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3.55 AVERAGE
3.55 AVERAGE
emotional
reflective
medium-paced
Started well ,was very interested up to the point where the main character leaves another in almost fatal circumstances...from then his nasty character made me not give a damn and the storyline got more and more daft ....
“It should be as credible as a true story, and as familiar as a myth.”
With these words, Orhan Pamuk’s eponymous Red-Haired Woman neatly describes his novel. I enjoyed it tremendously, although it took a little time before I felt myself truly immersed in its topography of dusty, forgotten towns and soulful men fighting against their own yearnings. At around a third of the way in, I was hooked, and could hardly tear myself away.
Beautifully written, cleverly paced, building expectation and suspense, Pamuk creates a smooth veneer of quotidian commonplaces - days of digging, traffic-filled commutes, business lunches - beneath which roils a substrata of mythic proportions, threatening to erupt into the daily life of his main character at any moment. When the crisis finally comes, it comes as almost a relief, although it does not, as we might have expected, signal the end of the story. Not until everyone has their say does the novel draw to its close.
With these words, Orhan Pamuk’s eponymous Red-Haired Woman neatly describes his novel. I enjoyed it tremendously, although it took a little time before I felt myself truly immersed in its topography of dusty, forgotten towns and soulful men fighting against their own yearnings. At around a third of the way in, I was hooked, and could hardly tear myself away.
Beautifully written, cleverly paced, building expectation and suspense, Pamuk creates a smooth veneer of quotidian commonplaces - days of digging, traffic-filled commutes, business lunches - beneath which roils a substrata of mythic proportions, threatening to erupt into the daily life of his main character at any moment. When the crisis finally comes, it comes as almost a relief, although it does not, as we might have expected, signal the end of the story. Not until everyone has their say does the novel draw to its close.
Epey sürükleyici ve ilginç bir olay örgüsü olan bir kitap. Hikayedeki melodram düzeyi bizim toplumumuza son derece özgü. Dışarıdan bir okuyucuya ne kadar hitap eder bilmiyorum ama öğrenmek isterim. Modernlik ve geleneksellik kavramlarını nasıl yanlış anladığımızı da iyi vurgulayan bir kitap olmuş.
fast-paced
Четворка само због фантастичног почетка и првог дела. Касније све више и више постаје мелодрама.
Talking about fatherless sons, sonless fathers, and how their life tangled up. Exciting storyline and as usual Pamuk tells us not only a human story but a Turkey story: as a place and nation. But unlike A Strangeness in My Mind, I feel something offbeat that made this works a sort of bland. A solid read though.
Part 2 - covering modern Turkish history, Turkey's East-West split, questions of urban development and gentrification, histories of Leftists and theatre-makers, a fairly acute exploration of class mobility and 2 characters who chase after accounts of ancient myths with the energy of antiquarian dealers - is exactly my shit. The flat prose style left me frustrated throughout though, however intentional it is. And the shift into melodrama at the end of part 2 and through all of part 3 was undermined by how neat and obvious Pamuk's foreshadowing devices are. A kinda mid reading experience for me by the end, despite my high expectations (based on the delight I found in reading Pamuk's Snow over 5 years ago).
This book drags its feet in such a way that it feels like a much longer book than it really is. It's extremely boring and the ending left me cold. The characters spend a lot of time talking about the myth of Oedipus, what else could have happened? Still, it didn't feel fresh or invigorating in the way I wanted it to.