Product Description

A New Translation and Afterword by Maureen Freely

Galip is a lawyer living in Istanbul. His wife, the detective novel–loving Ruya, has disappeared. Could she have left him for her ex-husband or Celâl, a popular newspaper columnist? But Celâl, too, seems to have vanished. As Galip investigates, he finds himself assuming the enviable Celâl's identity, wearing his clothes, answering his phone calls, even writing his columns. Galip pursues every conceivable clue, but the nature of the mystery keeps changing, and when he receives a death threat, he begins to fear the worst.

With its cascade of beguiling stories about Istanbul, The Black Book is a brilliantly unconventional mystery, and a provocative meditation on identity. For Turkish literary readers it is the cherished cult novel in which Orhan Pamuk found his original voice, but it has largely been neglected by English-language readers. Now, in Maureen Freely’s beautiful new translation, they, too, may encounter all its riches.

Product Details

• Amazon Sales Rank: #53048 in Books
• Published on: 2006-07-11
• Released on: 2006-07-11
• Original language: English
• Number of items: 1
• Binding: Paperback
• 466 pages

Features

• ISBN13: 9781400078653
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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From Publishers Weekly
Set in Istanbul, Turkish novelist Pamuk's latest is an elaborate and darkly comic meditation on identity.
Copyright 1996 Reed Business Information, Inc.

From Library Journal
Well-known Turkish novelist Pamuk's last effort, The White Castle, got raves from everyone but LJ (2/15/91). So why break with tradition? Often compared to Italo Calvino, Pamuk is not so stylized; this book is steeped in the scents and sights of Istanbul and is in fact very specific. But imagery and detail will not suffice to keep most readers reading, and the story of attorney Galip and his missing wife, Ruya, is allowed to drag despite an interesting intrigue that has Galip-suspicious that Ruya is hiding with her half-brother, a popular journalist-assume the identity of the half-brother with unfortunate consequences. Only the stalwart will make it to the end. Demand? The last circulation dates of the three copies of The White Castle in our system are 5/91, 7/91, and 4/93. Recommended for collections especially strong in international fiction.
Robert E. Brown, Onondaga Cty. P.L., Syracuse, N.Y.
Copyright 1994 Reed Business Information, Inc.

Review
“A glorious flight of dark, fantastic invention.” —The Washington Post

"A splendid novel, as delicious to our mind's palate as a Turkish delight and as subtle . . . in its design as a Persian rug." — San Francisco Chronicle

"An extraordinary, tantalizing novel." —The Nation

"An inventive and . . . exuberant modern national epic."—Sunday Times (London)

Customer Reviews

But I Who Write
Why bother reading stories? In part to escape ourselves, maybe in hopes of discovering ourselves. "The Black Book" is an intricate meditation on the act of reading that explores both sides of our urge for stories in obsessive detail.

The surface plot involves Galip's search for his missing wife and her half-brother Jelal, a famous Turkish columnist. But the deeper meaning of the story concerns the fact that every story has deeper meanings. As Galip's hunt progresses, the chaos of modern Istanbul promises to organize itself into the key to unlocking a larger mystery whose solution would make every detail of life carry meaning, turning the world itself into literature. As far as I can make out, for Pamuk this literary apocalypse would be equivalent to the Messiah's return and to each of us being reborn at last as ourselves, instead of living as hopeless imitations of our heroes from novels and movies.

Just as Galip discovers that Jelal, his own hero, cribbed his columns from older tales, Pamuk's readers gradually realize that Galip's story is a serpentine riff on the Islamic classics, as his search for Jelal and Ruya comes to parallel the Sufi quest for union with God. The Seeker becomes the Sought, Galip becomes Jelal, the reader becomes the author. The burden of postmodernity, Pamuk seems to say, is to realize that we are author, Messiah and reader rolled up in one, with the world as our text to fashion meanings for.

My one criticism is that Pamuk's tale feels a little too familiar, built around themes like the flux of identity, the absence of fixed meanings, the illusion of originality and the self-referential nature of literature that have already been ridden pretty hard by writers from Borges to Eco. But I like the way Pamuk annexes these postmodern concerns to the question of Turkish identity. What does it mean to be "ourselves" in a country where Westernization is a form of imitation? (and where the Western original turns out to have pillaged ideas from the East) "The Black Book" reminded me why stories matter, how literature shapes us and how amazing it is to have such great art available so easily at places like amazon.

Plotless in Istanbul,---but intriguing nonetheless
Nobody could say THE BLACK BOOK is a thriller, but it is thrilling writing. An Istanbul lawyer's wife disappears. A related columnist also disappears. The lawyer looks for them. That's about it. But the search and the thinking is the thing. Pamuk's style blends Proust with Borges. If you find that intriguing, read the book. Pamuk manages to combine intimate details of life in the modern city of Istanbul with tales of Sufi masters, long ago executioners, Ottoman pashas, and underground fantasies with a great deal of soul-searching on the nature of human identity. "I want to be somebody else, therefore I am" is his theme again, following on from his previous work, "The White Castle". Dreams, intertwining identities, the connection between writing and life, even cryptograms. This is fascinating stuff. Though sometimes the book lags, it always picks up again with another strange twist. Pamuk is certainly one of the most interesting writers working today.

sleepless nights...
In "The Black Book" the reader embarks on a quest on the streets of contemporary Istanbul, together with the main protagonist, Galip.

One day, Galip discovers that his wife, Ruya, is missing. He immediately connects this with the disappearance of his older cousin, Jelal Bey, a nationally renowned columnist. Galip decides to look for Ruya and Jelal, keeping their disappearance from family and friends. He sleeplessly wanders around Istanbul, collecting clues and encountering people, getting deep into Jelal's life and discovering many of his secrets.

The above paragraph summarizes pretty much the whole plot - there is not much more happening. The ending and solution of the mystery of the disappearance is even quite disappointing... However, what is interesting in this clearly post-modernist book is not the plot, but the form. The chapters interchange between reporting Galip's search for Ruya and Jelal, and Jelal's newspaper columns. The "column" chapters are complete stories, covering subjects as diverse, as events in Turkish history, lives of ordinary (shopkeeper, mannequin maker) and famous (poet Rumi, who reappears in many places throughout the book) people, personal observations, secret organizations, plots and premonitions, and subjects as hot as Turkey's relations with Europe and national identity. The "story within a story" scheme is applied successfully (or even a bit overdone, since the side stories are in effect much more interesting than the main plot), making the association with Shecherezada and the Tales of Thousand and One Night obvious.

I liked the images of Istanbul a lot, I could really see the city before my eyes. This is apparently chcracteristic for Pamuk's prose, Istanbul as the setting, portrayed with love and accuracy, a city of many colors and with a special atmosphere.

Orhan Pamuk succeeded in writing the book which connects Turkish Asian and European traditions, their roots and past with the modern times and fashions. Galip is a new Ulysses (for me, Joyce came to mind immediately, even sooner than Proust), searching for his identity and coming back to himself after a long and stressful journey. The question of personal identity is extremely important here, Galip, as many other characters, longs to be like someone else (in his case, Jelal). Dreams are also essential in this onirical prose (after all, "Ruya" means "dream")... I liked the stories and digressions more and more towards the end of the book - initially I had to adjust to the slow pace though. I am also afraid that the translation into English is not doing this novel a favor.
Having said that, I nevertheless think that it is an enjoyable book for an experienced reader, who does not expect a mystery novel, but something to savor slowly and gradually.