Read Kafamda Bir Tuhaflık by Orhan Pamuk Online


Kafamda Bir Tuhaflık hem bir aşk hikâyesi hem de modern bir destan. Orhan Pamuk'un üzerinde altı yıl çalıştığı roman, bozacı Mevlut ile üç yıl aşk mektupları yazdığı sevgilisinin İstanbul'daki hayatlarını hikâye ediyor. 1969 ile 2012 arasında, kırk yılı aşkın bir süre Mevlut, İstanbul sokaklarında yoğurtçuluk, pilavcılık, otopark bekçiliği gibi pek çok iş yapar. Bir yandanKafamda Bir Tuhaflık hem bir aşk hikâyesi hem de modern bir destan. Orhan Pamuk'un üzerinde altı yıl çalıştığı roman, bozacı Mevlut ile üç yıl aşk mektupları yazdığı sevgilisinin İstanbul'daki hayatlarını hikâye ediyor. 1969 ile 2012 arasında, kırk yılı aşkın bir süre Mevlut, İstanbul sokaklarında yoğurtçuluk, pilavcılık, otopark bekçiliği gibi pek çok iş yapar. Bir yandan sokakların çeşit çeşit insanla dolmasını, şehrin büyük bölümünün yıkılıp yeniden inşa edilmesini, Anadolu'dan gelip zengin olanları izler; diğer yandan ülkenin içinden geçtiği dönüşümlere, siyasi çatışmalara, darbelere tanık olur. Onu başkalarından farklı kılan şeyin, kafasındaki tuhaflığın kaynağını hep merak eder. Ama kış akşamları boza satmaktan ve sevgilisinin aslında kim olduğunu düşünmekten hiç vazgeçmez. Aşkta insanın niyeti mi daha önemlidir, kısmeti mi? Mutluluk veya mutsuzluğumuz bizim seçimlerimize mi bağlıdır, yoksa bizim dışımızda mı gelişip başımıza gelirler? Kafamda Bir Tuhaflık bu sorulara cevap ararken aile hayatıyla şehir hayatının çatışmasını, kadınların ev içlerindeki öfke ve çaresizliklerini resmediyor....

Title : Kafamda Bir Tuhaflık
Author :
Rating :
ISBN : 9789750830884
Format Type : Paperback
Number of Pages : 480 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Kafamda Bir Tuhaflık Reviews

  • Elyse
    2019-01-20 22:48

    "The Museum of Innocence", by Orhan Pamuk, was one of the most nail biting intense stories of a wealthy man's obsession for a shopgirl in Istanbul I had ever read....One hell of an amazing 600 page novel!!! Magnificent! "A Strangeness in my Mind".... is also magnificent- brilliant - deliciously enjoyable. I lost myself through the eyes of Pamuks's protagonist seeking balance between the past and the present. The story begins when an elopement goes wrong for Mevlut, a street vendor, living in Istanbul since the age of twelve. He returns to his native Anatolia to meet his beloved Rayiha. Arrangements have been made for them to run away together. Mevlut has glimpsed her just once, wearing a headscarf, at a wedding. Since then, he's written her hundreds of love letters - for three years - praising her beauty and eyes. After making his getaway with his cousin, Suleyman driving, during the darkest of nights, Mevlut realizes his bride-to-be is actually the older homelier sister. Being an honorable man, he makes peace with the situation and marries her. Mevlut was tricked by Suleyman who wants the younger, pretty 'Samiha' for himself. Throughout the novel Mevlut senses a disconnect between self and the world-- and his lifelong efforts to harmonize the two. Mevlut remains poor, working a variety of jobs while watching his initial vocation--as a street vendor selling yogurt and boza, a Turkish drink, disappear. Mevlut walks at night - trying to sell his boza. Melancholy sets in... "Walking fueled his imagination and reminded him that there was another realm within our world, hidden away". There's many other characters who tell Melvut's unfolding story -- wonderful texture characters -- but this is Melvut's story. He uses his imagination to revise the past and make peace with the present! You gotta love this honorable, humble man selling boza!!!Orphan Pamuk.... Winner of the Nobel Prize! Juicy storyteller!

  • Aleks
    2019-01-24 05:45

    Well, after three weeks of reading I finally finished Orhan Pamuk’s latest novel “Kafamda Bir Tuhaflık”, probably the best book I have read so far in this year. Not only that the novel is, in Pamuk’s recognizable way, a rather thick volume, reading it also coincided with general renovation of my flat (btw, great way to spend summer), so I had a very little time to dedicate to the book. Nonetheless, I kept going and found out that reading of this novel not just fulfilled me in the way that good books often do but also made me calm and relaxed, and because of that gave me a much needed rest from the general fatigue.Previously, I wasn’t impressed by Pamuk’s “Masumiyet Müzesi” (“The Museum of Innocence”), the first novel that came out after he received the Nobel prize. I thought that it had much to do with the award itself because it seemed to me that authors tend to publish somewhat lesser work after the Nobel. Perhaps a memoir or autobiography (although Pamuk’s already done that with the remarkable “Istanbul”) – something to sum up their work and their life. After the award, very rarely one produces a masterpiece that can compare with his greatest achievements produced during the peak of his vitality.But I was wrong. Pamuk’s latest novel, in my opinion, is by far his best novel - and I’ve read almost all of them.Although the novel’s main character is a poor boza street salesman, this book – which is the greatest of all Pamuk’s virtue and virtuosity – talks mostly about Istanbul, the city itself. Like in some of his previous works, Istanbul becomes very much alive, almost like a human itself. Pamuk’s love for his birthplace is undeniable, and he continuously proves that with every novel that he writes.In that sense, “Kafamda Bir Tuhaflık” presents a history of Istanbul through main character, Mevlut Karatas, from 1969 to the 2012. Through that period, Istanbul changed in many ways – most of these ways were rather insurrectionary – and evidently, that continuous to happen today: in cultural, societal and identity aspects. The novel has everything: historical background, love story, social and cultural turbulences, multi-vocal narration and, most of all, incredible tableau of city of Istanbul.Finally, I must thank the publishing house “Geopoetika” for the first world translation of this novel, and also recommend everybody to read it when it becomes translated in other languages. And if you befall to renovate your house or apartment while accidentally picking up “Kafamda Bir Tuhaflık” to read, just do what I did after I’d finished job for that day: just drop by the local delicatessen shop and refresh yourself with a glass of iced boza.

  • Hugh
    2018-12-26 05:45

    There is something rather old-fashioned but charming about this sprawling, languorous family story set in Istanbul over 40+ years. The central character Mevlut is a poor street trader who supplements various day jobs by spending his evenings selling boza (a traditional slightly alcoholic drink) on the streets. This represents something of a departure for Pamuk whose previous books have been set among the city's richer elite. This one also allows more space to its female characters.The first two chapters are out of sequence - the first covers the night when Mevlut elopes with his wife Rayiha. He has been writing to Rayiha since seeing her sister at a family wedding - his cousin Suleyman has tricked him into addressing the letters to the "wrong" sister, but it soon becomes clear that Rayiha is the better match. The second chapter is many years later as Mevlut suffers a crisis of confidence after being robbed by ruthless street thieves. The rest of the book is told in chronological order, starting when Mevlut arrives in the city as a boy to help his father in his yogurt and boza selling business.The real subject of the book is the city itself - Pamuk chronicles its expansion, modernisation, political and sociological changes in great detail. The incorruptible but poor Mevlut is contrasted with his scheming (and richer) cousins. For such a long book, this is a surprisingly easy read - the story telling always keeps you interested despite the mundane nature of much of the story. A pleasure to read.

  • T.D. Whittle
    2019-01-11 03:35

    "I can only meditate when I am walking. When I stop, I cease to think; my mind works only with my legs." Jean-Jacques Rousseau"I will sell boza until the day the world ends." Mevlut Karatas (p. 584)This book is long and meandering, its power like that of a fire built slowly from a bit of kindling and a single spark. From the beginning, it is carefully tended and coaxed along in a quiet but steady fashion until Whoosh!, it ignites in full glory. A Strangeness in My Mind did not particularly grab me, in a dramatic sense, with its opening but it did interest me enough to keep going. It begins with the protagonist, Mevlut, a boza seller, and his fiancee, Rayiha, running away to elope. I liked Melvut and Rayiha, so I kept reading, all the while thinking that, yes, it is good; I am not loving it, but neither do I want to abandon it. We follow Mevlut's life from the time he is a boy of twelve until he is a man of fifty-five. The narrative structure is mostly linear, though there is a bit of slipping back and forth in time. There are a lot of characters in this book but I did not find them hard to keep track of. However, should you get lost, the author has provided a family tree at the beginning of the book and a character index and chronology at the end.I felt bogged down in the years when Mevlut was an adolescent living alone with his father on the outskirts of the city, failing at his all-boys school, working as a street vendor, semi-stalking women he was obsessed with, and masturbating nonstop. Then, when Mevlut enters his mandatory military service, the book remains very male-focused, dominated by their interests, their dialogue, and their competitive struggles. Basically, these pages wreak of testosterone and musky sweat. As a woman reader, this bored me, I have to admit. I read a lot of books written by men, but I like the women and girls to be involved or I simply can't connect. *Having said that, I did love wandering with Mevlut through Istanbul and hearing about the changes the city was undergoing over the years. And what happened over the course of the narrative is that my sense of intimacy with Mevlut and with Istanbul grew closer, insidiously, so that by the end I was shedding tears and felt a deep sympathy with him. Mevlut is within the city but the city is also within Mevlut. It is also a dynamic symbol of the tumultuous lives of impoverished Turkish families. Their fates and sorrows are intertwined.So this is how Mevlut came to understand the truth that a part of him had known all along: walking around the city at night made him feel as if he were wandering around in his own head. That was why whenever he spoke to the walls, advertisements, shadows, and strange and mysterious shapes he couldn't see in the night, he always felt as if he were talking to himself. (p. 579)I cannot escape my impression that, if one were to put a gender to Istabul, it would be a woman: a grand and beautiful dowager who has been roughly treated but maintains her dignity and grace nevertheless. This is how the women in the book are presented, too. Though not all are roughly treated, they all have difficult lives, made all the more difficult by living in an oppressive patriarchy and struggling at various time with grinding poverty and lack of proper reproductive healthcare. In this way, I came to feel that Mevlut loved three women deeply and passionately during his lifetime: first, his crush, Samiha; then, his wife, Rayiha; and, from the age of twelive, his adopted city, Istanbul.But just like believing in God, falling in love is such a sacred feeling that it leaves you with no room for any other passions.By about halfway through A Strangeness... had hooked me. I realised how completely invested I had become in the characters' well-being. I had not felt terribly attached to Melvut before then and, really, it was the women becoming more of a presence in the book that made it take off for me (Melvut's wife, Rayiha, their daughters, and Rayiha's sisters). Over six hundred pages, I fell in love with Melvut, Rayiha, their girls, the girls' aunties, and the rampaged and rambling sprawl of old Istanbul. These are very ordinary people, with ordinary lives, but the story of these lives is rich and proves the point that no one's story is boring if you attend closely enough to the telling. Pamuk is masterful in the telling, but it's a subtle mastery. He does not bash you over the head with bigness. The dramas, while intense and worrying, are not over-played. There are deaths, even one murder, but the details given are only enough to tell us that these things happened. Nothing gratuitous. I appreciate Pamuk's discretion and feel that his choices of when to zoom in and out of focus are near perfect.I am reflecting on the aftertaste of A Strangeness in My Mind, thinking that it's probably a lot like boza: nostalgic, sweet, and just a bit sour, all at the same time."No, I'm not joking. Boza is holy," said Mevlut."I'm a Muslim," said Suleyman. "Only things that obey the rules of my faith can be holy.""Just because something isn't strictly Islamic doesn't mean it can't be holy. Old things we've inherited from our ancestors can be holy, too," said Mevlut. "When I'm out at night on the gloomy, empty streets, I sometimes come across a mossy old wall. A wonderful joy rises up inside me. I walk into the cemetery, and even though I can't read the Arabic script on the gravestones, I still feel as good as I would if I'd prayed." (p. 271) Two desires that will linger with me now are to wander aimlessly through the nighttime streets of Istanbul and to try boza for myself. Pamuk is a beautiful writer. I am looking forward to more of his books.* Note: For this reason, although I enjoy fantasy, I did not enjoy The Lord of the Rings, in which females are icons on pedestals rather than playing an active role, or Moby-Dick or, The Whale, or Das Boot, in which females have no place at all. I did like watching the films of Lord of the Rings though because they were spectacularly made. I was swept away by the awesome visuals.Click on the following images to see the full version. They appear squashed unless you do that. Istanbul painted by Ivan Konstantinovich Aivazovsky (1817-1900) Istanbul painted by Ivan Konstantinovich Aivazovsky (1817-1900)

  • Özlem Güzelharcan
    2019-01-08 02:28

    Derin, zengin, her zamanki gibi akıcı, güzel bir anlatım.. Müthiş karakterler.. İlginç, farklı, şaşırtıcı bir teknik.. Bize özgü milyonlarca ayrıntı.. İnanılmaz bir İstanbul tarihi araştırması.. Şahsi görüşüm de resmi görüşüm de şudur ki ben bu kitabı çok sevdim!

  • Emma
    2019-01-02 02:29

    It is such a cliche to say that I 'got lost in the story' but if any novel should get this pronouncement from me, this is it. As always, Pamuk writes with a beauty and love for his native Istanbul; yet he is not one to show the city through a rose-tinted lens. The same goes for the people he potrays. Stylistically, the ever increasing build up of detail creates a set of characters and a sense of place that you, the reader, come to know intimately. Not only are you welcomed in to this world (which, for me, is so very different from my own), you become part of it. You see, hear, and smell the city. I know, and understand, Mevlut better than some of my friends and family. For this reason, the book can be exhausing (it took me two months to read), but it is also magical. However, if you are new to Pamuk, I wouldn't start here. For me, none of his works can eclipse My Name is Red and I always recommend it.Many thanks to Orhan Pamuk, Faber and Faber, and Netgalley for this copy in exchange for an honest review.

  • Ena Hasečić
    2019-01-14 05:28

    Ova debeljuca od skoro 600 strana, a na kojoj je Pamuk radio 6 godina, prati život siromašnog, ali dobrog Mevluda Karataša. On je 1969. godine s ocem Mustafom i njegovim bratom Hasanom došao u Istanbul prodavati bozu i jogurt. U romanu pratimo i životne puteve ljudi sa kojima se zbližio dolaskom u veliki grad. Roman ustvari započinje kada Mevlud dolazi u Istanbul i proteže se kroz 40 godina njegovog života. Ispričan je iz nekoliko perspektiva, a u njemu, ne samo da pratimo živote Pamukovih junaka, nego i promjene u Istanbulu viđene njihovim očima. Roman na početku sadrži porodično stablo porodica Karataš i Aktaš, a na kraju hronologiju događaja iz Mevludovog života i hronologiju političkih dešava u Istanbulu od 1954. do 2012. godine.Roman obiluje događajima, ima mnoštvo likova i zaista je poseban. Uči nas da materijalno u životu nije ono što nas zaista ispunjava i da je ljubav najveća sreća u čovjekovom životu. "Ponekad je, dok bi hodao tihom ulicom u kojoj se nije pomjerala niti jedna zavjesa niti otvarao ijedan prozor, osjećao, iako je znao da prvi put prolazi njome, da je nekada davno, u nekom drugom vremenu, ipak prošao tuda i uživao u tom trenutku kao da proživljava neku staru uspomenu, osjećao bi kao da, dok uzvikuje "Boo-zaa!", zapravo doziva uspomene..."

  • João Carlos
    2018-12-31 06:54

    Istambul - Ano´s 50 - Ara GülerAs 6 Estrelas de IstambulPara quem nos últimos trinta e cinco anos leu mais de cinquenta livros por ano, não é fácil ficar fascinado ou deslumbrado por romances escritos na actualidade; mas são obras como "Uma Estranheza em Mim" do escritor turco Orhan Pamuk que me fizeram e que me fazem leitor...

  • Lyubov
    2019-01-22 22:37

    Отне ми близо два месеца, за да приключа най-новия роман на Орхан Памук с прелестното заглавие „Странност на ума”, което всъщност е част от стих на Уърдсуърт. Книгата се оказа изключително подробен труд с истории на много нива, разказани от различни гласове и ми е наистина трудно да си избера една нишка, от която да започна неговото разплитане и обговаряне.В центъра на разказа е уличният продавач на боза Мевлют, чиято заплетена лична история се развива на фона на изключително важни събития от най-новата турска история и като във всеки себеуважаващ се обемен роман обхваща впечатляващия период от 1969 г до 2012 г. Никого няма да изненадам със споделянето на факта, че действието се развива в Истанбул и градът отново е герой на повествованието, колкото и самият Мевлют. През тези години мегаполисът се променя драстично в културно, социално и геополитическо отношение и всички тези промени се случват плавно пред очите ни, неразривно свързани с живота на героите. Повествованието се води от гледните точки на дузина лица и понякога перспективата се сменя по няколко пъти на страница, образувайки същински калейдоскоп от мнения и виждания за една и съща ситуация. Безспорно интересен и специфичен похват, на който си струва да се обърне внимание и който, лично при мен, забавяше темпа на четене, за да успея да осмисля всички нюанси на преживяванията на различните герои.Няма да навлизам в подробностите на историята, защото смятам че всеки трябва да я изживее за себе си и да я пречупи през собствения си опит, но искам да споделя какво ми допадна в цялостната идея на „Странност на ума”. И това са най-вече разсъжденията върху съществените въпроси - дали онова, което ни поднася животът, е чак толкова по-лошо от онова, което ние държим да постигнем на всяка цена и най-вече - способни ли сме да оценим щастието, когато го имаме?Обективизмът при рисуването на общата картина си остава водещ за автора – той ни показва фактите, без да издава морални присъди кое е правилно и кое не и ни оставя сами да преценим личната си позиция.Кое е различното в „Странност на ума” в сравнение с другите романи на Памук?Първо, действието е една идея по-бързо, отколкото е характерно за него. Второ, виждаме искрици на хумор, редки, но за това пък още по-ценни у писател на всеобхватната меланхолия, какъвто е Памук. И не на последно място – в този роман имаме щастие. Нежно, тихо, ненатрапчиво, но истинско ежедневно щастие. Това е толкова нехарактерно за познатия ни тъжен, минорен Памук, че ме изпълни с истинска радост. Искрено уважавам утвърдените автори, които биха могли да си позволят да пишат както и за каквото си пожелаят, които въпреки това виждат някои от слабостите си и работят върху тях. Точно това е направил и Орхан Памук в „Странност на ума”.А кое е общото с останалите му произведения? Любимият Истанбул разбира се, защото без него ние просто няма как да пристъпим в света на автора. Но също така тук са почтеността и обективността на Мевлют, тук е постоянно задавният въпрос „Редно ли е да постъпя така?”, любопитството към живота във всичките му форми, но и интензивният вътрешен диалог и погледа отправен към себе си, които можем да срещнем в редица други романи на Памук. Той няма да се откаже да бъде един от малкото известни турски писатели, които имат смелостта да споменават открито арменския геноцид, нито ще премълчи винаги актуалната тема за ролята на турската жена в съвременното общество.Добрите, кротките, почтените хора съществуват и винаги ще съществуват, но поради вродената си ненатрапчивост те обикновено биват изтикани в периферията на обществото от агресивната амбиция. В „Странност на ума” Орхан Памук дава глас именно на тези хора. Чуйте ги.

  • Hakan Yaman
    2019-01-24 02:33

    Romanı nasıl bulduğuma geçmeden önce Orhan Pamuk’un romancılığı hakkında ne düşündüğümden biraz bahsetmem lazım.Türkiye’deki görece sığ edebiyat denizinde çimmeye çalışanların birçoğunun aksine, ben Orhan Pamuk’un romancılığını beğenir, romanlarını keyifle okurum. “Edebiyat dünyamızdan” bazı yazarlar ve yazarlığa öykünen eleştirmenlerce kendisine yöneltilen eleştirilerin pek çoğunun başından beri tamamen kıskançlık temelli olduğunu düşünürüm. Bizim edebi değerlendirmelerimiz çoğunlukla, bir yazarın yaptığı işten çok, eş dost "okkalamacılığına" dayandığından ve yazar ve eleştirmenler daha ziyade tanıdığı, yiyip içtiği veya çıkar ilişkisi içinde olduğu yazarları onur listelerine sokma telaşına düştüğünden, Orhan Pamuk gibi kibirli ve mesafeli yazarlar pek sevilmez. Bu nedenle kendisine yöneltilen eleştirilerin çoğunu inandırıcı bulmadığımı baştan belirtmeliyim. Orhan Pamuk’un romanlarını dikkatle okursanız, edebiyata tutkulu birinin disiplinli ve sabırlı çalışmasının sonuçlarının nerelere varabileceğini hayret ve hayranlıkla görürsünüz. Bütün bu övgüleri, samimi bir edebiyat ödülü olduğuna inanmadığım Nobel Edebiyat Ödülü’nün etkisinden bağımsız yazıyorum. Orhan Pamuk sadece iyi bir yazar değildir, Orhan Pamuk, Türkiye edebiyatının çıkardığı en büyük yazarlardan da biridir. Özellikle “Kara Kitap” bence bir şaheserdir. Hayranlarının ondan yeniden aynı seviyede bir roman beklemekle kendisine haksızlık ettiklerini düşünüyorum. Zira çoğu yazar hayatında bir kez bir “Kara Kitap” ya yazar ya da yazamadan ölür. Ayrıca “Kara Kitap”, Orhan Pamuk’un hâlâ nispeten “naif ve düşünceli” olabildiği, henüz şöhret hamamında yıkanmadığı yılların romanıdır. Bu nedenle artık geriye dönüp aynı samimiyette bir roman yazabilme olanağından ve olasılığından yoksun kaldığı gerçeğini de görmemiz gerekir. Benim en iyi Orhan Pamuk romanları listemde, “Kara Kitap”tan sonra “Benim Adım Kırmızı” ve “Beyaz Kale” gelir. Son dönem yazdığı “Masumiyet Müzesi”ni de iyi Orhan Pamuk romanlarının arasına tereddütsüz koyarım. Ancak her yazarda olduğu gibi onun da romancılığında inişler, çıkışlar olmuştur. “Kar”, “Yeni Hayat” ve son romanı “Kafamda Bir Tuhaflık” kanımca Pamuk’un yüksek edebiyat uçuşunda irtifa kaybettiği romanlar.“Kafamda Bir Tuhaflık” kuşkusuz tipik bir Orhan Pamuk romanı… Roman onun hikâyeciliğinden tat alanlar için yine lezzetli bir okuma serüveni vaat ediyor. Ben de keyifle okudum. Orhan Pamuk, şimdiye kadar neyle eleştirildiyse sonraki romanlarında ona dokundu hep. Cinselliğe yeterince yer vermediği, kadın erkek ilişkisini iyi anlatamadığı eleştirilerine “Benim Adım Kırmızı”da, romanın konusuyla olmasa da ayrıntılarda gizli yanlarıyla sert bir karşılık vermeyi denemişti. Siyasete, ideolojiye, toplumsala yeterince duyarlı olmadığı, romanlarında bu konulardan uzak durduğu eleştirileri üzerine, “Kar” romanını yazmıştı. Bu defa da sanki Pamuk, çok satıyor ama çok okunmuyor görüşüne karşılık, alın size kolay anlayabileceğiniz bir hikâye ve sıkılıp, elinizden bırakmadan sonuna kadar okuyabileceğiniz bir roman, bunu da bir zahmet okuyun artık, der gibi... Ayrıca Orhan Pamuk, sadece kendi yetiştiği, büyüdüğü çevreleri ve kentsoylu yaşantısını yazabildiği, kendinden uzak olan yaşantılara dokunmadığı eleştirisine de yanıt veriyor bu romanla… Orhan Pamuk’un çok sık yaptığı bir şey olmasa da, içinde ilginçliklerin yer almadığı, sadece sıradan insanların, sıradan hayatlarının anlatıldığı romanlar, özellikle Avrupalı ve Amerikalı yazarlarca daha önceleri yazıldı. Bu romanda Pamuk’un getirdiği yenilik bu değil, anlatıcının anlattıklarının arasına roman kişilerinin bir bir girip konuşuyor olmaları… Bu daha önce yapılmış mıydı emin değilim, zaten bunun pek bir önemi de yok. Pamuk bir söyleşisinde bunun daha önce yapılmadığını söylüyor. Daha önce yine kendisi “Benim Adım Kırmızı”da benzer bir tekniği, ayrı bölümlerde denemişti ve güzel olmuştu. Ancak bu romanda bence biraz eğreti durmuş. Orhan Pamuk’un romancılığının belki de en eleştirilebilecek yanı, kendisine ve yaşadığı çevreye uzak kişileri birinci tekil şahıstan konuştururken karşımıza çıkan tam olmamışlık halidir. Her kim kendi ağzından bir şeyler anlatırsa anlatsın, aslında hep anlatıcı (çoğunlukla Orhan Pamuk) konuşur, ses, ton ve sözcük zenginliği fazla değişmez. “Benim Adım Kırmızı”da bohçacı Ester’in tıpkı Orhan Pamuk gibi konuşması eleştirilmişti diye hatırlıyorum. “Kafamda Bir Tuhaflık”da bu durumla sıkça karşılaşıyoruz. Anlatının arasına roman karakterlerinin girişleri Pamuk’un bugüne kadar yapmadığı deneysel bir yenilik olabilir. Fakat karakterlerin konuşma biçimleri, konuşurken seçtikleri sözcükler, eğitimleriyle, birikimleriyle, geldikleri kültürel sınıfla uyumlu olsaydı roman daha iyi olabilirdi. Orhan Pamuk aslında bu olumsuzluğu belki de hikâyesine biraz da mizahi bir yan katarak, kimi zaman bir karakterin, diğerinin konuşmasını kesip araya girmesi gibi durumlar yaratarak, okuduğumuz metne kendimizi fazla kaptırmamız gerektiğini, nihayetinde bunun bir kurmaca olduğunu hatırlatıyor bize. Yine de ben roman kişilerinin geldikleri kültürel sınıflarla uyumlu konuşmalarını tercih ederdim.Bu duruma örnek verebileceğim çok yer var romanda. Ancak sadece bir ikisine yer vermekle yetineceğim. Mesela Mevlut’un karısı Rayiha, Mevlut’la köyden kaçıp İstanbul’a geldiği ilk gün şunları söylüyor: “Mandalı çevirip pencereyi açamayınca Mevlut koşup ispanyoletin nasıl çalışacağını bana gösterdi. Sabunlu sularla iyice yıkanırsa, örümcek ağları temizlenirse evin düş kırıklıklarından, korkulardan, Mevlut’un hayalindeki şeytanlardan temizleneceğini hemen anladım.”Muhteşem bir anlatım ama bunları söyleyen Rayiha olamaz. Ayrıca bırakın Rayiha’yı, şehirdeki çoğu insan ispanyoletin ne olduğu bilmez.Romanın başka bir yerinde bu kez elektrik kontrol görevlisi Ferhat çıkıyor karşımıza:“Altın kafes misali aynalı eski asansör durdu. Çok eski bir zamanda oluyordu bu, rüyalar kadar eski, ama aşk hep daha dün olmuş gibi gelir insana.”Bunları bize yoğurtçu ikonlu anlatıcımız söylese daha inandırıcı olabilirdi, ama Ferhat’in ağzından bu şiirsel sözlerin dökülmesini okurken yadırgıyor insan.Anlatıcının sahne aldığı yerlerde karşımıza çıkan yoğurtçu ikonu da inandırıcı olmadığı gibi gerekli de değil aslında. Romanı okurken o ikonun altından, Pamuk’un okura olan güvensizliğinin sırıttığını hissettim ben. Ortalama okura, yorulmasın diye kolay konu, kolay anlatım, edebiyat okurunun önüne de yeni bir varyete koymuş Pamuk. Ama bir taraftan da tedirgin; ortalama okur buralarda anlatıcıyla roman kişilerini karıştırır ve sıkılırsa, yolunu kaybetmemesi için trafik tabelaları gibi yoğurtçu ikonları çıkıyor karşısına. Orhan Pamuk bu romanında bir yandan da başladığı yere geri dönmüş. “Kafamda Bir Tuhaflık”, ilk romanı “Cevdet Bey ve Oğulları”nda olduğu gibi bir ailenin göçünü ve İstanbul’un değişimini anlatıyor. Bu kez kentin geleneksel semtlerinden birinden alafranga bir muhite taşınan bir burjuva aile yerine, köyden kentin yeni kurulmakta olan varoşlarına taşınan sıradan insanların hikâyesini anlatmayı seçmiş Pamuk. Mevlut Karataş üzerinden bir ailenin uzun öyküsünü ve bu sürede İstanbul’un 60’lı yıllardan günümüze kadarki değişimini anlatmayı denemiş. Baba mesleği olan yoğurt ve boza satıcılığını İstanbul’da sürdüren Mevlut’un hiç de ilginç olmayan hayatını okurken, arka planda da değişen İstanbul’u izliyoruz. Fakat bu arka plan özensiz bir sahne dekoru gibi kalmış romanın içinde sanki. Sadece bir arka plan olması gerektiği için orada duruyor gibi, ana temaya inandırıcı bir katkı yapmaktan çok uzak. Türkiye’de kıyametin koptuğu yılları biz, arkadaşlarıyla Mevlut’un duvarlara afiş yapıştırmaya veya yazıya çıktığı geceler gibi birkaç yer dışında, uzaktan belli belirsiz yakalamaya çalışırken, ön planda Mevlut’un ilginç olmayan öyküsünü izliyoruz. Gültepe ve Kuştepe gibi 60’lı yıllarda kurulmaya başlayan gecekondu mahallelerini çocukluğumdan hatırlıyorum. Sonraları Latife Tekin, “Berci Kristin Çöp Masalları” romanında güzel anlatmıştı buralardaki yaşantıyı. Gerek dönem manzaraları, gerekse mekân tasvirleri Pamuk’un kesinlikle bu romandaki öncelikleri değil. Pamuk, bilinçli olarak tercihini bu yönde kullanmamış; fonu flu yaparak, sıradan kahramanlarının öne çıkmalarını sağlamış. Daha çok Mevlut ve ailesinin hikâyesi ile bu hikâyeyi karakterlerinin ağzından nasıl anlatabileceği noktasına yoğunlaşmış. Biraz da öteden beri ilgi duyduğu sokak satıcılarının, çocukluğumuzun kış gecelerinden hâlâ bize seslenen bozacıların uzak seslerinin büyüsüne kapılmış. Sonuç olarak Türkiye edebiyatının en usta anlatıcılarından birinden, tüm ayrıntıların, bazen aşırıya kaçan bir titizlikle araştırılıp yerli yerine koyulduğu muhteşem bir öykü dinliyorsunuz. Sonlara doğru, mesela “Mevlut Yalnız” gibi bölümlerde Orhan Pamuk’un anlatısının tırmandığını söyleyebilirim. Pamuk bu romanıyla bir kez daha, romanda ne anlattığınızın değil, nasıl anlattığınızın romanın edebi seviyesini belirlediğinin dersini veriyor bize. Alıntılar: Orhan Pamuk, Kafamda Bir Tuhaflık, Yapı Kredi Yayınları, İstanbul, 2014, s. 177-329.

  • Ismini
    2019-01-18 23:42

    7,5/10Υπόθεση: Η αφήγηση ξεκινά το 1982 όταν ο ήρωας ερωτεύεται ένα κορίτσι και το κλέβει. Εκ των υστέρων συνειδητοποιεί πως η κοπέλα που έκλεψε είναι η αδερφή εκείνης που ήθελε. Ο Παμούκ σε αυτό το βιβλίο των 700 σελίδων μας περιγράφει παράλληλα τη ζωή του Μεβλούτ, ενός πλανόδιου πωλητή μποζά, και τις τρομερές αλλαγές της Κωνσταντινούπολης από το 1969 έως το 2012.Σαν υπόθεση δεν με ενθουσίασε αλλά θεωρώ πως θέτει το κατάλληλο πλαίσιο για να αποτυπωθεί η μετάλλαξη της Πόλης, καθώς η επιλογή ο πρωταγωνιστής να είναι ένας πλανόδιος πωλητής έδωσε στον συγγραφέα τη δυνατότητα της παράλληλης εξιστόρησης της ζωής του με εκείνη της ανάπτυξης της Κωνσταντινούπολης. Στο βιβλίο η Πόλη που μεγαλώνει και αλλάζει αποτελεί το φόντο στο κάδρο της ζωής του ήρωα, αλλά ένα φόντο που σκιαγραφείται γλαφυρά, έντονα και ζωηρά και εν τέλει κλέβει την παράσταση. Γραμμένο κυρίως στο τρίτο πρόσωπο αλλά και με πολλές μικρές εναλλαγές στα πρόσωπα της αφήγησης, ο συγγραφέας κατορθώνει να δώσει στον αναγνώστη μία πολύπλευρη εικόνα της ζωής στην Πόλη, των ανθρώπων της και της νοοτροπίας τους, μία εικόνα εν πολλοίς ανάγλυφη, σφαιρική και ρεαλιστική. Στα συν του βιβλίου οι παραστατικότατες περιγραφές που μεταδίδουν στον αναγνώστη όλο το χρώμα και το ύφος της Κωνσταντινούπολης και τη μετάλλαξή της σε σύγχρονη μεγαλούπολη με ισχυρά τα ηθογραφικά στοιχεία. Διαβάζεται ευχάριστα, χωρίς να απαιτεί προσήλωση και γρήγορα, χωρίς να πρόκειται για ένα εντελώς ανάλαφρο βιβλίο.Το κύριο αρνητικό του βιβλίου, η κεντρική υπόθεση που αφορά μια ιστορία αγάπης που, κατά τη γνώμη μου, ακροβατεί στα όρια του αισθηματικού μυθιστορήματος και πολλές φορές υποκύπτει στο μελό.

  • Kyriakos Sorokkou
    2019-01-20 03:51

    As always Pamuk never disappoints.Another incredible book by Turkish Nobel Prize Winner (2006) Orhan Pamuk.My 5th book by Pamuk.My 4th novel by him since I read his Memoirs from Istanbul a non fiction book, part memoir part biography of his beautiful birthplace.This novel like most of Pamuk's novels, takes place in Istanbul; this time between 1969-2012. It tells us the (simple) story of a simple man from Central Anatolia called Mevlut Karataş that came to Istanbul with his father in 1969 to become a boza seller.Boza is a fermented beverage made from fermented wheat and it has a creamy / thick consistency.The story might not be something extraordinary but Pamuk's writing and the way he structures the book makes it extraordinary.This book is divided in seven parts.Parts 1 and 2 are two different days in the life of Mevlut when something important happened.Part 1 takes place on Thursday, 17 June 1982 and Part 2 on Wednesday, 30 March 1994.Then in Parts 3, 4, and 5 which are the main bulk of the book we are taken back in the beginning of his life in Istanbul (1969) and we slowly slowly reach the important moments that happened in Parts 1 and 2.Now Parts 6 and 7 work as mini epilogues and is where we see a conclusion of Mevlut's story in the book.Part 6 takes place on Wednesday, 15 April 2009, and Part 7 on Thursday, 25 October 2012.Another interesting thing of the way this book is structured is the narration. We have Mevlut's parts told in 3rd person narration and we also have 13 characters that tell us their own story in 1st person narration. All these characters are his friends, his family, and people from his close environment.So on the one hand we see Mevlut's story from above with the help of an omnipresent narrator (3rd person) and from the other hand his story from 13 different points of view, that sometimes leave the main storyline (Mevlut) and are concentrated on their own story.We see on the one hand Mevlut's life but through his life we are also able to see the history of modern Turkey.This novel also has characteristics from Dickens' realism and also from the picaresque novels of the 18th century. This is because the subtitle and the first paragraph of the book are the whole story in other words spoilers. But as Pamuk said in an interview: good literature isn't concerned by spoilers and what is going to happen in the end but the actual journey - not the destination. The book like many Pamuk books includes also an index of characters and a Chronology of events.Now before I leave you I'll put here the Title the Subtitle and the first paragraph of the book.A Strangeness in My MindBeing the Adventures and Dreams of Mevlut Karataş, a seller of Boza, and his friends, and also a portrait of Life in Istanbul Between 1969 and 2012 from Many Different Points of ViewThis is the story of the life and daydreams of Mevlut Karataş a seller of boza and yogurt. Born in 1957 on the western edge of Asia, in a poor village overlooking a hazy lake in Central Anatolia, he came to Istanbul at the age of twelve, living there, in the capital of the world, for the rest of his life. When he was twenty-five, he returned to the province of his birth, where he eloped with a village girl, a rather strange affair that determined the rest of his days: returning with her to Istanbul, he got married and had two daughters; he took a number of jobs without pause, selling his yogurt, ice cream, and rice in the street and waiting tables. But every evening, without fail, he would wander the streets of Istanbul, selling boza and dreaming strange dreams.You can see Pamuk's interview on this book here: a one-hour interview I watched twice (yes I enjoy listening to him. I can't hide it anymore)

  • Antonomasia
    2019-01-11 01:55

    Among my started-but-not-finished books, this now squats like Larkin's "toad, work" and I think it's time to declare it abandoned, at 61%. It's not bad, I don't 100% rule out returning to it, but this self-imposed obligation needs to be sacked off in favour of more enticing reads. Faster readers, and those more in the habit of reading 600pp+ novels, seem unlikely to find this an issue, especially when one considers the high 4.06 average Goodreads rating.Mevlut the Boza Seller - as I've no idea why the publishers didn't title it in English, evoking its 19th-century-novel ethos, and telling the reader more factually what the book is about (Mevlut, for all that he wonders about his own thoughts, being one of the least strange-minded characters one might encounter in the world of arty weirdos that populates literary fiction) - seems pretty great for giving a panorama of how political and religious changes have affected the lives of working people in Istanbul over the last several decades, and for its concentration on working class life without seeking to romanticise it, or treat it as a mere obstacle or starting gun for characters destined for a life with more money and more time to spend reading novels like this one. Millions of people live their whole lives similarly to Mevlut and his family, and contemporary fiction usually ignores them. (And if you are ever prone to feeling a tad resentful when you pick up a novel, because your life isn't one of endless years safely lolling about painting or writing and visiting friends, and spending quite freely - unlike so many literary characters - this book may make a welcome change: expending your reading time with people who also have to get up every morning for hard graft, and who still can't afford very much.)The first... perhaps third or so of the novel was great. There is something very measured about the writing: carry water and chop wood. But not hermitically so; this is also realist real life with other emotions and events. Mevlut is a very decent guy but also not a saint. As the novel wore on, though, it seemed to alternate between too much detail and not enough. Events were summarised too dully, I'd notice when returning to Strangeness after other books. Scenes weren't so alive. The issue was not what was happening, very much not - but how it was told. I'd still like to know how successive governments and increasing Islamicisation affect the characters for the rest of the story... but if only it could be summarised in 50 pages or so...I've little more to say about this book, except to link to the best commentaries on it I've seen, from Jibran in discussion threads here and here, and Lee in a blog post here.

  • Usman Hickmath
    2019-01-18 01:36

    Brilliant work from Pamuk. He has told the story of a street vendor taking almost 600 pages while maintaining the readability and have discussed issues such as poverty, struggle of middle class women, illegal construction, and Capitalist, Marxist and Islamist divide in the backdrop of a fallen empire. Have a look at this piece to understand the universality of issues elaborated in the novel.The enterprising individual who built a house on an empty lot would plant a few poplars and willow trees and lay the first few bricks of a wall to mark out his property, after which he would go to the neighborhood council man and pay him something to draw up a document certifying that said individual had built the house in question and planted those trees himself. Just like the genuine title deed issued by the State Land Registry, these documents included a crude plan of the house, which the councilman himself would draw with a pencil and a ruler. He would jot down some additional notations in his childish scrawl-the adjacent plots belonging to this or that person, nearby fountain, the locations of the wall (which in fact might have consisted of no more than a rock or two here and there), and the poplar trees-and if you gave him some extra money, he would add a couple of words to widen the imaginary boundaries of the plot, before finally affixing his seal underneath it all.In reality, the land belonged to the national Treasury or to the forestry department, so the documents provided by the councilman did not guarantee ownership at all. A house built on unregistered land could be knocked down by the authorities at any moment. Sleeping for the first time in the homers they’d built with their own hands, people would often have nightmares about this potential disaster. But the value of councilman’s document would prove itself when the government decided, as it tended to do every decade or so in election years, to issue title deeds for homes built overnight-for these deeds be handed out in conformity with the documents drawn up by the local councilman. Furthermore, anyone who was able to procure a document from the councilman certifying ownership of a plot of land could then sell that plot to someone else. During periods when the flow of unemployed and homeless immigrants to the city was particularly heavy, the price of these documents would rise, with the increasingly valuable plots quickly split up and parceled out, and the political influence of the councilman, needless to say, also climbing in proportion to the influx of migrants.

  • huzeyfe
    2019-01-20 04:54

    Önce kitaptan mı Orhan Pamuk'tan mı başlasam bilemiyorum. En iyisi Orhan Pamuk'tan başlayayım çünkü kitap hakkındaki yorumlarıma yardımcı olacak birkaç şey paylaşmak istiyorum.Orhan Pamuk fikirleri, siyasi duruşu, edebiyatı, yazarlığı, kişiliği, romanları ve karakterleri en çok ses getiren yazarlardan birisi. Özellikle Nobel Edebiyat Ödülü'nü aldıktan sonra doğal olarak artan bir ilgi ve bu ilgiye paralel olarak dozu değişen bir eleştiri odağı oldu. Bütün bunları bir tarafa bırakıp değinmek istediğim başka bir şey var ki o da Orhan Pamuk'un yazma tutkusu. Birkaç yerde neden yazdığını bazen samimi bazen de abartılı bir şekilde paylaşmıştı. Bu yan veya yardımcı etmenleri bir yana ayıracak olursak her yazarın temel bir yazma motivasyonu vardır. Orhan Pamuk'un da yazma konusunda odak noktası babası ve babasının yazar olmak hevesinde olmasına rağmen bu isteğini (zorunlu) istemli bir şekilde bir kenara bırakmasıdır. Babasının Orhan Pamuk'un yazar olmasında ne kadar payı olduğunu anlamak için 2006 yılında Nobel ödülünü alırken yaptığı konuşmadan (Babamın Bavulu) anlayabiliriz. Bu minvalde Orhan Pamuk'un yazar olma konusundaki tutkusu, azmi, sabri gerçekten takdire şayandır ki sırf buna hürmeten diğer kitaplarını da okuma kararı aldım.Uzun bir girişten sonra gelelim Kafamda Bir Tuhaflık'a. Bu kitabı değerlendirirken 3-4 yıldız arasında gidip geldim. Dört yıldız vermemin tek nedeni dün akşam değerlendirme olarak ne yazsam diye düşünürken fark ettiğim bir gerçekti. Yukarıdaki paragraftaki nedenlerden otürü dört yıldızı gönül rahatlığıyla verdim. Bundan sonrası kitap ile ilgili bilgi içerdiğinden okumamış olanların devam etmemesi daha iyi olacaktır.Kitapta Mevlüt karakteri ve Rayiha ile olan aşkı başlı başına bir güzellik iken çevredeki diğer karakterler bence kitabı zenginleştiriken bazı noktalarda da hikayeye zarar vermiş. Mesela anlatım tekniği olarak bazı bölümlerde söze giren diğer karakterler anlatıma bir seviyeye kadar güzellik katmış ama bu girişler çok düzensiz ve bazı yerlerde o kadar özensiz geldi ki anlatımı ve akıcılı zenginleştirmek yerine çerez tabağında yediğiniz son fıstığın ağzınız tadını bozduğunda hissettiğiniz bir duyguya kapılmanıza neden oluyor.Bunun yanı sıra hikayenin ortasından başlaması sonra geriye sonra tekrar ileriye gitmesi ve özellikle başta verilen soyağacı (kim kiminle ne zaman evleniyor ne zaman ölüyor hangi çocuk ne zaman doğuyor hepsini biliyorduk) romanın daha başında spoiler yemiş hissi edinmenize neden olsa da ben bunu kitabı daha değerli yapan bir etken olarak algılıyorum. Çünkü buradan aldığım mesaj “olayları biliyor olmanıza rağmen onu öyle bir anlatacağım ki elinizden bırakmadan okuyacak kadar merak edeceksiniz” şeklinde... Quentin Tarantino tarzı çapraz geçişlerle belki daha da karmaşık hale gelebilirdi kitap kimbilir :)Kitap içinde beni biraz rahatsız eden birkaç nokta... Her ne kadar Orhan Pamuk etliye sütlüye karışmayan bir adam üzerinden apolitik davranıyor gibi görünse de yakın Türkiye tarihi içinde büyük önem arz eden olayları yüzeysel bir şekilde ele alarak -apolitik gibi görünerek- aslında olaylar hakkında bilgi sahibi olmayan insanları (mesela yabancıları ya da gelecek nesil potansiyel okurları) yanlış intibaya itebilecek etmenlere çokça sahip olması. Yine de Yakın Türkiye Tarihi'nin sıradan ve apolitik bir adamın gözünden nasıl olabileceğine dair bir izlenim edinmemiz fena değil.Orhan Pamuk'un kalemini ve özellikle bazı noktalarda yaptığı tespitleri çok beğeniyorum. Bir tek şartla... O da bazı noktalara takıntı yapmadan anlatması. Mesela Masumiyet Müzesi kitabı oldukça akıcı ve güzel anlatılmış olmasına rağmen bazı yerlerinde sıkça geçen "ıhlamur kokusu" beni rahatsız etmişti. Bu kitaptaki favori kokumuz da apartmanlardaki “kızarmış yağ” ve ona eşlik eden kimi zaman boya kimi zaman nem kokusu. Bir de bozanın için de alkol var mı yok mu tartışmasının sürekli önümüze sürülmesinden de pek hoşlanmadım. Hele bir yer de "tamam anladık bozada alkol var sen hele hikayene odaklan" diye haykırasım geldi.Bunların dışında özellikle Mevlüt'ün hat üstadı Efendi Hazretleri ile ilgili bölümlerde ya iyi bir danışmanlık aldığını ya da iyi araştırma yaptığını tahmin ediyorum. Çünkü öyle yerler var ki onu yaşamadan o tespitleri yapabilmek çok ama çok zor. Bu bakımdan Kar isimli romanda kurduğu o meşhur bolca pot içeren bir cümleden sonra bu şekilde bir geçiş Orhan Pamuk hakkındaki fikirlerimi olumlu hale getiren etmenlerin başında geliyor. Bunlara ek olarak romana hakim olan Kader, Kısmet ve Niyet kavramlarının çok güzel işlendiğini de düşünüyorum.Biliyorum çok dağınık bir yorum oldu farkındayım ama iş yoğunluğu içinde okunacak o kadar çok kitap varken ve zaman da bu kadar kısıtlıyken sıcağı sıcağına paylaşmak istedim. Ama bir gün bu yorumu daha derli toplu ve kapsamlı alıntılarla da daha zengin bir hale getirmek isterim.Sözlerimi bitirmeden ve buraya kadar okuma zahmetini gösterenler için teşekkür etmeden önce çok ilginç bulduğum bir şey paylaşmak istiyorum. Yazının başında Orhan Pamuk ve babası hakkında yaptığım girişi hatırlıyorsanız onu neden başa aldığımı açıklayayım. Her yazar romanlarında kendi hayatlarından büyük veya küçük ama mutlaka bir kesit sunarlar. İçindeki başka bir kişi ölür bu ya da dışa yansıttığı gerçek kişiliği olur ama mutlaka kendinden bir şeyler olur. Bu romanın kahramanı Mevlüt ve babasının Orhan Pamuk'un gerçek hayatından bir yansıma olduğunu düşünüyorum. Mustafa Karataş İstanbul'a gelmiş ve başarılı olamadan vefat etmiş bir bozacıdır. Mevlüt de ister kar etsin ister etmesin sürekli boza satan gündüzleri ne iş yaparsa yapsın akşamları mutlaka boza satan birisidir. Çünkü kendisinin de dediği gibi sokaklarda dolaşmak sürekli yürümek ve boza satmak onun düşünebilmek ve kendisini iyi hissedebilmek için bulduğu en iyi yoldu. Kıyamete kadar boza satacağım demesi de bundan ileri gelmektedir. Çünkü boza satmak onun için bir işten öte bir yaşam biçimi bir tutku kafasındaki tuhaflık ile başbaşa kalabilmesi için bir fırsattı. Bu nedenle Mevlüt ile boza Örhan Pamuk ile yazmak şeklinde ilişkilendirilebilir diye düşünüyorum. Aynı şekilde Orhan Pamuk'un babası da boza satmada (yazarlık) başarılı olamamış bir karakter olan Mustafa Karataş ile özdeşleşmektedir. Mesela Mevlüt'ün başlarda boza işini iyi kavramasının babasına verdiği gizli gurur da aynı şekilde Gündüz Pamuk'un Orhan Pamuk'u yazarlık konusunda teşvikçi ve destekçi olmasıyla benzeştirebiliriz. Bu şekilde baktığımda bu kitap daha anlamlı ve daha değerli geldi benim gözüme...

  • Nicko D
    2018-12-25 23:34

    Как се пише ревю за Нобелов лауреат и любим автор? Как се описва труд на Орхан Памук, върху който той е работил близо 6 години? За последния му роман „Странност на ума“ или трябва да се каже с една фраза, както „Пъблишърс Уийкли“ – „Хипнотичен, всеобхватен епос“, или трябва да се излее текст, детайлен и напоителен като стила на Памук. Романът „Странност на ума“ е част от каталога на издателство „Еднорог“, в брилянтен превод от турски на Розия Самуилова.Преди всичко българското издание на „Странност на ума“ впечатлява с перфектното си оформление, като още с отварянето на първата страница читателят осъзнава, че става дума за наистина сериозен писателски труд – семейно дърво на героите в книгата, десет-страничен азбучен показалец на всички персонажи, както и няколко страници сбита хронология на основополагащите събития в романа.Семейното дърво, разположено на две страници в началото на книгата, вероятно би стреснало читателите, които изведнъж прочитат имената на десетки герои. Но при четене на романа Памук ни представя героите един след друг по най-плавния и деликатен начин, въвличайки ни в света на главния персонаж – Мевлют, син на уличен продавач на кисело мляко и боза.Памук не изневерява на стила, наложен сред мнозина турски писатели и правещ ги изключително разпознаваеми сред морето от книги, да поставя в центъра на книгите си малкия човек – занаятчията, продавачите на гевреци и миди, перачката, разносвачите на чай и симид. На своите 650 страници авторът сякаш изважда от утайката малкия човек и го поставя в каймака, представяйки по прецизен начин неговия голям свят – къде реалистичен, къде магически.Едва 12-годишен, Мевлют напуска родното си село и тръгва подир баща си, озовавайки се сред шеметната пъстрота на Истанбул. Двамата, с по една кобилица на рамене, обикалят сокаците на града с пълни гюмове, първо с кисело мляко, после с боза. И така в четивен, описателен и меланхоличен стил, използвайки като своя запазена марка дългите изречения, Памук създава пред читателя една заплетена и сантиментална история, която може да роди само богат на разнообразие град като Истанбул, в чийто център е уличният продавач, който вижда всичко, но сякаш никой не вижда него.„Странност на ума“ е роман за чувствата, усещанията, изживяванията и емоциите, така важни и основополагащи за турското общество. Както казва Уилям Уърдсуърт, чийто стих вдъхновява Памук да озаглави именно така романа си, „странност на ума е усещане, че чужди са ми мястото и времето“. Разминаването в това къде се чувстваш, че си, и къде всъщност си – противоположността, контрастът, разликата. Именно по този начин е построен и романът, в който Памук поставя главния си герой Мевлют в две различни измерения – живата реалност и мислите в главата му, докато той се разхожда из града. Защото Мевлют размишлява само докато върви, спре ли, престава да мисли.„Странност на ума“ е изграден от деленията в живота и пропастите, които хората сами изкопават помежду си. Всичко започва от двамата братя – Хасан и Мустафа (баща на Мевлют), които, напускайки селото, се заселват на две различни тепета в Истанбул и сякаш заживяват в два различни Истанбула; които са на двете политически крайности и които не знаят що е братска делба.Романът е истинска мисловна въртележка за читателя, Памук ще ви кара дори да прелистите няколкостотин страници назад, за да си припомните дадени събития. В началото на книгата авторът разкрива факти от финала, но не си мислете, че интригата ще липсва. Не! След като картите са на масата, по най-увлекателния и детайлен начин Орхан започва историята си отначало, пълна с не по-малко обрати и интересни събития.Това е роман за една любов от вече отминали времена; любов типична по турски; любов, която сякаш днес е невъзможна – три години да пишеш любовни писма на момиче и да го отвлечеш в дъждовна нощ. Какво е щастието – можем ли да го изберем сами или всичко съдба? Памук ни представя преплитания в семейството и неочаквани обрати, които се развиват на фона на политически и религиозни събития в рамките на половин век. Историческите факти са вмъкнати в сюжета в сбит и четивен вариант, чиято достоверност обогатява читателя, без да натоварва с излишни подробности. Като кореняк истанбулчанин по невероятен начин за пореден път Памук създава пред читателя Истанбул – с думи той застроява разширенията на града по тепетата, разрушава Града по време на земетресението от 1999 година и отново Го реконструира. Авторът представя разрастването на града от 50-те години насам, заселването в покрайнините, засягайки огромния вътрешномигрантски поток от Анадола и Диарбекир към големия град. Четенето на Орхан Памук изисква макар и бегла запознатост с Турция и проблемите й, тъй като писателят разглежда изостреността на отношенията в етносите между турци и кюрди; вековните привички и традиции. И тук в центъра са честта и достойнството като единствени благини на турчина като отделна единица.В „Странност на ума“ типичният турски национализъм прозира от редове, в които Ататюрк ни гледа отвсякъде и ту е на портрет в бакалията, ту на малка снимчица на триколката на уличния продавач на пилаф, а посредством героите си Памук казва „Чувството да си турчин е по-прекрасно от чувството да си беден“.Памук блести с изключително много мъдрост и философия в романа си, вплетени по невероятен начин в сюжета – „Доброто образование заличава различието богат – беден“; „Държиш ли се горделиво с хората, които проявяват съчувствие към теб, богат няма да станеш“; „Най-прекрасните влюбени са слепците“; „На тая земя има два вида любов. Първата – да се влюбиш в някого, понеже изобщо не го познаваш. И втората – влюбени заради съвместния си живот подир сватбата – все резултат от женитбите на неопозналите се предварително“; „Неразвързваемите възли се развързват по волята на Всевишния. Всяка трудност се решава посредством неговата сила“.Без излишен драматизъм „Странност на ума“ показва самотата на един човешки живот и загубите, които неминуемо ни се случват. „Сега оставам сам в живота. Колко добре си живеехме баща и дъщеря“. Носталгична, истинска, тъжна и вечна книга, даваща триизмерна картина на един бозаджия със страх от кучета и притеглен да разговаря с гробищните паметници на нощен Истанбул.Чрез живота на уличния търговец Мевлют Орхан Памук говори за щастието в нещастието и нещастието в щастието. Безграничното съчувствие, на което е способен писателят, превръща живота на един беден бозаджия в монументален разказ, не по-малко достоен за нашето внимание от живота на някой султан. Романът е история за живота, премеждията, фантазиите и приятелите на бозаджията Мевлют Караташ и картина на истанбулския живот между 1969 и 2012 година. Елегия за Истанбул.Благодарение на „Странност на ума“ се преживява половин век в рамките на няколко дни. Памук хвърля в размишления, излага уроци и доказва, че няма по-важно нещо от отношенията между хората. Че отношението поражда отношение! Запомнящ се роман, вечен и неопределим с епитети. Еманация на турската литература.И както „Индипендънт“ отбелязва: „Памук се превръща в един от малцината автори, написали най-хубавите си книги, след като са спечелили Нобелова награда“.

  • Book Riot Community
    2019-01-22 01:30

    Here's a magnificent big novel to curl up with this winter! Mevlut Karataş sells boza (a traditional mildly alcoholic Turkish drink) in Istanbul, but he longs for love and riches. But Mevlut doesn't have the best of luck (there's the incident where he falls in love with a woman but accidentally elopes with her sister, for starters) and as middle age approaches, he seeks to find what he feels is missing from his life. A modern love story and a beautiful look at Istanbul, this might be Pamuk's finest yet. Tune in to our weekly podcast dedicated to all things new books, All The Books:

  • Irmak Ertuna-howison
    2019-01-07 05:47

    some say a bourgeois cannot write about the poor & poverty. i say you don't know literature.

  • سارة الراجحي
    2018-12-31 02:46

    عن أي غرابة يتحدث أورهان باموق ؟مولود بريء الملامح والمشاعر ذلك الطفل القروي البسيط الذي ترك مع والده مكان نشأته ليحاول أن يُنبت جذوره في مدينة اسطنبول مولود هو الانسان البسيط الذي يسأله عقله أسألة غريبة تنقله من شاطيء العلمانية الى الهوية الاسلامية وداخل هويته ينشطر بين هويتين متصارعتين ويفاجأه مرور التاريخ المتقلب الحافل بسلطة جيش تنقلب وتحاول أن تنتزع حقوق وسلطة دينية تحاول أيضا أن تنتزع حقوقا أخرى وهكذا على التوالي - يبيع البوظة التي تُسكر سُكرا خفيفا محببا ربما هو - سُكر يحتاجه من يجد غرابة في مواجهة الأسألة التي تحمل ألوانا أخرى غير الأبيض والأسود هل الحياة معقدة وهل يحاسب الانسان على نية القلب ونية اللسان؟ أم على واحدة دون الأخرى هل من الممكن أن يحب رجل امرأة فيجمعه القدر بأخرى ثم تُصر الحياة على أن تكافئه بونس يدفء وحشة أيامه الأخيرة وهو ونس الحب الأولهل القدر عادل ؟من يُحاول الاستئثار لذاته بنعمة ويبعدها عن مستحقها الحقيقي سينال ما حظه الوافر في الحياة؟ماهو الدين؟ هل الحب نيران مشتعلة وسعادة ؟ أم أن السعادة هي الأَنس , المصاحبة والمشاركة ؟كيف يكون القلب منشطرا بين حبين! الوطن وما سواهالاله وحب الذاتالأختينالصداقة والتأرجح على حبالهاالأبوة والعائلة وصهريهاالقرية والمدينةالثورات والانقلاباتأنت الخريطة والعالم من حولك !أورهان باموق روائي متمكن من أدواته استطاع ببراعة أن يؤرخ في بساطة رؤية مواطن تركي بسيط - من شريحة مجتمعية فقيرة - تحاول جاهدة التشبث بالحياة-وبحثه عن أسألة الذات وبحثها الدائم عن الهوية والحياة والعالم على مدار عقود , فيكتب في بساطة عن دماء أريقت ونفوس أرهقت وعالم اشتعل وعن بقلب بريء وفطرة من الصعوبة الالتفات اليها في زخم الحياة واشتعالها.القراءة الثانية لباموق وليست الأخيرة.الترجمة بديعة تشعرك بأن هذا التركي كتب الرواية بالعربية.جميلة تستحق القراءة.

  • Lindz
    2019-01-24 04:42

    It has been awhile since I fell in love, I mean really fallen in love. Reading this was like reading 1Q84 or Wise Children or even Harry Potter for the first time. Every single colour and flavour suddenly springs up through your brain chemistry. All the usual cliches I empathized and adored every single character, I wish it was another 500 pages, I was sad (and to be honest a bit more than a tad hung over) closing the final page. How can even attempt to move on to another book. For ten minutes I would be inconsolable, then I would around for another clone , er book and I would be fine.I am the complete mark for this book. I love urban centred narratives by nature, there is certain buzz to a city that I find intoxicating and you cannot get buzzier more chaotic and more urban than Istanbul. Pamuk writes literary about the city from the perspective of those who keep it buzzing long - the street venders, shop owners, inspectors, cleaners, builders. There is so much more I could gush over, the different perspectives structured in such a gossipy way that they characters could only be family, how Pamuk dolled out small pieces of information about Istanbul itself or noting the passage of time or just his writing in general. I am just gushing all over the place.

  • Heba
    2018-12-25 03:37

    فى رحلة مدتها أكثر من نصف قرن يأخذنا باموق عبر شوارع وأزقة مدينته الأثيرة "اسطانبول" بين التغيرات السياسية والديموغرافية بعين بائع متجول.يشعر"مولود" بالغرابة فهو مختلف عن الجميع مازال يسبح عكس تيار الحياة يرفض التنازل عن مبادئه البسيطة وأخلاقه العالية من أجل الحصول على الثروة مثل الجميع .يرى سعادته وسعادة اسرته مرتبطة ببيعه للبوظة "وهى شراب تاريخى اوشك على الإنقراض " .وتربطه الشوارع التى حفظها عن ظهر قلب بالحياة . وعلى الرغم من تغير معالم معشوقته باستمرار إلا انه يرفض الخضوع لقوانين التغير .مولود من هؤلاء الطيبين الذين يشكلوا اعمدة تمنع السماء من ان تطبق على الأرض من هؤلاء الغرباء الذين يعيشوا بيننا فسلام عليهم أينما وجدوا. يعتبر اورهان باموق اب للرواية التركية بلا منازع فلديه القدرة على بث الروح فى اصغر الأشياء فتتحول لأبطال متحركة وعلى الرغم من ان الرواية تخلو من الأحداث الهامة ويعتبر بطلها السرد إلا انها لاتخلو من التشويق الذى يجعلك تقفز فوق الصفحات . عمل رائع كبقية اعماله ينصح بقرائته.

  • Michael
    2019-01-15 03:32

    Orhan Pamuk, the winner of the 2006 Nobel Prize in Literature, is Turkey's best-selling writer and first Nobel Laureate, but he is more than a talented Turkish writer. He is an international treasure with books translated into sixty languages. Already established as a a major writer with his brilliant novels My Name is Red and Snow, he has produced in A Strangeness in My Mind a masterpiece that is both a Bildungsroman of Mevlut the street vendor of boza in Istanbul and a Bildungsroman of the modern city itself.Pamuk is not only the best modern Turkish writer to express the concept of huzun (melancholy) in his works but also the contemporary master of nostalgia in an international context. Born in Istanbul in 1952, the author knows the complex city better than anyone else writing today. He understands the heritage of the past, the hopes for the future, and the contradictions of today. While he appreciates the Ottoman and Greek monuments of Istanbul and the old customs and traditions of the city, he also understands the needs and aspirations of its growing population and the unique place that Istanbul occupies as the bridge between Europe and Asia.Istanbul is one of my favorite cities in the world, but Pamuk's writings have given me more insights into the city and its citizens than have all my visits. He has a finger on the pulse of this international city with its confusing and exhilarating blend of East and West, past and present. Seeing the city as it changes from 1969 until 2012 through the eyes of Mevlut, his relatives, and his friends gives one a real sense of what life is like in Istanbul for those who have come there from the provinces to pursue their fortunes with varying degrees of success or failure.Kismet is a concept that plays a major role in the novel, as does the relationship between intention and action. Overlaying the whole story is the sense of melancholy, the feeling of nostalgia for a time and place now forever beyond the reach of those who yearn for it. It is a long novel, but for those who immerse themselves in it, it provides an entertainment and an education the value of which far exceeds the price of the book and the time devoted to reading it.I remember one December day in the seventies on which a light rain was falling from cloud-shrouded skies as I walked along the seawall on my way to a seafood dinner. The waters of the Sea of Marmara were gray and troubled. In the wall were embedded pieces of column capitals and stones inscribed in Greek. Bits of Byzantium, Constantinople, and Istanbul blended together in no particular order, a mirror of the city itself. The clouds, the rain, the restless sea, and these fragments of the past assembled in a pastiche imbued me with the same huzun I feel when I read Pamuk or the saudade I experience when listening to traditional fado. It is a feeling that gives depth to the human experience wherever it might occur. Perhaps not since Homer's Odysseus has anyone longed for his home with as much feeling as Orhan Pamuk for an Istanbul that continually recedes into the past even as it advances into the future.

  • Sophie Cayeux
    2018-12-26 04:34

    Review on Gem. Brilliant. I couldn’t put it down. Pamuk never disappoints me – and once more he hasn’t. Through the daily life of ordinary characters, the author has the amazing talent of describing the social and political history of Turkey and how the city of Istanbul has changed during the twentieth century. He endears us to his characters, migrants from villages, who seek their fortune in Istanbul – a theme that remains contemporary. His depiction of urban sprawling and shanty towns reminds us of many other cities.We follow Melvut, such a loving child then a man (and a whole bunch of other characters) through his struggles as he tries to keep his head above water to feed his family in a world that is confusing and keeps changing at a pace far too rapid for him to adapt. But all this time Melvut remains himself, true to his nature and this is stirring and beautiful.His prose is simple and gripping. It is witty and ironical. Melvut’s writing of love letters to his beloved (to her eyes as he’s not seen more or talked to her) is one great example.Pamuk addresses a number of social issues: the power of education, the naïve attraction of youth for money and life in a city, rampant corruption, the constant strain that conflicts and wars have on society and the restrictive nature of traditions on women’s life. His portrayal of the life of women, their lack of access to education in villages, their restricted choices in life, the way their future is mapped for them and their marriage is arranged as if they were property - again a reminder of how lucky some of us are to live in other societies. He offers some hope: one of Melvut’s daughter makes it to University, choses her husband - and moves away.This is a multilayered story that stirs deep emotions. It is a powerful book that lingers deep in my thought. The technique Pamuk employs to tell this story is effective and impressive – he keeps moving the narrative forwards by seamlessly shifting from one character’s POV to another and adding gradually new POV. Absolutely brilliant.The Island Girl

  • Paul Fulcher
    2018-12-30 02:51

    From the title page, Orhan Pamuk makes his (apparent) intentions clear - a David Copperfield style Dickensian saga :"Being the Adventures and Dreams of Mevlut Karataş, a Seller of Boza, and of His Friends, and Also a Portrait of Life in Istanbul Between 1969 and 2012 from Many Different Points of View"Pamuk's title is taken from Wordsworth's poem, The Prelude "I had melancholy thoughts ...a strangeness in my mind,A feeling that I was not for that hour,Nor for that place."The book starts in the middle of the story, in June 1982, when Mevlut has gone back to Is childhood village to elope with Rahiya, the 16 year old sister-in-law of his cousin. Mevlut has only previously seen her once, 3 years earlier, at his cousin's wedding in Istanbul, but has been writing, unanswered but avidly devoured, love letters to her ever since. Mevlut helps Rahiya into the back of a van in which they will escape, but suddenly discovers that he has been writing to the wrong sister:"As he was shutting the door on the girl, there was a flash of lightning, and for a moment, the sky, the mountains, the rocks, the trees - everything around him - lit up like a distant memory. For the first time, Mevlut got a proper look at the face of the woman he was to spend a lifetime with.He would remember the utter strangeness of that moment for the rest of his life ... Mevlut recognised that the strange silence he was entering would stay with him for years to come."The novel then takes us to another pivotal episode later in Mevlut's life, before returning to the start of his life and proceeding chronologically.Mevlut's story involves a large cast of friends and, particularly, relatives and the cast could get confusing (particularly as his father and uncle married two sisters, and Mevlut himself then marries his cousin's sister in law) but Pamuk aids the read with a chronology, family tree and even a detailed index. And there is little narrative tension, not least as two key events are revealed in these first two chapters and a third ((view spoiler)[the widowed Mevlut remarries with the "correct" sister (hide spoiler)]) heavily flagged. So Pamuk's purpose isn't so much the Dickensian saga that seems to be promised, but instead to continue the narrative quest cited by the Nobel committee: “who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures.”In an interesting departure for Pamuk, his novel focuses not on educated Westernised upper-middle class life in the centre of Istanbul but on the hand-to-mouth existence of the relatively uneducated and traditional workers in the shanty-towns on the city outskirts. The novel was translated into English not Maureen Freely (translator of Museum of Innocence and Snow) but, a new collaborator, Ekin Oklap. It is difficult to tell, as an non-Turkish speaker, what is from the original and what from the translator, but the prose did appear more prosaic than Pamuk's previous novels, albeit this perhaps befits the more humble nature of the characters and narrators involved.Pamuk has also taken an interesting stylistic decision - the story is mainly told via a third-person narrator, but very much from Mevlut's perspective. But the text is interrupted frequently by the direct, first-person, interjections of the other characters, providing their own gloss and commentary on the story ("I will take the liberty to quickly interrupt here, as I actually live in the abovementioned village") . Pamuk has also called this “my first feminist book”, and the more developed characters in the supporting cast are certainly the women.In one sense, this is a paean to the traditions of mid-20th Century old Istanbul, with Mevlut's persisting in selling boza in the streets, despite the increasing modernisation of the City. But Mevlut is himself a relative newcomer to Istanbul and his perspective is not overly sentimental:"Lately however he'd begun to feel increasingly alienated from [the city]. Was it because of that unstoppable, unswelling flood, the millions of new people coming to Istanbul and bringing new houses, skyscrapers and shopping malls with them?..."Mevlut had experienced these changes in daily increments, not as a sudden shock, and so, unlike some others, he did not bemoan the transformation. Rather he tried to keep pace with these momentous changes."Through Mevlut's life we see the the exodus from the Turkish countryside to Istanbul, the growth and modernisation of that city, the flight of various ethnic groups, the spiritual side of Turkey but also the rise of Islamic politics, the slow emergence of womens' rights, religious and political conflicts [Alevis vs Sunnis, Communists vs Nationalists], the Kurdish question and, particularly, the property-development boom, resulting gang wars and political corruption and the struggle for land rights.Mevlut himself is a passive observer rather than active participant in these various developments - as his father says, overly optimistically, "No one will bother a poor boza seller and his son, anyway. We don't take sides.", or as Mevlut puts it more realistically: "Whenever their is politics involved, it somehow ends up being my fault"And A Strangeness in My Mind is also very much a love story, of Mevlut's confused devotion to two sisters. Mevlut himself comes to see his strolling of the streets of Istanbul, selling his antiquated wares, as a way to explore his own mind, and somehow resolve the strangeness:"When he shouted 'Boo-zaa' into half-lit streets, he wasn't just calling out to a pair of closed curtains that concealed families going about their lives, or to some bare, unplastered wall, or to the demonic dogs whose invisible presence he could sense on darkened street corners; he was also reaching into the world inside his mind."Recommended.

  • Sine
    2018-12-31 23:53

    orhan pamuk'un eski orhan pamuk olmadığının net ayrımı bu kitapla başlıyor bence. birbirinin tekrarı olan paragraflar ve eskiden derin derin anlatacağı ama şimdi yüzeysel geçtiği meseleler beni biraz üzdü açıkçası. öte yandan hala harika bir hikaye anlatıcısı. zaman içinde mevlut'la beraber yaşayarak ilerliyorsunuz sanki yaşamını. gençliğini andığında siz de sanki sizin otuz kırk sene öncesinde kalmış gençliğinizi hatırlıyorsunuz gibi bir his oluyor.ayrıca, o son paragraf için bi 480 sayfa daha okunur, ne olursa olsun. :')

  • Ana Carvalheira
    2019-01-17 23:28

    Ao tocar na capa de “Uma Estranheza em Mim”, senti algo mágico … ouvi Pamuk murmurar-me ao ouvido: “queres ir dar um passeio a Istambul? Vou mostrar-te onde Mevlut viveu, sim, esse vendedor de boza que ilustra a publicação que tens nas mãos, os seus sonhos, as suas frustrações, a sua família, as suas tradições … Anda daí, tenho certeza de que vais adorar!! Ainda por cima, conheço o teu interesse pela história do urbanismo, essa ciência social que constrói, cria, recria, restrutura as cidades. Vem!! Não te vais arrepender!!”E foi uma aventura incrível. Ao viajar no tempo, Pamuk levou-me para o ano de 1969, quando Mevlut e o pai partem da aldeia natal de Gumusdere para se instalarem numa cidade que, na altura, possuía apenas três milhões de habitantes obedecendo assim aos fenómenos migratórios naturais do mundo rural para as grandes cidades que caracterizariam a força humana, nas suas valências sociais e culturais, que estariam na génese da construção de uma população, embora pouco alfabetizada, com grande empenho laboral. “Até aqui nada de novo, Sr. Pamuk – disse-lhe – pois essa circunstância é transversal à construção da identidade de todas as cidades, sejam ocidentais ou orientais”. Até que entrei, qual voyeur na realidade de Mevlut … e, embora me sentisse algo constrangida em estar a invadir a privacidade de alguém que conhecera há pouco fui, paulatinamente, me afeiçoando àquela personagem, ao seu pai, vendedor de boza, fui-me apropriando das suas dificuldades em se instalarem num meio adverso, incaraterístico e deprimente próprio das grandes urbes. A solidão que tudo isso acarreta, a incerteza do futuro, as pressões políticas numa sociedade que, ao longo da narrativa vai sendo governada por partidos de um conservadorismo atros: “O abismo entre as opiniões públicas e privadas dos nossos compatriotas é a prova do poder do Estado”. Mas “Uma Estranheza em Mim” não consiste num manual de sobrevivência. Consiste, antes, num relato comovente e apaixonante de um homem que, apesar de todas as adversidades, consegue sustentar a sua família vendendo boza pelas labirínticas ruas de Istambul de inícios da década de 70 do séc. 20.Mais ou menos a meio da viagem, Pamuk tem esta expressão a que se segue o seguinte diálogo:- Não é costume dar em casamento uma filha mais nova e a irmã mais velha ficar solteira - Como?? Difícil compreender para a sociedade ocidental. Então eu teria de me casar primeiro que a minha irmã, Sr. Pamuk? E se eu não estivesse interessada em casar, a minha irmã ficaria solteira para a eternidade?- Minha querida! Aqui casarias … E foi assim que fui conhecendo a paixão de Mevlut por Samila, quem vira uma vez no casamento do primo e por quem desenvolveu uma paixão arrebatadora tendo-lhe direcionado uma extensa obsessão epistolar. Tendo combinado fugirem os dois, no dia do acontecimento, Mevlut notou algo de estranho na amada … a impressão que ficara da profundidade do seu olhar já não era aquela que o emocionara no dia em que a vira pela primeira vez. O que acontecera?O périplo para o qual Orhan Pamuk me convidara durou cerca de 43 anos que passaram num instante. Começou em 1969 e acabou em 2012 e, ao longo desse tempo, perspetivei uma belíssima história de amor, dela fiz parte, mas também pude ver com os meus olhos a transformação urbana de Istambul que, com as suas torres a arranha-céus contribuíram para desfigurar uma paisagem orográfica que, suponho, seria extasiante mas o progresso tem o seu preço e o conceito de ordenamento de território é recente e não creio que, na época em que foram erigidos, já no séc. 21, fosse preocupação bastante para a industria de construção civil turca. Incorri em aromas e sabores, fiquei com muita curiosidade em experimentar a boza mas a de fabrico artesanal como a família de Mevlut a produziu durante décadas e não essa que agora é vendida nos supermercados da metrópole que hoje alberga 10 milhões de habitantes. Ao voltar para casa, deixei o Sr. Pamuk com um simples obrigada mas acho que compreendeu o quando cabia nesse singelo agradecimento. Pois nada mais poderia acrescentar.Façam a viagem, amigos! Não se decionarão!

  • Deniz Kabaağaç
    2019-01-25 06:36

    Belki doğma büyüme İstanbul’lu olduğum için Pamuk’un kitapları, bir kaçı mesela Kar hariç, beni hep etkilemiştir. Eğer Pamuk Peru’lu olsaydı ve bu roman Lima’da geçseydi bu kadar severmiydim diye düşünmeden edemiyorum. Ancak Pamuk’un romanlarındaki farklı derinliklerdeki, seviyelerdeki ve detaylardaki katmanları yakaladıkça onun ne kadar büyük bir yazar olduğunu anlayabiliyorum. Kafamda Bir Tuhaflık’da da aynı derinlik ve katmanlar var. Tabiki en altta zaman ve mekan, istanbul, yatıyor. Ben İstanbul’lu olduğum ve o dönemlerde yaşadığım için daha o noktada yakalandım metne. Ama iş orada bitmiyor, o zamanın ve mekanın üstünde önce bir, sonra iki, sonra üç, sonra iki ... ailelerin hikayesi var. Bunu üzerinde ise insanlar, tek tek insanların hikayeleri. Bunların hepsinin üstünde ve hepsinin içinde de bence ne zamana, ne mekana, ne ailelere ne de insanlara ait olmayan ama bunların hepsinin bir araya geldiklerinde ortaya çıkan Pamuk’un büyük hikayesi var. Şimdi buna büyük roman denmez de ne denir?

  • Claudia
    2019-01-01 00:51

    Este homem não escreve um livro mau.

  • Farhana
    2019-01-13 05:53

    বইটার নাম আর প্রচ্ছদ দেখে খুব ভাল লেগেছিল তাই কেনা । 'ইস্তানবুল' এর মত এই লেখাটাও শহরের বিবর্তনের গল্প - শহরের ফেরিওলাদের গল্প । অরহান পামুকের লেখায় শহরকে ঘিরে যে নস্টালজিয়া, নাগরিক বিষণ্ণতা ঘিরে থাকে তা যে কোন নগরবাসী মানুষেরই পরিচিত। The form of a cityChanges faster, alas! than the human heart. - Baudelaire, "The Swan"একটা শহরকে কেন্দ্র করে জীবিকা নির্বাহী বিভিন্ন পেশাস্তরের মানুষ বিশেষ করে ফেরিওলাদের কথা উঠে এসেছে এ উপন্যাসে। গল্পের মুখ্য চরিত্র একজন ফেরিওলা। ফেরিওলা জীবনে তার হাতেখড়ি হয় দই বিক্রির মধ্যে দিয়ে। বাঁশের তক্তায় দুপাশে দুটো বেতের ঝুড়ি ঝুলিয়ে কাঁধে করে বয়ে নিয়ে তাতে দই বিক্রি করত। কিন্তু সময়ের বিবর্তনে বিভিন্ন কোম্পানির বদৌলতে এইসব জিনিস বাসার পাশের মুদি দোকানেই সুদৃশ্য জারে বিক্রি হওয়া শুরু হয়। এবং স্বয়ংক্রিয় মেশিনে হাতের স্পর্শ ছাড়া ফ্যাক্টরিতে তৈরি এইসব জিনিস + পরবর্তীতে বিভিন্ন কাজে সুদৃশ্য জার/ কন্টেইনার টি ব্যবহারের জন্য মানুষ ফেরিওলাদের বদলে দোকান থেকে এইসব পণ্য কেনা শুরু করে। এই কাঁধের উপর বাঁশের তক্তার দুপাশে দুটো ঝুড়ি ঝুলিয়ে জিনিস বিক্রি একদম ছোটবেলায় দেখেছিলাম। কিছু ফেরিওলা বাসায় বাসায় পেঁয়াজ , আদা, রসুন, স্টেইনলেস হাড়ি-পাতিল, কাঁচের জিনিস, মিষ্টির মত ছোট্ট গোল হাওয়াই মিঠাই বিক্রি করে বেড়াত। আবার কেউ কেউ পুরোনো ভাঙ্গাচোড়া জিনিস কিনত। তারা এরকম তক্তা বইত। এখন আর কাউকে এরকম দেখি না খুবেকটা। গল্পের নায়কের ২য় ফেরিকৃত পণ্য বোজা ( ইস্তানবুলের একটি ঐতিহ্যবাহী পানীয় )। সময়ের বিবর্তনে বিভিন্ন বেভারেজ কোম্পানীও এই জিনিস বোতলে করে সরবরাহ শুরু করে। কোম্পানির গাড়িগুলো এলাকায় এলাকায় গিয়ে গ্রোসারি স্টোরগুলোতে তাদের পণ্য সরবরাহ করে আসে। কিন্তু কোন এক অদ্ভুত ভালো-লাগার কারণে গল্পের নায়ক কখনও ফেরি করে বোজা বিক্রি করা ছাড়তে পারে না। যদিও সময়ের সাথে সাথে হাতে গোণা অল্প কয়েকজন মানুষ কেবল তার ক্রেতা থাকে। এছাড়া গল্পের নায়ক মাঝে মাঝে আইসক্রিম কার্ট নিয়ে এলাকায় এলাকায় ঘুরে আইসক্রিম বিক্রি করত। কিন্তু বিভিন্ন ব্র্যান্ডের কোম্পানিগুলো এলাকার দোকানগুলোতে ডিপফ্রিজ বসিয়ে তাদের কোম্পানির আইসক্রিম বিক্রি করা শুরু করলে তার এই ব্যবসাও উঠে যায়। আমার ছোটবেলায় আমি বাসার জানালা দিয়ে এরকম কোন আইসক্রিম কার্ট থেকে কিনেই আইসক্রিম খেতাম। এবং সে সময় আমার প্রিয় রং সবুজ ছিল দেখে আমি সবসময় টিয়া রং এর কোন আইসক্রিম কিনতাম :3 এখন আর এরকম কোন ফেরিওলা দেখি না । আগে ছোটবেলায় বেলুন আর মুখোশ ওয়ালা রা আসত - এদের কয়েকজন কে এখন বিভিন্ন পার্কের সামনে দেখা যায়। সময়ের বিবর্তনে কিছু কিছু ফেরিওয়ালা এখন আর নেই। যেমন, লেইছফিতাওয়ালা, পুরোনো কাপড়, প্লাস্টিকের বোতল খরিদদার, চোঙ্গায় করে চানাচুররররর ডাকা ঝালর-ওয়ালা পোশাক পরা চানাচুরওয়ালা।গল্পের নায়ক মাঝে আরেকটি কাজ ধরে - রাস্তায় কার্টে করে ভাত আর মুরগির তরকারি বিক্রি। আমার মনে হয় সময়ের বিবর্তনে এই খাবারের দোকানগুলো কোন না কোনভাবে টিকে থাকে, টিকে যায়। যদিও সময়ের সাথে বিক্রিকৃত খাবারের রকম বদলায়। যেমন, আমাদের ছোটবেলায় রাস্তায় কার্টে করে ফ্রেঞ্চ ফ্রাই, বার্গার, এগচপ, কাবাব, চিকেন ফ্রাই, নুডুলস বিক্রি আমরা দেখিনি। কিন্তু এখন এরকম চলছে। আরও কিছু সময় পর হয়ত অন্য রকম চলবে।এতসব বিবর্তনের মাঝেও উপন্যাসের গল্পের প্রবাহ টা কোনরকম নিষ্ঠুর শোনায় না। বরং বেশ একটা আশাবাদী গল্পের প্রবাহ - সবকিছুই বেশ মসৃণ, বেশি সাজানো-গুছানো। উপন্যাসের নায়ক তার স্বল্প আয়ে তার ছোট্ট ঘরে তার পরিবার নিয়ে সে খুশি। এই সরল আনন্দের জন্যেই হয়ত গল্পের এই অতি মসৃণতা। কিন্তু জীবনের প্রবাহ এত " অতি-মসৃণ " কি হয় ?হয়ত আনন্দ খুঁজে নিলে হয়, না নিলে হয় না ! এরকম অতিমসৃণ জীবন হতে না পারলে বলতে হয় লেখক অতিশয়োক্তি করে ফেলেছেন। মাঝখানে কিছু টিপিক্যাল উপন্যাসীয় ব্যাপার-স্যাপারে বিরক্ত লাগছিল । কিন্তু গল্পের ফ্লো টা এত চমৎকার কিছু সময় পরে সেই বিরক্তি আর মনে থাকে না। আর সাজানো-গুছানো জিনিসে খারাপ লাগার কিছু নেই। ৩.৮২ দিব সবকিছু মিলিয়ে।

  • Maria Bikaki
    2019-01-04 00:54

    Ο Ορχάν Παμούκ είναι ένας από τους αγαπημένους μου συγγραφείς. Παρόλο που δε μου άρεσαν όλα του τα βιβλία το ίδιο, η γραφή του και ο λόγος του έχει κάτι που με συνεπαίρνει και με κάνει να ακολουθώ την πορεία και το έργο του. Θεωρώ ότι με το «κάτι παράξενο στο νου μου» βρισκόμαστε μπροστά στο πιο ώριμο και ολοκληρωμένο βιβλίο του. Ο μελαγχολικός αυτός συγγραφέας που με τα γραπτά του καταφέρνει να σου δημιουργεί ένα αίσθημα νοσταλγίας είναι από κείνους τους Τούρκους συγγραφείς που ξέρουν να εκφράσουν με τον καλύτερο τρόπο την πολυπλοκότητα μιας χώρας όπως είναι η Κωνσταντινούπολη, μιας χώρας που γιγαντώνεται και αλλάζει καθημερινά. Μέσα από τα μάτια των ηρώων του κάθε φορά την περπατά ξανά και ξανά, την βλέπει να αλλάζει , να εξελίσσεται, να δημιουργεί νέες παραδόσεις και να προσπαθεί να ισορροπήσει ανάμεσα στις απαιτήσεις του δυτικού κόσμου και των εθίμων της ανατολής. Μέσα από τις ιστορίες του κεντρικού μας ήρωα ενός πωλητή μποζά και γιαουρτιού και εκπροσώπου της απλής εργατικής τάξης του Μεβλούτ Καρατάς ο Παμούκ επιδιώκει ένα χρονικό στην Ιστανμπούλ των τελευταίων 40 ετών που ξαφνικά είδε τον πληθυσμό της να πολλαπλασιάζεται και τους κατοίκους της αντιμέτωπους με μια νέα πραγματικότητα. Και παρόλο που θα έλεγα ότι είναι από κείνους τους συγγραφείς που περισσότερο από τον καθένα ξέρει να αποδώσει τον ορισμό της μελαγχολίας στα γραπτά του αυτή τη φορά επιλέγει να πει την ιστορία του μέσα από έναν αισιόδοξο ήρωα ο οποίος βλέπει τις αλλαγές που σημειώνονται στον τόπο του και μέσα από αυτές αλλάζει και διαμορφώνεται και ο ίδιος. Ο πλανώδιος πωλητής λοιπόν Μεβλούτ μέσα από το τελευταίο έργο του Παμούκ περιφέρεται τα τελευταία 40 χρόνια σε κάθε γωνιά της Πόλης πουλώντας μποζά και γιαουρτιού και γίνεται μάρτυρας όλων αυτών των κοινωνικών, πολιτικών αλλαγών που θα αλλάξουν τον ρου της ιστορίας της.Για τον Μεβλούτ η πώληση του μποζά δεν είναι απλά μια επιχείρηση για να βγάλει τα προς το ζην αλλά ένας τρόπος ζωής σε όλες τις χρονικές περιόδους της ζωής του από όταν ήταν νεαρός, φαντάρος, νιόπαντρος, πατέρας, επιχειρηματίας, χήρος. Για τον Μεβλούτ το να διασχίζει την πόλη για να πουλήσει μποζά δεν είναι απλά ένα επάγγελμα. Διασχίζοντας την πόλη νιώθει ότι διασχίζει τα μονοπάτια του νου του. « τώρα ο Μεβλούτ έβλεπε καθαρά την αλήθεια που γνώριζε 40 χρόνια τώρα, αλλά δεν είχε απόλυτα συνειδητοποιήσει : τις νύχτες, όταν περπατούσε στα σοκάκια της πόλης, είχε την αίσθηση πως περπατούσε μέσα στο ίδιο του το μυαλό. Γι αυτό, όταν μιλούσε με τους τοίχους, με τα διαφημιστικά πανό, με τις σκιές με τα παράξενα και μυστηριακά αντικείμενα που δεν ξεχώριζε στο σκοτάδι, νόμιζε πως μιλούσε με τον εαυτό του. >> Θα έλεγε κανείς αν θελήσουμε να κάνουμε μια περαιτέρω ανάλυση ότι το μποζά το πάλαι ποτέ αγαπημένο ρόφημα των Οθωμανών λειτουργεί στο βιβλίο σαν ακριβώς μια μεταφορά για την εξέλιξη της πόλης, τον εκ μοντερνισμό της, της πορείας της δίπλα στο δυτικό κόσμο ενάντια στις παραδόσεις που αρχίζουν να ξεθωριάζουν για να δώσουν την θέση τους σε άλλες αλλά που η νοσταλγία κάπου εκεί στα βάθη της ψυχής τις κρατάει ακόμα ζωντανές. Ουσιαστικά κάτω από αυτό το πρίσμα ο Παμούκ παρακολουθεί και δίνει φωνή στον ήρωα του, με αυτό το αίσθημα της αγωνίας και της ανησυχίας για το αύριο που δεν είναι ίδιο με το χθες ανάμεσα σε μια πόλη που διαρκώς αλλάζει και μεταμορφώνεται.Σημαντικό ρόλο στο βιβλίο οι γυναίκες. Στο πιο φεμινιστικό του βιβλίο όπως δηλώνει ο ίδιος ο Παμούκ οι γυναικείες φωνές και παρουσίες δίνουν το δικό τους χρώμα στην αφήγηση μέσα από προσωπικούς μονολόγους (όπως αντίστοιχα και οι άντρες ήρωες). Γυναίκες υπέροχες στο μέσο της μαζικής διαμόρφωσης.Ένα πραγματικά υπέροχο, νοσταλγικό βιβλίο, μια ιστορία αγάπης και ταυτόχρονα η απεικόνιση ενός λαού που αλλάζει η κατάλληλη επιλογή για να γνωρίσετε αν δεν το έχετε κάνει ήδη αυτόν τον πραγματικά μελαγχολικό συγγραφέα που πάντα έχει κάτι παράξενο στο νου του για να μαγέψει τους αναγνώστες του.