To God belongs the East and the West

My Name is Red (Benim Adım Kırmızı) is a turkish novel by Orhan Pamuk, a Nobel laureate. It won the International IMPAC Dublin Literary Award in 2003, as well as the French Prix du meilleur livre étranger and Italian Premio Grinzane Cavour awards in 2002. The book in consideration in this article is the English translation by Erdağ M. Göknar. There have been questions about the English translation not being as good as the Turkish version and the word order being quite difficult. But honestly, I did not know that the book I was reading was actually an English translation and not an original English work.

The story is based in 16^th century Istanbul, a year before the thousandth anniversary (calculated in lunar years) of Hegira (the migration of Muhammad and his followers to the city of Medina). The Ottoman Sultan Murat III has commissioned an illustrated manuscript to display his power to the Venetian Doge. This manuscript is to be made utilizing the “controversial” aspects and techniques of the Frankish masters, namely portraiture and perspectives. Due to this reason, the Head Illuminator of the Sultan is bypassed and the work is commissioned to Enishte Effendi, who co-ordinates Master miniaturists Stork, Olive, Butterfly and Elegant. It is rumored that the paintings are blasphemous and an affront to Islam and The Prophet. Subsequently, the master guilder Elegant working on the manuscript is murdered. The book follows the path of a murder mystery where the identity of the murderer is revealed at the end. Pamuk’s knowledge of Islamic miniatures is mind-blowing. He goes on to narrate several stories from Islamic lore, stories of great miniaturists and their history, going back to Behzad and the Chinese influences brought by the Mongols. The book discusses and debates about various topics, the most prominent of these are:

·        Form and style,

·        The relationship of art to society, religion and God, and

·        The artistic, cultural and political differences between the Ottomans and the Venetians.

The first thing that strikes you while reading this novel is that the story is narrated in several different voices which recur throughout the story. No two consecutive chapters are narrated by the same narrator and all speak in the first person. There are a couple of rather unusual narrators: a gold coin, a tree, a dog, Satan, and even Death itself. I later figured that these narrators are in fact the central themes of the illustrations appearing in the secret manuscript in question in the book. One of the central points about traditional miniatures, I learned, is that they always appear as illustrations of a story, and never as independent paintings. Pamuk has adopted this style in his narration of the story: by describing the protagonists as part of an old manuscript, supporting the story. The characters are aware that they are characters in a story and address the reader with irony.

The setting of the story in late sixteenth century Istanbul is detailed; the plot is engaging (albeit a bit slow moving in certain places) with several interesting characters. Indeed there are too many themes in the book (art, religion, Allah, love, lust, jealousy, hatred, intrigue, murder) and I cannot do justice to all of them in this short article. If you are interested in Islamic art, Ottoman miniatures or medieval Istanbul, then pick up this book. But be warned, this is not an easy or quick read.