Mary Warner Marien (review date 12 April 1991)

(Contemporary Literary Criticism)

SOURCE: Marien, Mary Warner. “Catch a Turkish Story Star.” Christian Science Monitor 83, no. 96 (12 April 1991): 13.

[In the following review, Marien examines Pamuk's recurring theme of “the limits of the imaginary” in The White Castle.]

Although he is not yet 40, Orhan Pamuk has emerged as Turkey's leading novelist. Moreover, despite the intimately Turkish nature of his settings and subject, he has come to enjoy an international reputation.

Pamuk's books have been translated and issued by many of Europe's prestigious publishing houses. Last year, Carcanet, the trend-sensitive British publisher, sponsored a translation that has just been...

(The entire section is 985 words.)

Paul Berman (review date 9 September 1991)

(Contemporary Literary Criticism)

SOURCE: Berman, Paul. “Young Turk.” New Republic 205, no. 11 (9 September 1991): 36-9.

[In the following review, Berman evaluates the portrayal of East/West conflicts in The White Castle and asserts that Pamuk is an “extravagantly talented” author.]

Orhan Pamuk's The White Castle begins with a preface signed by one Faruk, explaining that the story to come was dug up from a seventeenth-century archive in a village outside Istanbul, has been rendered into modern idiom, and should not be weighed down with too many speculations about contemporary politics and East-West relations—which is, of course, a backhanded invitation to try out precisely those...

(The entire section is 2889 words.)

Keith Hitchins (review date autumn 1991)

(Contemporary Literary Criticism)

SOURCE: Hitchins, Keith. Review of The White Castle, by Orhan Pamuk. World Literature Today 65, no. 4 (autumn 1991): 764.

[In the following review, Hitchins explores how issues of identity and the nature of reality affect the narrative in The White Castle.]

The white castle, a Christian fortress in Poland which is besieged by Muslim Turkish armies, appears briefly toward the end of Orhan Pamuk's novel [The White Castle]. It represents the unattainable at all levels of human endeavor, whether an individual's inner quest for self-understanding or the confrontation between opposing civilizations. In his first work to be translated into English, Pamuk, a...

(The entire section is 542 words.)

Güneli Gün (essay date winter 1992)

(Contemporary Literary Criticism)

SOURCE: Gün, Güneli. “The Turks are Coming: Deciphering Orhan Pamuk's Black Book.World Literature Today 66, no. 1 (winter 1992): 59-63.

[In the following essay, Gün—the English-language translator of The Black Book—addresses the question of why Pamuk appeals to Western readers more than other contemporary Turkish authors.]

Orhan Pamuk takes his own portrait of the artist very seriously indeed—as he well should. After all, he's being touted as Turkey's new literary prodigy, putting in a timely appearance on the world literature scene. Turkish literature buffs ask one another: how come? After all, there are other Turkish writers who are as...

(The entire section is 3582 words.)

Orhan Pamuk and Judy Stone (interview date 19 December 1994)

(Contemporary Literary Criticism)

SOURCE: Pamuk, Orhan, and Judy Stone. “Orhan Pamuk: ‘Enigma Is Sovereign.’” Publishers Weekly 241, no. 51 (19 December 1994): 36-7.

[In the following interview, Pamuk discusses his writing career, the critical reception of his novels in Turkey, and his views on Turkish politics.]

Orhan Pamuk is nothing if not ambitious. All he wanted to do in his new novel, The Black Book, he says, was to write a huge, richly textured narrative that would capture the schizophrenic angst of Istanbul, a city in a country straddling two continents. He thus joined the search for an answer to the perennial Turkish question he defines as: “Are we European? Or are we...

(The entire section is 2021 words.)

Richard Eder (review date 25 December 1994)

(Contemporary Literary Criticism)

SOURCE: Eder, Richard. “The Quest.” Los Angeles Times Book Review (25 December 1994): 3.

[In the following review, Eder compliments Pamuk's examination of personal and national identity in The Black Book.]

[In The Black Book,] Orhan Pamuk's braided mysteries coil around the story of a plodding husband who searches for his restless wife through Istanbul's serpentine streets and historical memory. Once it was the Ottoman Empire's Constantinople and before that, the Byzantine Empire's, and long before that, the ancient Greek Byzantium.

For Pamuk, author of the warmly praised The White Castle, the city is a suffocating midden of 2,000...

(The entire section is 1213 words.)

Phoebe-Lou Adams (review date February 1995)

(Contemporary Literary Criticism)

SOURCE: Adams, Phoebe-Lou. Review of The Black Book, by Orhan Pamuk. Atlantic Monthly 275, no. 2 (February 1995): 113-14.

[In the following review, Adams lauds Pamuk's accomplishment with The Black Book, calling the novel exciting, imaginative, and intelligent.]

On a winter day in Istanbul, Galip comes home from his languid law practice to find that Rüya, his wife and also his cousin, has run away. He assumes that she has taken refuge with her half-brother Jelâl, a widely read newspaper columnist, but Jelâl is also missing, from both the paper and his formal address. Galip goes sloshing through slush and grime in search of the errant pair. The novel...

(The entire section is 404 words.)

Guy Mannes-Abbott (review date 7 July 1995)

(Contemporary Literary Criticism)

SOURCE: Mannes-Abbott, Guy. “Ancient and Modern.” New Statesman and Society 8, no. 360 (7 July 1995): 41.

[In the following review, Mannes-Abbott applauds Pamuk's writing style and his success in representing “the texture and complexity of life in contemporary Istanbul” in The Black Book.]

The Borgesian style is the literary equivalent of the Duchampian in visual art: an identifiable set of formal assumptions, which still remain curiously dissident. When The White Castle, the Turkish writer Orhan Pamuk's only other novel in English appeared in the US, it was properly compared to Borges and Calvino. The Black Book is like a 400-page extravaganza by...

(The entire section is 612 words.)

Robert Irwin (review date 7 July 1995)

(Contemporary Literary Criticism)

SOURCE: Irwin, Robert. “Tales of the City.” Times Literary Supplement, no. 4814 (7 July 1995): 2.

[In the following review, Irwin describes The Black Book as a “metaphysical parable” about cultural and individual identity.]

According to Turkish folklore, the Simurgh is a bird with a name but no body. In the thirteenth-century Conference of the Birds by the Persian poet Farid al-Din al-Attar, the Simurgh, which nests on the equally legendary Mount Kaf, becomes the object of a mystical quest—a quest which ends in self-discovery for its participants. The Black Book, the second of Orhan Pamuk's books to be translated into English (it was...

(The entire section is 1623 words.)

Philip Glazebrook (review date 19 August 1995)

(Contemporary Literary Criticism)

SOURCE: Glazebrook, Philip. “Turkish but No Delight.” Spectator 275, no. 8719 (19 August 1995): 32.

[In the following review, Glazebrook argues that The Black Book is ultimately an unsuccessful novel due to its weak narrative and underdeveloped characters.]

In so far as this sprawl of a novel [The Black Book] is a narrative at all it tells the story of a Turkish lawyer's search for his wife. She may have left him for her older half-brother, his cousin, a journalist whose famous daily column appears to overshadow Turkish life. The search takes him among the clues and dead ends and street furniture of a labyrinthine vision of Istanbul, the city which...

(The entire section is 706 words.)

Patrick Parrinder (review date 5 October 1995)

(Contemporary Literary Criticism)

SOURCE: Parrinder, Patrick. “Mannequin-Maker.” London Review of Books 17, no. 19 (5 October 1995): 22.

[In the following review, Parrinder comments that The Black Book combines elements of the “postmodern detective novel” with aspects of the “dysfunctional family saga.”]

A winter evening in Istanbul in the late Seventies. Political murders, disappearances and torture are daily events, and a military coup seems to be in the offing. Galip, a young lawyer whose speciality is defending political prisoners, returns home to find that his wife Rüya has left him. His instinctive response is to pretend that nothing has happened—Rüya is simply too ill to...

(The entire section is 2200 words.)

Merle Rubin (review date 23 April 1997)

(Contemporary Literary Criticism)

SOURCE: Rubin, Merle. “Turkish Best-seller Offers Parable about Reading.” Christian Science Monitor 89, no. 103 (23 April 1997): 12.

[In the following review, Rubin criticizes The New Life for lacking narrative cohesion and an engaging storyline.]

Orhan Pamuk's most recent novel, The New Life, was a record-breaking best-seller in his native Turkey, which would seem to indicate a surprisingly keen appetite for contemporary fiction among that country's reading public. The phenomenon seems a little like the unexpected popularity of Umberto Eco's novels (The Name of the Rose, Foucault's Pendulum) in the United States.


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Frederic Tuten (review date 8 June 1997)

(Contemporary Literary Criticism)

SOURCE: Tuten, Frederic. “Ruined by Reading.” Los Angeles Times Book Review (8 June 1997): 11-12.

[In the following review, Tuten faults The New Life for overindulging in plot contrivances and “belabored” allegorical elements.]

Under the sway of romances and tales of chivalry, Don Quixote took up lance and shield and wandered about to battle injustice and the general wrong. Her head filled with sappy love novels, Madame Bovary took to adultery and the romantic swoon. Young Dorian Gray was given the book of all mind-altering books, “a poisonous book,” he came to call it, and, after reading it, he abandoned his fiancée, his closest friend and a life...

(The entire section is 1239 words.)

Ronald Wright (review date 10 October 1997)

(Contemporary Literary Criticism)

SOURCE: Wright, Ronald. “From a Breeze-Block Istanbul.” Times Literary Supplement, no. 4932 (10 October 1997): 23.

[In the following review, Wright commends The New Life as an engaging novel of ideas that serves as an allegory for modern Turkey.]

In A History of Reading, Alberto Manguel observes that reading links the reader's contemporary experience with many “an early page in a distant foreign century”. He then quotes from Orhan Pamuk's novel The White Castle: “You cannot embark on life, that one-off coach ride, once again when it is over, but if you have a book in your hand … you can, if you wish, go back to the beginning, read it...

(The entire section is 1374 words.)

Katy Emck (review date 31 October 1997)

(Contemporary Literary Criticism)

SOURCE: Emck, Katy. “Turkish Delight.” New Statesman 126, no. 4358 (31 October 1997): 44-5.

[In the following review, Emck comments on the overriding theme of “spiritual yearning in ideology-led times” in The New Life, calling the novel “a satire on the mystique of transformation promulgated by books.”]

Given that Turks don't usually write novels, and that Turkey is in many senses a liminal place—caught between Christian and Muslim, European and Middle Eastern cultures; not quite third-world poor—this book is every bit as paradoxical as a Turkish novel ought to be. It is also the fastest-selling book in Turkish history; 200,000 copies have been...

(The entire section is 774 words.)

Vangelis Calotychos (essay date 1997)

(Contemporary Literary Criticism)

SOURCE: Calotychos, Vangelis. “Thorns in the Side of Venice? Galanaki's Pasha and Pamuk's White Castle in the Global Market.” In Greek Modernism and Beyond, edited by Dimitris Tziovas, pp. 243-60. New York: Rowman & Littlefield Publishers, 1997.

[In the following essay, Calotychos offers a critical assessment of the appeal to Western audiences of The White Castle and Rhea Galanaki's Pasha, placing his discussion within the context of postmodernism, postcolonialism, and the global market for book sales.]

Like any nostos, my return to my alma mater and Birmingham invites potential scenes of repetition to recall acts,...

(The entire section is 7717 words.)

David Ian Paddy (review date fall 1998)

(Contemporary Literary Criticism)

SOURCE: Paddy, David Ian. Review of The New Life, by Orhan Pamuk. Review of Contemporary Fiction 18, no. 3 (fall 1998): 249-50.

[In the following review, Paddy praises The New Life for its postmodern examination of literature and its emphasis on contemporary Turkish culture.]

Have you ever read a book that was so overwhelming, so utterly life-changing that you had to find everyone else who has read it and force it upon those who haven't? This impulse provides the basis for Turkish writer Pamuk's latest novel: in The New Life a man, Osman, encounters a book so earth shattering that it changes his entire life. He seeks out others who have read the...

(The entire section is 333 words.)

Güneli Gün (essay date 12 March 1999)

(Contemporary Literary Criticism)

SOURCE: Gün, Güneli. “Something Wrong with the Language.” Times Literary Supplement, no. 5006 (12 March 1999): 14.

[In the following essay, Gün responds to criticisms of her use of idiomatic American English in her translation of The New Life. Gün argues that British reviewers are critical of translations that use colloquial American English rather than literary British English.]

The drubbing I received from British reviewers for my translation of Orhan Pamuk's novel, The New Life (reviewed in the TLS, October 10, 1997), gives me a chance to expose the assumptions, biases, chauvinisms that beset a former empire (in this case, the British),...

(The entire section is 2257 words.)

Orhan Pamuk and Michael Skafidas (interview date spring 2000)

(Contemporary Literary Criticism)

SOURCE: Pamuk, Orhan, and Michael Skafidas. “Turkey's Divided Character.” New Perspectives Quarterly 17, no. 2 (spring 2000): 20-2.

[In the following interview, Pamuk discusses issues of Turkish identity, the critical reception of his novels in Turkey and abroad, and modern Turkish politics.]

Orhan Pamuk is perhaps Turkey's leading contemporary writer. His best-selling novels include The White Castle and The Black Book. His most recent book, The New Life, is just out. Michael Skafidas, editor of the Greek edition of NPQ, spoke to Pamuk recently in Istanbul where he lives and works in a beautiful apartment overlooking the Bosporus....

(The entire section is 1932 words.)

Philip Hensher (review date 4 August 2001)

(Contemporary Literary Criticism)

SOURCE: Hensher, Philip. “The Finest of the Foreign.” Spectator 287, no. 9 (4 August 2001): 29-30.

[In the following review, Hensher discusses the lack of interest among British readers in foreign literature in translation, noting that My Name Is Red is a “dreamy, passionate,” and “wonderful novel.”]

The English are terrific translators, when they get the opportunity. The national literature is full of brilliant, idiosyncratic renderings of great foreign classics. If you want to consider the English epic a snark which was never quite hunted down you have to look at Pope's Iliad (the Odyssey is the work of multiple hands, and inferior),...

(The entire section is 1597 words.)

Adam Kirsch (review date 2 September 2001)

(Contemporary Literary Criticism)

SOURCE: Kirsch, Adam. “Getting Real.” Washington Post Book World 31, no. 35 (2 September 2001): 13.

[In the following review, Kirsch criticizes My Name Is Red for failing to adequately convey the richness and complexity of artistic creation.]

Orhan Pamuk is the most popular living Turkish writer, both at home, where his novels are unprecedented bestsellers, and in the West, where he has earned comparisons to Borges and Calvino. As those names suggest, his books can seem postmodernist, dealing as they do in unreliable narrators and shifting identities. But in My Name Is Red, his latest novel, the flatness of the characters, the multiplicity of plots...

(The entire section is 744 words.)

Dick Davis (review date 7 September 2001)

(Contemporary Literary Criticism)

SOURCE: Davis, Dick. “Murder and Joy.” Times Literary Supplement, no. 5136 (7 September 2001): 6.

[In the following review, Davis commends My Name Is Red for transcending the “conventional limitations” of the mystery genre and creating a rich narrative that draws from both Eastern and Western cultural traditions.]

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 the genre as to make the definition seem almost irrelevant.

We are in Istanbul in the...

(The entire section is 1863 words.)

Melvin Jules Bukiet (review date 23 September 2001)

(Contemporary Literary Criticism)

SOURCE: Bukiet, Melvin Jules. “Perceptions of East and West.” Chicago Tribune Books (23 September 2001): 1, 5.

[In the following review, Bukiet compliments My Name Is Red as a “meditation on authenticity and originality,” describing Pamuk as an accomplished “chronicler” of the Turkish consciousness.]

Few boundaries on this planet are more distinct than that of the narrow nautical channel called the Dardanelles, which separates Europe from Asia within the nation of Turkey.

To the east lie several thousand miles of harshly variegated landscape that has given birth to harsh rulers from Genghis and the rest of the Khans to Tamerlane...

(The entire section is 1187 words.)

Lynne Sharon Schwartz (review date September-October 2001)

(Contemporary Literary Criticism)

SOURCE: Schwartz, Lynne Sharon. “In the Beginning was the Book.” New Leader 84, no. 5 (September-October 2001): 23-5.

[In the following review, Schwartz offers a positive assessment of My Name Is Red, noting the impact of Pamuk's writing on Turkish letters.]

Orhan Pamuk is not only a superb writer, he is a cultural phenomenon. Equally at home in the traditions of ancient Islamic literature and Western postmodernism, he's the first Turkish novelist to win spectacular success in Europe and the United States. His four novels published here, of which the best by far is The White Castle (1991), are curious variations on a handful of themes: Turkey's...

(The entire section is 2488 words.)

Allen Hibbard (review date fall 2001)

(Contemporary Literary Criticism)

SOURCE: Hibbard, Allen. Review of My Name Is Red, by Orhan Pamuk. Review of Contemporary Fiction 21, no. 3 (fall 2001): 203-04.

[In the following review, Hibbard asserts that My Name Is Red explores themes that are “highly relevant” to contemporary Turkish society.]

Colors figure prominently in this historical mystery [My Name Is Red], set in sixteenth-century Istanbul, which takes us into the lives of a handful of miniaturist painters, one of whom is murdered by a fellow artist in the first chapter, narrated by the corpse itself. “Try to discover who I am from my choice of words and colors,” we are told toward the opening of the novel in a...

(The entire section is 336 words.)

Jonathan Levi (review date 7 October 2001)

(Contemporary Literary Criticism)

SOURCE: Levi, Jonathan. “The Plague.” Los Angeles Times Book Review (7 October 2001): 9.

[In the following review, Levi applauds My Name Is Red as a “modern classic,” commending Pamuk's representation of “the intense life of artists negotiating the devilishly sharp edge of Islam 1,000 years after its birth.”]

Istanbul, 1591: Black, a painter of miniatures, returns to his native Istanbul from his travels into Persia and the far reaches of the sultan's empire. For 12 years he has tried to escape the vision of his beautiful cousin, Shekure, whose hand was denied him by his master and uncle, Enishte Effendi. Riding into town, Black discovers that Shekure...

(The entire section is 1267 words.)

Char Simons (review date 11 October 2001)

(Contemporary Literary Criticism)

SOURCE: Simons, Char. “The Deadly Art of Portraits.” Christian Science Monitor 93, no. 222 (11 October 2001): 19-20.

[In the following review, Simons comments on Pamuk's skilled portrayal of Islamic society in My Name Is Red, noting its particularly relevance after the September 11, 2001, terrorist attacks on the United States.]

“There are moments in all our lives when we realize, even as we experience them, that we are living through events we will never forget, even long afterward.”

These words from the bestselling Turkish novel My Name Is Red, by Orhan Pamuk, ring as true in the aftermath of Sept. 11 as in the year 1591, in...

(The entire section is 726 words.)

Ian Almond (essay date winter 2003)

(Contemporary Literary Criticism)

SOURCE: Almond, Ian. “Islam, Melancholy, and Sad, Concrete Minarets: The Futility of Narratives in Orhan Pamuk's The Black Book.New Literary History 34, no. 1 (winter 2003): 75-90.

[In the following essay, Almond discusses how Pamuk blends themes of sadness and “the anxiety of identity” in The Black Book.]

Instead of being amazed that library shelves in Islamic countries are crammed full of handwritten interpretations and commentaries, all one has to do is take a look at the multitudes of broken men in the street to know why.1

All the books of Orhan Pamuk, in their own way, breathe certain...

(The entire section is 7522 words.)