονής του στο Καρς, η οποία κράτησε 3 μέρες συμβαίνουν τα εξής παράδοξα: Πρώτον, έπεσε τόσο πολύ χιόνι που έκλεισαν οι δρόμοι, οπότε η πόλη είναι αποκλεισμένη. Δεύτερον, συμβαίνει ένα ιδιότυπο στρατιωτικό πραξικόπημα, και το χαρακτηρίζω έτσι διότι ξεκίνησε μέσα από μια θεατρική παράσταση που μεταδιδόταν από το τοπικό κανάλι σε όλη την πόλη. Για την υπόθεση να πω μόνο ότι πέρα από την πολιτική χροιά του πράγματος, ο Κα παλεύει με όλα τα συναισθήματα που εμπνέουν έναν ποιητή (λύπη, ευτυχία, δυστυχία, ελπίδα, κατάρρευση, αγωνία, οργή), σε τόσο μεγάλο βαθμό μάλιστα που γράφει μια ολόκληρη ποιητική συλλογή. Ταυτόχρονα προβληματίζεται για όσα συμβαίνουν γύρω του και δυστυχώς καλείται να πάρει θέση και να δράσει ως μεσολαβητής ανάμεσα στις δυο ομάδες. Όσον αφορά την πολιτική και κοινωνική χροιά… πραγματικά δεν έχω λόγια να εκφραστώ…. ας προσπαθήσω όμως με όσο πιο απλές σκέψεις μπορώ. Καταρχήν – και με αφορμή το τελευταίο πραξικόπημα του καλοκαιριού – το ζήτημα «στρατιωτικό πραξικόπημα» στην Τουρκία δεν είναι κάτι ασυνήθιστο. Η χώρα πραγματικά βρίσκεται στο μεταίχμιο της Δύσης και της Ανατολής και οι άνθρωποι είναι διχασμένοι για τον τρόπο ζωής με τον οποίο θέλουν να ζήσουν. Από τη μια η Ευρώπη με τις ιδέες του Διαφωτισμού, της αυτοδιάθεσης και τον τρόπο ντυσίματος και επιπέδου μόρφωσης (ιδίως όσον αφορά στις γυναίκες) είναι πολύ κοντά στη χώρα, Τούρκοι πολίτες ταξιδεύουν συχνά, ενώ από την άλλη το Ιράν (με την Ισλαμική Επανάσταση) και άλλες φανατικές μουσουλμανικές χώρες την περιτριγυρίζουν και φυσικά επηρεάζουν τους κατοίκους της. Οι ισορροπίες είναι πάρα πολύ λεπτές – και φυσικά εγώ δεν θα πάρω καμία θέση – και το μεγαλύτερο πρόβλημα που εγώ εντοπίζω είναι ότι για όποιον πάρει δημόσια θέση υπέρ του ενός ή του άλλου (και δεν μιλάω για πολιτική καριέρα, ας πάρουμε για παράδειγμα έναν καλλιτέχνη) δεν υπάρχει καμία εγγύηση ότι θα ζήσει χωρίς τραβήγματα τη ζωή του, καθώς οι εναλλαγές στα καθεστώτα είναι πολλές και ενώ με το ένα καθεστώς (πχ το κοσμικό) θα ήταν ένας διανοούμενος που θα έδινε διαλέξεις, με την αλλαγή (θεοκρατικό καθεστώς) είτε θα εξοριζόταν είτε θα δολοφονούνταν. Για περισσότερες πληροφορίες για όποιον ενδιαφέρεται παραθέτω κάποια άρθρα που διάβασα κατά τη διάρκεια της ανάγνωσης του βιβλίου:Επίσης, για όποιον ενδιαφέρεται για τα πραξικοπήματα της Τουρκίας ένα σύντομο άρθροΈνα τελευταίο σχόλιο θα κάνω για το μέγεθος. Παρόλο που οι σελίδες έτρεχαν όμορφα, έκανα συχνές διακοπές για να ψάχνω περισσότερες πληροφορίες για όσα διάβαζα. Μετά μπορεί να άφηνα για ώρες το βιβλίο και ενώ ήθελα να το συνεχίσω πολλές φορές δεν με τραβούσε. Θα μου πείτε, βέβαια, δεν ήταν περιπέτεια να έχω αγωνία τι θα γίνει στη συνέχεια, και επίσης ήξερα ότι με το που θα άρχιζα θα ξανασταματούσα για να πάω στον υπολογιστή να γκουγκλάρω καινούριες πληροφορίες… περισσότερο μελέτη είναι αυτό το πράγμα παρά ανάγνωση λογοτεχνίας.Για όποιον θέλει μια πιο διεξοδική ανάλυση του βιβλίου και του χαρακτήρα ας αφήσω τους ειδικούς να μιλήσουν Για επόμενο βιβλίο του Παμούκ θα ήθελα να διαβάσω κάτι που να διαδραματίζεται στη σύγχρονη Κωνσταντινούπολη. Από μία πιο διεξοδική έρευνα μου φάνηκε ενδιαφέρον το «Μαύρο Βιβλίο» αλλά και το τελευταίο του βιβλίο «Κάτι παράξενο στο νου μου». Υπάρχουν προτάσεις;

  • Stephanie
    2018-12-09 12:10

    I would not have finished this book except for reading it for the book club. I haven't been this bored by a book in a long time.

  • Owlseyes
    2018-12-02 15:16

    Surah Al-Ahzaab, Verse #59 ‘O Prophet! Tell your wives and your daughters and the women of the believers to draw their cloaks veils all over their bodies that is most convenient that they should be known and not molested: and Allah is Oft-Forgiving Most Merciful."Ka is travelling by bus: a white scenario outside unfolds: it’s snow, relentlessly falling…and he falls asleep.Ka, or Kerim Alakuşoğlu, a Turkish poet, returns to Kars, an old and small city north-east of Turkey. Kerim, a 42-year-old unmarried man, has been for 12 years in Frankfurt, Germany. There, it’s been four years he doesn’t write poems. He took refuge in the library where he can find books enough for “twenty lifetimes”.He especially likes Turgenev: the Russian writer. He doesn’t bother much learning German: “my body resisted German language”. But he meets with fellow Turks. Ka has only two fears in his life: fear of not being natural and fear of writing bad poems. He considers himself to be a political exile in Germany; a “correct and sad” man like the heroes of Chekhov; someone who likes solitude.Ka was condemned for an article he didn't write. Until the 1970’s, people could write everything in Turkey: nobody went to jail; but, after the military coup, things got different;… so, he fled to Germany. Meanwhile his mother died, and he had to return to Istanbul. After that, he decides to go to Kars: while traveling by bus to the remote city he lies to someone who inquires him; Ka says he’s going to Kars because he’s a journalist and will report on local elections and the suicide-of-women problem. But he’s going to Kars hoping to find beautiful İpek, and to ask her to marry him.İpek attended college with Kars. But then got married. Ka will stay for three days in Kars where 40 % of the population is Kurdish. While strolling around the city Ka notices cafes are filled with unemployed Kurds. It’s a deserted-looking city; yet full of History: the Russian period (1877-1918)…and the period when some Armenians were rich. You can still contemplate millenarian Armenian churches there.(above, the cathedral where once the "talented" Armenian child George Ivanovich Gurdjieff sung)There are billboards in Kars saying: ”The Human Being is a masterpiece of God, suicide is an insult”. They try to halt the suicide rate.In Kars, while talking to the local newspaper editor, Ka sees the snow keeps falling: an incredible amount outside.Purging snow?...There’s a cry for solitude …everywhere.Why are women committing suicide in Kars? A suicide rate that is four times above world-average. Some say it all started in Batman village (a bastion of the Turkish Hezbollah): women are suicidal too. Explanations include premeditation….and women being manipulated.In Kars he meets İpek Hanim; she’s been divorced. She’s the daughter of the hotel manager, where Ka is lodged at. They speak about mothers who died;…while they talk at a café a murder takes place just before them. It’s a religious motivated homicide. One of the murderer’s motives is rooted on the precept/question: should women cover head and face? *İpek’s father (Turgut Bei) is a communist. One of the candidates in the local elections is Muhtar Bei; he wants to re-marry İpek. İpek’s sister is a militant of the Islamic veil.One day Ka talks to Muhtar at the party's office; Muhtar admires the snow show outside.Ka marvels at the grace and tranquilizing force of the snow; its silence gets him closer to God....People liked the Refah Party; it was the most voted in 1995; but in 1998 it was dissolved by decree by the generals’ pressure.This is truly a political novel,…and Ka who never got interested in politics,… (Ka so far buried in silence) is about to be dragged into it. Issues of Ka’s time are Turkish issues today (still): freedom of the press, religion and the rule of Law. ---*13th February 2013, luckily, I guess, I bumped recently into this "old" (Wednesday February 16,2000) issue of the Financial Times; an article [Iran's Islamic feminists passionate about equality and the Koran] by Roula Khalaf,reporting on the "female factor" in elections in Iran.I quote:"Fariba Dadayoudi-Mohajer says she prefers not to be called a feminist.Indeed her appearance and desmeanour suggest tradition and conservatism.Covered in a black chador -the all-enveloping robe-she pushes her headscarf closer to her face when a man enters the room. She insists she would wear the chador even if it were not imposed by Iran's Islamic state". "Feminism" meanings, may differ...---[Afghanistan]...own cultural evolution and it was a period of progressive social development under King Mohammad Zahir Shah. They built secular schools, a university, roads, and created an infrastructure. Most importantly, that family’s policy slowly brought a liberalisation of gender relations and the unveiling of women. By 1975 women had moved into public life pretty dramatically. There were women radio presenters, teachers, doctors, lawyers. There were almost as many women graduating from university as men—and they wore Western clothing and not a body bag." TAMIM ANSARY, interviewed by The Economist, Feb 14th 2013.

  • Nelson Zagalo
    2018-12-11 14:02

    “Neve” saiu em 2002, mas foi escrito entre abril de 1999 e dezembro de 2001, e isto é importante pelo que aconteceu a 11 setembro de 2001, um evento que marcaria a consciência do ocidente, ou melhor, a falta de consciência do ocidente para com o Médio Oriente. Depois disso os media ajudaram a que todo o ocidente se tornasse especialista em terroristas, bombas, ataques suicidas, extremismo, pobreza e pouco mais. Para compreender do que falamos, quando falamos da Turquia, Irão, Síria, Iraque, Egito, Palestina os curdos, os sunitas, etc. etc. é preciso ler, e é provável que a melhor leitura para conhecer não seja a não-ficção escrita por jornalistas e historiadores com um olhar de fora, mas antes a ficção por romancistas que ali nasceram, e sentem aquilo de que falam. Digo tudo isto para deixar claro que “Neve”, sendo um livro magnífico, requer abertura para a discussão política, e acima de tudo, para a aceitação do outro.Pamuk trabalha a partir de uma base mágico-realista, situando os acontecimentos numa pequena vila do noroeste da Turquia, Kars, que bem podia ser imaginada, mas não o é. Kars existe, e dado o seu caráter fronteiriço tem pertencido a regimes distintos em função das vontade do tempo, ao longo de séculos. No livro, serve de palco para uma cidade tipicamente turca, na qual se debate o secularismo, ou seja o estado laico contra o estado religioso (ajuda se tivermos presente algumas ideias sobre o país, ligando o passado desenhado por Ataturk aos problemas que se vivem agora com Erdogan, ou tendo imagens de cinematografias como as de Nuri Bilge Ceylan ou Kazim Oz). O lado mágico surge pelo enquadramento criado, já que quase tudo acontece aquando de um grande nevão que deixa a cidade isolada, lançando-se a confusão entre as fações — religiosos contra laicos, que por sua vez se dividem em comunistas e nacionalistas — os habitantes e os media que os seguem. Os media são aqui fundamentais, desde logo porque o jornal da cidade prevê o futuro, ou seja cria manchetes do que vai acontecer no dia seguinte.Pamuk vai então socorrer-se do cenário montado para sem qualquer pudor colocar o dedo na ferida, desferindo ataques pertinentes na relação entre a Europa (particularmente a Alemanha que tem sido o grande destino de muitos imigrantes turcos) e a Turquia, entre o Estado e a Religião, falando da posição da mulher nas diferentes culturas, do suicídio, da democracia, do jornalismo, da arte, questionando preconceitos e modelos mentais da realidade que todos nós vamos construindo. Por vezes quase sentimos como que Pamuk puxando-nos as orelhas, alertando para a existência de um outro. Mas Pamuk não filosofa apenas, tudo isto é muito bem acompanhado por doses racionadas de enredo, carregado de crime, amor e paixão.A trama na narração é particularmente bem estruturada, existindo um cuidado com os detalhes que nos toca. Por exemplo, o narrador avisa sempre previamente se um personagem que entra em cena deverá morrer mais à frente, o que gera em nós um misto de sensações, como que se o autor não nos quisesses impressionar com a surpresa. Por outro lado, no que toca as redes de paixões Pamuk tira-nos o tapete, brinca com as nossas emoções, surpreende, levanta-nos a ira. Ou seja, o romance tem muito para dizer, mas nem por isso se limita a dizer, fá-lo envolvendo emocionalmente o leitor, prendendo-o àquele mundo, subjugando-o às suas necessidades. Existe um traço melancólico enfatizado pela neve e pelo isolamento da vila e das vidas de cada personagem que caracterizam a atmosfera e a tornam muito particular, por isso a meio do livro e quando fora das suas páginas, damos por nós invariavelmente a pensar “quando volto para Kars”.A escrita impressiona, embora como o tema, não é para todos os gostos. Pamuk é bastante verborreico, e nesse sentido consegue por um lado fazer-me lembrar de autores como Jonathan Franzen, mas ao mesmo tempo e talvez ainda mais, Garcia Marquez e a sua Macondo, por toda a verborreia misturada com toda a ação constante, mais todos personagens e as suas desfocagens da realidade. “Neve” funciona como uma espécie de fábula imparável em que o protagonista, um poeta acabado de passar por uma crise de inspiração, recomeça a escrever, mas não nos fala, chega-nos por meio de um romancista, que tem o mesmo nome de Pamuk, e que está a escrever um livro sobre esse poeta. Ou seja, “Neve” é um livro de poemas, dentro de um livro sobre o autor desses poemas. Sim, existe aqui algo de pós-moderno, mas pouco, eu diria que depois do belíssimo “O Meu Nome é Vermelho” (1998) Pamuk quis fazer algo mais clássico ainda que emoldurado por artifícios pós-modernos.“Se me meter num romance passado em Kars, gostaria de dizer ao leitor que não acreditasse em nada do que lá escreve a meu respeito ou a respeito da gente de Kars. De longe ninguém pode compreender-nos.”Publicado no VI (

  • downinthevalley
    2018-12-15 11:04

    Ka-Kar-KarsEtkilendiğim kitaplar, filmler ve hatta bazen şarkılar ile bağlantısı bulunan şehirler ve mekanlarda bulununca bir'tamamlanmışlık'hissi ile doluyorum. En sevdiğim yazarlardan biri olan Orhan Pamuk'un okumaya yıllar önce Yeni Hayat ile başlamış; kitaplarını çabuk tüketmek istememiştim. Kars yolculuğum kesinleşince zihnimdeki noktalar birleşti ve gitmeden önce Kar'ı okumak istedim. Okuduktan sonra Kars'a gittiğimde ise her şeyi tek tek yaşadım, karakterleri görür gibi oldum sokaklarda.Öncelikle romanın yazım sürecinden bahsetmek istiyorum. O. Pamuk -aslında birçok yazarın yapmış olduğu gibi- bir roman yazmadan önce oluşan fikir üzerinden araştırmalar yapan, gözlemleyen, mekanları bizzat ziyaret eden, notlar alan, hatta roman sürecinde bazı fotoğrafları cebinde taşıyan bir yazar. Kar romanını yazarken 5-6 defa Kars'a gitmiş, yaşayanlarla konuşmuş, dinlemiş hatta çoğu zaman bu sorunlar nedeniyle depresif hissettiği anlar olmuş. Yazarın zihninde oluşan fikir için neden Kars şehrini seçtiğini gittiğimde anladım. Kars insanının Pamuk'a neler anlatmış olabileceğini, dışardan gelen birine tavırlarını, konuşmalarını kısacası 'Kars tablosunu' gördüm. Yazarın ilk ve son siyasi romanım dediği ve sürrealist niteliği bulunan Kar, şair Ka'nın Erzurum'dan karlı bir günde Kars'a yaptığı otobüs yolculuğuyla başlıyor. İlerleyince kar ve Ka'nın düşüncelerinin paralelleştiği, bir aşk üçgeni ihtimali, karşılaşılan insanların kar taneleri gibi farklı ve eşsiz olduğu düşüncesi şiirsel bir hava ile harmanlanıyor, ayrıca bu kişiler üzerinden siyasi portreler çizilip Ka'nın da bunlardan etkilenmesi fakat yine de eşit mesafede durması hedefleniyor. İntihar, aşk, siyasal İslam, sanat kimin içindir, şiir nedir-nasıl olmalıdır, Tanrı kavramları tartışılıyor. Bazı yorumlar ve lisansüstü tezleri okudum. Bazen kitapların başına 'yazarın hayalgücü ile yoğurulmuştur' ibaresinin konulması gerektiğini düşünüyorum. Devamında gelen düşünce ise kurguyu gerçek hayattan ayırmanın aslında temeli olmayan bir çaba olduğunu hatırlatıyor bana.Aslında eleştirilerin romanın siyasi niteliklerine yönelik değil de gerçeği yansıtmadığına dair olması kurgu ile gerçek hayatı birbirinden ayırmanın zorluğunu da seriyor gözler önüne. Bu noktada da en trajikomik eleştiri geliyor : anlatılanlar Kars şehrimizi kötü gösterdi, Kars böyle bir yer değil.Bütün bunları derin ve sindirerek düşünmeyince kişiler üzerinden karalamalar yapılıyor, sanatın toplum için ve topluma yönelik olması gerekliliği (?!) savunularak yazarın zihnine saldırıda bulunuluyor, belirli siyasi düşüncelerin öne çıkarıldığı, propaganda yapıldığı hatta daha da ileri giderek yazarın Türkçe'yi kullanmayı bilmediği söyleniyor. Bütün bunları okurken başıma ağrılar girdi.Her şeyi toplayabilecek bir alıntı yapmak istiyorum : ' Belki de hikayemizin kalbine geldik. Başkasının acısını, aşkını anlamak ne kadar mümkündür? Bizden daha derin acılar, yokluklar, eziklikler içinde yaşayanları ne kadar anlayabiliriz? Anlamak eğer bizden farklı olanın yerine koyabilmekse dünyanın zenginleri, hakimleri, kenarlardaki milyanlarca garibanı bildiler mi? Romancı Orhan, şair arkadaşının zor ve acı hayatındaki karanlığı ne kadar görebildi?'Bütün hayatım yoğun bir kayıp ve eksiklik duygusuyla yaralı bir hayvan gibi acı çekerek geçti. Belki de sana bu şiddetle sarılmasaydım, sonunda seni o kadar kızdırmaz, başladığım yere, on iki yılda bulduğum dengeyi de kaybederek dönmezdim.' diye yazmıştı Ka. 'Şimdi içimde gene o dayanılmaz kayıp ve terk edilmişlik duygusu var, bu her yerimi kanatıyor. Bendeki eksikliğin bazan yalnız sen değil, bütün dünya olduğunu düşünüyorum.' diye yazmıştı. Bunları okuyordum, ama anlıyor muydum?' Önemli not : Orhan Pamuk'u ilk defa okuyacaksanız, Kar ile başlamayın.Ka gibihayatta tek gerçeğin mutluluk olduğunu geç de olsa öğrendiğim bu Kars kentinderomandaki sokaklarda Ka gibi birlikte yürüdüğüm biri benim için arka kapaktaki binayı bularak fotoğrafımı çekti. Her insanın içsel haritası olan kar tanesinin varlığını bana bir defa daha kanıtladı.

  • Niledaughter
    2018-11-16 18:00

    I read excellent reviews here ; which convinced me that I can not add any new ! but since I am a Muslim & An Arab ; I could feel a lot of the depth of this book which showed me Turkey with a very cruel -but caring- anatomy that even the brilliant sarcasm made it more painful! By considering this fictional book as a new and useful approach for me to what are not so far different wounds from ours ; I will write my words …For me ; it is a magnificent novel , a heart breaking one ; discussing the contemporary Turkish conflict between political Islam , tradition & even on a bigger scale .. the national identity - from a side and secularism , modernization & westernization - from the other side . this conflict was presented in the novel by fanatics from both sides producing a complete bloody chaos , with the poverty & unemployment as the main feeder for its continuity ! but this analysis - which is done by both: a political & a philosophical methods - was not dry , it Was sensed through icons ..people .. lives that I can feel , get closer to & share the darkness they had in 3 days of isolation to its extreme , Yes .. the main events took place in only 3 days ! so the novel has a slow melody , but even though ; it is full of unexpected turns ! with Orhan almost taking no sides .. no right or wrong , he let me assume what I want & try to answer the un-answered questions !Orhan is not easy to read , I stopped at his intellectual conversations a lot ; doing my best to understand . I loved his characters with their human weakness , confusion & passion , I will never forget Ka with his loneliness & desperation ..regrets & his sad love story , or his words : ”Here I am , abandoned & wasting away . I carry the scars of unbearable suffering on every inch of my body . sometimes I believe it’s not just you I’ve lost, but everything in the world “ I can not stop thinking of Blue ! how much he angered me & confused me ! His statement :”When the Ayatollah Khomeini said that (the most important thing today is not to pray or fast but to protect the Islamic faith ) I believed him ” may explain the huge range of confusing contradictions about how a religion can be manipulated with ! I could not totally hate him nor avoiding feeling sorry for his destiny , because of the blurring facts around him that leads to the uncertainty about the other face of any coin ! And the most of all :I will keep wondering about Ipek and Kadife ; their weird relation! And the feminine role in general ; keeping in mind that the suicide girls is a main debate in this novel .I think this novel will stay with me for a long time , just keeping me wonder & cry ..?!

  • Sotiris Karaiskos
    2018-11-15 14:53

    Ως τώρα δεν είχα ασχοληθεί καθόλου με τον Orhan Pamuk, κάτι που είναι φυσικά ασυγχώρητο, οπότε εμπνεόμενος από τις καιρικές συνθήκες του φετινού χειμώνα επέλεξα να αρχίσω από αυτό εδώ το βιβλίο. Σε αυτό ο σπουδαίος Τούρκος συγγραφέας μας μεταφέρει σε μία μικρή πόλη στα βάθη της Ανατολίας για να μας δείξει μία μικρογραφία της τουρκικής κοινωνίας των τελευταίων δεκαετιών. Σε αυτή τη μικρή πόλη, λοιπόν, συνυπάρχουν όλες αυτές οι κατηγορίες ανθρώπων που συναντάμε στην Τουρκία, με τις ανησυχίες τους, τις αγωνίες τους και τις επιδιώξεις τους. Το βασικό βέβαια που τους απασχολεί όλους αυτούς είναι η σχέση της χώρας τους με τη δύση. Από την μία οι οπαδοί του κοσμικού κράτους που επιθυμούν η Τουρκία να προσεγγίσει τη δύση και να ξεφορτωθεί όλα αυτά τα θρησκευτικά και πολιτιστικά στοιχεία που θεωρούν ότι κρατάνε τη χώρα τους πίσω, από την άλλη οι ισλαμιστές, μετριοπαθείς και φανατικοί, που επιθυμούν μία επιστροφή στις παραδοσιακές αξίες. Κάπου εκεί ανακατεύονται και οι Κούρδοι και άλλες εθνικές μειονότητες που περιπλέκουν ακόμα περισσότερο τα πράγματα. Όλοι αυτοί δημιουργούν το χάος της τουρκικής κοινωνίας και τη βυθίζουν σε ένα χάος όπου κυριαρχεί η βία. Μέσα σε όλα αυτά κάπου προκύπτει και ο έρωτας αλλά φαίνεται ότι ακόμα και αυτός είναι εξίσου χαοτικός. Όλα αυτά σε ένα βιβλίο εξαιρετικό, με μία γραφή ζουμερή και μερακλίδικη που συνοδεύει μία συγγραφική μάτια αιχμηρή και ιδιαίτερα διεισδυτική. Το πρόβλημα βέβαια είναι ότι όλη η υπόθεση είναι πολύ... τουρκική, κάτι που σημαίνει ότι αρκετά μεγάλο μέρος του βιβλίου είναι δύσκολο να κατανοηθεί από τους απ' έξω. Σε άλλα σημεία ίσως ο συγγραφέας γράφει περισσότερα από όσα θα χρειάζονταν, το μεγαλύτερο μέρος του βιβλίου όμως το βρήκα ιδιαίτερα απολαυστικό κάτι που θα με κάνει να εξετάσω περισσότερο το έργο του.

  • Kelly
    2018-11-20 12:14

    When Orhan Pamuk won the Nobel Prize in 2006, his Nobel Lecture, entitled “My Father’s Suitcase” contained many passages expressing what he felt it was to be a writer, why it was that writing was essential to his life. There are a few phrases that I believe directly explain both the reasons for this novel's existence and why it is written the way it is:"A writer is someone who spends years patiently trying to discover the second being inside him, and the world that makes him who he is......I write because I am afraid of being forgotten. I write because I like the glory and interest that writing brings. I write to be alone. Perhaps I write because I hope to understand why I am so very, very angry at all of you, so very, very angry at everyone..."Orhan Pamuk's Snow puts one of his "second beings" on display in this novel, the questing, lonely poet Ka, whose story drives the action. But we are not allowed a reliable narrator, in any sense of the word. Ka himself is a wandering man in search of who he is, a man who changes his mind and opinions every moment, who is on a journey of becoming, not being. And more than that, we are getting his thoughts through the filter of the author of the novel, who calls himself, "Orhan Bey" a "friend of Ka's," and who is reconstructing this brief period in Ka's life for his novel. As he makes clear to us again and again, he can only guess at certain parts of Ka's experiences- even when we cannot see the author's voice at all, we know that he is creating this supposedly non-fictional man out of his own thoughts, dreams, memories and experiences as much as he is reconstructing events from hard evidence. And so, in a more straightforward, less mystical way, Pamuk continues the exploration into the loss of geniune voice and identity that he captured so well in My Name is Red. But here, he brings it out of a metaphysical, inner world, and out into the every day, mundane open. Although some readers may find this device somewhat ham handed (or downright annoying) and perhaps a breaking of the "show, don't tell," rule, I would argue that Pamuk's device is consistent with his existing body of work and is very effective at conveying the experience he is trying to write about here. Would one prefer to relax into the story? Sure. Is anyone here really allowed to? No. The reader gets the same experience that the characters in the novel do.He depicts his poet Ka on a visit to Kars, a remote, decaying town (that once used to be a great provincial center) far from the cosmopolitan center of Istanbul- a symbol of Turkey's place in a Western/Euro-centric 20th and 21st century. He arrives in this town in the dead of winter, just as a large snowstorm is gathering, a storm that effectively traps him in the city until the roads open days later. This novel is the story of those few days in a community sealed off from the world. The snow means many different things to different people, and we see how that plays out over the course of these days- with results that largely end up more or less disastrous for all sides.Ka himself was purportedly drawn to the city to write an article about the "suicide girls,"- a high number of local women and girls who had committed suicide in a very short period of time, a story that had gotten some play in Istanbul and Germany. Though his real motives have more to do with love, nostalgia and the reclaiming of a lost past (again, a pretty direct symbol of Turkey), Ka nonetheless finds himself named the "poet from the West," and runs into the gamit of local opinion on politics and society- die hard Kemalists, ex-communists, socialists, Kurdish nationalists, spiritualists, feminists, Islamic extremists, etc. Orhan Pamuk makes no bones about this being a political novel, and makes sure to show us all the elements that Turkey has to deal with as a state- a state that, mind you, proclaims all of its residents "Turks" and does not officially recognize any other identity within its state. He ends up embroiled in the machinations of everyone who fights with or against everything they believe he stands for (ie, the West), and despite all his attempts to escape (he says over and over towards the end of the book that all he wants is to be happy and get out of Kars alive), he cannot escape what is happening to him.As usual, Pamuk deals with the problems of the East/West divide and his poor country that is caught in the middle. He has many characters beg only for some clarification of who they are and what they are- an explanation for why there are so many extremists in the area. At one point a young teenage Islamist says, "Please God, help me preserve my purity, protect my mind from confusion," as a group of political activists of all stripes attempt to come up with some sort of statement to make to "the West". (The West may seem a strangely archaic term, out of the Cold War- but this book shows how relevant it still is for many people, long past its use as a military alliance. The countries who were used as proxies in that war haven't forgotten the reasons they were given for those wars happening to them.) He also deals more generally with the problems of being a person who exists "on the periphery"- ie, anyone who doesn't live in Europe or North America.He has one person very eloquently express this problem as he says: "When they write poems or sing songs in the West, they speak for all humanity. They're human beings- but we're just Muslims. When we write something, it's just called ethnic poetry."Pamuk has his characters express over and over, in so many different ways, that all they want is to be human beings as well. Some people feel that that is best accomplished by trying to be as much "like the Europeans" as possible, some feel that it is best accomplished by being the opposite of everything they believe that is if only to carve out a separate identity that won't be subsumed (or "be forgotten", the fear that Pamuk expresses above) into the greater "Western" culture, some believe it is found in Islam, the religion that they believe their personhood is reduced to when viewed through outside eyes, etc etc. This is perhaps both the biggest and most painful part of the book. No one is allowed to do or say anything without it being representative of something else, without someone feeling that they are taking sides with them or against them. Everything someone does is "for Europe" or "for Islam" or "for the Kurds". People are told the reasons that they're doing things, or think the reasons that other people think they are doing things, before they examine their own reasons. Case in point in this novel is the women- the "suicide girls" and the "head scarf girls" and their leader, Kadife, sister of the woman our poet is in love with.Every choice these women make is discussed endlessly- one side decides for them that they did it because they were poor- and everything that comes with it. Another side decides they did it for "honor" and religion- whatever the creed they represent tells them that women are supposed to be motivated by, and unsurprisingly, the few women that we see depicted appear to be driven crazy by the experience, whether they buy into what they're being told or not. The one woman who doesn't seem to is Ipek, the woman that Ka is in love with. She is shown as being affected by every day things that we would see characters in a "Western" novel being affected by- her failure to have children, her husband's professional failures, her daddy issues, her competition with her sister, the perception that people have of her due to the way that she looks. Ka appears to be drawn to this for a number of reasons, but I think one of them is that he wants to be as outside the present as she seems to be, as detached from the ugly realities that seem to be destroying everyone else.It is a talk heavy book for this reason- everyone seems to believe something fiercely and feels the need to repeat it over and over again, and shout it over whatever other people feel. It's an atmosphere where it is a novelty to ask questions of the other side, and preconceptions are almost always voiced before asking for answers ("I know as an atheist you must think about suicide all the time, but..." ... who in the what now?). And I think underneath all this is the recognition that not only do these people not know if they really believe what they profess to, they usually don't know what it means, why they believe it, and you know what at the end of the day: what they believe doesn't really matter anyway. They're not important enough to matter- their identity has been totally devalued. And everyone, but everyone, knows it.It is a slow, meditative book, as you might expect from something called Snow. Expect long digressions into philosophy, spirituality, religion, politics, and long long legacies of inferiority complexes and hatreds (particularly of course, against the perceptions of Europeans and the West)- Pamuk's explanation about why everyone is "so very very angry at everyone else." It has a plot, certainly, and one that can get your heart racing at very specific moments, but it will be followed by long walks in the night grasping at something that, as Pamuk put it in his Nobel Lecture, "one never quite gets to." It is a surreal place, and it is meant to be- a city blanketed in snow far away from the rules of every day life. It can be a black comedy at times, in a very sick way- of course his characters don't even know it. They spend so much time and energy talking about how they don't want to look foolish in the eyes of foreigners, and yet the moments when some of them are the most sure are the ones that get the reader to pity them the most. Not that the book wants that either. He has his characters get a say in what they want said- no one knows what they want to say to the West, but in the end it seems to add up to the fact that they are not figments of our (and by our I mean readers in Westernized countries) imagination that can be categorized into things like poor people to help, depressed people to pity, extremists to fear or really just: Other. At one point the novelist has a conversation with a former teenage Islamist who says:"But I can tell from your face that you want to tell the people who read your novels how poor we are and how different we are from them. I don't want you to put me in a novel like that.""Why?""Because you don't even know me, that's why! Even if you got to know me and described me as I am, your Western readers would be so caught up in pitying me for being poor that they wouldn't have a chance to see my life. For example, if you said I was writing an Islamist science-fiction novel, they'd just laugh. I don't want to be described as someone people smile at out of pity and compassion."Even as Pamuk gives us this slice of life in Turkey that he's deliberately shown us comes so close to reality, he reminds us again that we haven't seen the real thing and perhaps we never can see the "real thing" in each other, that our perceptions are doomed to be incomplete and fuzzy, covered in a blanket of snow.I would recommend to anyone reading this that you find a brief summary of Turkish politics before diving in- I don't think in depth knowledge is necessary, but I do think knowing what Kemalists are, what Article 301 did, what the role of the army is, and what happened in the 2002 elections are all essential for fully appreciating what this book is. Of course one can appreciate it solely on its artistic merits, but it is a political novel that is meant to address some gaping wounds in the country, and I think that it should be respected as such, or you'll miss out on a lot. Also, patience. Lots and lots of patience.It will pay off, though. You'll find out why everyone is so very angry in the end, and I believe that you'll find that that knowledge is very much worth the having.

  • Cheryl
    2018-12-12 13:03

    And the quiet of this empty city was as if the world had come to an end, and it was snowing.If this were the beginning of a poem, he would have called the thing he felt inside him the silence of snow.He walked the city in the cold, alone with his poems. Around him, snowflakes formed a blanket of white silence. He traversed Kars, a remote city in Turkey, where he found the poor forgotten, where democracy he saw was nonexistent and the Western world shunned. He, a prodigal son, never fully welcomed, a loner misunderstood, a man with the sort of angst only seen clearly through poetry. There, like the snow, he walked the city quietly, thoughtfully, observantly, deliberately, and Kars became his muse. But- just as the poem itself defies easy explanation - it is difficult to say how much he decided at that moment and how much of his life was determined by the hidden symmetries this book is seeking to unveil.Can one ever know the underpinnings of a man's heart when he is in love with a woman at the same time he is in love with the art of poetry? What explains best the shards of a person's soul when he is faced with a home no longer familiar, a city no longer his, a woman who was never his, a mindset unique from that of his peers? Loneliness and despondency are certainly themes in this book, as Ka is faced with those darkening thoughts, even as he experiences moments of euphoria. Politics and religion are bigger themes threaded in each chapter and the socio-political-economic climate unfolds with consistency. This is not the easiest book to maneuver, not the simplest unfolding of plots, but it certainly is intriguing to visit the mind of a political exile, to visit the daily lives of characters trapped behind vocal cages within their own homeland.

  • Shuhan Rizwan
    2018-11-28 10:07

    জার্মানির রাজনৈতিক আশ্রয় থেকে দীর্ঘদিন পরে নিজের শহর কার্স-এ ফিরলো কবি কেরিম আলাক্সুগুলু, একে আমরা কা নামেই চিনবো। পরের কয়েকটা দিন সেই ছোট্টো শহর কার্স একেবারে বিচ্ছিন্ন হয়ে ছিটকে গেলো দুনিয়া থেকে। কেনো? না, দিন নাই- রাত নাই- সেখানে তুষার কেবল ঝরেই যাচ্ছে, থামাথামি নাই। তুর্কি ভাষায় তুষারকে বলা হয় কার, পামুকের ‘স্নো’ তাই কার্স শহরে কারের মাঝে কা’এর কয়েকটা দিনের গল্প।কবি হলেও কা লোকটা নিজ শহরে ফিরেছে বলা যায় একরকম সাংবাদিকতা করতেই। কলেজ কর্তৃপক্ষের চাপে মাথার হিজাব খুলতে বাধ্য হয়েছে বলে আত্মহত্যা করেছে কজন মেয়ে (বলে রাখা ভালো, উল্টো দিকের কাহিনিও বেরিয়ে এসেছে এই উপন্যাসেই), কা এসেছে এরই অনুসন্ধান করতে। তা ফেরত এসে কবি আবারো গিয়ে পড়লো নিজের পুরনো সহপাঠিনীর খপ্পরে, যার প্রতি সে বেশ দূর্বলই ছিলো একসময়। ইপেক। এই দুজনের পাশাপাশি ইসলামি আন্দোলনের নেতা ব্লু, কাদিফে (ইপেকের বোন) সহ আরো কিছু চরিত্র যথেষ্ট বেগবান হয়ে ওঠে কাহিনিতে। পাঠককে অবাক করে পামুক নিজেও একসময় ঢুকে পড়েন কাহিনিতে। পামুকের ভাষার কথা আগেও বলেছি কোথাও, আশ্চর্য ঝরঝরে গদ্য, ধরা ছোঁয়ার মাঝে থেকেও সে ভালোই অভিজাত, সমীহ করতে হয়। এ প্রশংসা পামুকের কানে গেছে কি না কে জানে- নইলে স্নো’তে আগাগোড়া ভাষার দিকে এমন মাত্রাতিরিক্ত মনোযোগ কেনো? তবে ভুল করে যখনই তিনি কলম চালিয়েছেন নিজের সহজাত গদ্যে, স্বস্তি ও সুখ- খুঁজে পাওয়া গেছে দুটোকেই।তুষারঢাকা পথঘাটের সাথে যোগ হয় কফিশপ, নাট্যমঞ্চ, সভাকক্ষ- এককথায় ছোটো একটা শহরের দিন যাপনের যাবতীয় খুঁটিনাটি। গোয়েন্দা ঘরানার গল্পের মতো একাধিক বার মঞ্চ নাটকের অভিনয়ের মাঝে পামুক চালিয়েছেন সত্যিকারের খুনখারাবি। সাথে উপন্যাসকে আরো সাজিয়েছেন চমকপ্রদ সব ইস্যু নিয়ে- তুরস্কে কুর্দিদের অধিকারের সংগ্রাম, সেকুলার ও ইসলামি ভাববাদী আন্দোলনের বিরোধ, হিজাব, আত্মহত্যা। তা সাজাক, এতোদূরে বসে ওসব ব্যাপারের সাথে আমাদের চৌদ্দোগুষ্টিরও কোনো সম্পর্ক নেই। তবে এক ফ্লাইওভারেই পুরো রাজধানী খেয়ে নেবে বলে কন্ট্রাকটর ব্যাটা প্রতিজ্ঞা করলে কী অবস্থা হয়, সে সাক্ষ্য দিতে ঢাকানিবাসী কেউই আপত্তি করবে না বলেই- পামুকের ফ্লাইওভারে উঠে রাস্তা হারানোর ঝামেলায় বেশ আক্ষেপ হয়।

  • Elizabeth (Alaska)
    2018-11-24 13:55

    This book came to my attention nearly 4 years ago, soon after I became a member of Goodreads. So, when it came up as an option for this quarter's challenge, I happily put it on my list. I was too stubborn to put it down.The prose is pedestrian and uninteresting, occasionally boring. There is no real character development. The women are beautiful (or fat), and one of the important, but minor, characters has blue eyes. That doesn't count as character development. My biggest objection, however, is content. There was frequent, hate-filled dialogue from political Islam constituting an attack on the West. To be fair, this did not come from the main character. In fact, he was usually the target of this hate speech as representing the atheistic west. I didn't know he was an atheist until told so, long after he realized that snow made him think of God. I found it unbelievable that right out of nowhere would an atheist think of God when he saw snow.This is on Boxall's 1001 Books You Should Read Before You Die. Opinions vary. My opinion is that you would die more easily and happily without having read this.

  • Marieke
    2018-11-29 15:05

    This is my fourth Pamuk novel and the more of his work i read, the more i want to read his work. The first one i read, i read in college: The White Castle. All i can remember is that i really liked it and it made me want to read Pamuk (i need to re-read it now). Then a few years out of college, i got My Name is Red and tried to read it. This was well before goodreads and i didn't have anyone to save me from frustration, so i stopped reading it thinking i'd take it up later at some point. I read it fairly recently with my Middle East/North Africa group here on goodreads and it turned out to be a tremendously rewarding experience. i shook my finger and scolded my younger self for having given up so easily. Especially because My Name is Red was not the only book casualty from that earlier experience. It made me wary of trying to read Snow, even though i knew it dealt with topics that interest me and in which i'm fairly well-read, not necessarily in the Turkish context, but i should not have been afraid. About a year ago i got The Museum of Innocence from the library. I'll be honest: it was hardbound with a plastic library protective sleeve, it was chunky, it had appealing cover art...i had to have it. I was a little cautious starting it, but it sucked me in. I loved it. Towards the end Pamuk ties the book to Snow and it was like an epiphany for me. I WILL BE SCARED NO MORE. And now i have read it, thanks to the Worlds Lit group moderator putting it on the schedule for the beginning of our exploration of Turkish literature. I still have to get caught up on the discussion in that group. Normally i participate in discussions at the same time i'm reading, but this book unfolds and unfolds and unfolds...i just wanted to experience it for myself without interference from others' reactions. Part of my reason for doing so is not so much a fear of spoilers, but Pamuk is an evocative writer and i wanted to just get lost in the mood he created for me. I think this is one of the things i most like about Pamuk now that i have embraced his work: He has a style. it may not be a unique style, but it is distinct. Yet each book is an individual with its very own atmosphere; you know you are absolutely reading a Pamuk novel but it doesn't feel like any other Pamuk novel (or any other novel for that matter) you have read. I wanted to get lost in that, and i did. I normally get annoyed and frustrated if i don't finish a book quickly enough. i read this for a much longer period than i had intended, but i don't regret it. His writing is somewhat meaty, but not at all difficult to chew if you let yourself just sink your teeth in.About the book itself--there are layers to this story and i'm not sure i have properly absorbed all of them. Also, there were some aspects that were odd to me and i'm still trying to get my finger on those, so i'm going to hold out on commenting on those for now. I still have to join the discussion and also, i think i just might be re-reading this someday.

  • Nazmi Yaakub
    2018-11-15 17:50

    Snow novel pemenang Hadiah Nobel (Kesusasteraan) 2006, Orhan Pamuk, diterjemahkan Maureen Freely, mengangkat kekeliruan manusia untuk mengakui kewujudan Tuhan dan mencari cinta sebenar di tengah-tengah pertembungan antara pemikiran Islam yang radikal dengan kebebasan idea Barat.Berlatarbelakangkan kota kecil di kawasan pergunungan, Kars yang tersisih di timur Anatolia, Turki, novel ini menampilkan Kerim Alakusoglu atau lebih dikenali sebagai Ka, penyair yang menjadi pelarian politik di Jerman selama 12 tahun, kembali ke bumi kelahirannya itu untuk mengutip memori.Dengan alasan membuat laporan untuk akhbar di Istanbul mengenai tragedi bunuh diri di kalangan wanita bertudung yang menjadi wabak tidak terkawal dan pilihan raya tempatan, Ka cuba menyembunyikan hasrat sebenar kepulangannya untuk bertemu kembali dengan bekas rakan sekelasnya, Ipek.Salji tebal yang turun di kawasan pergunungan Kars bukan saja menimbulkan suasana nostalgia dan melankolik pada novel ini, bahkan menjadi sempadan kepada peristiwa penting dalam cerita ini, iaitu rampasan kuasa Kumpulan Teater Sunay Zaim yang mendokong fahaman sekular Atarturk.Ini kerana rampasan kuasa itu berlaku dalam tempoh Kars terputus hubungan daripada dunia luar akibat salji menutup jalan masuk ke kota berkenaan, sekali gus memberi suasana misteri kepada pelbagai isu seperti konflik Islam-sekular, pemakaian tudung, kemiskinan, bunuh diri dan campur tangan tentera.Rampasan kuasa ditandai dengan persembahan teater daripada naskhah klasik, My Fatherland or My Head Scarf, sekali gus menyalakan kekecohan di kalangan pelajar sekolah agama kerana ia memaparkan adegan pelakon wanita yang menanggalkan tudung, lalu membakarnya.Ia disusuli adegan meninggalkan kesan kepada pembaca apabila askar menyerbu ke pentas melepaskan tembakan peluru hidup ke arah penonton yang menyangka ia sebahagian pementasan teater sehingga berlaku pertumpahan darah, diikuti penangkapan beramai-ramai pelajar sekolah agama.Novel ini banyak mempertemukan Ka dengan pelbagai watak dengan ramuan keperibadian tersendiri seperti Blue sebagai pelampau berkarisma; Necip (pelajar yang idealistik dan bercita-cita menjadi penulis fiksyen sains dunia); Kadife (pemimpin wanita bertudung) dan Sunay (penggerak teater yang merampas kuasa).Menariknya novel ini menggunakan dua sudut pandangan, iaitu Ka yang menggerakkan plot utama Snow, manakala perspektif kedua dibayangi pengarang dengan menggunakan watak rakan baik Ka, Orhan yang menceritakan kisah Ka dalam bentuk laporan.Orhan seolah-olah membaca nota catatan Ka sepanjang berada di Kars itu, selain mempunyai misi untuk mendapatkan buku nota hijau yang mengandungi 19 puisi Ka ditulis ketika berada di kota berkenaan, tetapi hilang selepas kematiannya.Karya penerima Hadiah Nobel pada tahun lalu ini bagaikan mengesah kekeliruan yang melingkari dalam kehidupan masyarakat Turki yang merangkumi ketakutan tanpa asas pada Islam, kedegilan memelihara ideologi sekular ala Ataturk dan keghairahan untuk diterima oleh Eropah.

  • Jale
    2018-11-29 17:50

    2015 biterken ve 2016'nın başlarında, üstelik Kars'a doğru yola çıktığımda okumaya başladım. Kar, Kars, hüzün ve terk edilmişlik duygularının kendini hissettirdiği romanda geçen yerleri aradım Kars sokaklarında. Tren garı, Karadağ oteli, çay ocaklarının bazıları, 400 yıllık köprü, hamam ve bahsettiği evler yerinde dururken Yeni Hayat Pastanesi'ni bulamadım. Benim için memleket kokulu kitaptır. Ve elbet de hüzün kokulu...