Placing your goblet halfway over the lateral divisor meant you wanted exactly half a glass more wine. Sitting at a Parian formal dinner and knowing the exact function of every tiny spoon and shell cracker, knowing how many times to flick the excess water from your fingers after washing in the water bowl between the first and second course, and knowing where exactly to set your three-tined urum to let the table slaves know you were finished eating brought her something akin to peace. Even as a child, she enjoyed learning etiquette. Though she had never drafted a drop of blue, Karris had always had an affinity for what were called the blue virtues. Hoja’s action to prevent the plague by adopting Western science shows that the East believes in Western “superiority” in science to stop the disease even though it is hardly accepted by the society. On the contrary, the West has its advance knowledge and technology to stop the disease. The East traditional view outlines the efforts to end the plague as an act to compete with God. The different way how the Ottomans-who choose to be idle-and the Westerners-who use their science and knowledge-faces and stops the plague shows the binary opposition between the East and the West. However, Hoja and his slave’s effort to end the plague are seen as a way to resemble and to compete with God so that the Ottomans oppose to it. “He decided not to allow strangers into the palace” (TWC, 92) and also orders Hoja to be responsible to handle this problem. (TWC, 92) The story concocted by Hoja, finally, affects the sovereign deeply. The sultan ordered that five hundred cats be brought from a far away city untouched by plague, and that Hoja be given as many men as he wanted. …When Hoja was asked when and how the plague would end, he…replied that the devil came to men in the form of a man and to animals in the form of a mouse. His mind accepted the idea that the plague was like a devil trying to deceive him by taking on human form. The story we invented had affected the sultan deeply. In these novels, the ruins and memories of fallen empire and the denial of its cultural legacies provide the characters, no other choice but to suffer from identity crisis because they have to live in the imitation of other’s 268 This change raises confusion and perplexity in the life of Turkish as shown in The Black Book, Snow, and The Museum of Innocence. The exclusion of Ottoman Islam that is considered as the biggest obstacle to climb the altar of modernity brings profound changes in all dimensions of social, political, and religious life for Turkish people. This initial union led to the separation from their authentic self as the Republic felt the urge to write a new history by tearing off all the legacies of Ottoman Islam. Following the fall of the Empire, Turkey encountered initial union with new cultural identity imposed by the new born Republic. In the very beginning they have their cultural root, the Ottoman Islam. Transformation of their contemporary identity that reveal the stages of Sufi framework of identity formation. After the murderer’s identity is eventually revealed by a stylistic glitch, Şeküre commissions her son Orhan to write their tale. As the mystery and love story unfold, so does the history of miniature painting and its development at successive Persian, Timurid, Turkmen, Safavid, Mughal, and Ottoman courts.
He is in love with his cousin, Şeküre, a beautiful war widow with two sons, Orhan and Şevket.
To investigate, the head of the atelier calls on his nephew, Kara ( Black). One of the ive miniaturists working on the project fears that the secret book is blasphemous but is killed by one of his fellow artists before he denounces it to the followers of a radical, iconoclast preacher. The sultan has com- missioned an illustrated book for the Venetian Doge, depicting the Sultan and his realm in the “Frank- ish” (Renaissance) style. The action is set over ten days in the winter of 1591. It is narrated in the irst person by ten characters, with the most important charac- ters “drawn larger.” One character is a cofeehouse “meddah” (storyteller), who “magically” stretches the bounds of the novel’s narrative to inanimate objects and even the afterlife. Released in December 1998, Pamuk’s ifth novel, Benim Adım Kırmızı (translated as My Name is Red, 2001), is set during the reign of the cosmopoli- tan-minded Sultan Murad III, and weaves art histori- cal debate on Islamic aesthetics into a murder mystery and love story.
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