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Istanbul: Memories and the City by Orhan…
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Istanbul: Memories and the City (2003)

by Orhan Pamuk

Other authors: See the other authors section.

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2,979593,147 (3.73)88
A portrait, by turns intimate and panoramic, of one of the world's great cities, by its foremost man of letters. Blending reminiscence with history; family photographs with portraits of poets and pashas; art criticism, metaphysical musing, and, now and again, a fanciful tale, Pamuk invents an ingenious form to evoke his lifelong home, the city that forged his imagination. He begins with his childhood, his first intimations of the melancholy awareness of living in the seat of ruined imperial glories, in a country trying to become "modern" at the crossroads of East and West. Against a background of shattered monuments, neglected villas, ghostly backstreets, and, above all, the fabled waters of the Bosphorus, he charts the evolution of a rich imaginative life, which furnished a daydreaming boy refuge from family discord and inner turmoil, and which would continue to serve the famous writer he was to become. --From publisher description.… (more)
Recently added byyulischeidt, Air_557, jkarthur, sergop, quirkymon, Nagib, Luis_Castrillo, private library, PoonamRegmi
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» See also 88 mentions

English (43)  German (5)  Dutch (2)  Norwegian (2)  Swedish (2)  Italian (2)  Finnish (1)  Lithuanian (1)  Catalan (1)  All languages (59)
Showing 1-5 of 43 (next | show all)
Presente de Cíntia Fornazari Ridolpho, com dedicatória, em Agosto/2007 ( )
  Nagib | May 25, 2020 |
Read 2018. ( )
  sasameyuki | May 15, 2020 |
Estambul es un retrato, en ocasiones panorámico y en otras íntimo y personal, de una de las ciudades más fascinantes de la Europa que mira a Asia. Pero es también una autobiografía, la del propio Orhan Pamuk. La historia da comienzo con el capítulo de su infancia, donde Pamuk nos habla sobre su excéntrica familia y su vida en un polvoriento apartamento –«los apartamentos Pamuk», así los denomina– en el centro de la ciudad. El autor recuerda que fue en aquellos días lejanos cuando tomó conciencia de que le había tocado vivir en un espacio plagado de melancolía: residente de un lugar que arrastra un pasado glorioso y que intenta hacerse un hueco en la «modernidad». Viejos y hermosos edificios en ruinas, estatuas valiosas y mutantes, villas fantasmagóricas y callejuelas secretas donde, por encima de todo, destaca el terapéutico Bósforo, que en la memoria del narrador es vida, salud y felicidad. Esta elegía sirve para que el autor introduzca a pintores, escritores y célebres asesinos, a través de cuyos ojos el narrador describe la ciudad. Hermoso retrato de una ciudad y una vida, ambas fascinantes por igual
  Haijavivi | Jun 3, 2019 |
Pamuk tells us about his memories of the Istanbul of his youth and of growing up in this city that formed him and that is now lost. He describes watching in the 50s and 60s with friends the fires of the ancient wooden houses burning down with a „pleasurable spiritual ache“ that had its root, he says, in the guilt and loss they felt at the destruction of the great Ottoman culture „we were unprepared to inherit in our frenzy to turn Istanbul into a pale, poor, second-class imitation of a Western city.“ He prefaces the book with a quote by Ahmet Rasim: ‘The beauty of a landscape resides in its melancholy’. This immediately reveals the ambiguity of this melancholy for which the Turkish word is hüzün and which is neither as Pamuk explains a solitary melancholy nor the same as tristesse but a shared melancholy a melancholy peculiar to the Istanbul of his youth (may one still encounter it today in neglected side-streets?), the hüzün „we absorb with pride and share as a community.“ Pamuk says - rightly I think - that the landscape painters of the Romantic in particular wanted to awake in the viewer the same feelings that the landscape evoked in the artist. So looking at Istanbul’s streets in the winter evening light, the little shops, the ferries belching their smoke, the ruins, the old falling-down mansions, … evokes „the hüzün in which we see ourselves reflected, the hüzün we absorb with pride and share as a community.“ But then again, as he says, describing the city’s essence says more about „our own states of mind: The city has no centre other than ourselves.“ Pamuk would not have become the writer he is had he grown up in any other place. (II-18) ( )
  MeisterPfriem | Feb 11, 2018 |
editorial sudamericana
  Enriquep.ab | Dec 16, 2017 |
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» Add other authors (35 possible)

Author nameRoleType of authorWork?Status
Pamuk, Orhanprimary authorall editionsconfirmed
Demirel, SavasTraductionsecondary authorsome editionsconfirmed
Freely, MaureenTranslatorsecondary authorsome editionsconfirmed
Heijden, Hanneke van derTranslatorsecondary authorsome editionsconfirmed
Meier, GerhardTranslatorsecondary authorsome editionsconfirmed
Miró, CarlesTranslatorsecondary authorsome editionsconfirmed
Piqué, EmmaTranslatorsecondary authorsome editionsconfirmed
Polat, AnnaTł.secondary authorsome editionsconfirmed
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Epigraph
The beauty of a landscape resides in its sadness.

Ahmet Rasim
Dedication
To my father, Gündüz Pamuk (1925-2002)
First words
From a very young age, I suspected there was more to my world than I could see: Somewhere in the streets of Istanbul, in a house resembling ours, there lived another Orhan so much like me that he could pass for my twin, even my double.
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