Rating: 
Summary: I sometimes saw red
Review: Unfortunately I am one of those people who can't discard a book before I have finished reading it - otherwise I would have abandoned this one half way through. The main subject is interesting enough: the clash between the Venetian and Islamic attitude to art in the 16th century - the former individual, the latter stylized, the former aiming at realism, the latter at representing the perfect form as it is supposed to be in the mind of God. In the course of the book one learns a lot about the techniques and history of Islamic miniature painting and of the "guilds" of miniaturists - but all this is hugely repetitive. Most of the chapters are recounted by one or another of the members of one such guild which is working on an illuminated book for the Sultan, but the characters are almost indistinguishable one from another. You are supposed to be on tenterhooks to discover which one of them murdered a colleague and then a master miniaturist and why - I really couldn't care less. There is a certain amount of atmosphere in the descriptions of the power of the Sultan and his ministers, the arbirary and cruel way in which it is exercised and the readiness to resort to torture. There are some other glimpses of the life of Istanbul, and there is a love story. But I cannot understand why this book is said to have been so acclaimed.
Rating: 
Summary: Islamic Medieval Art & Intrigue In Istanbul
Review: This novel is both a murder mystery and a detailed excursion into Islamic art history by one of Islam's prominent contemporary authors. It emphasizes how Islamic culture is mired in traditionalism and is not much subject to change, unlike Western culture. It is not easy reading but it takes the reader through the labyrinthine streets, alleyways, and coffeehouses of Istanbul, as well as the art history of late 16th C. Istanbul, It has a criminal plot and a romantic interest, and could almost be mistaken for a Dashiell Hammett thriller, though many parts of it are a dissertation on art history. The talking objects, animals, dervishes, djinns, and the devil give it a fairytale-like quality. Particularly interesting to me were the scenes in the Sultan's Treasury about 3/4 of the way through, where the Master Osman, Black Effendi and the dwarf search through old books long overlooked and objets d'art confiscated from beheaded pashas, like an Egyptian tomb, with the intent of finding a picture of a horse that matches that drawn by the unknown murderer. While searching, Master Osman elucidates most of what has gone before in terms of Islamic art history, its traditionalism, and its comparisons to Venetian and Frankish (French?) art.
The basic difference is between the idealistic Platonic view favored by Islam and a more representational view then prevalent in Venice. That is why an Islamic master miniaturist's blindness makes no difference. The Sultan favors adopting some of the features of the new form but there are powerful forces aligned against this. Shekure, Black Effendi's love interest, is a well-drawn character, with Esther the Jewish clothes merchant acting as a go-between delivering letters between the star-crossed lovers. I was impressed my some of the miniaturists' feats, such as drawing a painting on a rice grain, but disturbed by the sadistic discipline and homosexuality of the master-apprentice relationship.
The chapters titled "I Will Be Called a Murderer" have a Roskolnikov-like or Poe-like touch to them (he does not reveal his identity) but the long dissertations on art history detract sometimes since they are often somewhat repetitive as well as quite complex and exotic. But they would interest anyone interested in art history, and Pamuk does a pretty good job of making them seem relevant. One of the less pleasant traditions among Master Miniaturists in 16th C. Istanbul is self-inflicted blindness with a needle when a Master reaches an advanced age,say 65. This is viewed with favor by Allah. Then the master's eyes grow cloudy, reminding me of flashback scenes in the tv series "Kung Fu" where the master referred to Kane as "Grasshopper." Same principle, though a different culture. If you can make your way through the rest of the book, you will be pleased by the conclusion since it is quite thrilling as the murderer is finally revealed and Black Effendi finally wins his sweetheart forever.
Rating: 
Summary: Timely and historical at the same time
Review: My Name is Red, set in 1591 Istanbul, speaks to the clash of civilizations. While the murder mystery novel unfolds, the art of the miniaturists is the true main character. All the humans have supporting roles. What happens to this particular form of art in the 16th century is displayed before the reader like a painting. The embellished borders consist of a love story, a murder mystery, religious fundamentalism, and everyday life in the city.
If you read the book seriously for its history, there is a helpful timeline in the back of the book. If you read it for the mystery, you may wish to take notes as you go through, to see if you can identify the murderer before he reveals himself in the last chapter.
The challenge before the artists is the new idea of perspective in a painting. Enishte Effendi has been to Venice and brings back a desire to see this skill added to the talents of the miniaturists. The murderer challenges Enishte, who is creating a secret book, by saying that using perspective in art "removes the painting from God's perspective and lowers it to the level of a street dog". Enishte Effendi's response is classic. I will quote a bit of it.
"Two styles heretofore never brought together have come together to create something new and wondrous. We owe Bihzad and the splendor of Persian painting to the meeting of an Arabic illustrating sensibility and Mongol-Chinese painting. Shah Tahmasp's best paintings marry Persian style with Turkmen subtleties. Today if men cannot adequately praise the book-arts workshops of Akbar Khan in Hindustan, it's because he urged his miniaturists to adopt the styles of the Frankish masters. To God belongs the East and the West. May He protect us from the will of the pure and unadulterated."
Rating:
Summary: A masterful contemplation on 16C Ottoman miniaturist art
Review: The red in the title refers to the color red. The red whose secret of manufacturing passed through Persia from China to arrive in Istanbul. And this red is as much of a narrator and character as any other human being that appears in the book.
Yes, this is a mystery (and a good one at that). It evolves around the making of The Book of the Festivities commissioned by the Ottoman Sultan Murat III. Each chapter is narrated in turns by the miniature artists (most of them were historical figures, albeit they didn't live in the same period), the text writer, his widowed lover, her sons (one of whom I suspect is a cameo appearance of the author, Pamuk), a Jewish lady messenger, and the murderer. Depictions of the characters' emotions, inner convictions, and pursuit of readers by the characters were captivating.
However as noted, the book is as much about paintings as it is about these characters. Subjects of paintings -- dogs, horses, trees, Venetian coins, even death -- boasts to the readers of their beauty, and speaks of their respective positions within the Islamic world from their allotted chapters. It is as if each of these chapters were a picture frame, viewed paradoxically through a from-the-ground perspective (Islam artists supposedly were only allowed to draw in the bird eyes view perspective, in the manner Allah sees the world). The human characters constantly ponder over philosophic questions about style, meaning, and representation of the world through the eyes of God. The question of how to adapt to artistic influence from the infidels (Franks and Venetians) is also dealt in great detail.
This is a book of both ideas and emotions. It was easy to see why Updike likens Pamuk to the late Jorge Luis Borges and Italo Calvino.
Rating:
Summary: His best work yet, beyond brilliant!
Review: I am an avid reader of Orhan Pamuk, however I must say that this one is his masterpiece. My name is Red is taking us to historical labyrinths of Istanbul. His trademark "detailed description of the characters and events" is at its best. What I like most is Pamuk usually tells his stories from different points of view. This books looks like a murder-suspense book at the first place, however page by page you start to see Islam and its philosopy from the eyes of 16th century miniaturists. What I learnt from his interviews is Pamuk could not finish writing this book for a long time and he always prefers handwriting (just like his friend, great Paul Auster). You can see his precise technique and talented storytelling page by page. Pamuk has obviously done a great research about the 16th century Istanbul and the result is awesome. I may critize the translation a little bit but I appreciate that to translate a book by O.Pamuk must be tough! My name is red is "a must" Because of this book Pamuk got the 2003 IMPAC award. You will see his talent starting from the first chapter. Amazing, sad, humorous, brilliant. Well, do yourself a favor and purchase this one and then spare the time to read it carefully.
Rating:
Summary: Closet Orientalist and Palace Mysteries
Review: Pamuk has created an elaborate masterpiece. The book is a murder mystery on the surface. Like some of his books though it has many layers interwoven expertly. The setting, old Istanbul and Topkapi Palace grounds, among court artisans, allow him to dissect seemingly one of his favorite topics, philosophy and essence of East. What makes East, Orient? He constantly falls back to the rich history of Ottomans to explore and contrast East vs. West. What separates the two cultures way beyond religion? Art, especially visual art, maybe the best and most direct expression of a world view and indicator of where people place themselves with respect to God and all other creations and the story revolves around this theme. There are no introductions, no prologues, epilogues, first page takes you right in, and you are being murdered. His use of first person narrative is very effective and very unnerving. This book took Pamuk many years to finish apparently, three of which was spent on translation alone, and it shows. The effort he has put in making his work available to World readers has been well worth it, something that other contemporary Turkish writers should emulate I believe. Though some have complained about the flat prose, this cannot be all attributed to the translation. He uses a non-elaborate style to simulate realism, which I believe, works well. Some of the scenes are quite violent and sexual references are sometimes shockingly raw, but this is 16th century and anyone who has read Rumi should not be too surprised. He paints very rich scenes, and as in a Vermeer painting, one is inevitably looking for that hidden clue, a faint reflection on the mirror for the identity of the villain in the story. Some years ago I had a chance to see the very manuscripts that inspired the artisans in this book and occupy such a prominent place, on display in NY Metropolitan Museum. Given the time period, these were very bold and very impressive expressions pointing to an era in Islamic culture when the dark curtain of conservatism had not yet descended. If Sunni Arabs represent the warriors of Islam, surely Shiite Persians represent the artists. Their wonderful paintings, poetry and miniatures have dominated the Islamic art and literature scene and have set the standard for much more to come. Pamuk has done extensive research and period accuracy is impressive. Though the writing is smooth and not convoluted, still it is not an easy read, but given the topic, which is a lot more than just a murder mystery, it is a small price to pay for a great book.
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