Snow ~ by Orhan Pamuk ~ 1/07
Marjorie
December 3, 2006 - 07:51 pm

Nobel Prize Winner
ORHAN PAMUK'S
SNOW


 

"An exiled poet named Ka returns to Turkey and travels to the forlorn city of Kars. His ostensible purpose is to report on a wave of suicides among religious girls forbidden to wear their head scarves. But Ka is also drawn by his memories of the radiant Ipek, now recently divorced.

"Amid blanketing snowfall and universal suspicion, Ka finds himself pursued by figures ranging from Ipek's ex-husband to a charismatic terrorist. A lost gift returns with ecstatic suddenness. a theatrical evening climaxes in a massacre. And finding God may be the prelude to losing everything else. Touching, slyly comic, and humming with cerebral suspense, SNOW is of immense relevance to our present moment." Publisher

Links for more information:

Reviews
Reader's Guide

Discussion Leader: Jonathan


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Jonathan
December 10, 2006 - 08:57 pm
It's a pleasure to propose this book for discussion. Take a moment to peruse some of the reviews in the link, and consider taking part, if you enjoy talking about the books you read. There is much in this book that will provoke your thoughts.

In MY NAME IS RED the author depicted a rich aspect of his country's past, with the clash of cultures and intrigue in the sixteenth-century Ottoman court. In SNOW, Pamuk's subject is contemporary Turkey, now in the grip of many tensions that will seem all to familiar to many of us.

In the link to the Reader's Guide is a very impressive 'suggested reading list'. No doubt it would enhance ones appreciation of SNOW to read several of them. But it's not at all essential for a thorough enjoyment of the book. It would be enough to have followed the news in the recent past, or to have read something like the column in my newspaper yesterday:

Runaway Turkish bride

Then again, you might just go out and catch a falling snowflake. Study it carefully. Therein lies a secret to a great mystery. Namely, the life of a poet.

hats
December 11, 2006 - 07:07 am
Hi Jonathan, I am looking forward to reading and discussing Snow by Orhan Pamuk. I have only read a few pages. I couldn't help seeing the word snow mentioned over and over again. Orhan Pamuk gives snow a symbolic meaning.

I am anxious to learn about the women and/or the culture which had become so restrictive that the women chose death over life.

I am also looking forward to reading the reviews in the heading. Also, I look forward to reading your posts, Jonathan. You summarize chapters in such a poetic way, making every word in the book take on a picture in my mind. Thank you making all feel welcome to this discussion.

Jonathan
December 11, 2006 - 12:30 pm
That is so beautiful. Many thanks, and congratulations, to our Latin class, for sending us on our way in such a melodious fashion. What a surprise to have that appear at the top of our Homepage!

Hi Hats. Your participation always inspires me, hahaha. And didn't we enjoy reading RED. Pamuk does his magic again in SNOW. After having read 'only a few pages,' do you think he might have titled his book with Ode to Snow?

marni0308
December 11, 2006 - 09:32 pm
Hi, Jonathan and Hats! I didn't have a chance to join the discussion of MY NAME IS RED. I hope to have a chance to read it. But I am looking forward to joining the SNOW discussion. So, please sign me up, Jonathan. Now I just have to get my hands on both books!

Marni

gumtree
December 11, 2006 - 10:38 pm
Sign me up too please Jonathan - Have read the beginning of Snow but put it aside when you first mentioned a discussion- Haven't read "Red" but am taking it on holiday with me tomorrow though I doubt I'll have time to read much other than on the plane. -home again at New Year so will check in then

Jonathan
December 12, 2006 - 12:53 pm
Hi Marni. It took me only a fraction of a second to grab my pen and enter you in the register. Happy reading. See you in the New Year.

Delighted, gumtree, to have you participating. Snow in January should have special meaning for you.

Judy Shernock
December 15, 2006 - 10:05 pm
Hi Jonathan'

Went to B&N today to buy my copy of Snow. Even though the library has a copy I really need to write my comments in the book. So I gifted this book to myself for the Holiday.

Both the Author and the Book "My Name is Red".........have captured my imagination and am even tempted to get his new book on Istanbul. Haven't been this impressed by an Author for years.

Happy Holidays,

Judy

Jonathan
December 16, 2006 - 11:41 am
Judy, I'm delighted at the prospect of hearing the comments, the marginalia, that will be adorning your copy of SNOW. A lively imagination will find lots of scope in this book. If the margins prove to be too narrow to hold the fruits of your imagination and other cerebral activity, why, there must be at least a dozen empty, white pages front and back. It's almost like the author intended his story to seem to be caught between two snow drifts.

I'm reminded of a talk I heard a while ago on marginalia, by Heather Jackson, an expert in this field. She is an editor of many books. I believe she has since published a book on the subject of readers' thoughts set down in the margins of the books they were reading.

ISTANBUL, I've noticed, is now out in softcover. It's an unusual book. It has many attractions about it, not least being the many, many curious, haunting photos of the old city.

Jonathan
December 16, 2006 - 11:44 am
The white pages won't melt away. Your thoughts will remain for all posterity.

marni0308
December 17, 2006 - 04:25 pm
I found the book in B&N. Bob's going to give it to me for a Christmas present.

Malryn
December 21, 2006 - 11:51 am

Dear Sir, Mr. Jonathan:

Do you accept welfare waifs, burn victims and otherwise disabled persons in this upcoming discussion? I just ordered Snow because there hasn't been any this year on my little mountain in the Poconos for me to gambol and cavort in, not to mention building snow men and women from a sitting position, and that ain't easy.

So, woe is I, as the purists do say, I'm left with only greasing up and bandaging my overcooked legs, eating lots of protein (doctor's orders) and writing little stories as my amusment.

I hope you say yes and will let me struggle in the door to celebrate my parole from 2 hospitals and a nursing home where I was incarcerated for the past 60 days and nights.

Irregardless -- (don't correct me; I make mistakes deliberatley so I'll smile in my isolation.) Irregardless, I have ordered this book, which I feel certain will rub it in that others have worse disasters than I do. Right, Professor?

Thank you, Sir. My name and address are on the Santa Claus red envelope this letter was sent in. Hoping you and your lady and your growing grandchildren have a lovely Christmas and a brisk, healthy New Year, I remain no tragic heroine, but the same old grandstand nuisance of yesteryear:

Marilyn (Mal of the Mountains)

Jonathan
December 21, 2006 - 03:46 pm
Dearest Mal of the Mountains

I can't stop laughing long enough to reply in a manner suitable to the grand formality of your request. I've had my fingers crossed for a month, wishing you well enough to take your place on the dogsled when we head for faraway Kars. We'll gambol and cavort all the way.

I'm not going to exclaim, you poor soul, I'm too happy to see you again.

just Jonathan, your old shipmate

marni0308
December 21, 2006 - 07:35 pm
Yay, Mal! On parole for the holidays and joining us for Snow! Hurray!

Here's some snow for everyone. Happy Holidays, All!



Marni

Jonathan
December 22, 2006 - 09:59 am
hold it right there, I feel a poem coming on...

marni0308
December 22, 2006 - 01:52 pm
Jonathan: Are you a poet?

Jonathan
December 23, 2006 - 11:05 am
to fall into the labor pains of giving birth to a poem at the sight of a snowflake. But now I'm giving away the plot. I'd better not say anymore.

I did, once, indite a limerick of a dozen lines which disgusted me so much I've never tried to get it published.

marni0308
December 23, 2006 - 09:49 pm
Oh, curiouser and curiouser. Now I'm tempted to start reading the book before I officially get it for Christmas!

Malryn
December 25, 2006 - 06:21 am

,Merry Christmas, everybody!!!

Malryn
December 28, 2006 - 06:05 pm

There was SNOW in my mailbox today. I was so excited and rolled over to my reading table so I could dip into it a little. I'm so disappointed. The print is so small I cannot see it. This is the paperback. Does anyone have a hard cover copy? Is that print tiny, too?

I developed bronchitis which set off an asthma attack today. The Home Health nurse was here yesterday, and she persuaded the substitute for my doctor (who probably is lolling on the beach in Puerto Rico) to order the prescription over the phone. I couldn't find anyone to pick it up for me, so I took off in my souped up Jazzy wheelchair and went through a minor snow shower to get the Rx and come home. Is it possible that jaunt made me feel not quite okay today?

I feel better tonight, since the antibiotic seems to be starting to work. Will feel more than 100% if somebody can tell me about the print in hard cover Snow.

Mal

Jonathan
December 29, 2006 - 09:55 am
Marily, I'm so sorry to hear that. Both about your bronchial attack, and about the unreadable print. Now that you mention it, I must agree that the print is small. I can manage, but I would prefer a larger print myself.

Is anyone else having difficulty with it?

Now do be careful with your souped up Jazzy. Surely you're observing the speed limits in your community.

That was a cheerful wish you left here on the 25th.

Judy Shernock
December 29, 2006 - 06:07 pm
Hi Mal, If you send me your address I can send you a hard cover copy of the book. I had bought myself a paperback and got an unreturnable copy in hard cover as a present . I hope this will add some cheer to your day.

Warmest Wishes!

Judy

Malryn
December 30, 2006 - 03:10 am

Thanks, JUDY! What a nice thing to do! My email is winging its way to you.

Mal

Jonathan
January 4, 2007 - 02:35 pm
Happy New Year everybody. Here it is January, and the 15th, the day of departure, approaches. It's a most fearsome journey we are about to undertake. Orhan Pamuk is nothing if not vastly challengeing. But the rewards are wonderfully commensurate.

'Humming with cerebral suspense.'

Doesn't that sound promising? But perhaps you have already got yourself into the book and concluded that the phrase is an understatment!!!

You may have sampled some of the reviews and interviews, and readers' guide suggestions, and may have reconsidered your desire to get involved in this horrendous snowfall of Turkish romance and poetry, politics and religion, and the clash between atheist and true believer.

Please drop by and let the rest of us know how you feel about SNOW. Is it a go? Do I hear bells?

Traude S
January 4, 2007 - 06:34 pm
JONATHAN, Yes, I will be there, as promised early on. Am busy re-reading my newly arrived paperback.

Jonathan
January 5, 2007 - 09:47 am
Traude, I'm delighted. Your European background will be an inestimable help in understanding Ka's cultural and spiritual acquisitions during his years of exile in Germany.

kidsal
January 6, 2007 - 02:41 pm
Have read most of Snow but hope to get more out of it by belonging to this group.

Jonathan
January 6, 2007 - 07:07 pm
Kidsal, that's the spirit. Let's see what we can make of this book. It should keep us talking for a month.

jbmillican
January 7, 2007 - 02:02 pm
Count me in for 'Snow', I will be ready to start Jan. 15.

Juanita

Jonathan
January 8, 2007 - 10:58 am
Wonderful, Juanita. And I do believe we can all count on having a great discussion. This is going to snowball if we want it to.

hats
January 8, 2007 - 11:19 am
Dear Jonathan, I tried starting Snow. It's far beyond my understanding. I am not going to be in the discussion for that reason. I just wanted you to know it's not because you aren't a wonderful discussion leader. You are a great discussion leader. I just can't make it this time. Thank you for the welcome.

Jonathan
January 8, 2007 - 11:41 am
hats, I'm happy to hear from you. We're not going to let Pamuk's unique storytelling style frighten us away. We're travelling to Kars, so throw a few things into your bag, book included, and come along. But, be sure to bring your skis. There's supposed to be terrific skiing just north of Kars. You don't ski? So you and I will go sledding.

I'm off to check the ski conditions at the resort.

Jonathan
January 8, 2007 - 11:48 am

Jonathan
January 8, 2007 - 11:57 am
For those who would like to stay put before the fireplace at the Chalet, I've dreamed up a new title for the book.

Judy Shernock
January 8, 2007 - 12:36 pm
In todays newspaperthe following news was highlighted....

PAMUK PUTS OUT DARING NEWSPAPER

The Nobel Prize winning novelist OP took over a Turkish newspaper for a day, and devoted Sunday's front page to criticism of the oppression of artists in his native country. Pamuk, whose trial last year on a charge of "insulting Turkishnes" received international condemnation before it was dropped on a technicality. Pamuk earned a degree in Journalism but had never practiced the profession before becoming the one day chief of "Radikal" in Istanbul.

So multi talented is Pamuk. A wonder of a person.

Judy

Jonathan
January 8, 2007 - 03:21 pm
Judy, that's very interesting. Is there any way of finding out what he had to say about the oppression of artists in his native Turkey on that front page? A paper called Radical can be expected to get a lot of attention.

I've also heard he laughs easily.

Judy Shernock
January 10, 2007 - 11:27 am
Jonathan-

Don't know how to get hold of that newspaper article. If you find out let me know.

Hope Snow

Is a go.

Judy

Jonathan
January 10, 2007 - 06:51 pm
Judy, I went looking for the article after you mentioned it, and found it my newspaper later in the day. An AP news filler. We must discuss Pamuk,s amazing ability to stay in the news.

MegR
January 11, 2007 - 04:43 pm
Jonathan & Ladies,

Tried to post yesterday, but didn't go thru! Haven't been around SN Books for a while and was excited when I saw January email that said you're reading Pamuk's Snow - starting Monday! Read My Name Is Red with face-to-face book club this summer and was absolutely intrigued and astounded and ,at times, confounded by this author (laughing!). I've had Snow since about this time last year and it's collected dust since then in my "to-read" pile. I'd really like to join in with you on Monday. I'm not sure of protocol here. Are we expected to have read the entire book for Monday? or a portion of it? Is there a reading schedule posted that I missed? If only beginning portion, may I join the group? - Happy New Year! - MegR

Jonathan
January 11, 2007 - 07:35 pm
SNOW is even more subtle than RED...

MegR, I'm sure I remember you. I just love your enthusiasm for Pamuk's writing. I found MY NAME IS RED stunning, like in feeling dazed at times. But it did repay all the effort that went into making sense of it. SNOW is different, and is a good example of the author's diverse talent.

Alas, there is no protocol here, and I can't think of a structured approach to this novel. Too many threads. Too much smoke and mirrors. Too many 'envelopes in envelopes', as one reviewer puts it. A full-brainer. Very instructive.

That being the case, I'm going to suggest we do it one chapter a day, for a start. Chapters being, on the average, about 10 pages. With 44 chapters, this romp in the snow may go on for five or six weeks.

And such chapter headings!

13: 'A Walk Through The Snow With Kadife'

And its even more intriguing subtitle:

'I'm Not Going To Discuss My Faith With An Atheist'

Hope to see you on Monday.

Traude S
January 12, 2007 - 08:25 am
JONATHAN, I'm very much looking forward to Monday. It will be a different, a novel reading experience one chapter a day, to begin with.

MEG, is that you ? Wonderful to see you again!

MegR
January 12, 2007 - 09:07 am
Yes, Traude - "It Is I"1 - that old gasbag with her purple prose again! Had a cheat sheet with codes from other posters & Ginny A. on how to insert underlines & bold cues into text here, but can't find it. As you can see from prior post, I've forgotten how to turn off "bold" direction!

Jonathan, I do like the idea of a chapter a day! At least we won't have a different, unidentified character starting each of the initial chapters in this one to confuse us at the onset! I also think that I prefer the "Snow" translator much more than the person who did "Red"!

Will be ready for Monday!! Happy weekend all, - megr

Jonathan
January 12, 2007 - 11:44 am
Traude, I'm very appreciative of your vast experience in book discussion. I'm a real novice at it, and everything I've learned about it, I've learned right here in SN, over the last few years. So, the 'chapter a day' approach is meant to look like I have a plan of some sort.

Actually, I would encourage everybody to read ahead, to the very end, if so inclined. My inclination is to have a freewheeling discussion, including general observations on the book, as well as keen observations regarding the detail. It's always such a pleasure to see what others are getting out of a book. Or, not getting.

Meg, when you find the 'cheat sheet', pass it along. I could use some of that information.

I'm surprised to hear about the problem of identifying the speakers in RED, when it is so clearly stated for every chapter. Both the murdered and the murderer, as well as all the rest, identify themselves when they take the stage and tell their story.

Now, with SNOW, the deeper one gets into the book, the more one wonders: whose story is this supposed to be, anyways.

Malryn
January 12, 2007 - 08:07 pm

JUDY, the book arrived today. Thank you so much.

Hi, dear JONATHAN. I"m looking forward to Monday.

Mal

Jonathan
January 13, 2007 - 11:39 am
Mal, I was keeping my fingers crossed, hoping the book would get to you in time. How very kind of Judy. Her post a week or so ago with its message made it a cheerful day for me, as it was meant to do for you.

A very heavy snowfall awaits us. I feel very confident at the wheel of this bus we're travelling on. Can't see a thing, so I'm counting on everyone who feels a sense of direction to help with the navigation.

Strange. The snow seems a fearful thing for Ka and his fellow passengers. And yet it's meant to seem hopeful somehow.

gumtree
January 13, 2007 - 10:37 pm
Jonathan: Am hesitant to commit to the Snow discussion- though will be reading it and probably lurking...One chapter a day sounds an ideal way to deal with this book. So I guess I'm saying I'll be around and cheering you on....

hats
January 14, 2007 - 02:40 am
Gumtree, your thoughts are my thoughts. When Jonathan wrote about one chapter a day, I couldn't contain my excitement. Unfortunately, I am all wrapped up in a mystery titled Woman in White. I became more intrigued with the story than I expected. However, I do love Orhan Pamuk. As Nancy Pearl writes, so many books, so little time.

Jonathan
January 14, 2007 - 09:17 am
I'm very sorry, but I won't be able to begin with the discussion tomorrow. Could we postpone it for a couple of weeks? I'm in a worrisome state about my wife's health after another seizure yesterday. The doctors are puzzled. She's healthy one minute and unconscious on the floor the next, for no apparent reason. She always comes around again but it does shake one up.

hats
January 14, 2007 - 09:19 am
Jonathan, I hope your wife improves very, very soon.

Jonathan
January 14, 2007 - 09:23 am
Thank you, Hats. I'm sure she will. I'm aware of your keen interest in Women In White. It gets even better with Pamuk. Another title for his book could be City In White.

Gumtree, dont' go too far away. I like to think we'll have you posting once we get into the story.

hats
January 14, 2007 - 09:27 am
Jonathan, I'm sold. I will wait for your return no matter how long it takes. I am glad you are a good husband. You remind me of my Bill. Take care until a soon coming date.

Judy Shernock
January 14, 2007 - 11:09 am
Jonathan,

Please keep us informed of your wifes health and what the diagnosis is. Sometimes not knowing is worse than knowing a diagnosis since our brain invents all kinds of horrors.

Don't worry about Snow. We will be waiting for you when you are ready to return.

Best Wishes,

Judy

Traude S
January 14, 2007 - 12:02 pm
JONATHAN, of course we'll wait until your present concerns about your wife's health are over and your mind is free for the journey to the far end of Anatolia.

All good wishes.

marni0308
January 14, 2007 - 01:23 pm
Jonathan: I'm so sorry that your wife is having such trouble. You must be feeling desperate. Certainly, we're fine with holding off on the book. It sounds as though we all have our books now. We'll just pick up things later. Let us know how things are going and if there is anything we can do. We'll be praying for you both.

Marni

gumtree
January 15, 2007 - 07:17 am
Jonathan: Of course I'll hang about until your wife recovers and you have the freedom of mind to deal with Snow...In the meantime my thoughts will be with you both.

MegR
January 19, 2007 - 06:52 am
Jonathan, am so sorry to hear of your wife's illness. Sending up a few for both of you.

I tried to post last night - a long, blathery note - partially just to see if I could recall just how to do underlines, bolds and italics. Accidentally hit something incorrectly and all was lost.

Hats, enjoy Woman in White. Read it years ago and really enjoyed discovering this very early example of its kind. - meg

hats
January 19, 2007 - 07:09 am
MegR, I only know how to do bold. . I hope this helps. It won't show up. I am sorry.

MegR
January 19, 2007 - 11:36 am
Dear Hats and Jonathan,

I've recalled how to do these & have found partial notes. Tested them out on prior posting & they work!!! So, here's how to:

1. Change color, size or font style - Type in - font color=green face=Georgia size=12

Precede the word "font" with a left-pointing caret & follow the"12" with a right-pointing caret. (You can choose to do only color, only size or only font style - or any combo of these three!) Usually I type this string command at the beginning of a posting to cover entire posting print. All of these printing alterations codes start with a < mark and end with a > one.

2. You do the same thing to add bold, italics or underlining to a passage. Right caret*then b then left caret - for bold. Ditto for underlining, but type in a u instead of b - or an i for italics. so r-caretbl-caret would be typed just before the first letter of a word that you want to see in bold print. To end the bold, underline or italics - process is similar. You type the same start command, but add a right aiming / slash just before the code letter! i.e. r-caret/bl-caret. You do this right after the last letter of the word that you want to be in bold, underlined or italics.

Too confusing? If I type in actual commands for you here, they won't show up in this posting. Hmm. Let me try something else.

Here are the codes to use. Just replace the parentheses with carets going in the appropriate directions.

To start bold print, type {b} To end bold print, type {/b} example: {b}Hats,{/b} Happy to hear from you again! This should appear as Hats, Happy to hear from you again! because the codes don't appear in posting text.

To start underlining, type {u} To end underline, type {/u} •Example: In Steinbeck's {u}The Grapes of Wrath {/u}, the author . . . In Steinbeck's The Grapes of Wrath, the author

To start italics, type {i} To end italics, type {/i} •Example: In Orhan Pamuk's novel {i}My Name Is Red{/i} readers may initially be confused. . . . becomes In Orhan Pamuk's novel My Name Is Red readers may initially be confused. . .

Crossing my fingers that the parentheses substitution works here for illustration purposes! Try them! Good luck!

hats
January 19, 2007 - 11:43 am
MegR, thank you for taking the time to give such detailed and helpful information.

hats
January 20, 2007 - 03:22 am
Hrant Dink

I have never heard of this author. His story brought to mind Orhan Pamuk's difficulties as an author with a truth to tell. It is easy to take the freedom of speech for granted.

Jonathan
January 20, 2007 - 11:38 am
meg, thanks for making available all the tips on how to manipulate text with underlines, bolds, and italics. I can't wait until I've mastered their use to say how pleased I am to get them.

My topsy-turvy world has regained its equilibrium, my wife is feeling great again, so why don't we get on with this discussion. I logged on with the intention of re-inviting all of you to join in, in talking about this unusual book. This book for our times.

The first thing I noticed when I got online was the headline about the assassinated Turkish journalist. The article seemed almost straight out of the book. And sure enough, Orhan Pamuk gets a mention in the news item. I must, I thought, provide a link in a discussion post.

Hats got there first! Hats, you're always on top of things, in a wonderful way. By now we expect nothing less from you. Congratulations and thanks.

Shall we start talking about the book? I'll ask to have it moved to 'Current'.

Another link to Turkish journalist

Judy Shernock
January 20, 2007 - 12:50 pm
I also read the news in the paper this morning . Is Hrant Dink the first journalist killed? Even more chilling than the book itself.

Are others in danger?I'm so glad that Pamuk is in the U.S. at this time. Hope that he's safe here.

Judy

Traude S
January 20, 2007 - 08:27 pm
JONATHAN, it's a relief to hear that your wife is well again. Hello, everyobne !

According to the latest Google entry, the killer of Turkish-Armenian editor Hrant Dink has been caught in Samsun on the Black Sea. He is a 17-year old unemployed young man from a religious school - how eerily similar to details in our book ! The young man's home town is from Trabzon.



Dink was "controversial" because he pointed out that the mass killing of Armenians in 1915 was indeed genocide, a fact the state adamantly refuses to admit. The state considers the accusation an attack against Turkishness.

I found a map of Turkey, it shows the location of Istanbul, Ankara and even Kars. Neither Samsun nor Trabzon are shown.

http://www.lonelyplanet.com/mapshells/middle_east/turkey/turkey.htm

hats
January 21, 2007 - 01:00 am
Traude, thank you for such a clear map. It is going to be very helpful.

Traude S
January 21, 2007 - 09:18 am
You're most welcome, HATS.
I thought it would be useful to see the location of the three important reference points in our book :
Istanbul, Turkey's westernmost city, Ankara, the country's capital, and Ka's Kars.

Jonathan
January 21, 2007 - 10:15 am
It's exciting to find SNOW underway.

Thanks to Judy, Traude, and Hats, for the posts that have set the discussionn going.

The occupational hazards of journalism in Turkey are dire indeed, judging by the accounts of the editor's assassination. Stating ones opinions is precarious. The Prime Minister is quoted as saying the act was all about shooting at freedom of expression. An uncle of the accused believes his 17-year-old nephew was put up to it by others.

I like to think that Orhan Pamuk's book will be an informative exercise in understanding how things work in Turkey. That's putting it crudely, but then the subject matter is confusing.

What a fine map of Turkey, with its array of historic places. A crossroads of history. There's Troy at the extreme west. And Kars at the extreme east, just a hundred miles from the mountaintop on which Noah's ark made a landfall after the great flood.

Traude, the map does show Samsun and Trabzon.

I'd like to make this another invitation to join in the discussion. Perhaps we should keep it low-key for a day or two to give others a chance to find out we're back in business.

Please comment with your thoughts on your expectations or anticipations of this read.

LauraD
January 21, 2007 - 11:47 am
Hi everyone!

I would like to join you in your discussion of Snow, better last minute than never! When I read that the schedule would be a chapter a day, any reservations I had about being able to keep up, given the other books on my plate, were quickly trampled by my desire to discuss this book.

I read Snow last spring. Here’s what I said about it in my reading journal (I write a blurb about each book I read):

Another modern classic by Orhan Pamuk. Again, a dense book, this time filled with debate about all sides of secularism and religious fervor, set in modern Turkey. I was struck by all the similarities between this and My Name is Red (I go on with a list of about ten things, which I don’t include here so as not to spoil anything). I recommend this book only to serious readers with and interest in modern Turkey and the debate between secular and religious topics.

I am looking forward to visiting Turkey again!

Jonathan
January 21, 2007 - 03:33 pm
Welcome, Laura

You're so right in the way you write about this book:

'Again, a dense book, this time filled with debate about all sides of secularism and religious fervor, set in modern Turkey.' post#66

As one example illustrates, to wear, or not to wear, a headscarf. It takes on such dreadful meaning for the students, and society at large. Headscarves being such a current issue, (France banning them in the classroom being only one recent instance) makes reading SNOW very relevant.

But I suggest we begin with talking about snow. Pamuk leaves no doubt about its importance to the story. He seems to attach a great deal of meaning to it. And it's an ever recurring refrain throughout the book. He makes such great use of it. What red was to RED, snow is to SNOW. Is it a literary device, or a stylistic trademark? Perhaps it's Pamuk's personal muse. His poetic inspiration. Does the snow set a mood? How lovely! How bewildering!

Jonathan
January 22, 2007 - 08:54 am
It's always interesting to see how an author goes about hooking the reader. What does he throw out to catch the reader's imagination, or feed the appetite of hungry minds, or hold out as a promise of entertainment to the idle?

It seems to me that in Chapter 1 of SNOW there is no end to the juicy tidbits which serve as a promise of things to come.

But first. How can one not be struck by the four splendid worms that Pamuk has borrowed from other distinguished authors, and which he now dangles before our eyes, before he begins his own story.

1. 'Our interest's on the dangerous edge of things. The honest thief, the tender murderer, the superstitious atheist.' Robert Browning, "Bishop Blougram's Apology"

2. 'Politics in a literary work are a pistol-shot in the middle of a concert, a crude affair though one impossible to ignore. We are about to speak of very ugly matters.' Stendhal, The Charterhouse of Parma

3. 'Well, then, eliminate the people, curtail them, force them to be silent. Because the European enlightenment is more important than people.' Dostoevsky, notebooks for The Brothers Karamazov

4.' The Westerner in me was discomposed.' Joseph Conrad, Under Western Eyes

What in heaven's name are we letting ourselves in for - pistol shots, superstitious atheists, ideas that are more important than people, an upheaval of our composed selves!?

Or will it all turn out to be just another snow-job? With a difference of course.

Malryn
January 22, 2007 - 10:25 am

Pamuk has made the Snow a primary character in this book. It changes its face and behavior just as other characters do. Rather than continuing its muffling mother protector role with voluminous clouds of soft white snowdrifts that cover what's evil and frightening, it can assume a more fearsome role, creating a lack of direction and a blindness to purpose.

The revolution is a revolution of youth, a backlash to beliefs of earlier times. It is easier to face the world covered and protected by a headscarf than it is to face the world, naked and bare.

Mal

marni0308
January 22, 2007 - 10:53 am
Mal: I just love what you wrote! "It is easier to face the world covered and protected by a headscarf than it is to face the world, naked and bare." Snow does seem to be a character, although I hadn't really been thinking of it as a character. It is mentioned everywhere and represents so many different things, sometimes things that are the opposite of each other.

We're back! Hurray!

Jonathan: I do hope your wife is feeling much better. It's good to have you back with us.

I saw the article about the death of the Turkish journalist and that he was friends with our author. So shocking yet timely for us. It certainly brings everything we're reading about right to the present!

I have to quickly review what I have read in Snow. I halted my reading when we paused our discussion.

Marni

MegR
January 22, 2007 - 11:10 am
Jonathan and Ladies, Happy to see that we're back with Snow, although I'm not at all happy to find the white stuff falling here in this burgh! (laughing!) My bod was built for warmer climes!! Am trying to convince another Pittsburgh pal to join us. She's also read Red and has expressed an interest in Snowtoo. We'll see.

Jonathan's question about snow as metaphor is of course intriguing. As an inveterate list maker, think I'll go back & scan Chapter 1 and see just what our Mr. Pamuk has to say about it. Back later today!

Judy Shernock
January 22, 2007 - 01:05 pm
My first impression of the book was the similarity I felt between the Snow Storm covering everything and cutting us off to slipping down the Rabbit hole in Alice in Wonderland. The author bids me follow him into this parallel universe which I shall never see with my own eyes but through his. I feel cut off from other realities. I know an adventure awaits me that will be like no other. Yet I am chilled and fearful as well because the Snow ,though beautiful , can be cold and it can cover myriad ugly things ,making them appear pure on the surface.

The beauty of the writing is highlighted by this sentence on page two:"For the traveler we see leaning on his neighbor is an honest and well meaning man full of melancholy, like those Chekhov characters so laden with virtues that they never know success in life."

The author says he is whispering facts to me and thus we become close and I will follow his story to the end because he has made me feel that we are intimates and he will reveal all to me.

Judy

LauraD
January 22, 2007 - 01:52 pm
“…he was traveling straight into a blizzard” (pg. 3) I think, here, the snow is foreshadowing the turmoil of the place into which he was heading.

“It was as if everything had been erased, lost beneath the snow” (pg. 6). I think snow is used as a metaphor here. There is a lot hiding beneath the surface of the town, and beneath the surfaces of the people in the town.

“As his foot sank into the soft blanket of snow, a sharp blast of cold air shot up past the cuffs of his trousers” (pg. 7). The snow is again a metaphor, this time, for the contrasts which Ka will find in the place of Kars and its people.

LauraD
January 22, 2007 - 01:56 pm
1. Our interest's on the dangerous edge of things. The honest thief, the tender murderer, the superstitious atheist.' Robert Browning, "Bishop Blougram's Apology"

I find this one the most intriguing. The adjectives describing the nouns are complete contradictions to adjectives which would normally be used to describe these people. I expect we will meet people full of contradictions.

Jo Meander
January 22, 2007 - 06:49 pm
Hello, Snowbirds! Here's MegR's Pittsburgh pal, back from the bookstore and diving into a Seniornet book discussion for the first time in... well, since I don't know when!
I've read 1-1/2 chapters, and I'm ready to risk this one if you can still put me on the list, Jonathan! I have compulsively (characteristically) read all 74 posts, and am glad to hear that your wife is doing better, but sorry to hear about Malryn's burns! Hope you are doing better too, Malryn!
Hi, Meg!
Are we sticking with the first chapter until tomorrow?

Jonathan
January 22, 2007 - 06:53 pm
Well, bless me! I had prepared a little post to suggest that we could see in Ka a modern Jason, going after his Golden Fleece, or a modern Ulysses meeting many difficulties on his way home after a long absence, but the beautiful posts of all of you brought me up sharp. I'm going to have to come back later and give them some serious attention. First, I just have to go off to watch the doc on John and Abigail Adams. My wife and I finally made it to Quincy last summer to see the homesteads and the presidential library. An excellent experience. See you all later.

Jonathan
January 22, 2007 - 06:54 pm

Jonathan
January 22, 2007 - 06:55 pm

Jo Meander
January 22, 2007 - 06:55 pm
I thnk the Robert Browning quotations with the three oxymorons suggests how hard it is to know, trust, praise or condemn anyone completely, including yourself. Each of us is a mystery, as cloudy as the view in a snowstorm.

Jonathan
January 22, 2007 - 11:05 pm
Mal feels that Pamuk has made Snow a primary character in his book, playing several roles in the first chapter, with more to come in the future no doubt. I agree, and would like to add to that, that the author makes very clever use of snow in the intense, clever dramatization of the narrative. Everything seems dramatized, such as mood, event and character. Or is it an overall poetic effect that Pamuk is trying to achieve, a projection of Ka's nature as one prone to see poetry in everything?

And won't there be many more things to be said about headscarves?

Marni, I'm so pleased to see you. My wife is feeling much better again, thank you.

You mention the death of the Turkish journalist. That certainly adds significance to Ka's decision to accept the offer to take on the role of journalist in the coming events. He seems to have accepted the assignment of covering an election and reporting on religiously motivated suicides without any sense of danger.

Meg, you'd better get used to it. It's just going to keep on snowing.

By all means, make a list. I remember doing it with the 'jinns', brought into play so often in RED. I had a list of 50 or so occurrence. There's a certain charm about Pamuk's literary idiosyncrasies.

Judy, what a delightful association you make between SNOW and Alice in Wonderland, and everything that follows from that. We definitely are in strange territory here. In the poet's mind, no less.

Isn't that a puzzling thing about Chekhov's virtue-laden characters never knowing success in life. What are we to make of that. And then Pamuk follows that immediately with:

'We'll have a lot to say about melancholy later on.'

Surprise? Surprise? Isn't melancholy an occupational hazard for poets? They love the mood.

Laura, you too have answered the question running through my mind in this first chapter. Does the text support the statement that Ka is a poet? It does, imo. And that no doubt will have implications further along.

Jo, hi. Any friend of Meg's is a friend of ours... Of course, I remember you, 'well, since I don't know when'.

We're off to a leisurely start, while we try to decide where Pamuk is taking us. That's a good insight into the quote from Browning. We'll have to be very circumspect in our judgements.

marni0308
January 23, 2007 - 10:09 am
Jonathan: You mentioned the book says: "We'll have a lot to say about melancholy later on."

This type of narration sort of surprised me. The narrator carries on somewhat of a one-sided dialogue with the reader. Remarks like the above occur quite often. The narrator touches on a subject slightly and then says we will hear more about it later, like dangling a carrot. It struck me as a somewhat innocent or unsophisticated literary method.

Jo Meander
January 23, 2007 - 10:59 am
"Isn't that a puzzling thing about Chekhov's virtue-laden characters never knowing success in life. What are we to make of that. And then Pamuk follows that immediately with: 'We'll have a lot to say about melancholy later on.' "
Jonathan, yes, it is puzzling. Are both Chekov and Pamuk suggesting a virtuous temperament is somehow too weak for the world? That can't always be true! Both that reference and the next one about melancholy do seem unusual, a bit unwieldy to our ideas of graceful writing, but maybe they aren't to a Turkish writer! And he's certainly entitled to his style! I remember being criticized for including a reference to an author in a writing class.
Most of us were sure we were going to hear more about melancholy after the first page or two!

LauraD
January 23, 2007 - 12:09 pm
Marni said, “This type of narration sort of surprised me. The narrator carries on somewhat of a one-sided dialogue with the reader. Remarks like the above occur quite often. The narrator touches on a subject slightly and then says we will hear more about it later, like dangling a carrot. It struck me as a somewhat innocent or unsophisticated literary method.”

I like the dialogue that the narrator carries on with the reader. It makes me feel like the narrator (I think it is a he) and I are observing the story side by side, and occasionally, he whispers background information in my ear. It reminds me of A Christmas Carol, when the ghosts of Christmas past, present, and future have Scrooge observe scenes.

Jonathan
January 23, 2007 - 12:13 pm
A very good observation. As also the reference to Chekhov's virtuous characters - out of the clear blue sky. And the narrative voice? Does it belong to someone on the bus? To the stranger helping the driver to unfog the window? And what a concatenation of past, present and future.

Is it Columbia, or Yale, where Pamuk is teaching a course in creative writing?!!

I think it's a beautifully crafted first chapter. I'm convinced everything has purpose and meaning. Well, I'll give the author the benefit of the doubt. We would be correct in assuming that the author is trying to establish a mood. Feeling melancholy comes naturally to the author, comes from having grown up in Istanbul, dreaming of Turkey's great past. He admits it, in another place. So it may inevitably rub off in everything he writes.

SNOW is Ka's homecoming after long exile. It's not a cheerful homecoming. His mother's funeral to begin with. Soon enough talk of young girls suiciding. Dreadful. The weather is a horror. Kars must seem like the end of the earth. We've had drab scenes pointed out to us.

This I came home to?, Ka must be asking himself. And soon enough the author must have felt he could be making it all seem too miserable for the reader.

Enter the stranger. The man sitting beside him, whose questions and remarks soon draw Ka out of the mood he was falling into.

'His very presence was calming.' Here, it seems is a Chekhovian character. Uncomlicated, caring, noble in his own way. Here is a Turk to admire. A salt-of-the-earth type. This stranger does seem to make a difference in Ka's feelings about coming home. He is reassuring, and becomes part of the plot, no doubt.

Jonathan
January 23, 2007 - 12:14 pm

Jonathan
January 23, 2007 - 12:15 pm

Jo Meander
January 23, 2007 - 01:04 pm
Were there some nineteenth century autors who addressed the reader directly, stepping back from the action and turning his or her attention to us? "Ah, dear reader " moments. I can't say who it was, because I don't remember! Dickens, Eliot...?

LauraD
January 23, 2007 - 01:17 pm
Jo, I read Jane Eyre with a group on the Barnes and Noble discussion site and asked the question about the narrator. Here is my question and the instructor’s reply:

Q: Throughout the book, the author uses a device in which she talks to the reader directly. For example, in Chapter 18 (pages 219-220 in the B&N edition), "Much, too, you will think, reader, to engender jealousy,..." This happens numerous times throughout the novel. Was this a common technique used at the time? Why did Charlotte Bronte use it? I assume it was used to draw the reader into the story, making them feel a part of it.

A: Yes, this was a very common device, another trend in the nineteenth century novel. In literary criticism it's called the "intrusive narrator."

I know I have run across the intrusive narrator in other 19th century classics, but I can’t name them right now.

Jonathan
January 23, 2007 - 03:36 pm
It does seem surprising to find the "intrusive narrator" technique being used in a contemporary novel. It seems a little quaint. Does such an author/reader relationship still engage the modern reader? It was meant to get the reader involved in the action, ostensibly. Or was it a need on the part of the author to keep a listener in sight, as part of the creative process. Imagining an audience could give one a boost, I suppose.

So why has Ka returned home? We're told it was the death of his mother. And that is that. We hear no more of mother. It doesn't seem right somehow. We get lots of detail about many things, circumstantial things, irrelevant things, but no more of the parent. He seems ready enough to talk about his feelings about many things, even an old flame, but nothing about mother. It seems strange to me.

I wonder too, why did he leave home, to spend 12 years in exile? Why Germany? Is the overcoat the only thing he brings back with him? The overcoat is made to seem significant. It means more to him than his mother. Forgive me. There seem to be many things to puzzle over in this first chapter.

Traude S
January 23, 2007 - 07:27 pm
JONATHAN, I need to go back to the post WW II period to answer your question.

Effective on June 26, 1948, the military Governor of the U.S. Zone, in agreement with the governors of the English- and French-occupied zones in what was called the Federal Republic of Germany , initiated the Monetary Reform, which introduced a new currency, the Deutsche Mark , and every German then living received forty Deutsche Marks. The Reichsmark was no longer valid. It had long lost its purchasing power in favor of cartons of cigarettes and other goods available only on the Black Market.

Obviously, East Germany under Russian occupation was not included. In fact, the Russian Zone was hermetically sealed for visitors from the West as well, except for old East German pensioners who wanted to visit relatives in the West. Young people were automatically precluded from even applying.

The Monetary Reform was the beginning, and the Marshall Plan brought Germany back to her feet. In the mid-fifties began a period of reconstruction so all-encompassing that it was called "the German Economic Miracle".

Thousands and thousands of people were needed to implement the plans, and thus began a "guest worker" (Gastarbeiter) program that brought foreign workers into West Germany en masse on a contractual basis: Yugoslavs Greeks, Spaniards and, in the early sixties, came the Turks who in 1961 were allowed to leave Turkey for the first time.

Turkish men only came first, in subsequent years families followed. Mosques were built. The Germans did nothing by half measure (!).

When I visited during those years I saw how the atmosphere in the large cities changed progressively. Everyone hurried and was pursuing money and a better life. To see and sit close to Turkish women in the street car surprised me at first. They all wore long coats even in the heat of summer, mostly brown, and a kerchief that hid every hair on their heads. Some had beautiful faces; most were young. All averted their eyes; I never saw one smile. When families were out together, the father walked in front, the wife and childre followed several paces behind.

But aside from economic considerations the Germans realized that they would never live down the horrors of the Holocaust; indeed it has been conjectured that, in order to atone, Germany developed the most liberal asylum policy in all of Europe. Thousands of asylum seekers found their way to Germany from Sri Lanka, diverse other hot spots in the world and various parts of Africa. All were/are let in, all asking for asylum for political reasons.

Such a person must register. It takes time to check the validity of the claim. But from the time of registration, the asylym seeker is given a subsidy on which to live. That was true for Ka, as we will see in the book.

Today some 2.6 million Turks live in Germany. Many thought they would stay no longer than 10 to 15 years but are still there. There are many Turkish associations, circles and Turkish-owned businesses that allow for a socially separate existence.

Relations with German authorities are uneasy at times, especially because of the so-called 'honor killings' by the brothers of young Turkish girls who manage to escape from Turkey - often to avoid a forced marriage to an older man - take a job in a German city and eventually begin dating. There are German agencies to which the young women can turn for support and protection. Sometimes the protection fails.

The prosecution of such cases, where the entire family conspires to restore its honor and the brother(s) of the young woman become her executioners, has been extremely difficult. It is also a diplomatic embarrassment for Turkey in view of the country's energetic efforts to obtain admission to the EU, the European Union.

Traude S
January 23, 2007 - 07:56 pm
Re Turks in Germany :
http://news.bbc.co.uk/1/hi/world/europe/1627912.stm

Malryn
January 23, 2007 - 09:51 pm

INCONSISTENCIES

There has been some discussion about inconsistencies in this book. Are thre the same confusions and inconsistencies in life as we know it?

Today I was finally strong enough to get on a wheelchair bus, so I could go to my primary care physician. First time I've seen him since I was in the first hospital of my 2 hospitals-one nursing home (twice) tour of duty recently. He saw my burned legs when they were at their very worst.

It's hard when you're badly injured or sick and must be your own advocate. I felt as if I were fighting for my life in more ways than one.

Today Dr. Muthiah, my primary care physician -- he's originally from Mumbai -- examined my legs. The right one is not yet completely healed. He told me I had done very well, and he is most pleased.

Then he pulled his chair closer to me, in my motorized wheelchair. He said, "You are one of the strongest and most powerful women I have ever met. You are intelligent, very intelligent, but you are disabled. You must pay attention to your limitations."

I was glad he was able to say these inconsistencies to me, for they are inconsistent. Strength and power don't go hand-in-hand with weakness and disability, usually.

Dr. Muthiah and I have had issues between us, not excluding his eastern and my western attitudes, which I think are finally resolved. He would not prescribe pain medication for me or for anyone else, especially narcotic medication, at the risk of losing his license. It's needless to say that I need pain medication because of the burns and the torn rotator cuff in my right shoulder, to mention only a few complaining things. I have not yet felt up to going to the Pain Management Center on the Shared Ride vehicle. My whole body is shaken and jolted as I sit in the locked down wheelchair at the back of the old, small bus as it goes on highways and curving mountain roads.

What happened today is provoking a lot of thought as I think about Orhan Pamuk's Snow. I find now that the physical part of my ordeal is nearly done, I must take care of the inconsistencies of the psychological one.

I told the doctor today that current symptoms, like the leftover cough from apres nursing home bronchitis and a possible UTI seem trivial when I talk about them after the very serious things I've been through. (Which, compared to the horrors of prevailing wars seem trivial, too. Never before have I felt as close as I do to the young people who fight these wars.)

Everything is relative.

Mal

Malryn
January 23, 2007 - 10:04 pm

This book has reminded me of old operettas where the hero and heroine are warbling songs of love at a cafe table a little to the left of center stage, and somebody comes in and starts a revolution behind them, taking care not to upstage the lead characters or kill anyone in the audience.

There's something old-fashioned about it, plot and all. So much so that I have been startled by references to television sets and other such modernities.

Mal

Malryn
January 23, 2007 - 10:07 pm

With my mind in its present convoluted condition, because of the metamorphosis in thinking, which has been brought about by a too painful experience, perhaps you'll excuse me if I suggest that the omnipotent narrator of this book, who knows so much about Ka is SNOW.

Mal

marni0308
January 23, 2007 - 10:15 pm
Snow the narrator.....hmmmmm.....interesting idea, Mal. But why then does it (the narrator) refer to itself in the third person as it describes the snow?

hats
January 24, 2007 - 03:32 am
Immediately, I find myself liking Ka. I feel that before the book ends my feelings will have deepened for him. It's difficult not to care about a melancholy poet. He must have a heart to take on two tragic events in one trip, the death of his mother, the suicidal deaths of young girls.

I have thought about his overcoat too. This coat makes him feel a sense of shame and a sense of security. In Kars, Ka's emotions, I feel, will constantly become pulled in two different directions like a rubberband: the familiar with the unfamiliar, joy and sorrow, etc. Do some places yank our chain more than other locations? Do some countries make us feel like we are being jerked about on a roller coaster always holding our stomach, our screams so high we can no longer hear our voices?

The first line of Robert Browning's words "Our interest's on the dangerous edge of things" gives me a feeling, again, that I will need to hold on to my seat because I will experience the edge with Ka. Robert Browning's words are a warning not to trust any person. I will find myself in the hands of well crafted magicians.

1.honest thief
2.tender murderer
3.supertitious atheist

LauraD
January 24, 2007 - 06:39 am
I had no idea about the Turks in Germany! How interesting!

Jonathan asked, “So why has Ka returned home? We're told it was the death of his mother. And that is that. We hear no more of mother. It doesn't seem right somehow. We get lots of detail about many things, circumstantial things, irrelevant things, but no more of the parent. He seems ready enough to talk about his feelings about many things, even an old flame, but nothing about mother. It seems strange to me.”

I am fine with the lack of information about Ka’s mother, her death, the funeral, etc. Based on the cover flap description of the story, we know it will be about Ka returning to his homeland and subsequently reporting on the suicides of the girls. I think it is essential to know what brought Ka from Germany back to Turkey, but his experiences while in Kars are the focus of the story.

hats
January 24, 2007 - 06:48 am
I would like to know what it feels like to be in exile for so many years, twelve years spent in Germany. Then, to return to Istanbul, Kars and see all the changes. Is it like some cultural shock?

I think the girls are one of Ka's immediate concerns. He tells the person sitting beside him that he is interested in the municipal elections. Ka also says "and also the young women who've been committing suicide." Ka lies about being a journalist. I am not sure why.

Jonathan
January 24, 2007 - 09:49 am
Not only does the narrator address the reader, he also salutes the character Ka, who must thereby surely be given protagonist status in the story.

"May your road be open, dear Ka."

The road can't always have been open for him, judging by what by what we hear about him. And it really is a great deal.

"He was forty-two years old and single, never married."

Why? Traditionally that would have been wondered about. And we would seem to be in a tradition-bound culture? Is he an object of pity? Or derision? Isn't it instinctive with the young, and inevitable, with the thousand and one pressures coming from family and community? Get yourself a wife. Middle-aged bachelors were often not credited with sound judgment.

Even poets, despite their single-mindedness, succumb at last to the pull, with their hunger for life, or whatever way they put it.

Ka comes on the scene with a show of great feeling. He desires to empathize, as we're told. The reader wonders how this will influence his journalism and reporting.

The road has not always been open for him. The beautiful Ipek once eluded him. There must have been other loves. Other losses and heartaches. Hopes and disappointments. These must have met him on his way, if we are to believe the crisis mood with which Chapter 1 ends:

"After a lifetime in which every experience of love was touched by shame and suffering, the prospect of falling in love filled Ka with an intense, almost instinctive dread."

Spoken like a true fortyish single!!

Our hearts must go out to Ka, standing at the window, at the parted curtains, contemplating "the thick, heavy snowflakes falling without end."

marni0308
January 24, 2007 - 02:30 pm
Jonathan asked "So why has Ka returned home?"

I think that Ka is looking for happiness - and also for purity. On pg. 2, I read Ka sees the blizzard he is driving through as “a promise, a sign pointing the way back to the happiness and purity he had known, once, as a child.”

The narrator tells us that Ka is traveling “straight into a blizzard” on a journey that will change his life forever in a way he may not wish. Ka at this point does not see any impending unhappiness or doom in the "impending blizzard."

Marni

marni0308
January 24, 2007 - 02:44 pm
It seems Ka, in political exile in Germany, has been living a life of unhappiness, melancholy, and lost innocence that he wants to escape. He wants to recapture the innocence and happiness of the past and to cleanse his spirit.

I think it seems he has been living a life of insecurity because his beautiful 5-year-old coat provides him with a sense of security. He is shy and perhaps is easily ashamed. (He would have been "ashamed" if he knew he fell asleep with his head on his bus neighbor.) When he fell asleep on the bus, he “dared to believe himself at home in this world.” On the bus he has the “fleeting pleasure of empathizing with someone weaker than himself.”

marni0308
January 24, 2007 - 03:30 pm
We are introduced to a dark setting in Turkey in chpt. 1. On route to Kars it is dark and gloomy, cold and snowing. Things seem old – like the ancient bus which passes by “wretched little shops, broken-down coffeehouses, destitute villages, ramshackle one-story houses...”

Kars has changed – it seems to have gone backwards from modernity to an earlier poorer time. Instead of a train there are horse-drawn carriages. To Ka the city is “poorer and sadder”....a “failing, gasping city...” The streets are empty, frozen desolate pavements. Everywhere are concrete apartments, plexiglas panels. There are campaign slogans on banners on every street. The description of Kars reminds me of the book 1984 with its slogans such as “HUMAN BEINGS ARE GOD’S MASTERPIECES, AND SUICIDE IS BLASPHEMY.”

------------------------------

I thought it was interesting to see that Ka checked into a hotel with the name "Snow Palace Hotel." What will this snow be like? And then Ka eats at the "Green Pastures Café" - such a different picture this would conjure up - green pastures. What will happen here?

Judy Shernock
January 24, 2007 - 05:56 pm
Like many writers who have entered a dry period Ka returns to his roots hoping to find love with Ipek and resurrection of his "Muse".

The coat is very symbolic (to me at least). It is from Germany and it encompasses him. It keeps him warm and protects him. His mother is dead but his coat is encompassing him. It is real and can be touched.

For those who grew up in Snow country the snow is so beautiful. But it melts and leaves in its wake ugly sludge-usually black. But for the moment we feel the joy that the snowflakes bring us as they gently fall on us. We put out our tongues to taste them and let them melt slowly in our mouths.

We are being put under the spell of Pamuks writing I,m sure his real mesages will not be revealed for many pages. Remember in "My Name is Red" the story only became clear in the last chapters.

Pamuk is presently teaching at Columbia University in NYC. Hopefully no mad man will try to attack him in the U.S.

Judy

Traude S
January 24, 2007 - 07:43 pm
MARNI, yes. We can readily deducee from the first few chapters that Ka is a shy man, a loner, surely na introvert of extreme sensibiliy - as behooves a poet, one might say.

JUDY, yes. People notice Ka's coat. Its style is different, nothing like it is available in Turkey. By inference Ka too is 'different'.

The atmosphere and mood in these first chapters is reminiscent of the term "in a glass, darkly". The snow muffles most sounds; everything seems tentative, blurred, uncertain.

it is interesting that Ka mentions where he bought the coat, "the Kaufhof". It is a chain that has several stores of varying size in all cities, large, medium and small. The Kaufhof is popular with foreign workers because of its sensible, affordable prices, much like the CoOP stores in Switzerland.
There are other fancier department stores and large numbers of boutiques, some more affordable than others.
Ka also mentions Bally. That is an expensive

Jonathan
January 24, 2007 - 08:09 pm
I like the suggestion from Judy that Pamuk's writing can be spellbinding. He does have a unique way of spinning a tale. His style may present difficulties. But they can vanish very quickly, only to be replaced by mystery. Now that's a way of resolving a problem, isn't it?

'The coat is very symbolic.' Of course. Perhaps just as symbolic as the headscarves we'll be hearing about

The coat is from Germany. That is significant. I would like to thank Traude for the fine background post about Turks in Germany. The information in the post will have many ramifications as we go along. Suddenly it became clear to me that at one time Turkey and Germany had a relationship much like the one between Turkey and the U.S.A. now.

Marni, your posts are probing questions into what motivates the poet Ka, his prolems and his searchings. He has come home, called home by his mother, so to speak. He is looking for happiness, is he? I wonder, being a poet, will he tell us what happiness is.

Hats, you too, it seems to me, that you too picked up on the information supplied by Traude. What is like to be an exile? Will Ka now compare exile in Germany with life in Turkey?

You ask why did Ka lie about being a journalist. That's a good question. Is he a little surprised himself at playing a new role. Did he take the job to pay expenses, or because no other Istanbul journalist dared to take the assignment in Kars?

Laura, no doubt you are right about mother's role in the plot. Enough that her death brings Ka back to Turkey. And yet I feel there must be more to it. The mention of her. I'll make a wild guess that Orhan Pamuk's mother died about the time of writing the book. They were very close. We remember that from RED.

Hats, I see your other post. Can thieves be honest? Murderers tender? Atheists superstitious? Do you think we'll be meeting them?

Mal, you are travelling your own magnificent road back!

I like that:

"There's something old-fashioned about it, plot and all."

Well. Well. Don't go away. We may be calling on you.

Thank you, Traude, for the background and the link. I believe there is much more in an historical or cultural way that would enhance our appreciation of this book. We may be calling on you again.

Jonathan
January 24, 2007 - 08:13 pm
I've just seen your post, Traude. I wondered about Kaufhof. I thought perhaps it meant shopping mall. On second thought, 'shopping mall' has probably found its way into the German lexicon.

Traude S
January 24, 2007 - 09:01 pm
My apologies for my unfinished post # 104. I was about to make corrections when everything was suddenly gone, lost, irretrieavable.

But when I decided to try again a few minutes ago, there was the post, with typos, and incomplete to boot ! Sorry.

JONATHAN, there are no large shopping centers or malls in Germany or Switzerland. There simply is not enough room. Both countries are densely populated. Housing in Germany still is an enormous problem despite continuous construction since the end of WW II. The demand far exceeds the supply, and many small farmers in outlaying areas around Frankfurt for example have become rich by selling their asparagus fields and other acreage at ecorbitant prices to city folk desperate for breathing space.

Foreign workers in particular have suffered the predictable consequences at the hands of greedy city landlords. We'll read later how Ka fared in Frankfurt.

The mention of <UBally surprised me: Bally is a legendary, high-end Swiss-based manufacturer of exquisite leather goods, famous especially for its shoes.

Yes, JONATHAN and JUDY, the reader is spell-bound and at the same time compelled to press on, expecting to find out more of what is still hidden from view and understanding. For my part I have not set out to look for any inconsistencies. Readers of "RED" will see some similarities. But for now the plot development interests me more.

Thank you all.

marni0308
January 24, 2007 - 09:21 pm
1. Does anyone know why Pamuk compares the suicide girls in Kars to something in Batman? He mentions Batman twice in the first 2 chapters.

2. Does anyone know anything about the name "Bey"? Several characters in the beginning have last names that end in "bey." Is this a common Turkish name? I wonder if this is important. Didn't "bey" mean something like "king" or "admiral" in the Ottoman Empire - would that have been arabic?

I must apologize. I didn't read "My Name is Red" and I don't know a thing about Turkey. This will all be new for me.

Traude S
January 25, 2007 - 06:09 am
Good morning.

MARNI,
1. I too stumbled over "Batman". It is actually a town in the oil-producing area of Turkey.

2. "bey" or capitalized "Bey" following the last name is like our "Mister".
http://en.wikipedia.org/wiki/Bey

Traude S
January 25, 2007 - 06:20 am
http://www.turkeyforyou.com/travel_turkey_batman

hats
January 25, 2007 - 06:35 am
Traude, thank you for all the interesting and needed information.

LauraD
January 25, 2007 - 07:03 am
I found this official site of the author to be quite informative:

Orhan Pamuk Official Site

hats
January 25, 2007 - 07:14 am
Good site! There is a New York Review article written by Margaret Atwood.

marni0308
January 25, 2007 - 09:13 am
Traude and Laura: Thank you for the helpful info.

I reached the end of chpt. 2 last night and discovered Batman was a city. (Actually, I guess it's a province according to the link above.) I was thinking of the comic book Batman. (DUH)

marni0308
January 25, 2007 - 09:23 am
It's strange reading about the "head scarf suicide girls." I think someone mentioned earlier that the head scarfs were a form of.....security? Something like that.

But what I'm finding in the first chapters is that the head scarfs represent radical Islamic political defiance. It seems in our book that Turkey is being pulled in many directions politically and culturally. Some want it westernized and in some areas head scarfs for women have been banned. The "political Islam" movement seems to have become powerful and I guess that group insists women wear head scarfs.

It will be extremely interesting to find out more about this as I continue to read.

Is this head scarf business and the suicides really going on in Turkey today?

Jonathan
January 25, 2007 - 10:07 am
Is this chapter the kind of thing Ka might have written for the Istanbul readers of the REPUBLICAN, Ka's employer? With its background color. Its unpleasant, disturbing facts. And its tentative analysis of the dire happenings.

Would Pamuk's Turkish readers nod their heads knowingly at the little exchange between Ka and Mr(Bey) Kasim, the assistant chief of police, over the matter of Ka's security?

'Do you need protection?' Ka is asked, despite Kasim Bey's 'assurance' that Kars is a peaceful place. 'To set your mind at rest.'

With our own newspapers reporting the death of the journalist Hrant Dink, and reminding us of the steady succession of such events over the years, it does become a matter of concern for Ka's safety.

It should also be remembered that the years preceding the writing of the book, especially perhaps the nineties, Turkey was beset by civil unrest. Those were the years when the Kurdish activist Abdullah Ocalan was causing the authorities so much trouble. Ocalan, one might say, was Turkey's Osama bin Laden in the nineties. Ocalan was finally run aground in Italy, I believe, extradited, tried, and imprisoned. Naturally, Ocalan was, probably remains, a hero to his many Kurdish followers.

There is much to talk about in Chapter 2. Without a doubt, and it's already evident in your posts, everyone will discover a good talking point.

The Bally valise must be a reminder that Ka's circumstances were very comfortable at one time.

marni0308
January 25, 2007 - 11:10 am
It's pretty shocking reading about the unhappiness of the women. As Ka makes his rounds interviewing families of the suicide girls, he hears the tales of woes such as husbands beating their wives, who seem to marry at a very young age. What a sad story about the girl whose teacher spread rumors that she was not a virgin and the resulting tragic events.

I'm already getting my hackles up about the treatment of women. Uh, oh. I wonder what Ipak's life will turn out to be like. I'm guessing we'll find out.

Jo Meander
January 25, 2007 - 12:12 pm
Here's Orham Pamuk's essay (his Nobel speech) as it appears in the New Yorker, December 25, 2006. Apparently it's an edited version, but the original version illuminates emotions that we are discovering in the novel.
My Father's Suitcase

Jo Meander
January 25, 2007 - 12:33 pm
Thanks, Traude, for all the information about the Turks in post-war Germany and the explanation of "Bey." Most helpful!


I thought of the Nobel lecture in the New Yorker When Sedar Bey welcomed Ka to their "border city." In the lecture, Pamuk said how marginalized he fells as a Turk. He feels left out of the center of things, the life and literature of the Western world. Being a Turk is living on the edge of the world, shut away from its vitality. He has much to say about the life of a writer and of a reader, as well. Memorable:
"When a writer uses his secret wounds as his starting point, he is, whether he is aware of it or not, putting great faith in humanity. My confidence comes from the belief that all human beings resemble one another, that others carry wounds like mine-- and that they will therefore understand."

ALF
January 25, 2007 - 02:24 pm
Boy, if that doesn't grab you right away, sit tight. I love all of your thoughts about Snow.
The most moving sentence to me was the "Silence of the Snow" as it moved from the quiet flakes slowly falling in reach of the ground, to an all out blizzard as Ka progresses on his journey home. As I read these first couple of chapters, I continued to think about Mal's comment that the narrator is Snow. I can't shake that urge to read into Mals thoughts about this. We shall see. Ka says that it only snows once in our dreams. What does that mean?

Can't you feel his reverie as he chugs along on the train, lost in his sleep and his dreams? The snow falling acts as a blanket for him. Shrouding his dark thoughts with an air of purity.


I haven't figured out yet why he was exiled in Germany for all of those years. hmmm The silence of the Snow. Will the fact of these young girls committing suicide be shrouded, putting a veil of secrecy over the facts, much like the snow covers the dirt and the filth of the city?

Judy Shernock
January 25, 2007 - 03:49 pm
Since the book mentions Kurds, and specifically unemployed Kurds (Chapt.2-paragraph 1) I realized that I read about this people in the daily war reports about Iraq and now in this book about Turkey. I googled and found out the following :

There are fifteen million Kurds. They live in the following countries: Turkey-55%

Iraq-20%

Iran-20%

Syria-5%

They would like their own independent strate which they refer to as Kurdistan. In another article they said that the Kurdish population is thirty five million.

Turkey has a long history of troubles in Kurdish dominated areas of its country.

Judy.

marni0308
January 25, 2007 - 06:15 pm
Alf: You quoted the line "Can't you feel his reverie as he chugs along on the train, lost in his sleep and his dreams?"

When I was reading this, I wondered if everything that followed was going to turn out to be part of Ka's dream. The snow hasn't stopped falling yet as far as I've read and it only snows once in a dream.

Jo Meander
January 25, 2007 - 06:54 pm
Can snow be the insulation against the pain of truth? Will we come with Ka to see that truth more clearly?

Jonathan
January 25, 2007 - 06:59 pm
It isn't often that the author of a book under discussion gets himself into the news over what he is writing.

The words were spoken by a man who seems to have been complicit in the assassination of the Turkish journalist Hrant Dink.

Killing brings the dark side of Turkish town into the light

more

Jonathan
January 25, 2007 - 07:09 pm
ALF, what a nice surprise to see your post. Please join this distinguished group which has come together to discuss SNOW.

I hope nobody minds if we linger over these opening chapters as we look for an orientation in these complex themes.

Jonathan
January 25, 2007 - 07:43 pm
'A writer is someone who spends years patiently trying to discover the second being inside him, and the world that makes him who he is.' Taken from OP's Nobel speech.

I can't recommend Jo's link highly enough. In her post #118. I believe that what he says about 'the second being inside him' is a key to part of the mystery of the book. The intrusive narrator may be the protagonist's second self. But that's anticipating. Sorry.

ALF
January 26, 2007 - 06:43 am
- was the most moving, emotional written tribute that I have read in a long time. It was like a eulogy for his dad, wasn't it? Just reading that article would move anyone to reach out for another fine works of writing by Mr. Pamuk. (Pamuk Bey)

I don't wish to read ahead Jonathan. Would you please tell me how far we are reading this first week?

hats
January 26, 2007 - 07:19 am
My Father's Suitcase

I agree Alf. The article is written beautifully. When I read the words of a very talented wordsmith like Orhan Pamuk, I become excited for days. It's impossible to describe the way feelings and thoughts of others can make me feel more authentic. I am given the strength to to continue on life's undiscovered paths. Orhan Pamuk is gifted. This article proves it. I want to quote the whole article.

"For me, to be a writer is to acknowledge the secret wounds that we carry inside us, wounds so secret that we ourselves are barely aware of them, and to patiently explore them, know them, illuminate them, own them, and make them a conscious part of our spirit and our writing."

Jonathan, I love reading slowly. These words are too meaningful and glorious to pass over quickly.

ALF
January 26, 2007 - 07:26 am
Oh Hats! As usual, I am on the same page as you. I love to read this type of writing, sit back with my tea and just soak up the emotions.

I love what he calls the "weight of Literature."

"Amid his shadows, he builds a new world with words. As we hold words in our hands, like stones..."

Like stones! Can't you feel that burden as the author attempts to find the proper word?

" ..sensing the ways in which each is connected to the others, looking at them sometimes from afar, sometimes from very close, caressing them with our fingers and the tips of our pens, weighing them, moving them around, year in and year out, patiently and hopefully, we create new worlds."

Oh I am so impresseed with those words. They truly moved me to tears.

hats
January 26, 2007 - 07:36 am
Alf, my toes have curled up. That's a good thing.

LauraD
January 26, 2007 - 08:01 am
After reading Chapter Two, where Ka, as a newcomer, must pay a visit to the police, and then is offered police protection, and then reading the articles provided by Jonathan on Orhan Pamuk being threatened, I suspect violence is becoming expected in Turkey. Then reading about the tragic deaths of the girls on top of that --- whew! It gives me pause.

Malryn
January 26, 2007 - 08:53 am

A writer has as many 'beings' as there are characters in him or her. Unless, of course, these writers have only one thing to say.

At this point in the book, Ka seems to me to be childlike, naif and unrealistic. It's been suggested elsewhere that each charaacter in this book has an alter ego. I see them as simple folk, who, if we are not like that, we find hard to understand and easy to complicate.

Ka will change as the book goes on.

Mal

hats
January 26, 2007 - 12:05 pm
Mal writes, "I see them as simple folk." I think this is why the people don't seem foreign to me. As I focus on the suicides, I wonder what message did these girl women wish to leave behind? One message possibly is that rituals and traditions are important in life. However, like anything, if we become enslaved to our practices, we might become doomed to some type of death. There are many ways to die: death by suicide, death by illness, death by closing our eyes to life.

In Turkey what exactly does the head scarf represent? This is just knowledge for my intellect. Beyond that, what is the head scarf in my life? What is it that controls me? Rather than give it up, what would I die for? Anything?

Ka writes about a shroud of silence. A silence so heavy it is like a dead person's garment. Is it possible to live productively in such a world of silence? It's no wonder the girls just gave up. It's like their personal world became their enemy. What needed to be done to save these girls?

Jonathan
January 26, 2007 - 12:08 pm
From the beginning we get the impression that Ka is having a love affair with snow. Snow is the poetry of his life. In it he sees a divine silence. A promise of purity. And now, a loss of innocence!

His arrival in Kars has made a sudden difference.

"The snow here was tiring, irritating, terrorizing."

What a strange way to feel about something he loves. He seems to blame the snow for the gloom and doom that he finds in his surroundings. Concealing or revealing - Ka accuses the snow, is forced into "let(ing) the snow get the better of him." He is unhappy.

Where, he wonders, is the fairyland he saw, as a child, when he would peer through his window at the falling snow.

Kars is a dreary place. Dirt, mud, and darkness. Old decrepit buildings. Packs of dogs forever barking at passersby. Lifeless shanty houses. Gloomy teahouses where gloomy unemployed men sit watching television.

Kars is a dreary place. With its murdered mayor and its suicidal young women, it's ready-made for an investigative journalist's attention.

What an appropriate atmosphere the author has established in which to introduce the melancholy events that have thrown the community into a near panic - the deaths of the teen-aged girls. An atmosphere in which one can find many reasons why a young girl might despair, might commit a sudden, fateful act. And Ka tries to follow up on all of them.

Still in Chapter 2....

hats
January 26, 2007 - 12:31 pm
The thousand year old Armenian church in Kars, is that a famous church with a name that we might find on the internet?

LauraD
January 26, 2007 - 12:57 pm
Hats, thanks for asking the question about the church. I found some interesting information and pictures of Kars and the church. The church could use a refurbishing!

Kars

Church

hats
January 26, 2007 - 12:59 pm
LauraD, that's great! Thanks.

Traude S
January 26, 2007 - 02:01 pm
ALF, what a pleasure to see you ! Welcome !

In "Snow" we are actually in medias res = the immediacy of the story yet without a handle on the recent history of the Republic of Turkey. We all heard of the Ottoman Empire which, like the Austro-Hungarian Empire, was dismantled after WW I, with some catastrophic consequences, among them Iraq.

The founder of the Turkish Republic was Mustafa Kemal, later given the moniker 'Atatürk' = the father of all Turks. It was he who liberated society and, most important, encouraged women to shed the head scarf all Islamic women needed to wear. He championed Westernization (not specifically defined) and was hailed as a great liberator.

An aside : We should realize also that the bitter, implacable enmity between Turks and Greeks dates from the WW I period; the island of Cyprus is divided between the Turks and Greeks. There is ongoing tension locally that is bad for tourism, a main source of income. The Greeks have vigorously protested against Turkey's admission to the European Union. Please know, this is not something we need to know for this book.

But we do need to realize within the context of this book that the Kurds and the Armenians are minorities in Turkey, and it is interesting to watch the interaction and role-playing (for want of better word) between characters in the book.

Turkey, still a desperately poor country, became a secular state -- and then the Ayatollah Koumeini returned to Iran from political exile in France and enforced strict adherence to Islamic rules and practices. Iran had been westernized under the Shah, women wore western clothing, no head scarf. Everything changed over night :

Islamists everywhere became more forceful and seeking to take charge, especially in Turkey. Head scarves made a comeback. The Turkish army is subject to the secular government, but the situation is becoming ever more strained, as will become clearer in the book. Note : the followers of Mustafa Kemal are referred to as "Kemalists" in the book.

I hope this background will be helpful.


http://en.wikipedia.org/wiki/Mustafa_Kemal_Ataturk/


P.S. The original link was as above but with Atatürk and worked for me as separate input several times, but alas, not here. I changed the diacritical mark 'ü' to the simple 'u', but that does not work either. Sorry.

hats
January 26, 2007 - 02:40 pm
Traude, thank you. All information is needed.

marni0308
January 26, 2007 - 02:45 pm
Laura: Thanks for the interesting info about Kars and the church. What a history Turkey has had! It's been conquered so many times and be so many different peoples. The article about Kars certainly does not present the dark gloomy place we are seeing in Snow.

The article you linked us to mentioned the area was known for its tasty "kasar" (Keshkawal) cheese. The area cheese was mentioned in Snow. We discussed Manchego cheese in the Don Quixote discussion - cheese made in the La Mancha area - and some of were able to find it in American stores and try it. I wonder if the Keshkawal cheese is sold in the U.S. Has anyone tasted it?

Jonathan: You mentioned "We should realize also that the bitter, implacable enmity between Turks and Greeks dates from the WW I period." I was thinking it that it dated far earlier than that. We've read some stories in Ginny's SeniorNet Latin class about the Trojan War!! And then, of course, Greece was part of the Ottoman Empire from the 14th century until its declaration of independence in 1821.

hats
January 26, 2007 - 03:10 pm
I am reading back over the posts. I know there is so much important information. Marni, you have given me a better understanding of the reason why the head scarves are important to the girls in Kars. Marni posted,

"But what I'm finding in the first chapters is that the head scarfs represent radical Islamic political defiance. It seems in our book that Turkey is being pulled in many directions politically and culturally. Some want it westernized and in some areas head scarfs for women have been banned. The "political Islam" movement seems to have become powerful and I guess that group insists women wear head scarfs. "

Jo Meander
January 26, 2007 - 03:31 pm
Traude, could we just look up Ataturk? Or isn't that the right way to get the information? I'm not getting anywhere with that Wikipedia connection.

patwest
January 26, 2007 - 06:12 pm
Jo, Try this link.

Ataturk

Traude S
January 26, 2007 - 06:47 pm
PAT to the rescue ! Thank you so much!
JO, that is the link I tried in vain to transfer. The diacritical mark over "türk" did me in.

In the tumultuous history of her expansions, Turkey was the conqueror rather than the conquered. Twice the Turks stood before the gates of Vienna but were repelled - in Austria they still sing a song about "Prinz Eugen, der edle Ritter" = Prince Eugene, the noble Knight.
http://en.wikipedia.org/wiki/Prince_Eugene_of_Savoy

Jo Meander
January 26, 2007 - 08:52 pm
Maybe I can get to the Prince later. Still dealing with Ataturk! thanks!

Jonathan
January 26, 2007 - 08:59 pm
Traude, thank you yet again for the historical information. For the background. It may be as you say: there is no absolute need to know. Pamuk no doubt intended the book to stand or fall as a literary endeavour, as it is; but can there be any doubt that his Turkish readers will make many associations as they read the book. So, please, I would ask everyone to enhance our appreciation of (or is it for?) the book with any and all information of Turkish affairs. Let's see it as an opportunity to learn.

Many of the events in the book reflect the current situation in present-day Turkey, as well as the trends and development in the nation building begun by Kemal, It is a battleground between secularists and Islamists, between atheist and believer, with ethnic animosities adding fuel to destabilizing political strife. It was an ultra-nationalist, it is believed, who assassinated the journalist.

And this is what Ka has come home to, to find himself caught in the middle, between contending parties. And is immediately asked, why have you come here?

I believe it was in the mid-nineties that the state decided to ban headscarves in the classroom, making it an obvious issue for a book such as SNOW. No doubt it has since then been much discussed, looked at from every side, as we shall see.

The headscarf figures in only one of the seven suicide stories. Perhaps I'm wrong. It was felt that the only thing all girls had in common was their unhappiness. To wear, or not to wear the headscarf, was a painful decision to make. Is it any wonder if some women wondered if Islam was primarily a dress code? While others wondered why women should bear the burden of defying a secular state, of defending Islam, of making a stand.

One sees headscarves everywhere nowadays. In the workplace, on the streets, on the campuses. They can be very attractive.

The discussion is off to a wonderful start.

marni0308
January 26, 2007 - 09:43 pm
In the U.S. we used to wear headscarfs all the time when I was a girl back in the 1950's - but for outdoor wear or to cover up hair curlers. They were the fashion. We weren't forced to wear them as part of our culture or religion. We were supposed to wear hats to church, too, as were men. But scarfs then were a fashion statement and eventually went by the wayside. We weren't wearing headwear and clothing to cover ourselves up because we were women.

Re "While others wondered why women should bear the burden of defying a secular state, of defending Islam, of making a stand".......In Chpt. 3 I think we'll see one reason why some Turkish women might have supported Islam.

hats
January 27, 2007 - 01:41 am
Jonathan, to me it's a little confusing. When the young women are discussed in Snow, they are called head-scarf girls. This gives the impression that all or more than one wore a head-scarf or committed suicide because their right to wear a head-scarf was being questioned and stopped by the authorities.

Like you Jonathan, I only see one girl using the head-scarf to take her life. Using this way to die she makes a major statement. "When she saw some of her friends giving up and uncovering their heads, and others forgoing their head scarves to wear wigs instead, the girl begain to tell her father and her friends that life has no meaning and she no longer wantd to live."

I have reread the posts, trying not to miss any posts. Traude, I would like to see some information about Islam and information about the Kurds. I have trouble remembering all aspects of an issue. I need to have information repeated from one discussion to another, not everything sticks or it sticks better each time I see or hear it.

hats
January 27, 2007 - 01:45 am
Marni, I remember silk head scarves too. I didn't wear a head scarf with curlers. I did wear those scarves to school, work and other places. Those scarves were very pretty with flowers and other designs. Some were in solid bright colors: green, orange, red, royal blue. Those scarve kept your head and ears warm. All you had to do was tie a knot under your neck.

hats
January 27, 2007 - 01:49 am
Marni, I remember silk head scarves too. I didn't wear a head scarf with curlers. I did wear those scarves to school, work and other places. Those scarves were very pretty with flowers and other designs. Some were in solid bright colors: green, orange, red, royal blue. Those scarve kept your head and ears warm. All you had to do was tie a knot under your neck.

ALF
January 27, 2007 - 06:00 am
I was giggling here at the posts today because yesterday I went to see The Queen with Helen Mirren as Elizabeth. I mentioned the heavy silk scarves that she was forever donning when she walked about the grounds of her home. One of the ladies remarked with that much money available she could afford prettier scarves to wear.
Unlike our Islam girls Elizabeth wears them for adornment, these girls wear them for Allah. Doesn't that denote orthodox devotion for these young girls? It is traditional, ostesnsibly conformist and that doesn't fit into the secularists idea of reform.

What else is this about? I feel an undercurrent of something other than secular vs. orthodox. There is something more odious and offensive in this political debate.

Malryn
January 27, 2007 - 10:40 am

I am reminded of my hometown in Northern Massachusetts during the Great Depression, as I read this book. Everything was as bleak and hopeless in that small city, which had shoe manufacture as its only means of employment, and nobody had any money to buy them -- as it was in Kars.

The Turkish suicide girls had reached a degree of hopelessness that nothing could change. Without hope there is no reason to live. Political change can't affect the rules and laws of age-old religion that are so ingrained that they are part of the people themselves.

Add to this a kind of masochistic-sadistic romanticism that makes it all right for husbands to beat their wives at the slightest provocation and females expected to bear the burden of guilt for the sins of the male-dominated state, and you come up with a big, fat, hopeless zero.

Mal

Judy Shernock
January 27, 2007 - 12:43 pm
First want to mention the title of Chapter Two: "Our City is a Peaceful Place". The chapter is about the horrors of the suicides.

The suicide stories are not really related to religion-That is only the Veil, and behind it there is violence, fear and horror. The girls are victimized by a cruel male society:

"It wasn't the elements of poverty or helplessness that Ka found so shocking. Neither was it the constant beatings to which these girls were subjected, or the the insensitivity of Fathers who wouldn't let them go outside, or the constant surveillence of jealous husbands...."

Remember these girls are only 15 or 16 years old. Their lives are horrific. Each story of a suicide is about the brutality the girl suffered at the hands of a cruel male relative. They could not take any more . Their suffering could not be born by their scarred and bruised souls.

Pamuk goes on to tell us the statistics of the female suicides.."the number of female cases was three times greater than the number for males and and four times the world average.".

This chapter is setting the mood for the book. What is behind the veil,beneath the snow and in the souls under the scarves.

This is about people using brutality in the name of "Allah".

Judy

Jo Meander
January 27, 2007 - 06:09 pm
I agree with Judy and Malryn. The return of Islam after a period of a secular government seemed to pave the way for female repression, as in Afganistan where the Taliban reinstated old rules that repressed and brutalized the female population. Ataturk had precipitously introduced twentieth century secularism with mixed results. In the story the Islamists have returned, taking advantage of hard times in Kars, setting up a situation where females can be repressed again. Scarves or no scarves? The women wanted freedom, the right to make their own choices, and probably would have settled for any religion or no religion as long as their society would have protected them from male repression and brutality. Doesn't poverty and the struggle just to survive make things worse for women, who often become the scapegoats for the frustrations of the men?

Traude S
January 27, 2007 - 08:16 pm
Atatürk was forward-looking and had the best intentions. He succeeded in many of his efforts, even created a new language. Islam was always the state religion, but the hold of the Imams was not as tight.

When Atatürk died in 1938, much mourned, there was tension in Europe. War broke out one year later, September 1, 1939.
Turkey mamaged to stay neutral. But the post-WW II period was difficult for Turkey, like much of war-ravaged Europe.
There were multiple parties from 1946 to 1960, followed by an Armed Forces Coup and Interim Rule from 1960-61. The Turkish economy suffered from the decreasing trade with the Soviet Union during the Cold War.

Pamuk alludes in the book only generally to several such upheavals. We know that he, like Ka, was living in relative prosperity in Westernized Istanbul, sheltered from the effects of violence, scarcely even aware of them.

Little by little we learn why Ka made the detour to Kars and pretends to be a journlist. An old friend in Istanbul had mention that a mutual friend from their university days, Ipek, was now living in Kars, divorced from her husband. He mentions also the upcoming municipal election in Kars as well as tensions in the aftermath of several suicides of young girls over being barred from school and the campus for wearing the banned headscarves.

There is yet another reason, we discover, one Ka hesitated to admit to himself : after twelve years in Frankfurt he would like to find a Turkish girl to take back there with him.

Ka takes long walks through the shanty areas of the town and tells us over and over that the teahouses are full of unemployed men who spend their days there playing cards, smoking and watching TV. He meets the editor of the local paper (which has a ridiculously low circulation); the editor then takes him to the chief of police, who offers Ka protection (even though Kars is a peaceful town!).

In Chapter Four Ka meets Ipek again.

Jonathan
January 27, 2007 - 10:16 pm
It's distressing to read Ka's recital of 'the never-ending woes of Kars.' He admits to being shocked and frightened, hearing stories that 'would haunt him for the rest of his life.'

Who would dare to say that he is exaggerating? Mal remembers New England mill towns which seemed just as demoralized and hopeless as a place such as Kars. Here in Canada we hear of outbreaks of suicides among the young, in far northern communities.

It's the violence and constraints and restrictions put on women that seem so incomprehensible. Thankfully, the author gives us the worst of it in this chapter for narrative purposes, and we hear little more of it after this. It seems a journalistic rite of passage, necessary to the plot, expected by his readers, but not to be dwelt on unnecessarily. Just get the readers angry at the cynicism of the policeman's 'Our city is a peaceful place.'

In fact Ka seems a little surprised at his own feelings. He relates the girls' fate, but it is the manner of their deaths that frighten him, as he compares them to 'his own fantasies of suicide'.

That raises an interesting question. We were told in the first chapter that he had an inclination to empathize with others. Is that reflected in his accounts of the lives of the people of Kars. Is it his artistic temperament at work here? Looking for a story? Or truly trying to understand people?

Yes, Marni, I remember the headscarves the girls, and women, so often wore in the fifties. They seemed so attractive. But of course there were usually plenty of curls and tresses and bangs set off by the kerchiefs. Did you ever feel you were making a statement?

Jo Meander
January 27, 2007 - 10:51 pm
Muhtar Bey is the mayoral candidate for the Party of God, the Islamist party. If he is elected, will the girls be allowed or even required to wear the scarfs that now cause them to be banned from their classes? The deterioration of the city described by Ka seems to be the result of the endless wars, atrocities and changes in occupation by the conflicting ethnic groups and political powers. Sedar Bey says that it is "the work of the international Islamist movement that wants to turn Turkey into another Iran." Many of the people are saying that the suicide girls are "badly deceived." Does Sedar Bey mean they have been deceived by the Islamists who are promising a better life if their political party rises to power, or does he mean they have been deceived all along by whomever is in power, thinking that their lives would improve because the opression they experience will stop?

Jonathan
January 28, 2007 - 12:55 pm
I is back. In Chapter 1 he, or she, appeared, to tell the reader that

'I'm an old friend of Ka's, and I begin this story knowing everything that will happen to him during his time in Kars.'

and now, in Chapter3 we're told

'In time , I was also to hear many stories about former owners of the Snow Palace Hotel, where Ka was staying.'

Doesn't that set one to wondering who the real players are in this unfolding drama?

Then there is Ka's coat. Does he ever take it off? Does he wear it for comfort, for security, or personal identity reasons?

'Ka was lying on his bed with his coat on, lost in daydreams....'

or, 'walking through the snow...Ka found himself thinking, I'm so glad I bought this coat!'

Then there are the numbers to play with, to establish interesting dates. Take for example the history of the printing press of the Border City Gazette. Can we establish, for example, the date of Ka's return from exile from the following? In the office of the editor

'There was also a framed copy of the newspaper's first issue, published forty years before. In the background was the reassuring sound of the press's swinging treadle; 110 years old, it was manufactured in Leipzig by the Baumann Company for its first owners in Hamburg. After working it for a quarter century, they sold it to a newspaper in Istanbul (this was in 1910, during the free press period following the establishment of the second constitutional monarchy). In 1955 - just as it was about to be sold off as scrap - Serdar Bey's dear departed father bought the press and shipped it to Kars.'

Now, in the year ....?, Ka has come to Kars to fetch himself a wife. And he is very satisfied by his first meeting with Ipek. He was 'stopped dead in his tracks' when she suddenly appeared before him. Still, he's frightened by the feeling of 'guilt and shame'.

Kars was once an outpost in the Russian Empire, a place of banishment! Like Siberia! But the banished found palaces, not gulags.

Don't forget to watch the second part of Jane Eyre tonight. Now there's a fine English country home.

Traude S
January 28, 2007 - 09:57 pm
Jonathan, I concur with your # 158.
We cannot possibly take in each and every detail as to Turkey's history, past and present, read up on the ethnic minorities and their status, nor the political situation, which is so difficult for us to comprehend since most of us never lived in an oppressive and aggressively nationalistic country. So much is alien to us, not only history and landscape but even the reactions and mood of the characters.

The plot revolves around Ka, what happens to him in Kars and the role he plays in events yet to unfold. Certain connections will become clearer, but at this juncture it is impossible to predict what will happen.

hats
January 29, 2007 - 03:16 am
Kars

Kars

With the second link there is a video.

Jonathan
January 29, 2007 - 09:33 am
That's a headline from the second link that Hats has provided. Along with the information in the first, it gives a magnificent overview of the hisorically rich past of this ancient land. I wonder how Pamuk would feel about the cultural and perhaps nationalistic objective that the heritage people have set for themselves. After all he is constantly pointing out the presence of other cultures and races. For which he has landed himself into trouble with the authorities. The Armenians and the Kurds were in the area long before the Ottomans arrived. On the other hand, Pamuk would seem to be a proud Ottoman. We're in the cradle of history, with its endless complexities. It would seem audacious for a stranger to think he could come into the area to restructure things. Even Ka, coming back after an absence of twelve years is amazed at the changes. Everything seems decay and destitution. He has come back to find his roots, his lost childhood, a purity which seems to have gone out of his life. He wears his coat of Westernization, but seeks something else. He is a product of Ataturk's secularized republic, which now seems threatened by a resurging Islam. Something in the air, here, to which he soon responds, to his surprise:

'...the desolation and remoteness of the place hit him with such force that he felt God within.'

It's easy to be overwhelmed by the rich historical background and the fury of contemporary politics in this novel. I find myself looking at it as one man's search for an understanding of himself and the roots of his chosen art: poetic expression.

It's easy to get lost in this intense search of we know not what. However it often happens that once you get past the perplexity, getting lost can be a lot of fun. Why don't we just go along slowy, and feel our way around. Post whenever the glimmer of a light appears to you.

ALF
January 29, 2007 - 10:22 am
How far are we supposed to read this week? I am into Chapter 6 and don't want to comment if I am ahead of schedule.

marni0308
January 29, 2007 - 10:58 am
Hats: Thank you for those fascinating sites and the beautiful pictures. Unfortunately, I wasn't able to see the video because my computer security blocked it. But the articles were so interesting.

Judy Shernock
January 29, 2007 - 11:39 am
Perhaps if we just treat the story like "Alice in Wonderland" and enjoy the unfolding plot and the "total madness" of the place we can enjoy it more.

Neither we nor Ka are responsible for the horrors. They exist and are part of this strange , cut off world that will remain far away and not meant to be understood or judged.

Perhaps it is the main characters who, like Alice, are to be understood and cared about and , at the end, remembered.

As Ka is enfolded in his German Coat so was Alice always in her starched English Frock. The garment gives the character a sense of self that helps them face the weirdness surrounding them.Being part of the story yet also being outside of it.

Judy

hats
January 29, 2007 - 12:18 pm
I think Ipek will also help Ka through all of the changes whether political or religious in Kars. Ipek and Ka can start on a common ground. Both have experienced the death of their mothers. Surely, this will help these two people jump over the heavy silences which could have intruded after so many years.

Traude S
January 29, 2007 - 01:37 pm
ALF, since one chapter a day was proposed by JONATHAN, you are in the right spot, I believe.

Thank you for the links, HATS. We need tangible pictorial representations because the story is suffused in melancholy, self doubt and fear.

ALF
January 29, 2007 - 04:53 pm

Jo Meander
January 29, 2007 - 06:17 pm
Thanks, Hats, for those links! The pictures are amazing, especially the citadel.

Jonathan
January 29, 2007 - 07:17 pm
We're stuck in this place for the duration. It wouldn't surprise me if it takes until summer to get out. Ka must find that terribly depressing, on top of the dreary day he has spent listening to horror stories. Now, in the second half of Ch 3 he has received a detiled explanation of the dire political situation which accounts for the misery and strife.

'It's the Kurds...'

'It was the Communists...'

'As for these Islamists....This is the work of the international Islamist movement that wants to turn Turkey into another Iran.'

And nobody is hated more than the governing secularists. They are all corrupt, with the assassinated mayor being a good example.

Would it be any wonder if Ka is secretly resolving to make a quick proposal of marriage to Ipek and hurry back to Frankfurt with her. Germany was ok, except for the loneliness. Ipek is probably dying to get out of Kars to the good life. But the roads are closed! Nobody's going anywhere.

What a cold proposal! Now, Rochester proposing to Jane last night, wow. What a difference when a woman puts her pen to paper!

Let's join them for tea at the New Life Pastry Shop.

I started out with the idea of a chapter a day, but now I'm in two minds about it. It would seem a pity to rush through this mad world that Ka finds himself in. I don't want to miss any details. I don't want anyone to feel rushed. I'm willing to take three months at a leisurely pace. Or until we've had enough.

The fast readers will just have to prod the rest of us occasionally...

Jonathan
January 29, 2007 - 07:28 pm
There may be interruptions. I received a letter from the Attorney General a week ago, telling me to report on Feb 12, for possible jury duty.

I should be in top form for assessing evidence by that time, what with the nature of this book! A trial got underway up here a week ago, which is expected to last a year. That's ridiculous. Don't they have a case? I don't need that much evidence. I'll take a book to read. SNOW, if we're still snowbound.

Traude S
January 29, 2007 - 08:40 pm
A question comes to mind : Is Ka rushing things with Ipek ? After all, he tells us that he had hardly thought of her in all the years in Frankfurt, really, really focusing on her only after he learned she was divorced.

marni0308
January 29, 2007 - 09:35 pm
I thought it was interesting at the end of chapter 3 to find that Serdar Bey's newspaper had prepared an article stating that Ka was going to recite his latest poem "Snow." Ka had not written it. Seydar Bey told Ka, "...There are those who despise us for writing the news before it happens. They fear us not because we are journalists but because we can predict the future; you should see how amazed they are when things turn out exactly as we've written them. And quite a few things do happen only because we've written them up first...."

Interesting. The words create the events. The media creates the news. I think this really happens to a certain extent. And, of course, we find that Ka does write a poem entitled "Snow," an occurrence somewhat beyond his control.

hats
January 30, 2007 - 01:47 am
Marni, I get the same impression. It's like all the control comes from somewhere else other than the individuals involved. Ka's activities have already been dictated for him in a public newspaper. It is uncanny. I would feel like running for my life.

Traude, I am not sure what to think of Ka either. I do think he is rushing things with Ipek. Ipek's life is pretty complicated. Ipek's ex husband is "the" mayoral candidate for the Party of God, her sister is the leader of the head-scarf girls and Ipek's father is a communist. Ka does not choose simple relationships. I feel that a bowl of trouble is brewing for Ka. I almost want to say that he is helping the mix to brew faster.

Is there only one mayoral candidate for the Party of God? The use of "the" made me ask the question.

marni0308
January 30, 2007 - 10:35 am
In chpt. 4 we find out several important things about Ka: that Ka's greatest fear is to write bad poems. Then comes the fear that his "studied composure" will fail him. Also, we find out he thinks "the cruelest truth of all" is that what binds him and Ipek together is that they have both lowered their expectations of life.

Ka is certainly a man of many insecurities and fears. He so often begins to panic, or he feels sad, or feels ashamed. With all of his worries, I'm surprised he goes zipping around the way he does, meeting so many strange, mysterious, frightening, or dangerous people. And he really does zip around. Have you noticed how he begins to be described so often as "racing," "dashing," and "running," etc. from place to place?

Traude S
January 30, 2007 - 12:39 pm
HATS, MARNI, how very true.

Ka considers himself a "moralist" (page 23); he is also a rather self-absorbed dreamer, perhaps a Romantic at heart.
He is ambivalent about Frankfurt where he found asylum and receives a modest stipend but has never been truly happy. He loves the libraries and spent a lot of time there, but he refuses to learn German, which is alien to him (of course).

But it is hard to see how, in actual practice, he like other asylants could possibly fail to eventually decipher nolens volens sign posts, street names, the itineraries of trains and buses, or learn to utter "please" and "thank you".

And that's where he wants to go in the company of Ipek, and that will be true happiness. No thought of staying in Turkey is articulated.

Ipek and Kadife are strong, independently thinking female characters and well drawn.

HATS, yes, there appears to be only one candidate for the Party of God. Apparently Muthar's chances are not great. He remains a rather nebulous character.

hats
January 30, 2007 - 01:02 pm
Yes, Traude that is interesting, Ka's ambivalence about Germany. While in Germany, he refuses to learn the language. Ka tells Ipek "My body rejected the language, so I was able to preserve my purity and my soul."

It seems not learning a language would only make your life harder. It is like penance, self inflicted punishment. I am trying to think like Ka. For example, I will not do this because then, my life would become easier, more satisfying, etc. That is like a martyr's complex. I have suffered as an exile for twelve years with no attachment to a foreign language. Therefore, I will definitely gain the love, respect of my countrymen when I return to Turkey. Is Ka a "moralist" or a self centered man knowing how to do what will prove best for himself? Is Ka a manipulator?

I do believe Ka is well aware of himself. He even points out the misspelling of his name, KA.

Traude S
January 30, 2007 - 01:23 pm
According to SPIEGEL on line (a weekly founded after WW II following the example of TIME), Orhan Pamuk has canceled on short notice his scheduled trip to Germany because of death threats similar to those sent to the journalist Hrant Dink before his assassination.

Pamuk was to receive an honorary PhD degree in Berlin and give readings in Köln (Cologne), Hamburg, Stuttgart and Munich. Pamuk is believed in extreme danger. Only a few days ago the alleged mastermind of Mr. Dink's murder said in a Turkish court : "Orhan Pamuk, be clever !"

The Cologne author Ralph Giordano has asked the Muslim communities in Germany to declare solidarity with Pamuk and organize protests against the deaths threats made against him.

More later

hats
January 30, 2007 - 01:25 pm
Marni, I had not noticed "how he begins to be described so often as "racing," "dashing," and "running," etc. from place to place?" Now I will watch carefully. I might gain more insight in to Ka's personality. I thought we would quickly learn more about the head-scarf girls. I feel Ka's personality is being drawn first before we get into the important issues involving Kars.

marni0308
January 30, 2007 - 01:25 pm
Hats: I think that is very interesting what you said about Ka - "It is like penance, self inflicted punishment."

I think you are right about this. I am not finding I understand Ka at all. I have read farther along now. I still don't understand him at all. We find very early on that Ka had been forced to flee Turkey - something someone else said, published in the paper?, was attributed to him and eventually he had to flee - It was like the intelligensia had to flee 12 years earlier - something like that. And he wants to go back to Frankfurt, I think, after he finds a wife, or happiness or something.

But he is remaining pure by not learning the German language? What is all this about being pure, anyway? Pure what? We learned in chpt 1 he was searching for purity.

Ka seems to be an atheist, but the whole thing about believing in God or searching for God is a big question and seems to be extremely important.

hats
January 30, 2007 - 01:27 pm
Traude, this is truly important. Thank you for sharing this information about Pamuk. I hope he can remain "clever" and ahead of the plans of his would be assassins. It is too sad to think of losing an author with such mighty talent.

hats
January 30, 2007 - 01:29 pm
Marni, I want to know the same thing. "What is all this about purity?

marni0308
January 30, 2007 - 01:32 pm
Traude: I have not yet found Ipek to be clearly drawn yet. I have learned a few things about her so far. She was at "university" with Ka and with her ex-husband. Her father is a communist and her sister is the head of the head-scarf girls. She and her husband are divorced. Her husband is the mayoral candidate for the radical Islamic party. Her family owns the hotel where Ka is staying. Ka thinks she is very beautiful. She seems to have common sense. She did not want to wear a head scarf.

That's it. That's about all I know about her at this point.

I don't know why Ka wants to marry her except that he thinks she is beautiful. ???

marni0308
January 30, 2007 - 01:36 pm
Wow, Traude, interesting about the threat! How creepy!! Please keep us informed.

Jonathan
January 30, 2007 - 07:52 pm
This is marvellous. I wrote up something to post and now I find that you all are seeing more in this than I am.

"I am trying to think like Ka." Good luck, Hats.

'Let's tell the truth: Ka loved Turgenev and his elegant novels, and like the Russian author, Ka too had tired of his own country's never-ending troubles and come to despise its backwardness, only to find himself gazing back with love and longing after a move to Europe.' p31

and

'Ka, you see, was one of those moralists who believe that the greatest happiness comes from never doing anything for the sake of personal happiness. On top of that, he did not think it appropriate for an educated, westernized, literary man like himself to go in search of marriage to someone he hardly knew.' p23

Doesn't this sound like one of those Chekhovian characters 'so laden with virtues that they never know success in life'? p4

Westernized after a couple of Russian novels?

Now, in the presence of the beautiful Ipek, in the teashop, the reader is told, Ka feels so unsettled,

'...that he feared his studied composure would fail him. (This was his worst fear, after that of writing bad poems.)'

It's difficult not to empathize with Ka, now under extreme pressure to write a poem, a reading of which is expected of him in that evening's live telecast of a hastily improvised variety show. A poem on demand is not his style. They come to him, he feels, when he is in a state of purity. (my conjecture)

As well, he seems very unsure of himself courting a lady. Or secretly, insincere?

Ipek seems so self-possessed. So self-assured.

Death threats! Turkey seems to be a dangerous place for journalists, authors, and as we shall soon see, educators.

hats
January 31, 2007 - 03:53 am
Jonathan, I have lost Ka's personality in all of this blinding snow. I will have to go inside a nearby cabin and recover my vision. My hands are stiff with biting cold. Perhaps, I haven't met such a person like Ka lately. Someone who is a moralist and so unselfish. I am here in a cabin snowbound waiting for help to come along. In the meantime Jonathan, I will try to catch your vision which is so clear and makes the journey worthwhile.

Malryn
January 31, 2007 - 07:27 am
Keep this in mind when reading this book:



Things are seldom what they seem,
Skim milk masquerades as cream;
Highlows pass as patent leathers;
Jackdaws strut in peacock's feathers.



Black sheep dwell in every fold;
All that glitters is not gold;
Storks turn out to be but logs;
Bulls are but inflated frogs.


Drops the wind and stops the mill;
Turbot is ambitious brill;
Gild the farthing if you will,
Yet it is a farthing still.


~W.S. Gilbert and Arthur Sullivan
HMS Pinafore

hats
January 31, 2007 - 07:45 am
Mal, the poem is very helpful. Some snow blew through the door as I reached out for your poem. I quickly blew the snow off the stationery. There is hope after all.

Judy Shernock
January 31, 2007 - 12:22 pm
Chapter Three: "Give Your Vote to God's party"

Ka is supposedly a non- beleiver yet......"the desolation and remoteness of the place hit him with such force that he felt God inside him."

"he had not yet acquired the secular intellectuals knack of detecting political motive when seeing a covered woman in the street........In young Ka's Istanbul a covered woman would have been the milkmans wife or someone else from the lower classes".

Together with Ka we are learning about the politics of God and the use of God as a political tool in this god forsaken place. Serdat Bey tries to explain it all to Ka who seems to be in a partial dream state. Is it too much to learn at once? Ka's dreams of an innocent childlike Kars are being destroyed and he tries to close his mind as he did to the German language and to concentrate on his literary pursuits.

No one knows why Turgut Bey and his daughters came to Kars four years ago. Although Ka's heart sinks when he hears this he shows no emotion or curiosity.

Perhaps he is a great poet but he is also a deeply troubled soul.

Judy

marni0308
January 31, 2007 - 01:59 pm
Judy: I like the way you said Ka is in "...a partial dream state." He does seem to drift off and escape from reality. I guess that is why he enjoys the peace and silence of the snow. It covers up the darkness and horrors of the present political turbulence of his country. Ka seems to be in a state of denial at many times. When he senses what is really going on, he deliberately chooses to escape as he hunts for happiness and purity.

Is his poetry escape or reality and truth? I've only seen the words of one poem so far. It was more coarse than I was expecting. Ka doesn't seem to have control over his writing. The poems just come to him suddenly with a jolt coming from elsewhere. He just seems to be the object that writes down the words. He wants them to be beautiful. Will his poems express what Ka cannot bear to see?

Malryn
January 31, 2007 - 03:44 pm

Some thoughts about Ka'a search for himself and the world.

Immaturity
Inconsistency
Duplicity
Evil Turks
God has no politics
Heaven and hell are both found on earth
Exploratory poetry
Is it a sin for one to seek happiness?
Or is it better to stay in a place where one's
tearful eyes and thoughts are blinded by snow?

Malryn
January 31, 2007 - 03:45 pm
SNOWBOUND

Jonathan
January 31, 2007 - 03:53 pm
'the partial dream state'

A fine collection of phrases here that reflect the bewildering atmosphere in which we find ourselves marrooned. Ka is obviously affected, just as the reader is. Perhaps a grand awakening awaits us all, as we add more and more detail.

I was struck by the following statement, in Ch4:

' - he (Ka) read whatever he wanted, (in exile, in Germany) and he read it all with the pleasure of a child who knows death is too far off to imagine' p34

Who is telling us this? The mysterious 'I' who knows it all. Is he trying to be melodramatic? What is that meant to suggest. Surely it is not a gratuitous use of an ominous event. Are we expected to see hope in that? That Ka will come out of this alive.

Is it Ka himself, telling us his story? Is this autobiography?

With Mal passing along that advice from Gilbert and Sullivan to read things correctly, I'm wondering if...what is it that you sense, Mal? You're familiar with the writer's craft. Can we take all this seriously?

By the way, if the place is god-forsaken, why would Ka feel cose to him here at the end of the world? Has his secular upbringing failed him?

That was a wonderful description of managed news. It made the newspaper look like the mouthpiece of the powers that be. This will happen, and it does.

Malryn
January 31, 2007 - 04:19 pm

If truth is a point of view; then is every character here lying to himself and herself and us, too?

jbmillican
January 31, 2007 - 05:52 pm
I found a blurb in my copy that the cover art was supplied by the author. It's the same illustration that is at the top of this write-up.

We are looking at the back of a lonely little man standing in the middle of an out-of-focus landscape. I think an important feature of this book is the state of uncertainty about politics, faith and personal life Ka exists in. The snow, I think, just symbolizes the distortion of everything around our hero. There just isn't certainty about anything, at least so far.

Juanita

Traude S
January 31, 2007 - 09:56 pm
It is hard to warm up to the character of Ka, let alone understand him. For a man of forty-two he is remarkably detached from the events into which he is plunged. Ipek, presumably of the same age, is far more mature and realistic than Ka.

Furthermore, Ka and the other characters have a different mentality, a propensity to shed tears easily, and display affection differently, or so it seems to me.

We won't know until much later in the book to whom the narration is attributable : Ka or the mysterious narrator.

Ipek and Kadife were both educated in Istanbul. We don't know how much younger Kadife is. (That didn't worry me at first but became a concern for me later.) Kadife wears the head scarf, Ipek does not. Both know what they want and have the courage to express it.

marni0308
January 31, 2007 - 10:11 pm
I don't know what Ipek sees in Ka, to tell you the truth. I haven't read too much about her ex, though. I don't like what I have read about him. Things couldn't have been good because she divorced him. So maybe she just needed a gentle sensitive poet at this point in her life.?? Someone who wasn't going to force her to wear a head scarf??

hats
February 1, 2007 - 06:33 am
Turgenev

I knew nothing about this Russian author, Turgenev. Since Ka enjoyed his writings, I wanted to learn something about the famous man. It is interesting that authors from your homeland see you differently from the authors you meet outside your country. I think this is what Orhan Pamuk experiences in Turkey and in countries elsewhere in his travels.

This article mentions "romanticism."

nihilism and romanticism

hats
February 1, 2007 - 07:16 am
I do not understand the definition of nihilism or whether it is possible to apply the principle to Ka's life. Above the poem Snowbound, I see the word Transcendentalism. Does this word's meaning apply to Ka?

Then, there is romanticism.

"often Romanticism An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions."(answers.com)

Traude S
February 1, 2007 - 09:36 am
HATS, it's no surprise that our brooding Ka (or Pamuk, for that matter) should feel such affinity for Turgenev and Chekhov, both so representative of the mysterious "Russian soul".

The term Nihilism comes from the Latin nihil = nothing. Adherents of this philosophy say that the world, in its past and present, is without meaning, purpose, value, and lacks proof that a higher ruler exists. Both Friedrich Nietzsche and Martin Heidegger were associated with this ideologogy.

In Chapter Four Ipek explains the move from Istanbul to Kars.

In Istanbul Kadife had failed her finals in the fist year but managed to tranfer to the Institute of Education in Kars.
After the death in a car accident of Ipek's and Kadife's mother, the father didn't want to stay there alone,
He and Kadife joined Ipek and her husband in Kars.
No sooner had they arrived that Ipek's marriage, which was childless, fell apart.
Turgut Bey and his daughters occupy three rooms in the hotel they own with some relatives, "and it's full of ghosts and tormented dead suls." (pg. 34, bottom)

Chapter Five deserves special attention, I believe. This is the conflict in a nutshell :
- Director : "We live in a secular state. It's the secular state that has banned covered girls, both in schools and classrooms."

- Murderer : "... Can a law imposed by the state cancel out God's law?"

The very same problem, though "milder", exists in Egypt, as reported by The Boston Globe of Jan 31.

Jonathan
February 1, 2007 - 10:17 am
Then comes the gunshot, and the death of the school Director whose duty had been to enforce the 'no headscarves in the classroom' policy of the secular government.

Chapter 5 is painful to read, but the author is determined to make real for the reader,

'Turkey's internal problems and miserable political intrigues.'

These, Ka thinks, as he sits talking with Ipek in the tearoom, might keep a politicized Ipek from accompanying him back to Germany.

How many thousands are fleeing just such political extremisms everyday, to seek a more peaceful, tolerant existence elsewhere. Others jump eagerly into the fray, or are eager to sacrifice their lives fighting the good fight. How cockeyed to be lost in notions of romanticism. Eh? Ka is an outsider like we?

Whether it's young girls despairing over to wear or not to wear a headscarf, or a young man sent out to shoot the man thought to be responsible for putting this miserable burden on the girls, both events serve as examples of the turmoil of Turkish politics, at street level. At the highest level its a fierce duel over maintaining a secular state or reintroducing religious principles into human affairs. The duel has been going on for a hundred years in Turkey.

Is writing about it enough to put the author in danger, within the gunsights of some fanatical extremists, as it would seem from recent death threats? Take note, too, of the reference to the Armenian massacre. Pamuk is constantly referring to the buildings and memories left behind by the Armenians.

marni0308
February 1, 2007 - 01:14 pm
Yes, Jonathan, I thought Chpt 5 was a difficult chapter with its terrifying dialogue between the Director and the killer. It is so real, perhaps because we see or hear of today some of the horrifying videos of terrorists decapitating their victims, etc.

I thought one of the most awful parts of the chapter was when Ipek and Ka fled the scene. They didn't feel they could even report the murder. They felt they could not be found involved at all.

-----------------------------------

After what that I have read, which includes so much terror and darkness, surprisingly I am finding some of the book amusing. I was glad to read on the back of the book that it is "...slyly comic....conscience-ridden and carefully wrought, tonic in its scope, candor, and humor...."

I now think that, to a certain extent, this book must be black humor.

hats
February 1, 2007 - 01:33 pm
Marni and Jonathan, I found chapter 5 hard to read too. I do feel that the shooter had become too zealous or fanatical in his thinking. It took him two days to arrive at his destination. Still, his anger brewed. His bitterness was very deep, deep enough to commit murder.

The murder scene does help show the importance of wearing or not wearing the head scarf. It wasn't a matter that would go away in a few days, not a fad. It was a life or death situation to these people.

hats
February 1, 2007 - 01:38 pm
I find it amazing how long the assassin talked with the director before shooting him. Isn't that odd? He asked questions of Professor Nuri Yilmaz, waitted for answers, talk some more, etc. All the time knowing, I feel, that nothing would stop him from committing murder. Is this a rare type of assassination? Is it plausible that an assassin would talk for so long with his victim?

hats
February 1, 2007 - 01:57 pm
Jonathan, I did find it wrenching to read that the New Life cafe had once been a Orthodox church. At some time the doors were removed and sent to a museum. This museum's exhibits about the Armenian massacre became distorted and not told in the way tourists expected to hear the facts. I can not imagine how it must feel to have your ethnic history retold in a different way, told in a way that does not show your ancestors to be brave survivors. Also, to see religious buildings changed to places where people go to entertain themselves with a sandwich. Surely, all of this is hard for Ka to accept.

Judy Shernock
February 1, 2007 - 02:22 pm
I didn't find chapt 5 hard to read. I found it typical of those who kill in the name of Allah. The act of killing others makes them feel powerful. They are so powerless that they kill to feel good about themselves, to lie to themselves that they are serving Allah who will reward them for their murders.

The leaders use these foolish, powerless people and promise them rewards after death. i.e. 72 Virgins etc.

The fact that Ka and Ipek run as fast as they can from the scene shows they know enough not to get entangled with these madmen. Under the circumstances I too would have winged my way out of there.

I also want to note that Ipek throws a bombshell at the end of Chapter four:" Muhtar wants to marry me again, so watch what you say."

Judy

hats
February 1, 2007 - 02:27 pm
Judy, yes! I was stopped by the same bombshell. I hope Ka took notice of those words. What are Ipek's feelings about Muhtar? Is he powerful enough to make Ipek return to him?

Thank you for explaining the thoughts of those who kill in the name of Allah. Do you think they kill in order to feel good about themselves? Do they kill, not for power, but just for a better place in the afterworld?

marni0308
February 1, 2007 - 03:11 pm
I didn't think Ipek and Ka hurried from the cafe because they were afraid of the terrorist. He had left already. They ran off because they didn't want to get involved in the aftermath and they didn't want to have to talk to the police.

Kars is definitely reminding me of 1984. It's even worse! Everyone is watching everyone. Secret police are everywhere. Various competing political and religious groups and the military seem to be stalking each other everywhere. It's a totalitarian state where fanaticism of all kinds rages. You can't win there. No wonder Ka wants to dream on in the world of snow.

Hats: I'm glad you brought up the name of the New Life Cafe where the murder took place. Another irony.

marni0308
February 1, 2007 - 03:16 pm
I thought Ipek's remark about Muhtar was ominous. Ipek's ex seems like a dangerous man. It doesn't bode well for Ka who definitely wants a romantic relationship with Ipek. What will Muhtar do when he finds out? And how can he not with everybody knowing everything in Kars.

hats
February 1, 2007 - 03:27 pm
Marni, I thought of 1984 too. There is that feeling of Big Brother is watching. If I were there in Kars, I would feel afraid to ever let down my guard and just relax. Will Ka find it difficult to write his poetry in Kars? While in Germany, he fought to remain pure by not learning the language, will Kars test his creativity in another way?

Malryn
February 1, 2007 - 05:33 pm

Is anyone here old enough to remember political slogans in World War II?

Like "God is my co-pilot" and this poignant appeal by Normal Rockwell CLICK HERE.

God is on our side, remember? Depends on which side you're on. Allah by any other name is God.

THE QU'RAN (click here) was presented by g-d to a messenger, the Prophet Mohammed, and here in translation is as he received it.

There are Islamist political parties. I know of no party for Allah. I know of no Surah in the Qu'Ran that mentions one, or killing for Allah. Of course, I'm not a student of Islam or Christianity, nor can I indulge in a pilpul type discussion of the Talmud. It does help to understand Islam and the Prophet Mohammed to take a look at the Qu'Ran, though.

HATS, I posted "Snowbound" because this book is about a blizzard, and John Greenleaf Whittier's poem reminds me ot blizzards in New England when I was growing up. Whittier's birthplace is a very short distance. as the crow flies, from the house where I spent eleven years of my childhood. I was raised on Whittier's poetry, Emerson, Margaret Fuller and Thoreau. Wonder if that has anything to do with my abolitionist tendencies?

Whittier and the Transcendentalist movement have nothing to do with this book.

I have more, but after many hours at the Pain Management Center in East Stroudsburg, Pennsylvnia today, trying to get my medication issues sorted out, and a jaunt from and to and from the supermarket pharmacy in 25 degrees F in my unheated wheelchair vehicle, I am ready to relax. I'm going to watch "The Madness of King George" with Nigel Hawthorne and Helen Mirrin, thanks to Netflix. I saw it when it first was released here in the states several years ago. It's an excellent movie. Has anyone wondered at all about the madness of Ka, Ipek, and some of the other characters in Pamuk's story?

Mal

Malryn
February 1, 2007 - 05:45 pm

By the way, my gentle Sikh doctor at the Pain Management Center highly recommends the movies, "Water", "Kabul Express", and anything directed by Satyajit Ray.

jbmillican
February 1, 2007 - 06:25 pm
What about that song, "Praise the Lord and Pass the Ammunition?" We are always very sure God is on our side.

Juanita Millican

Traude S
February 1, 2007 - 07:29 pm
Turkey has a secular government, as does Egypt. The government is the guarantor of the common faith, Islam.

However, in the wake of the Iranian revolution in the seventies, militant Islamists have come to the fore clamoring for more power, starting with youths in the religious schools. When Ka visits the families of the suicide girls with Serdar Bey, they think at first he might be a political candidate bearing gifts (read bribes) like those who had visited before : tins of sunflower oil, boxes of soap, or parcels full of cookies and pasta, (pg. 12), wanting to ingratiate themselves and assure a vote.



The struggle in Turkey is between the secular and the religious forces, it is bitter and it is violent, as recent history shows.

The Armenian Massacre is a different issue. It took place in 1915 during the rule of the Ottoman Empire. (See details in links below.) Today, the Republic of Turkey denies that the massacare was genocide and considers any assertion to that effect a grave, criminal offense against Turkishness.

Pamuk committed that very offense by referring to the killings as genocide in an interview with a Swiss paper in 2005, I think. He was going to be prosecuted for it at home, but an international outcry arose. Turkey was pointedly reminded that if it hoped to be admitted to the EU it had to grant its own citizens their civil rights - sooner rather than later.

HATS, I don't think Ka was a nihilist. He is struggling about his faith, or lack thereof, as we can see. Nihilists have no such doubts. They believe literally in nothing. (How sad!)

BTW, I checked on raki , the drink of choice for the characters in the book. It is a brandy popular in Turkey and the Balkans, distilled with grapes or plums and flavored with anise.

The term "lycée" is French and defines a school between elementary and college. It is not clear to me from the book whether the religious schools in Kars or elsewhere in Turkey were also called 'lycées', or whether they were coeducational. (Probably not.)

http://en.wikipedia.org/wiki/Armenian_Genocide

Jonathan
February 1, 2007 - 08:39 pm
My guess. Perhaps purity is a buzzword in Ka's world. Ka wants to hold on to his Turkishness. The Kemalist wants to adhere to Ataturk's secular republican principles. The Muslim wants to apply the letter of Koranic law.

Hats suggests in post 202 that 'the shooter (ch 5) had become too zealous or fanatical in his thinking.' Filled with bitterness and anger. But the assassin's mind is set on being an ideal Muslim, don't you think? On maintaining the purity of the faith? I found his interrogation of the Director to be very rational, very logical and cool. He set out being very persuasive, trying to bring the Director around to admitting his sin. It's a good question just when he decided to shoot. He didn't like the answers he was getting from the Director, but there must be one in there that broke the camel's back of the assassin's patience. Could we think of him as the 'tender murderer'?

What can we make of Mal's question:

'Has anyone wondered at all about the madness of Ka, Ipek, and some of the other characters in Pamuk's story?' 210

What kind of madness do you see, Mal? Is Ka some kind of Hamlet? He seems too hapless to me. He hardly knows the ways of the world. His romantic notions are superficial.

I agree with Marni. Some things in this book are laughable. And I believe Pamuk meant them to be humorous. Black humor? I'm not sure. Convince me.

With Ipek, it's hard to tell. We don't know enough about her yet. She seems to have tried very hard to be a wife to Muhtar. It was her barreness that led to the separation. I think she would take him back. If he ever comes to his senses. Was Ipek sardonic when she replied to Ka's questioning (p35), with:

'The men give themselves to religion , and the women kill themselves.'

But surely Ipek is not suicidal?

The Norman Rockwell drawing 'Save Freedom of Worship/Buy War Bonds is a very effective reminder of how we were asked to see that our belief system was threatened. Precisely what the political Islamists are saying.

And the same could be said for

'Praise the Lord, and pass the ammunition.'

Thanks, for stopping by, Juanita.

Judy, I like your cool analysis, including:

'The act of killing others makes them feel powerful. They are so powerless that they kill to feel good about themselves.'

Today's news includes a story of the arrest in England of a group of Muslims who were planning, it is alleged, a kidnapping and murder of a British Muslim soldier. A copycat act of the murder of Daniel Pearl. With internet exposure, of course. This seems like the greatest act of cowardice when the appear hooded and icognito on the vvideo.

I find all of your posts very stimulating. And the discussion can only get better, the deeper we immerse ourselves in this curious tale. Let's not overlook the humor that Marni sees in it. Ka seems like an innocent at times doesn't he? How, do you think, does he handle the bombshell thrown at him by Ipek. Could she ever be swept off her feet by this poet?

Jonathan
February 1, 2007 - 08:41 pm

Jonathan
February 1, 2007 - 08:59 pm
Will the disputes over the Armenian Massacres ever be resolved?

Thank you for the link, Traude. One could spend a few hours with it. I've long felt I should read a book on the subject. And they are appearing.

As a teenager, in the forties, I had a schoolmate who was the son of Armenian refugees. I remember hearing snatches of information about a terrible catastrophy that his people had suffered. It's an extremely complex event, or series of events. Pamuk seems to want to see justice done, or the truth acknowledged. That doesn't sit well with ultra nationalists.

The heading is the first thing that greets one in the link!!

hats
February 2, 2007 - 01:01 am
Traude, sorry for the confusion I caused. I do not see Ka as a nihilist. However, Turgenev, it is written in the article link, was nihilist and a romanticist. I think of Ka as a romanticist. Jonathan already posted about Ka's romanticism. If I remember correctly, he might have given this quote.

"It made him feel like the sad romantic hero of a Turgenev novel, setting off to meet the woman who has been haunting his dreams for years."

"it was precisely because he had not dreamed of her enough that he was now so keen to stoke his feelings with music and Turgenevist romanticism."

hats
February 2, 2007 - 01:14 am
Jonathan's quote

"Hats suggests in post 202 that 'the shooter (ch 5) had become too zealous or fanatical in his thinking.' Filled with bitterness and anger. But the assassin's mind is set on being an ideal Muslim, don't you think? On maintaining the purity of the faith? I found his interrogation of the Director to be very rational, very logical and cool. He set out being very persuasive, trying to bring the Director around to admitting his sin."

Jonathan, no matter how very rational, very logical and cool, this man committed murder. He is not an asset to the Muslim community who are to this moment striving to protect their name and help people learn that they are not about killing others to protect their faith.

I still see the shooter as a zealot and fanatical. Murder, for any reason, I do not believe is part of the writings of the Koran. Why strive so hard to see the view of the murderer and not hear the words of the person who is being attacked???

hats
February 2, 2007 - 01:24 am
Jonathan, you spoke about a school friend. I thought of a friend during school years. She was very kind. She helped me through a Geography class. She always wore a dark black scarf. I never saw her without the scarf. She was so very intelligent. She made an "A" in the course. With her help, I made a "B." I will never forget her soft kind voice. She was married with one child. She was graduating very, very soon. She did graduate with a degree in Computer Graphics. I never saw her after that class except in passing. She always smiled and greeted me. I hope she has done well in life.

hats
February 2, 2007 - 01:36 am
Mal's quote

"HATS, I posted "Snowbound" because this book is about a blizzard, and John Greenleaf Whittier's poem reminds me ot blizzards in New England when I was growing up. Whittier's birthplace is a very short distance. as the crow flies, from the house where I spent eleven years of my childhood. I was raised on Whittier's poetry, Emerson, Margaret Fuller and Thoreau. Wonder if that has anything to do with my abolitionist tendencies?"

"Whittier and the Transcendentalist movement have nothing to do with this book."

Mal yes, I am sure it has a lot to do with your abolitionist tendencies. I have loved Whittier for the very same reasons, his fight as an abolitionist.

hats
February 2, 2007 - 03:02 am
Beginning steps to Unity

hats
February 2, 2007 - 03:07 am
Istanbul

hats
February 2, 2007 - 03:17 am
Discover Armenia

At the bottom of the page, if you click on the National Geographic cover, there is an article about Armenia.

Mal and all thank you for informative links.

Malryn
February 2, 2007 - 06:59 am

Oh, HATS! Thank you so much for the "Feast in Istanbul"! Cooking and food are passions of mine. I own cookbooks from all over the world. Since I was so badly burned, my two kids have been threatening me if I go near the stove. When I'm completely recovered, I'll find a way to cook without using the too-high, not handicap-accessible burner top! Just because I have to, in the same way I have to write.

Almost forgot to say, HATS, that there's all kinds of slavery, as you well know. Whittier was a peaceful man, a Quaker, who hated injustice. His poetry reflects this.

There can be slavery to an idea, belief, or notion, such as the one Ka has about Ipek and the one the student, who shot the Institute of Education director, has about atheists and Islam. Such obsessions can be a kind of madness.

Mal

Malryn
February 2, 2007 - 07:06 am

There were many people of Armenian background in the small city where I grew up. Some attended the church I went to.

I remember at a Sunday School picnic one summer, an Armenian friend brought lamb and vegetables to roast on a stick over a charcoal grill at the lake. The rest of us kids, with our tunafish sandwiches and PB and J on Wonder Bread, thought she was a little whacky. You can tell a lot about a culture by looking at the food its people eat.

Mal

marni0308
February 2, 2007 - 09:37 am
Hats: Thank you so much for the fascinating links about Armenia. I didn't know anything at all about Armenia. It is frustrating that American news spends so little time on what happens in the rest of the world and so much time on American trivia.

I could not get into the video again. I wonder what is in my PC security that is not allowing me to access the videos. Grrrr!!!

Malryn
February 2, 2007 - 09:49 am

MARNI, temporarily get rid of your "Block Popups" command, and you'll be able to see the slide shows.

Mal

marni0308
February 2, 2007 - 10:24 am
Mal: Unfortunately, I don't know where that is. It's probably in the Norton software somewhere but I haven't found it. Thanks!

Judy Shernock
February 2, 2007 - 11:19 am
There is a wonderful book on the Armenian massacre. I read it many, many years ago and it has always stayed somewhere in my mind. It is called "Forty Days of Musa Dagh" by Franz Werfel.

As far as people who wish to die for their faith . It is an idea preached to them from an early age. I quote"

"Oh warrior brothers, ours is a nation that will never be broken.. This is a nation that gives an example every day that is imitated across the world.. We gave the world the children of the Rocket Propelled Grenades, the children stone throwers and we gave the world the male anf female Martydom-Seekers (Suicide Bombers).

Palestinian Authority TV, Nov. 11, 2006

The people of Kars have not gotten to this depth of terror but that life is meant to be used for terror and that women can be the objects of that brutality has been highlighted in these chapters.:

Pamuk is tossing us back and forth between the horrors and the beautiful, calming snow. When the snow abates and melts will we be left with only the horror?

Judy

Jonathan
February 2, 2007 - 12:45 pm
Hats, there is no need to wonder if the links might be off-topic. Just look at a sub-link I spotted when I went to the one about the huge attendance at the slain journalist's funeral. I thought immediately of the rooms of Sheikh Saadettin where Muhtar finds his life turned around:

'Now here I was, climbing the sheikh's staircase step by step, tears streaming from my eyes. Something was happening that I had secretly dreaded for a long time and that in my atheist years I would have denounced as weakness and backwardness. I was returning to Islam. p55, ch6

and also:

'I realized that he was the good-hearted old man in my dreams, so I relaxed.'

The chapter heading is, Love, Religion, and Poetry: Muhtar's Sad Story. And what a sad story it is, leaving Muhtar totally dejected and wishing himself dead. He has failed at winning recognition as a poet. God has not granted him the son he longed for:

'God wouldn't even give me a child who might do all the things I had not done. who might release me from my misery by becoming the westernized, modern, self-possessed individual I had always dreamed of becoming.' p54

Then, as Muhtar lies in the street, longing for death, a child does appear to him in his drunken stupor:

'What a joy it was to see this child, a boy, already grown, and wearing a tie...a true European. Just as he was about to tell me something, he stopped and kissed the hand of an old man. Light radiated from this good-hearted old man in all directions.'

Muhtar gets up, goes to the open door a few feet away, up the stairs, to a new life:

'He kissed my hand too. A feeling of peace spread through me; I had not felt this way for years. I immediately understood that I could talk to him about anything, tell him all about my life, and he would bring me back to the path I had always believed in, deep down inside, even as an atheist: the road to God Almighty. I was joyous at the mere expectation of this salvation.'

He doesn't leave it at that. He's running for mayor as an Islamist. He wants Ipek back.

Judy: 'Pamuk is tossing us back and forth between the horrors and the beautiful, calming snow. When the snow abates and melts will we be left with only the horror?'

That's a good question. In the meantime the author seems to be holding up a mirror to his countrymen. But where did we leave Ka, before coming to Muhtar, to hear his story?

It's 'years later' again, that our narrator finds:

'...one man who would remember very well how Ka came into the hall (of the cockfights) that day, sat down on one of the empty benches...and appeared to lose himself in thought.'

By now he must have a head full of thoughts. Have a dozen conflicting ones come to mind. Shall we compare lists?

Jo Meander
February 2, 2007 - 02:17 pm
Ka's reaction to Muhtar's story of his return to Islam and his feelings for Ipek are two sources of conflict. He says he is filled with "rancor and Pity," two opposing feelings, when Muhtar says he too is a solitary man in spite of the fact he has sought the embrace of the Islam community.:
Ka says, "...you can embrace your religion and your community only if godless secularists like me are overseeing business and government affairs. A man can't pray to his heart's content in this country unless he can depend on the efficiency of the atheist who's an expert at managing the West and the other aspects of worldly business." (p. 61, ch. 6)
Ka seems so bitter and resentful toward Muhtar when the latter is telling his heartfelt, moving story about his failure as a poet, his period of drunken despair, and his final reunion with his faith. I wondered how he could feel that way about him, except of course he wants the same things Muhtar wants: literary achievement and Ipek. "...he despised himself for not being pure and openhearted like Muhtar," and Muhtar seems that way to me, too. (p. 62, ch. 6) It Took Ka a while to see that as the cause of his own resentment.


When Muhtar askes him to make a plea to Ipek on his behalf, Ka actually says he will, in spite of the pain that the possibility of their reunion must cause him.

Jonathan
February 2, 2007 - 07:53 pm
Jo, yours (231) is a fine reply to the question I posed regarding the thoughts in Ka's head. It seems obvious now that Ka's experience in Kars is being reconstructed and chronicled by the narrator, a considerable time after the event. The narrator has gone to considerable trouble, seemingly, to get the tape of the assassin's talk with the Director before the shooting, and then to find a man who saw Ka shortly after, lost in thought, sitting in the hall of the cockfight pit. It was that 'lost in thought', before he had heard Muhtar's story, that caught my imagination. And I was intrigued by how the narrator had laid it all out for the reader. So, from this different perspective, I found Ka's mind awhirl with:

Seeing in his mind's eye the Director on the floor in his death agony.

Realizing that he was in love with Ipek.

Taking notice of the sporting rules of cockfighting posted in big letters on the wall.

Trying to figure out how he might induce Ipek to escape with him from Kars.

Telling himself he really should contact the news office of his Istanbul paper. (He does have a scoop!)

And all the time he is filled with dread at the thought that his falling in love will now determine the rest of his life.

It seems inevitable (?) that he too will eventually find himself calling on His Excellency Sheikh Saadettin. He had, however, not yet heard Muhtar's sad story, which as you describe so well, added new food for thought.

What a strange juxtaposition in chapters 5 and 6 of two men with such contrasting views of the meaning of God in ones life. The assassin, and Muhtar. What does Pamuk intend with that?

Traude S
February 2, 2007 - 08:05 pm
Thanks for the posts, JONATHAN and JO.
Ka is resentful (jealous?) of Muhtar and (already!) possessive of Ipek. Muhtar seems to trust his old friend but is apparently insecure as well.

Chapter Five makes chillingly clear that it impossible to reason with a fanatic. We learn quite a bit of him too, even eventually his name. He comes from Tokat, a tourist town, and works in the "famous Mothlight Hamam" (Turkish bath).

"And because I live in a democacy, becaue I happen to be a free man who can do as he pleases, I sometimes end up getting on a bus and traveling to the oher end of Turkey to track down the perpetrator (of an injustice) and have it out with him face to face."

He twists every sentence, brushes aside any logical reply and gets increasingly agitated while waving the gun around. His accusations and name-calling become ever more strident. He says "Once I blow my fuse, it's all over." and casually mentions that he has been in prison "and made men of all of them (the other prisoners) in there." Not only a murderer but a sadist, too.

The use of "tiny" is a little puzzling. We don't know whether Pamuk meant to describe the murderer this way (possibly dwarf-like), or whether the translator made that choice. The term is used also in Chapter Six.

http://en.wikipedia.org/wiki/Hammam

Jonathan
February 2, 2007 - 08:22 pm
Traude, thank you, for that analytical look into the assassin's mind. Does chapter five remind you of another Russian author? I'm going back to have another look at the use of 'tiny'. Is their any reason for seeing some kind of 'romanticism' in the assassin's thinking and behavior? Romanticism with an Islamic twist? Or does it give 'gothic' a new meaning?

Traude S
February 2, 2007 - 08:38 pm
JONATHAN, thank you. I'll go reread some more now.

Sorry I forgot to answer your question about Jane Eyre on PBS.
It was well done, I thought, with a marvelous cast. Ruth Wilson as Jane Eyre and Toby Stephens as Rochester were perfect for (and with) each other; sound and photography glorious. Good night.

Jonathan
February 3, 2007 - 12:58 pm
'It is my duty to kill any tyrant who visits cruelties on believers.'

How different it is with Muhtar, after he has found his way back to God. He too wants to play a part in defending the right and religious duty to wear a headscarf. Muhtar seeks political power, making

'support of the covered girls the key expression of our political vision.'

The issue is hotly debated between murderer and victim in Ch 5. It is agreed that the Koran makes the wearing of headscarves a religious duty. But more practical sides to it are also covered:

Director: 'Of course, the real question is how much suffering we've caused our womenfolk by turning headscarves into symbols and using women as pawns in a political game.' p43

and from the tiny man:

'Headscarves protect women from harassment, rape, and degradation. It's the headscarf that gives women respect and a comfortable place in society. We've heard this from many women who've chosen later in life to cover themselves.'

Even Elizabeth Taylor is brought into the tiny man's argument:

'If she had spent the last twenty years covered, she would not have had to worry so much about being fat.'

God works in mysterious ways. Sanctioning headscarves to protect the sexes from each other. One also hears that female coverings were meant to save the male much embarrassment in public by being provoked into displaying his emotions. Much more mysterious, however, I think, is God withholding that son from Muhtar, in order to draw Muhtar to Him. It seems very unfair to Ipek.

Judy Shernock
February 3, 2007 - 05:21 pm
No one remarked on Muhtars statement to the police: "And the daughter of the owner of the Snow Palace Hotel, where he's staying, is my wife."

Muhtar thinks that Ipek still belongs to him ? Or is he just blabbering?. Ka does not say anything in protest nor does the narrator give us Kas' reaction to this statement.

Then Ka gets inolved with a young student who wants to arrange for him to meet Blue. Kas heart went out to the student as he" vanished in a cloud of snowflakes."

Is Ka really in love with Ipek or is he bewildered by this new/old world full of intrigue and violence? Certainly jealousy of Muhtar seems to play no part in his feelings.

Judy

Traude S
February 3, 2007 - 06:31 pm
JUDY, yes, I noticved Muhtar's statement at the police station. Since the police know everything about everyone, they surely were aware of the couple's divorce. I believe that it would not have been Ka's place to correct Muhtar's statement.

What is the reader to think of Muhtar's beating at the hands of police ? Ka believes the police made him a witness in order to frighten him and adds (pg 65) :
"In the old days, the provincial police weren't quite so ready to beat up religious conservatives. But Muhtar was not from one of the center-right parties; he was a proponent of radical Islam" . Even so ...

Malryn
February 3, 2007 - 08:13 pm

This book is going to take me a long time. I have already read 39 chapters, and keep going back to the beginning and ensuing chapters to figure out what I've read and how it relates to the rest of it.. The chapter titles often amuse me, as does Ka's adolescent romanticism in the face of the apocalypse. Pamuk has a funny kind of wit.

it was sunny, bright and cold today after a couple of days of off and on snow. After catching up on my laundry, I got on the road and steered this motorized wheelchair in the direction of the supermarket, because my light bulbs were burning out all at the same time, and I need light in winter's dismal darkness.

I kept my fingers crossed when I met up with the ice and snow on the small highway that is my route. Cosy and warm in my fake-fur-trimmed poncho-cape, which pretends to be wool, but isn't, the wind at the top of the hill on top of this little mountain went through me. I pulled my hood up and knocked my red knitted hat to one side of my head, freezing my right ear in the process.

I figure that if I wear red, drivers of cars will see me and not accidentally hit me. Of course, I forget that the bottom part of my wheelchair is fire engine red.

This semi-dangerous trip was even more dangerous inside the crowded supermarket, whose business has increased since it changed its name from "ShurFine" to "ShopRite."

Outings like this are when I think important thoughts and struggle to fuse together what I've learned on my own about places and beliefs that are not like my own, and what I've learned in book discussions, especially The Story of Civilzation, which has turned my head around many degrees. These treks are also about studying people, and trying to figure out in real life why they act the way they do.

Uppermost in my mind today was when the same thing I thought a long time ago about this book, it seems now, came to me again. That Sunay Zaim and his remarkable wife, Funda Eser, are not the only actors in this piece.

This is a political novel. "Things are seldom what they seem" in politics and political novels because everyone appears to have an ulterior, personal motive for acting the way they do. Regardless -- No matter how much gilt on the farthing, it remains a farthing still. It seems to be my job here to figure out exactly what a real farthing looks like.

Mal

jbmillican
February 3, 2007 - 08:49 pm
I saw the first part of Jane Eyre on PBS, but unfortunately missed the second episode. I will either get to see a re-run, or rent it from Netflix.

'Snow' certainly is a difficult book for me. Just as complex as Turkey seems. On the one hand, Turkey wants to be a modern country. It has been seeking entry to the European Union for years. They reformed their currency, modified many of their laws, including abolishing the death penalty. They did everything the EU demanded but have so far been denied entry. I hope they make it soon. On the other hand, there is a big contingent of radical Islam, as well as militant Kurds, and resentful Armenians.

I've been re-reading trying in vain to find the passage where Ka says the snow reminds him of God. Did I just imagine that passage?

Juanita

gumtree
February 4, 2007 - 07:50 am
Jonathon - just a lurker checking in - glad your wife is Ok again - such a relief for you both. The discussion got away from me while I wasn't looking so am catching up the posts and the reading as well. It's not an easy read and I find I'm having to go back to check things quite often.Am up to Ch. 7 so hope I'm in the right place.

So far Ka appears unsure of himself and immature. Maybe his years in exile in Germany were a form of suspended animation - as if his life was 'on hold' - after all, he wouldn't learn the language, couldn't write his poetry and doesn't seem to have had any kind of a personal life.

Some of the writing is just beautiful- even in translation

Am still trying to sort out the different factions within Turkey - I have very little knowledge of the history other than a very general outline such as we all have from student days and then what has been reported through media. It's not enough! but I agree that the novel is a work of art and must stand alone - Did Pamuk intend this book to have a worldwide circulation or was he writing for a more restricted audience?

I'm very grateful to all for the great posts - so many insights, explanations and links have made the book so much more accessible but at this stage it is difficult to see where the story is going.

I think Traude pointed out the the use of the word 'tiny' to describe the Director's assassin. it makes more sense if 'tiny' does in fact denote 'dwarf' - Thanks Traude.

And Hats, - Great links

Malryn too, I can just see you in your red hat and red conveyance - a force to be reckoned with - sorry you have such cold weather - we are in heatwave conditions with hot, dry winds fanning bushfires which are raging to the north, south and east - the sea is to the west or it would be on fire too - I guess we are both in extreme conditions at present.

hats
February 4, 2007 - 09:40 am
I recorded Jane Eyre. Then, made a mistake and recorded over it. The following week the sound from NPR was heard instead of voices from Jane Eyre.

Gumtree, it is a difficult book for me too. I feel it is well worth my effort to keep going. All the posts are very helpful. Some posts I read more than one time.

Jonathan
February 4, 2007 - 10:21 am
gumtree, your situation sounds precarious, with the fire raging all around you. Are you looking to the sea as a safe retreat? Is SNOW helpful in making the dire circumstances bearable? You surfaced in just the right place. We are indeed in Chapter 7. Or thereabouts.

You ask in 241:

'Did Pamuk intend this book to have a worldwide circulation or was he writing for a more restricted audience?'

We probably all have different opinions on that one. Let me give you mine. Yes, as a matter of course, and despite keeping the story so close to home, and so Turkish in its details. It a look at Turkish politics from the inside, isn't it? And as such it's going to seem too 'foreign' to really catch on in a popular way. The book does have its difficulties, but sensing the universal themes buried in the broader story does make it fun to puzzle over.

Knowing more about Turkish affairs certainly helps in enjoying the book. I'm discovering that very quickly. I'm even beginning to understand why Europe seems reluctant to permit Turkey into the union. Turkey seems practically in a state of civil war. How many Turks would rather stay out of a secular Europe? Who is a Turk. Turkey is sitting on the crossroads, torn in several directions. Choosing a civilization. West or East. There would seem to be a high theme here to explore, but first we must decide: is Muhtar still married to Ipek? Ka seems much too busy to think about that. Surely it can't be a loose end left there to be puzzled over by those of us who like order in these affairs?

I have to go for lunch.

hats
February 4, 2007 - 12:35 pm
Juanita, in post #240, you asked whether a passage was just your imagination. I believe the passage you are talking about is on page sixty. "If I were an author and Ka were a character in a book, I'd say, 'Snow reminds Ka of God!" I hope this is the passage you are trying to find.

Jonathan, this is what I like about the book, learning more about another Turkey and the culture. The different facts are what confuse my thoughts.

About Ipek, I thought Ipek talked about her husband as her ex. What Muhtar chooses to think about the relationship might have something to do with whether he is able to mentally let go of the relationship. I see him as wanting to have Ipek as his wife for years to come. To hear Muhtar and Ka talking together so openly, even about Ipek, seemed odd to me. Two men desiring the same woman, how could these men seem so civil to one another? If Muhtar and Ipek are still married, is this a breaking of some religious rule? Muhtar has experienced a new born faith. Is this why he wants Ipek by his side?

Jonathan
February 4, 2007 - 12:52 pm
Hi, Hats. Too bad about losing the second part of JE. It would probably be unkind to tell you how wonderful it was. About the difficulties of SNOW, I've never known that to keep you from working away at a book that still looked interesting. This book is probably good for that reason - for the answers found while articulating the difficulties. While seeking the questions the author is illustrating with his story.

Juanita, what a precise little paragraph (#240), with so much in it regarding Turkey and the EU entry question. Circumstances change, but old memories never die. Perhaps it is the centuries-old fears of being overrun that makes Europe hesitate about throwing out a welcome mat to the Ottomans. Perhaps it's the 'big contingent of radical Islam' in Turkey that shudders at the thought of drawing a secular Europe to its bosom. They could well be looking eastwards to their co-religionists, to a reborn caliphate.

Reminded of God by the snow. Without trying to evade your question, I'll just wonder why the snow reminds Ka of so many things, or brings on so many moods.

Mal, let's take all the time we want. This book is as good as it gets, it seems to me, to get a booklover's wheels turning. Putting the pieces together, seeing the whole of it. Tell us more about the your feelings about the chapter titles. Unique, aren't they? Are they another example of the old-fashioned' features of this writer's style, which, I believe you've mentioned before. On the other hand, are these flesh and blood characters.

What a fine description of Ka:

'Ka's adolescent romanticism in the face of the apocalypse. Pamuk has a funny kind of wit.'

And this adolescent romantic comes home to find himself caught between a rock and a hard place. Between the secular and religious contenders for the soul of a nation. It led me to compare his plight to Odysseus and the dangers he found on either side on his journey home. Perhaps we have a modern epic in SNOW, with Ka as everyman, or some such.

Traude, I believe you're right. The police would not want to do more than frighten the journalist Ka. To do any more, with Ka's outside contacts, would be impolitic. It seems alimost to parralel Pamuk's own situation. He, too, is too prominent internationally, to prosecute over insulting the state.

Judy, your post, 237, was the first to greet me earlier today. What a pleasure to read the questions and observations. What a fine way of pointing out Pamuk's dramatization abilities.

Jonathan
February 4, 2007 - 12:54 pm

Judy Shernock
February 4, 2007 - 04:42 pm
Blue is a despicable politician and liar. He takes outward events and invents around them circumstances that support his cause. His cause happens to be one thing now but its only purpose is to feed his need for power. I quote his words from the chapter "Suicide is a terrible Sin".

"Girls who commit suicide are not even Muslins!"...."it's wrong to say they are taking a stand over head sccarves. ".

He also threatens Ks........... "If you write that she was a Muslim girl making a political statement about head scarves, it will be more lethal for you than poison".

After his bullying statements he tells Ka an ancient fairy tale with the intent of using it as a parable to return to our "old ways" and away from Westernization.

Blue talks as if he and he alone has a personal hot-line to Allah and knows what is right for old and young alike.

Will Ka be so naive as to fall under the spell of this Self anoited prophet ? I hope not.

Judy

Traude S
February 4, 2007 - 09:30 pm
JUANITA and HATS, the paragraph can be found in Chapter Seven, half way down on page 60, during the conversation between Ka and Muhtar. Ka says he lives a very solitary life in Germany ... and "I hear sounds inside me"

"What sorts of sounds?" (Muhtar asks)

""It may have to do with fear of getting old and dying," Ka said, with embrrassment. "If I were an author and Ka were a character in a book, I'd say 'Snow reminds me of God!' "But I'm not sure it would be accurate. What brings me close to God is the silence of snow."

Careful reading of this book is essential lest we miss a connection or don't "get" Pamuk's irony: At the beginning of Chapter Seven when Ka fills Muhtar in on other Turks both have known who went to Germany, in the last full paragraph on pg. 59, there is mention of the PKK, an armed militant group.

"Of all the political exiles Ka had met in Germany, the happiest was Ferhat, who had joined the PKK and was now attacking various offices of Turkish Airlines with revolutionary fervor; he'd also been seen on CNN, throwing Molotov cocktails at Turkish consulates; apparently he was not learning Kurdish and dreaming of a second career as a Kurdish poet."
The PKK had or has adherents among the Turks in Germany, who have caused disturbances there and arrested. The quoted paragraph is pure irony, I believe. Ferhat, the former friend, was attacking various Turkish offices with revolutionary fervor, seen on CNN, and Pparently belatedly) ven learning Kurdish.

Why did and does even Muhtar aspire to be a poet ? Is it safer to express religious and/or political thoughts in poetry rather than in prose ?

Traude S
February 5, 2007 - 09:51 am
Last night I spent so much time editing, and adding to, my # 248 that the definitive version did not make it : "no access". Sorry about that and my typos.

JUDY, I agree with you, and think we all do. Blue is another fanatical extremist, a mystery man, and very handsome, but far more dangerous than the tiny murderer. He is wanted but he comes and goes as he pleases, tweeks the noses of the authorities, actually enjoys talking to the media (third paragraph pg. 70).

(Reading that made me think of Martha Mitchell, the wife of the Atttorney General under Nixon, who was implicated in the Watergate coverup. Martha Mitchell would call news channels late at night with rambling, cryptic semi-revelations. It is not a good comparison, of course, because she was not personally dangerous, like Blue.)

Ka hates Blue (pg. 74) and I don't think we have to fear that he'll fall for Blue's schemes.

It is interesting that Blue had also lived in Germany for a while but did not stay. In talking about this with Ka, Blue expresses the very same (almost pathological) feeling of inferiority toward Germans, like Ka himself, and Muhtar. Look at this paragraph on page 73

When I was in Germany, at whatever Muslim association I happened to be visiting, in whatever city - it could be Frankfurt or Cologne, somewhere between the cathedral and the station, or one of the wealthy neighborhoods of Hamburg - wherever I happened to be walking, there was always one German who stood out of the crowd as an object of fascinaton for me. The important thing was not what I thought about him ; I'd try to see myself in his eyes and imagine what he might be thinking about my apperance, my clothes, the way I moved, my history, where I had just been and where I was going, who I was. It made me feel terrible, but it became a habit. I became used to feeling degraded (!!) and I could understand how my brothers felt. ... Most of the time it's not the Europeans who belittle us. What happens when we look at them is that we belittle ourselves. (!) When we undertake the pilgrimage (!?), it's not just to escape the tyranny at home but also to reach to the depths of our souls. (Souls and purity?) The day arrives when the guilty (?) must return to save those who could not find the courage to leave. Why did you come back ?" (emphasis and parenthetical additions mine)
This sounds almost like a mission, doesn't it ? I believe this paragraph is significant from a psychological standpoint. So why then is there this constant preoccupation with the self and how the self is perceived ? Why the feeling of shame and degradation ? It is there rigt from the beginning and pervades the entire book.

Do you remember when President Carter spoke of a national feeling of "malaise" during the Iran crisis ?
The phenomenon Blue expresses and describes is much deeper and evidently a heavy burden for Turks both at home and abroad. I hope Pamuk will provide some answers so we can better understand the inevitability of these feelings of perpetual inferiority.

Jonathan
February 5, 2007 - 10:17 am
What we seem to be getting is a picture of a generation of political activists in modern Turkey. Is Blue another player in the resurgent Islam movement, determined to help turn Turkey away from its official secular ways? He is an unpleasant character, as Judy points out, 'a politician and liar.' Perhaps a would-be terrorist. Is he a bedfellow to Muhtar and the tiny man, with the same objectives, but differnt methods?

What a curious heart-to-heart between Ka and Muhtar (ch 7), with Muhtar relating his transition from Communist to Islamist since their student days, and Ka, looking for common ground, talking incoherently and uncomfortably of a personal God, not a political one. They have gone their separate ways since Ka went into exile.

'Now all they had in common was Ipek.'

It's uppermost in Ka's mind. And what a look that provides into Ka's mind. Ka finds that Muhtar with his sad story has only made himself look stupid. He wants to hear no more, lest more stories make Muhtar look even more stupid. Why is Ka concerned? It could diminish Ipek's worth, for having married this twit, this rival for Ipek's attentions. That doesn't sit well with Ka's self-esteem, for having chosen badly, by making Ipek the object of his devotions. Renewing his acquaintance, listening to Muhtar, Ka now finds himself subject to strange emotions: 'rancor and pity', 'pity and revulsion'. Could these two go head-to-head over Ipek. Muhtar has no inkling yet about his friend's treachery.

Whatever happened to...? Picking up another thread. How would Pamuk's Turkish readers find the entertaining accounts of the dozen or so other polical activists of their younger days who were sent into, or sought exile in Germany, as Traude points out.

marni0308
February 5, 2007 - 11:02 am
It's interesting to see how a number of persons who were together in their younger university days are now coming together again and are so very different - their lives have taken such different turns - Ka, Ipek, Muhtar, and even the mysterious narrator, apparently.

I read in another book this weekend that some in 19th century America thought that a poet was a link between Heaven and Earth. I wonder if any Turks believed this?

I saw something intriguing this weekend. Bob and I went to the Samuel Colt exhibit at Hartford's Wadsworth Atheneum. (Colt's gun factory was in Hartford and his wife donated many of their possessions to this Hartford museum.) Included in the exhibit was a gold ring with a GIGANTIC diamond solitaire, as well as a diamond-encrusted snuff box - both given to Colt by the Sultan of Turkey in the early 1850's to thank Colt for selling him guns. Colt has been denigrated for pioneering the American practice of selling weapons to enemies - in this case he sold guns to both the Ottoman Empire and to Russia and other European countries.

Marni

marni0308
February 5, 2007 - 11:10 am
Judy mentioned the ancient fairy tale that Blue told Ka.

Wasn't this the same tale about Rostam and Sohrab that some of us read about in The Kite Runner? Remember the boy Sohrab was named after the boy in the tale?

Here's a version of the fairy tale:

http://www.iranchamber.com/literature/shahnameh/08rostam_sohrab.php

hats
February 5, 2007 - 11:12 am
Marni, thank you for the link.

Traude S
February 5, 2007 - 11:59 am
MARNI, it is the same story and one of many others that are part and parcel of Islamic culture and heritage. If memory serves, the same story is recited in Pamuk's "My Name is Red".

hats
February 5, 2007 - 12:32 pm
Would it help for us to go ahead and read Blue's story, My Execution, in chapter 35?

Judy Shernock
February 5, 2007 - 01:03 pm
Marni ,

I too saw the Colt exhibit when it was sent out to another mueum. It effected my perception of weaponry.

In this chapter "Are You an Atheist" I got riled up, and over what? A side issue but it struck me as so symbolic and sad that i want to share it with you.

It is about the luckless and pathetic youths who are accusing Ka of being an Atheist (At the end of the chapter).

..."So tell us who makes the snow fall from the sky? What is the snows secret?"

These teens have not even a third graders idea of science. Their teachers keep them innocent of all scientific facts. There is only one explanation for everything that happens.Allah does all, knows all and commands all. This way of hiding all science from the students turns them into robots that follow the leader who will manipulate them for his own purposes.

I was so sad because it seems to be true of a whole generation of Muslim youthwho have been left behind as everyone else advances.

Judy.

Malryn
February 5, 2007 - 04:13 pm

I have written to MAHLIA and asked her to come into this discussion and briefly tell us something about Islam.

Islam in America. From African slaves to Malcolm X

Islam in Turkey

Regions of Turkey

Culture

Turkey: History. Many interesting links on this site

Traude S
February 5, 2007 - 07:33 pm
Maps are always instructive, especially when they show bordering countries.
Clearly, the land mass of Turkey is part of the Middle East. Syria and Iraq border it in the South East, the Russian province of Georgia in the North East.
Turkey's religious tradition and culture resemble those of its Islamic neighbors.

Malryn
February 5, 2007 - 09:01 pm

KARS

Persian
February 5, 2007 - 09:14 pm
I hitched a ride on the back of MAL's fire-engine red vehicle, dusted off some North Carolina snow (the presence of which was a shock to my neighbors) and arrived safely. Now, how can I best contribute to this discussion. I've read most of the previous comments (although not the book) and would be happy to respond to whatever questions may arise about Islam, Turkish culture, customs etc. TRAUDE makes a good point regarding the geographical logistics of Turkey as part of the Middle East, yet the cultural traditions of Turkey are enormously different than in their border countries. And as Turkey has struggled (politically) to be accepted in the EU - a move especially dear to the harts of those in the Western sector - the conservative Islamic element often wishes the dialogue would simply disappear.

As a people, Turks can be wonderfully warm, friendly, gracious hosts. At the same time, they can be blood-thirsty, violent and remorseless if their ire (personal, cultural or national) is aroused or honor besmirched. (Even accidentally, by an unsuspecting speaker.) Feuds are NOT forgiven or forgotten, regardless of what may be said "publicly" to the face of the offender. Insults against a family are recalled "to the seventh generation" as is the custom throughout much of the Islamic world.

The character Blue is a good representative of the "dark side" of Turkish culture - and it is certainly there! - regardless of his physical size or how his time in Germany and among Germans on the street may have triggered some deep-set emotion or revulsion. Turkish culture is historically violent (even in contemporary times), much like that among the Iraqis (under the previous regime and continuing today). Yes, there are various sects of Islam in Turkey, as well as Christians and Jews, but it is the background of the sects (as much as the faith itself) which explains the behavior of its adherents. Eastern orthodox Christians, for example, found throughout the Middle East are NOT like Western Christians in Europe or North America. Lebanese and Syrians are NOT culturally like Turks. And Turks are definitely NOT like Persians, although there are many Persians who have enjoyed living and vacationing in Turkey for decades.

I think MAL is coming by to fetch me on her fabulous machine. I believe I can see her red hat in the distance. Hope I've helped provide a little better understanding of Turks and their culture.

hats
February 6, 2007 - 01:11 am
Mal, thank you for the links. I will take time reading the links today.

"The day arrives when the guilty must return to save those who could not find the courage to leave." I think Traude or someone else gave the first part of this quote. It is the last part of this quote I couldn't get out of my mind. All of Blue's words in the long paragraph on page 73 seem like food for thought.Blue doesn't seem like a man who would face guilt. Maybe no man is too strong, too brave to go through life without facing the demon of guilt. The above statement also turned my thoughts to Harriet Tubman. During the days of the Underground Railroad she travelled over and over again from the South to the North and back again to bring African Americans out of slavery. She became known as Black Moses. That is another story far away from Turkey.

I feel Blue is a thinker like Ka only the two men think in different ways. Ka thinks and speaks in silence and in poetic terms while Blue speaks his thoughts aloud, more proselike. Plus, Blue follows his words with militant actions. Another statement by Blue is "Most of the time it's not the Europeans who belittle us. What happens when we look at them is that we belittle ourselves." Thinking of Ka and Blue with their two different styles of life brought my thoughts back to Traude's question. The question I had pondered for two days. Her question is at the end of Post#248. Is it safer to express religious and/or political thoughts in poetry rather than in prose ? Since Mal is an author, I wanted Mal to post her views. I didn't have the nerve to ask her.

hats
February 6, 2007 - 03:43 am

Malryn
February 6, 2007 - 08:12 am

HATS, for me it's the way words are used, not the form they take.

For example, Pamuk, through his translator-interpreter, says about Ka and Muhtar in Chapter Six, "They had both inured themselves to defeat and the pitiless unfairness of life. Ka feared that both of them longed for Ipek as an escape from this defeatist `state of mind."

I think Mahlia has said something important here.
"Yes, there are various sects of Islam in Turkey, as well as Christians and Jews, but it is the background of the sects (as much as the faith itself) which explains the behavior of its adherents. Eastern orthodox Christians, for example, found throughout the Middle East are NOT like Western Christians in Europe or North America. Lebanese and Syrians are NOT culturally like Turks. And Turks are definitely NOT like Persians, although there are many Persians who have enjoyed living and vacationing in Turkey for decades."
It seems to me that Mahlia is saying that not all followers of Islam are the same, just as not all followers of Christianity are the same and alike. I was raised in a kind of liberal Christian church. Many of my neighbors were fundamentalist, literalist, by-the-book Christians. What we got out of reading the same holy book and practicing the "same" religion (Christianity) were often as different as night as day.

Blue, by temperament, appears to have a violent, conscienceless nature. Ka is gentler, to the point of sometimes being boringly ineffectual. "Political Islamist is Only a Name that Westerners and Secularists Give Us."

Mal

Persian
February 6, 2007 - 08:50 am
MAL - you've followed with a very good point - crucial, actually, in better understanding Islam in Turkey and Muslims who follow the faith in whatever way they choose. In any society, there are fundamentalist adherents, who won't budge from their (to them) "absolute rightness" about how they understand and practice (or not) the faith they've either been born to or chosen.

Recently, following one of my lectures on Islam for a local Methodist congregation, the discussion turned to "how would the earliest Methodists in the USA have dealt with Islam?" That took about 30 minutes as the audience pondered the question. A forthcoming lecture will deal with Islam Through the Ages in the Middle East, Europe and America. In this presentation, I could envision both Blue and Ka, but NOT in contemporary times. Think of them in different clothes, different haircuts - perhaps beards - armed with curved blades as they walked the streets. Think of them conversing with Elders of their faith, worrying about Crusaders (Christians) or the cost of living in their area and raising a family. Toss in the romantic link - Ipek, another woman or even a male (very, very common in Turkey and not such an issue of contention as in the USA). Another intriguing blend of Turkish culture; different time period, but not too different culture.

One issue about Turkey (as well as other areas of the Middle East and Central Asia - here I think of Afghanistan particularly) is that the most modern, well educated, well-to-do professional can turn into his great-great-great-great grandfather in a heartbeat, bringing forth emotions, flashing, troubled eyes, a distinctive change in the tone of voice, and body language. I've seen it happen numerous times. To a Westerner (especially an American who is unaccustomed to these regions and people) it is truly startling. I can easily see that happening to Blue and perhaps less intensely to Ka.

hats
February 6, 2007 - 12:20 pm

Jonathan
February 6, 2007 - 12:27 pm
Welcome Mahlia, and thank you Mal, for inviting Mahlia to join this discussion. Your knowledge of the Middle East and Islamic affairs could add immeasurably to our appreciation of SNOW. So many nuances, strange to the rest of us, must seem familiar to you. Right off, I have a question for you: Is every Muslim an Islamist? Need he or she be? I don't know if that is relevant to Pamuk's story, but it might serve as an example of the countless questions that come up in ones mind while puzzling over the detail in the book. The mindset of these characters often seem enigmatic, not to mention the complex religious/political milieu in which they operate. Are somethings coming as a surprise to Ka, who grew up in a secular atmosphere in Istanbul?

It's interesting to see the question of prose and poetry come up. Is Ka faltering, or growing, in Kars, where he seems to be getting an overdose of the prose of life. Who could have believed it would come to this? While waiting outside the Communication Bookstore for the guide to take him to Blue, Ka gets impatient.

'He was tired of waiting and of dusting snow off his head, his coat, his shoes.' p68

No inspiration in the stuff, this time around.

I see Blue as one more element in Ka's journalistic endeavour to find the reasons for the suicides of the girls. And, of course, what the people of Kars are thinking and doing about discouraging this dire behaviour. It's also the reason why Blue has come to Kars. He seems very concerned to establish that the girls were not muslims when they committed the act.

I can't imagine Blue down on the street armed with a curved blade. I think he's all talk and little action. He enjoys a fierce reputation, but it'a all based on rumors. Ready to fire off a threatening letter, mostly he stays out of sight. He's a peaceful man, really. He soon recognizes a kindred spirit in Ka.

'Suddenly he put his hands on Ka's shoulders, pulled him close, and kissed him on both cheeks. You've withdrawn from the world to devote yourself to poetry...you came through all this snow that we might meet. Now...I would like to tell you a story.' p76

And so, in prose, we get a retelling of the Suhrab and Rustem tale. With a moral. Make of it what you will, there certainly is food for thought in it.

What strikes me is the joy it gives Blue in the telling. I think he would rather tell stories than anything else. As if Ka wouldn't have heard it as a child. And then, as one artist to another:

'Is this story so beautiful that a man could kill for it?'

Perhaps Blue is pulling the wool over Ka's head, telling him to go home?

Hats, I think the author wants you to quickly go to that chapter about Blue's death. Be sure to come back and tell us about it...

Jonathan
February 6, 2007 - 12:28 pm

hats
February 6, 2007 - 12:37 pm

Jonathan
February 6, 2007 - 12:40 pm
The subjects broached by this book are enormous. For that reason I believe we should proceed at a leisurely pace. Just too many things to talk about.

Jonathan
February 6, 2007 - 12:45 pm
Hat's you've mentioned her at another time, another place. The great woman to her people: Harriet Tubman. She was someone special. I have the Sarah Bradford book about her.

hats
February 6, 2007 - 12:53 pm
Yes, I enjoy remembering Harriet Tubman's courage and love for her fellowman. Jonathan, since my name is Hattie, I like to remember Hattie is a derivative of Harriet. Really, I am named after my grandmother.

marni0308
February 6, 2007 - 01:12 pm
Mal: Thank you so much for the interesting links.

This is REALLY an interesting discussion and fascinating book!!

Traude S
February 6, 2007 - 07:23 pm
HATS, thank you for asking. I'm right here but had an unavoidable errand to run in the morning and, unexpectedly, again in the afternoon. It was colder than at any time in memory since the infamous Blizzard of 1978. But on that day I didn't have to go out !

Regarding your question : I think the paragraph in parentheses in the middle of pg. 70 is a bit of a teaser. I did NOT turn to Chapter Thirty-Five; I didn't want to break (or miss any of) the chronological developments of the story. I'm re-reading now. One chapter at a time, as JONATHAN suggested.

Hello, MAHLIA, and welcome ! We have benefited before from your thorough knowledge of Islam, e.g. in August of 2003 in the dicussion of Queen Noor's "Leap of Faith : Memoirs of an Unexpected Life", and in June of 2004 in the dicussion of "Islamic Threat : Myth or Reality", by John Esposito.

The subject of Islam has fascinated me early on, and I chose it for my thesis - over the initial objections of my faculty adviser, who was ultimately very complimetary of it.

"Snow" is a difficult, dense book about contemporary Turkey, and we need to read it slowly to at least register unknown or unfamiliar political distinctions, such as, for example, a possible repair of relations between the Marxist-revolutionary Kurds and the Islamist Kurds. What exactly divides them is not explained (see lines 2 and 3 from the bottom of page 70).

By the end of Chapter Eight we still have no idea why Ka, Muhtar and Blue have such overwhelming feelings of worthlessness, melancholy, and how they are perceived by others, and/or why Muhtar believes he "deserved" the beating and might even have meekly accepted torture ! And this Anno Dominni 1990 or thereabouts !

JONATHAN, there is something seductive about Blue -- to judge from the way Ka (Pamuk) describes him. As for the rumors about Blue - some could conceivably have had a basis in fact. We've all heard the saying "Where there is smoke, there is fire" ! It is not difficult to see how his extraordinary handsomeness and persuasive fervor could attract people and make them into willing followers, accomplices, even executioners.

Back to "Snow".

Persian
February 6, 2007 - 08:08 pm
JONATHAN - RE Blue and a curved blade: think of it as an "accessory," to his outfit, not as a weapon which he would actually use. In many cases, the curved blade is "cover" which is beautifully made and decorated, but NOT sharpened. And in fact, the many I've seen in old stores are actually hollow - intended to hold much smaller, very sharp blades.

When I read the quote from Blue to Ka which you posted, I had to go back and re-read it several times to get rid of the sense of "taroof" which arose in my mind the first time. Taroof is a Farsi (Persian) word, which refers to exaggerated praise (often untruthfullness, coupled with exaggeration to an American ear). It is more common in initial greetings, than in general conversation (unless between diplomats and/or politicians). And if taroof is coupled with slightly closed eyelids (from the speaker) and/or an embrace or kisses (often accompanying greetings), "watch your back" is the caution of the day!

TRAUDE - yes, I recall that you did your thesis on Islam, so in this discussion you are right at home. I fully agree with you that reading the book slowly (and often re-reading certain sections) will help enormously to better understand the issues at hand.

Vis=a=vis the Kurds, that is an enormously complex issue, not only in Turkey, but Iraq and elsewhere they have resided or attempted to live in asylum. Today I re-read some notes I'd made a couple of years ago for a lecture about Sadam Hussein's regime beheading Kurdish women - claiming they'd been prostitutes and a disgrace to Islam, while at the same time murdering several hundred thousand Kurds on trumped up charges. I also recall the heinous purges of the Southern Iraq marshes, thus ending life as they knew it for the small historically Jewish community which called that area home. And, of course, there is the historical encouragement from Russia's provinces to "stir up the cultural pot" in Turkey against cultures and communities that posed a threat to the economic relations between the former Soviet Union and Turkey - this aspect is not well know in the West, but you may have run across information about these issues in your thesis research.

RE Blue's handsomness: men of the region are extraordinarily handsome in a physical sense (just as are Persian men), but their "persuasiveness" in many aspects is central to their personalities, communication skills and is well known throughout the region. I've sat in a room with a grandfather and his teenage grandson (and other family, of course) while the elder man encouraged the young man to be "persuasive - you know what I mean! Like your father, uncles and me." And even after all these years, I recall how the elder flashed his eyes to stress his instructions!

Jonathan
February 6, 2007 - 08:41 pm
each with something to add to the investigating journalist's search for answers.

And now, in Chapter 9, it is the turn of the three teen-agers waiting in the dirty half-lit railway station through which Ka will pass, coming from the meeting with Blue.

First it was Serder Bey, the publisher of Kar's Border City News. Ka gets a tour of the city, and is told 'the stories about the suicide girls have been exaggerated.' Nevertheless, he takes Ka calling on the families who are mourning the loss of their daughters. Serder Bey's explanations of politics and events in Kars are meant to see that Ka gets it right. So it seems to me.

Then comes Muhtar, who, with a telephone call to Ipek, asks Ka to call on him. This friend from student days, now a businessman, wishes to explain his conversion to God. This seems part of a trend in Kars. He's running for mayor, to support the cause of the covered girls.

Blue gets a message out that he wishes to see Ka. This Islamic stalwart by reputation is seeking more of the notoriety that he craves. He helps Ka with the 'story' that Ka is seeking in Kars, but my guess is that Blue definitely wants to be part of it.

It is different with the three young men. These are the would-be boyfriends of the young girls who are taking their lives. Their perplexity is great, exceeded only by their eagerness to make sense of their faith. Despite their ready answers and their sharp questioning of Ka about atheism, and what strange notions they've been taught about atheists, their spiritual plight is strangely moving. Did the dead girls prove themselves atheists by their desperate acts? Are the believing boys in love with atheists? Only a true believer could imagine the horror that these young men feel.

The effect of their questioning of Ka is electric.

'Do you or don't you believe that God Almighty created the universe and everything in it, even the snow that is swirling down from the sky?...So tell us, Who makes the snow fall from the sky? What is the snow's secret?' pp 83&86

As might be expected at the mention of snow, Ka's soul-searching begins, ending Chapter 9 with the most moving lines of a Ka hearing his own call from the depths. The call of his divinity. The sound of his muse. A poem is born!!

hats
February 7, 2007 - 06:20 am
Ka describes himself as an atheist. I would never describe Ka as an atheist. Perhaps, I see poets as appreciating the beauty of people and their world, therefore, the poet must believe in a God. Is it possible to appreciate and not believe? For the girls, what is the worse sin? Is it worse to die an atheist? Is it even a worse sin to die as a believer?

hats
February 7, 2007 - 06:38 am
I can literally feel Ka's sorrow jump off the pages. "A man lives his life, and then he falls apart and soon there is nothing left." Still, I have hope for Ka. In some way he will find peace and joy in life again. At the end of chapter 9, I see poetry as the strength he needs in order to face the complications of life. I am almost ready to say Ka loves poetry more than Ipek. His writing is "the only sound that could ever make him happy, the sound of his muse."

hats
February 7, 2007 - 06:44 am
In some way, chapter 9 has joined my spirit closer to Ka. In this chapter, he comes across as more human. Maybe sadness draws us closer to other people because we have all experienced it. All of us have also seen light from a dark tunnel. I think Ka is us. Someone said it before, Ka is everyman. Did Judy or Marni use that term? Anyway, I am beginning to comprehend what the poster meant by using that word when thinking about Ka. Did Mal use that word???

marni0308
February 7, 2007 - 08:56 am
Hats: It wasn't me.

Jonathan
February 7, 2007 - 10:04 am
Hats, it wasn't me either, but I agree that seeing Ka as Everyman gives the portrayal of his search for happiness a certain appeal. Is Kars a good place to go looking for that? Even if the quest for happiness fails, it looks like a great journey of self-discovery for Ka.

Ka isn't an atheist, after the things he has told us about sensing the presence of God in the snow falling around him. But it's a personal God that he admits to, not the God Who is law-giving for and institutionalized by a community of believers. It's the ardent teenagers who seem to force Ka into a corner that he would rather not occupy. It's extremely hazardous to put oneself into a position for which one might be declared an infidel. We've seen what happened to the school director as soon as the tiny man made an infidel out of him.

It surely must be small comfort to be told that there is room for atheists in a Muslim community, when atheism is seen as a disease, as madness.

Does Ka love Ipek? The relationship is a very curious one, and it's most interesting to see it develop.

Malryn
February 7, 2007 - 08:45 pm

I believe it was TRAUDE who talked about Everyman.

I don't relate to idealistic Ka. If he'd drop a little of that, he might be able to see that life has its ups and downs; that he's not alone in trying to figure out what life is all about; that the next guy is as scared as he is. I want to shake him and say, "Stop contemplating your navel, for heaven's sake, you're just not that important; nobody is. Go back to the self-chosen seclusion where you came from, Ka. You're ill-equipped to mingle among these people, who lie more often than they don't, You're so trusting that you're apt to get yourself killed. (One way or another.)"

I don't trust Ipek any more than I'd trust Blue, if I ever met him. She's very, very devious, and her attitude toward Ka is not believable, in my opinion. Muhtar, to me, is comic relief.

This guy Ka is asking for a fall. That's okay, though, because Ka couldn't bear the extreme of happiness. Misery is easier because it's so familiar.

Mal

marni0308
February 7, 2007 - 09:36 pm
Ka does seem to do a lot of self-contemplation.

Not only may Ka be asking for a fall, we know he is going to have one. The narrator throughout keeps dropping little tidbits about Ka's future. Things such as Ka's coat will get him in trouble. Or in two days Ka will have the most unhappy day of his life. That sort of thing. I've already been anticipating the worst.

I don't see Ipek as devious - at least not from what I've seen so far. She seems quiet, thoughtful, logical, careful, cautious. She doesn't want to get in trouble and seems to know how to stay out of trouble. She also seems quite straightlaced and proper.

Ipek and her sister are very different.

Traude S
February 8, 2007 - 06:10 am
No, MAL, I can't take responsibility for "Everyman" either.
I have described KA as intensely self-absorbed, a loner and a dreamer, as detached, "apart", and monumentally insecure.

I don't have time now to check the posts but will do so later in the p.m.

Jonathan
February 8, 2007 - 08:43 am
It's very interesting to hear you say that, Mal. What you say about him has a lot of truth in it. Nevertheless, Ka is represented as a poet, a creative writer, and I've wondered if you could see a creative process at work in Ka's strange ruminations and behaviour. An artist, surely, will never be Everyman. But what do artists think and feel when those days and years of no inspiration come along. Could this 'idealistic' period in Ka's life be little more than frustration, a grasping at straws, snowflakes and romance, to get the juices flowing?



Marni - 'dropping little tidbits about Ka's future. Things such as Ka's coat will get him in trouble. Or in two days Ka will have the most unhappy day of his life.'

Who is this looking into Ka's life? It does add one more thread to the many in the book. One more dimension. There's a certain fascination about it. On other hand it seems like such an unsophisticated narrative trick in the business of creating suspense. This unseen investigator is beginning to take on a life of his own, it seems to me. Does he add to the interest? I sometimes feel that Pamuk is all over the map with this book, even drawing his own map of his country, his society, and in a fictional way, himself.

Traude, you'll have my help in finding whoever it was who is trying to make an Everyman out of Ka. One of us identifies with this unfortunate man... Then again, we are all looking for happiness, surely.

I made a note of your characterization of Ka:

'intensely self-absorbed, a loner and a dreamer, detached, "apart", and monumentally insecure.'

But he would seem to be going about his journalistic assignment systematically. We've learned a lot in his company.

marni0308
February 8, 2007 - 11:09 am
I don't know anything about writing poetry. I'm not a writer at all and I don't know how writers get their inspiration.

But Ka's poetry has me stymied. His inspiration seems to come from outside of him. It doesn't seem to be his own. He is described as though he is simply a vehicle used to write down lines that are fed to him from somewhere unknown. Repeatedly, Ka is suddenly struck with a force, like lightning. He has these sudden attacks when he has to race off, find a pen, and rapidly write down lines that are suddenly in his brain. Whole poems are just suddenly there, complete, again and again. If he is interrupted, he loses the lines - perhaps forever.

Ka certainly takes credit for the poems. He asks people if they think his peoms are beautiful. But, it doesn't seem that the poetry comes from Ka himself. It's like it's coming from a divine source or something. Is this the way it is? Or am I missing something?

Persian
February 8, 2007 - 11:30 am
I spent 25 years in a university's English Department, working with some wonderfully talented folks. Ka reminds me of several of them, especially when they were young and had not yet "found" their mature creative voices. I recall the usual quietness of many of these folks and then a few days of excellerated emotion as they wrote away at break-neck speed. Some paced the halls or the campus, others tucked themselves away, a few sat under the trees in good weather or went out to "play" in the snow, returning to their offices refreshed, red-cheeked and ready to respond to stirred-up creative juices.

Yet Ka also reminds me of Persians I met in Iran (some university-educated, others not), who created hauntingly beautiful work, as well as some that was so shockingly heart-wrenching it was hard to listen to them recite or read their work. I've also met Afghans who would literally "eat Ka alive" with overpowering poetic skills, yet love him to death BECAUSE he is creative. Not like them (different culture), but they'd recognize his creativeness, respect and appreciate that - at least for the culturally acceptable 3 days of welcome for a guest. Ka also reminds me of one of my former Farzi instructors who was actually an Azeri from Baku, Azerbaijan, but taught Farzi as well (if not better) than some of my Persian instructors. He was a very small man, short and slender with a slight voice. But when his creative mind took over, his voice changed in tone and he SEEMED to be much taller and larger than he really was. It was amazing to watch him go through that kind of dramatic change - and it WAS dramatic. It was this same man - the Azeri - who taught us to appreciate - REALLY appreciate Persian poetry, which ranges from some of the most beautiful, delicate words one can imagine to some of the harshest descriptions of any culture of which I am aware.

Malryn
February 8, 2007 - 11:57 am

MARNI, you're not missing anything -- except the kind of whackiness that comes from being an "artiste". I've written all of my life -- slews of bad, romantic poetry at one time, hundreds of short stories. And I don't rememner -- 25 or 30 novels -- as well as non-fiction stuff.

More than once I've told people it's as if I'm the medium. Some head that isn't mine is doing the composing. I've heard a lot of other writers say this, too.

I don't think that means much, frankly. It especially does not mean these things have sprouted from some divine, sanctified ground. Or a spark of inspiration.

With me it's putting my mostly untapped brain in a place that is different from my usual one. (Didn't Pamuk say something about this in his Nobel Prize acceptance speech? Seems to me he did.)

I don't believe much in inspiration. Writing is mostly grit-your-teeth, sweaty hard work, and most of the work is done in your head, not on paper or a computer.

I don't put my stock in Ka as a writer, frankly. From what I've read in this book, he puts down factual things that happened to him as a child and later. I don't call that creative writing.

I don't believe in writers block. Ka's exasperates me because I kmow from experience, and have told many others, that all it takes is writing one sentence to unstick yourself from a rut as a writer. If you're unwilling to do that, then quit and wallow in your writer's block mire.

Maybe Ka is afflicted with the myth that says writers and artists need some kind of divine spark to do what they do. What they really need is a stack of towels to wipe away the sweat that comes from writing. And uninterrupted time.

Don't let anyone kid you. WRITING IS WORK. If you don't like to work; then quit while you're ahead.

I say this as a person who writes very easily. I can write a novel in a couple of months or less. It is the editing, the revising, the polishing that take the time. Anyone who is not willing to do that is not a writer, in my estimation.

Mal

Judy Shernock
February 8, 2007 - 03:43 pm
Jonathan- You asked "Does Ka love Ipek". What has been going through my brain is Does Ipek love Ka?

Ipek and Kadife are both full of secrets. They use men and enjoy being important in this Male dominated milieu.

Ka seems to float through this strange, politicized, half-mad city. He is looking for inspiration to create poems.. Ipek however is very grounded and aware of nuances. She doesn't translate the nuances into poems but into a safety net for herself and her family.

Ka wants Ipek to be happy with him and his way of life. But these are star crossed lovers, not meant to live happily ever after.

Judy

Traude S
February 8, 2007 - 07:36 pm
Does Ka love Ipek ?
Does Ipek love Ka ?

Excellent questions, both. Thank you, JUDY and JONATHAN.
So far = by Chapter Nine and Chapter Ten, we see Ka as more ardent, more eager, increasingly impatient. But is Ka's desperate longing for Ipek love ? How long has he been in Kars ? Two days, three ?

Ipek on the other hand is cautious and more circumspect. At this point in the story we can only speculate what may be in store for them since we are taking the story one chapter at a time. Some readers may have their suspicions, but so far there is no basis in fact.

When Ka leaves Blue's hideout, "it wasn't danger Ka sensed but rather the fact of not belonging here ."
We don't know what is meant by "here" : the now empty hideout, or Kars as a whole. The meeting with Blue had lasted only twenty minutes. (Paragraphs 2 and 3, Chapter Nine, pg. 80)

A black stray dog follows Ka into the railroad station, a "dirty, empty building", where Necif, Fazil and Mesur, the three religious students, teenagers all, eengage him in a heated debate about his beliefs (in God) and opinion (about suicide). Another story, which Ka remembers having heard from Turks in Germany, is recounted in the manner of a parable, ending with an implied message for those who lose their "pure and innocent heart" and stray from the straight and narrow.

The boys pressure Ka, using arguments that reflect their instruction, and tension arises.
When Necip says: "Please don't misunderstand us. We have no objection to someone's becoming an atheist. There's always room for atheists in Muslim societies.", Necif's words can be taken as a veiled threat, whether deliberate or involuntary. I believe that in Pamuk's voice they are pure irony. Ka starts to leave. His mind is miles away. A poem is born.
How that came about reminded me of automatic writing à la Ruth Montgomery (q.v.).

Ka's poems are listed by titles and chapter pages at the end of the book.

Jonathan
February 8, 2007 - 09:18 pm
This is straight from the hidden corners of Ka's confused, aching, uneasy heart.

I'm not supplying a new chapter heading for this amazing, surprise-filled chapter, but simply searching for the meaning in the author's strange words:

'it is difficult to say...how much of his (Ka's) life was determined by the hidden symmetries this book is seeking to unveil.' p87

and then, also:

'just as the poem itself defies easy explanation' Well!!

The chapter begins with Ka in a state of exaltation, having just committed to paper a 'poem perfect in every way.'

The mood continues when Ipek 'looking very beautiful' enters the room. Wanting to score again, this time in Ipek's arms, which she has lovingly thrown about him, and making his boundless desire known to her, Ka is stopped short by Ipek's hesitation.

'I'm just not ready...I haven't been with anyone for three years.'

'I haven't made love with anyone for four years', Ka says to himself, certain that Ipek can see that written on his face.

That must have been in Frankfurt. What could have happened four years ago in Germany? It seems to me there must be a double entendre in that four years ago event. Was it an encounter with a mistress or a muse that Ka remembers? It's been four years since his last poem.

One of us has suggested that Ipek is devious. That may be, but is it any wonder if she is unsure of this poet who is truly passionate only about his verses? It may be unfair, but Ka really hasn't given us much evidence that his love for Ipek is much more than the wham, bam, thank you ma'am variety.

There can't be anything devious about Ipek, surely, when she sets about making a self-respecting man of Ka, with the help of the letter from Sheikh Saadettin.

'Go to him at once', Ipek tells him. With this surprising reply from Ka:

'Am I supposed to pay my respects to every lunatic in Kars?'

The ensuing dialogue is most revealing of Ka as an unbelieving, religious illiterate. It seemed to me that he came away from the talk with the three teenagers in chapter nine, with little understanding of what they were talking about. He gets some very blunt talk from Ipek in chapter ten.

Jonathan
February 9, 2007 - 03:59 pm

Traude S
February 9, 2007 - 07:33 pm
JONATHAN, no, of course not. I'm home now after another hectic day.

It is quite possible that there is a connection between Ka's four "loveless" years and his inability to write a poem. Perhaps we'll find out about that later. And as for muses, Dante had his Beatrice, Petrarch his Laura; surely there are countless other examples; Goethe among them.

There is much we can glean from Chapter Ten from the conversation between Ka and Ipek, what is said, what remains unsaid, Ka's religious belief- such as it is- and more.
He tells her he went to see Blue and asks Ipek whether she has ever met Blue. Her answer is evasive.
He asks whether Muhtar ever read a poem to Ipek. "Never," she says.

To Ka's immense relief Ipek loves his poem, the first in four years. She reaffirms over and over that she thinks it is beautiful but cannot explain why.
She prods Ka to accept Sheikh Saadettin's invitation and go to his house. She goes to great lengths to convince the hesitant Ka what a wise, popular man the sheikh is, and how able to "build up people".

"What will he do to me?", asks Ka naively, and "How long should I stay there" ?

He also asks whether Ipek was the one who sent "poor Muhtar" to the sheikh. She answers with another question.

Why is Ipek so anxious to send Ka to the sheikh ? Does she have an ulterior motive ? If so, what could it be ?

Judy Shernock
February 9, 2007 - 07:48 pm
Jonathan , Re the relationship between Ipek and Ka-in chapter 10 we have this interchange between the two;

"I can't say how it happened " said Ka but it's possible that the poem came to me thanks to you"

"The condition of the director of the Institute of Education has worsened" Ipek said.

What a cut off by Ipek!

Ka asks her if she told the police that they are getting married. Her answer"You're very sweet, but my minds on other things now."

She is using him somehow for reasons not known to us and Ka ,like the naive child he is, wants kisses and to keep hearing from Ipek. how beautiful his poem is.

In the next chapter (Do they have a different God in Europe?) Ka "sucks -up" to the Sheik and says things and then the opposite of what he just said.

Ka is indeed a difficult protagonist to come to terms with. But the writing is so dazzling that it draws me in and onward.

Judy

Traude S
February 9, 2007 - 08:01 pm
JUDY, we posted within minutes from each other.
Yes, the writing is dazzling, and I too am drawn to it.

marni0308
February 9, 2007 - 09:51 pm
I found that I really was drawn into the novel. I wasn't too sure at the beginning - it was very strange. But then it became so interesting and is beautifully written. It's so mysterious that I want to see what happens next.

I had to put the book down because I was getting so far ahead.

winsum
February 10, 2007 - 12:07 am
there is a place here that teaches code but I can give a little Jane was kind enough o show me how o do it here without it' working and not showing it's structurel soe to begin a commant and not have a print we start with the following < and the title goes here >.

this is my first attempt to use this code. fresh from a voluteen lat week. hope it works.

claire

winsum
February 10, 2007 - 12:48 am

Malryn
February 10, 2007 - 08:32 am

I, too, thought Pamuk's writing was "dazzling" when I began reading the book. I immediately IMed my daughter and told her how much I liked it. (She had said she didn't like the book much, and thought My Name is Red is much better. ) I started My Name is Red after I had been very sick and was recuperating, in a weakened condition, from a serious operation. For that reason, probably, I couldn't get into that book. I must go back and try again.

As time has moved on, and I've read more and more of Snow, I find myself growing as exasperated with it as I am with its leading character. I don't like the technique of using a narrator who tells me, the reader, what's going to happen to our hero in the course of the book from the very beginning, in the same way he has a newpaper editor in Kars write the news before it happens.

What is it with this writer? With his particular talent, he doesn't need to resort to tricks to make his books work.

What appeals to critics is Snow's age-old and timely theme. It's a political novel that revolves around "man's" interpretation of two different beliefs. What's new in this book is the characters, the people who fight each other to beat one of the factions down.

Pamuk hit on a good theme. How many American readers (we're so self-centeredly naive and ignorant sometimes ) ever thought about "head scarf girls"? I had been aware of them for a long time, but it was only when I watched a film about women in Afghanistan called "The Veil" that I had any real idea about what was going on. The head scarves and veils are supposed to protect women. presumably from men, the same men they marry and have as neighbors. (Burkha vs Bikini)

Through Ipek's sister, this book's author makes a big deal about the sacrilege of a woman's showing her hair. Ipek's sister is the head of the head scarf girls. As the book goes on, it is revealed that Kadife's motive for wearing a head scarf is not as religious and altruistic as Pamuk first would have us believe. just as Ka's motive for going to Kars is not so much an interest in the "suicide girls" and Islam vs secularism as it is a desire to fulfill his own selfish, adolescent, romantic, sensual ideas.

This author takes a long route around the block to tell us this. There are places in this book where his repetitions are boring, at least to this reader; where he gets bogged down in a mire of unnecessary words. I think one reason I'm so annoyed with Snow is that for me, anyway, it doesn't live up to the beautiful promise it made in beginning chapters.

Mal

Jonathan
February 10, 2007 - 10:22 am
The praise is justified. The criticism is not unreasonable. Count me among the dazzled. The last half of Ch 10, with its drama and depiction of character and motive in a strange political and religious setting, what a strange setting for a poet in the throes of poetic ecstacy!

Is this author satirizing, mocking, spoofing, ironizing, or just making intelligble, the society he found himself in? Or is he really only looking for symmetries, as he says.

Mal, permit me to quote you:

'I don't like the technique of using a narrator who tells me, the reader, what's going to happen to our hero in the course of the book from the very beginning, in the same way he has a newpaper editor in Kars write the news before it happens.' 298

On the face of it, it certainly is an unsophisticated narrative trick. But perhaps there's more to it. The first time I felt as you do. And the second time I wished I could tell the author to respect my intelligence. Once more, and the author had me hooked, taking us into his confidence, hoping we will join him as he goes sleuthing into the strange case of the poet who went to Kars on a reporting assignment, leaving someone behind wondering whatever happened to his friend. We're getting a slowly growing database of tracks left behind by the poet Ka. And of course we're getting a detailed picture of a moment in history in a, what must seem a foreign country. But one does begin to recognize features that seemed vaguely familiar at first. The cultural, political, religious customs of another place, another time.

All this running off to the religious leader - Muhtar, and now Ka, by the looks of it. This is a societal thing, starting, say, with Jesus and his disciples, to someone like the modern Rabbi Shneersohn in NYC, with his huge following. In SNOW it's made to seem very clubby. Gets the men out of the house, to find company and mutual support.

Are you put off by the way news is managed by the editor of the Border City Gazette? The way events are managed? Get ready for a Gilbert and Sullivan revolution.

Judy Shernock
February 10, 2007 - 01:54 pm
To My Fellow Readers

After all my confusion and reading others expressing the same thing, I went back and reread "The Readers Guide" that is in the heading for the discussion. Read it from start to finish and don't skim (like I did the first time). We are reading a very important and complex book and there are no easy answers,nor are there meant to be any.

Judy

Traude S
February 10, 2007 - 06:13 pm
Pamuk became kown sooner and better in Europe than in this country. This changed after Pamuk was awarded the Nobel Prize.
When I read "Snow" for the first time, long before "My Name Is Red" was discussed in B&L, it occurred to me that a discussion of "Snow" might be difficult : the subject matter, specifically the history and present political climate of Turkey are not familiar to us, nor can we appreciate what moves or motivates the people. Some may have never heard of Anatolia.

I believe that taking one chapter at a time is a wise course of action and the only way to proceed IMHO. At this point we are about one third into the book , officially.

I'd like to reiterate that it is too soon IMHO to roundly reject the book for reasons of form; structure; repetitions; the narrator's sometimes irritating omniscience; or because we find characters not to our liking - though that would not be the first time.

We are not required to LIKE a character, or even to personally like any given book. But that does NOT preclude a full, satisfying discussion. We are not striving for consensus. We are free to listen to anyone's interpretation, but we are not compelled to adopt and embrace any one perspective, no matter how forcefully it is expressed.
For my part, I will withhold any criticism of "Snow" until all chapters have been discussed, if that is OK with JONATHAN, our DL.

JUDY, not all the questions raised in the Readers Guide in the heading can be answered at this point- yet because of the decision to discuss only one chapter at a time. But it seems to me, after just having looked at the Guide, that some of the issues have already been tackled here in our discussion, and passages independently quoted as well. We are definitely on top of things !

Are we ready for Chapter Eleven ?

Malryn
February 10, 2007 - 08:43 pm

Some people didn't like it because I said in a discussion that I don't like Pearl Buck's The Good Earth, either. I have the right not to like a book, and the right to say so at any time I want, just as someone else has the right to like it, and to talk about their feelings from the beginniing of a discussion to the end.

It doesn't matter a whit whether anyone agrees with my point-of-view or whether he or she doesn't. (Or whether I agree with theirs.) I don't expect to be shot in the back for what I post here. This is a free forum, and, thank God I live in a relatively free country.

I have to stop now and put my Cyberspace Webkinz plush animals to bed. Click the link to see some of them. This evening I was unexpectedly taken out to dinner at Friendly's by my son, his wife, and my two grandchildren. They presented me with my fourth Webkinz ward, which I adopted online as soon as I got home. It is a white puppy with Valentine hearts all over him. I had seen his picture, and couldn't for the life of me stop thinking the poor thing had the measles. Thus his name -- TweezleMeezlel. The L at the end is the accidental result of a slip of my finger.

Webkinz is an interactive site where kids of all ages learn how to take responsibility. Webkinz money must be earned in order to house their plush pets and feed them by playing educational games that include mathematics, history and word games, among others.

The word games and trivia questions appeal to me most, of course. It didn't take long for me be shut out of the trivia game --- I had answered all of the questions.

My 7 year old granddaughter, Leah Paris Freeman, and my 31 year old granddaughter, Megan Moss Freeman, are members of Webkinz, and we meet there online. Hopefully, my daughter will receive the black plush Webkinz labrador puppy I had sent to her through Amazon, and she'll join us, too.

This probably makes as much sense to you as what goes on in Snow does to some of us. I don't think this book is complex. Its characters, with the exception of one or two, are simple folk, as I said here before. For me, it's a case of untangling myself and straightening out the complexities I carry that are of my own making and only my own.

I don't know why I'm reminded of a shopping trip in Brooklyn with the woman who became my daughter-in-law and a friend of hers. Having grown up in the sticks in northern Massachusetts, I had convinced myself that New York and Brooklyn were sophisticated, tough places, the likes of which I could not match.

Imagine my surprise when I realized how provincial and naive the two young women were that I was with. All they could talk about was "seeing the sights." Those sights were the glittering malls in the Brooklyn area. These were not the tough dames I expected.

Kars and its people are provincial, too.

So am I, I guess, with my little plush family of Webkinz pets and the homes I've built for them in these interactive, real life learning games. Life is so funny, isn't it?

Mal

Jonathan
February 10, 2007 - 10:45 pm
Claire, wouldn't you say that Ka, as an investigating journalist, should be smart enough not to get personally engaged in the issues that have put Kars into a political turmoil? Can you guess how many journalists in Turkey have lost their lives over the years?

Earlier, I replied to Mal's post, but didn't have the time to reply to Traude's, and Judy's, with their comments on Ch10, and Marni's about reading ahead.

I think everyone should read ahead, and let the rest of us know that you are. That only tells us that you are hooked on the book, and are bound to be back with an even better appreciation for the chapter under discussion.

Hats, (I hope she's alright. She hasn't dropped by for several days.) drew our attention to the author's remark that additional information about Blue could be found in Ch 35, and wondered if she should jump ahead to that chapter. I believe one should. The author, for whatever reason, seems to want the reader to do that. Can we try to imagine the problem the author must have had deciding where in the book to place it. The book as we read it seems to be a work in progress. The writing of a book. The events all happened years earlier.

'We are reading a very important and complex book and there are no easy answers,nor are there meant to be any.' 300

Judy, the suspicion has also been growing in my mind. But, with every chapter it is also becoming very entertaining. I also skimmed the Readers Guide and left it at that, thinking I would go back to it after we were well into the book. I think this group is doing very well.

Traude, you raise such a good point about the advantage of having prior knowledge about Turkey and Turkish affairs, both secular and religious. You have already supplied so much useful information. Just as important is your good advice about remaining objective and cautiously critical about Pamuk's literary idiosyncracies.

I'm happy that you agree with the 'one chapter at a time' schedule. How about the pace everybody? Is several days per chapter too slow?

I've finished reading Ch 11, which sees Ka running off 'at a gallop' to call on the sheik. I'm still at a loss why Ipek urged him so strongly to meet the religious leader. Does she think it will help Ka with his journalistic assignment? Is she concerned about his Islamic soul? About her honor? Is it exasperation at taking second place to his poetry? Is she afraid of her own emotions?

Jonathan
February 10, 2007 - 11:13 pm
Mal, I hadn't seen your post in the Printer Friendly format I was using. Your Webkinz friends look like a lot of fun. Another time I'll take the time to log-in and meet them.

It should matter to you whether or not the rest of us agree or disagree with your opinion. I'm always wondering what you are thinking of mine. And since I'm not always certain that mine are right, I'm eager to hear yours. Has Pamuk's book been overrated? Granted, that the characters are simple folks, and Kars, Ipek says to Ka, 'it's not like Istanbul; there are no mocking nonbelievers. Things are simple here.' Now isn't that ironic?

What is it that is making it difficult for the rest of us? Is it the problem with the headscarves? The issue is looked at from every possible angle. Taking a position on headscarves seems to be all that matters in Kars.

Malryn
February 12, 2007 - 10:13 am

In Chapter 11 the reasons given for the suicides are:

Unemployment
High prices
Immorality
Lack of faith

I'd put immorality and lack of faith together. Hasn't it been said here that going against the laws of the Qu'ran constitutes immorality? Certainly, in the eyes of Islam, atheism is immoral.

What is atheism according to the people of Kars? Is it more than not believing in God-Allah? Is atheism anything at all that disagrees with Islam? It seems to me it is, in this book.

Ka calls his poem, "Hidden Symmetry." What does he mean by that? Is symmetry really hidden, or are the eyes of ordinary people blind to it?

Chapter 12 has an interesting title: "If God Does Not Exist, How Do You Explain All the Suffering of the Poor?" Is a deity like God or Allah responsible for the suffering of the poor? The title implies that without the existence of God, there'd be no suffering for the poor, doesn't it?

I think wearing of the head scarves is an outward symbol of the control of everyone by Islam, as well as being symbolic of submission for both men and women. Islam stresses submission, doesn't it?
"As Ka knew from the beginning, in this part of the world faith in God was not something achieved by thinking sublime thoughts and stretching one's creative powers to their outer limits, nor was it something one could do alons: above all it meant joining a mosque, becoming part of a community."

Mal

Judy Shernock
February 12, 2007 - 05:19 pm
What other author does this book remind you of ?

It reminds me of Kafka and his protaganist "K". The title of kafkas book is also pronounced "KA" .. It too is a story shrouded in mystery and one can give it many meanings.

Snow also reminds me of Camus and his book "The Stranger". Ka is himself a stranger, trying to fit in. He was out of place in Germany and now, he is out of place in Kars. He is the eternal wanderer looking both for solace and love. He mirrors other peoples views trying to fit in with them. His views keep changing like a kaleidoscope.

Yes, he is supposed to be a poet but Pamuk doesn't let us read his poems. The only thing he tells us is that Ka incorporates into his poem the depressing Graffiti on the Teahouse wall.

As a counterpoint to the book I have filled my house with dafodills which have wildly erupted in my garden after four days of rain.

Judy

Persian
February 12, 2007 - 07:15 pm
A question: what is the fascination with head scarves? I've never understood this aspect from people discussing Islam. Would there be such a focus on Amish women, who also cover their heads? Is it the issue of covering a woman's hair? Or perhaps only the idea in the West that wearing a headscarf signals "submission"? Islam teaches a woman to dress modestly. A woman's hair is considered to be a part of her natural beauty. Thus Muslimas in many world regions cover their hair. And many do NOT!

In Eastern Europe, they do so with a bandana (like Russian country women); in the Gulf, wealthy Muslimas wear gorgeously designed head scarves, while simpler folk wear plainer scarves. In France, Hermes is "the scarf of choice," while in the USA, I've seen Muslimas exercising with baseball caps covering their hair. And I'm of a certain age to remember that as a young woman, I always wore a head scarf when driving or riding in convertibles in my home state of California, at the beach, on vacation (especially sailing), and often just because the scarves were beautiful. Sometimes I tied them under my chin or draped around my neck. Sometimes my hair showed, sometimes not, depending on my mood and whether I was in a hurry.

Wearing a burqa (head-to-toe covering, including to the base of the fingers) as Central Asian women do, is quite different. It is a cultural (tribal) mandate, NOT from Islam. Modesty is the key instruction in Islam regarding women's dress.

Malryn
February 12, 2007 - 07:37 pm

MAHLIA, there is a great deal of emphasis on headscarves in Pamuk's book. Wearing them, as apparently the Qur'an mandates, or not wearing them, as secularists in this book, also mandate, causes much friction to the point of murder in this story.

Mal

Traude S
February 12, 2007 - 07:44 pm
At the end of our discussion of "A Fine Balance" by Rohinton Mistry here in B&L last year, one participant summed up the experience like this:
It was not light reading. It was not easy reading. It was essential reading.
I am quoting this here now because I feel that the same is true for "Snow" as well.

JUDY - Kafka, of course !! That is a superb comparison.
The protagonists in Kafka's "The Trial" and "The Castle", simply called K., are every bit as helpless and unable as Ka is in "Snow" to control what happens to them after they are tossed into a maelstrom of events not of their own making.
Kafka's protagonists wrestle with bureaucratic (the Trial) and hierarchical (The Castle) forces; Ka in "Snow" with Islam.

"Difficulty" in reading, is a relative term. Just as it is sometimes necessary to suspend disbelief in a mystery or SciFi novel, so we must - I believe - try to immerse ourselves in the alien milieu of "Snow" as best we can, take in the observations Pamuk makes, while realizing at the same time that not all stories end happily.

Jonathan
February 12, 2007 - 08:15 pm
'Beside the lake, beneath the trees,/Fluttering and dancing in the breeze.' Wordsworth

That brightens the place up, Judy. There's nothing like fresh flowers. Especially here in Kars.

'A question: what is the fascination with head scarves?'

A good question, Mahlia. Why does Pamuk make the headscarf the overriding issue in the book. Only snow is mentioned more often. There is an intended symmetry in that, I'm sure. One covers the earth, and the other covers the head. Headscarves, as one of the characters points out with dismay, are made the symbol of political Islam. And especially, it seems, in Turkey. For a hundred years, as we shall see, headscarves have been an issue. Discard them, was the cry, to achieve a secular republic. Put them on, to bring religion back into daily life, is the later cry. All the talk in Istanbul is about headscarves, says another character. I believe it was in 1995 that Ankara banned headscarves from the classroom, setting in motion the train of events we are reading about in SNOW.

Judy, I like to see some Kafka in all this myself. Let's show some sympathy for Ka. He's somewhat bewildered. He treads very cautiously at the sheikh's in Ch 11. The talk of God on both sides leaves him in a fine state:

'A feeling of peace rose up inside Ka. They were so far from the center of the world, one couldn't even imagine going there, and as he fell under the spell of the snowflakes that seemed to hang in the sky outside, HE BEGAN TO WONDER IF HE HAD ENTERED A WORLD WITHOUT GRAVITY' p99

He rushed off to call on the Sheikh at Ipek's urging. But he stopped at the first bar to fortify himself with three rakis. He makes a note of the picture of Ataturk on the wall, as well as the Swiss vistas. We know that Ka, brought up in Istanbul, knows very little about the true nature of Islam, and has deliberately sought out secular, romantic, European ways. At the Sheikh's he finds himself between two worlds. As I see it. He falls under the spell, but he also talks about the 'bearded provincial reactionaries.' I believe he's a Kemalist at heart, but can't shut God out entirely.

I've had my day in court. And it left me with a headache. Not to answer to any charges, but to make myself available for jury duty. This will go on for a week. If chosen, it could be longer. But I'll be in and out.

Jonathan
February 12, 2007 - 08:17 pm

winsum
February 12, 2007 - 08:22 pm
this from you . . . I was tweaked.

"there are no easy answers,nor are there meant to be any. "

when there are no answers and no resolution it could be a form of abstraction in literature as it is in art where it is not expected to relate to anything real but can through the emotions. Maybe I should read the book, but I suspect that the discussion is probably more interesting. as for your suggestion about Ka, Jonathan I would answer if I could but I haven't read the book . . . . yet. . .

Claire

Jonathan
February 12, 2007 - 08:35 pm
Mal, I just saw your reply to Mahlia's question. I think you're right in pointing out the conflict between the secularists and the political Islamists, and as such an intensely Turkish conflict. And your comment on atheism... isn't it seen as a form of madness, a disease? That's how the teenagers felt about it, reflecting, no doubt, what they had been taught.

Claire, get the book. It grows on one. Nice of you to drop in.

Malryn
February 12, 2007 - 09:04 pm

I have read some Kafka, and I read L'Etranger the first time (in French) over 40 years ago. Camus was a favorite in the intellectual group I found myself near Buffalo then. We read everything old and new and discussed it, and did everything existentially "new". It was the 60's, and there was a fever of creativity among some of us, which the Albright-Knox Gallery nurtured with shows of art the like of which I haven't seen anywhere since. And plays there and in New York City, about which I can say likewise.

Now I am old, after a lifetime of trying to stay alive with one serious illness or one grave injury after another. At this point, I have entered the "world without gravity" that exists side by side with this "what fools these mortals be" other world. This means that I take daffodils more seriously than I do literature and my enjoyment of their scent and yellow loveliness more than serious comments about any kind of literature.

For that reason, I bid you all thank you and farewell. I'm sure you'll find what you're looking for (or it will hit you smack in the face and knock you over, as it has me.)

So long, not goodbye.

Mal

hats
February 13, 2007 - 07:17 am
I don't think Ka is miserable. I believe he is a searcher, a searcher for truth and beauty. The journey to a goal is more exciting than reaching the goal. Ka is open to all thoughts and theories. He reads Niecep's science fiction story, he writes down the words written on the wall. He listened to Muhtar. He listens to each person as if there words will help him to become whole. Ka is not narrow minded. Ka comes back to Kars from Germany with an open mind. His willingness to question, listen, not judge, I think, will lead him to be the "hero" the narrator spoke of in the beginning.

jbmillican
February 13, 2007 - 06:58 pm
'Snow' truly is a difficult book. I do see resemblances to Camus and Kafka.

I think the book is about the problems modern humans face when confronting religion. The Bible and Quran both refer to a flat earth under a vast dome shaped, star studded sky, with heaven just on the other side of the stars. But we watch on TV as men travel in space, and send probes to distant planets and stars. We see and know a different celestial geography, yet have to reconcile this with the Truth in our religious books, and come to our own awareness of the existence of God. Ka is a seeker after Truth, in the condition of most of modern man.

Some go different ways, into fundamentalism, radical Islam, or some other group, or into atheism, or into a struggle to reconcile the questions raised .

I'm going to stay with this book, but existentialist literature seldom has happy endings, and I don't expect one here. Is that irritating narrator here because he is telling the story sometime after Ka's death. I wonder, but I'll keep plugging along.

Jonathan
February 13, 2007 - 09:01 pm
Mal, what a thing to say, and having said it, bid us farewell! You couldn't have said anything which could give me more incentive to continue the search for the punch you see in SNOW. But I know you're right, and we will find it. Take a break, and your health permitting, your interest revived, come back with one of your enlightening views.

I'm forced to slow down my DLing while I serve the cause of justice down at the courthouse. Sitting around with 200 others in a jury panel hall all day, does give me a chance to read, but also leaves one exhausted. It takes me an hour of travel morning and night. Would you believe it, I looked up and across the room, and saw another juror absorbed in reading SNOW. She was almost through it, so I asked her what she enjoyed most about the book. The humor, she replied. I must admit I have chuckled over many things. As you might expect to do, when a well-travelled poet from Istanbul and Frankfurt tries to empathize with the good people of Kars.

Hats, I'm delighted to see you back. You were missed. And I would like to tell you, you are empathizing real good with Ka.

jbmillican, sure it's a difficult book, but I don't think Pamuk intended it that way. At the most, I believe, he tried to make it puzzling, perhaps bewildering, but only enough to make it a pleasure to be knocked over when his intentions are truly understood. I think that's what Mal meant.

I'm determined to keep going until everyone agrees it was a wonderful read. Even if it takes forever.

Malryn
February 14, 2007 - 08:23 am

A new book called "Infidel"

hats
February 14, 2007 - 10:26 am
Mal, thank you for the in introduction to Ms. Hirsi Ali. The article is very interesting. I will definitely keep a look out for her book.

Traude S
February 14, 2007 - 09:39 pm
Good points all. Thank you.

Since Ka shares only the titles of his poems, not the poems themselves, we have no idea what "symmetries" are meant.

In Chapter Eleven we see him running first into a teahouse, ostensibly to ask for directions to the sheikh's house. There he downs three glasses of raki as if they were water. By the time he arrives at the sheikh'shouse, he is drunk.

It is interesting that the sheikh does not scold Ka's for his impaired state. Can we assume then that the attitude of the Islamic clergy in Turkey is considerably less stringent than it is in Saudi Arabia, for exmple, where people can be jailed for possession of alcohol ?

Like Egypt, Turkey has a secular government. We gather from our book that the religious students in their "lycée" in Turkey learn about the Islamic faith in greater depth than younger children do in state schools. Ka has long forgotten the prayers he learned as a child when the maid took him to the mosque for what was apparently very basic instruction. The maids visited with each other, and the children rolled around on the carpet afterwards.

The sheikh invites Ka to sit next to him on the divan and gives him his undivided attention. The alcohol has loosened Ka's tongue and he says something quite extraordinary (in the third full paragraph from the bottom on pg. 97)

"I feel guilty about having refused all my life to believe in the same God as the uneducated - the aunties with their heads wrapped in scarves, the uncles with the prayer beads in their hands. There is a lot of pride involved in my refusal to believe in God. ..." (emphasis mine)
So, is Ka a religious snob ?

When Ka leaves the sheikh's lodge, he wanders about for a while and then, feeling another poem coming, drops in the first teahouse he comes across to write it down. But no poem comes this time. The place is packed and soon the inquisitive Necip approaches Ka to ask him one last question about God's existence.

Ka says, "God exists. So does heaven".
Necip replies, "No, you're just saying that to console me, because you feel sorry for me. As soon as you're back in Germany, you'll start thinking God doesn't exist, just like you did before."

"For the first time in years, I'm happy," said Ka. "Why shouldn't I believe the same things as you?"

"But you belong to the intelligentsia," said Necip. "People in the intelligentsia never believe in God. They believe in what Europeans do, and they think they're better than ordinary people." (emphasis ine)
(This echoes the title of Chapter Eleven : Do They Have a Different God in Europe?)


"I may belong to the intelligentisa in Turkey," said Ka. "But in Germany I'm a worthless nobody. I was falling apart there."

To me that sounds as if the individuals involved, Ka and Necip, do not have one iota of self-worth, and as if the whole country - with the exception of the "ntelligentsia" in Istanbul - had the same feeling of insecurity.

What or who caused this ? Militant Islamists or the dictates of orthodoxy ?

What Necip reads aloud for Ka is actually more than a "synopsis", it's an excerpt, an outline.
Indeed, Ka promptly asks, "And then what? What happened next?"

We do not immediately see the relevance of this tale, such as it is, with false names and planetary inconsistencies, unless it is meant to give the reader deeper insight into Kadife.

hats
February 15, 2007 - 04:16 am
Traude, "Militant Islamists and the dictates of Orthodoxy" are ideaologies backed by strong armed people no matter their reasons. With such people fighting for rulership of your mind, how can you have self worth? It is impossible to think, to be, to choose. This is the plight of the headscarf girls. The lack of freedom to make choices, to become, to bloom without being snapped at by people who want total control of every human being. Teslime's emotional pain, who to please, where to turn, must have been dreadful, so horrible she chose not to live but to die.

Teslime's way of thinking is the turmoil Ka faces so, he is not a religious snob. His feelings of guilt cause his low self esteem. Both negative emotions caused by the Turkish society in which he lives. While in Germany the whispers of shoulds and should nots followed him leading Ka to refuse learning a new language. Ka was afraid he would lose his true soul if he allowed another language to become a part of his daily life. Basic freedom is a part of his life in Germany. Ka did not know how to step in and partake of freedom.

Only Ka's poetry is his "real" voice and his only true asset. I am afraid, like Orhan Pamuk, Ka's poetic voice will become quieted by the strong arms of this society. He writes on impulse, a sudden spark makes him run for pen and paper to write his feelings. He treasures the freedom of writing his thoughts, thoughts that have not, as yet, been censored by the dictates of society.

"Shocked at the beauty of his own words, Ka could not help but ask himself, What does it all mean? It seemed to be a poem someone else had written--this, he thought, was why he was able to see its beauty. But also, finding it beautiful was a shock considering its contents, considering his own life. How to understand the beauty in this poem?"

Ka's life is a struggle, a struggle that a man is not meant to fight.

hats
February 15, 2007 - 04:22 am
"A Somali by birth and a recently elected member of the Dutch Parliament, Ms. Hirsi Ali had waged a personal crusade to improve the lot of Muslim women. Her warnings about the dangers posed to the Netherlands by unassimilated Muslims made her Public Enemy No. 1 for Muslim extremists, a feminist counterpart to Salman Rushdie."

Ms. Hirsi Ali's life is no different from Orhan Pamuk's life or Salman Rushdie's life. Their freedom to think is being arrested by those who would like to police their lives, handcuff their ideas.

hats
February 15, 2007 - 04:29 am
Solzhenitsyn

Nelson Mandela

Traude S
February 15, 2007 - 12:48 pm
HATS, thank you for your posts and thoughts.

Actually there is more to Ms. Hirsi's story than what is stated in the link. But in the interest of not losing valuable time for the discussion of our current book I would rather not comment on Ms. Hirsi further at this time.

My point about Ka was his own admission that he felt guilty of refusing all his life to believe in the same God as the UNEDUCATED . The keyword is "uneducated", which is dismissive. Since Ka (and by extension Pamuk) provide no further explanation, readers can only speculate.

But what is the reader to make of discrepancies in information given ? Example:
In the sheikh's home Ka listens also to other men.
"There have been a few more suicides," the short man said, "but the state has decided not to tell us, for the same reason as when it decides not to tell us that the temperature is dropping - they don't want to upset us." (pg. 99)

In Chapter Thirteen Ka reports at length on his conversation with Kadife. "First, to Ka's surprise, they discussed meteorology."
Kadife knows all about the subject and goes into detail about the provenance of low pressure and how many centimeters of snow had fallen in Samkanus,and that the inhabitants of Kars no longer believed the weather report.

"In fact, she said, everyone was talking about how the state, not wishing to upset the populace, routinely announced air temperatures five or six degrees higher than then actually were (no one had mentioned this to Ka). (See the first long paragraph on pg 111)

No one had mentioned this to Ka ?
Oh, but someone HAD mentioned it to Ka, and within the last hour: the short man in the sheikh's home !

The question is whether a reader can trust an author in major, life-and-death issues and situations when he muddles minor details.

winsum
February 15, 2007 - 01:05 pm
a great analysis. I know a poet who sometimes wonders who wrote his poetry. It's where he "lets it all hang out". Circumstances proscribe the limits to his life, but the world of the imagination is limitless. The same thing happens to me with the art I produce. When I go representational I feel bound although I learned how to do all that years ago. In trying to create a new self portrait,the way I am now, my confidence evaporates. I have a good start but don't want to work on it. Inspiration is fleeting. But inspiration is the vital key to creativity in any of the arts.

Claire

hats
February 15, 2007 - 01:18 pm
I know you could explain a lot about inspiration and creativity. I have read many of your posts about Art. Your love and understanding of Art comes through.

winsum
February 15, 2007 - 01:26 pm
being tied to the viewer is to lose your freedom of expression. A friend of mine who understands art and has taught it's history doesn't seem to understand THAT. He's oriented towards SALES and viewer satisfaction including and expressed as explanation of the meaning in the title of the piece.

Diebencorn is a modern artist who paints landscapes but still exercises his concern over his freedom to express by simply making titles that refer to WHERE and when and the number at that time and location. It avoids the issue of the viewer but satisfies the artist as to his memory of place and time.

I wish I had done that.

claire

Malryn
February 15, 2007 - 02:36 pm

Click to see an article about Mohammed

Obey God and obey the messenger. (From www.submission.org)

Women Dress Code in Islam (From www.submission.org)

Judy Shernock
February 15, 2007 - 03:29 pm
For some reason this phrase keeps coming to mind-both in the book and in the discussion:

"Ye who enter here, suspend all belief".

Where this sentence came from , I don't know. I doubt whether it is an original creation of mine but I can't remember where I read it. Perhaps someone knows?

We can't expect a purely logical story here. Life is not logical for any of us. How much more so for a displaced poet who is looking for love while in the midst of a confusing muddle of politics and religion.

Pamuk won the Nobel Prize not because he is logical but because he portrays the illogical in a way as to be readable (with effort). He combines the real and the unreal in such a way as to remind us of how confusing life is. How so often we are faced with pieces that don't fit together or are jagged at the edges.

Kars is not a nice place to live. The snow is beautiful anywhere but in Kars it is doubly beautiful because it covers so much ugliness. When a place is terrible people look for beauty in each other. Ka finds it in Necips eyes and in Ipeks face and in his poems which the author doesn't show us. I keep wondering why we are not allowed to read the poems. There has to be a reason but I can't fathom it.

Judy

Traude S
February 15, 2007 - 04:26 pm
Welcome, CLAIRE. Good to have you here.

Thank you for the links. Now we can apply the theoretical knowledge we have gained about Muslim women, and about the requisite attire for believers in Muslim societies, to the Turkish women in our story.

Kadife explains how she came to Kars and that one fine day she put on a head scarf simply "to make a political statement". She "did it for a laugh, but it also felt frightening." She wears it still and has become a spokeswoman for the cause in Kars. Her father supports her because she is his flesh and blood although he is opposed on principle.
It is impossible to quote relevant passages even briefly, but it is well worth following the conversation between Ka and Kadife, the points and counterpoints, carefully.

The first direct challenge for Ka is Kadife's remark : "I'm sure you know enough already to turn Teslime into a very interesting story for your friends in Germany - not to mention the Istanbul press," and the reader can hear an edge in her voice. Ka is annoyed.

"I'm new to Kars," said Ka. "Even as I come to understand how things work here, I'm beginning to think I'll never be able to make it clear to anyone on the outside. My heart breaks to see these people's fragile livelihoods and their needless suffering."

Kadife "sounds very sure of herself" in her answers, observes Ka. Then she asks why Blue wanted to see Ka, whether Blue said anything abaout them. Ka is evasive. In turn he wants to know whether the father ever leaves the hotel - and the reader knows the reason for the question.

The family dinner is still ahead, and beyond that the scheduled event at the National Theater, which is to be broadcast live. The reader has been meticulously prepared. Chapter Fourteen promises some action in the agonizingly slow-moving plot.

JUDY, just saw your post as I went over my own. Thank you for your insight. More later.

Malryn
February 15, 2007 - 05:49 pm

History of Turks and Islam

"Sovereignty belongs unconditionally to the people."

~Atatürk

Persian
February 15, 2007 - 06:06 pm
MAL - many thanks for the links to Women's Dress Code in Islam and the History of Turkey. I'll add the information to my collection for future lectures, especially the first, since it is almost always brought up in questions from the audience.

winsum
February 15, 2007 - 06:37 pm
we don't get to see his poems because perhaps the author isn't a poet. Or at least knows his limitations as one.

claire

Traude S
February 15, 2007 - 07:04 pm
CLAIRE, one plausible reason for not printing all nineteen poems in the body of the book may be that, to do so might have distracted from, or could have required changes in, the form and structure of the novel.

Any comments on Ka's and Kadife's conversation, the history of her father, an "enemy of the people" who was removed from his teaching job and tortured at some point ?

winsum
February 15, 2007 - 08:12 pm
the nineteen poems? how about an appendix?

Jonathan
February 15, 2007 - 08:19 pm
Traude, what a good question. Can we trust the author to give us the truth? The mysterious narrator who is researching Ka's poetic output while in Kars? Perhaps the latter's appearance and activity is the clue. I believe the whole thing was meant to look like today's newsreporting. Somewhat garbled. How much can we believe?

Thank you all for moving the discussion along while I'm tied up in the courts. One more day, hopefully.

So many interesting points have been raised. We would do well to take Traude's good advice to stick closely to the text. There is so much marvellous detail, if we only take the time to read closely. On the other hand this novel seems to be addressing issues that appear in our everyday news.

Mal's link to Ayaan Hirsi would seem to take us farther afield than Pamuk would allow perhaps, but somehow it does bring us back to the book with greater interest. Ayaan Hirsi would obviously arouse anger in someone who feels that his faith is being misrepresented. Angry enough to commit a violent act, like the Tiny Man who came to Kars to assassinate the school director. Im surprised that Theo van Gogh was taken in by her anti-Islam ideas.

'So, is Ka a religious snob?' I suppose in a way he is. He deplores it himself. He does seem to be looking for something missing in his life, and finding it here in 'backward' Kars. Mahlia has told us of those who will reconnect very quickly with an older generation when the need arises. One almost hears an echo of 'Gimme that old-time religion.' He's finding something here in Kars that's far removed from his secular upbringing and Westernization.

Hats has asked is Ka afraid to lose his true soul, should he learn a new language? It would seem so, if he made no effort to learn German. But wisdom has it that one acquires an additional soul by acquiring another language. For that matter, Ka is working very hard at his poetry. Isn't that a language? Ka is in a state of wonder over his achievments. Like a child amazed with her abc's!

What is going on here. He can't get it down on paper quickly enough. A small distraction and the inspiration vanishes. Ipek walks into the room and the last two lines are gone irretrievably.

We may not get the poems, but in each case we are given considerable detail of experience that set things in motion for Ka. Is it Kars? Has he come 'home'? I'll take a stand. I believe the omission of the poems is a literary stroke of genius. Pamuk know very well what he is doing.

Judy! Brilliant.

"Ye who enter here, suspend all belief".

That has to be Dante, as he appoaches the Inferno, and is greeted by words 'despair, all you who enter here'. I'm sure Pamuk wants the reader to get that feeling in Kars. Everyone there seems to feel that way. We get plenty of evidence that the place is in dire straits, economically, morally, and theocratically. In a way it applies to the country itself, perhaps. Why the massive relocation of so many Turks, many of them to Germany.

'I keep wondering why we are not allowed to read the poems. There has to be a reason but I can't fathom it.'

The author wants us to wonder why not. We do know that someone is looking for them, and will eventually produce them or tell us the reason why.

Malryn
February 15, 2007 - 08:43 pm

Bah humbug. If a book's themes and messages don't lead you to other things, what good is it?

For example, I saw a movie last night which contains two suicides and an attempted one. At first I was tempted to shut the depressing thing off, but then I began thinking about the suicide girls and other parts of the book, and my own life, so left it on. By the time the film ended I knew a great deal more about this book, the movie, and various personal things. than I had known before.

You're not going to get an answer or real truth from Pamuk. That's my opinion. You'll be nudged and scratched by what he writes or omits, so you have to decide for yourself. Though I think Pamuk almost loses it in the middle of the book, this technique is the touchstone of a good writer.

I believe the omission of Ka's poems in this book is a act of genius on the part of some editor. Pamuk is long-winded enough to make for tedium and fatigue. The poetry would have added to it. I am not the only reader of Snow who thinks this.

For musicians in this group I'll ask if they don't agree that the constant snow in the background is like a Basso Continuo in music? The movie I saw -- "The Hours" -- has a score by Philip Glass, who is a minimalist composer, as you know. What he wrote was perfect for this film, almost trite melodically, repetitious, beautiful, tedious, restless to the point of danger, all the things that snow can be, if you consider it.

Poor Jonathan. For a fresh air mountain man like you, these days of confinement in a musty courthouse -- regarless how slick and new it might be -- must feel right next door to oblivion.

Mal, who will try to keep her mouth shut tomorrow.

winsum
February 15, 2007 - 08:50 pm
an abstract approach I think. I read it and the constant shifting of time and viewpoint drove me nuts.. .The STORY is what is important. We should be wondering "and THEN what happened".

I don't think I can stand another abstraction as literature.

Judy Shernock
February 16, 2007 - 11:37 am
Thanks Malryn for the History of Turkey. After reading the article and looking at the photos of the secular Govt. it occurred to me that I had missed one of the fundamental points of the book. Turkeys move to secularism and the EU has been deeply effected by the rise of the fundamentalist Islamic Movement.

If we approach the book from that point of view we see that a lot of the confusion we (I) are feeling is based on the illogical mind set of a new movement that attracts many young people. The schools of this movement stress belief in Allah and the students are not to question anything that is taught. Still doubts must remain in some of them.

By design, science is not part of the curriculum. Any subject that develops a persons ability to think and question is wiped away and put out of the curriculum.That is the point of the remark one of them made "Only Allah could make the snow".

The fascination with Necip is the fact that although he is a student in this kind of school he writes Science Fiction and dreams of being an author. Truly Ka finds such beauty in that ability that Necips death is seen as one of the major tragedies of the book so far. The boy represents the human spirit to move the world forward rather than backward.

Judy

Jonathan
February 17, 2007 - 12:57 pm
Mal, I don't have the musical training to apprecitate your suggestion, but I'm impressed by what Pamuk has achieved with snow as a motif throughout the book. And what a convoluted book it is. And look what he does with the headscarf as another motif. He uses both snow and scarves as pegs on which he hangs all the dramatic events and the endless soul-searching, dogmatizing, and identifying of the main characters.

Just look at the problem Kadife made of the wearing of a headscarf. "I painted myself into a corner and couldn't get out.' (ch 13, p114) She wasn't wearing a scarf when she arrived in Kars, but got caught up in the controversy, and it became a personal thing with her. Despite the restrictions, she takes a stand and wears the headscarf in the classroom. Then, with a touch of ironic humor, she explains how her father approved her action. As a communist who had suffered much at the hands of the police, he approves of his daughter's defiance of the state, forgetting for the moment any anti-Islam feelings he may have had.

Traude was right in asking for comments on the Ka/Kadife conversation in Ch 13. Does it seem strange that suddenly his heart finds a new love for Kadife conflicting with his love for Ipek. Is Kadife being more helpful to Ka in finding his way back to the fold. Despite his protestations, Ka is searching. So is Kadife. She is not as beautiful as Ipek, but she is reaching his soul.

Ka soon has Kadife 'on the ropes' in coming to grips with the suicide issue. Kadife's love for the unfortunate Teslime is greater than the Koranic prohibition and its making suicide a sin. She will not, she declares, talk about this with an atheist and a secularist, while insisting that it's wrong 'to assume from this that our religion leaves no room for discussion.'

What a story Ka is finding in Kars. It also seems to be turning into a homecoming. There seems to be a little pathos in his words:

'I'm new to Kars. Even as I come to understand how things work here, I'm beginning to think I'll never be able to make it clear to anyone on the outside. My heart breaks...' p112

Is it clear to the people of Kars? Obviously not, judging by the differences in the way the suicides are seen.

The men talking among themselves at the Sheikh's, talked knowingly of the many 'causes': unemployment, high prices, immorality, and lack of faith.(p 99) Mal brought this up in an earlier post.

The girls at Turgot Bey's see it differently. 'We believed what the papers said - that the girls had killed themselves because they had no faith, because they were slaves to materialism, because they had been unlucky in love....'

Will we ever get Turgot Bey out of the house so that Ka can have Ipek to himself? She has such peculiar inhibitions.

Malryn
February 17, 2007 - 09:24 pm

I've been thinking about what's in this post for a very long time. Seeing "The Hours" the other night prompted my decision to try and put my thoughts into words. "The Hours" has two suicides and one attempted one. I nearly shut the depressing thing off, but am glad I didn't. It more or less corroborated something I already knew and had put in the back of my mind.

I believe the principal reason for suicide is to extinguish pain. If nothing else works, death can seem like a pleasant relief.

When I was in the hospital and a nursing home after I was burned, people kept asking me: "On a scale of 1 to 10 -- 10 being the worst -- what is your pain?" I've always found that foolish question nearly impossible to answer. How can anyone translate his or her pain into a number?

After hearing other patients, some of whom showed no sign of pain, say "10", I finally said, "This is a purely subjective opinion, isn't it? 10 is supposed to be excruciating pain, so bad you can't stand it. A lot of these people here who claim #10 pain are nowhere near what I consider to be excruciating pain."

The medical people all said yes. I said, "Pain is relative; it depends on your strength, on how much you can tolerate it. According to that, I have to say mine is far less than 10."

I've experienced much pain in my life, emotional and physical, and the pain from the burns, and subsequent debridement and daily treatment and rebandaging, was the worst I've ever known. However, it did not match the pain I felt when the world as I had known it for nearly 30 years collapsed all around me.

I had been terribly betrayed by two people I had loved almost all of my life, and absolutely could not stand that pain. As a solution, I decided to drive my car off the reservoir bridge.

Realizing what was going on with me, my second son rushed me to my doctor's. The doctor did nothing except tell me to breathe into a paper bag because I was hyperventilating. His advice was for me to go home and take a tranquilizer and an aspirin and go to bed. In other words, he told me to go to the lonely place where I lived alone and live with it. It was years later that that particular pain was almost completely diminished, and not by suicide.

I think the majority of "Suicide Girls" were suffering similar personal, interior pain, not reacting to the head scarf issue. It will come out, as we proceed with this book, that Kadife's reasons for wearing the headscarf, and promoting it, were the more emotional ones of an infatuated girl, which had nothing to do with faith or secularism vs Islam.

I lost respect for her and her cause even before I read that. I sensed something "funny" about her, just as there's something that strongly makes me mistrust Ipek.

This book is full of lies, the worst ones being the lies these all-too-human characters tell themselves.

Mal

Jonathan
February 17, 2007 - 09:24 pm
And two more poetic rushes overwhelm Ka, as he thrills 'with the pleasure and excitement of a painter watching a picture appear on his easel.'

One poem, Stars and Their Friends, Ka owes to Kadife, after their walk and talk through the snow in Ch 13. We could have expected it after Kadife's friendly expression of intimacy that ends the chapter:

Let's have one secret we can share. It's the best way to begin a friendship.'

The other poem, The Chocolate Box, he owes to Ipek, as we can see in the closing lines of Ch 14:

'As he held hands with Ipek under the table, it occurred to Ka that if he spent his days doing nothing much at all, and his evenings holding hands with Ipek and watching satellite television, he would live in bliss until the end of his life.'

The book is getting funnier by the page. I find myself guffawing at some of the things in this chapter. If it's not Ka's vivid imagination, seeing flashes of jealousy crossing Kadife's face, while he stares with boundless ecstasy at Ipek, it's Hande, she with the stylish purple head scarf, implicating herself melodramatically in Teslime's suicide, or it's the 'agent of persuasion', a very stylish woman, sent from Ankara with her questionaire for the headscarf girls.

Hande steals the show with her act, with her odd remarks, such as:

'We all sin in our dreams with people who wouldn't remotely interest us in our waking lives.' p123

or:

'I can't concentrate, I can't imagine myself without my head scarf...If I could close my eyes just once and imagine myself going bareheaded through the doors into school, walking down the corridor, and going into class, I'd find the strength to go through with this, and then, God willing, I'd be free. I would have removed the head scarf of my own free will, and not because the police have forced me. But for now I just can't concentrate, I just can't bring myself to imagine that moment.' p123

She is pleading with the poet Ka for advice on concentration and enhanced imagination. Hande dramatizes the psychological difficulties of shedding her stylish head scarf to the point of paranoia.

Just as Pamuk with his fixation on snow. No chapter is without snow, so by way of a fuzzy TV picture flecked with white dots, snow becomes a part of the dinner party.

This chapter is full of nonsense, not least of which is the arrival of the second poem. How dramatic can it get:

'Years later, Serder Bey (one of the dinner guests) told me that Ka's face turned ashen, (a sign of) sublime joy....The maid went further and told me that a light had entered the room and bathed all those present with divine radiance. In her eyes, he (Ka) achieved sainthood.' p125

It was all, this narrator remembered, like the ghostly seances he and Ka enjoyed so much in their teens, when it would be announced:

'The soul has arrived.'

To all, a goodnight! I don't think I'll ever see another headscarf without wondering why. I talked about it in the jurors' lounge. One simplistic guy insisted the wearing of headscarves is all an 'in your face' thing. Several women objected very strongly.

Jonathan
February 17, 2007 - 09:29 pm
A very moving post, Mal. And your conclusions are something to think about.

Traude S
February 18, 2007 - 10:40 pm
JONATHAN, I like your description of Ka's "poetic rushes", that is exactly what they are. We hear about lines, but not rhymes. Judging from the way they are described, they seem a filter of Ka's observations and specific points raised in conversation.

Ka's mood alternates between buoyancy , in the sense of spiritual lightness, the desperate grasping for hope in the person of Ipek, and fearfulness of returning to Frankfurt alone. Aware of jealousy in Kadife's eyes, he continues to hold hands with Ipek under the table - something teenagers did in my time, and a little strange for forty-somethings.

Ka enjoys being considered famous, but when Hande says she has't read "any of your books"(pg. 121), he focuses only on her question about how to concentrate. Did Ka write books ??

At the end of Chapter Thirteen we read that both Ka and Kadife are interested in astrology, and in Chapter Fourteen the narrators tells us that both he and Ka were interested in the supernatural when they were younger (pg. 125).

Also on pg. 125, bottom : Ipek keeps her (hair?) brushes, pens (!), charms against the evil eye (!), necklaces, and bracelets in that old Swiss chocolate box (!) lying open on the table !

Ka's presses Ipek for a decision because, according to the ubiquitous narrator, "something told him he wasn't going to be in Kars for very long - that before long he would be unable to breathe here - so he had to push as if his life depended on it." (pg 127).

He tells Turgut Bey that "The fear I used to feel in Frankfurt when I was walking the street, that fear is now inside me." By the end of pg. 129 we have not yet been told WHY Ka had that fear in Frankfurt, his refuge !!

The people of Kars enjoy a few benefits of technology, i.e. radio, satellite television, and official telephones that are tapped, but otherwise desperately poor : the mode of transportation is the horse and buggy. The police has a truck; everybody else walks everywhere over hill and dale. What an extraordinary inequity.

The state has pressed for Turkey's admission to the European Union for years - it has not been granted yet. On the other hand, certain political Islamists in the book want nothing to do with the west, which they curse. That anomaly is as important as the issue of the head scarves IMHO.

Jonathan
February 19, 2007 - 08:32 am
'Something told him (Ka) he wasn't going to be in Kars for very long - that before long he would be unable to breathe here.' p127

'Once I was an atheist like you,' Kadife said to Ka, on their walk through the snow. 'Don't look at me like that; you look as if you pity me.' p114

Later, at the dinner table her father, Turgut Bey, the old Communist, the old campaigner for political revolution, has reached the sorry pass where his,

'...only pleasure was spending his evenings with his daughters and his guests, arguing for hours about politics and the existence or nonexistence of God.' p129

but...!

'Stubborn and quarrelsome though he was, he was too softhearted to be an implacable atheist.'

Yet, there must have been a time when Turgut Bey fought vigorously (the secular police were always after him) to convince others that God blocked the way to the socialist state. Now, however, a new wind is blowing through the land, and Turgut Bey is afraid to step out the door for fear of being cut down by a new enemy.

'Poor fool,' he says about the murdered school director who was enforcing the laws of a secular state. 'The Islamists have embarked on a cleanup operation. They're taking care of us one by one. If you want to save your skin, I would advise you to increase your faith in God at the earliest opportunity. It won't be long, I fear, before a moderate belief in God will be insufficient to save the skin of an old atheist.' p131

With great relief we hear Ka replying:

'I think you're right. As it happens, I've already decided to answer the call that's been coming from deep within me my whole long life and open my heart to God.'

Alas, it's all said with a sarcastic tone. (How much snow does God have to send to convince him?) And just like that our sympathy for him vanishes. Is it any wonder that he has been uninspired for the last four years. The true poet must be honest with himself. Ka is a confused man, with petty fears serving as the motivation for the poetry we never get to see. Why, he even fears happiness, lest it get in the way of the poetry waiting to be born.

Perhaps they are all liars in this book, too busy watching and spying on each other to live an honest life. What is Serdar Bey the, newspaperman, doing at Turgut Bey's dinner table? Getting news, or dispensing news? Ipek knows everything that's going on. Who is her source of information? Hande, why did she get herself invited? Hande and Kadife are very close, since they both wear purple. I don't trust either. Kadife is jealous of her sister. Isn't she caught spying outside the door where Ipek and Ka have gone tete a tete? It seems Ipek runs right into Kadife's arms when she gets through the door.

A very murky novel, is it not?

Traude S
February 19, 2007 - 06:44 pm
It must have been a horrendous task to translate this dense novel!
As you know I am always looking for le mot juste , just the right words, the right nuance. So instead of "lies" I prefer "deception", which does not sound as harsh to my ears. Apparently no one and nothing (or very little) is totally genuine. Secrecy and suspicion are everywhere; add to that the climate of fear.

The fictional Ka and the real-life Ayaan Hirsi Ali have one thing in common : they were both political refugees, also called asylands.

Ms. Hirsi was born in Somalia in 1969? or 1967?, moved as a child to Saudi Arabia with her family, and the family was given asylum in Kenya.
In 1992 Hirsi was given political asylum in the Netherland, attended the University of Leiden, became a Dutch citizen and a member of the Dutch Parliament from 2003 to 2006.

In mid-May of 2006, questions arose about the circumstances of her entry into the Netherlands and the statements she had made then to authorities, some of which she later admitted were false.
She had given the wrong year of birth and a different name. Her claim that she was on her way to Canada in 1992 for an arranged marriage to a man she did not know was denied by her family in Kenya.

Hirsi did board a plane in Kenya in 1992 to visit family in Düsseldorf and Berlin, the family said. She did get off in Düseldorf, stayed for a few days, then went on to the Netherlands.

Parliament was locked in debate whether or not to revoke her citizenship. Hirsi resigned her government position. When all was said and done, she was allowed to keep her Dutch passport and her alien (green) I.D. card. She is now in the States, associated with the American Enterprise Institute.

In many cases it takes the authorities years to gather information on an asylum seeker's background and the validity of his/her request for asylum. Language difficulties can slow the process further. Ms. Hirsi's request was granted within three weeks. She was fortunate.

http://en.wikipedia.org/wiki/Ayaan_Hirsi_Ali

Traude S
February 19, 2007 - 06:57 pm
The Hirsi link leads to a very long text. Please scroll down to the segment "The Citizenship Controversy".

Jonathan
February 19, 2007 - 08:15 pm
I have no objections if we want to take a break from SNOW to talk about this crusading firebrand. All the information in Traude's link to wikipedia on Ayaan Hirsi Ali, as well as the link provided by Mal, should be more than enough to make for a lively discussion. I'm a little put off by her method and her message, so I would have little to say.

I did make a note of one of her books: INFIDEL. The title alone could put a bounty on her head. On the dust jacket:

'In Infidel, Hirsi Ali describes her youth in Somalia, Saudi Arabia, Ethiopia and Kenya, and her flight to the Netherlands.'

The bounty seekers will have to move fast. She is a woman on the move, obviously. Stays nowhere very long. Currently in the U.S.A. I'll wager she runs for the Senate in 2008.

Traude S
February 19, 2007 - 09:37 pm
JONATHAN, I provided the link on Hirsi only because of the immigration procedure for asylum seekers that would be similar in all countries. But do you really see a need to explore this or Hirsi further ?

Speaking for myself only, I'd rather continue with "Snow" and not interrupt the flow, not now, when something important, crucial is going to happen. We cannot hope to unravel all the questions the characters ask of each other; the existence or non-existence of God is an academic question that has been, and will be, discussed till the end of time.

However, we can follow the action - and there will be action.
So Ka is not the hero we may have expected. (But then, not all leading men in fiction or in life are lovable or "simpatico".)
Ka does not act, he reacts, he follows (when he has no other choice). He is insecure and seeks affirmation through others. In conversation he sometimes agrees with one side, sometimes with the other. He resembles a chameleon, blending in. He has been away from his native land for twelve years. The reader gets the feeling that, if it had not been for the death of his mother, he would have stayed away even longer.

Ka, the loner, was unhappy in Frankfurt, he can't breathe in Kars; could this man feel happy anywhere ? Under what circumstances ? His ideas about love and falling in love are astonishingly naïve, even patronizing to an extent. I find it interesting to look into the mentality and psyche of this man, and his reaction to what is developing in the theater.
Will events ultimately make him act at last ? How ?

I don't like the presence of the narrator, but he is in the book, and there is nothing we can do about him, or about anything else in the book. Still, I have committed to it and to the discussion, and I am prepared to continue. Would others please comment ?

marni0308
February 19, 2007 - 10:13 pm
Traude: I'm still here. I'm waiting for us to get to the theater. Yes, I'm ready for action. The play will bring it on.

I love the way you explain things.

gumtree
February 20, 2007 - 07:35 am
Jonathon - It's me again - lurking about - though once again I'm lagging behind with the reading but hopefully catching up permanently... (medical issues are plaguing me at present).

Have read through Chapter 13 and some of the posts which are helping me enormously in trying to understand 'this dense book' as Traude so accurately termed it. It is dense. I think it is made more difficult because Ka seems so ambivalent about everything he sees and hears - I think too we need some real action in the narrative (presumably it is coming) and we need Ka to stand up and be counted. We have to know what his beliefs really are or whether he really can be swayed easily by others.

I think he is not in love with Ipek - he is more in love with the idea of having a wife and Ipek seems to be a woman who could fill the bill. I think he is clinging to Ipek as representative of something he thinks he wants but can't even define even to himself - along comes Kadife and rocks the boat.

Mal put it perfectly when she said she 'sensed something funny about Kadife just as there is something that strongly makes me mistrust Ipek' Spot on Mal! These women are not what they seem.

Like Traude I am committed to reading this book and would certainly like the discussion to continue even though my participation is sadly limited (sadly for me that is). Hopefully I will be able to do better from here on.

Jonathan
February 20, 2007 - 12:31 pm
Traude, I picked up a wrong signal, it seems. I thought your link was a ploy to use Hirsi to inject some reality into the issues that Pamuk is treating in such an existential, abstract manner. I find the dialoguing among the characters very entertaining, but I can also see where boredom might be setting in for someone else.

It's appalling in a way, this tale of the hapless poet, Ka. I want to resume my reading, but first I allow the book to open at random. At page 297, where my eye is caught by:

'Finally, what frightened him most was the thought of dying just at the dawn of his hope of living happily ever after in Frankfurt with Ipek.'

Haha, it's Ipek after all, but what a conflict of fright and hope. Almost enough to stifle the yawn as I go to my bookmark at the beginning of Ch 15, page 130. The first thing I see, is:

'Exactly seven minutes after deciding that he and Ipek could live happily ever after in Kars...'

Will Ka, at forty-two, ever find happiness in either place? Anywhere? The narrator/researcher, whom you dislike, adds a whole new dimension to the book for me. Perhaps Pamuk overworks the stylistic technique of suggestiveness, but I admit he hooks me everytime with his 'hidden symmetries', 'hidden geometries', and 'hidden logic'. And especially this ongoing reconstruction of events by the conscientious narrator.

A little bit of Hirsi's exciting career could, perhaps, be useful as a foil in making up our minds about Ka. Perhap's, too, it's the Turkish soul that Pamuk is parodying with this woeful character. SNOW is a penetrating look at Turkish history and society, with an even-handed approach to the divisive issues that are tearing the country apart, morally and politically. I think SNOW is good literature, and will be judged as such with the passing of time. I can't understand why Pamuk is being pursued by both the Turkish government and by hostile, murderous critics.

Hirsi seemed like an interesting, temporary diversion, which might give me a break to get into a couple of books on Turkey newly acquired, which I feel would give me a better appreciation for SNOW. But I'm happy to continue the discussion without her. The daughter of a Somali warlord!

hats
February 20, 2007 - 02:30 pm
I don't think it's useful or fair to tell the middle of the book. I am only on chapter 14. I have been following along. I think we are spending too much time supporting why we should read the book. The book is picked. Now, I think, we should just read relax and read the story while learning at the same time. This is just my IMO.

Thank you Jonathan and Traude for your wonderful thoughts on each chapter.

hats
February 20, 2007 - 02:40 pm
Whether we like Ka or not, he sees through a poet's eyes. He looks at the lamp on Turgut Bey's desk and sees it in two different ways.

"He looked at Turgut Bey's worktable-piled high with books, newspapers, receipts, hotel record books-and as he gazed at the circle cast by the lamp below its shade, he conjured up the vision of another circle of light, one on his own worktable, in the little office he would share with Ipek when they returned to live happily ever after in Frankfurt."

Jonathan, you didn't really give away anything, I guess. It is a little spooky seeing a passage from page 297 when we are reading from pages in the one hundreds.

I like the way Traude writes it. "Ka does not act, he reacts, he follows (when he has no other choice). He is insecure and seeks affirmation through others."

Is it better, I wonder, to "react" more often then we "act?" To act can cause horrible irreversible consequences while in reacting there is some leeway for change.

hats
February 20, 2007 - 03:10 pm
I can not answer my question. When Ka reacts or acts, I see him as immature. His ideas of love are very childish. His ideas about love are fairy tale thoughts. He claims not knowing anything about a person is what leads him to fall in love. "'I am in this category-can fall in love with a woman only if he knows next to nothing about her.'"

Then, his last remark seems even more simplistic, not a remark of a man who has lived in exile and come back to a country full of poverty and hidden agendas. "'As he held hands with Ipek under the table, it occurred to Ka that if he spent his days doing nothing much at all, and his evenings holding hands with Ipek and watching satellite television, he would live in bliss until the end of his life.'"

Ka did come from a middle or upper middle class home, perhaps, his simple ideas are because he has lived a protected life.

Traude S
February 20, 2007 - 08:59 pm
MARNI, JONATHAN, GUMTREE, HATS, thank you for your posts and the shared insights. We are in agreement on Ka's puzzling personality.

Kars is like many small towns the world over, where everybody knows everybody else's business. The authorities in Kars make it their business, as we've seen. The electricity goes off every so often, which surprises no one. Ka remembers the power failures he experienced in Istanbul many years earlier. (The more things change, the more they stay the same ?)

marni0308
February 20, 2007 - 09:21 pm
Anyone interested in moving on to the chapter about the evening at the theater? It's been so long since I read it, I don't even remember which chapter it's in. Does anyone remember? I'll have to go back and review.

Traude S
February 20, 2007 - 09:53 pm
Sorry, # 356 was posted by accident before it was complete.
Let's go on reading.

Kars doesn't offer its residents much in the way of entertainment. Small wonder then that a multitude of people, children and adults, has congregated in the National Theater for the evening's event. Ka, "the poet just reurned from Gemany", is expected to read a poem.
Ka, still at the dinner table with Ipek's family, is not eager to go.

"But they never asked me if I'd like to take part", he protests. Ipek does not want him to go "for fear of what might happen there".

Even so Ka races there, late. Something apparently HAS happened, crowds are milling around the theater's entrance, and a police minibus is parked across the street.

As Ka steps into the building, noise, alcholic fumes, cigarette smoke, and exhaled breath overwhelm him. A hand waves frantically - Necip. More questions and answers about happiness and God ("We must be careful, they are watching us-", says Necip), surprising personal details emerge, a meeting between Ka and Necip is arranged in the men's room for twenty minutes later, then Ka is recognized and shown to his seat.

Once again the narrator, for reasons of his own, suspends the linear recounting of what transpired on the stage and in the theater, and instead devotes the bulk of this chapter (15), as well as chapter 16, to an even more esoteric discourse between Ka and Necip.
More forbearance is necessary ---

Please comment.

Traude S
February 20, 2007 - 10:02 pm
MARNI, I am sorry my post went off too early, and that it took me so long to type the continuation.

There is no reason why we can't move on to Chapter 17 where the action begins. I'd be happy to summarize the points in Chapter 16 -- to the extent I understand them and their relevance to what is to follow.

Malryn
February 21, 2007 - 08:10 am

It's my opinion that it would be presumptuous of us to move on as suggested without a word or two about it from the Discussion Leader.

As I understand it, what happens in this book covers only a few days. Pamuk is expanding time into into the kind of timelessness a severe snowstorm can bring. In such a storm, it can seem as if time has stopped.

Pamuk gives clues in each chapter-without-time that are important for the understanding of his message. He reveals characters stingily, bit by bit, piece by piece.

Necip's "landscape" intrigues me. How does it relate to the rest of the book? What does it reveal about Necip? What des it show about Ka?

Mal

hats
February 21, 2007 - 08:16 am
Mal, I am "intrigued" by Niecep too. I wanted to spend time on his science fiction story. I hoped some of you would have more insight about the story. Like Jonathan has written, this story is one we can not rush. The story plot itself is like "snow." The characters and place become deeper as we walk further causing a slow down in our pace until the last of the snow melts. I miss Jonathan. I hope he can get away from the jury stuff. I love the input of both Traude and Jonathan. They seem to be walking hand in hand through the book. Their posts come together so well

marni0308
February 21, 2007 - 08:38 am
Hats: Is that in chpt 16?

Sorry, I dont' want to rush anyone.

hats
February 21, 2007 - 08:42 am
Marni, you haven't rushed us. I am glad you are still here.

Jonathan
February 21, 2007 - 12:43 pm
The last dozen or so posts are very revealing about how the book is impacting each of us. Doesn't Traude say it for all of us in her post?

'I'd be happy to summarize the points in Chapter 16 -- to the extent I understand them and their relevance to what is to follow.'

A thread of puzzlement runs through all our posts. Let's not let that discourage us. Not only are we reading of a place and a time that are strange to us, but it also reflects a literary artist's vision. It is all meant to hang together, with everything having a relevance to everything else, as Traude points out. When we discover the relevance all the hidden stuff will become clear. We'll still laugh or shake our heads over the detail, but the whole will have that poetry that Ka himself is constantly anticipating.

In the meantime, let's allow ourselves to be amazed at the juggling act that Pamuk is performing for us. High drama, crude burlesque, lamplight and darkness, politics and religion. past and future, dreams and disillusion, manners and murder, etc, etc.

We are all members of the jury, deliberating about the meaning and the merits of a book which helped the author win a Nobel Prize. Sometimes it takes a generation or two to grasp the greatness of a novel. Sometimes the early reviews were wide of the mark. Moby Dick was poorly received at first, I believe. We are privileged to be among the first to look for a literary verdict for SNOW.

A lot of happiness has gone out of my life this last week. There is an empty chair beside me, where he used to sleep when he got tired of tearing around the house or enticing me to play with him. Him was a black, stray cat about 3 mos old when he showed up on the doorstep at Halloween. Gosh, was he clever, and did he have character. He loved the outdoors. The squirrels and he played together. We called him Lucky. Then, allowed out at midnight, the night before St. Valentine's Day, he never came back. I've searched the neighborhood, stopped at the animal shelter, put up a dozen LOST CAT signs on utility poles, without success. Lost happiness. I'm almost at the stage where I will find consolation in the thought that Lucky will remain forever young in my heart. Catching happiness on the fly, like Ka. He came out of nowhere, and disappeared into nowhere.

I regret that your Discussion Leader is lagging behind the rest of you in the reading. We're under no pressure, are we? We'll take whatever time it takes to get through the book. Chapter 17 seems like a good place to be.

hats
February 21, 2007 - 12:47 pm
Jonathan, I hope Lucky returns. Don't give up hope yet.

marni0308
February 21, 2007 - 01:16 pm
Oh, Jonathan, that's so sad. Hopefully, Lucky will turn up soon.

Traude S
February 21, 2007 - 04:15 pm
JONATHAN, thank you for your great post.
And what a moving tribute to Lucky ! Those who have lost a beloved pet understand your pain. Do not despair - another stray may come your way, seeking shelter from the cold, and fill the hole in your heart.

Back later

Traude S
February 21, 2007 - 08:21 pm
JONATHAN, please allow me to clarify that it was not my intention to "run away" with the discussion, when I answered MARNI's question last night.
For one thing, that would contradict all I've said in preceding posts here. Furthermore, presumptuousness is not my style.

Yes, the book has affected me (and actually has come up in my dreams). It has also reminded me of the wonderful discussion, here in B&L, four years ago, coincidentally also in February, of Yann Martel's "Life of Pi", where the narrator wrestles with similar existential questions about the existence of God. I vividly remember your insightful posts.

"Snow" also reminded me of Novalis (representative of German Romanticism, and its symbol, the Blue Flower), specifically the cycle of poems "Hymnen an die Nacht" = Hymns to the Night, because of the rapture and intimate, passionate, personal relationship with God these poems express. It is the same fervent longing as Necip's in our book.

In Chapter 15 we learn that, in the story Necip has told Ka earlier, Hicran actually stands for Kadife (!)
Necip is in love with her, wants nothing more than to marry her, live with her in Istanbul, and become the world's first Islamic science fiction writer. He has written many love letters to Kadife that were never sent, and now wants Ka to take them to Kadife. The letters are hidden in the men's room, where Ka and Necip will meet again twenty minutes later.

I had wondered here earlier about the respective ages of the characters. Now we know: Necip is seventeen, Kadife four years older. If Ipek is Ka's age, she is forty-two. Thus there is an age difference of eleven years between the sisters.

More significant than age is the fact that Necip believes he IS, or represents, what Ka was like twenty years earlier, and that is the basis for this extraordinary closeness between two men who known each other only a day or two.

Of course we have to reflect on Necip's vision of the "landscape where God does not exist" (pp. 139-145 in Chapter 16) before we can at least take in the events described in Chapter 17.

Jonathan
February 21, 2007 - 10:32 pm
Thank you for the sympathetic condolences. I would never have thought it possible to bond so heartily with a fellow creature.

I would like to pick up where Traude left us at the end of her post, 368:

'we have to reflect on Necip's vision of the "landscape where God does not exist" '

Traude, I was eagerly looking forward to the summary and evaluation of Ch 16 that you promised us, not being able to make any sense of it myself. It made me smile to see you retreating to Ch 15, for something more solid than the airy nothings of the two poets confiding in each other in the stall in the men's room.

I've practically given up, trying to understand these two, Necip and Ka. The best I can come up with is comparing them to Samuel Beckett's two tramps in Waiting for Godot. The bare tree in Necip's landscape looks familiar. Perhaps the comparison should end there. There would seem to be a very special relationship between Necip and Ka, with the one aspiring to be the other, and the latter remembering himself in the younger man.

It's interesting to see Novalis reflected in the young Necip's 'rapture and intimate, passionate, personal relationship with God'. And yet, here he is, attracted to the presumed atheist Ka. Necip seems determined to experience a life without God. Ironically, Ka seems to be looking for the God that Necip can't imagine himself living without. Necip has given up Kadife for the sake of God, after she has inspired his three loving letters to her. His landscape makes a profound impression on Ka, who finds a Kubla Khan experience in the thing and commits it to memory for use on the stage a few moments later. I thought he had already written the poem Snow for the occasion, but now it seems it was this later one cooked up in the men's room that he reads or, more correctly, recites from memory.

The man from Porlock! Since Colerdige every poet has dreaded the intrusion of this character. Wasn't it only a lame excuse for Coleridge, for never having finished his Xanadu landscape? The Chocolate Box would have two more lines we should remember, if Ipek had not entered the room and sent the two lines flying out of Ka's head.

Is Necip right about Ka, when he says: 'Unlike you, I'm not afraid of life or my passion.'

And what can we think of Necip's beliefs, such as,

Not to believe in God, 'that would be worse than death.'

or, 'To become a atheist, then, you must first become a Westerner.'

I wonder how he reconciles these thoughts with wanting to be a science fiction writer?

marni0308
February 21, 2007 - 10:59 pm
When Necip reveals to Ka that he wants to be a science fiction writer (and then gives him the basic plot outline of his novel), I had to smile. This, to me, is a prime example of the author's humor which is becoming more and more evident and even outrageous. Here we have the young "religious fanatic" with his secret alter ego, the science fiction author with his fantasy girl. He really seems like an innocent naive teenager here. Perhaps that is why Ka is so drawn to him. I don't think Ka really realizes why he is so drawn to Necip, though.

marni0308
February 21, 2007 - 11:11 pm
When Ka writes his poem "Snow," he is carrying out the preordained task already proclaimed in a Kars newspaper. Ka will dutifully carry out an additional media-created act, the act of reading his poem to the theater audience that night, a reading he knows nothing about until he hears it announced on TV.

Ipek begs Ka not to go, but he hustles off to a most bizarre surreal evening of art and horror, actually filled with black humor in its nightmare.

hats
February 22, 2007 - 03:16 am
I am glad we are discussing Necip again. While talking to Ka Necip tells his thoughts about happiness. I had to read the lines three or four times trying to compare Necip's idea of happiness with my idea of happiness. Is there any truth to Necip's ideas about happiness? Is Necip just an intellectual babbler? Is it possible to learn anything from his thoughts?

Necip tells Ka he see unhappiness in his eyes. I have always heard our eyes are the mirror to our soul. Anyway, Necip says he would rather experience unhappiness as a young man because of his strength. Happiness is the desired condition for those who have become old.

hats
February 22, 2007 - 03:26 am
Kars is such an insulated, destructive place to live. According to Necip there is a lack of trust in the community. All words are whispered, a person must pretend no conversation is going on with another person and there are secret police. In such a place, no wonder there are discussions about whether God exists or does not exist. Poor Ka is already being looked at with suspicion. What are his values? Where does he stand on certain issues? How does he feel about the West?

"Half the people of Kars are working as undercover policemen. Half the people in this hall are too. They follow us everywhere we go. Even our people are following us."

In such an environment, how can true love grow? I am thinking of Ipek, and Ka, Kadife and Necip.

Jonathan, your thoughts about Xandu and Coleridge are above my head. Still, it is exciting the connection you have made here with Snow. What exciting and enlightening thoughts.

Judy Shernock
February 22, 2007 - 12:21 pm
Jonathan, Your segue into Coleridge sent me back tot his great poet and not "Xandau" but a poem we learned in school "The Rime of the Ancient Mariner". For those unfamiliar with this poem the plot reminds me very much of"Snow".

A journey from the world of the familiar , to that of the mysterious, the spiritual and somewhat of the supernatural. Then back again to the familiar, now forever changed by the voyage.With this I must say that my curiosity got the better of me and I finished the book. However I will stick to the discussion of the chapters as they are discussed.

From reading the posts it seems that we are discussing chapters 15 & 16.On page 135 (chap. 15) Necip says to Ka ""Only people who are very intelligent and very unhappy can write good poems. So you heroically undertook the pains of faithlessness , just to be able to write good poems.. But you didn't realize that when you lost that voice inside you , you'd end up all alone in an empty universe."

Then on page 137 Ka says to Necip "My unhapppiness protects me from life."

Necip is very, very important in the book as he is the one who understands Ka and to whom Ka relates with his whole being.

"Another important statement in this chapter is when Necip says ""The only people who can be happy in Kars are the idiots and the villains."

Perhaps Necip is symbolic for the person Ka was as a youth.In many ways Necip is part of Kas persona. When Ka reads his poem in front of the Audience,"Necip realizes that "the place where God does not exist" matched his own description of his "landscape" word for word".

It really helped me to understand what is happening by finishing the book and then going back and rereading the chapters under discussion.

Judy

Judy Shernock
February 22, 2007 - 12:26 pm
I too hope Lucky returns. My Grand daughters cat disappeared for five days and then returned. But the longest time span was my daughters cat who took a vacation for two weeks before returning. That cat must have been at a weight loss spa since she left fat and returned thin.

Think positive , Jonathan.

Judy

hats
February 22, 2007 - 03:01 pm
When I wrote my last post, I had not read chapter 16. I am just beginning chapter 16 and see Coleridge's Kubla Khan is mentioned in the chapter.

Jonathan
February 22, 2007 - 08:56 pm
You must be thinking that I've gone missing myself. I haven't. I've been mulling over the thoughts in your posts, and wondering how to reply to them. What a strange book. What a strange atmosphere in Kars, that tiny corner in Turkey.

Let's go on to Chapter 17. Things turn ugly at the National Theater, after Ka has read his poem, not without being heckled, and the stage is given over to a revival of My Fatherland or My Head Scarf first staged sixty years earlier. What's happening here? Are the boys from the religious high school being provoked? Was it wise to include it in the evenings program?

hats
February 23, 2007 - 01:54 am
Jonathan, that's such great news! I am so happy he's back. It's not easy to replace an old friend. This is a good day.

hats
February 23, 2007 - 02:38 am
I didn't expect the girl in the play to burn the headscarf. Once she had burnt the headscarf I knew chaos would reign. Tempers are really hot knowing it is Funda Eser, the belly dancer, playing the part of an independent woman. With the the political Islamists and the religious school in attendance this is a night set for failure. I am afraid for Ka. People have wondered about his views about the West and God. This auditorium filled with hot tempers is not the safest place for him.

I see Funda Eser as a courageous woman. While the scarf burns, she repeats a monologue. "she was not just making a statement about people or about national dress, she was talking about our souls, because the scarf, the fez, the turban, and the headdress were symbols of the reactionary darkness in our souls, from which we should liberate ourselves and run to join the modern nations of the West."

hats
February 23, 2007 - 02:45 am
After reading this chapter, I began to renew my appreciation for our religious freedom in America. There are possibly over two hundred fifty different religions being practiced in America. I have heard the number four hundred and fifty religions. How do we practice our religions in such unity and do it without beating each other over the head, trying to say my religion is the only true religion and your religion is false? Is it ,B>the separation of church and state? Is it plain old Democracy proving its worth? What?

hats
February 23, 2007 - 05:52 am
I don't know whether Funda Eser deserves to be called brave. Was the belly dancer used by the government in some way? Was Funda just playing a role? Was she putting on some sort of hypocritical performance? "and to Sunay Zaim...Then, with an elegant gesture, he turned to Funda Eser, still lying on the floor, and made an exaggerated bow. Taking the hand of her savior, the woman rose."

Malryn
February 23, 2007 - 07:30 am

Talk about dark humor! Chapter 17 contains one of the most bizarre, Felliniesque vaudeville shows I've ever known. It reminds me of shows that were put on in the 30's and 40's in my hometown in a cold corner of New England where the winter days are short and the nights are frigidly long. There was a certain amount of heckling, but no guns. I won a $25.00 war bond for singing a song at one of those shows, and came out with my self-confidence boosted and my skin intact.

Funda and Sunay are another example of Pamuk's dark wit. Exaggerated, both of them, as are most of the characters in this book, they seem to me to be a political cartoon in favor of a rather extreme form of Secularism.

Poor little Necip, the angel dropped down briefly from the ceiling of the Sistine Chapel, is the portrait of innocent goodness, what Ka remembers his childhood in Kars as, and would like to think the world really is, I believe.

Bang, bang, you're dead, and the stove blows up! What excitement for the little town of Kars. Who would have thought it?

As I said much earlier here, this and other parts of this book remind me of old operettas where the hero and his maiden sing love songs center stage while the world collapses all around them.

Mal

Malryn
February 23, 2007 - 07:41 am

I'm glad Lucky got luckier still and decided to come home.

Mal

Jonathan
February 23, 2007 - 09:53 am
So it has come to this. The headscarf removal is only the thin edge of the wedge in the secularists' diabolical plan to Westernize Turkey, to turn the country to atheism.

As Hats has already cited from the book. The head scarf is only the beginning. Next it will be the fez, the turban, and every other headdress. 'They're tearing at our souls', can be heard in the 'booing and catcalls and angry whistles from the religious high school boys.' p151

In Chap 17 the scene has shifted from the stall in the men's room to the stage of the National Theater. Everybody who is anybody is there, sitting in the front rows. Behind them sits the hoi polloi, the backbone of Kars, mostly unemployed. At the back of the hall, naturally, sit the unruly schoolboys, with more unemployed and Islamic protestors among them.

Ka's poetry reading falls flat. The vision he caught from from Necip's landscape in the smelly toilet stall, which Ka has turned into a poem, gets him only a smattering of applause. It's his charcoal-gray German overcoat that gets the suspicious attention. Telling his listeners that Kars is 'very beautiful, very poor, and very sad', gets Ka only laughter and heckling from the students. The narrator seems embarrassed reporting Ka's failure to reach his audience.

It's the twenty-minute, old drama from the glory days of the secularist revolution of the thirties, that any dunce could follow, its 'dramatic structure' being that simple and good, it is this that arouses the political and religious passions of the students.

This morning's posts show shrewd insights into the meaning of this book.

Marni's 'I had to smile. This (Necip's landscape), to me, is a prime example of the author's humor which is becoming more and more evident and even outrageous. Here we have the young "religious fanatic...'

Marni, I can see the humor, but I disagree that Necip is a religious fanatic. He is first and foremost a dreaming artist who wants to write something great. He's willing and eager to see a world without God, if that's what it takes to write a bestseller. He already has a Western soul. IMO...

Traude has reminded us: this is a must read.

Judy, I want to remind you that you find it dazzling.

I was asked yesterday if I would recommend SNOW to someone about to travel to Turkey. Can there be any doubt about that? I asked him: would you go to Paris without first having read Proust? Visit Prague, without having read Kafka?

Let's take a cue from Ka, when he asks Nicep:

'And then what? What happened next?' May it be for us, as it was for him. A terrifying landscape appeared before his eyes. A dark image of an atheist's Xanadu. Just keep that man from Porlock away from me.

Lucky is back. This may seem auspicious, but he vanished into a snowstorm when he left a week ago, and emerged from another snowstorm when he came back yesterday. The purrs and meows were a bit hoarse at first, sounded more like whows, but he's just fine otherwise.

Judy Shernock
February 23, 2007 - 11:08 am
Chapter 17 is the place where Art and Politics are enmeshed to the point that it is almost impossible to separate them.

Malryn asks "How can so many diffeerent religions exist in the U.S.?"

We have public schools that teach the idea of equality. Even the religous elementary schools don't teach that their God is the only God. It seems that in Turkey this is not so. There the question is always asked " How religous are you?"

This seems to point to a political struggle rather than a religous one.

Ataturk tried to make Turkey a secular state. However the Mullahs are afraid of losing their power. They are using God, head scarves and aspects of Islam to maintain that power. This manner of using God as your (and only your) ally can only lead to turmoil. Pamuk in his brilliant way is giving us examples both of personal turmoil and public turmoil that are brought about by this national power struggle.

Judy

Malryn
February 23, 2007 - 04:09 pm

JUDY, HATS asked that quesiton, I believe. I didn't mention religion in my post -- about which JONATHAN made no comment. Guess I'm in the wrong pew here.

Sorry, folks.

Mal

Traude S
February 23, 2007 - 09:51 pm
JONATHAN, I am so happy for you that Lucky came back, unscathed. I had a feeling this story would have a happy ending.

Your # 369 mentioning the connection between Necip's landscape and the desolate landscape in Bckett's Waiting for Godot is very apt.

The scene in the theater after the burlesque introduction is one of uncertainty. Only Sunay Zaim, his wife Funda Eser, and his itinerant troupe of actors know what is to come. And solely a few elders in the audience dimly recall that old, almost forgotten play, My Fatherland or My Head Scarf , from the Atatürk era.

Very slowly the audience begins to realize that this is not the light entertainment, the diversion from their quotidinal troubles, they had come to expect. Wasn't the burning of the scarf a provocation, and "all wwrong"? Ka, the narrator tells us, sees dread in the eyes of the people in the front row. Some notables get up and leave with their families in toe.

The hecklers in the back rows consider the burning of the scarf, the repected symbol, an outrage and their voices becomes ever louder. Funda continues with her recitation unperturbed. Her voice is inaudible in the tumult.

The reader wonders about Sunay. Why has he produced this play at this time in an already highly inflammable situation? What is in it for him ?

Jo Meander
February 24, 2007 - 11:10 am
All posts have helped me enormously! I'm right up to date on reading, but I had to take time out for a "real time" book discussion. Ka is indeed a puzzlement, as some of you have noted. He becomes more and more removed from the stinging reality surrounding him in the city. He retreats deeper and deeper into his private creative world, which at times becomes irritating. It seems almost as if he has lost interest in the people and the obvious troubling issues, but I'm thinking that we will come to understand him better and see how his behavior links to his experinces in Kars.
Jonathan, so glad about Lucky! I'd be devastated if my pooches disappeared.

Jonathan
February 24, 2007 - 12:07 pm
Welcome back, Jo. I like to think that the leisurely pace of this discussion gives everyone the time to participate in other discussions. This one, is one to keep coming back to. It is so difficult to make up ones mind about what one is reading, just what it is that the author is attempting to do. Your observations on the character Ka would seem to be a good case in point.

'He (Ka) becomes more and more removed from the stinging reality surrounding him in the city. He retreats deeper and deeper into his private creative world, which at times becomes irritating. It seems almost as if he has lost interest in the people and the obvious troubling issues,'

This is the 'journalist' sent to Kars by the Istanbul paper to report on events. Ka is overwhelmed by what he finds, but it's no thanks to him that we are getting such a detailed picture of the political and religious turmoil in the snowbound city. Then again, he may be retreating into his private creative world, but the 'home-coming is somehow devastating as well as crucial to his sudden impulse to write poetry. We're not getting to hear it, none of the nineteen poems he writes over the three days that he spends in Kars.

Back to the theater to determine just what it is that is being carfully staged. What a big matter is made of the wearing of headscarves. What a strange thing to choose to make a case for and against religious belief. To use as an excuse to reach for political power. To see it as something to die for. It was said by someone, I can't remember who, that to have a successful revolution you have to bring the women on side. That's just what is happening in real time, it seems.

Jo Meander
February 24, 2007 - 11:58 pm
Kadife wears the head scarf partly in support of the girls who wanted to wear them and were persecuted for that wish and partly because she believes in complete freedom of choice. I don't think she has any personal religious motive. To others in the Muslim faith it is evidently connected to their profound commitment. They believe it to be an indispensable part of the way of life dictated by their faith.
Are we supposed to be aware of who is responsible for this performance where a scarf is burned and the open conflict results? So far, no group emerges as clearly responsible for the revolution, if that's what it is.
I wish some of Ka's poems were in the novel. My book lists them in the back --"The order in which Ka wrote his poems." They are listed by chapter and page, but there are no poems included in my book.

Jonathan
February 25, 2007 - 09:47 am
My stray cat has made it very obvious how happy he is to be home again. I'm getting extraordinary demonstrations of his affections and his unalloyed happiness to be in friendly surroundings again. Here he is again. With a leap and a melting purr he has landed on my keyboard, and sits waiting to be stroked.

How different it is for Ka. He, too, has returned home after a long exile. His homecoming, however, is as complex as it could possibly get. He is regarded with suspicion, as well as being welcomed with grace by the sheikh. Ka finds more fear than happiness in this return to his people. All he has for comfort and retreat is his poetry. As the tension rises in the theater, as the 'family' differences clash and turn ugly, Ka's

'...main concern was that in the confusion he might forget the poem still only in his mind, waiting to be recorded in his green notebook.' p151

and, of course:

'At the same time, he wanted to leave the theater, to join Ipek.'

How, then, can we explain his strange attraction to Kadife? Hers, too, is a story of returning to the fold, as she tried with difficulty to explain in Chapter 13, during that walk through the snow with Ka. Ka listened with great interest to her finding her way back, all in the context of the head scarf issue. Kadife serves almost like a guide along the way. Ka's own great perplexity was beautifully illustrated in his thoughts:

'Ka knew only too well that he would never feel sexually attracted to a woman in a head scarf, but STILL HE COULDN'T STOP FLIRTING WITH HIS SECRET THOUGHT.' p113

That was only hours ago. His thinking changes. Muhtar's sad story in Chapter 6 was another homecoming tale that Ka has heard since come back to Kars. Then Ka seemed to feel only scorn for Muhtar's stupidity in abandoning the socialist ideals of their youthful days. Necip's space travel dreams are more to Ka's liking, and remind him of his own youth, even when they come with strange, bleak landscapes, like Germany. However, Ipek's arms are waiting. Islam is calling her children home. The way home began with his mother's voice calling him.

'Once I was an atheist like you,' Kadife has said to him. p114

Now, in the theater, it's:

'Down with the enemies of religion!' 'Down with the atheists!' 'Down with infidels!'

And Ka is concerned only to get those lines down on paper! Is he, or is he not, a lost soul? How lucky we are, or more correctly, how lucky he was to have a friend who would one day tell his story.

Traude S
February 25, 2007 - 10:28 am
Welcome back, JO. For now I have time only for a brief response.

Chapter 17 is more important than I had realized when I read the book for the first time.

What is happening in the theater is exactly what the chaper title expresses : a revolution on the stage. And the instigator who planned it all meticulously is none other than Sunay Zaim. The next chapters will explain- in great detail- Sunay's motives, background, itinerant lifestyle, his artistic and personal ambitions. Pamuk is not making it any easier for the reader to comprehend something that is utterly and completely alien to our way of thinking.

Kadife bears careful watching. Ka is being drawn into a net. Nothing is quite what it seems; nothing is altogether genuine in this milieu of deception, secrecy and fear.

hats
February 25, 2007 - 01:51 pm
As always if I go back through a chapter of a well written book, I find missed information. I missed the fact that Funda Eser's mother played the same role as Funda will soon play in My Fatherland or My Headscarf. The narrator listens to Funda tell her story many years later. "...told me of her great pride in re-creating the same role her own mother had played at Kutahya Lycee in 1948."

Marni, I can see the humor peeking through too. I think you must have an alive and well funnybone to see anything funny in Kars. I believe it's possible to see humor in the dreariest settings. Anyway, one male teacher stands up not to applaud the burning of the scarf or for any other political reason. He stands up "rather succumbing to dizzy admiration of Funda's plump arms and famously beautiful throat." This made me laugh.

I don't know much at all about music or operas. Mal's idea of likening these events to an opera, well, I would like to know more about that idea. I have heard Madame Butterfly. I love Porgy and Bess. I don't know if that is an opera or just a wonderful Broadway play. I remember seeing Carmen Jones played by Dorothy Dandridge and Harry Belafonte.

Malryn
February 25, 2007 - 05:41 pm

"Things are seldom what they seem!"

Malryn
February 25, 2007 - 05:46 pm

HATS, try "The Merry Widow". That''s an operetta. Also, you may remember some Jeanette MacDonald and Nelson Eddy movies. They were done on the style of an operetta with great struggle all around the two while they were singing "When I'm Calling You-hoo-hoo-hoo-hoo-hoo-hoo-hoo." It's just like Ka having inspiration for poems about Ipek and how he feels about her with mayhem right next to him. A kind of satiric slice of life.

Mal

hats
February 26, 2007 - 01:50 am
Mal, I definitely remember that song. Oh, and I will try The Merry Widow.

Jonathan
February 26, 2007 - 10:30 am
Can we distinguish between theater and reality in all this commotion at the National Theater. Curious to see, as a sub-plot, how the narrator has been gathering information long after the event, to try for an answer to that question. How much of the information is reliable. Witnesses interviewed after the event disagree on vital details. There seems to have been much confusion among the spectators about what was happening before their eyes. This is great investigative reporting on the part of the narrator. Something which Ka should have been doing, but he seems unmoved by 'the mayhem right next to him.' As Mal has pointed out.

We readers are thankful, no doubt, that he has removed himself out of harm's way. The bullets are flying, and people are dying. As a poet his first duty, surely, would be to save the poem in his head.

As Traude has already pointed out, Sunay Zaim is the man to watch. He has played great roles in the past: Che Guevara, Robespierre, and the revolutionary Enver Pasha. Now we seem to be witnessing a play scripted by himself. For himself. Is he playing politics? Is he making a larger stage for himself than the one in the National Theater?

Enver Pasha was a distinguished, revolutionary character out of the past, having played an important, but ambiguous role about the time the Sultan of the old Ottoman Empire was overthrown and a secular, Turkish republic was established, circa WW1. He dreamed of a strong Turkish nation. Many adventures in war and politics made him an enemy of Turkey, when he took up with the Russian communists following WW1. Secretly he was only trying to use them in his plans to establish a greater Turkey. He died in battle, at forty, in the mid-twenties. The last years would have seen him hanged if he had returned to Turkey.

That makes it all the more interesting that in 1996, about the time that SNOW was being hatched, Turkey, with state funeral ceremonies, celebrated Enver Pahas life, as a bit of nostalgia for Ottoman Empire sentiments, which Pamuk himself feels in his writings.

Ayaan Hirsi Ali is coming to town on Wednesday, for book-signing ceremonies and a public interview. I stopped at the bookseller's yesterday to have a look at her INFIDEL. The bookseller and I disagreed about the price, otherwise I would have brought it home with me. She makes a great statement about Islam. It might be fun to meet her and get an autograph. But, like Ka, I'm fearful about getting too close to someone like her. After all, she travels with armed guards and an armored car. I think she's quite proud of it. She could be igniting a revolution.

hats
February 26, 2007 - 11:01 am
Do you think anyone could feel proud about their life being in danger??? I can see her feeling proud about the book she has written, not proud about riding in an armored car. I think that's a harsh judgment.

marni0308
February 26, 2007 - 12:30 pm
Re Sunay Zaim "Is he playing politics? Is he making a larger stage for himself than the one in the National Theater?" Certainly looks that way to me and it does not seem to be the first time for him.

Hats: I had to laugh, too, at that scene of the teacher succumbing to Funda's plump beauty. She seems to have gained some weight over the years, but it has not inhibited her performance. Probably some in Turkey feel she should cover herself and wear a headscarf!

Marni

Judy Shernock
February 26, 2007 - 02:14 pm
For me there was no humor in thchapters16 and 17. What Pamuk conveyed to me was terror , confusion and death to the unlucky. A world gone mad. A play that turns into a living nightmare with loaded rifles that kill at random. Necip and others are dead and wounded.

When Turgut Bey asks Ka "Tell us what happened at the theater".. Ka answers "I have no interest in politics."

Yet Ka calls his new poem "The Night of the Revolution".Although in the end he assigns it to a branch of his poems called Memory.It meant "shutting off part of his mind even while the world was in turmoil. If this meant that a poet had no more connection to the present than a ghost did, such was the price a poet had to pay for his art!".

I cannot identify with this ghostlike person but I can be full of compassion for him. So sad.

Judy

Jo Meander
February 26, 2007 - 03:10 pm
Thanks for the welcomes!
Why does Ka leave the auditorium early? Is it his desire to be with Ipek? To write his poem before it vanishes from his mind? Could it be the beginning of fear, however deep in the subconscious? Does his snow image suggest retreat into oblivion, denial of the reality of danger?
The unknown narrator's suggestion that many of the citizens have come just for the entertainment, just to enjoy themselves, becomes ironic. Fear of the consequences of the scarf buning paralyzes them and seems to keep them from acting realistically to save themselves. Near the end of the chapter he makes an important comment: Funda Esser's gesture of pulling off the scarf "was not just making a statement about people or about national dress, she was talking about our souls, because the scarf, the fez, the turban, and the headdress were symbols ofthe reactionary darkness in our souls from which we should liberate ourselves and run to join the modern nations of the west." Is his the voice we are to associate with Pamuk's own?

marni0308
February 26, 2007 - 06:51 pm
I don't think Ka was there to watch the performances. He had discovered earlier that day that he was to read his poem there. No one had informed invited him - He had simply found out on the news. So he had raced over to the theater.

Jonathan
February 26, 2007 - 08:55 pm
Ka's behaviour is puzzling. Since he is a poet, an artist, who are we lesser mortals to question his motives? Aren't these creative people always detached from their surroundings? But then, what role is he supposed to play in this novel? Surely Pamuk has something in mind that makes Pamuk part of the plot.

He seems to have had no interest in attending the theater, despite hearing that a reading was expected of him. In the end it all depended on hearing Ipek say 'I do' about wanting or not wanting the last bowl of soup offered to the company at the dinner table. Then he rushed off. His reading was so poorly received that we can't blame him for leaving the theater.

Judy, you're right of course, about the 'terror, confusion and death' that follow the burning of the head scarf. At the same time, the narrator keeps reiterating throughout the account that the audience was confused by the happenings, unable to tell what was real and what was not.

As for example,

'...the literature teacher Nuriye Hanim, who attended the National Theater every time she visited Ankara and was full of admiration for the beauty of the theatrical effects, rose to her feet for the first time to applaud the actors.' p157

This is just after we have heard of blood streaming from heads and the smell of gun-powder. It is an appalling scene in the theater. At the end of the chapter we are given to understand that Sunay Zaim feared,

'...that the involvement of shady armed adventurers would ruin the artistic integrity of his play. p160

I was prepared to make a harsh judgment of his mischief making in politically volatile Kars, but it seems that things just got out of hand. He must have seemed a comical figure to some dressed up in the uniform worn two generations ago. I wondered about the 'gun manufactured in Kirikkale' carried by the man who came in shouting 'Long live the Republic'. Perhaps I was hoping it would be one of the American Colts sent off to Turkey in the nineteenth century, that Marni told us about.

It does seem too serious, the mayhem and bloodshed, including the death of Necip. But it seems to me the author has deliberately put humor into the detail amidst all the tragedy. Perhaps for a pinch of comic relief to relieve the horror. Perhaps it reflects a callous streak in the Turkish nature. I couldn't help smiling at Funda Eser's provocative writhing in the first paragraph, hoping to arouse the men in the audience. But failing, even when

'...she had given up all pretense of being a heroine of the enlightenment; (and) she had switched to that role she always found more comfortable, the woman about to be raped.' p153

And what can one say about the absurdity of reporting that the fifth bullet of the fourth volley, after killing the sleeping grandfather from Trabzon sitting just behind the Islamist students, was spent when it reached the inside of a boiled egg in the bag of the vendor?

Hats, perhaps it's bravado that has Hirsi being chauffered about in an armored car. Perhaps it's meant to tell her would-be assassin that he approaches her at his peril. Her name after all was on the paper pinned on the dead Theo van Gogh's chest. Perhaps it's daring. I do believe she's proud of what she is doing.

Compare that to Ka constantly fearing something.

Jo Meander
February 26, 2007 - 10:54 pm
I didn't realize that we were now on chapter 18. I'm wondering how Ka is going to react to Necip's death.
The narrator takes satisfaction in the randomness of the bullets: a sleeping grandfather dies, plaster decorations are shattered, as are Necip's eye and forehead. (What does he "see" before he dies?) One bullet lodges in an egg. Each one strikes blindly, each event seems as important or as unimportant as the other. There seems to be no meaning, no spiritual intention, in suffering, destruction and death. No God is in charge or at least no God interested in preventing these cruel and absurd events. But maybe there are more views to be shared on that subject. At any rate, Ka's promise to Necip that he would see things differently and change his mind more than once in years to come is certainly ironic. Perhaps Necip lives and breathes long enough to know that we never get to understnd the things we want to.

hats
February 27, 2007 - 01:44 am
Jonathan, I believe you are right. I had to read the article about her again. She might very well feel "proud." I would have come back earlier to contradict my thoughts to you. Sometimes I have to rethink my thoughts, admitting my first feelings were wrong. Jonathan, I have to side with you in this instance. I am now three posts behind. I do want to say what happened in that auditorium was horrible. I would never want to be caught in a bloody incident like that one. The men onstage shooting at the audience, it was so horrific; it seemed surreal.

Jonathan, without meaning too I might have repeated your thoughts at the end of my paragraph. " At the same time, the narrator keeps reiterating throughout the account that the audience was confused by the happenings, unable to tell what was real and what was not."

hats
February 27, 2007 - 02:58 am
I feel as though Neicip might have unknowingly experienced a premonition of his future death. After rereading The Landscape, Necip's thoughts gave me chills. The colors purple, red and black are grim and turn my mind to death and blood. I remember Traude and Mal wanted to talk more about Necip's landscape. I just feel Necip's landscape foreshadowed the revolution in the auditorium. Necip's thoughts are frightening to himself.

"I can't help thinking that it's the devil making me think such a landscape could be of this world."

Necip says if his imaginary world exists, such ugliness, then, there is no God. Often, it is the bloodshed and unexplained violence going on without end that causes people to question the existence of God.

hats
February 27, 2007 - 03:17 am
While talking to Ka about his landscape, Necip talks about the definition of atheism. Necip says,

"I looked it up in an encyclopedia once, and it said that the word atheist comes from the Greek athos. But athos doesn't refer to people who don't believe in God; it refers to the lonely ones, people whom the gods have abandoned."

Although Ka is always running to put down his thoughts, Necip seems to take a longer time to process his thoughts, his ideas are worlds ahead of Ka. I am beginning to wonder what really motivates Ka to be a poet. How will Ka process or work through the revolution. What will it mean to him?

hats
February 27, 2007 - 03:48 am
I agree with Marni. Ka left the theatre early. He might not have been sure whether those were real bullets or just some kind of staged ruckus.

Malryn
February 27, 2007 - 10:22 am

Ka is so preoccupied with his own fancy that he scarcely notices what's going on around him, be it wondrous, or be it the slaughter of innocents in a massacre.

These chapters to me have the same kind of humor as the Theater of the Absurd. Everything that goes on here is relatively absurd. The battle that's being fought has been fought over and over to the point of absurdity, hasn't it?

"Lord, what fools these mortals be," saith Puck.

~Act 3, Scene 2. A Midsummer NIght's Dream.
William Shakespeare

Judy Shernock
February 27, 2007 - 12:09 pm
Mal, Each time people get killed it is not absurd for them , their families or neighbors.. Each death in the theater in Kars is neither absurd nor humorous.Perhaps the book has humor to balance the tragedy but when you quote Puck you qoute a character in a Comedy . Perhaps you might find a more appropriate quote in King Lear or Hamlet.

Ka, like Hamlet, transcends his circumstances Something about Ka is out of place in the horror in the theater and in Kars in general. Hamlet wishes to "shuffle off this mortal coil" where coil means noise or tumult. Thus Ka says he is not interested in politics.He acts as though what has happened is just noise and tumult.

Pamuk is very influenced by Shakespeare . The play being performed in Kars has been influenced by Kyds, "The Spanish Tragedy." Some scholars believe this work to have influenced Hamlet. (This is a theory held by Harold Bloom, the great Shakespearean scholar)

Judy

Jonathan
February 27, 2007 - 12:28 pm
'(What does he "see" before he dies?)' from Jo's post #404.

Of all the strange things reported about this theater event, Necip's strange words 'I can see', after being struck in the forehead by a bullet, are the most puzzling of all. To add one more absurdity, I must admit I had to think of Mr Jalal having a similiar experience when Vishnu struck him sharply on the forehead with a walnut. This is from The Death of Vishnu that we discussed last summer. Mr Jalal, like Necip, was a searching, questing Muslim. But the coincidence is too wild. That two authors, who have probably never met though writing about the same time, could be making a similiar point?

We could spend a month speculating about who was behind the events that led to the bloodshed in the theater. The building was crawling with military types, policemen, security agents, and intelligence people.

Was Sunay Zaim himself being used by someone to provoke the Muslim youths? The religious high school students themselves knew that a trap was being laid for them, even as they hooted and laughed at what was going on, on the stage. Perhaps we will learn more as we read on.

Perhaps it's worth taking note of an interesting detail in Chap 18, which is meant to catch our attention as much as anything. The author never passes up an opportunity to say a kind word about the Kurds, or to remind the readers that this was also Armenian country during the Ottoman Empire years, and long before that.

Of the five bullets of the the first volley:

'(One) bullet went wide because the soldier who had fired the shot - a Kurd from Siirt - had no wish to kill anyone.' 157

and

'Another bullet...hit the balustrade that marked off the standing room from which poor Armenian girls who could afford only the cheapest tickets had once watched theater troupes, acrobats, and chamber groups from Moscow.'

'Ka is so preoccupied with his own fancy that he scarcely notices what's going on around him, be it wondrous, or be it the slaughter of innocents in a massacre.'

Gosh, I'm not so sure, Mal. Everything about him seems to find its way into his poetry, it seems, or so we are told . Don't his surroundings trigger his poetic rushes?

Shall we go on to Chapter 19? 'And How Beautiful Was The Falling Snow'

Jonathan
February 27, 2007 - 12:31 pm

marni0308
February 27, 2007 - 01:29 pm
Mal! Theater of the Absurd! I think you hit the nail on the head for this chapter!

Jonathan: How interesting your comparison with Vishnu and the walnut!

It does seem that Ka's mind is unconsciously absorbing everything going on around him even though he often seems quite oblivious to things spiralling out of control around him. Ka's mind translates the events into his poetry which he madly scrawls down as if controlled by some strange force.

hats
February 27, 2007 - 01:36 pm
Jonathan, thank you for bringing up Mr. Jalal in The Death of Vishnu. I like the connection. I would never have thought of it myself. I think Mal is right too. On the back of my book, Snow, a review says Pamuk uses sly humor. Another review, Harper, uses the words wicked grin. I read A Midsummer's Night Dream back in high school. I can't remember any of it accept the frolicsome fun and maybe fairies?????

Death of Vishnu had a weird ending. Will Snow end in a strange way? The reviews surely are interesting and murky.

hats
February 27, 2007 - 02:25 pm
"Pamuk is very influenced by Shakespeare . The play being performed in Kars has been influenced by Kyds, "The Spanish Tragedy." Some scholars believe this work to have influenced Hamlet. (This is a theory held by Harold Bloom, the great Shakespearean scholar)"

Judy

Judy, thank you for this information. It's interesting.

hats
February 27, 2007 - 02:49 pm
Without seeing Ka's poems, I am beginning to appreciate the depth and beauty of the poems he wants to write down. Not allowing us to see a poem in full leaves the mind with no barriers. We can take Ka's poetic talents as far as we wish. Ka's ability to disconnect from the horrors around him gives him a connection to a higher, invisible world, a world of angels and spirits or an extraterrestrial world. Besides, Ka isn't a newcomer to Kars. He lived his childhood in Kars. He remembers other revolutions. There is fodder for his poem The Night of the Revolution.

'The title he gave this poem was "The Night of the Revolution." It began with his childhood memories of other coups...This was why he would later decide this poem was not about a coup at all and assign it to the branch of the snowflake entitled Memory.'

I might have missed something. Is Ka's mind shaping his poems like the geometry of a snowflake? I can't remember whether a snowflake has six or eight side.

Malryn
February 27, 2007 - 04:28 pm

"Comedy is just one small step away from tragedy." I don't know where I heard that long ago, but I believe it is true. I'm talking about irony here more than anything else.

Puck's comment could have come from any one of Shakespeare's great tragedies. Shakespeare knew, and he saw the absurdity of humans and the fact that they (we) don't seem to learn from what has gone before.

This is one thing idealistic I have had to accept in the five years we've been reading and discussing The Story of Civilization. It makes me terribly sad because there's such a sense of hopelessness about it. This fight for and against beliefs that are all too similar, when you come down to it, is absurd. "Can't we all just get along?" ~Rodney King

JUDY, I do not belittle the pain and anguish wrought by any death. I feel the pain. John Donne corroborated my feeling about this for me when I was very young.

Recently a son of one of the residents in this apartment building was shot and killed for no other reason than the fact that he had something in his small store that someone else wanted. His skin was the wrong color, too, according to his murderer. Do you think that everyone here at Limekiln Manor, especially I, whose elder son died needlessly in 2005, was not terribly affected by this?

Absurd. I say it's absurd. . . . for one mortal to inflict a mortal wound in another in the 21st, or any, century.

War is absurd. Religious and ideological differences that cause the murder of the director of a school by a very small man is also absurd. These are the same differences which "excused" the massacre in the theater, and excuse wars that go on today.

Ka's relationship with Ipek, which grew and was nurtured only in his head when he was away from Kars, has its elements of absurdity, too. Ka's attraction to Kadife, almost at first sight, is much more true, especially since Ipek doesn't seem really to care very much about him. That's my impression anyway.

Ka doesn't REACT just as much as he doesn't ACT, except to write poetry that no one will ever read. This is why I said what I did about his untouchability, so to speak, JONATHAN.

I can tolerate the hopeless premise of this book only by finding the humor in it, and that humor is not the kind that makes me laugh. It might evoke a wry smile, maybe, but no laughter.

Mal

Traude S
February 27, 2007 - 08:13 pm
Every new chapter answers some questions, but not fully, and the reader immediately thinks of new ones, or goes to back to check one more time on the patchy narration.
Pamuk used the same style in the (equally short) chapters of "My Name is Red".

Ka is still the same : detached; aloof; insecure; craving praise and attention; full of sadness; guilt; constantly dashing off somewhere; or walking to clear his mind.

He recalls experiencing political changes and strife (and power outages) growing up in Istanbul, but his family was unconcerned about the fray and politically incurious, and Ka still is. Ka visited Kars once as a young man with his buddy, the narrator.

Regarding "humor" in this book, I feel exactly like JUDY.

My old Random House dictionary lists thirteen definitions for 'humor, n.'
Among definitions 1 - 5 are "a comedic quality causing amusement; the faculty of perceiving what is amusing or comical", and variations of same.
Among the others are "a mental disposition and temperament; frame of mind;, capricious inclination". The remaining definitions are not pertinent in this context.

I have read of "dark humor" and "subtle humor" and I know of "comedic effects", but I canNOT see humor in the methodical, detached, excruciatingly detailed description of who was hit by the real bullets, in what part of the body, where these innocents had come from, or why.
Is it really comical or amusing to watch someone plowed down senselessly ?
How could one smile, let alone laugh, reading that cold-blooded description ? True, the narrator recounts this after the fact, reconstructing the events from what witnesses tell him (and other things). But still I wonder about Pamuk who wrote this.

This novel is suffused with exactly the same hopelessness and melancholy we found in Mistry's "A Fine Balance". Both books describe events and centuries-old traditions that Westerners simply cannot understand.

It is true that Pamuk uses every opportunity to point to the different ethnicity of Armenians and Kurds. He never tires of telling the reader about the stately old Armenian buildings, boarded up and crumbling, in an endless reflection on past glories.

marni0308
February 27, 2007 - 10:01 pm
I was thinking about Mal's use of Theater of the Absurd which I thought seemed appropriate for some of what is going on in our book. I looked up Theater of the Absurd and found some interesting info about what it is.

"The term refers to a particular type of play which first became popular during the 1950s and 1960s and which presented on stage the philosophy articulated by French philosopher Albert Camus in his 1942 essay, The Myth of Sisyphus, in which he defines the human condition as basically meaningless. Camus argued that humanity had to resign itself to recognizing that a fully satisfying rational explanation of the universe was beyond its reach; in that sense, the world must ultimately be seen as absurd."

"....the Theatre of the Absurd aims to create a ritual-like, mythological, archetypal, allegorical vision, closely related to the world of dreams. The focal point of these dreams is often man's fundamental bewilderment and confusion, stemming from the fact that he has no answers to the basic existential questions: why we are alive, why we have to die, why there is injustice and suffering. Ionesco defined the absurdist everyman as 'Cut off from his religious, metaphysical, and transcendental roots … lost; all his actions become senseless, absurd, useless.' "

http://www.theatredatabase.com/20th_century/theatre_of_the_absurd.html

hats
February 28, 2007 - 02:42 am
Marni, thank you for the link and your explanation. Also, thank you for the posts given by Traude and Mal. Are we possibly too hard on Ka? Doesn't each person deal with violence, death, bloodshed in many different ways? Some people don't cry at funerals, they are labeled as unfeeling. Some people burst out in hysterical laughter when nervous and frightened to death. Other people cry at a funeral, they are labeled as guilty or reacting with uncontrolled emotions. The key word is labeled. If you don't react like I do, then, you are without etiquette or something else is wrong with you. You are definitely not normal because only I am normal.

Perhaps, this is one of the absurdities Pamuk wanted the reader to see. Each person caught in uncontrollable, unexpected, mind shattering violence will react differently and sometimes absurdly. In these events should we expect Ka to react perfectly like an educated man from an upper middle class background? I don't think so. I give Ka the right to react like a ghost. Does it mean he doesn't feel pain? No! There is more than one way to interpret the word ghost.

Ka lived through twelve years of exile. He has lived through other coups. He missed the chances a Western boy might have experienced while coming of age in a peaceful country. So, he falls in love without a thought, he falls for another woman without much conversation. Ka is a man trying to find his identity in an imperfect world, a world that continues to go crazy. To deal with it all, he writes, writes and writes again.

hats
February 28, 2007 - 03:04 am
I think it is absurd to think any Senior Citizen is reading this book and laughing like it's a comedy or a circus written on a page. I think that is an insult. By our years, we have experienced painful losses. We recognize pain in other faces. When we read about bloodshed, it hurts. It hurts all of us. To say that Pamuk doesn't know how to use the tool of humor is an insult too. Pamuk is on the run to save his life. I truly think he uses his written words carefully. I think Pamuk uses absurdity to make us spend a longer time thinking about the horrors that can and have happened in this country, Turkey, or in the town, Kars, to innocent human beings.

hats
February 28, 2007 - 03:25 am
I am finding the reviews in the heading and in the book, Snow, enlightening.

The Observer(London)

"How much can we ever know about love and pain in another's heart? How much can we hope to understand those who have suffered deeper anguish, greater deprivation and more crushing disappointments than we ourselves have known?" Such questions haunt the poet Ka...{in} this novel {that is} as much about love as it is about politics."

I think Ka and the people in Kars have suffered more than I. Who can compare suffering? There is always a person suffering a deeper pain.

hats
February 28, 2007 - 03:32 am
"A meeting of Noises Off and The Clash of Civilisations, the work is a melancholy farce full of rabbit-out-of-a-hat plot twists that, despite its locale, looks uncannily like the magic lantern show of misfire, denial and pratfall that appears daily in our newspapers. How could Pamuk have foreseen this at his writing desk four years ago ? (...) But the strength of Snow lies in its failings. The less believable the characters, the more true-to-life they appear." - Stephen O'Shea, Independent on Sunday

Sometimes reviews, I am finding, can help me understand a book.

jbmillican
February 28, 2007 - 07:17 am
For the past couple of weeks, I have been coping with power outages, ice storms and travel to a family event. I have been reading ahead but not posting. I am finally settled down, I hope, and enjoying catching up on reading the posts.

One of the ancients (Aristotle, I think) said the purpose of art is that we can gain experience without suffering the consequences of the actions. I think it's important for us to try to understand the culture of Kars and Turkey. Difficult as it is, we need to understand the Middle East as well as we can.

I think the absurdities are part of the misery of living in such a society.

I am taking a mini-course on Nobel Prize for Literature winners this spring. One of the selections is 'My Name is Red.' I hope I get to understanding Pamuk a little better by then.

Juanita

jbmillican
February 28, 2007 - 07:50 am
The March 5 issue of 'New Yorker' magazine has a little piece by Pamuk. I notice he has several references of primary colors, just as he frequently mentions color in 'Snow'.

The link is www.newyorker.com.

Juanita Millican

Jonathan
February 28, 2007 - 10:15 am
Pamuk, it seems, makes theater out of everything. The absurd, the sentimental, the grotesque and the lovely, the farcical and the tragic, leaving even the good people of Kars bewildered, not knowing what to make of it.

Chapter 19 continues with all the calamities and confusions of a military coup, helped along by the highjinks of adventurous, nationalist militants like Z. Demirkol (alias), that ex-communist-journalist-poet who once fled the persecutions of the secular Kemalists, but who was invited back from Germany (like Ka?) by the militant secularists who can now use his help against the Kurdish separtists and the Islamist fundamentalists.

From the narrator:

'It's difficult to say how much Ka was aware of the terrors at the theater...it's possible he too thought of (it as a) performance...the poem had vanished, leaving not a fragment in its wake....Hoping to find a way to bring back his forgotten poem, he decided to continue walking....' p163

'And how beautiful was the snow!'

And how beautiful Pamuk's prose!

'As he listened to his footsteps and the sound of his own short breaths, he could feel the call of life and happiness as if for the first time, yet also felt strong enough to turn his back on it.' p 163-4

'...Ka went on his way. He continued to hear the odd gunshot, but now he paid no more attention than he paid to the howling dogs. His whole mind was fixed on the beauty of the silent night. For a time he tarried before an empty old Armenian house. Then he stopped at an Armenian church to pay his respects; the trees in its gardens were dripping with icicles and looked like ghosts. The yellow street-lamps cast such a deathly glow over the city that it looked like a strange sad dream, and for some reason Ka felt guilty. Still, he was mightily thankful to be present in this silent and forgotten country, now filling him with poems.' p166

I'm leaning to the absurdist view, in a bewitched sort of way.

Jo Meander
February 28, 2007 - 12:25 pm
"...he(Ka)falls in love without a thought, he falls for another woman without much conversation. Ka is a man trying to find his identity in an imperfect world, a world that continues to go crazy. To deal with it all, he writes, writes and writes again."
Thank you, Hats, and Jonathan too for the beautiful quotes from Ka's thoughts as he is walking. I think I understand him better now, and understand that Pamuk's intention is to make us see the absurdity of centuries in which groups try to destroy even the traces of the beauty others have created and left behind. Interesting that they do not succeed completely: "His whole mind was fixed on the beauty of the silent night. For a time he tarried before an empty old Armenian house. Then he stopped at an Armenian church to pay his respects.... The yellow street-lamps cast such a deathly glow over the city that it looked like a strange sad dream, and for some reason Ka felt guilty. Still, he was mightily thankful to be present in this silent and forgotten country, now filling him with poems."
Well worth rereading Jonathan,as we try to understand.

hats
February 28, 2007 - 12:48 pm
Jo yes, I reread that quote given by Jonathan. This quote, to me, is the beginning of our chance to see into Ka's heart and mind. Pamuk's writing is beautiful and meaningful.

Juanita, thank you for the link to the New Yorker magazine. I am anxious to read the piece.

Traude S
February 28, 2007 - 12:53 pm
HATS, my #418 questioned only the use of the word "humor" to describe the killing at the National Theater of Kars.

I cited the definitions of the word 'humor' given in the dictionary deliberately. And the sole purpose of my raising the hypothetical questions was to demonstrate that the word 'humor'is not suitable IMHO to describe the killing at the National Theater of Kars in our book.
How could that possibly be interpreted as an insult ?

The definition of "absurd" is senseless; illogial; untrue; defying reason or common sense (as in 'an absurd explanation') .

The information on the Theater of the Absurd was interesting and valuable, but this is a discussion of a novel, not a play or drama.

More information about the Theater of the Absurd can be found inThe Reader's Encyclopedia of World Drama, Edited by John Gassner & Edward Quinn, page 843.

JONATHAN, I too think that Necip's dying words are important, and I'll get back to them later, and also to Ipek's "I do".

hats
February 28, 2007 - 12:59 pm
The word "insult" was used about Judy's post. Perhaps, I did not understand the beginning of Judy's post. These words used in Judy's post seemed odd and slightly insulting to each of us.

"Mal, Each time people get killed it is not absurd for them , their families or neighbors.."

I didn't feel Mal needed to explain her thoughts. Neither did anyone else need to explain, I thought. In no way did I have your post in mind.

hats
February 28, 2007 - 01:13 pm
Perhaps, insult is too harsh. If so, I apologize to Judy. I truly did not understand that part of the statement. By the way, I should not have interrupted. Judy's post was addressed to Mal.

hats
February 28, 2007 - 03:04 pm
Juanita, I am having trouble finding the article. Is it online? I did find it. Thank you.

Jonathan
February 28, 2007 - 07:35 pm

Jonathan
February 28, 2007 - 08:48 pm
Thank you all for your independent thoughts about the nature of this book. They make the discussion meaningful'

I remember taking this quote from Judy's post, #410:

'Something about Ka is out of place in the horror in the theater and in Kars in general.'

Everything that led to that curious statement, in previous posts, and everything in subsequent posts about the use of 'absurdity' and 'humor', has been helpful in getting at the ambiguities that Pamuk has spread about gratuitously. Blame it on the author. He has even the students not knowing whether to laugh or get angry about what they're see on the stage.

Any thoughts about Chapter 20? 'While Ka Slept And When He Awakened The Next Morning'

Jonathan
February 28, 2007 - 08:51 pm

Traude S
February 28, 2007 - 08:58 pm
A few seconds before Necip was hit, first by one bullet, then another, he got up and cried, ""Stop! Don't fire; the guns ae loaded!" It was too late.

People who sat near him later told the narrator that the teenager did not die instantly but had looked at the stage and cried, "I can see!"
The phrase is deeply moving for this reader.
Is it possible Pamuk meant to suggest that at the moment of Necip's death he beheld God whom he loved and desired with his whole heart ?

The phenomenon would not be entirely unique: a number of near-death experiences have been reported by people who were on the threshold and caught a glimpse of an extraordinary whiteness (and sometimes more) and lived to tell the tale.

ABC reporter Bob Woodruff has just recounted how, after being hit last year, he saw his own body lying on the ground before losing consciousness. He too lived to tell the tale, bless him.

When Ipek says "I do", she is answering the maid who comes back to the table with just one portion of leftover soup ad asks, "Which girl would like it?"

At the same time Ka thinks, "If Ipek says "I do", it means we're getting married and going back together to Frankfurt. In that case, I'll go to the National Theater and read 'Snow'."
Ipek does say the words, albeit not to him. And off he goes.

Isn't it strange and a little pathetic that a grown man would believe in such childish games ?

Equally strange is the utter passivity of the audience even after many realize that live ammunition is being used. Isn't it strange also that they stay in their seats "still like candles", almost afraid to leave ?
Is that the reaction of people who have been cowed all their lives, marched off in the middle of the night, knocked about and brutalized by police ?

Little seems to have changed in Turkey since Pamuk wrote this book a decade ago. Trabzon is still a hotbed of violence where people can get killed in broad daylight, like the Kurdish newspaper editor a short time ago. The most basic human rights seem to be lacking.

Jonathan
March 1, 2007 - 01:15 pm
Yes, Traude, the words spoken by the ardent teen-ager Necip are moving. And they have such profound implications for those of us who wonder about the transition from life to greater life, by way of the portal of death. In a book of marvellous things, this report of Necip's last moment stands out bright and clear, and will remain unforgettable.

You say it for all of us:

'Isn't it strange and a little pathetic that a grown man would believe in such childish games ?'

She loves me. She loves me not. One can almost see him pulling at the petals. What a strange man! The turmoil in his head is greater than the turmoil on the streets, in Chapter 20. What a great piece of writing this chapter is. Ka is made to look like such an innocent abroad. But we musn't be fooled. The narrator may be indulging his own fancies at our expense. He may be blowing smoke in our eyes with all this romantic twaddle that Ka waddles in. There may well be something sinister in all this.

Ka is reported as sleeping soundly for ten hours after coming home from the theater. 'Without stirring once' we are told. And yet to end the chapter we are told that Ka remembered thinking about the blond German, Hans Hansen, 'when he woke up in the middle of the night.' Then, soon after getting up, an army truck with two men, one a soldier, arrive, asking for Ka.

Ka displays a range of emotions in Chapter 20, far to many to be warranted by his good night's sleep. Pangs of guilt, sinking spirits, uneasiness, unbearable tension, and so on. But strangest of all is his curious remark that he could

'tell Ipek sensed a darkness inside him and accepted it. This, he thought, would bind him to her for life.'

Is Ka being melodramatic once again? Is there some conspiracy here? Something sinister? Does Ka have a hand in this military coup taking place, like the other journalist/poet Z. Demirkol, recalled from Germany to lend a hand in getting the fundamentalists?

What a wonderful line about Ka's state of mind:

'At times like these he had felt most guilty; all he'd wanted was to forget about Turkey and everything in it and go home and read books.'

Isn't that a bit of empathy on the part of an author for his readers?

What a wild chapter! So many puzzling things about it. So much to set us all at odds with one another in our attempts to agree about this and that.

Jonathan
March 1, 2007 - 01:28 pm
Around here we are sharing an endearing story we have heard about the passing of a dear family friend. A merry, spry eighty-three-year-old when she died. According to her daughter, who was at her bedside, this dear friend, lucid to the very end, departed this life with the words:

'I see no fire. I see no great light.'

Judy Shernock
March 1, 2007 - 04:51 pm
Perhaps I am overindulging in symbolism but the "Bullet in the yolk of the egg" was very symbolic for me. Both the Christain and Jewish faiths see the egg as the symbol of new life. The Jewish celebration of Passover features an egg on the symbolic plate. Each person must partake of the hard boiled egg,to renew life for the new year. Although Easter Eggs have become a game that children play at today in America it was originally also symbolic of new life. The beautiful Faberge Eggs and those so delicately decorated in the Balkan countries remind us of their deep meaning.

For me, Pamuk was saying the symbolism of new life is being torn apart and there is no rhyme or reason for it.Not only Necip is dead but the hope for a new and better life for Kars is being destroyed as well..

That was why I found that chapter more sad than absurd.

Judy

Malryn
March 1, 2007 - 05:18 pm

What does the egg symbolize in Islam, I wonder?

Egg symbol in Islam

HATS said it better than I did:

"Perhaps, this is one of the absurdities Pamuk wanted the reader to see. Each person caught in
uncontrollable, unexpected, mind shattering violence will react differently and sometimes absurdly."

A man from Turkey works for my son. I asked if Chris would question this man about Pamuk's books. He smiled and said this person doesn't read such books, so that lead went nowhere. Then I remembered that KiwiLady, Carolyn's daughter, Vanessa, is engaged to a man born and raised in Turkey. I'm going to invite Carolyn to come into this discussion and tell us about her daughter's recent visit to Turkey.

Mal

Jonathan
March 1, 2007 - 06:58 pm
Judy, that's a very sensitive reading, seeing the symbolism in the egg, and I admit that was lost on me. And of course the tragedy in the death of Necip shouldn't be lessened by the bizarre theater surrounding it.

Can there be any doubt that Pamuk is depicting the tragedy of Turkish history?

kiwi lady
March 1, 2007 - 08:45 pm
Firstly Turks get very cross if referred to as being Middle Eastern. They like to think of themselves as European.

Turkey is a vibrant country. The people are hospitable and charitable to one another. The Muslim religion requires them to be hospitable and charitable.

Children in Turkey are prized. Vanessa says that everyone will be very kind and forbearing where children are concerned. They are very welcome in restaurants and at weddings and other family gatherings. Vanessa said to me "You remember "My big fat Greek wedding?" Well she said when we get married we will have a "Big fat Turkish wedding" in Istanbul. One has to remember that Cenks family are well off and mix with Turkish high society. Vanessa went clubbing in Istanbul and arrived in a chauffeur driven limo and she said the doorman took them to the front of the queue and ushered them in. It was old family friends who took them to the club. She said it was like being a film star for a night.

Out in the country people live a less Westernised life. They are more devout but still hospitable and charitable to visitors. Their life is simpler.

Turkish women can go out to work. Most do not wear headscarfs but Cenks mother says since the Invasion of Iraq they are becoming more common. I think that its done more harm than good in the moderate and secular Muslim countries that a Muslim country was invaded by foreign troops.

Cenks mother is a business woman. She is a Muslim of Bosnian ethnicity and her family came to Turkey over 100 years or more ago. Her family dealt in textiles and she is in the clothing business. She imports and exports Swedish casual wear. Its very smart clothing and Cenks Mum sends huge parcels over here in Summer and Winter so that Cenk and Vanessa never have to buy casual clothing.

Cenks parents live in an apartment by the Bosphorus in the old Quarter. It has a lot of beautiful Turkish rugs and wall hangings as well as pottery etc. They also have a home by the seaside.

The Turks eat very healthy foods with lots of fruit and vegetables their meat portions are very small. On every street corner is a huge vegetable stall. The produce comes in daily and the housewives buy the produce every day on their way home from work or in the morning if they are stay at home Mums.

Vanessa was welcomed warmly by the extended family and put on 4 kg in a month from all the massive feasts she attended in her honour. She also learned to cook a lot of Turkish dishes which we all enjoy now when we have family pot luck dinners.

Vanessa loved the Grand Bazaar. She loved the beautiful Mosaic work in the mosques and she loved the people. She loved the antiquity of Istanbul or Constantinople as it was. The size of the city was a culture shock and the size of the population was also to a girl who was born in a city of 1.3 million souls. I think Istanbul is about 15 -16 million people in quite a small area. On days she felt claustrophic she power walked along the Bosphorus. She felt very safe in Turkey.

In Turkey cats are prized and whenever the city publishes a raid on feral cats the people rush out and get as many as they can and they become jointly owned pets in Apartment buildings. In Cenks Parents building there are two communally owned cats on every floor. Recently Cenks Mum found a kitten with a broken leg in the car park of the supermarket. She took it to the vet and had it operated on and now it lives the life of a king in the Atadeniz apartment. Everyone feeds the feral cats just as they feed the homeless and the poor. If you go into a restaurant and you are poor and say you have no money the owner is obligated to feed you. They take this part of their culture very seriously. They help each other out.

I was not happy when Vanessa fell in love with Cenk at University as I bought the sterotyping we see in the media but she could not have a more supportive partner. He is not possessive and supports her 100% in her career as a Chartered Accountant. He also does the majority of the house cleaning. Its a joke in our family. If anyone is in need of a spring cleaning we always say to Cenk "When you have finished your cleaning you can come and do ours!" Everyone in our family likes Cenk and he is amazing with children. You know your kids will be safe with him. He is actually over protective with them. When we go to the playground he is always worrying over them.

Vanessa says Turkey is a great place to go for a holiday. You will be really welcomed by the Turkish people.

Carolyn

Traude S
March 1, 2007 - 09:01 pm
JONATHAN, yes to your last question, in # 441.
'more sad than absurd', JUDY said it very well, and I agree.

There are similarities, even certain parallels, between Judaism, Christianity and Islam. The symbol of the egg is but one example, and powerful it is.

It would be interesting to hear what CAROLYN's daughter Vanessa and fiance Cenk (I believe it is) have to say about some of these things.

Ka has constant mood changes, he's in seventh heaven one moment and in deep despair the next. Snow is one of the characters in this book, and Turkey's history is another, but the more I read and re-read, the more I believe that Ka himself is at the epicenter of the story. His parents and sister are mentioned once or twice. We see them briefly through Ka's eyes, they never speak directly.

The reader encounters a bewildering array of people, some are described in great detail, some only in passing. The events swirl around Ka, and he stays to the side- at least so far.
It reminds me of "in the world, but not of the world", though in this case, of course, not in a religious sense.
One can only marvel at this character's total self-sbsorption.

Ka is ambivalent about where he can, or could, be happy, and where he belongs. He was lonely in Frankfurt and longed for his native land. At various occasions he pronounced himself either happy or unhappy in Kars (where he feels stifled, and small wonder).

And then we read the passage JONATHAN quoted from Chapter Twenty, pg.175, last sentence in the 3rd full paragraph,
"At times like these he had felt most guilty; all he wanted was to forget about Turkey and everything in it and go home and read a book." Home.
Is Frankfurt his home ?
You recall that in one conversation with Necip, Ka said something about "only uneducated (!!) people believe in God", and I asked, 'Is Ka a religious snob?' (It sounded like that to me.)

Now let's consider the morning after the "revolution" and his thoughts at the breakfast table.

Ipek is serving the guests in place of Zahide, the Kurdish maid, who was unable to get to the hotel because of the curfew. He suddenly looks at "this woman" as if she were a waitress. (Well, she is not, and what's wrong with waitresses, one might ask?)

Ka is disturbed that she cut "the bread in thick slices just as they did in the poorest houses" , and "even worse, that she had arranged these thick slices in a pyramid, in the manner of fishermen's soup kitchens. "
(Thoughts of a snob?)

Ipek sits down with him at the breakfast table and in whispers fills him in on what had happened later the night before.

"Please, talk to me about something else now", Ka said carefully (aha, changing the subject back to himself!!)

"I was very happy yesterday, you know ..." and then asks her to come to his room for a massage (!). He sees fear in her eyes and does not believe she'll oblige.
He gets up, runs up the stairs, and throws himself on his bed, musing
"... what a fool he had been to leave Istanbul for Kars in the first place, and then he concluded that it had been a mistake even to leave Germany and return to Turkey. He thought of his mother (!), who had so wanted him to have a normal life" (How is a poet's life not normal ?) "and tried so hard to keep him away from poetry and literasture; if she could have known his happiness depended on a woman from Kars who helped out in the kitchen and cut bread in thick slices, what would she have said?" (What indeed. Disapproved?) "What would his father have said to learn that Ka had knelt before a village sheikh and talked with tears in his eyes about his faith in God?"
That passage speaks for itself, I believe.

JONATHAN had already remarked on the curious information that Ka woke up in the middle of the night thinking of one Hans Hansen, the blond employee at the Kaufhof where Ka bought his coat and had it shortened.

What are we to make of this informtion ? Is Ka sexually ambiguous, perhaps ?

And doesn't this particular statement (waking up in the middle of the night) contradict what the reader learned in the beginning sentence of the chapter, that Ka had slept for exactly ten hours and twenty minutes without stirring once?

Malryn
March 1, 2007 - 09:11 pm

Thank you, CAROLYN. Do you know that this wonderful woman sent me a package all the way from New Zealand when I was recovering from the burns I received in October? It didn't arrive until after I came home from two hospitals and the nursing home in mid-December.

I can't begin to tell you everything that was in it, but there's one gift I love. It is what Carolyn calls an opera scarf she made herself -- a headscarf! I am going to wear it Saturday when I get out on my own for the first time in ages. It's been too icy, too snowy, TOO COLD for me to go out in my unheated, motorized wheelchair vehicle, but Saturday it's supposed to be in the low 40's, and I''m going to try to go to the supermarket!

Thank you again for that gesture of friendship, CAROLYN. And thank you for the picture of Istanbul today from your daughter Vanessa/s point-of-view.

Much love,

Mal

kiwi lady
March 1, 2007 - 09:56 pm
I know Cenk is very tolerant of Christianity. He went to see Mel Gibsons movie with Vanessa when it was on here. Vanessa and Cenk both keep their own religions after marriage. There is sometimes a problem if its a Muslim girl wanting to marry a Christian man. They believe like Christians do that the man is the head of the household religion. If a Muslim woman marries a Christian man they feel she is losing her religion even if she did not convert because the husband as head of the Household is head of the Religious aspect of the marriage. Its like a symbolic head covering in my opinion. The husband is regarded as covering the wife spiritually. That is the Turkish aspect anyhow according to what Cenk has explained to me.

I don't know what the egg represents I will ask Cenk next time I am speaking with him.

When Vanessa was in Istanbul she had dinner with a Muslim couple, A Christian couple and a Jewish couple. The Private school Cenk attended had a lot of Jewish pupils as well as the Muslim pupils so he has Jewish friends from school. They all wished the rest of the world could be friends with each other like they were. I should have mentioned before that Cenk did his business degree out here. He is an accountant like Vanessa. They both went to Auckland University.

Carolyn

Malryn
March 1, 2007 - 09:59 pm

For many years I had a close friend, a Slovak man a good deal older than I am. He constantly mumbled under his breath, or said out loud, "Life Are Shit." I'd say, "No, John, look at the flowers, look at the sky, it's a beautiful day." Those words were meaningless compared to the tragedies of his life and how they had affected him.

There have been tragedies in everyone's lives, mine, too, since I was 7 years old. There was one tragic thing on top of another that never seemed to end, especially in the past few years. I live alone, and there's no one around saying look at the flowers, look at the sky, it's a beautiful day to me, except me.

I have questioned the reason for life and the hurt that comes when you know it's not all it's cracked up to be. My view of the world and my reaction to literature are colored by what's happened to me. Just as the view of Necip's short life and death is colored by a belief in an afterlife by some, or no light at the end of the tunnel, as Jonathan's family friend described on her deathbed.

I do not think, as Janos thought, that Life Are Shit, but I'd lie if I didn't say there are times when I've been close to thinking that way. Ka, despite his deliberate staying away from happiness is still very, very idealistic and romantic. Perhaps by the end of the book, he may see a darker side of life -- like what Sunay Zaim instigated in that Kars theater that snowy night.

What's real in life and what isn't? What's true and what isn't? Snow is real, isn't it? It's true, isn't it? Do Ka and Ipek and the others all see and understand the same things about the Snow and what is happening in their lives when it happens and how the way they act affects what happens? Do we?

Mal

hats
March 2, 2007 - 12:44 am
Mal, thank you for inviting Carolyn. She is shedding so much light on the Turkish culture. I was blown over by Judy's bullet in the egg. Those thoughts would have never entered my mind. I am glad the gang is all here.

Jonathan
March 2, 2007 - 08:53 am
And pyramids of thickly-sliced bread are not what his mother had wished for him, even wished for something better than a life of poetry and literatue for her son. Ka is working himself into a state of agony, with his soul-searching and his longing to live up to the expectations of his wealthy, middle-class Istanbul parents. He's astonished at what is happening to him in Kars.

Traude, what a beautiful post, taking us into the story in such an analytical way. There's more here than one could could have guessed.

Kneeling before a sheikh in Kars! What he won't do for a story.

Jonathan
March 2, 2007 - 09:01 am
Thank you, Mal, for inviting Carolyn.

I suspect Cenk will reply that hard-boiled eggs are vended in the back rows and bleachers of Turkey, just as popcorn and hot-dogs are hawked in other places of entertainment, in other countries. It will be interesting to find out.

Jonathan
March 2, 2007 - 09:36 am
There's bitter irony in Chapter 20's subtitle. Irony even in its choice as subtitle. Despite its position on the page, with 'While Ka Slept' being its title, since it it is given as such in the table of contents.

Isn't it a curious thing with these titles and subtitles? With one serving as a commentary or supplement to the other. Doesn't that reflect the nature of the book? It's almost as if the book has a split personality, or as if the narrator has a double personality. Perhaps that accounts for the tragicomedy of the book.

Chapter 20 consists of two cleary marked parts. The first tells of the events happening while the disquieted Ka sleeps, as far as the narrator could determine from his investigations after the event, from interviews and old video clips. This reconstruction is pure journalism with its selection and arrangement of the raw data.

The narrator is hardly neutral or objective, despite his matter-of-fact style. Humor and pathos, the absurd with the pitiful, are doled out in equal measure.

What Ka did not see in his sleep:

A beautiful slip of a boy - nothing but innocence in his face - falling to his death, a bullet in his forehead.

Three young men blown to pieces by the bomb they were carrying.

The folklore-collecting journalist gunned down in the snow-covered streets.

And, a 'number of others' whose bodies were only discovered months later after the snows had melted.

It makes for grim reading, this graphic picture of violent military coups.

Well then, what can one say to the color that is added to the bare facts? The 'giddy' students, of whom the beautiful boy was one, with little interest in politics, fighting a mock battle with the knives and forks stolen from the kitchen. The three would-be-terrorists, would-be-infiltrators into Kars, blown to death, after being frightened by the violence of the coup. Jumping into a taxi to escape to the mountains!

Is anyone keeping track of those taking part in all the action, who arrived with Ka on the bus to Kars?

The saddest story must be Sadullah Bey's, the journalist preparing himself for arrest and yet another incarceration. 'He'd seen his share of military takeovers'. Dreaming of his childhood as he is gunned down.

Not everyone is shocked. The cattle dealer staying at the Snow Palace Hotel with Ka, is pleased to see the army in control. A half-awake Ka is greeted by the cheerful cattle dealer's

'Congratulations! This is a great day for our nation!'

hats
March 3, 2007 - 06:46 am
The quietness of the snow kept Ka unaware of all the gun battles and violence going on outdoors. Snow is used by Pamuk in so many ways throughout the novel. I think Traude or Mal recently asked in a post, how is the snow significant to each person, Ipek and the other people we know in Kars. Maybe Jonathan asked. I can't remember.

""Perhaps it was because this strange and magically soft snow absorbed the sound of the gunfights all over kars that night that Ka was able to sleep so soundly."

hats
March 3, 2007 - 06:48 am
Mal asked the question at the end of her post #446. I think the questions are interesting.

Traude S
March 3, 2007 - 10:20 am
JONATHAN, thank you for your last three posts and for citing the salient points in Chapter Twenty. It is helpful and necessary.
Yes, the irony is tangible.

And yes, I am trying to keep track of passengers who were on the bus with Ka on that wintry night at the beginning of the novel, and I'm looking for those who'll cross Ka's way again in subsquent chapters (or already have).

At the end of Chapter Nineteen we have little concrete information about the "revolution" and who did the planning. Z Demirkol and his accomplices surely acted at someone's behest.

I'm returning to Chapter Nineteen now, and only briefly, because the last phrase may explain Ka's detachment, which has concerned some of us, myself included.

The last paragraph of Chapter 19 refers to Ka's poem "The Night of the Revolution", and the narrator says
"One of its (the poem's) important ideas was the poet's ability to shut off part of his mind even while the world was in turmoil." (emphasis mine)


Is it all right to go on to Chapter Twenty-One, JONATHAN ?

Malryn
March 3, 2007 - 11:40 am

"Sir, please don't tell our mothers."

Breaks your heart.

hats
March 3, 2007 - 11:55 am
Oh, that is a sad line. It stuck with me too.

Jonathan
March 3, 2007 - 12:03 pm
I like to think that the 'one chapter at a time' schedule serves mainly as an index of our progression through the book. Everybody should feel free to refer to chapters before or after the one used as a marker.

What a baffling personality this Ka is turning out to be. Or should we say, what the narrator is making of him, or what he is discovering about him. And the narrator himself is becoming someone of interest. What interests him more, the revolution or Ka? Is the narrator reporting objectively? Is he being cynical when he mixes farce and tragedy so indiscriminently?

That's an interesting statement to quote, Hats.

""Perhaps it was because this strange and magically soft snow absorbed the sound of the gunfights all over kars that night that Ka was able to sleep so soundly."

Why does the narrator lie to us? Ka did not sleep soundly that night? The author wants us to believe that, insists again, that Ka 'slept soundly, even awoke relaxed'. Why then:

'...but he'd not risen from the bed before feeling a pang of guilt so strong it sapped all his strength and certainty.' p172

Was it homoerotic dreams that left him feeling confused and uncertain about himself, and ambivalent in his feeling about Ipek? Ka seems to be a deeply divided man. The turmoil in Kars seems secondary. It's hard to see who has more problems: the country or the man.

So much to ponder in this book. Is Hans Hansen the narrator?

hats
March 3, 2007 - 12:07 pm
I can't understand the use of guilt over and over again. What exactly is the guilt about? I know people can feel survivor's guilt. I don't know if this is what the narrator is writing about. Jonathan, maybe Ka felt guilty because he did sleep soundly. He didn't feel guilt all through the night, is my impression. He only felt guilt when rising because of his comfortable sleep.

My memory isn't working today. Who is Hans Hansen? I have probably embarrassed myself. I didn't want to skip Jonathan's question.

Traude, I am glad you are trying to keep track of the character's feelings about snow from the beginning and forward through the book. I know you will make an interesting list.

hats
March 3, 2007 - 12:50 pm
Much of the time Ka feels guilty about some situation. He feels guilty about twenty year old conversations with friends. What type of personality feels guilty so much of the time? I don't really see Ka as a detached person. He remembers coups from years and years ago. He remembers so much of his childhood. If detached means without emotions, I can't say that about Ka yet. If Ka were detached, would he have held in depth conversations with Blue, the Sheikh, Necip? Would Ka even think about the Headscarf Girls and their suicides? Does Ka just have a different way of reaching out to the world, about showing how he feels about the world? I think Ka is Orhan Pamuk.

hats
March 3, 2007 - 01:02 pm
It's me one more time. Jonathan, thank you. Hans Hansen is very special to Ka. Ka remember this German man shortening his coat while he was in Germany.

"Carefully lifting his charcoal-gray coat off the hook on the door, he left the room. As he went down the stairs, he smelled the coat to remind himself of Frankfurt; for a few minutes he could see the city in full color and wished he were there."

These are not the feelings of a detached man. Ka remembers and feels everything. He puts his thoughts in a memory box. I would have special feelings for Hans Hansen too. My father was a tailor all of his adult life. I think the above quotation is such beautiful writing. Now, I have to think about Hans Hansen being the narrator. That coat has been mentioned time and time again.

Jonathan and Traude, offer such wonderful tips to make reading delightful.

hats
March 3, 2007 - 01:11 pm
When I lived in Phiadelphia, Pa. we had a German neighbor. It was an interracial marriage. Anyway, Mrs.________ hooked by hand the most beautiful scatter rugs. I see people make rugs from kits. Hers were by hand, just gorgeous. Thinking of Hans Hansen reminded me of Mrs._________ whom I will never forget. She was just full of hospitality. Plus, she owned two Siamese cats.

Well, at four o'clock I am babysitting. That will get me off this computer.

Traude S
March 3, 2007 - 02:08 pm
Hans Hansen is a German employee of the Kaufhof Department Store in Frankfurt.

The narrator recounts that he and Ka went to the university of Istanbul together, and as young men went on a visit to Kars together. The narrator tells the story, from him we know that the bus will get to Kars despite the perilous road conditions due to the mounting snow. It is the narrator who reviews witnesses some years after the night of the "revolution".

JONATHAN, I think there is a homoerotic dimension between Ka and Hans Hansen. Are there perhaps nuances of homoeroticism also in Ka's attraction to Necip?

From "My Name is Red" we know that some artists who created the exquisite mosaics of the time often had favorites among the live-in child apprentices they taught, and that this was taken entirely for granted. Is it conceivable that this is inherent and tolerated in a culture where women are segregated ?

Look at this passage on pg. 167 (on Ka after coming out of the National Theater)
"Ka saw two men about his age, coming rushing out of a shoemaker's shop; one was rather large, the other slim as a child. Twice a week for the past twelve years, each of these two lovers had been telling his wife that he was going to stop at the coffeehouse, and they would then meet secretly in the shop that stank of glue; but hearing on the upstairs neighbor's television set that a curfew had been announced, the couple panicked."
Since Ka had lived in Frankfurt for the pas twelve years, he could not have known of these men's long-term relationship, nor could Hans Hansen.

kiwi lady
March 3, 2007 - 08:29 pm
I don't think this practice of favorites was confined to the Turks. It existed, hidden, in many cultures. Perhaps the Turkish society was just more open about it. Its the same sort of thing in Samoan society where some male children are brought up like girls and become Faafafine ( I think thats the word) and they are transexuals in adulthood. Whether this practice to us seems morally wrong it existed and still exists today in some societies.

Traude S
March 3, 2007 - 09:35 pm
CAROLYN, thank you for elaborating.

The question here is not one of morality but the attraction of the fictional character Ka to a young blond German man in Frankfurt by the name of Hans Hansen.

Another question concerns the identity of the so far anonymous narrator of the story, a school friend of Ka's, and the speculation that Hans Hansen is perhaps the narrator of the story.
Yet nothing in the text points to Hans Hansen having been in Istanbul and a class mate of Ka's twenty years earlier.

hats
March 4, 2007 - 04:27 am
Do we know that Hans Hansen will not visit Kars for some reason and come upon Ka? We know Ka intends on returning to Germany. Perhaps, he shares what happened in Kars with Hans Hansen on his return to Germany. I have not finished the book yet. So, my guesses about Hans Hansen being the narrator might not make sense. For that matter, could Ipek serve as the narrator? Can we tell whether the voice of the narrator is female or male? I must listen more closely to the narrator's voice.

What about Ipek's sister could she serve as narrator?? She is the head of the Headscarf Girls.

Jonathan
March 4, 2007 - 10:19 am
Why did Ka smell his overcoat, when he is picked up by the police for whatever reason? Apprehension about what lies ahead? We are told simply that he wished to remind himself of Frankfurt. In other words, he would like to be somewhere else, other than in Kars. That's reasonable enough, given the wild goings-on in Kars. And he came looking for happiness!

Hats asks, why the feelings of guilt? Add to that the fear and shame that are also mentioned. Reading Chapter 21 makes me wonder if it isn't part of the pervasive guilt in the peculiar political situation, in which the military moves in, rounds up all who are seen as troublemakers and subjected to ruthless persecution. Everyone must be made to feel guilty about something,in some systems.

Isn't Chapter 21 the sorriest chapter one could ever read? I have to read it again before trying to comment on it.

MIT is the National Intelligence Agency

MIT

Judy Shernock
March 4, 2007 - 12:11 pm
Jonathan,Thank you for providing the article on the MIT. I was a little more hopeful for Turkeys future (and present) after reading theses words :"The MIT.....is successfully fulfilling its duties under the law in a manner devoted to the principles of pluralist democracy, supremacy of law, impartiality and human rights."

As to chapter 21 I found Sunays words and understanding of the situation he sees before him.in Anatolia very truthful..Anatolia, though, is not all of Turkey(thank goodness).

"He went on to say that during his years of touring the remote towns of Anatolia, he had come to the conclusion that all the men were paralyzed by depression" He goes on to enumerate their miseries:"what they really wanted was to die, but they didn't think themselves worthy of suicide"

Funda Eser adds ..."although they owed their lives to their women, the love they felt for their wives made them so ashamed they tortured them".

If this situation of unemployed men, unhappy women giving birth to too many children is endemic to the other Arab countries then I understand the situation in the Middle East a lot better than before I read (actually reread) this chapter.The leaders are using the disaffected young men as cannon fodder and suicide bombers for the leaders need for Political (and Monetary) power.

Judy

Jonathan
March 4, 2007 - 02:20 pm
At the same time Ka was thankful to have made it out safely out of police headquarters, and vowing with most of his heart that he would 'refuse to cooperate with both the police AND the army.'

The cattle dealer at the hotel, we will remember, also seemed happy to see the army take over. As Ka is driven through the city's empty white streets he notices that:

'For the most part the city of Kars had drawn its curtains and turned in on itself.'

Ka is persuaded to believe that the police need his help in identifying the assassin of the school director among all the youths rounded up during the night. At the same time the police remind him of his visit to the terrorist Blue, and Ka wonders about guilt by association.

Some feel the army will restore order in a city rum by rotten politicians. Others are of the understanding 'that the military had stepped in to take a position against Kurdish nationalism and keep "religious fanatics" from winning the municipal election.'

Others hope that the army will rid the city of the likes of the Georgian "parasites", who are taking jobs away from hungry Turks, like the couple camped out among the boxes and vegetable crates, in the furnace room of the ramshackle concrete building.

What a sorry round of torture chambers we are taken on by Ka and the 'young, hook-nosed, fair-skinned plainclothes policeman.'

What a dreadful discovery in the morgue, when Ka recognizes the dead Necip, the teenager with the 'pure heart'.

What a gut-wrenching chapter!

And along the way that other exhilaration:

'Just then a new poem came rushing into his mind; it was so powerful, so strangely exhilarating, that Ka now found himself turning to the hook-nosed intelligence agent and asking, "Might it be possible to stop off at a teahouse along the way" '. p182

And after getting Dream Streets into his notebook, Ka looks up to see a replay of his reading in the theater the evening before, and is thus able to recapture and copy down the poem which had vanished from his mind after the recitation!

Malryn
March 5, 2007 - 05:10 pm
A clue (for me, anyway) found in a review of Pamuk's Istanbul


According to Orhan Pamuk, the melancholy of Istanbul (Turkey) is huzun, a Turkish word whose Arabic root (it appears five times in the Koran) denotes a feeling of deep spiritual loss but also a hopeful way of looking at life, "a state of mind that is ultimately as life-affirming as it is negating."

For the Sufis, huzun is the spiritual anguish one feels at not being close enough to God; for Saint John of the Cross, this anguish causes the sufferer to plummet so far down that his soul will, as a result, soar to its divine desire. Huzun is therefore a sought-after state, and it is the absence, not the presence, of huzun that causes the sufferer distress.

"It is the failure to experience huzun," Pamuk says, "that leads him to feel it." According to Pamuk, moreover, huzun is not a singular preoccupation but a communal emotion, not the melancholy of an individual but the black mood shared by millions.

Jonathan
March 5, 2007 - 09:10 pm
That is, as you say Mal, a clue to getting a feel for Pamuk's style. He devotes a chapter in ISTANBUL to explaining huzun. It seems to be a peculiar form of melancholy. The kind that poets and saints love. I believe it makes Ka a little more understandable. We've all seen how chary he is about finding unadulterated happiness. One part of him is inclined to feel that only in the absence of happiness will he find the inspiration for his poetry.

We're halfway through the book. And what a half-time show Sunay Zaim puts on for us in this chapter. Hasn't he had an unusual career? Playing all those roles and making a good illustration of a chunk of Turkish history in doing so. At last he gets to play Ataturk. He too has felt a form of huzun along the way - that 'eagle of dark depression'.

The revolution Sunay Zaim is staging for us, in snowbound Kars, has turned out to be his apotheosis. The chance to play Ataturk to his people.

'So now, as I am handed the greatest opportunity of my life, I shall not weaken.'

Getting here has been a trial for him. But always the dream. To play the big role. There was even a moment when he allowed himself to say it aloud:

'Perhaps one day, when the public deems fit, I might be able to play the Prophet Muhammad.' p191

The swift reaction:

'With this luckless remark, the trouble really began. The small Islamist periodicals went on the rampage. God forbid, they wrote, any mortal should presume to play the Great Prophet.' p192

Sunay Zaim has been a man for all seasons. A communist. A secularist. An Islamist. Yes, he made a show of carrying a Koran around with him.

This chapter is funny and heartrending. Strange. In the theater and the streets the mock revolution is playing, while, behind the scenes, as we have seen, the MIT and the police are doing their investigations. And hasn't Sunay been persecuted along the way!

Let's take a break. There are so many good book discussions coming up. Check them out.

hats
March 6, 2007 - 07:15 am
Jonathan, do we have to stop?

Jonathan
March 6, 2007 - 11:17 am
Oh, no, Hats. This discussion will remain open until we get to end of the book. It seems the kind of book one can put down occasionally, and then come back to under some kind of compulsion, and with renewed enthusiasm. But nobody should feel they must stop posting. In fact everybody should feel free to post whatever they might feel would be of interest to others who find this such an absorbing book.

Traude S
March 6, 2007 - 09:19 pm
Is it really possible that only two days have elapsed since Ka's arrival in Kars ? Is this then the third day or only the second ? Has he spent one night in the hotel or two ?
In any event, Ka is being drawn into the aftermath of the "revolution". Could he become a player, albeit an involuntary one ?

The police have made it their business to find out all about him from the start, and the MIT has been keeping track of his comings and goings as well, it turns out.
The men take him from the hotel to police heardquarters, where Ka takes note of the "animated disorder typical of many Turkish offices". Ka climbs the same stairs he had climbed with Muhtar the day before. At that time he told them that, since he had not seen the face of the man who shot the director of the Institute of Education, he could not identify the assailant from the photographs placed before him

Now he is told that they hope he will recognize the culprit from among the religious high school boys arrested in the night and locked up in the cells downstairs. From this Ka deduces that the MIT has taken charge of the police after the "revolution" and that relations between the two groups are tense.

The boys' faces show they were beaten. Even though Ka remembers some faces, especially one boy who had heckled Funda Eser in a loud voice, he insists that he does not recognize any of them. Ka relaxes when Necip is not among the arrested boys.

The MIT agent then takes him to the morgue. It is there, in the cold and silence of the hospital, that he finds Necip, his lips pushed forward as if to ask one more question. Ka kisses him on both cheeks, explaining that the teenager had a pure heart. Despite the shock of seeing his young friend dead, "A wave of gratitude swept over Ka; he was so glad to be alive."
Are we surprised, or is that a natural reaction ?

Chapter Twenty-Two will reveal how he idea of this "revolution" was born and Sunay Zaim's role in it. There is a great deal of material on his personal background and Turkish history in a profusion of details. Rereading makes several obscure points much clearer and is both valuable and necessary for me.

Traude S
March 7, 2007 - 06:55 pm
When the formalities regarding Necip's body are completed, Ka and the MIT agent get back into the army truck. All Ka can think about is Necip's face and his stiff body. He hopes Ipek will console him once he gets back to the hotel. Instead the truck takes him and the agent to a ninety-year old Russian building, a long-deserted mansion with a history of its own, now witness to past glory and a prosperous past.

The mansion is now a command post, crawling with men carrying walkie-talkies, with two huge guards clocking every movement, and Ka realizes that Sunay is the most powerful man present. He is surprised by Sunay's effusive welcome, perhaps a bit apprehensive.

Sunay talks about Funda's and his attempts to bring 'culture' to the hinterland and how, in the past, police revoked a permission previously granted for a performance. When Funda enters the room to whisper in Sunay's ear, he lapses into the royal 'we' and continues using it after she leaves.

Sunay's quoted monologue is followed by a more detailed third-person account of the last decades. Then the reader is told about Sunay's pride "before the fall"- and there is still more in this chapter.
Pazienza (= patience), as the Italians say.

Jonathan
March 7, 2007 - 08:16 pm
Traude, your two posts, 472 and 473, make a wonderful description of the rich detail in Chapter 22. Well worth a rereading. Almost a must for those of us for whom recent Turkish history is more or less an unknown. I believe it would be well worth our while to pause over this chapter, to explore the detail and catch the hidden meanings that Pamuk puts into his tale.

Sunay Zaim, of course, is the main character in this chapter, as indicated in the title: A Man Fit to Play Ataturk. It wasn't always that way. In the seventies, 'the golden age of leftist political theater', Sunay gained a reputation for playing leadership roles such as Napoleon, Lenin, and Robespierre, and Enver Pasha, always with the promise that he 'could bring happiness to the people through the exercise of merciless violence', always bringing the students to their feet with thunderous applause. But then,

'When the military took over in 1980, all left-wing plays were banned, and it was not long afterward that it was decided to commission a big new television drama about Ataturk in honor of the hundreth anniversary of his birth.' p191

After a humorous mention that it would take a Laurence Olivier, a Curt Jurgens, or a Charlton Heston, to play this heroic role, the reader is told that 'HURRIYET, the biggest Turkish newspaper was promoting the view that for once a Turk be allowed to play the role'. Enter Sunay Zaim.

By chance I've discovered a book, published in 2005, by an editor-in-chief of that newspaper, about that time. Muammer Kaylan's The Kemalists: Islamic Revival and the Fate of Secular Turkey. I would like to quote a most interesting paragraph from the introduction:

'Turkey in fall 2002 was a country with over sixty political parties and a dysfunctional government of looters. Suffering under the weight of severe poverty and corruption, the nation had lost sight of its political future and its own identity. While a great number of have-nots were being alienated from the secular reforms established many years earlier, the elitist class protected the status quo and felt no need to maintain moral values. The merchants of Islam, those exploiters of religion, along with the Communists, the Fascists, and thieves and looters embedded in the state and the media, used every means to manipulate the country's future. The Kemalism that had grounded modern Turkey with its firm belief in a single state, a single nation, a single language, and a single flag was aggressively assaulted by the powerful revival of Islam and a disastrous Kurdish separatist movement. The nation was led away from its foundation in secular reform and ended up in total confusion about its destiny. Turkish voters became such a bewildered lot that they repeatedly brought back to power the same looters, habitual liars, scoundrels, criminals, and Islamic bigots.' p23

That's a short summary that the author, a journalist, expands on in his book, The Kemalists.

SNOW is a novel by an author who loves his country dearly. Isn't it interesting what Pamuk does with the same historical material? What a portrait of the old actor Sunay Zaim. Ready to play the Prophet if asked.

hats
March 8, 2007 - 02:20 am
Jonathan, Traude and Mal, all of the posts are great. Each post just adds to, I think, Pamuk's wonderful writing and my understanding of Snow. It is a book I will not forget soon. It is a book I definitely intend to reread in the future.

After hearing Sunay and Funda's story, no wonder Ka is inspired to write his poem. The whole chapter is full of creativity. It is also full of rejection and judgment faced by Sunay. "They accused us of being Communists, perverts, spies working for the West, and Jehovah's Witnesses; They said I was a pimp..." I am left remembering Sunay's ability to overcome depression under such tremendous odds, "no matter where we were, I would refuse to succumb to depression." The first three letters of his name seem to fit his personality, Sun.

hats
March 8, 2007 - 02:42 am
Jonathan, I will gladly reread this chapter. If I reread the chapter, I might see a white light beaming through the window like the one seen by Sunay. "Sunay gazed at the white light pouring through the windows" as the doctor in his white coat wrapped a "blood pressure cuff" around Sunay's arm. Sunay's Eyes are always on the Prize. My thoughts turn to healing and purity after learning Sunay's life story. Before chapter 22 I did not fully understand Sunay. I am reminded of a play we read in high school written by Arthur Miller. The title is The Crucible. Arthur Miller's The Crucible Some of the definitions for crucible also define Sunay's life experiences. crucible

hats
March 8, 2007 - 07:01 am
Perhaps, in my sleep, I painted Sunay with too much goodness. Our past deeds go before us. Our present explains our past. The future is open to us.

Traude S
March 8, 2007 - 04:16 pm
HATS, thank you for your posts and insights. Your points are well taken. Will return to the subject of Sunay later.

JONATHAN, the paragraph you quoted in # 474 from Muammer Kaylan's 2005 book is of great interest and value here in this discussion. May I reiterate some salient points ?
"In 2002 Turkey had over sixty (60) (!) political parties and a dysfunctional government of looters,
severe poverty, corruption.
The nation had lost sight of its political future and its own identity,
have-nots (were) alienated from the secular reforms established many years earlier,
the elitist class protected the status quo.
The merchants of Islam --- used every means to manipulate the country's future.
The Kemalism that had grounded modern Turkey with its firm belief in a single state, a single nation, a single language, and a single flag was aggressively assaulted by the power revival of Islam and a disastrous Kurdish separatist movement.
The nation was led away from its foundation in secular reform and ended up in total confusion about its destiny."
This is the explanation readers of "Snow" have been looking for.
The powerful revival of Islam produced a deliberate, calculated, violent confrontation with the secular reforms established by one man's vision of modernisation.
If I understand this correctly - and please correct me if I am wrong- this is an ongoing battle in Turkey for supremacy between the Islamists and those who are charged with upholding the reforms (the government, the military ?), and the battleground is a desperately poor, confused, oppressed and spied-on nation.

Turkey was in the headlines again today.
According to the Boston Globe, 'A Turkish court, acting on a prosecutor's recommendation, yesterday ordered the blocking of access to the enormously popular free video-sharing website YouTube, because it featured clips that allegedly insulted Mustafa Kemal Ataurk, the founder of the modern Turkish stagd.'
'In Turkey, freedom of expression is an explosive issue that has shadowwed the government's push to gain eventual membership in the European Union.'
Earlier on we have become aware in this discussion that to denigrate Turkishness is a crime punishable by imprisonment.

More later

Jonathan
March 8, 2007 - 08:40 pm
Hats, you're so right. It's a marvellous chapter. A wonderful piece of writing. I'm amazed at how much Pamuk has put into a dozen pages. Not only a brilliant biographical sketch of the ageing actor, Sunay, but a graphic picture of Turkish politics.

'While having his blood pressure checked....'

Just as he is getting some dire message on his walkie-talkie, and he exclaims, with 'his face crumpled with revulsion.'

'They're all denouncing each other.' p194

How can he lead the revolution, with everybody just out to save their own neck. A few words to describe a political life in a state of crisis.

And what a revolution Sunay has going, with the help of the disgruntled Coloned Osman Nuri Colak. The coloned has supplied the two tanks and the truck we have seen patrolling the snowy streets. Sunay can't believe his luck, coming to Kars, with the high-level authorities out of town. Until the roads are reopened, Sunay will try to work his will to bring new life to Kars.

'I saw at once that this was the opportunity I had been awaiting all my life, so I ordered my friend (the colonel) another double raki.' p196

Traude, I was sure you would find the quote from Kaylan's book interesting. It certainly increased my appreciation for what Pamuk has achieved in his, as he called it, 'political novel.'

I was just reading about the insults to Turkey on the web, in my newspaper an hour ago.

'In Turkey, freedom of expression is an explosive issue that has shadowwed the government's push to gain eventual membership in the European Union.'

We are seeing in a way how explosive an issue it is. What good is freedom of expression, if it's practiced primarily in mutual denunciations, as Sunay has observed.

hats
March 9, 2007 - 02:05 am
After the snow is melted, life certainly is going to be different in Kars. Many lives have been lost due to this revolution led by Sunay. For those who have lost family and friends, there is going to be new adjustments. Jonathan, I am not surprised about Sunay's blood pressure, are you? People who lead a revolution must have Type A personalities. While Sunay told his story, did he want Ka and the rest of us to feel some sympathy for the way his life had been in the past? What was his purpose for telling his biography? Ka could feel power exuding from Sunay. What impressed Sunay about Ka? I am trying to figure out the tone in which Sunay tells his life story. Maybe he is blaming the world in a subtle way for the man he became in that auditorium. Then again, he could just feel he is a man who came out of ashes and became a glorious phoenix. Thank you Traude and Jonathan for the up to date news out of Turkey.

I feel guilty talking so much about Sunay and not Ka. This is Sunay's chapter. I might have read somewhere one time long ago about controlling personalities, people who desire power and people who become leaders of revolutions or criminally insane war heroes. At one point, these people lead lives of quiet desperation. Without power, when people like Sunay finally gain power, these men become the very people they hated and opposed. Their worse enemy becomes strong within their minds and bodies.

"On the table by the door leading into the corridor was a map, a gun, a typewriter, and a pile of dossiers; Ka deduced that this was the center of operations for the revolution, and that Sunay was the most powerful man present."

"They were just two men from Istanbul who, having been thrown together in a remote and impverished city, had found a way to work together under difficult conditions. But he was only too well aware of Sunay's part in helping to create those difficult conditions."

Traude, I am anxious to read what you will write on Sunday.

hats
March 9, 2007 - 02:10 am
We don't become the people we are all at once. It's a layer on layer process. I can see the layers of a man while Sunay tells his story to Ka. I am still thinking of the white light coming through the window. Some people see a white light during or after death.

Jonathan
March 9, 2007 - 09:59 am
Hats, wonderful analysis, great insight, good questions.

You wonder about the 'white light. I missed that, having all my attention drawn to the black dog we seem to meet everywhere.

What a challenging pastime, trying to sort out all the 'information' in this chapter. Every page holds one with its puzzling revelations.

hats
March 9, 2007 - 10:02 am
Jonathan, I am drawn to the black dog too. This is a fascinating chapter. I am going back to reread it later on.

Malryn
March 9, 2007 - 11:20 am

The black dog is like Ka's overcoat. He can't seem to shake the dark shadow each one of them makes..

Mal

kiwi lady
March 9, 2007 - 06:08 pm
Kemal Ataturk is a legend here, Our ANZAC servicemen from WW1 were respected and buried with respect by his regime. There is a wonderful poem on a memorial in the graveyard about our dead written by Attaturk. I think it starts "your sons are our sons". Ataturk was determined to have a secular Turkey. Gallipoli rememberance services are a pilgrimage that our young people take as part of their rite of passage. Its an important place to Kiwis and Australians. We have a special relationship with the Turkish people because of our dead that they care for in those graveyards at Gallipoli, and the great respect in which they hold the responsiblity of caring for the resting place of our many dead from that fateful landing at Gallipoli. Once they were our enemy and now they care for our fallen sons.

hats
March 10, 2007 - 12:11 am
Carolyn, your post is very moving especially the words I have quoted below.

"There is a wonderful poem on a memorial in the graveyard about our dead written by Attaturk. I think it starts "your sons are our sons".

I hear very clearly your respect forAttaturk. I know about your love for Turkey. I love hearing about your family and Turkey. Your posts are full of meaningful thoughts to ponder.

Traude S
March 10, 2007 - 12:14 pm
HATS, CAROLYN, JONATHAN, everyone, your posts and insights are very much appreciated.
Mustafa Atatürk is justly admired for his leadership, the founding of the Turkish republic, his effort to modernize Turkey and free women from the veil.

But why didn't it last ? What happened ?
That is the overriding question, at least for this reader of Pamuk's "Snow". Pamuk is taking a very circuitous road to provide some answers, at long last, now, half-way through the book.

Infinite care is taken to chronicle every aspect of Sunay's and Funda's life and careers, their attempts to bring art to the hinterland, solace, pleasure and an uplift to the spirits of the depressed people, and also their arrests, their ups and downs, blessed though they were in an admirable relationship of total understanding.

Sunay's face, bearing, and sonorous voice were known throughout the country. When the idea of making a film of Atatürk's life was bandied about, Sunay seemed the ideal actor to portray him.

Sunay's first mistake was to take the public vote seriously. He promptly started an intensive media campaign (see pg. 191), and, being human, he succumbed to hubris. He courted both the secular and anti-Western religious papers and, on one occasion announced, perhaps a bit too grandiosely, he might be able to play the Prophet Muhammad (!) That did it. The Islamist press lashed out at him. It did not help that he took to carrying a copy of the Koran everywhere. Rumors and innuendo swirled around him and Funda. Then came the prime minister's announcement that the Atatürk film was postponed indefinitely.

Sunay and Funda disappeared, first to Antalya, a tourist attraction in the south of Turkey, to amuse the tourists, until one of them flirted with Funda and was beaten by Sunay. Thereafter they worked as freelance emcees etc.etc. (pg. 194)

Still, Sunay and Funda never gave up the dream of uplifting the spirit and mind of the hapless men, spending their time at the teahouses, inert and without the will to make a change, leaving it to the wives to keep life going.
On pg. 195 Sunay says "I gave ten years to Anatolia because I wanted to help my unhapy friends out of their misery nd despair." For their efforts, they were accused of being Communists, perverts, spies working for the West, and Jehova's Wtneses. Tey were thrown in jail, beaten, tortured. "They tried to rape us they stoned us.", Sunay tells Ka.

"But they (who ? the public ??) learned to love my plays and the freedom and happiness my theatrical company brought them. So now, as I am handed the greatest opportunity of my life, I shall not weaken." (bottom of pg. 195)
The greatest opportunity of his life. The revolution ?

And here it comes, in a slow trickle.
Arriving in Kars on the same bus with Ka, Sunay had gone to the Green Pastures Café and run into an old friend fo thirty years, a classmate from Kuleli Military Academy, Colonel Osman Nuri Colak. As detailed on pp. 196 and 197, the time is exceptionally propitious: the Colonel will be the sole person who is militarily in charge.

Thinking quickly, Sunay makes a proposal to the Colonel, but the readers is not given details. The Colonel believes that this is merely raki-inspired talk but goes along with the joke, which turns into bloody reality.

Colonel Osman had the means : he used half a squadron to search houses and schools (after Sunay's proclamation of revolution), four (4) trucks, and two (2) T-1 tanks. That's what Sunay tells Ka.

Sunay is informed of a skirmish in a shanty development near the bridge over the river Kars. He dons his "thick but ragged felt coat he'd worn throughout his ten-years tour of Anatolia, put on his fur hat, took Ka by the had and led him outside." (The MIT agent is apparently left behind.)

Trough fieldglasses they see eplosions, bloodshed, people crouching on the ground and a black dog running excitedly hither and thither. Then Sunay's attention turns to something else. Hmmm

This scene inspires another poem; in it - we are told - Ka describes "the thrill of power, the flavor of the friendship he's struck up with this man, and his guilt about the girls committing suicide."

Can this be it ?? No thought about the reasons for bearing down on that district with machinegun fire ? There's no way for the reader to be sure because the poems are not part of the book.
Both men return to the tailor shop/mansion/command post.

We still don't know enough of Sunay's motives. And what exactly did he expect to gain ? Or is this his last hurrah ?

Turkey was in the news again today, this time because of the island of Cyprus, which is divided between Greece and Turkey.
Greek Cypriots won international praise yesterday for tearing down the wall that has split Cyprus for more than 40 years. The demolition of this emblem of division has been likened to the demolition of the Berlin Wall in 1989.


The island's division is a stumbling block to Turkey's asspirations to join the EU, s well as a source of tension with neighboring Greece, its historical rival.

Jonathan
March 10, 2007 - 12:51 pm
Everybody, certainly, knows about the special feelings that that New Zealanders and Australians must have for Gallipoli and Turkey, if only from watching the great movie on that epic battle. It's always moving to hear about brotherhood between friend and foe, after the battles have ended.

Thanks, Carolyn, for that post, 485. It's still that determination to make Turkey a secular state, by which Ataturk is remembered, which plays a big role in Pamuk's novel. While a country like Iraq is being torn apart by sectarian strife, between Shi'ite and Sunni, Turkey is beset by a secular/islamist confrontation. But it seems there are also Muslims who would like to enjoy the benefits of a secular life. Perhaps especially women. We've already met Ayyan Hirsi Ali with her 'flamboyant protests against Muslim treatment of women', but there are many, more moderate women who wish to escape a harsh Muslim fundamentalism. Try this link to a story in my newspaper this morning, for more information.

Muslims find their voice outside religion

Mal: 'The black dog is like Ka's overcoat. He can't seem to shake the dark shadow each one of them makes.' 484

What a suggestive comment! Coat and dog are certainly significant motifs running through the plot

What do you make of the actor Sunay Zaim? The actor goes through life looking for his true voice. The big role. It's Sunay's grand conception of the acting role that gives meaning to the grand leadership qualities he is putting on display in Chapter 22. He comes by his views after much thought:

'It was Hegel who first noticed that history and theater are made of the same materials' Sunay said. 'Remember: Just as in the theater, history chooses those who play the leading roles. And just as actors put their courage to the test, so too do the chosen few on the stage of history.' p199

'I was going to use my art to intervene in the flow of history.' p189

Now he is making it happen in Kars! He would make a great Shakesperian actor, would he not? It seems to me there was a mention of playing little Shakesperian scenes with his travelling troupe.

Hats, it always a pleasure to read your thoughts. What do you think of Mal's suggestion that the dog is deliberately shadowing Ka. Like the rest of the MIT agents?

I believe we are about ready to begin on the second half of this strange book. So meaningful for our times.

Jonathan
March 10, 2007 - 12:58 pm
'In Ms. Toker's kitchen yesterday, there was little sense that you were at the centre of one of Europe's great intellectual debates. For this small group of immigrants, the question is one of practicality: “When I was a kid, we left our little Turkish village to get away from the old ladies who wanted us to cover our heads,” she said. “Then I came to Germany to start a new life, and I was amazed to find the same pressures. I'd just like to be able to get away from that religion, and this is the best way to do it.”'

hats
March 10, 2007 - 12:59 pm
As usual, Mal's deep thoughts took my breath away. I meant to mention the black dog and the coat. I also thought of Winston Churchill. He suffered with a black dog too. Really, I didn't connect the two like Mal. I am still in awe over Mal's thoughts about huzan. Mal, thank you for introducing and explaining that term.

Traude, thank you for your very thoughtful post about Sunay.

I miss Jo. Her posts in any discussion are worthy of thought. Each line she writes is meaningful. How do you do it, Jo???

Jonathan, I am anxious to read the article you have posted above. Both you and Traude have been great with keeping us up to date with items from the news that fit our reading of Snow.

hats
March 10, 2007 - 01:07 pm
I can not always follow Mal's thoughts. It's like I am at the bottom of a pyramid trying to reach up to the top of the pyramid where Mal's thoughts are taking shape. Mal's mind is amazing. Traude is the same way. Traude puts her heart in all her words wanting us all to understand what is going on and take a journey with her. I never take Traude's posts lightly, nor yours Jonathan. There are some powerful minds at Seniornet. Now, I am getting mushy.

Malryn
March 10, 2007 - 03:04 pm

HATS dear, you certainly know how to make a person feel good! I've been so confined this winter because of extreme cold, ice and snow, that it's a wonder I have any mind left at all!

There's been much pain for me lately. Because of bad weather I didn't get to the pain management center for my pain med prescription. They couldn't give me an appointment until the end of the month.

I called my primary care doctor and begged Frances, his right hand woman, who serves me Earl Grey tea when I go for apointments, to try and convince Dr.Muthiah to prescribe something for me. He did! Over the phone! I got on my wheelchair horse and went out in the snow and cold and ice to the supermarket pharmacy. Only problem I had was an altercation with an ice-covered pothole. No damage to me or the chair, luckily.

During this adventure, I had another idea. About the symbolism of the Suicide Girls. Could they be representing the country of Turkey itself, which appears to be committing suicide by a self-destructive, slow death method?

Mal

hats
March 11, 2007 - 02:06 am
Mal, sorry you have been bothered by so much pain. When it comes to pain, I'm a big ole crybaby. Mal, you've done it again. That last thought you wrote. That's big. May I quote you???

"During this adventure, I had another idea. About the symbolism of the Suicide Girls. Could they be representing the country of Turkey itself, which appears to be committing suicide by a self-destructive, slow death method?"

Boy, I never would have connected the Suicide Girls with the country of Turkey. After you wrote it, it's clearer than a lake of unpolluted water. I bet Jonathan is jumping up and down. I am kicking my heels. I am so glad you are here.

What a nice nurse or receptionist to serve you Earl Grey tea.

Sonya
March 11, 2007 - 11:46 pm
Hi. This is my first post and to tell you the truth I am very very nervous. I finished Snow yesterday and felt that this novel reads too much like a political/ philosophical treatise.

ALF
March 12, 2007 - 04:44 am
SONYA- Welcome, welcome to our Book area. We are delighted to have you here and soon you will be receiving an official welcome from one of our Ambassadors here at Books and Lit. You will meet an eclectic group of readers with eclectic taste for literature.

Snow is an example of one of our fine discussions that allow each of us to voice our own opinions, with respect. Please feel comfortable and if you have any questions just speak up.
How did you find our site, if I may ask?

Sonya
March 12, 2007 - 06:10 am
Thank You so much for such a warm welcome. This site is just the answer for somebody who loves books. It was wonderful exploring all your sections. I was a little apprehensive after posting my first message but now I feel that I belong. Thanks once again.

hats
March 12, 2007 - 06:15 am
Sonya, Alf and all the rest of the people here are very friendly. You will love all sections and never want to leave. This is welcome #2.

Jonathan
March 12, 2007 - 08:39 am
It certainly is that, Sonya. And why not add religious and poetic to that. All dressed up in a literary form, if we can take the word of those who confer Nobel Prizes on authors and others who excel in their endeavours.

Welcome Sonya, to our discussion. We are half way through the book, reading and discussing in a leisurely and free-rambling way, much the way in which Ka goes about discovering himself and Kars in the midst of a revolution.

Thank you, ALF, and Hats, for extending such a warm welcome to Sonya.

It's quite natural to feel nervous in these discussions. After five years I still approach every book discussion with the greatest anxiety and trepidation. Much like Ka on assignment. It seems unbelievable that he can still write poetry, while all around him others are losing their heads.

We have just finished Chapter 22, with Ka telling us that his latest poetic inspiration "Suicide and Power" expresses the events he is living through in his best "sound and considered", "most powerful and authentic" manner.

Unfortunately, we don't get to hear the poems, for whatever reason, but it's not difficult to imagine their beauty, from the random expressions of sentiment and sensibility that Ka scatters about. As for example:

'The cold took Ka by surprise, it made him think how weak and thin are men's dreams and desires, how insubstantial the intrigues of politics and everyday life compared with the cold winds of Kars.' p198

and

'While the beautiful snow-covered city with its empty old mansions could not help but make a man fall in love with life and find the will to love...' p198

Kars has turned Ka's life around. His head is in a whirl of thought and emotion. Even more than that. Now, in the company of Sunay, Ka experiences a greater feeling yet:

'he was enjoying this proximity to real power'

At least, it seems that Sunay has convinced Ka of that. Sunay, it also seems, is trying very hard to convince Ka of many things as we shall see in Chapter 23. Or is Sunay simply trying to get his message out with the help of Ka's journalism? And poetry?

Jonathan
March 12, 2007 - 08:47 am

marni0308
March 12, 2007 - 10:42 am
Welcome, Sonya! It's wonderful to have a newcomer in this discussion.

I haven't had a chance to post for awhile, but I've caught up on reading everyone's posts and I've been mulling things over.

I have a thought. I'm feeling like I'm onto something. Maybe. Maybe not. I had wondered why Ka was looking for "purity" when he went back to Kars. I think one meaning for this "purity" is Turkishness (coined word?) - pure Turkishness, without being tainted by Westernization, by anything European - Turkishness with all that it entails, good and bad, all of its history, its eastern-ness, its woes, poverty, wars, religions, governments, foods, clothes, culture, habits, etc.

It seems to me that an important element in the book is that the Turkish people are drawn in multiple directions - some to the past, some to the West, some to radical religions, some to cruelty and power, some to revolution, some just to within themselves....

And many, like Ka, seem to feel great guilt, maybe guilt for seeking happiness and prosperity in the direction they've chosen, away from what they have now in Turkey. And what they have now in Turkey is not necessarily something that will be easy to live with.

So it's like all these people, and Ka, are in these no-win situations, damned if they do and damned if they don't. Everyone in a giant conundrum.

The snow is covering Kars throughout the book so far. The snow is purity, too. Maybe the snow is Kars and maybe the snow is Turkey. It's pulling people to it - they can't leave Kars - and they have to figure out a way to live there and find happiness.

Marni

Traude S
March 12, 2007 - 06:16 pm
Welcome, SONYA ! Good to have you with us in this discussion!

Yes, MARNI, we are making more startling discoveries of unspected connections as we read on. Chapter 23 has several revelations, one is Muhtar's withdrawal from his candidacy for the Prosperity Party. "We don't even have to keephim locked up any more," says Sunay with a smile.

Ka and the reader learn that Kadife is Blue's lover. Ka shows little reaction.

When Sunay propounds his ideas and beliefs, he is posturing sometimes, Ka notes. He remembers some of the poses and theatricality from plays years ago Sunay calls Ka a "porridge-hearted liberal" in the long paragraph on pg. 203 that is worth rereading.

Ka is to get a bodyguard, decrees Sunay. He also tells Ka that he is Ka's protector and his only friend in Kars. He plans to address the people on television and intends to tell them that the assassin of the director of the Institute of Education, who probably was the same man who killed the mayor, was caught, and Ka had identified the person.

Ka's only reply is, "But I didn't identify anyone."

He is allowed to walk to the hotel and is followed. He comes face to face with the detective whose name is Saffet. They visit a teahouse and drink raki together; Saffet tells his story. It gives a glimpse into the tension between ethnic Turks and Kurds, and we are led to assume that it was inequality (or lack of integration, if integration had indeed been planned). "The official state position was that Kurds and Turks were indistinguishable." (lines 10-11, pg. 210). emphasis mine.

The TV in the teahouse airs Sunay's address, but the reader is not told whether Ka and Saffet listened to every word, and whether Sunay actually announced that the assassin had been caught after being identified by Ka.
Does it matter ? Is Ka already enmeshed in Sunay's game plan ? We'll find out.

Would love to hear from JO.

Jonathan
March 12, 2007 - 07:02 pm
Marni! Thanks for dropping by. And your post is just the sort of thing to liven up a discussion. I think you are on to something by linking Ka's search for purity and his longing for a true Turkishness. Why not? Ostensibly he came for his mother's funeral, and quickly thereafter to find himself a Turkish wife. He hardly counted on what he is discovering about his country. He quickly finds himelf torn in several directions.

You've 'come all the way from Germany in this time of revolution', Sunay tells him, at the beginning of Chapter 23.

We're at military headquarters, with Sunay directing affairs. And now he trys hard to enlist Ka on the side of the secular, Kemalist rearguard action to prevent Turkey from going the way of Iran. Twice he holds that Islamic threat over Ka's head. For the time being all the young Muslim troublemakers have been taken into custody. Can Ka identify one of them as the assassin of the school director? Of course Ka refuses to play the denunciation game.

What does Sunay fear? What revolution is he talking about? One that he wants to bring about, or one he wants to prevent? Oddly enough he appeals to Ka's orientation to the West, the orientation, apparently, of many in a place like Istanbul, where they both grew up. After mentioning his keen interest in Western literature and art, which he knows Ka shares with him, Sunay declaims:

'I read everything Sartre and Zola had ever written, and I believed that our future lay with Europe. To see that whole world destroyed, to see our sisters forced to wear head scarves, to see poems banned for being antireligious, as has happened already in Iran - this is one spectacle I don't think you would be prepared to take lying down. Because you're from my world. There's no one else in Kars who's read the poetry of T. S. Eliot.' p202

'When we go the way of Iran, do you really think anyone is going to remember how a porridge-hearted liberal like you shed a few tears for the boys from the religious high school? When that day comes, they'll kill you just for being a little westernized, for being frightened and forgetting the Arabic words of a simple prayer, even for wearing a tie or that coat of your. Where did you buy that beautiful coat by the way? May I wear it for the play.' p203

And for good measure:

'We've heard they're about to use suicide bombers.'

Strange that Sunay should add that. He must know that Ka has come to Kars to investigate suicides. Is Ka convinced by Sunay's arguments? It's hard to tell. Ka keeps seeing the actor in Sunay.

Thanks again, Marni, for taking the time to drop in. We're watching the excitement of your upcoming discussion. Good Luck!

Jonathan
March 12, 2007 - 07:04 pm
Traude, I'm just reading your post. It arrived while I was composing.

Sonya
March 12, 2007 - 10:01 pm
Have been thinking about what Marni has written : had wondered why Ka was looking for "purity" when he went back to Kars. I think one meaning for this "purity" is Turkishness (coined word?) - pure Turkishness, without being tainted by Westernization, by anything European - Turkishness with all that it entails, good and bad, all of its history, its eastern-ness, its woes, poverty, wars, religions, governments, foods, clothes, culture, habits, etc.

Wondering whether there can be anything like pure Turkishness. I mean is it only about the Turks? What about the Armenians, Russians, Kurds etc.? They are part of Turkey's past and thus naturally the present.

SHUKRIYA to all of you for making me feel so welcome.

Sonya
March 12, 2007 - 10:44 pm
In chap 22, Sumay quoting Hegel talks adout history and drama:

"It was Hegel who first noticed that hist. and theatre are made of the same materials....Remember that, just as in the theatre, hist. chooses those who play the leading roles. And just as actors put their courage to the test on the stage, so, too, do the chosen few on the stage of hist."

Any idea where Hegel draws this connection. And is there any other writer who has talked about hist, and drama, biography, literature et al?

Traude S
March 13, 2007 - 08:57 am
Georg Friedrich Wilhelm Hegel (1770-1831) was a German philosopher whose importance and effect has been compared with that of Plato Aristotle and Kant.

He greatly influenced the study of history and metaphysics: he saw reality as a dynamic process rather than as a reflection of static ideals.


Tthe process of reality, he maintained, is governed by the dialetical law : every thesis implies its own contradiction, or antithesis, and their conflict ends in a synthesis which again has its antithesis.

Understood in terms of the dialectic, history is produced by the conflicting impulses and interests of men, but at the same time shows the progressive self-realization of human reason and freedom. Great men are those whose personal aims coincide with the aim of the historical process.

Hegel and his philoopher friends Friedrich Wilhelm Joseph von Schelling (1775-1854) and Johann Gottlieb Fichte (1762-1814) were the major representatives of German Idealism. Two of Hegel's works are "The Phenomenology of the Spirit" = Die Phänomenology des Geistes, and "The Philosophy of Right" which is theofficial but not the most felicitous translation of the German title Grundlinien der Philosophie des Rechts .

By quoting Hegel (through Sunay) and in other philosophical and literary allusions throughout the book, Pamuk clearly lays out to the reader his own broad knowledge of western thought.

All of us, including philosophers and writers, are children of our own century. But history reflects on all of us. Many writers draw on classical mythology in a new guise, some draw heavily on historical figures. English author Philippa Gregory has created an imaginary sister of the unfortunate Ann Boleyn in several popular books. Balzac was one writer who commented on the work of other French writers.

But a more substantive evaluation of a writer's work or an overview of any given period (like Romanticism or Realism) is more likely to come from literary critics.

Jonathan
March 13, 2007 - 11:44 am
It seems Hegel saw the drama in history. I wonder did he get the idea from Shakespeare, who, as we know, declared 'all the world's a stage.' And now, here comes Sunay wanting to make history on his stage, to make his stage the place to play a role that will make history. Sunay does have the most interesting things to say about his chosen profession, and how he has been using it to entertain and enlighten his compatriots.

How much he knows about the European historians, writers and poets is problematical. He does find an Hegelian theoretical application in his professional life which is meaningful, but he has little to say if Hegel's theories could supply some solutions to the problems he sees all about him.

It's all lost on Ka, seemingly. After hearing him out, Ka turns and looks again

'...at the exquisite antique wallpaper in the old mansion, (and he knew immediately that) he could not contain the new poem now waiting within him, so he retreated to a corner.' p199

Welcome again, Sonya. And what could be the meaning of 'shukriya'? It must be a greeting. It's easy to tell from your posts that you've caught the spirit of these book dicussions. From your post:

'Wondering whether there can be anything like pure Turkishness. I mean is it only about the Turks? What about the Armenians, Russians, Kurds etc.? They are part of Turkey's past and thus naturally the present.'

Those are good questions. Pure Turkishness might seem difficult to find, unless Ka represents it in himself. After that it becomes difficult, as the author himself points out at every turn. The nation builders, beginning with Ataturk, want everyone to be a Turk, which obviously is not going to happen. As an example we get the little incident in the cinnamon sharbot poison case:

'(The experts) were able to deduce from his reports that the sharbot was poisonous to Turks but not to Kurds; however because of the official state position that Kurds and Turks are indistinguishable, they kept this conclusion to themselves.' p210

The Kurds are the largest ethnic group without a nation of their own. Their 25 million or so (?) are divided up between Turkey, Syria, Iraq, and Iran. They would dearly love to have their own country, and they just could get it with the area in such turmoil. Maps in the ME are being redrawn. That sort of thing alarms the nationalists in Turkey.

marni0308
March 13, 2007 - 03:36 pm
Sonya and Jonathan: Re pure Turkishness - I guess I was including all of the various ethnic groups in Turkishness since the name of the country where they live is Turkey. I wasn't thinking of just one ethnic group called Turks. (Is there one? Who are they?) The various ethnic groups are all a part of Turkey's vast complex history but they are still a part of Turkey, aren't they? I guess at the moment I had that thought I was thinking more along the lines of east vs west plus thinking that pure Turkishness would have to be a melting pot.

I'm a total dunce when it comes to Turkey's history despite the info we have received in this interesting discussion.

Traude S
March 13, 2007 - 05:14 pm
Looking for a definition of the term Turkishness I just found one. It is an article by Sarah Rainsford, BBC News, Istanbul. Here is the link
http://news.bbc.co.uk/1/hi/world/europe/6343809.stm

Traude S
March 13, 2007 - 05:59 pm
The link worked, much to my relief.
The Turkish-Armenian journalist Hrant Dink, editor of the bilingual newspaper 'Agos', was killed on January 19th of this year in broad daylight, apparently for insulting 'Turkishness', which is a crime under Article 301 of Turkish law. (We've discussed it in this discussion.)

The linked article shows that it is difficult to find a clear-cut definition of the term. To refer to the mass killings of Armenians and their expulsion in 1915 as "genocide" is a criminal violation against Turkishness.

At this point in "Snow", it is impossible to say, I believe, exactly what Ka means with his aspiration to "purity". Doesn't the word purity encompass, linguistically, a great deal more than Turkishness alone ?

jbmillican
March 13, 2007 - 06:47 pm
I have been occupied with other demands, and have just caught up on reading all the excellent posts.

The motif of the Black Dog seems to me to represent fear, the numbing kind of fear that causes us to commit the most absurd evil and absurd acts. I am reminded of a very chilling little short story of John Galsworthy, titled 'The Black Godmother'. It is only about five pages, and well worth your reading, I think. There may be a better way to give you the link, but this is the only one I know.

http://etext.library.adelaide.edu.au/g/galsworthy/john/inn/chapter11.html

Juanita Millican

jbmillican
March 13, 2007 - 06:50 pm
Ithink this kind of fear may be common in countries like Turkey, in fact everywhere people don't feel safe and free. Here, too to some extent.

Juanita

Sonya
March 13, 2007 - 10:27 pm
Jonathan, shukriya means thanks.

So Shukriya Traude for that brief on Hegel and Jonathan for that ego-booster. (Hope you were not being ironical though!!!)

Marni I have been thinking about whether search for purity brought Ka to Turkey. But am very wary of search for purity or for a pure self. Can there be one, pure self? Isn't there so much of trouble in this world because we continue to confine ourselves in regional/religious/ethnic cocoons?

And is it what Pamuk wants to point out when he writes in the 2nd chap. itself: Veiling as it did the dirt, the mud and the darkness, the snow would continue to speak to Ka of "purity", but after his first day in Kars, it no longer promised "innocence".(emphasis mine) Is Pamuk contrasting purity with innocence? Or that any search for purity simply cannot be innocent? Is purity being used in a pejorative sense? There are just so many questions.

There is a ref. to the Armenian massacre in chap. 31 when there is a description of the meeting at the hotel. (One of the best in the text). The old Azeri journalist is going on about the Crusades, the Holocaust, the American massacre of the Indians and the French massacre of the Algerian Muslims when : a defeatist in the crowd slyly asked, "And whatever happened to the millions of Armenians who once lived all across Anatolia, including Kars?" Feeling pity for this man, the informer-secretary did not write down his name.

I think one of the points being raised here is the institutionalisation of history and how uncomfortable facts about the past are simply swept under the carpet. Significantly, Pamuk calls this man who raises uncomfortable questions: a defeatist. As Traude message makes clear this is another pointer that in Turkey's march towards a "pure", untramelled nationhood such voices would be silenced.

Jonathan
March 14, 2007 - 07:46 am

Jonathan
March 14, 2007 - 08:08 am
On first reading I felt that Chapter 24 needn't detain us very long, just pausing long enough to make a note of Ka's (initials could represent Kemal Ataturk) wretched, romantic plight.

'I'm terribly in love with you, and I'm in pain' Ka says to Ipek.

This lover's complaint comes after a sensuous description of Ipek's lovely hands, in their busy movements from hair to nose, to belt, to neck, and back to hair, and then stopping to play with her jade necklace.

Again using her father as an excuse, Ipek refuses Ka's impetuous importunities, and exits the room, leaving Ka to the sad consolations of his poetry.

'Then he closed the door, sat down on the edge of the bed, whipped his notebook out of his pocket, and turning to a clean page, began writing the poem he would call "Privations and Difficulties" ' p212

After that comes the sudden realization,

'...that apart from chasing Ipek and writing poems there was nothing in this city for him to do.'

This guy must be dreaming, sleepwalking through history like this.

This may seem ridiculous, but I can't help seeing a bit of additional Westernization of Ka in this little episode. Many years ago, as a teenager, I remember the country song being sung: 'I love you so much it hurts me.' Ka chooses to call his song 'Privations and Difficulties', which sounds suspiciously like a sophistication, intellectualization of a very rudimentary longing. Ka could have heard the country song being sung. Perhaps he plagiarized it. We'll never know.

marni0308
March 14, 2007 - 09:48 am
Sonya: I think I got it into my head that, in the beginning of the book when he began his bus trip to Kars, Ka was looking for happiness and purity because of these words on page 2:

"....in the snowflakes whirling ever more wildly in the wind he saw nothing of the impending blizzard but rather a promise, a sign pointing the way back to the happiness and purity he had known, once, as a child."

I don't think Ka is going to find it, but I felt that, in his unhappiness, he was searching for lost purity (whatever that was) and for his lost innocence.

I think there are a number of possible meanings for both purity and for snow.

Here's one definition of purity: "the state of being unsullied by sin or moral wrong; lacking a knowledge of evil." Maybe that's what Ka is looking for - maybe he has the impossible dream of a world without evil and sin.?? Maybe he's so sick of all the upheaval of his country which has forced him to flee for his life that's he just desperately tired of it all and is looking for peace.

Maybe his mother's death has brought this all on. We haven't heard much about his mother's death, but maybe underneath it all, it has really affected him to the extreme and he is just groping to find something to hold onto so he can live. He does seem to be on the edge.

Malryn
March 14, 2007 - 02:27 pm

The means used to search for purity, by some of the characters in this book,
sound suspiciously like "Ethnic Cleansing" to me.

Mal

Persian
March 14, 2007 - 07:03 pm
Just returned from a bit of a journey and have been catching up with the numerous intriguing posts here. Certainly there is much to be considered - culturally, politically and from the personal standpoint - as well as guidance for a better understanding about world regions. I'll be interested to learn more about what "Turkishness" means to the diversity among the posters. As I've read the posts, I've recalled my own experiences with residents in Azerbaijan and the Northwestern Azeri area of Iran, as well as in Turkey, and wonderful conversations with individuals and groups in both regions.

MAL - there is indeed "ethnic cleansing" in Turkey (as well as throughout the region) which is perhaps NOT as well known or recognized in the West as it should be.

Traude S
March 14, 2007 - 07:57 pm
JUANITA, thank you for the link to Galsworthy's short story.
Yes, fear is omnipresent in this book, like the snow. The effect is paralyzing, even dehumanizing, and benumbig for the reader.

In Chapter 24 Ka makes it back to the hotel, summons Ipek. He expresses the same pain and longing again, and once more professes "I'm terribly in love with you."

But is he deluding himself ? Is this clumsy impetuosity really love ? It looks so much more like the crush of an adolescent with raging hormones, and a little strange for forty-somethings, IMHO.
We do know, of course, that it has been years since Ipek and Ka actually made love.

Ipek (wisely) replies, "Don't worry. Love that blooms this fast is just as fast to wither." She refuses his advances- again, and Ka takes another walk.
The curfew is over, the shops are open, the children enjoy a holiday from school. Strangely, all of a sudden the "revolution" is described as a 'coup' without any explanation, so far. The campaign banners are no longer fluttering in the wind, the tank is gone. What is the meaning of this ? What about the election ? What DID Sunay say in his TV address ?

Ka ends up in the library and meets Necip, he thinks. It is Necip's buddy, Fazil. Apparently they look alike. Saffet, the detective, takes Fazil's library ID away and manages to scare everyone there. Fear all around, again. On the way back to the hotel Ka runs into Kadife. Renewed action, another cabal ... Onward !

marni0308
March 14, 2007 - 09:08 pm
Traude: I had to smile when you said, "It looks so much more like the crush of an adolescent with raging hormones...."

I've been wondering about this with Ka. He certainly seems like an adolescent with his love affair - but then I wonder inside - Is this what men are really like? No matter their age? I wonder how suave, cool, collected, and experienced they really feel inside? Could this be some sort of revealing honesty on the part of the author? I see a lot of immaturity in men when it comes to women and sex and what men want from women.

Jonathan
March 15, 2007 - 08:05 pm
'He felt sure that if he could convince Ipek to leave Kars with him, he would find lifelong happiness with her.'

It's hard to tell if it's leaving Kars, or getting Ipek, that would make the difference to Ka in finding that happiness that he is forever going on about. He talks incessantly about longing for happiness, but that would seem to be just the tip of the iceberg of his moral and emotional discomfiture. Ipek has aroused him, but Kars has unsettled him.

The fast-blooming love for Ipek is understandable, given the circumstances of his bachelor life; but how are we to understand the stocktaking he does in his poem, I, Ka? In the last lines of which:

'He mapped out a vision of himself and his place in the world, his special fears, his distinctive attributes, his uniqueness.' p215

At age 42, it could be seen as a personal mid-life crisis, for all the difference that the political turmoil around him has made. But something has happened to make him lose his bearings in this backwater Anatolian outpost.

At a loss for something to do, in a town that has returned to normal after the curfew was lifted at noon, Ka ponders another visit to His Excellency Sheikh Sadettin, 'to have a civilized conversation about God's intentions and the meaning of life.'

The eavesdropping police would never stop laughing, Ka reminds himself, with embarrassment at the thought, and goes off to the local library. He's soon immersed in The Encyclopedia of Life, a favorite of his in his childhood. And we soon find out how close he was to his mother, and whence comes his fascination with the secrets of snow. It would almost seem as if Ka is dreaming himself out of his uncertainties and back into his mother's womb.

Is this the same Ka who, just an hour ago, Sunay included among the 'westernized intellectuals who think they're better than everyone else and look down on other people?' Is that the way Ka feels about Kars?

Kadife comes along with an assignation plan, puts some backbone into him, and has Ka feeling surprised at 'his own cold-bloodedness'.

Onward, indeed, to Chapter 25. But beware. Kadife is carrying a gun.

hats
March 16, 2007 - 06:06 am
I love your description of Ka's emotions. Your words are powerful.

"It would almost seem as if Ka is dreaming himself out of his uncertainties and back into his mother's womb."

Traude, at times I feel frustrated with Ka too. I am not sure what Ka really wants. I am not sure whether Ka knows what he wants. Is he able to take a firm stand for what he believes or is he like an embryo still taking shape in his mother's womb? Jonathan, I think my thoughts have, maybe, clipped on the back of your thoughts. Please excuse my intrusion.

Jonathan
March 16, 2007 - 08:38 am
We may be getting into the heavy stuff in the second half of the book. Ka is confused. He's confronted by a divided community, by the struggle between the secular and the religious. Just as Turkey is. By the womb symbol, I take it that Ka is thinking of going back to the beginning. As a Turk he might even be thinking of the ancient days on the Asiatic steppes, before any contact with Islam or the West. The conflict in the book is the confrontation between Islam and the West, but Ka's roots go deeper. We're all living the confrontation now, aren't we. Pamuk is giving us everybody's side of the story.

I'm grateful for your intrusion. Isn't that what discussions are all about?

Jonathan
March 16, 2007 - 08:43 am

hats
March 16, 2007 - 09:30 am
Then, is Kadife Turkey? She seems to have gone over the edge. Ka I believe is frightened of her. Her emotions are swinging back and forth. Like you said, she has a gun too.

hats
March 16, 2007 - 10:13 pm
My knowledge is sadly lacking about Turkey. Pamuk seems to be giving more sides of Turkey than I can take in. Therefore, rather than make a mistake in judgment about a country, a town, going through political, religious and secular troubles, I would rather lurk and listen while reading. I always want to believe there is hope for a country. When a country dies, people die. This is very sad because all people are worth saving. Thank you Jonathan for understanding my desire to live in the land of lurkdom for awhile. I will continue to read along with you.

Jonathan
March 17, 2007 - 10:36 am
Hats, thanks for posting that. I have to keep reminding myself of that, not to make hasty judgements, and not to post opinions that sound like pronouncents. My knowledge of Turkey is very limited as well, which keeps me wondering how well I'm understanding what Pamuk is trying to say with this political novel. For that reason I'm in no hurry to get through the book. Don't go too far away. There's lots of human interest coming up that you will want to comment on. Let's look for it.

What is Kadife up to, that makes a meeting with Ka so urgent?

It may seem for the next while that I'm only lurking myself, when in fact I'm very busy revising my whole conception of SNOW.

At the same time I seem to see a news items everywhere I look, about Turkey or about the issues treated in the book. The headscarf, for example. A ten-year-old Muslim girl is not allowed to play soccer unless she takes off her headscarf. A nineteen-year-old is refused a prison-guard job as long as she insists on wearing her headscarf. The publicity no doubt will show the injustice in both cases.

And of course, Ayaan Hirsi Ali is always in the news. My newspaper today has a review of her book INFIDEL. A good review. Perhaps it woudl be worth a discussion. She's a very courageous woman, with the stand she has taken. "A feminist for the ages", reads the headline to the review. I wonder if I can set up a link.

Jonathan
March 17, 2007 - 10:49 am
A feminist for the ages...

hats
March 18, 2007 - 01:11 am
Jonathan, thank you for understanding. Also, thank you for the link. I haven't really taken time to digest Ayaan Hirsi Ali's views. I am going to read Mal's earlier link again after reading your link.

Jonathan
March 18, 2007 - 07:59 am
Hats, we may be hearing a lot more of Ayaan Hirsi Ali in the future. She seems overwhelmed by the freedom she finds in the West, after fleeing her Muslim homeland. She is very outspoken, articulate, and critical about her Islamic upbringing. The Islamic world does seem in a state of revolution. Perhaps Ms Ali will turn out to be the revolution's Thomas Paine and Mary Wollstonecraft in one fine, feminine fury. I think I'll get her book.

Perhaps the sojourn in the West will turn out to be an exile for her, as it turned out fo Ka. Will she feel herself a stranger if and when she returns home, like Ka. Has she too acquired in the West a coat of downy beauty, like Ka, only to feel

'shame and disquiet during the days he was to spend in Kars' p3

'while also furnishing a sense of security'

So many are fleeing Islamic terror, to find security in a secular West. But many have left their hearts behind.

Pamuk takes us behind the scenes in SNOW.

marni0308
March 18, 2007 - 10:26 am
There was an article about her and her book in the Sunday Hartford Courant this morning. Doesn't sound like she would want to go back from her quotes. Sounds like she hated the way she was treated as a female.

hats
March 18, 2007 - 11:59 am
After reading Jonathan'slink about Ayaan Hirsi Ali, I want to read Infidel. I would love to hear her speak in person too. I take that back. I would feel afraid to sit in the audience. Some of her views are highly controversial, I feel.

hats
March 18, 2007 - 12:01 pm
Traude, pasted a link about her too.

Persian
March 19, 2007 - 07:34 pm
JONATHAN - I had an unexpected opportunity recently to share some of the comments from this discussion with two Turkish former colleagues whom I worked with in Washington DC. They both are familiar with the book and we had a great discussion.

As our conversation ended, tears welled up in their eyes and they both said (interrupting each other occasionally), "we Turks are NOT easy to understand or to be around for long periods. We are contradictory in our thoughts, expressions and ways of arguing even the simplest issues." One smiled, as his tears rolled down his cheeks, and he continued "but we mean well - in the moment." The other fellow nodded his head, wiped his eyes and said (laughingly), "you didn't know that we could cry, too, about our country, did you. You always thought we just yelled!" As they walked away, their combined voices rose in tone and then lowered to a whisper.

RE Ms. Hirsi Ali: Another former colleague, a Jewish fellow from Ethiopia, called recently and before I could greet him properly, asked excitedly if I had read Ms. Hirsi Ali's book or seen her on the news. He wasn't the least off-put by their differences in religious background, just excited that she was so "magnificently outspoken about issues that most people try to hide from the world." How's that for a recommendation to learn more about her, watch her progress on the world stage and, certainly, to read her work!

kiwi lady
March 20, 2007 - 12:07 am
Turkish people I have found have very strong emotions. They can yell but they can just as soon weep over a dead stray cat. All of the Turkish people men and women I have met so far have a very gentle and soft centre if you know what I mean. Underneath the layers of all the other emotions there is a marshmallow centre.

Carolyn

hats
March 20, 2007 - 02:57 am
Persian, I agree. We are going to hear more and more from and about Ayaan Hirsi Ali. Each article I read about her leaves me wanting to know more about her. I bet her book, Infidel is fascinating.

ayaanhirsiali

Carolyn, I would get along wonderfully well with the Turkish people. I am very emotional. My family were the same way while my husband's family aren't emotional at all. They are easy, laid back, etc.

Jonathan
March 20, 2007 - 11:23 am
Shall we broaden the scope of this discussion? Why don't we get the Hirsi Ali book and discuss INFIDEL and SNOW in tandem? Perhaps they could be found to be mutually relevant, up to a point.

Hirsi Ali has certainly bounded onto the world stage, after starting out living a quiet life. She's getting a lot of attention. Her cause could shake political and religious foundations. On the other hand, she's been known to lie. Of necessity, she says. I believe her Dutch citizenship has been revoked.

Hats, thanks for the link. I find myself looking at everything by or about her. The story in your link is dated 2002, which is, I believe, well before her real troubles began

Mahlia, what interesting information in your post. It confirms for me that Pamuk's SNOW is a look into Turkish character, as well as sound historical fiction.

Carolyn, would you say that Ka has a marshmellow centre, a gentle and soft centre? With all the snow, he might reply, it's a marshmellow world, with a hard center...

Hirsi Ali is plagued by terrorists, just like much of the world it seems. Now, in the next chapters we get to hear from the so-called terrorists. Ka is invited to call on the 'terrorist' Blue who has a message to the world which he would like Ka, the journalist, to take with him when he returns to that other world out there.

Persian
March 20, 2007 - 12:28 pm
JONATHAN - RE your comment "Hirsi Ali has certainly bounded onto the world stage, after starting out living a quiet life. She's getting a lot of attention. Her cause could shake political and religious foundations. On the other hand, she's been known to lie. Of necessity, she says." I've been trying to remember whom she reminds me of. Finally I realized that it is Eva Peron - not in appearance, of course, but in her determined manner.

One of my former colleagues in Washington (who is still at the DOS) used to laughingly tell us that "true diplomacy is 3/4 lies, crafted to suit the occasion and the audience, and offered by a skilled 'story teller'".

Traude S
March 20, 2007 - 12:48 pm
MAHLIA, thank you for # 534.

The intensity of emotions displayed by the characters in this book has been evident from the very beginning. It is clearly a trait Turks have in common. They also seem to share an overwhelming feeling of guilt, hopelessness, fear, and deep insecurities regarding the West. The book gives ample reason for the deep-seated fear of the populace of violence at the hands of police.

Ka seems to feel personal as well as collective guilt. Personal guilt, perhaps, for having fled his country preferring safety in Germany.

Now at long last we are getting closer to crucial events affecting Ka directly, events in which he needs to act decisively - something he has strenuously avoided so far. Speaking for myself only, I feel the need to explore here what his motivations are, and - among other things - whethere they are in any way related to his personal belief or nonbelief in God, and our impressions of the outcome.

The revolution is now called a coup; the political developments are on hold, temporarily, but nothing is unsolved.

Hence I wonder, JONATHAN, whether we should really interrupt this discussion at this juncture. Is this the right time to compare a book we haven't finished with one we haven't started ?
Could we do justice to both under these circumstances ? What about the time factor ?

Jonathan
March 20, 2007 - 07:08 pm
If she has told lies, they must surely be the honest kind. I don't think Hirsi Ali would compromise her sincerity and integrity, and the cause, with diplomatic deceptions. Undiplomatic straight talk seems to be her style, inseperable from 'her determined manner'.

Traude, you're right. A comparison of the two books is out of the question. If anything, one could serve as a foil for the other. I allowed myself a chuckle over your well-phrased question.

'Is this the right time to compare a book we haven't finished with one we haven't started ?'

Then again, it's well that you remind us that

'Now at long last we are getting closer to crucial events affecting Ka directly, events in which he needs to act decisively - something he has strenuously avoided so far.'

Mahlia sees the making of an Eva Peron in the infidel (a fine example of her honesty) Hirsi Ali. What can we say about the drifter Ka? He has yet to report on anything happening around him, despite the obvious scoops. He's not unaffected by events, but they don't seem to get in his way while writing his poetry and watching the snow fall. I have to think of Nero fiddling while Rome burns.

'What about the time factor ?'

I'm at a loss about how to answer that. Kars seems lke such a timeless place. Or is it that time has passed her by? I have no idea how long the winters are here. The narrator talks of the snow taking months to melt. We're lucky to have such a fine book for the duration...

Traude S
March 20, 2007 - 08:40 pm
"Nero fiddling while Rome burns"

JONATHAN, wonderfully put, very apt !! Thank you for that.
I did not articulate well what I meant with 'time factor', sorry.
Will try to do better tomorrow.
Good night.

Persian
March 21, 2007 - 11:23 am
This week we celebrate Now Ruz, the Persian New Year (Spring Equinox), so "Eid-e shomah mubarak" everyone. Persian residents in Turkey either travel to their ancestral sites in Iran or celebrate with friends and family throughout Turkey. Sometimes there is resentment of this Persian holiday, but usually not. The foods are marvelous, the stories more dramatic every year, the joy that Spring has finally arrived cannot be surpassed, and new friendships (and love relationships) developed, all in the knowledge that if one finds a new friend (or love), that relationship will last forever. Or so we like to believe!

Jonathan
March 21, 2007 - 11:34 am
Traude, you articulated the issue very well. Doing justice to SNOW has been on my mind from the beginning. In a structured way. In a time frame.

I have to admit to being a very disorganized reader. Omnivorous, but a bit haphazard. Some books serve me only as an eye-opener, or a doorway. A new vista soon has me chasing rainbows, or heading for a new horizon. For example,I probably would not have come to Kars, except for having been to Cephalonia in the discussion of Captain Corelli's Mandolin, five years ago.

Some, I'm sure you know all this, on that Greek island were Greek refugees from western Anatolia, forced to leave when the republic of Turkey was being forged after WW1. The author, Louis de Bernieres, has much more to say about that particular ethnic cleansing in Birds Without Wings.

In eastern Anatolia, Armenians and Kurds stood in the way of Kemal Ataturk's nation building. Over the years the Soviet Union attempted to destabilize the young republic by encouraging a disruptive communist movement. And all along the secular republic has had to contend with a reviving Islamic militancy. Pamuk has a lot of these threads coming together in his book, not least of which is the peculiar one you mention in post #539:

They (the Turks) also seem to share an overwhelming feeling of guilt, hopelessness, fear, and deep insecurities regarding the West.'

Doesn't that seem strange? So, I've been going off in all directions with my reading, better to appreciate and understand the issues underlying the narrative of the book. The Hirsi Ali book might, or might not, shed a little light on the Muslim mind, despite her being an infidel. I can't really believe she would want to throw the baby out with the bath water.

I hope, with these rambling thoughts, I have not diverted anyone's attention away from the beautiful snow and the birthing of many poems. All done without any labor at all.

Jonathan
March 21, 2007 - 11:41 am
Yesterday's radio-programming suddenly included a most stirring song being sung. Afterwards we heard it was sung on this occasion. I missed the title.

Mahlia, perhaps you could take a guess at the title. I would like to hear it again

Traude S
March 21, 2007 - 06:16 pm
JONATHAN, it was late when I posted last night, and I'm here now to clarify what I meant with 'time factor', namely the element of time.

This dense, fascinating, sometimes frustrating story plays out within a few days, and I feared that we might lose our tenuous grip on it if we were to get into Hirsi's life now. It may well be worthwhile to read Hirsi's "Infidel" later to check, among other hings, to what extent Pamuk still has a Muslim mind.

Now Jonathan, I do not think you are a "disorganized reader", not at all. IMHO it is this book that calls for a different approach on the part of the reader, as well as for an effort at patience in the face of beliefs and traditions not easily comprehensible to the Western mind. 'Snow' is a novel of ideas, of ideals, of concepts, both political and religious, history and tradition versus progress and modernity. There is much of interest coming up in chapters 26-28.

I too loved "Corelli's Mandolin" and the discussion in B&L. I also enjoyed the movie for its wonderful photography and the luminous presence of Penelope Cruz. Alas, it was not the most felicitous adaptation of a rich, marvelous book.

MAHLIA, I have a question. Why is the term "Persians" used for "Iranians" ? Is there a significant distinction ?

I had the same question when we read and discussed "The House of Sand in Fog", which takes place on the West Coast, where many Iranians sought refuge after the Shah's fall (like the main protagonist in the book.)

At the time I asked one of my doctors, a woman, who was born in Iran, sent to California as a teenager to study, and stayed on. She is married, has two sons and her own practice.

I mentioned the "House of Sand and Fog" to her and, to my surprise, she seemed uncomfortable for some reason I could not fathom. When that occurs, whatever subject should not be forced and I never brought it up again. My question remains unanswered.

For example, would one refer to Ms. Azar Nafisi, author of "Reading Lolita in Tehran", as "Persian" or "Iranian" ?

Thank you.

Persian
March 21, 2007 - 08:37 pm
TRAUDE - here's a link with some historical information in response to your question about Persian vs Iranian. I use the words interchangeably, recognizing that Persia was the historical name and includes the country we now recognize as Iran. In earlier centuries, the full breadth of Persia was vast.

https://www.cia.gov/cia/publications/factbook/print/ir.html

Regarding the perceived discomfort displayed by your Persian doctor in response to your question about the book, I'd guess that she was either unfamiliar with it (but didn't want you to know that) or that if she was familiar with it, may have found the story distasteful to Persians. In many instances, Persians (both genders) will go out of their way in conversation and manner (especially in response to questions or comments from non-Persians) to appear gracious. It's called "taroof" in Farsi. In American English, we might refer to the same manner as an "excessive graciousness lacking sincerity."

However, your doctor may simply not have had the time (or inclination) to get into a conversation with you about that particular book.

MarjV
March 22, 2007 - 05:20 am
Jonathan - I've been lurking and reading posts and following along in SNOW. Fascinating novel. Wonderful depthful discussion. I have learned. I suggest you schedule INFIDEL for late summer or early fall or whenever this discussion finishes.

~Marj

Jonathan
March 22, 2007 - 09:22 am
Marj, thanks for dropping in with your suggestion regarding the inclusion of INFIDEL in this discussion. Perhaps it was with Traude's thought in mind, that I suggested it, as an aid to understanding the feelings and mind-set of religious believers.

Perhaps I did have a 'bait and switch' motivation in the proposal. I don't know if Hirsi makes an issue of the headscarf in her book, but she does get down to specifics about the severe restraints and abuses of religious and cultural Islam in the lives of girls and women, as Hirsi sees it. Perhaps the book would be too sensational.

Of course there are a vast number of books that would serve just as well as INFIDEL, as an aid in the appreciation of Pamuk's book. I've already mentioned,

The Kemalists, by Muammer Kaylan, 2005

I also heartily recommend,

Anatolia Junction: A Journey into Hidden Turkey, by Fred A. Reed, 1999

This is a vast subject. Which would also apply to what could be understood by 'Persia', or 'Persian'. My uninformed opinion would have me thinking civilization and empire, something like 'Ottoman'.

A quote from Mahlia's link brought me back to SNOW. In Iran, it says:

'Conservative clerical forces established a theocratic system of government with ultimate political authority vested in a learned religious scholar referred to commonly as the Supreme Leader who, according to the constitution, is accountable only to the Assembly of Experts.'

Isn't this precisely what Sunay has in mind, in Chapter 23, when he looks to Ka for support in keeping Turkey secular, by reminding him that the alternative is the theocratic Iranian way?

I must apologize about the hiatus in the discussion. I'm just catching my breath. But the book keeps simmering on the back burner just the same. It has suddenly turned into spring. The snows here have melted. The highway and the hills beckon. With the warmer weather SNOW may look out of place in the discussion schedule. Should we make way for other books, and resume this one, when the snow once again returns? Could the book retain its hold on us?

hats
March 22, 2007 - 10:56 am
Jonathan, I am ready to continue with Snow.

Traude S
March 23, 2007 - 08:38 am
JONATHAN, like HATS I would be willing to continue, as I've said before.

But if you prefer to end the discussion, that is your prerogative as discussion leader. So are we saying 'so long for now' ?

Traude

Jonathan
March 24, 2007 - 10:46 am
Traude, that strikes a happy note for me. Why don't we try a break in this discussion, and pick up again in January, 'O8, with SNOW, Part II. Spring has arrived here, can summer be far behind, when SNOW on the discussion billboard would just get a shake of the head.

And besides, France, Italy, and England (maybe) beckon. Let's shunt SNOW over to the 'Upcoming' siding, and make way for these exciting book excursions to roar through. SNOW will suddenly seem so unseasonal. There's contagion in the air. 'Oh, to be in England, now that April's here.' To leave Kars for Arcadia, that would be a happy break.

It seems to me interest in snow has melted away. Temporarily, I'm sure. It's inevitable. But it always comes back to the old refrain, later, in front of the fireplace:

'Mais ou sont les neiges d'antan?'

Persian
March 25, 2007 - 07:29 am
Pardon my confusion, JONATHAN, but I wonder if you plan to travel to other countries, perhaps another SN DL could sub for you in this very interesting discussion during your absence. Or perhaps I misunderstood. Are you referring to other books which focus on "France, Italy and England?" The title of the book - SNOW - does not make me inclined to set it aside now that Spring has arrived. Perhaps because in the world region in which the book is set there is always snow visible on the mountains. And the warmth of Spring comes much later to the hill people, while the heat, depth and often confusion of their emotions is year round.

gumtree
March 25, 2007 - 07:41 am
Jonathon: Thank you for leading the Snow discussion to this point. I regret I have been unable to contribute as a poster but I have been lurking intermittently since the beginning. The discussion has illuminated the text immeasurably as I am one who has little knowledge of Turkey.

Snow has certainly given us all much to consider. It isn't a quick and easy read but ultimately will be worth the effort.I believe that in time it will prove to be one the most important novels of its decade as it shows Turkey in the process of coming to terms with its history and preparing for its future.

Thanks also to all the posters for sharing their thoughts, knowledge and research. It's been a privilege.

So long for now.

hats
March 25, 2007 - 07:48 am
Persian, the title Snow does not influence me either. Simply because I do not believe Pamuk wanted readers to just focus on the "weather," the snow on the ground. Most of the posters have pointed out that the snow is suggestive of different ideas and events happening in the lives of the characters.

I would hate to wait until 2008 to finish a book. We are so far in to the book now. How can we stop? This is not a seasonal fairy tale. It is about life in a divided country with immediate problems.

hats
March 25, 2007 - 08:14 am
Jonathan, I worry about your health. I hope you are well. Traude knows the story well. I had the idea that you two were sharing responsibilities. At least, both of you have helped my understanding of the book.

Jonathan
March 26, 2007 - 09:19 am
'...there is always snow visible on the mountains....'

'...it isn't a quick and easy read....'

Hearing words like that convinces me that we must continue. And we shall! But with a proviso. One may never be finished with a book like this.

I'm getting psyched up for Kars Revisited!!!

hats
March 26, 2007 - 09:23 am
Jonathan, that is good news.

marni0308
March 26, 2007 - 01:23 pm
That's good news for me, too. I have deliberately not read beyond chapter 28 so as not to get too far ahead. If our discussion pauses, I will finish the book right away and move on.

Why don't we try to finish our discussion this spring.

Traude S
March 26, 2007 - 02:55 pm
JONATHAN, I agree. Thank you.

More later.

gumtree
March 26, 2007 - 07:09 pm
Glad to hear the news - If you continue I'll be lurking around and will try to post...

Jonathan
March 26, 2007 - 07:21 pm
'You're a dervish; Blue says so. He believes God has graced you with lifelong innocence.' p221

'Okay, then,' said Ka hurriedly. 'Is Ipek also aware of this special gift from God?'

What could be more comic than this assignation in Room 217? Two frightened people at cross purposes.

Is Ka the right person to take Blue's message back to Europe with him when he flees Kars, hopefully, with Ipek?

'Ka removed his jacket and lifted up his shirt and his undershirt like a child showing his stomach to a doctor.'

Reassured that Ka is not carrying hidden microphones, Kadife bundles him off in the horse-drawn old rig, adorned with red roses, white daisies and green leaves painted on its wooden sides...is this the first color we've seen in Kars? Cheerful, isn't it?

Inside the covered wagon, laying beside clever Kadife, Ka is supremely happy in a childlike way! All's right with the world. His chances for happiness look very good. He has heard it from Kadife. Ipek finds him 'charming', 'handsome', and 'fun' to be with, but alas, not sure if she can trust him. This lusty paramour.

Traude S
March 26, 2007 - 08:16 pm
JONATHAN, if you like and were in agreement, I could sum up (briefly) what happened to our main characters in the last few chapters and where we are now by Chapter 28.
It might then be better prepared for Chapter 29, which reveals more than we might otherwise be ready for.
But only if you approve.

marni0308
March 26, 2007 - 09:08 pm
Traude: That would be very helpful. I'm up through chpt 28 but have been off and busy and want to pick up where I left off. (I apologize to all.) A brief summary would be wonderful and appreciated.

hats
March 27, 2007 - 01:15 am
Traude, I agree with Marni. Your summaries are very helpful. If you continue, thank you for giving your time to writing the summaries.

Jonathan
March 27, 2007 - 11:11 am
Traude, please do. No one does it better than you do. It would be greatly appreciated.

No one should hesitate, or hold back an appreciation, a criticism, or an enthusiasm for anything read in the book, be it a detail, a plot twist, a character, a political or religious observation, or a summary or outline that are so useful to keep in mind at all times.

Please don't wait for my approval. We can fix a schedule that will have us moving on to a finish in a structured way.

Traude S
March 27, 2007 - 05:51 pm
JONATHAN, HATS, MARNIE, GUM, thank you.

This is what we know and have discovered by Chapter 25.

When Ka and Kadife have that strange "assignation" in Room 217 of the hotel, they forge an uneasy alliance. They have different motives : Ka is ready to do anything that would make his making love to Ipek a reality. The problem is that Ipek is unwilling to do this while her father, Turgut Bey, is in the hotel, which he never leaves any more.

Kadife's plan is to get Ka and herself out of the hotel, unseen and unobserved by anyone, including the police and the MIT, for another meeting with Blue. This is the purpose for using the canvas-covered carriage ordinarily used for the needs of the hotel kitchen.

Those of us who were suspicious of Kadife all along find our misgivings confirmed. Before they even set out, Kadife taunts Ka with the usual ideological polemics; she is prickly and accusatory at the same time and shamelessly uses Ka's somewhat impaired judgment to her advantage. Ka is as meek as a lamb when she strip-searches him for non-existent arms or bugs while pointing a pistol at him.

Chapter 26 describes that meeting. Blue begins by repeating what Ka had told him the day before, namely that he, Ka, had every intention of writing about the suicide girls in the Western press. Ka remembers his "little lie" and is embarrassed. (embarrassed !!)

For his part, Blue exaggerates the number of people killed in the coup and related details. Then he asks Ka about his connections to Western journalists and, in desperation, Ka cites Hans Hansen, the Kaufhof salesman (!), as his source, makes up Hansen's family and an invitation that was similarly invented.
Blue presses for a statement to be released to an influential newspaper in Frankfurt, the Frankfurter Rundschau, through Hans Hansen, and Ka replies that only a joint statement issued by different national reprentatives, including Kurds, would be acceptable. Ka then suggests that Turgut Bey, Kadife's and Ipek's father, be asked to participate as Communist turned-new-democrat. Kadife violently objects.

A melodramatic quarrel ensues between Blue and Kadife. Ka tries to push his idea again. This time Kadife "gets it" and assents. Ka promises to persuade Turgut Bey.
By that time the carriage is no longer there, so Ka walks back to the hotel and Kadife stays behind with Blue.

In Chapter 27, Ka stops at a photocopy shop and runs off copies of Necip's letters to Kadife. Back in the hotel, he boldly goes to the family quarters where Turgut Bey and Ipek sit in front of the TV to watch "Marianna", a Mexican soap opera much beloved in all of Turkey. In between commercials Ka begins his attempts to persuade Turgut Bey to attend a joint meeting at the Asia Hotel later, to which Kadife will accompany him. (She has yet to return.)

Ka promotes his idea forcefully and eloquently. Ipek realizes that he doesn't mean a word he utters. At the same time he remembers "those fine words of youth that had so upset is mother and that had ruined his life" and seems to regret every one of them.

Chapter 28 contains more of Ka's musings about love, waiting and happiness. But CAN there be happiness in his lodgings in Frankfurt to which he refers as "rathole", "miserable room" and "that hole" ?
For the first time we hear about Ka's incessant preoccupation with pornography. ========

This is the state of affairs by Chapter 28. In case I took on too many chapters, please let me know.

Chapter 29 is bound to be jarring, so let's approach it with care. It is also one of those annoying detours Pamuk occasionally takes for reasons known only to himself, while keeping the story in abeyance.

Jonathan
March 27, 2007 - 09:29 pm
Traude, that's wonderful. That moves us right along to Chapter 29. I realize now that I've been taken up too much with the detail along the way. Perhaps I've been mesmerized by all the snowflakes reflected in the poet's glittering eye.

What a hoot in Chapter 27. Ka has finally devised a way to get Turgut Bey out of the house!

Let's see what this detour in Chapter 29 is all about. Again, thank you Traude, for the fresh perspective.

Jonathan
March 28, 2007 - 08:50 am
And what is Ka's dream? He hardly knows himself.

'Ka knew very well that life was a meaningless string of random incidents.' Ch 27, p239

Most of the time Ka has seemed the melancholy type. But after the meeting with Blue, he is 'full of resolve, determined to start life anew.' He arrives back at his hotel, 'with a sangfroid he was shocked to discover in himself.'

Blue has handed him the means to get Ipek's father out of house, if he can convince Turgut Bey to go off to sign the message to the West.

As Traude has mentioned, Ipek and her father are watching the TV show Marianna. All Kars watches this Mexican production about poverty and despair five days a week. Aired by Istanbul, the show is obviously intended to show that there are places in the world that are even worse off than dead-end Kars. Ka walks into the room and takes in the scene:

'All across Kars, housewives just returning from the market were turning in with their husbands; girls in middle school were watching with their retired and aging relatives. With everyone watching, Ka realized, it wasn't just the wretched streets of Kars that were empty, it was every street in the entire country; at that same moment he also understood that his intellectual pretensions, political activities, and cultural snobberies had brought him to an arid existence that cut him off from the feelings this soap opera was now provoking in him - and worst of all it was his own stupid fault. Ka was sure that, after they'd finished making love, Blue and Kadife had curled up in a corner and wrapped their arms around each other to watch Marianna too.' p241

The place on the couch beside Ipek could be his, if only he can get her father out of the house.

I was hurrying along with the reading to catch up, when this revealing and entertaining scene made me pause, to point it out to the rest of you. Imagine being overtaken by sangfroid in Kars!

Jonathan
March 28, 2007 - 10:53 am
I'm convinced that Ka is lucky to be alive. Our forlorn lover will never know how close he came to being blown to bits, blown out of Kars in little pieces. Consider the clues, the many references.

'There was an explosion that sounded very close by; the whole house shook and the windows clattered.' p236

Isn't it likely that the 'empty' propane canisters on the wagon that brought Ka and Kadife to Blue's place have suddenly (too soon, too late?) exploded? All three are badly shaken and frightened.

'Ka peeked timidly through the curtains. "The carriage isn't there", he said.'

If Ka had been blown to smithereens while still in the wagon the world would never have heard his strange story. Everything in Kars raises suspicions. Was this part of a plot? Who would want Ka out of the way?

hats
March 28, 2007 - 01:14 pm
Jonathan, I can not read Snow quickly. I hope our beginning again does not mean we have to hurry along. I am just finishing chapter 25.

I feel that Ka is unaware of the dangers all around him. He doodles faces of Ipek in his notebook while talking to Blue while I would not feel safe until after leaving Blue's headquarters and territory.

Ka seems to have a starry view of the world, an idealistic view. His remembrances of Hans Hansen's home are happy memories of a color like "lemon," an extra piece of cake, the beauty of Hans' wife and children. May be Ka is longing for his childhood again, the middle class lifestyle. It just seems that after the recent revolution, the idea of his being followed and all the miseries in Kars would make his focus different. I have a hard time understanding Ka.

hats
March 28, 2007 - 01:36 pm
I'm sorry. I have been rereading chapters. I am starting chapter 28 for the first time.

"The worst thing was knowing that no one even noticed his fear, his misery, his loneliness....If his mother had seen him in this state...she was the only one in the world who would have felt for him; she would have run her fingers through his hair and consoled him."

hats
March 28, 2007 - 01:40 pm
I think Ka sticks out like a sore thumb in Kars. I believe his enemies many and his friends few.

marni0308
March 28, 2007 - 10:38 pm
Thank you for the refresher, Traude. That was a lot of work for you.

Jonathan: Interesting take on the explosion p. 236. For some reason, I didn't see this as an attempt on Ka's life. If anything, I think it more likely to be an attempt on Blue. But, I really thought it was been just one of the many daily terrorist events going on in Kars now. I'm going to have to go back and read that again.

Well, Chapter 28 really startled me. Ka and Ipek finally have their chance to make love and they take it. We see it through Ka's eyes. He thinks of details from porno films to which he'd become addicted which "created a poetic aura that seemed beyond logic." Ka was "celebrating the fact that he could at last enact such fantasies as had played incessantly in his mind."

This whole scene seemed really bizarre to me. Ka begins to act out a role as if he were in a porn movie. He becomes rather violent, pulling Ipek's hair "to cause her pain" which gives hime pleasure. She seems to like it rough.

Pamuk tells us they both take pleasure in the pain. What is that supposed to tell us?

hats
March 29, 2007 - 05:44 am
Traude, chapter twenty-nine is "jarring." The death of Ka, murdered in such a brutal way, is disturbing. I felt like someone "innocent" had died. Ka's death is like the death of an unknowing child. I just never felt that Ka was totally in tune to all the dangers around him.

Marni, I feel the same way about the love scene between Ipek and Ka. It seems like a struggle between the two, a fight, anything but love. Then, to learn that Ka is involved in mind fantasies during his giving of love to Ipek. It's like their acting out of love for one another is a philosophical enactment of what they have experienced in Kars. It is a really strange act of love. I felt uncomfortable. I think Pamuk wanted us to feel the horrible lack in the lives of Ipek and Ka.

hats
March 29, 2007 - 05:48 am
Jonathan, you have written how I felt about Ka.

"at that same moment he also understood that his intellectual pretensions, political activities, and cultural snobberies had brought him to an arid existence that cut him off from the feelings this soap opera was now provoking in him - and worst of all it was his own stupid fault."(Jonathan)

hats
March 29, 2007 - 06:51 am
All of a sudden Ka is described as this sexually starved man with an obsession for going places to look at pornography. He is murdered near the "World Sex Center." I described Ka as an innocent in an earier post. Will I end the novel, with Ka dead, still not knowing the "real" man?

Does anybody else feel that, so far, the Headscarf girls have become lost in the telling of Ka and Ipek's story? I'm not sure that issue was ever the major part of the story.

Is Mal ill?

Malryn
March 29, 2007 - 08:24 am

No more than usual, HATS. I had to wait over a month for an appintment with the Pain Management MD. Without medication, I had more than the usual pain to contend with, and today couldn't raise my arm to put my hair up. Got my prescription on Tuesday, but on the Shared Ride bus to the medical office in Stroudsburg, I learned that a friend and neighbor had died suddenly on Saturday. That hasn't helped the pain issue.

But I'm here and trying to get back to writing Chapter 11 of my book, A Place on the Porch. It is about this apartment complex where I live, and the characters are loosely based on residents here, including my friend, Harriet, who died. Her death has really shaken me.

Anyway, I have Snow right beside me, and will be in later with a more pertinent post.

Thanks for thinking of me, HATS.

Mal

hats
March 29, 2007 - 08:28 am
Mal, you are certainly going through a lot. Hoping for better days to come soon. I am glad you continue to write.

Jonathan
March 29, 2007 - 09:12 am
I see all your posts. I'll be reading them later tonight.

There is much to think about in this chapter, in this flash forward to a time and place after Ka's death, and far from Kars. Or maybe not far at all.

What a sorry life for a poet caught between worlds, for a Turk caught between East and West. Caught between poetics and pornography.

Innocent and unhappy. In a way like Ipek, the other half of Ka's soul - 'being beautiful, refined, thoughtful and straightforward, why should she be so unhappy?' p222

Frankfurt it turns out, is really just as gloomy a place as Kars.

I'm on my way out of town, to call on my brother. He's eighty-something, and feeling lonely he just told me. He made a move several weeks ago, after selling his house, and it must be the strangeness that makes him feel lonely, despite being surrounded by people he likes. But of course, in his apartment he has left behind his past, and the presence of his wife who died about fifteen years ago.

hats
March 29, 2007 - 09:15 am
Jonathan, I am glad you are going to see your brother. Surely, your visit will give him some cheer.

marni0308
March 29, 2007 - 09:52 am
I'm sure you'll cheer up your brother, Jonathan.

Traude S
March 29, 2007 - 07:06 pm
JONATHAN, of course we must support our loved ones in every way possible as long as we are fortunate to have them with us.

Chapter 29 comes as a jolt to the reader. Pamuk is deliberately (perversely, I think) transporting us to a Frankfurt four years after Ka's visit to Kars and 42 day after his death there. If there is symbolism in those numbers, I leave it to someone else to find out.

Here the narrator comes into his own and is identified, curiously enough, as Orhan, a novelist. (There's a precedent for that in "My Name is Red".) The first sentence makes it clear that there will be no happy ending, though in fact there was ever only faint hope for that to begin with under the grim circumstances and the subsequent events.

Orhan, the novelist (like Orhan Pamuk himself ?), perceives Frankfurt as dreary in February, drearier (!) than the postcards Ka had been sending him from time to time. And so it may have been. Still I take issue with this statement. Postcards usually show sunny, exciting scenes to attract tourists and put the best foot forward for any town or location in the world. A "dreary" postcard would defeat that purpose. I for one have never seen one such in my whole life.

Ka's apartment is referred to as "penthouse", and that term wrongly implies luxury. The translator may be responsible for this.
Many old European apartment buildings have an attic floor, once the abode of household servants for the renters of the apartments below. All of the latter had their own glass door. The attic accomodations did not and were Spartan as a rule. The setup is difficult to explain but has been described very well by Hermann Hesse in "Steppenwolf", which became a cult novel here in the seventies.

Due to the chronic housing shortage after WW II in all of Europe, rents were and still are sky-high. Landlords took advantage and, adding a bathroom here or there on the attic floor, created an apartment and rented it out for a steep price.

And yes, apartment buildings are not accessible to anyone who happens by. A visitor rings the bell for the respective apartment and is buzzed in. But Ka was no longer there. That's why Orhan, the novelist, and his guide had to wait until the landlord came to unlock the front door of the building. The description in the book of the small apartment shows very clearly that there were no luxuries. Therefore "penthouse" conveys the wrong impression.

Important IMHO is the revelation of Ka's obsession with pornography. It explains the violence in his love-making, but it does not excuse it. Of course prostitutes and sex shops are a fixture in all major cities in the world. Some cities actually cater to pederasts. But what is it with Pamuk's extraordinary fascination with and concentration on sex ? Even Orhan, the novelist, smuggles videos of Melinda home on his return !!

HATS, yes, the head scarf issue and suicides are on hold. Annoyingly to me, Pamuk delights in putting things on the back burner. Grrrr But he'll pick it up again when it suits him. Irritating indeed.

We know the book was widely read in Turkey. Did Pamuk deliberately introduce negative impressions of the west to ingratiate himself to whomever ???

There's more to analyze in this chapter, and I'll try again tomorrow.

Jonathan
March 30, 2007 - 08:45 am
Good question, Traude. Well worth the emphasis of three question marks. The picture of 'exile' in Germany is pictured in drab colors. We already saw that in an earlier chapter when Ka and Muhtar, Ipek's husband, were talking about the many mutual acquaintances who had, for one reason or another, fled, or migrated to Germany. Most seemed to be having a hard time. It's difficult to know whether Pamuk is telling it like it is, or if he is trying to ingratiate himself with anyone. His reporting in this fashion would certainly serve as grist for the Muslim mill grinding out a dim view of the infidel or satanic West.

Whom did he offend? Enough to get himself killed. I can't think of anyone, except perhaps the jealous husband, Muhtar. Blue? Impossible. He needed Ka, to give him more notoriety. Blue thrived on that. Didn't Kadife taunt Blue with the suggestion that the message to the West was just another way of getting himself into the news?

The situation in Turkey being what it is, assassination is an occupational hazard for journalists, as we have recently seen, when we began this discussion. The country is torn in all directions. Anyone who reports the news can't possibly get it right for everyone. May, indeed, be hurting someone's cause. But Ka would not seem to have strong feelings for anything but his poetry and, what is turning out to be a wretched love life.

Could the use of 'penthouse' be poetic license extended to the poet who makes a castle out of his garret? Or simply irony? Earlier we read of other exiled Turks living in abandoned underground stations in Berlin. Their seraglios? Their shangri-las?

Malryn
March 30, 2007 - 08:56 am

I haven't thought of a penthouse as a particularly luxurious place to live. To me it meant a structure usually built on the top floor or roof of a brick building. That brought thoughts of garrets and cold winds blowing in through the cracks in winter and ice forming inside. Ultimately, to me it meant a place where someone is more or less isolated, if not insulated, from the rest of the world.

The character of Ka took more form in Chapter 29 than it had before. The introspectve poet fancies porn flicks? Imagine that. What an insult to Ipek! But then, what an insult to Ka, with Ipek fantasizing about her great infatuation, Blue,

Cut from the same cloth, those two adult adolescents are. Untrue to themselves and untree to each other.

Mal

Malryn
March 30, 2007 - 09:06 am

Talk about symbols! What about the snowflake diagram and categorization of Ka's poems, with "I, Ka" at the epicenter?
Beats me. It would take a mind "screwed up" in the same way Ka's was to understand his placement of the poems, I think.

Mal

Traude S
March 30, 2007 - 07:14 pm
We are still going ahead slowly, deliberately, and for good reason. Nota bene : those who have NOT read beyond Chapter 29 do not know that Blue is the love of Ipek's life.

The choice of the term "penthouse" may have to be "credited" to the translator. There's another (questionable) phrase in Chapter 29 in one of those tapeworm sentences at the bottom of pg. 253
"... , and on to the headlights flashing across the stifling windows of the Hotel Eden."
"stifling windows" is not an apt metaphor, IMHO.

Tarkut Ölçün, the elderly man who is the guide of Orhan the novelist, arrived in Frankfurt with the first wave of Turkish "guest workers" (as they were then called) and proudly says he put his two children through school. He also confides that "The only thing Turkish families teach their daughters here is how to be hairdressers. There are hundreds of Turkish hairdressers in Frankfurt."

Again I wonder whom, what readership Pamuk is chiefly addressing in this book. I imagine first and foremost the people in Turkey who understand the trials and tribulations, the poverty and privations better than any Westerner can. "Snow" was widely read there. However, the "wicked grin" that Harper's seems to have detected in "Snow" (see blurb on paperback) seems more like cynicism to me.

The Kurds in the vegetable shop (again the same distinction between Turks and Kurds, in Frankfurt, too!) are "displeased" to see Tarkut and Orhan, and maintain their sullen silence. After the murder, police looked into the possibility of sexual jalousy as a motive, and a political vendetta, "frequent in the Turkish community", we read. Then they turned to Ka's connection with women.
But without witnesses, true or false, with nothing concrete to go on, the case was closed.

The German dtective they speak to is dismissed by Orhan the novelist as "garrulous", twice. Why ? After all, they had come for informaton!

Pamuk focuses on grime (the dirty cloth used to wipe the surface of the formica table in the kebab restaurant; the shops in the underground arcade, "as dark and dirty as the ones you'd find in any underground arcade in Istanbul."

Poverty is also tirelessly discussed, poverty in Kars and in Frankfurt, and in relation to Ka as well, the threadbare waistcoat, the 16-year old pajamas, the Bally shoes which fell apart and were worn as slippers in the apartment.

The men visit the library where Ka "wasted away" years of his life. Orhan the novelist is moved to tears. Could or should Ka have done something else instead ? If Orhan the novelist thinks so, he doesn't say.

The book spells out that Ka was granted asylum benefits and supplemented this fixed income by giving poetry readings in cities other than Frankfurt. On the night of his murder he was returning from Hamburg. His murderer may even have followed him all the way back to Frankfurt. But we don't know that. We can't even speculate.

We read what other jobs Ka had in Frankfurt. And there is this cryptic sentence :
" ...once he was officially declared a political exile and granted asylum benefits, he cut his links with the Turkish Copmmunists who ran the neighborhood centers, and who had, until then, made sure he was gainfully employed."
What were those neighborhood centers ? What did the Turkish Communists have to do with Ka ? Did Ka have an obligation to them ? Why ? We don't know that either.,

Ka's suffering, sorrow and loneliness are mentioned yet again. But then, wasn't Ka always a loner, interested in poetry above all else ? True, he was longing for happiness. Happiness with a woman, specifically with Ipek, the reader must assume.

Now what about the constant guilt ? Orhan the novelist says
" ... it seemed to me that Ka had just one thing in common with these hordes of miserable men, lonely as ghosts. It was the habit of answering his guilt by retreating into the shadows when he would watch these films." (pg 260)
Are we to deduce that at least one reason for his guilt was watching the porno films ? Or rather, did he try to forget his guilt by immersing himself in porno films ?

I believe the reproduction on pg. 261 of the snow flake with Ka in the center shows his monumental self-absorption.

The story moves back on track in Chapter 30, which is short, and continues in Chapter 31, which is rather long and "involved".

Sonya
March 30, 2007 - 10:56 pm
Reading the messages of Mel and Jonathan inter-twined with the discussion of Snow has again brought forward with forceful impact that pain, loneliness, and suffering are everywhere.

hats
March 31, 2007 - 11:31 am
I do not think Ka is the only self absorbed character in the book. All of the characters seem intimately involved with their lives and not the lives of other people accept for Hans Hansen. He and his family seem the most normal. Of course, the Hansens live in Germany and not Kars. In a society so involved with the struggle for a correct and true identity whether secular or sacred is it possible to be anything but absorbed with oneself? I suppose this is why Ka loved the coat. In the coat he could feel all of the comfort he had felt in the home of the Hansens. There, in their home, he can eat an extra piece of cake and no one looks twice. In the Hansens home there is a sense of freedom, safety, trust and love. Did Ka have on his coat when he was murdered? I do not know why Orhan Pamuk decided to make himself the narrator. He must have pondered for awhile about who should take the role of narrator.

Jonathan
March 31, 2007 - 11:41 am
Incredible nuances in this book aren't they? Or unfamiliar cultural subtleties? Or the confusions of innocence? Or a translator's nightmare?

Good to hear from you, Sonya. Please help us with the perplexities that Pamuk serves up to his readers in SNOW.

Mal, what a fine choice of words in everything you say. Epicenter! Doesn't that denote the center of a great disturbance? Only Ka could find it at the center of a snowflake, but it takes another poet to define it for him!

Nevertheless, I wonder that you can speak about a penthouse so casually. It still remains a dream for most of us. But I do like your impression,

'That brought thoughts of garrets and cold winds blowing in through the cracks in winter and ice forming inside.'

I do see the artist, the poet, the novelist, pinched, cold and hungry, inspired to masterpieces by his circumstances. But shouldn't he be allowed to warm his cold bones with the help of some porn flicks, without being held disloyal to an uncertain love?

Traude, what fascintating thoughts on the bewildering detail of Chapter 29. There is so much that makes one stop and ponder. Something as insignificant as the old Bally shoes now being used as slippers. The reader is reminded of the Bally valise, with which Ka arrived in Kars. Good quality, indicating an affluence left behind years ago? If Ka did enjoy prosperity in his youth, that would add one more complexity to the problem of his connection with Turkish Communists, would it not? Weren't we told early on that he and Muhtar were involved in leftist causes in their student days? Perhaps Ka is still networking with former associates. Now that he no longer needs them he breaks with them.

You see a 'monumental self-absorption' at the center of Ka's diagramatic snowflake, which seems very apt. Haven't poets always felt themselves to be the greatest source of wonder?

What can we make of his axial demonstration of poetical categories. Do memory, reason, and imagination cover all the bases of poetic creation. Or is Ka only satisfying his intelellectual curiousity?

But isn't this chapter 29 all about the author? And the art of the biographer?

hats
March 31, 2007 - 11:45 am

Jonathan
March 31, 2007 - 11:47 am
What a great little post, Hats. What a lot of thought in it.

But I thought the whole Hans Hansen thing was imagination on Ka's part, dreaming of the life he would like to see for himself and the wife he wants to bring back to Germany. There's no truth to it.

hats
March 31, 2007 - 12:02 pm
Jonathan, thank you for the correction. If it's not too much trouble, would you point to the chapter I missed? I have only read to the end of chapter thirty. I don't know what you mean by the whole Hans Hansen thing. Please explain how much is truth vs. untruth.

Anyway, I did find where Ka was wearing the coat at his death.

"The other two bullets had shattered major blood vessels around his heart and his liver, piercing both the front and the back of his charcoal-colored coat, which was drenched in blood."

Jonathan
April 1, 2007 - 10:12 am
Isn't SNOW a good place to look for distinctions between truth and untruth? It doesn't help to hear that all Turks are liars. Well, I read it somewhere. But we all say bad things about each other, don't we? Not at the personal level so much as at the tribal level.

Hats, I disagreed with you about the Hans Hansen thing because it is a good example of the many hidden things in the book that the narrator is always hinting at. Things are not what they seem, he seems to say.

Hans Hansen, if that's his real name, means a lot to Ka. He sold the overcoat to Ka, which soon led to a relationship between the two men, even if only in Ka's mind. Just to look at the coat, just to smell it, reminds Ka of Hans Hansen.

Now you have found the coat riddled with bullets, and Ka lying dead on the Frankfurter street. Who killed Ka? Was it a jealous Hans Hansen?

Years before, to adopt the author's style, we overheard the discussion between Ka and Blue, who had a message for the West. Naturally Blue assumes that Ka has connections in the newspaper world.

'Which Western newspaper did you have in mind?' Blue now asked. 'At which of the German papers do you have contacts?' Ch 26, p227

Ka has none, so he starts inventing. I believe everything that follows on the next page or two is mostly invention, soft memories, and wishful thinking. I'm not sure there is a Frankfurter Rundschau. I believe it could be translated as the Frankfurter Observer. The Hans Hansen family life sounds like what Ka is looking for.

hats
April 1, 2007 - 10:56 am
Jonathan, I definitely see what you are saying. I reread the chapter. It does read like Ka's imagination is at work. I love the way you have written it.

"Ka has none, so he starts inventing. I believe everything that follows on the next page or two is mostly invention, soft memories, and wishful thinking."(Jonathan)

Jonathan
April 1, 2007 - 02:20 pm
That's what Chapter 29 seems to me, stuck there between two chapters dealing with Ka's lovemaking with Ipek, with all its agony and ecstasy. It's clear that the narrator, Ka's friend, had much going through his mind as he sifted the evidence of Ka's most creative period. He tells us,

'According to the notes Ka made about his lovemaking - notes I feel I must share with my readers...' p249

What extraordinary notes they are. Was ever the act of love so frankly revealed, in all its turmoil and confusion? Their sincerity and naivite lend them a charm that takes ones breath away. Their clinical nature at times reveal the most innermost feelings and thoughts of the self-observing poet:

'So even as he succumbed to the pleasures of the flesh, his conscious mind was reminding him what a beautiful moment this was. Just as with his first sexual experience, it was not the act as much as the thought of making love that occupied him. For a while, it protected Ka from overexcitement.' p248

Such revealing honesty. Such rich detail. No doubt each of us finds something to wonder about. I'm struck by his memories of his mother in all this. When the crisis comes he longs for her to run her fingers through his hair, and her consolation:

'He wanted to fall asleep on this bed and not wake up until it was a sunny morning and he a child again, with his mother.' p248

It's wonderful to see Ka come back to life in Chapter 30. The shock of hearing about Ka's death in Frankfurt is made up for by his post-coital reflections in Chapter 30.

Later, his notes reveal, Ka remembered 'the happiest memory', 'the unequalled bliss', 'being at peace with the world', 'the meaning of life stripped bare.'

But hold on there. Chapter 30 ends with a 'devastating silence' and feelings of jealousy when Ka asks Ipek:

'When can we meet again?'

What an emotional nature! Coming to Kars has made all the difference.

We must hurry along before we drop off the board.

Jonathan
April 1, 2007 - 02:25 pm
PBS has something tonight about art theft at the Gardiner Museum in Boston. I seem to remember that happening a few years ago. Isn't that the most amazing collection of art work, In such a magnificent setting.

Traude S
April 5, 2007 - 07:45 pm
At the end of Chapter 28 our lovers are finally together, alone. Still, the reader who has persevered this far has the uncertain feeling that all may not be well.
What has Ka wrought ?

He made up a non-existent connection with a journalist in Frankfurt to get Blue's attention in an effort to somehow produce a joint statement to the Western press about the suicide girls. The scheme is mind-boggling. Amazingly, both Blue and Kadife fall for it hook, line and sinker. Turgut Bey's participation at a proposed meeting is a key factor here, and the reader realizes that the life of this valiant man may well be in danger. What to think of Ka who arranges this massive deception solely in order to have Turgut leave the hotel so that Ka and Ipek can be alone to make love ?

There are no answers. Instead we have the icy shower of Chapter 29, which fast-forwards the reader to Frankfurt 4 years and 42 days in the future. It is not clear to me why Pamuk decided to reveal Ka's death at this particular point. Yet there it is.

Chapter 30 transports us back to the hotel room with Ka and Ipek. Though Ka now has every reason to be supremely happy, panic overcomes him again and he stands by the window, watches the falling snow and feels "uncomfortably vulnerable". This endless suffering reminded me of Goethe's The Sorrows of Young Werther = Die Leiden des jungen Werther, except that Goethe wrote it when he was twenty-five. The young everywhere will always understand the emotions.

But Ipek and Ka are mature adults ! How is it possible that an adult like Ka is eternally tormented by these yearnings for happiness and still riddled with self-doubt ? Does Ka find himself stranded betweent the West and Turkey, unable to decide for one or the other ? Why does he choose to stay in limbo ?

Chapter 31 describes the meeting in the Hotel Asia with the representatives of the various factions and persuasions. One young Kurdish idealist expresses the courage of his convictions. The reader feels like cheering him on. There are "old hands" present and informants as well. Open conflict is avoided thanks to Turgut Bey and Blue's uncharacteristic moderation. The language of the statement is whittled down progressively, and the definitive formulation of the is extremely limited.

In chapter 31 the reader begins to see the situation of Turkey, the difficulty of the authorities in enforcing what is, after all, the law of the republic, amid growing aggressiveness of the Islamists.

One important development is the presence at the meeting of Fazil, whom Kadife does not even notice. Again, I'd like to bring up the question of age, Ipek's and Kadife's, and Fazil's especially.

Jonathan
April 6, 2007 - 02:54 pm
Traude, that's a very good question. Just what is Ka's role in this political novel? Is he supposed to be a neutral observer and reporter of the tangled web of politics and religion in Kars specifically and also Turkey in general? Does he seem to be a stranger, or does he feel himself to be a stranger, after twelve years of exile in Germany?

How interesting that you see a parallel in Goethe's The Sorrows of Young Werther. That seems valid in a way. It's been so long since I read Goethe's classic. It's around here somewhere. It's time I reread it.

You write some provocative things in your post, 597. I'll be back with some replys.

Jonathan
April 7, 2007 - 09:08 am
Traude, as if your fine post, 597, weren't enough to remind me to keep the discussion going, I am also seeing omens that suggest restless spirits are lurking in the wings, determined to drive on the fates which we see at work in Pamuk's book.

Instead of blossoms we are getting endless snow flurries here - very unusual for this time of year. And it remains bitterly cold. Unusual enough to seem strange.

Even stranger, last night, quite by chance, I found myself looking at a portrait of Constance Weber, the wife of Mozart. Very charming. Mozart, the caption under the portrait says, wrote his father telling him she had everything...except money. And then, out of the blue, is added the fact that the portrait was painted by Hans Hansen in 1802!

Can this be the Hans Hansen that keeps cropping up in our story? First as a sales clerk, then as a journalist, or is it publisher? One more detail that must be accounted for? One more piece that must be jigsawed into Pamuk's panoramic mural?

Traude, I like your 'icy shower' view of Ch 29.

'It is not clear to me why Pamuk decided to reveal Ka's death at this particular point. Yet there it is.'

I find it used very effectively. It certainly heightens the drama for me. I feel that Ka's death at the end of the book might have taken something away from the author's artistic vision. Or, perhaps, it just slipped out. After all the narrator told the reader at the beginning, that he already knows it all, knows how it ends. But why in the middle of a love-making scene? Was it a momentary distraction? Such as Ka is constantly experiencing? He finds the happiness he longs for in Ipek's arms, but immediately a philosophical thought intrudes, and Ka is fearful of being too happy.

No carpe diem sentiments in Ka's make-up, obviously.

Traude S
April 9, 2007 - 06:10 pm
JONATHAN, only Pamuk could tell us about Ka's political role in this novel, and it is not likely that he would give a direct answer.
In the endless, repetitive litany of his suffering and unmistakable devotion to the ego Ka is definitely reminiscent of the romantics.

It is always HIS own welfare that is foremost in Ka's mind. He has no concern for Turgut Bey whom he gets out of the hotel at last on a pretext. Surely we are not expected to believe that this Hans Hansen really exists ?! Poor Turgut prolongs his ride to the hotel as long as possible and, once in the hotel, dallies before going up to the meeting room. All these intricate, garrulous, strenuously persuasive efforts on Ka's part just for an afternoon of love-making ? Neither he nor Ipek believe in anything he so fervently proclaims.

No, we can't give up now because me may get to the issue of the head scarves and the suicide girls after all. Kadife is apparently the only woman among the men in the room. Eventually some coarse talk among the men ensues (mercifully not detailed), Kadife takes exception and says,
".. I cover my head with this scarf so you won't see my hair ..." and someone whispers back, "You don't do it for us! You do it for God to proclaim your spirituality."
And Fazil is led to exclaim, " If you bare your head, I'll kill myself. Please, don't! ..."

Speaking for myself, I believe it is difficult to understand why a woman NOT showing her hair would seem purer to a man, and make her less physically desirable. On the other hand, Kadife and Blue have an ongoing sexual relationship; one wonders idly whether she keeps the scarf on when they make love. Isn't there an incongruity in this ? Or are women less strictly supervised in Turkey than in other Muslim countries ?

The same affinity exists between Ka and Fazil that Ka had with Necip. There is more in this chapter about personal insignificance and poverty. The title of Chapter 32 "I Have Two Souls Inside my Body" is straight out of Goethe's Faust and the question therein of human existence, only the "alas" (ach!) is missing; = "Zwei Seelen wohnen, ach!, in meiner Brust", and another poem is born.

What carries the story along is the news of Blue's disappearance (he left the meeting angry, we learn). Both Kadife and Ipek are visibly distraught when Ka catches up with them in the tea house.

In Chapter 33, Ka is showing fear of being shot. When will the "dusky melancholy" lift ? Or will it, ever ?

Pamuk is not making it easy for the reader. Again I wonder whether the reviewers in the Western world who said all those extravagantly wonderful things about this novel really read (and understood) all of it. I don't mean to sound cynical but ...

I also still wonder about the age of Kadife and Fazil. Fazil is a student, a teenager ! Just how many years older than he IS Kadife ? Are the characters used in this book perhaps emblematic, i.e. symbols on which to "hang" all the theories and views about an ethnic and religious conflict that seems unsolvable on the face of it ?

Even if there were nothing to this theory, this book is not a success for this reader. I have difficulty seeing the characters as fully fleshed-out REAL people to care about. Also, the bewildering number of characters, some mentioned but once, clouds the author's intent, whatever it is.
We haven't heard the last of Muhtar, either.

Traude S
April 11, 2007 - 07:21 pm
On leaving the teahouse, Ka happens on Muhtar. Even though both hesisate for a econd, they greet each other with a warm embrace. Can this be only the third day sice Ka's arrival in Kars, or is it the fourth ? It seems much, much longer to the reader.

Nuhtar is not embarrassed by the indignities he suffered at the hands of police. He asks whether Ka told Ipek that Muhtar would like to remarry her, and also asks to hand their mutual friend Fahir in Istanbul Muhtar's poems.

Then Muhtar "rearranges his face" (wonderful expressio) to that of a sad uncle and produces the next day's edition of the Border City Gazette which carries an ominous warning for "A Godless Man in Kars" and is a mocking, dismissive, hostile and positively venomous diatribe (writte with skill, however!).

Ka goes to the newspaper office, finds only the editor's two innocent sons in. They offer him tea. He declines, buys a paper and leaves. On his way to the hotel he stops by the old tailor shop in the mansion, which is Sunay Zaim's base of operations.

The soldiers on guard there turn Ka away rudely, as if he were "a lowly peasant who'd come in from an outlying village to petition the chief of staff." (!) "He tries to quell his growing panic by thinking of a happy life with Ipek in Frankfurt."

Back int he hotel Ka joins the family at the dinner table. Ipek waves and points to the place by her side. He whispers that he has no news about Blue. Seated at the table, right next to Kadife, is Serdar Bey, the editor and owner of the Border City Gazette. Ka realizes (but how) that Ipek had already communicated the non-news about Blue to Kadife, and he is infuriated.

The question is how and when Ipek found out. After all, it was Ipek who had sent Ka out to inquire about Blue. And why is Ka infuriated ?

The conversation at the table now turns to local politics and atheists. Turgut Bey complains that the meeting at the Hotel Asia only stirred up more conflict, although he is not sorry to have taken part in this historic occasion.

Turgut warns Kadife to be careful before meddling in national politics and mysteriously urges her to also think of
"that painted sging singer you saw turning the wheel of Fortune. Everyone in Ankara has known for thirty-five years that she was the mistress of Fatin Rustu Zorlu, the old foreign secretary, the one they executed."
I cannot remember the antecedent to this reference but would like to go on rather than search for the meaning and significance of the referece.

Then Ka takes out the copy of the next morning's newspaper with the article about (really against) him. Serdar claims he does not (!!!) believe that anything written in it is true (and this, amazingly, from the writer who dunit!!). The diners consider the options. Serdar is amiable but manages nonetheless to convey quite nicely his obvious disdain for Ka. If he were to rewrite the article, he says, he'd like Kadife's help doing it.

"Absolutely not" , says her father. Serdar ultimately promises not to circulate the edition.

"Are you going to print a new edition?", asks Ipek.
"As son as I leave this table, before I go home.", answers Serdar. "We'd like to thank you then," says Ipek.
"A long strange silence followed."

Can the reader believe in the sincerity of Serdar's reply ? Who can say ?
After the third (!) glass of raki Ka feels content in the midst of his "family", and peaceful sitting next to Ipek. It took the edge off the ensuing table conversation about rumors Zadihe has heard from the children about detainees who had been taken to the football stadium and "kept outside all day in the hope that they would fall ill or perhaps even die; it was said a few of them had been taken into the locker room and pumped full of bullets as an example to the ohers." (Consider the formulation of those words!)

There is another page describing graphically what happened, or is said to have happened, to other "nay-sayers" shall we say.

We have heard about violence of all kinds, both in the time of the novel and in the history of the country. The present situation in Kars seems hopeless. Pamuk is meticulous and relentless in enumerating acts of violence. The reader's hope for some kind of solution - any kind of solution - is waning.

True, there are lighter moments in the story, but quite literally only moments. I wish someone could point me to the "playfulness" referred to on the back cover of the novel.

Jonathan
April 12, 2007 - 08:25 pm
Wonderful posts, Traude.

Where's the playfulness? Given the tragedy of the themes in SNOW, it would seem to be a valid question. I'm hard put to point out examples, but I have had to smile over many things along the way. Especially, perhaps, at the way the narrator plays with Ka's emotions. I had to smile at your expression:

'All these intricate, garrulous, strenuously persuasive efforts on Ka's part just for an afternoon of love-making ?'

The reward was great, and made it all worthwhile. The stormy seas that men will cross for love! Was it playfulness on the narrator's part to make such fun of Ka's endless self-examining dreams, as in the last paragraph of Ch 32?

'Much later, when Serdar Bey rose to leave and Turgot Bey and his daughters stood up to go bid him farewell before going to their rooms, it crossed Ka's mind to ask Ipek to his room. But he was afraid of the shadow that might fall over his happiness if she refused, so he left the room without even hinting at what he wanted.'

Perhaps it's playfulness in these strange twists and turns in the narrative style. The dense compression of events, with digressions into the past and the future. The surmises and imaginings of the narrator to alleviate his own melancholy over the fate of his friend Ka. Is it playful to talk of 'bewitched snowlflakes' falling around Ka.

A much better case can be made for the 'beguiling' nature of the book. You make that evident with the many questions and suggestions in your posts. I'm intrigued by your second reference to Goethe, in considering the meaning of the chapter heading, 'I have two souls inside my body'.

I'm not sure of what Goethe did with that, but Fazil's plight is an amazing spiritual and moral problem, nothing less than accounting for his being in love with with Kadife. Listen to what he says:

'I was in love with Teslime, may she rest in peace. My friend Necip, may he also rest in peace, was the one who was in love with Kadife.'

And then the terrible realization:

'I knew Necip was dead, because his soul had been in my body since early morning....As I lay in the guest bed, my head suddenly started spinning and a deep rich feeling came over me. My friend was at my side again; he was inside me. It's just as they say in the old books: The soul leaves the body six hours after death....Necip's soul decided to enter my body. I'm sure of this. I'm also very much afraid, because this is never mentioned in the Koran. But there's no other way I can explain how I fell in love with Kadife so quickly. So the idea of committing suicide over her wasn't mine either. Do you think it could it could be true that Necip's soul has taken refuge in my body?' p285

The thought of suicide frightens everyone as we have seen all along. Even the terrorist Blue seems terrified in turn at the thought of it. It's close relationship with atheism in their minds drives them to desperation. Am I an unknowing atheist to think the thoughts I do? they seem to ask themselves. It's a curious peek into the Muslim mind.

And the minds of all the characters seem mysterious. How did the article 'A Godless Man in Kars' ever get into the Border City Gazette? Who wants to see Ka dead? Who wants him out of Kars? I would have to say it was Muhtar. It was his doing. He must know about Ipek and Ka. He was among the first to get his copy hot off the press, to read what he had Serdar Bey print.

Many other good points in your posts that have me thinking. Yes, I'm beguiled.

Traude S
April 16, 2007 - 10:04 pm
JONATHAN, your posts are wonderful and so are the quotes. I'm sorry not to have posted sooner. Last week was busy and difficult.

Turkey was in the news again, and it is worrisome indeed. 300,000 protesters converged on Ankara on the weekend from all parts of the country to protest the possible run for the presidency by the pro-Islamic Prime Minister Erdogan. His party is the Justice and Development party (interesting name).

Erdogan has strong religious convictions, he is against restrictions on wearing head scarves in government offces and schools, and for bolstering religious institutions. The pro-secular president, Ahmet Necdet Sezer, has been a brake on the pro-Islamic movement but he is stepping down on May 6.

If Erdogan runs, and if he is eleced president, another pro-Islamic official could then become premier, which would bring the executive branch entirely under the control of the Islamic ruling party. As we know, Turkey aspires to become the first Muslim member of the European Unon and considers itself a bridge between the Western and Islamic worlds. Let's stay tuned.
We realize that Pamuk's "Snow" is prophetic. Two new books about Turkey have been published recently, one of them about the Armenian genocide.

I'd like to return for a moment to Chapter 32, "I Have Two Souls Inside My Body". Of course the reference is to Fazil who feels that Necip's soul has retured to his, Fazil's, body.
I thought of Goethe solely because of the title. It is another opportunity for Pamuk to demonstrate the breadth of his literary knowledge. Another reference is in Chapter 34 when Sunay tells Ka that he wants to bring to the stage an adaptation of "The Spanish Tragedy" by Thomas Kyd. He adds "They say Shakespeare stole Hamlet from him." This is an astonishing statement.

I'll continue to track the developing plot and would be grateful if you could please continue highlighting the passages that shine like gems. Some have the poignancy of aphorisms, and I'll try to point to some next time.

In Chapter 34 Ka is summoned to Sunay's base of operations and told that "they" (presumably Sunay's men) have captured Blue. Now we find out who ordered Serdar NOT to rewrite the article in the newspaper. Sunay is figuratively pointing a gun at Ka. He unveils his latest plan, to stage "The Spanish Tragedy" as reflecting domestic conditions and featuring a girl with, and then taking off, her head scarf. Funda will star, and so will Kadife (!).

Ka doubts she will agree but Sunay waves aside Ka's doubts and objections. Ultimately Ka agrees to be the go-between once again, and it seems he really has no other choice. Sunay promises him the protection of two armed guards.

"Ka had hoped at least one of them wold be an officer or a plainclothes detective with some modicum of sartorial sense (!)." To Ka these burly men look "more like jailors than protectors."

More on chapter 34 tomorrow (or rather today, it's close to 1 a.m.). Thank you.

Jonathan
April 17, 2007 - 11:27 am
By golly! I think you're right, Traude. It must be Sunay's evil hand behind that threatening newspaper article, meant to terrorize Ka into support for his, Sunay's, plans for Turkey.

Your comments on news items regarding Turkey are most interesting. I find myself looking at everything that crosses my path in that regard. The strong protest in Ankara, 300,000 strong, against

'the possible run for the presidency by the pro-Islamic Prime Minister Erdogan'

is somewhat like the situation in Kars, with the pro-Islamic Muhtar running for mayor, but being thwarted by Sunay's 'revolution'. Will something similiar happen now, if the secularist generals who have all along been running things, see Erdogan as someone who would turn the country into another Iran? As Sunay predicted to Ka, when he tried so hard to bring Ka onside.

I can appreciate your view that SNOW is prophetic, as well as good commentary on the state of affairs in Turkey. That's what makes the book so fascinating. Just remembered. In my newspaper, a day or two ago, there was something about Turkish military leaders demanding an OK to go into Iraq. Presumably to go after Kurdish 'troublemakers'. And Armenians too are 'suspect' citizens, when it comes to Turkish politics.

You mention two new books about Turkey. I believe I saw the one on the Armenian genocide that you mention. I wondered if I should buy it. It was written, I noticed, by a Turk exiled in Germany. What was the other book you saw? Pedlen had an interesting link in RATW the other day, about books published and censored in Turkey that looked worth pursuing.

Wouldn't you think that an Islamic Turkey would be unlikely to pursue membership in EU?

The plot becomes incredibly interesting in the next chapters. I'm just catching my breath, before continuing with active discussion. Another problem with head scarves reported in the news here yesterday, involving Muslim girls and their participation in sporting events. And Fazil threatens to kill himself if Kadife takes off her headscarf! What a strange thing.

Most certainly, let's stay tuned.

MarjV
April 17, 2007 - 05:29 pm
Article from the WashingtonPost re Musline girls and headscarves, April 15, 2007

Girls Won't Remove Hijab at Sports Event

Traude S
April 17, 2007 - 09:52 pm
Hello MarjV , WELCOME, and thank you very much for the link. I will read it again and more carefully tomorrow - it's almost 1 a.m.

Thank you for reading here and for your contribution.
Good night.

hats
April 18, 2007 - 01:30 am
I am sorry not to have contributed in the discussion. Truthfully, I had a hard time with "Snow." I could not keep up with all the schisms and groups. I really became bogged down. I am sorry. If you give me another chance in the "Read around the World" discussions, I will try to do better.

Thank you for your very, very hard work as discussion leaders. Thank you also for understanding my situation.

Traude S
April 18, 2007 - 06:28 pm
Dear HATS, thank you for your post. As you said, this is a demanding book. But we are at chapter 34 now, just 10 more to go (!). I feel I cannot let go of it until I see ow this story ends.
More than a decade after Pamuk published the book, the old conflict is still there, only much worse now.

JONATHAN, the book about the Armenian massacre of 1915 is Skylark Farm by Italian writer Antonia Arslan. It is her first novel based on the story of her Armenian grandfather.

More tomorrow.

Jonathan
April 19, 2007 - 05:43 am
Despite the lovely, warm, spring weather that has finally arrived here, SNOW is still in evidence among us readers. Thanks to each of you for posting.

Thanks Marj, for the link to the hijab and sports dilemma. It's in the news here frequently. Reading about the headscarf issue in SNOW has made it more meaningful and relevant for me.

PBS has been showing America at the Crossroads all week. One hour-long segment last night dealt with the Muslim community in the U.S.A., and of course with the wearing of head covering, as part of the faith. It was talked about as a symbol of modesty. With SNOW, we've come to see how it can be turned into a revolutionary symbol.

Hats, of course we understand your situation. I think all of us, at one time or another, feel the way you do. But, don't wait for another chance to take part in a discussion. Just take it. Personally, I've often returned to a book after having put it down for a while for whatever reason. I'm doing it myself with SNOW, obviously, which is a great dereliction of discussion leadership responsibilities. But thanks to,

Traude, thanks for blowing on the embers to keep the fire burning. You are an inspiration. We will finish the book. I'm ready to throw myself back into it. Actually I'm sorry that we have only ten more chapters to go.

Thanks for the reference to Antonia Arslan's Skylark Farm. We're going to hear much more of that tragic event it seems. If so, Orhan Pamuk will no doubt get some credit.

Working on Chapter 40.

hats
April 19, 2007 - 07:33 am
Jonathan and Traude, thank you for all the encouragement. I take every word seriously. I continue to read the posts. One day I might very well go back to Kars. MarjV, thank you for your link.

Malryn
April 21, 2007 - 02:13 pm

I've found "playful" things in this book. In Chapter 31 Turgut Bey wanted to get into that meeting, sign the petition and out of there as fast as he could. Instead, there was a long wrangle about the title of the statement. I thought, Just like everybody everywhere. There are other such incidents, and they're all based on "What fools these mortals be," a fact of which Pamuk is very well aware.

I am addicted to Netflix; can't wait for the movies to come to my on-the-wall-in-the-hall mailbox. Last night I watched "Children of Heaven" an Iranian film by Majid Majidi with subtitles. A little boy takes his sister's shoes to be repaired and loses them. That left the two children with only one pair of sneakers between them to wear to school. In watching the ins and outs of this calamity one sees a lot of an Iranian city and its people, rich and poor, including head scarves, worn early there by little girls.

It's described as a "heavenly" movie. And it is. Get it and watch!

Mal

hats
April 22, 2007 - 12:41 am
Mal, that's two of us. I enjoy the Netflix films too. Any recommendations you have are welcome. I will put the title "Children of Heaven" on my queue. Thanks.

Traude S
April 28, 2007 - 06:46 pm
Turkey was in the news again last week :

First because three people were slain in Matalya for having worked in a publishing house for Christian Bibles and literature. Five young men were detained. None showed remorse.

Then Prime Minister Erdogan who, many thought, might run in the election, suggested the candidacy of his foreign Minister Abdullah Gul, said to be practically his alter ego.

Tonight we know that Gul failed to get the required number of votes 357 instead of 367). A runoff is to be held next Wednesday. The ballot was a long one. Women voted and spoke out at the polls.

The current struggle between secularist and Islamists is the very same that Ka fights in 'Snow', and that's why I am returning to it.

Ka is engaged in a seemingly hopeless effort of mediation, going back and forth between Kadife and the imprisoned Blue. Sunay wants Kadife to appear on stage that night in a play that features a woman who defiantly takes off heir head scarf.

Kadife is not ready to do this, even IF (if!) Blue agrees (but he does not). Neither trusts the promise of Sunay and his cohorts, i.e. that, once Kadife has done the deed on stage, Blue will be released. Even the reader has scant hope any promise will be kept in Kars.

More tomorrrow

Traude S
April 30, 2007 - 03:19 pm
According to the Swiss daily NZZ (Neue Zürcher Zeitung), several hundred thousand people converged on Caglayan Place in Istanbul on Sunday for a second time in a mass protest against Prime Minister Erdogan and his foreign minister, Muhammad Gül, Erdogan's own hand-chosen candidate for President, who failed to win sufficient votes earlier this week.

The protesters were Republicans who defend the separation of religion and the state; Nationalists who say that the government is engaged in a whole-sale sell-out of the Fatherland; Women's groups who fear that Turkey could become a second Iran under the Islamists; and Communists who call Erdogan a "lakey of big Capital". The message of the demonstrators was that neither Erdogan nor Gül should become President. "Turkey is secular and will remain so", they shouted amid chants against the EU ad the US.

The situation is tense; the papers speak of a "collision course" with the military, who have brought about the fall of a Turkish government four times in 50 years.

Back to 'Snow' and Ka. A great number of details emerges from chapters 34-38.
The reader learns that the support behind Sunay's revolution is tenuous at best and was possible only because of the participation of Colonel Osman Nuri Colak, and old school friend of Sunay's, the only officer in the garrison at the time. It was he who ordered the tanks to appear on the street.
A thaw is forecast for the next day, the other militaries are due back in Kars by morning, and the reader cannot help but feel this may be Sunay's swan song.

Ka is by turns happy and panicky, and his activities on this, the third, day of his stay in Kars are devoted to get all parties (Sunay, Blue, Kadife) to agree on the plan for the evening.

That is for Kadife to appear in Sunay's adaptation of "The Spanish Tragedy" with Funda, to take her head scarf off and let everyone to see her hair. The details are finally worked out by the end of the afternoon. Blue demands that he be set free first, before Kadife appears in the theater.

Sunay invites the owner/editor of the paper to dinner and together they formulate the news to be preprinted and begins with the dramatic, ominous announcement "Death on Stage".
Word comes later that Blue has been set free and is in a new hiding place. Ka is enjoying his success when Fazil appears, sent by Blue, who wants to see Ka one more time.

Despite his own misgivings and warnings from Ipek, Ka climbs again into the same old covered horse-drawn carriage that takes him to Blue. The other head scarf proponent, Hande, who had been to dinner with the family the night before, opens the door and makes clear that she has cast her lot wit Blue in every respect. Blue takes back his consent for Kadife to go on stage, Ka tells him it may be too late and Kadife will make the decision.

Ka had left through the hotel's back door and given his body guards the slip. Leaving Blue's hideout, he is actually lost for a moment and ill at ease without his protectors. On his way back to the hotel, he is pulled into a car and taken to a secret site: He has fallen into the hands of the Special Operations Team headed by Z Demirkol, who tries to elicit from Ka where Blue is hiding. Ka is handcuffed and roughed up.

The worst blow is yet to come : Z Demirkol tells Ka that Blue and Ipek have been lovers for years, that Blue was intimate with both sisters for a long time, and that Ipek had been in touch with Blue several times in the last few days = all of it listened to and documented by the secret police.

Chapter 39 is next.

Traude S
May 14, 2007 - 10:20 pm
Friends, the time has come to bid goodbye to our discussion.
Jonathan, our DL, has asked me to write the last post, and I feel honored. It is not an easy task.

This book has been both a revelation and somewhat of an enigma. It is a personal story, partly autobiographical.It is also a novel of ideas and ideologies, definitely a political novel. The emotions of the protagonists are universal- to be sure, but it is difficult for the Western reader to fully understand the mentaliy of the people, the intensity of their feelings, the continuing ethnic strife, and the gaping, seemingly unbridgeable, divide between the secular government and the Islamists.

Most confusing perhaps for us is the fierce ongoing struggle for women's "soul", if I may put it that way, between those who want to liberate women from the head scarf, and those who insist that the scarf is a symbol of modesty that confers automatic respect on the wearer.

A decade after the publication of this book, the situation is unchanged and even more violent. Orhan Pamuk has gone to extraordinary lengths to not only outline but to describe the historic background in exhaustive detail, in 44 chapters on 426 pages.

In the end, however, there is no resolution of any of the essential issues in the book; many questions have not, cannot, be answered, and the bewildered reader can think of many more.

The action in this long novel takes place within three (!) days. There is no plot as such. Part of the book consists of retrospective lectures. A narrator appears half-way through the book and reveals the death of Ka, the main protagonist. There are FF and flashbacks. But this is a summation of the events in the last seven chapters.
Ka becomes a mediator between Blue and Sunay.
Sunay is the most important man in town, holds all the cards.He was the istigator of the coup, which he called a "revolution".

He feverishly revamps an old play as "The Tragedy of Kars", i.e. the suicide girls.
Kadife is recruited to appear on the stage as a gambling chip in Blue's release from prison, if he consents to her appearance.

Blue is set free and goes back into hiding.
At the last minute Blue summons Ka one more time and tells him he does not want Kadife to take off her scarf.

Then Ka learns that Ipek, like Kadife, was Blue's lover (and rival) for years. He is devastated.
Ipek acknowledges it and they cry together.

Then Ipek sends Ka off to the National Theater to give Kadife Blue's message and to implore her not to appear on stage at all.

But Kadife does appear on stage, she does take off the scarf and, in a development too intricate to describe briefly, shoots Sunay to death with an allegedly unloaded gun.

She is arrested "for her own safety", and eventually sentenced to a few months in prison where the family visits her for picnics. One day Fazil is a visitor and she asks him to return.
The snow is melting; trin service is poised to resume;the military and governmental officials are on their way back. The coup is nullified.

Before leaving for the theater, Ipek had promised Ka to accompany him to Frankfurt. He said he would return to the hotel within thirty minutes, adding that, in case of a delay, she should meet him at the station.

Then comes the news that Blue has been killed in his hideaway together with Hande.
Ka fails to return. A terrible thought occurs to Ipek : Did Ka betray Blue to the Secret Police out of jealousy ?
When the carriage comes to take her to the station, she hands in only Ka's suitcase.

Four years after Ka's death in Frankfurt, the narrator, a movelist, whose name happens to be Orhan also, comes to Kars to research the events for a book he intends to write about Ka = our book.

He moves into the hotel, interviews all people willing to talk to him, views the archived TV tapes of Sunay's two theatrical performances, and is totally captivated by Ipek's incomparable beauty.

Kadife (wearing the head scarf), now considered a heroine, is married to Fazil, Necip's friend; they have a toddler son.

In an eery encore of Ka's impetuosity, Orhan, the narrator, declares his love for Ipek and asks her to return to Istanbul with him.
The family sees him off but Ipek stays away.

Kadife says "I hear you have a beautiful daughter called Rüja. My sister is not coming but asked me to send warm wishes to you and your daughter."
This is only a skeletal summarization of the last seven chapters; the text, of course, is infinitely richer. But now we know how it all ended. It leaves one sad, disappointed, helpless and hopeless.

Thank you all.

hats
May 15, 2007 - 12:04 am
Jonathan and Traude, thank you for being wonderful DL's for as long as I remained here with you. Also, as usual, you have a way of summarizing simply and beautifully. I enjoy both of you as Discussion Leaders.

Traude, after reading your summary, I am sad. I missed all of the interesting and shocking parts that brought the book to a finale. I hope to pick the book up again at a later time starting from the beginning and hopefully making it to the end, just one more goal for my reading list.

Traude S
May 15, 2007 - 09:34 pm
HATS, you are entirely welcome. The pleasure is mine, I enjoyed the labor of love and its completion.
Thank you for your loyalty.

gumtree
May 16, 2007 - 08:55 am
JONATHAN & TRAUDE: May I echo Hats and thank you for helping me get through such a difficult book. As a 'lurker' I read all the posts and your comments and summaries helped me enormously though I am still far from understanding exactly what it is I've read. Thank you for sharing your knowledge and insights about this disturbing and haunting book.

I salute you! ( and Hats too!)

hats
May 16, 2007 - 10:50 am
Gumtree, I am returning your salute. Love to hear from you in all discussions.

Malryn
May 16, 2007 - 12:15 pm

Thank you, dear JONATHAN and TRAUDE. I'll say right away that I did not like this book. I was very excited by the magnificent writing when I first started the book. Somehow, somewhere in the middle Pamuk lost it as a writer. Control, I mean. It happens, and I am not the only one to notice that he wrote himself into repetitious circles and had trouble pulling himself out. Too bad, because the subject matter is important.

I refuse to think a book is great because it's complicated. Lately I've begun to think that today the more obtuse and complex a work is, the greater it is judged to be.

To this I say, "Nonsense."

Mal