Read The Silent House by Orhan Pamuk Online

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Each summer three siblings come reluctantly to visit their bitter old grandmother, in her dreary seaside home. Faruk, the eldest is alcoholic, recently divorced and adrift. Metin, the youngest is full of hunger, dreaming of escaping his family and studying in America. And in between them is their sister, Nilgün, a fiery youngs revolutionary, hurtling towards womanhood. OveEach summer three siblings come reluctantly to visit their bitter old grandmother, in her dreary seaside home. Faruk, the eldest is alcoholic, recently divorced and adrift. Metin, the youngest is full of hunger, dreaming of escaping his family and studying in America. And in between them is their sister, Nilgün, a fiery youngs revolutionary, hurtling towards womanhood. Over the week, the family face first love, old ghosts and childhood memories. Watching them is the dwarf Recep, the housekeeper, who has stories of his own. Haunting, tender and acutely observed, Silent House is was published to great acclaim in Turkey in 1983 and remains one of Pamuk’s most popular works in the country. It was the author’s second novel and available in English for the first time....

Title : The Silent House
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ISBN : 24222134
Format Type : Kindle Edition
Number of Pages : 352 Pages
Status : Available For Download
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The Silent House Reviews

  • Elyse
    2019-04-24 18:26

    I liked this - almost as much as "The Museum of Innocence", which is still my favorite Orhan Pamuk novel.... but it's close. ( it's a smaller book - less 'dense' than other Pamuk books I've read-- each chapter is short). Right from the start the dialogue between the cranky old grandmother and Recep - her FRICKIN SLAVE HORSE -- a Saint to boot-is a dwarf.... making the visuals of the dialogue all the more hysterically crazy-funny....( shaking your head: "you've got to be kidding"). Recep is a bastard of her deceased husband. The grandchildren are coming for a visit who each have their individual quirks, habits, and emotional hurts. During their visit they begin to explore their country's history. The conflicts we see within the family parallel with the conflicts that we see politically between modern Turkey and their past which was rooted in more traditional religious beliefs. I was in Turkey in 1973-74...Istanbul was a different place than it is today. Reading Pamuk always triggers memories- and expands my views at the same time.

  • Paul Gleason
    2019-05-05 14:15

    Originally published in Turkey in 1983 and now translated into English for the first time, Silent House (Knopf) is Orhan Pamuk's second novel. Although the Nobel Prize-winner makes no direct mention of the historical relevance of the book in the text itself, his story takes place roughly one month before the September 12, 1980 Turkish coup d'état, in which the Chief of the General Staff General Kenan Evren and the Turkish Armed Forces restored order after violence had broken out between right-leaning nationalists and communists. An Army-contolled National Security Council then ruled Turkey until 1983, when democracy was restored.So why is Silent House relevant to English-language readers in 2012, almost thirty years after the book's publication? The answer lies in a statement made by one of Pamuk's minor characters - a pharmacist named Kemal Bey: "[Politics is] everywhere. . . . No matter where you go, it grabs you by the collar."Kemal refers to the beating of Nilgün, a young woman who runs afoul of Hasan, an extreme and equally young Turkish nationalist, for buying a communist newspaper. Very sexually attracted to Nilgün, Hasan kicks and punches her for her "crime," just as much out of a sense of adolescent machismo and tough-guy posturing. The point is that Hasan is too immature to come to terms with his physical urges - and his body becomes the site of a dilemma that for Pamuk in Silent House and in his mature novels characterizes Turkey. Should Hasan follow the stereotypical view of Western culture and try to have sex with a woman to whom he's attracted? Or should he follow the stereotypical view of Eastern culture and attack a woman with left-wing values?For Pamuk, Turkey - and, in particular, Istanbul - is a liminal space, where history has entangled Western and Eastern values to such an extent that it's the most valuable setting for the novelist to explore some of the key political issues of our time. It's a place where political factions live and breathe side-by-side, as they constantly brush up against each other in public street corners, coffeehouses, and alleyways - but also in the privacy of family homes.And these family homes are the most dangerous places for Pamuk because they harbor silence and implicit consent to violence. They're where violence begins. Indeed, the silent house of the novel's title truly serves as Pamuk's description and condemnation of the silence that beats at the heart of Turkey. The house - which is located just outside Istanbul, in Cennethisar - brings together three generations of Turks when three young people, including Nilgün, visit Grandmother Fatma and her dwarf son Precep. But the generations are sadly cut off from each other. They squabble about petty matters. They, however, don't discuss their inner thoughts, the political implications of which are obvious. For example, Fatma mostly lingers alone in her bedroom and broods on the Western values of her deceased husband and his unfinished encyclopedia in which he considers death and Nothingness, her grandson Faruk thinks long and deeply about whether history is a story or reality, and a second grandson, Metin, ponders the virtues of Western materialism. Pamuk's Silent House is really Turkey itself.Which is a shame because silence can only hold for so long before violence erupts. Profoundly anti-violence, Silent House is Pamuk's early cry for tolerance, reason, and communication during a time when democracy was on the line and, indeed, temporarily lost in Turkey. It's necessary reading, especially for those of us in the United States who recognize similarly sharp political divisions.

  • Jim Fonseca
    2019-05-16 18:14

    Turkey’s on-going modernization, real estate boom, and politics are the focus of this story, set in a small Turkish seaside city, we guess, around the 1970’s. The book was originally published in Turkey in 1983. The plot is that three adult grandchildren make their obligatory annual summer visit to their 90 year-old grandmother. The grandmother is crotchety and demanding especially to her live-in servant whom she alternately calls “the dwarf” or “the bastard,” the latter because he is a child of her dead husband’s mistress. Her grandchildren “…still haven’t figured out their grandmother isn’t capable of any reaction except disgust.” ‘The Dwarf’ is the perfect servant, catering to the old lady’s and everyone else’s every need and whim despite the disdain and abuse. The youngest grandchild is in high school, ready to go to college, hopefully abroad, but he has no money to do so and is hoping grandma will sell the house to finance his education. He hangs out with a fast set of upper-class Turkish kids who drink, smoke pot and carouse in sports cars. The oldest grandson is a college professor, divorced, a dreamer, and an alcoholic. In the last two traits he carries on a strong set of genes, because he is a third generation dreamer and alcoholic. The grandfather, now deceased, was a medical doctor who got crosswise with Istanbul politicians and spent his life in exile in this backwater town drinking and toiling over a 50-volume encyclopedia “to bring Western knowledge to the East.” He was an avowed atheist, which terrified his devout wife, the grandmother. Their only son, now dead, the father of the three children, was a local low-level civil servant, also a dreamer and an alcoholic. The granddaughter is a radical socialist, which gets her in serious trouble with the nationalist skin-heads in town. The book is a good read, even though it is an early work by Pamuk, translated only after he became famous for his other works. It has a lot of local color of Turkey and it’s a primer on why much of the developing world is in such chaos.

  • Ahmad Sharabiani
    2019-04-30 11:07

    Sessiz Ev: roman = Silent House, 1980, Orhan Pamuk (1952)عنوانها: خانه خاموش؛ خانه تاریک؛ خانه سکوت؛ نویسنده: اورهان پاموک؛ تاریخ نخستین خوانش: هفدهم نوامبر سال 2008 میلادیعنوان: خانه خاموش؛ نویسنده: اورهان پاموک؛ مترجم: محمد فهیمی؛ مشخصات نشر: تهران، چشمه، 1386، در 467 ص، شابک: 9789643623999؛ موضوع: داستانهای نویسندگان ترک؛ ترکیه، قرن 20 معنوان: خانه تاریک؛ نویسنده: اورهان پاموک؛ مترجم: محمد فهیمی؛ تهران، چشمه، 1390، در 431 ص، شابک: 9786002290410؛ عنوان: خانه خاموش؛ نویسنده: اورهان پاموک؛ مترجم: مرضیه خسروی؛ تهران، نگاه، 1393، در 440 ص، شابک: 9789643519704؛ عنوان: خانه سکوت؛ نویسنده: اورهان پاموک؛ مترجم: مریم طباطبائیها؛ تهران، پوینده، 1393، در 364 ص، شابک: 9789642950362؛ عنوان: خانه خاموش؛ نویسنده: اورهان پاموک؛ مترجم: سارا مصطفی پور؛ تهران، نشر مرکز، 1393، در چهار، 364 ص، شابک: 9789642132379؛ جنون پاموک با نبوغ توام است! (اومبرتو اکو). پاموک اعتراف می‌کند تمام شخصیت‌ها در رمان «خانه خاموش» بازتابی از او و احوالات متفاوت درونی ‌اش است: «کودکی ‌ام همواره با این تصور گذشت که اورهانی دیگر در خانه ی دیگری است». اورهان پاموک، نویسنده نوبلیست ترک که در سال 1952 میلادی در خانواده ی پر جمعیتی در شهر استانبول ترکیه به دنیا آمد، تا سن بیست و دو سالگی رویای نقاش شدن در سر داشت. «این ایده نخست مورد تشویق و حمایت خانواده ‌ام قرار گرفت و این درحالی بود، که بیشتر افراد خانواده ی من مهندس عمران بودند. پدر و مادرم در مورد خواهر و برادرهایم می‌گفتند: این یکی به همان مدرسه ‌ای خواهد رفت، که پدربزرگ ‌شان می‌رفت؛ آن یکی به مدرسه عمویش، و این یکی هم - که منظورشان من بودم – مهندس معمار خواهد شد». این ایده، بعد‌ها با یک تصمیم سریع و آنی به یکباره از ذهن او پاک شد، و به نقطه ی عطف زندگی ‌اش یعنی داستان نویسی انجامید. «همه ‌چیز را به یکباره کنار گذاشتم، تحصیل، نقاشی، معماری وهمه را...؛ خود را در اتاقم حبس کردم، و مشغول نوشتن شدم. حالا که مردم از من این سوال را می‌پرسند که چطور توانستم در دهه ی 30 زندگی، به عنوان یک رمان نویس در ترکیه شناخته شوم؛ یا اینکه چرا نقاشی و معماری را رها کردم، من درست مثل گوزنی که به چراغ جلو ماشینی، زل زده باشد، به آنها خیره می‌شوم، چرا که برای این پرسش پاسخی وجود ندارد.». او در سنین پایین دریافت که نقاشی کردن، نظم و انضباط درونی می‌طلبد و یک دنیا تنهایی... که از این منظر، تالیف هم کاملا شبیه به آن است، و با خلق و خوی او سازگار...؛ درست مانند خود پاموک که خیالپردازی جزو جدایی ناپذیر زندگی ‌اش است، شخصیت‌های داستان‌هایش نیز پیوسته در حال خیالبافی هستند. رمان «خانه خاموش» که دومین اثر وی ایشانست، و به باور خودش از دل رمان «جودت ‌بیک و پسران»، نخستین رمانش ‌زاده شده؛ حکایت آدم‌هایی است که هیچ یک از وضعیت فعلی خود راضی نیستند و رویای دیگری بودن را در سر می‌پرورانند. مراد گلسوی، نویسنده ی ترک در باره ی «دنیای ادبی اورهان پاموک» می‌نویسد: «ابتدا به نظر می‌رسد که شخصیت‌های رمان خانه خاموش رویاهایی از جنس رویاهای همه آدم‌ها در سر دارند، اما دلتنگی عمیقی که شخصیت‌های رمان آن را تجربه می‌کنند، هر قدر هم که این دلتنگی در رمان‌ها مشخصه ی دنیای شرق محسوب شود، بیشتر یک اندیشه و واهمه جهانی ست چرا که خواست دیگری بودن، منجر به این واهمه می‌شود که نمی‌توان خود بود!». انگین کیلیچ در مقاله ی خود به نام: «اصوات خانه خاموش»، می‌نویسد: «همه در خانه خاموش غمگینند و عقده‌ های حقارت آنها ازجنس فقر، عقب ‌ماندگی، شرقی بودن، بی ‌پدری و مسائلی از این قبیل است. بیشتر این شخصیت‌ها با ناامیدی، دلباخته فرد نامناسب خود هستند. اما تمام اینها نه در قالب رمانی مالیخولیایی و غمگین که گاه حتی به صورت رمانی شاد و سرزنده رو به ‌روی‌مان ظاهر می‌شود. با این وجود، همین که رمان به پایان می‌رسد، چیزی به نام خوشبینی برای خواننده باقی نمی‌ماند!». «خواب، در اثرِ یک فعل و انفعال شیمیایی، روی می‌دهد و مثل رویدادهای دیگر دلیل علمی و منطقی دارد. همان طور که روزی فرمول آب کشف شد، روزی فرمول خواب را هم کشف می‌کنند». اینها نخستین جملاتی هستند که ما را با تفکر پوزیتیویستی صلاح ‌الدین در «خانه خاموش»؛ آشنا می‌کند. همسرش فاطمه، درست در نقطه ی مقابل شخصیت او قرار دارد.». صلاح ‌الدین تمام عمرش را صرف تالیف دایرة ‌المعارفش می‌کند، چون عامل عقب ‌ماندگی شرق را، جهالت و عدم آگاهی مردم می‌داند. رویای او بیدار کردن شرق است حتی شده به زور...؛ فاطمه اما، به گذشته ی خود بسیار پایبند است؛ و رویای یگانه ‌اش بازگشت به گذشته، و گذران حیاتی عاری از گناه است. او از مدرنیته بیزار است، و هر چیز جدید را تصنعی و ساختگی می‌داند. فاطمه در بیان نفرت خود، از کلمه ی «پلاستیک» زیاد استفاده می‌کند. به گفته ی خودش، عطر‌ها دیگر نه در ظرف‌های شیشه ای، که در ظرف‌های پلاستیکی فروخته می‌شوند؛ و ماشین‌های پلاستیکی جای درشکه ‌ها را گرفته ‌اند. او حتی تا به آنجا پیش می‌رود، که قلب نوه ‌هایش را هم پلاستیکی می‌داند! از دیگر شخصیت‌های رمان «خانه خاموش»، که مولفه ی خیالپردازی در او به روشنی دیده می‌شود، شخصیت حسن است. او یک ناسیونالیست افراطی ست، که به خاطر بی ‌پولی از پولدارها متنفر است. جایی در قلب هیچ زنی ندارد، پس از زن‌ها هم بیزار است و چون خودش خوشحال نیست، از همه ی آدم‌های خوشحال هم بدش می‌آید. او هم مانند صلاح ‌الدین با این آرزو زندگی می‌کند، که روزی خواهد توانست کارهای بزرگی انجام دهد. حسن که درگیر عقده ‌های خود کم ‌بینی ست، روزی را تصور می‌کند که صاحب کارخانه ‌ای ست، و هفت هزار نفر کارگر به همراه یک زن دستیار مسلمان، زیر دست او کار می‌کنند؛ یا روزی که فرماندار شده است و نیلگون را در حالی که عجز و لابه می‌کند، کت ‌بسته پیش او می‌آورند، و او به دست و پای حسن می‌افتد، تا دستور دهد آزادش کنند. در طرفی دیگر متین را می‌بینیم که آن «دیگری» برای او یک میلیاردر معروف است. به زعم او پول حرف اول را در دنیا می‌زند. حتی می‌بینیم که بیش از مرگ پدر و مادرش، از اینکه مرگ آنها میراثی برای او به همراه نداشته، ناراحت و دلگیر است. رویای متین، گاه در قالب یک میلیاردر زن‌‌باره و گاه در قالب یک دانشمند فیزیک متبلور می‌شود. رجب، کوتوله خدمتکاری ست که همانند فاطمه، رویایش نه معطوف به آینده، که بازگشت به گذشته است. گهگاهی دلتنگ شنیدن قصه‌ های مادرش می‌شود، و دلش می‌خواهد تا دوباره به آن روزها بازگردد. او با اینکه به ظاهر به زندگی یکنواخت خود خو کرده، اما «دیگری ‌بودن» خوابی ست که همه در «خانه خاموش» آن را دیده‌اند...؛ درد فاروق اما، درد دیگری است. او که پیوسته خود را در کارزار جدال با روح دوگانه ‌اش می‌یابد، رویای داشتن روح واحد را در سر می‌پروراند؛ و همین وجه تمایز او با سایر شخصیت‌های رمان است که رویای پول، شهرت، و انجام کارهای مهم دارند. فاروق از این دوگانگی به ستوه آمده و با تمام وجود، وحدت و روح یگانه، طلب می‌کند؛ در زیرزمین نمور بایگانی نه به جست ‌و جوی تاریخ، که در اصل در پی یافتن خویشتن است. و اما نیلگون، یک انقلابی بی ‌تجربه و تازه کار، که خود راوی نیست و از زبان سایر شخصیت‌ها به مخاطب معرفی می‌شود. حتی شاید بتوان او را بداقبال‌ترین شخصیت این خانه معرفی کرد. نیلگون «پدرها و پسرها» را می‌خواند، و رویای تغییر اصول و قراردادهای اجتماعی در سر دارد، گرچه خوانشگر اینها را از زبان خود او نمی‌شنود. پاموک اعتراف می‌کند که: «تک‌تک جوان‌های این رمان، خود من هستند...»؛ و اذعان می‌کند از بین رمان‌هایی که تا به امروز نوشته، «خانه خاموش» بیشترین محبوبیت را در میان جوان‌ها داشته، و دلیلش را هم در این می‌داند که در این کتاب، چیزهایی در رابطه با دوران جوانی و احوالات درونی خود نوشته است: «برای نوشتن خانه خاموش، از اتفاقات زیادی الهام گرفتم، که یکی از آنها نامه ‌هایی بود که پدربزرگم در سال‌های جوانی، برای مادربزرگم می‌نوشت. پدربزرگم در آن سال‌ها برای تحصیل در رشته ی حقوق عازم برلین می‌شود. اما قبل از سفر، با مادربزرگم نامزد می‌شوند، و آن طور که می‌گویند، او در سال‌های تحصیل خود در آلمان، نامه ‌های زیادی برای نامزدش می‌نویسد، که مضمون و حال و هوای این نامه ‌ها بی‌شباهت به درس‌هایی نیست که آقای صلاح ‌الدین به همسرش فاطمه می‌دهد. این را هم می‌دانم که عکس ‌العمل مادر بزرگ من هم، درست مثل فاطمه، از جنس بی ‌توجهی و «گناه و حرام» بوده... با تصور رابطه سرد و ناموفقی که احتمالا بین آن دو می‌گذشته، من، نخستین جملات رمان خانه ی خاموش را نوشته ام.». پایان نقل از نوشتار مترجم رمان خانه خاموش. ا. شربیانی

  • Sine
    2019-05-08 13:00

    önce şunu not edeyim çünkü sürekli kıyasa gideceğim gibi bir his var içimde; bugüne kadar okuduğum diğer orhan pamuk romanları: kara kitap, yeni hayat, beyaz kale.goodreads'in verdiği tarihlere göre 14 günde okumuşum kitabı ama sorsanız bana 4 gün gibi geliyor. diğerlerine göre çok daha akıcı çünkü. aslında şu an yaz tatilinde bir öğrenci olsam zaten bırakın dördü, iki günde bitirirdim. kara kitap'ı ve yeni hayat'ı okurken yaşadığınız o kitapla "dövüşme" hissi bu kitapta hiç yok. sanki kitapla birlikte cennethisar'da yürüyorsunuz. bu elbette kitabı kötü bir kitap yapmıyor ama şahsi kanaatimce hiçbir zaman kara kitap kadar iyi olamayacak olmasının sebebi de bu. kitabı okurken inanılmaz keyif aldım ama kara kitap'ı okurken yaşadığım o "şey", bunda yoktu ve olması da imkansızdı zaten. dolayısıyla çok sevdiğim ve zaman zaman aklıma gelecek bir kitap olacak, orası belli. bu 14 gün boyunca da kitabı okumazken sürekli aklımın bi köşesindeydi karakterler. kaldığım yerden nereye gideceklerini düşünüyordum. hatta bizzat karakterleri düşünüyordum. ve bitmesine rağmen yıllarca kafamı kıyıdan köşeden kurcalayacağını da şimdiden hissediyorum. çok dolu dolu bir hisle bırakıyor kitap sizi bittiğinde. aksi takdirde şimdiye kadar yeni bir kitabı açıp en azından bir paragraf okurdum zaten. yaklaşık 5 saattir ya kitabı düşünüyorum ya da internette kitapla ilgili yazılan review'ları okuyorum.çok dağınık gidiyor review, "e sen hep dağınık yazıyorsun zaten" diyeceksiniz ama bu sefer iyice dağıldım çünkü kitap da kurgu anlamında dağınıktı ve bunu yine kötü anlamda söylemiyorum. beş ayrı karakterin ağzından hem paralel hem de eskilerden hatırlayarak (ve bize katman katman sırlarını açarak) ilerleyen bir kitap bu. bir yönüyle bu çok keyifli. sürekli farklı bir karakterin bakış açısından hikayeyi takip etmek hem akıcılığı hem ilgi çekiciliği arttırıyor. ama bir yönüyle de o kadar kapılıp gidiyorsunuz ki sonunda ne olacağına kafa yormayı bir kenara bırakın, sonunda bir şey olup olmayacağını umursamıyorsunuz bile. yine karakter bazında hikayeye bakmamızı çok güzel sağlamış orhan pamuk, hiçbir karakteri okurken "aa bu diğeri gibi konuşuyor aynı" demiyorsunuz, beşi de nev-i şahsına münhasır yaşıyor ve anlatıyor. bi de orhan pamuk'un bana özel bir olayı var, şöyle ki; okuduğum şeyi yaşıyor oluyorum hep. yeni hayat'ı otobüste okumuş ve bitirmiştim. inanılmaz bir zevkti. bunu okurken de arşiv dosyalarıyla ilgili bir çalışma yapıyordum. faruk'un arşiv hikayelerini gereksiz bulan okurlar olmuş, belki de bu yüzden bana hiç öyle gelmedi. bir not daha: tabi ki en çok recep'i sevdim. "keşke sormadan sütü ısıtıp önüne koysaydım" yerinde boğazıma bir şey düğümlendi. bu kadar hor görülmüşlükle bu kadar sevgi dolu, kalbi temiz bir karakter olmayı nasıl başarmış diye düşünüp durdum hep."unutsam da yeniden okusam" diyemeyeceğim çünkü yeniden okuyacak kadar unutacağımı sanmıyorum ama sessiz ev, tam olarak, kitaplıktan alıp karıştırıp karıştırıp tekrar koyacağım kitap olacak, orası çok belli.ek: altını çizdiğim yerler:(view spoiler)[saçlarım. Birer birer dökülüyorlar. Vakit, diye mırıldandım, zaman dedikleri şey, dökülür. Durdum, fırçayı sırtüstü bıraktım: Kabuğu üstü devrilmiş bir böcek gibi yattı ve beni ürpertti. Her şeyi böyle bıraksam ben ve bin yıl kimse dokunmasa bizlere, her şey böylece bin yıl durur. Masanın üzerinde anahtar, sürahi, eşyalar: Ne tuhaf; her şey olduğu gibi yerinde, kıpırdamadan! O zaman düşüncem de biraz buz parçası gibi kaskatı kesilip renksiz ve kokusuz durur, dururdu.***şu hikâye dinleme tutkusu, hepimizi kandırıyor, düşsel bir dünyaya sürüklüyor bizleri. Üstelik, hepimiz, kanlı canlı bir gerçek dünyada yaşarken...***Ama kelimelerin insanı heyecanlandırdığı zamanlar da vardır, bilirim. Merhaba der biri, seni dinler, hayatını, sonra kendi hayatını anlatır, ben dinlerim ve böylece birbirimizin gözünden birbirimizin hayatlarını görürüz.***Birlikte karşılıklı iki kişi susarsın da bazan karşılıklı konuşmaktan daha anlamlı olur bu suskunluk.***ağabey-kardeş; sanki başlarının çevresinde biriktirdikleri o neşesiz hayat bulutunu ürkütüp kaçırmamak ve ciğerlerine daha çok mutsuzluk çekebilmek için hareket etmekten ve gürültü çıkarmaktan korkuyorlar.***Ceylan'ı sevdiğimi düşündüm; ama çözümleyemediğim bir duygu onu benden uzaklaştırmaktaydı da: Sabahlara kadar yatağımda düşündüğüm gibi, ona kendimi anlatmam gerektiğini biliyordum, ama düşündükçe bu anlatılacak 'ben'in sanki hiç olmadığı aklıma geliyordu. Ben dediğim şey kutular içinde kutular gibiydi: Kendimde hep bir başka şey vardı sanki; o şeylerden sonra asıl kendimi bulup ortaya koyabilecektim belki, ama her kutunun içinden Ceylan'a olduğu gibi gösterebileceğim gerçek ve özgün bir Metin değil, onu gizleyen bir başka kutu çıkıyordu. Şöyle düşündüm; Aşk ikiyüzlülüğe sürüklüyor insanı, oysa âşık olduğuma inandığım için, ben, bu sürekli ikiyüzlülük duygusundan kurtulacağımı sanmıştım. Ah, bir bitse bu bekleyiş!***İşte az gelişmiş ülkenin umutsuz toplumsal bilimi budur: Elimizdeki somut yapı kötü bir kopyası olduğu özgün yapıdan ne bakımlardan ayrılıyor? Kel bir kafa, bıyık, demokrasi ve sanayi açısından.***Ne tuhaf aşk denen şey! Şimdiyi hiç yaşıyamıyorum sanki! Bir yandan, bıkıp usanmadan gelecekte ne olacağını düşünüyor, öte yandan da bütün hareketlerini ve sözlerini anlamlandırabilmek için olup bitenleri yeniden defalarca düşünerek geçmişte yaşıyorum. Üstelik bunun, o aşağılık heriflerin aşk diye böbürlendikleri şey olup olmadığını bilmiyorum bile.***Hayata, o bir seferlik araba yolculuğuna bitince yeniden başlayamazsın, ama elinde bir kitap varsa, ne kadar karışık ve anlaşılmaz olursa olsun, o kitap, bittiği zaman, anlaşılmaz olan şeyi ve hayatı yeniden anlayabilmek için istersen başa dönüp biten kitabı yeniden okuyabilirsin, değil mi Fatma? (hide spoiler)]

  • Gearóid
    2019-05-10 18:26

    When I first started reading Orhan Pamuk's books I really struggledand ended up abandoning Snow and My Name Is Read!!!!!!!It just seemed to complex and I couldn't follow at all really.But after reading Museum Of Innocence I really enjoyed this bookand started to feel I was understanding this great writers work.Now I have finished Silent House....which I really loved!Now I really do want to go back and read his books that i have abandoned.Silent House just captivated me!The characters were really interestingand each chapter was in the voice of a different character.At the end of I wanted to know even more about Turkey and Istanbuland I think reading Organs books is a great way to do that!I will go back and read Snow and My Name Is Red and his other workswith no fear of abandoning them..LolAlso I really need to visit Istanbul soon!!!

  • Chaitra
    2019-05-11 18:14

    I must be missing something vital - in translation? in theme? Because this was the second book of Orhan Pamuk in as many weeks that I had zero (possibly negative) appreciation for. Granted, this is a translation of a very old book and Snow is a fairly recent graduate of the Pamuk alum. But, many of the themes that bothered me in Snow, bothered me here too. I'll come to that in a minute.Silent House is a story of a Turkish family headed by an old (highly loathsome) grandmother, Fatma. She's ill and is looked after by a dwarf named Recep. Her husband was a godless man, who spent his life drinking his raki and writing an encyclopedia and impregnating a housemaid. Recep the dwarf is one of his progeny, the other is a lottery ticket seller called Ismail who has good for nothing wastrel for a son, called Hasan. His official son was also a man who drove himself to an early grave by drinking too much, his wife a sickly woman who died before him. The plot of this story covers the week when the grandchildren come to the said Silent House for a week long visit. Faruk is a sad loser divorcee, who is turning into an image of his grandfather. Nilgun, beautiful, is a communist. Metin is the practical one - he wants to go to America and he wants money. All of these above characters have first person perspectives. Except Nilgun and Ismail and the dead ones, but they appear in other people's perspectives. It's highly distracting, because there's not much difference in their perspectives. Metin and Hasan especially are interchangeable but for their respective loves. It's only used as an expositionary device, to relate incidents, not thoughts. Thoughts, when they are presented, do not go deeper than - "I want to go to America and become rich and famous"/"I only think about you!"/"I love you"/"Grandmotheris what they'll say to me, and I'll say . I'm confused as to the point - was this emotional vapidity the point? Were we supposed to sympathize with any of these characters? Unfortunately, I didn't. I wanted to wring their collective neck so that the monologue could come to a stop. I'd spare Nilgun - who seemed like a decent character, perhaps because she didn't have a perspective, but (view spoiler)[Pamuk took care of her himself in a totally ridiculous, contrived, unwanted, manipulative sequence (hide spoiler)].There must be something wrong with Turkish men. As represented by Pamuk, they don't seem to be able to mature into thinking adults. They fall in love at the drop of a hat, think that violence and doing things that their true love doesn't want to shows manliness and their love, because what does a woman know anyway? There isn't a contrast either. No matter the economic background, no matter the political and religious affiliation, this is how all men behave. Again, is this the point? The immaturity that's somehow symbolically linked to Turkey? (I know it's not in Snow - we're supposed to sympathize with the character and I don't think Ka personifies Turkey, at least, I hope not.) There are some interesting issues raised, about politics, about religion. Nilgun is a commie and Hasan is a nationalist, Fatma's entire family is godless but tolerant, she alone is godly and thus intolerant. But this never becomes more than background noise. There's a plot point circumstantially linked to politics, but it's still not explored in any in-depth fashion. Depth was a problem I had with Snow as well. Is this a problem of the translation? Does it read better in the original Turkish? Because as it is, it's a complete waste of good trees. It's also disheartening, because from Silent House to Snow, I don't see Pamuk getting better. I will hold out judgment until I read My Name is Red, but so far my foray into Pamuk oeuvre isn't very promising.

  • Inna
    2019-05-06 12:23

    The book was almost painful to read. A clash between the westernized intelligentsia and the nationalist poor, accompanied by sexual tensions, ends up in violence and death. Everybody wishes well, but everybody hurts everybody else. And upstairs stays a vicious traditionalist ninety-years old grandmother who rejects everything and everybody.

  • Astraea
    2019-05-12 17:11

    کتاب عالی هست...فقط به صبر نیاز داره...توی 10 صفحه اخر اندازه 300 صفحه حرف هست....داستان 5 راوی اصلی داشت. رجب،فاطمه،فاروق،متین و حسن.شیوه نگارش پاموک در خانه خاموش مبتنی بر تک‌گویی درونی چند راوی است. پاموک در این رمان، از چند راوی برای روایت داستان استفاده کرده و روایت این چند راوی را به نحوی در هم تنیده است که هر روایت، روایت‌های دیگر را چون تکه‌ای از یک پازل تکمیل می‌کند. تاریخ، عشق، اشیا، شهر با تمام نمادهایش و پرسه بورخس‌وار در متون مکتوب و اوراقی که از دل خروارها خاک سر برمی‌آورند، جزوی از دغدغه‌های ارهان پاموک در خانه خاموش است؛ دغدغه‌هایی که کم و بیش در آثار دیگر او نیز دیده می‌شوند. اين رمان كه به شيوه جريان سيال ذهن نوشته شده، ماجراي سه نسل در يك خانواده است كه هر كدام از طريق تك‌گويي ماجراي زندگي و گذشته خود را بيان مي‌كنند. تك‌گويي‌ها مانند حلقه‌هاي زنجير به يكديگر پيوند مي‌خورند و ساختار اصلي رمان را تشكيل مي‌دهند

  • Usman Hickmath
    2019-05-23 12:30

    Pamuk has tried to explore the conflicts between religious and secular, nationalist and communist of Turkey through the story of an old lady and her grandchildren. But this work lacks the depth with which Pamuk wrote Snow thirty years later with a similar theme. Characters in Snow express opinions to explain which ideology they belong to clearly. But the people of Silent House are just blasphemous to prove their secularity.

  • jo
    2019-05-17 12:26

    i enjoyed this book tremendously. a few hours from instanbul, in what used to be country-side but is now a posh sea town, an elderly widow lives in a decrepit old house. the book is set in 1980 (though this date is never mentioned in the book; the book was published in 1983) and takes place during the days in which fatma’s grandchildren pay her their annual visit. the eldest is a university professor in history, the second oldest a university student and the youngest a high schooler. the narration is multivocal: the elderly lady, her house servant, two of the three grandchildren, the servant's nephew, also a high schooler, and a friend of one of the grandchildren speak in alternating chapters. the themes the novel covers are many, and it is a sign of pamuk's genius that he can address them all with effortlessness and without ever sounding pedantic or heavy handed. there is the issue of love -- romantic love -- a very fraught issue in this particular book and, if i remember correctly, in Snow (my only other foray into pamuk-land) too -- and familial love. there is the conflict between left-wing (communist) non-believers and muslim fundamentalists, just on the eve of a military coup (the coup is not mentioned, but the tension is high). there is aging. there is family trauma. there are sick and deformed bodies (the servant is a little person, or, in the book's rendition, a dwarf), there is the restlessness of young men, and, last but definitely not least, there is a nice deep take on history and learnedness. fatma is on a 70-year self-imposed exile in the locality where the book takes place. most of her sections of the book are cynical, crotchety, and angry commentaries on her current conditions, including her grandchildren's visit, and accounts of her married life. her husband selâhattin, now dead, spent his entire life working on a science-based, anti-religious encyclopedia, an enlightenment-flavored project for his fellow asians, who, in his view, are very backwards and nowhere near the intellectual level of europeans. the liminal place of turkey and in particular of instanbul on the border of asia and europe is clearly and centrally thematized. the vicissitudes of the encyclopedia, its author, and the way he chooses to support himself in the process of writing it, are one of the backbones of the story. the immense project leads fatma's husband to insanity. yet fatma remains so beholden to him that she reports faithfully his rants against religion and a theological understanding of the world – the rants go on for paragraphs, and are as irritating (because he rants at her, and is clearly obsessed and increasingly unmoored) as they are interesting. she also feels compelled to remain in the exile to which he brought her (they escape istanbul under circumstances which may well have been the result of selâhattin's self-aggrandizing paranoia). she describes without anger the pillaging of her family’s jewelry selâhattin did in order to keep himself and his wife alive while he worked monomaniacally on his encyclopedia. tragically, and predictably, in spite of the man's assiduous work, the encyclopedia never gets completed. this intellectual effort is mirrored in grandson faruk, a history professor who is profoundly disillusioned with his job and work. while on holiday at his grandmother's, though, he discovers the local archives and draws new energy and vitality from the idea of writing a book in which he simply lists past events (the documents he finds in the archives are transactional court records from, if i’m not wrong, the 16th century, and deal mostly with daily disputes over small matters) without commentary or a thesis. in a number of chapters he reflects enthusiastically on a vision of history as simple compilation of archival records. this contrasts with but also complements his grandfather's encyclopedic effort. whereas his grandfather (whom faruk never mentions, thus giving us the impression that probably he knows nothing about him) failed massively at his recasting the entirety of knowledge in lay terms, faruk gives up on seeking sense altogether, letting facts speak for themselves, or not speak at all, or speak only through whatever story-telling the reader wants to build with them. i found this whole part, this struggling with culture, knowledge and history, the most compelling part of the book. in a way, all the characters struggle with meaning-making, some through politics, some through religion, in such a way as to put the positioning of turkish culture in the changing political landscape of the 20th century at the heart of the book. but i was also fascinated by the depiction of masculinity. both high schoolers are enamored of women who do not reciprocate their love, and, shockingly, they become quite aggressive and violent in their pursuit of these girls. the adult men are either failed intellectuals or abused and disenfranchised cripples (the dwarf and his limping brother). in the basement of the house lies the big secret of the dwarf and his brother, illegitimate sons of selâhattin and his and fatma's former house-servant. it is essential for fatma to keep the familial bond between the dwarf and the rest of the family secret, and this secret haunts the house and the family, seeding violence, madness, and failure. fatma’s own brand of insanity includes obsessing over the imperative that this secret be never revealed to the young people -- that the fact that recep, the disabled servant, is their uncle remain forever hidden. but this shame ends up rotting everyone’s lives. i know too little about turkish history and culture to assess whether the secret of recep’s birth stands for some larger national secrets. in the context of the family, though, recep, the only character in the novel beside fatma who knows everything, is the only decent family member, the sole bringer of sanity to a crumbling home.

  • Graham Crawford
    2019-05-12 11:05

    This is a very well written book with extremely real characters, but I can't say I enjoyed it. Appreciated maybe - It's a journey into nothingness and futility, anger spite & fear. I felt like I needed a wash afterwards. I found the Grandmother's vicious point of view particularly difficult to read. Almost as bleak as a Cormac McCarthy, but more believable - *shudders*. I read the drunken rage and rape driving scenes with a kind of fascinated horror, needing to put the book down but forced to go on against my will. The only light in this novel is snuffed out, and I guess that's the point.Relentless.

  • Nicko D
    2019-05-22 17:20

    Писан в периода между 1980 и 1983 година, вторият роман на Орхан Памук – „Безмълвният дом”, е актуален повече от всякога за случващото се в днешна Турция. На фона на изнурено семейство Нобеловият лауреат за литература разглежда под микроскоп основните проблеми, които според него спъват турците към мечтания от тях прогрес.„Безмълвният дом” е всичко друго, но не и безмълвен, защото страница след страница писателят сякаш говори от името на огромна част от обществото в Турция, която мечтае страната им да поеме към Запада, да хвърли фесовете, да обърне гръб на полумесеца. Сякаш ще се окаже вярно, че смелостта принадлежи на младостта, тъй като още във втория си роман, Памук си позволява разпространение на идеологии, които не всички писатели, особено в днешна цензурна Турция, биха внедрили в повествованието си.„Безмълвният дом” по своему е семейна сага, изключително разпознаваем турски роман, написан в стилистиката на съвременната турска литература, включвайки като основна идея в себе си политическото и класово разделение в обществото през 70-те и 80-те. Книгата е разделена на 32 глави, разказани от първо лице на героите. Сюжетът на романа е базиран в покрайнините на Истанбул, където вечно недоволната възрастна вдовица Фатма посреща за лятото своите внуци: Метин, мечтаещ да стане част от американското общество; Фарук, който търси чумата в историята на Турция и Нилгюн, която е запалена по левите идеи.В тишината на своя тих дом Фатма чува гласове от миналото, които до последния й дъх ще я терзаят, ще трият сол в раните й и тя ще е косвена жертва на грешките на своя съпруг, съжителствайки с джуджето копеле, което той й е завещал. В главите, в които повествованието се води от нейно лице, гласност има най-вече покойният й мъж Селяхаттин – приживе първо лекар, а след това целеустремен ентусиаст да промени турското общество, посредством своята енциклопедия, която така и не успява да довърши, тъй като алкохолът довършва него.Селяхаттин отказва да практикува професията си на лекар, след като на няколко пъти при него идват жени с вагинални проблеми и по религиозни причини отказват да се съблекат пред него. „Какъв Аллах, Аллах не съществува, Аллах умря! Глупав селянино, кажи поне ти на съпругата си да си разтвори дрехата! Хубаво, щом няма да се съблича, няма да я преглеждам, махайте се, няма да се прекланям пред вашата тъпа и сляпа вяра, до един са ви убедили в измамата за Аллах. Ще завърша моята четирийсет и осем томна енциклопедия, ще съм изразил всички основни идеи и термини, които трябва да бъдат изречени в Изтока: с един замах ще запълня невероятната мисловна пустота, всички ще бъдат зашеметени, вестникарчетата ще продават моята енциклопедия на моста Галата”.За несъществуването на Аллах, но живота според неговите канони, които възпират развитието на човечеството, Памук изразява смела гневност и това е красноречивият отговор защо в родината си той не е пророк и често си има проблеми с фанатиците.„Истините се откриват само веднъж: и във Франция небето е синьо, и в Ню Йорк смокиновите дървета дават своите плодове през август; кълна се, че и днес в Китай от кокошите яйца се излюпват пиленца, както се излюпват в нашия курник в Турция, че ако в Лондон машините се въртят с водна пара, те и тук се въртят по същия начин, че ако Господ го няма в Париж, го няма и тук, и че човек навсякъде е еднакъв и равнопоставен, че най-хубавото нещо е републиката и че първоосновата на всяко нещо е науката.”Като типична турска сага, в „Безмълвния дом” има и любов, и изневери. И в ранното си творчество Памук не пропуска да обърне внимание на отритнатите от обществото хора и да разгледа детайлно мъката, която се е загнездила в душите им. В младостта си енциклопедистът Селяхаттин изневерява на Фатма с домашната прислужница, която го дарява с две деца – джуджето Реджеб и куция продавач на лотарийни билети Исмаил. Реджеб преодолява физическия си недъг, но така не успява да преодолее и психологическия недъг у другите хора. „Млъкнаха: май този път не защото не можаха да се разберат, а защото разбираха неразбираемостта на онова, което разбираха. Ако две съответстващи си личности мълчат заедно, понякога това мълчание става по-разбираемо от съответното му говорене.”От минарето на своя интелект, в книгата си Памук публикува и два изключително интересни и даващи поле за размисъл списъци за Турция – единият за нещата, които са в повече на страната, и друг - за нещата, които са в недостиг. „Списък на нещата, които са в недостиг: науката, шапката, картината, търговията, подводницата, буржоазията, изобразителното изкуство, шахът, зоологическата градина, фабриката, професорът, дисциплината, математиката, книгата, принципът, консервата, свободата”.Хората с афинитет, дори туристически към Турция, исляма и Близкия изток неминуемо с усмивка и разсъдък биха погледнали над вече изброеното! Далеч по-интересното обаче предстои - в списъка на нещата, които са в повече от необходимото в Турция: мъжът, селянинът, чиновникът, мюсюлманинът, войникът, жената, кафето, привилегията, мързелът, нахалството, подкупът, разплутостта, страхът, минарето, честта, котката, гостенинът, просякът, чесънът, лукът, прислужницата, занаятчията, имамът”.Писана преди повече от 30 години „Безмълвният дом” и до днес е един силен вик на Памук за нуждата от наука в световен мащаб, макар романът да е локално базиран. По време на цялото повествование Памук кара героите си да откъснат диаманта на познанието от дървото в рая и макар да се гърчат в мъки, един ден тя ще бъдат свободни и ще изградят действителен рай на този свят, а не религиозен.В заключение, „Безмълвният дом” е първата сериозна стъпка на Орхан Памук не толкова като вероотстъпник, а като човек осъзнал силата на религията над простия човек. Чрез формата на романа турчинът хули слепите фанатици и показва, че противоположният път на религията е науката, позволявайки си да нихилизира богове, догми и свещени текстове. Почитателите на трийсет и кусур годишното творчество на Орхан Памук нямат нужда от излишни обяснения и доказателства защо един от най-великите съвременни автори каза преди време: „Има много гордост в решението ми да не вярвам в Бог”.У нас книгата е част от каталога на издателство „Еднорог”, в превод на Розия Самуилова.

  • mai ahmd
    2019-05-23 19:20

    ...لم يكف أورهان باموق عن الثرثرة على لسان شخصياته في روايته الشيقة البيت الصامت على مدى 456 صفحة والتي أنجزها بعد روايتيه (العتمة والنور) و(جودت بك وأبنائه) وقد نال عليها جائزة الاكتشاف الأوربي عام 1991 بعد ترجمتها للغة الفرنسية تنبيه : تجاوز هذه المراجعة حتى لا تفسد أحداث الرواية فكرة الرواية تدور حول التيارات السياسية التي ظهرت في تركيا خلال فترة الستينات والسبعينيات وذلك من خلال عائلة تعيش في مدينة جنة حصار وهي مدينة قريبة من استانبول يعيش في هذا البيت القزم رجب والجدة فاطمة والتي تمثل التيار الإسلامي , وذكريات زوجها صلاح الدين والذي يمثل التيار العلماني الملحد ويبدو أن باموق قد أسقط ازدواجية الدولة التركية العلمانية – الإسلامية على بيت هذه العائلة حين تصطدم الأفكار ويعلو صوت صلاح الدين كثيرا بعربدته وسكره وأفكاره التحررية وأحلامه بتأليف موسوعة يدون فيها اكتشافاته التي تمثل فكره الإلحادي وكل ذلك من خلال ذكريات الجدة فاطمةكان صلاح الدين يقول : كل يوم هو عالم جديد يا فاطمة , العالم مثلنا يولد كل صباح , وهذا يجعلني أنفعل إلى حد أنني أستيقظ قبل شروق الشمس , وأفكر بأن كل شيء سيكون جديدا جدا سأرى , وسأقرأ , وأعرف ما لم أعرفه أبدا وبعد أن أعلم ما أعلمه بشكل جيد سأنفعل, لحد أن أقفز من سريري, وأهرع راغبا في رؤية الشمس ورؤية النباتات وهي تتملل متغيرة , بعدها سأهرع إلى الأعلى دون إبطاء لأكتب ما رأيته لماذا لا تشعرين أنتِ هكذا !!! يجب أن أكون كالأوربيين مثل داروين مثلا يا له من شخص مدهش لكن مع الأسف لا يمكن أن يكون الإنسان شيئا في هذا الشرق المخدر !الخادم رجب أو القزم يشكل شخصية رئيسية في الرواية فهو الابن الغير شرعي من زوج الجدة من خادمتها اليهودية وهو يبدو كمراقب مسالم تجاه شخصيات الرواية كفتهُ إعاقته وفقره وصلة قرابته بالعائلة ليظهر كشخصية تراقب من بعيد إنه صوت الراوي المحايد حتى وإن كان قزما يرعى شئون الجدة وعلاقاتهما تشوبها الحذر والترقب والارتباك إضافة إلى الاحتقار الذي تكنه الجدة فاطمة له فهو يذكرها بماضي زوجها وعربدته مع الخادمة أنزل من السرير بهدوء وأجلس إلى الطاولة وأنظر إلى الإبريق كيف ينجح الماء بالوقوف فيه دون أن يفور ؟ كأنني دهشت لهذا ! إن إبريق ماء شيء يدعو للدهشة كثيرا .. ذات مرة قلبت كأسا على نحلة وحبستها .. حين شعرت بالضيق نهضت من سريري ونظرت كانت النحلة قد تجولت على مدى نهارا وليلتين داخل الكأس حتى فهمتْ أن لا مخرج لها بعد ذلك انزوت في أحد الأطراف دون أن تتحرك وتعلمت أن ليس لها ما تفعله سوى الانتظار والانتظار دون معرفة ما تنتظره !! حينئذ شعرت بالاشمئزاز منها قرفت فتحت النافذة وجررتها إلى حافة الطاولة .. ناديت رجب وطلبت منه أن يسحق هذه الحشرة المقرفة, قطع قصاصة من جريدة وأمسك بالنحلة بدقة وألقاها بالنافذة لم يستطع قتلها لأنه من نوعها! لقد كان أورهان بارعا في صوت الجدة فاطمة والتي كانت الشخصية الأكثر تأثيرا وهي تسرد ذكرياتها ا خلال السنوات التي أرقتها فيها أفكار زوجها المتأثرة بالفكر الغربي ناهيك عن وردود أفعالها مع القزم وعدم قدرتها على الاندماج مع الأجيال الجديدة أحفادها الذين كانوا في زيارة لها من استانبول وهو الوقت الذي تحول فيه البيت الصامت إلى صاخب لا يكف عن الثرثرةيضحكون : يا لغرابة هؤلاء العجائز , يضحكون , كيف حالك أيتها الجدة ؟ يضحكون. هل تعرفين ما هو التيلفزيون ؟ يضحكون . لماذا لا تنزلين إلى الأسفل وتتناولين الطعام معنا ؟ يضحكون . هل ننزهك بالسيارة أيتها الجدة ؟ يضحكون . كم هي جميلة تطريزات ثوبكم الصباحي ؟ يضحكون . لماذا لم تدلي بصوتك الانتخابي ؟ يضحكون . لماذا تعبثين بخزانتك دائما ؟ يضحكون لو قلت لهم لماذا يضحكون هكذا وأنتم تنظرون إلي ؟ سيضحكون أيضا يضحكون ويقولون إننا لا نضحك ياجدة .. ويضحكون مرة أخرى ..الأحفاد فاروق ومتين ونيلفون , كلا منهم يشكل تيارا وفكرا مختلفا ففاروق المؤرخ والأبن الأكبر للعائلة يسير على خطى والده وجده ويحاول ربط الماضي بالواقع يبحث عن موسوعة والده والتي أحرقتها الجدة للتخلص من آثامه العالقة بها حتى بعد وفاته ( استيقظت فجأة وأنا أرى أشياء غريبة ومثيرة للفضول تكدرت حين عرفت إن ماأراه حلما كنت أرى في حلمي شيخا يرتدي عباءة يدور حول رأسي يناديني : فاروق فاروق ! كان سيخبرني بسر التاريخ غالبا ولكنه يعذبني قليلا قبل أن يخبرني ! متين الشاب الصغير معلم الرياضيات الذي يعشق فتاة غنية جميلة فتراوده أحلام الثراء ويفكر ببيع البيت في حوار مع الجدة يتصاعد حدة في الوقت التي تتصنع فيه الجدة النوم حتى يصل إلى البكاء والتوسل ثم الغضب وينتهي بعبارة ( لماذا مات أبي وأمي وتعيشين أنت ِ )نيلفون الفتاة الشيوعية لم يكن لها صوت في الرواية إلا عن طريق الشخصيات الأخرى فهي دودة كتب, تتعامل بحنان مع الجدة وقزمها رجب جميلة يعجب بها صديق طفولتها حسن (ابن إسماعيل شقيق رجب) بائع اليانصيب وهو الذي يمثل التيار القومي التركي المتصاعد في تلك الفترة والذي كان يحارب الشيوعية تقدمت وتقدمت ثم توقفت فجأة خلعت الثوب الأصفر الذي ترتديه وبينما كنت أخمن لون لباس سباحتها لفت منشفة وتمددت أخرجت كتابا وبدأت تقرأ أستطيع رؤية يدها التي ترفع الكتاب تعرقتُ مر زمن طويل وهي تقرأ , رشقت وجهي بالماء لكي أبرده , مر زمن طويل وبقيت أقرأ تخيلت فيما لو ذهبت إليها سأقول: مرحبا كيف حالك ؟ أنا أتيت لأسبح , نهضت نيلفون مشت إلى البحر فكرتُ بجمالها, قفزت لتسبح , تسبح بشكل مستقيم , تذهب للعمق دون التفكير بأن أغراضها بقيت على الشاطىء لا تهتمي نيلفون أنا أحرس تلك الأغراض ..حسن تجدها شخصية طفولية رعناء تفتقد الحب أحيانا وأحيانا أخرى ثائرة على أوضاعها تغرق في بحرأحلامها فيتخيل إنه سيد وله مصنع يعمل به العمال وأن نيلفون تأتيه صاغرة يعشقها بطريقة غريبة حتى إنه يقوم بسرقة مشطها يتشممه يراقبها وهي تسبح يتسلل لغرفة نومها يشم ثوب نومها ولا ينفك عن التفكير بها حتى يكتشف شيوعيتها وإذ ذاك يقدم على ضربها بكل قسوةالرواية تلامس الواقع التركي في العمق وسكان هذا البيت الصامت لا يكفون عن الثرثرة كنت أقولها وأنا اقفز من فصل لآخر مستمتعة بأسلوب أورهان الرشيق والممتع على لسان شخصيات الرواية كل شخصيةا كان لها صوتها, فكرها , أجيال مختلفة متنافرة أجتمعت في بيت واحد وكانت تروي نفسها بنفسها في فصل مستقل حتى إن الأمر يكاد يختلط عليك , عليك أن تجاهد قليلا لتصل إلى أصوات الرواة عندها ستتنفس بعمق لأنك وصلت إلى مفاتيح الرواية ولكن أدخر بعضا من أنفاسك لأنك ستحتاج نفسا طويلا للمتابعةأنا متيمة بباموق لذلك لستُ مسئولة إن لم ترق لك الرواية :)

  • Jim
    2019-05-18 11:14

    I kind of hovered between rating this 3 and 4 stars, but I realized I was leaning towards 3 because I am completely ignorant of Turkish history and politics, and so not fair to penalize the author for my own gap....An interesting read which reminded me a little bit of Naguib Mahfouz's fiction. Pamuk gives us multiple narrators to tell us the story of Turkey and its 20th century struggles as the border state between Europe and the Muslim nations of the middle east. A pity that I don't know the history of the country, because I believe it would have enhanced my understanding, but still, a well written story of multiple generations and classes trying to adapt to a world that is changing without their consent and without a user manual.Recommended!

  • Lisa
    2019-05-17 12:01

    I don't know why I waited so long to revisit Orhan Pamuk! Both My Name is Red and Snow have stayed with me for many years. The conflicts of an extended family in Silent House mirror the political and social world of 1980 Turkey. Pamuk is especially brilliant at capturing the self-destructive psyche of the male cousins. A terrifying and sad novel.

  • Nick
    2019-05-09 12:02

    "Silent House" is an early novel by Nobel recipient Orhan Pamuk. Compared to his more famous work, it is more straightforward than "My Name is Red", which harnesses its setting in early Ottoman Istanbul and its self-conscious virtuosity to a mystery that rarely seems to be the novelist's focus. "Silent House" shares the historical setting of "The Museum of Innocence", the politically-riven Turkey of the eighties. Nationalism is on the rise, and an Army coup is around the corner. But unlike "The Museum of Innocence", "Silent House" is not narrated by a single obsessive voice, which gives the later novel an often claustrophobic atmosphere. It actually does not take place in Istanbul but instead in a small beach community on the Bosphorus to which the patriarch of the family had retreated after political disappointment to write the encyclopedia that he believes would change Turkey. By the time of the novel, he is long dead and his writing long destroyed, although he is still vivid in the memories of his ninety-year old widow. The other narrators are his progeny--from the widow, two grandchildren: the failed historian Faruk and the youthful Metin, the latter envious of the wealthier and smoother children of the elite who he tries to match in sophistication, with disastrous results. Then there are Recep, the patriarch's son by his mistress, who serves the widow in her decaying house, and Hasan, a grandson who, frustrated and grasping for hope, falls in with the nationalists, trying and failing to impress them. This is, broadly speaking, a battle between those who favored modernizing Turkey--although without Ataturk's skill or vision--and those who insist on trying to recreate an imperial and religion-centered past. But Pamuk does not take sides; his at times scornful, at times sorrowful, criticism is aimed at the delusional patriarch and Meten, whose yearning for money and partying is the fruit of a powerful insecurity over status. In truth, Meten resembles Hasan, which does not prevent him from treating his poorer cousin shamefully; they are young men adrift in a society that is growing more secular and money-driven, both knowing in their hearts that they will be left behind, and both transmuting that anxiety into obsession over an unreachable girl. The widow, more religious than her late husband, spends her time talking back to her dead husband as she never could in life, obsessing over the sins of her living and dead family members, and accusing Recep (who has the fewest discernible flaws of any of the narrators) of various kinds of betrayal. The treatment of Hasan is not unsympathetic with its careful exploration of the frustrations that drive him, but in the end he destroys what he says he loves and flees without conscience. Pamuk's unsparing view of Turkish society of the time finds both nationalism and modernism bankrupt, cloaks that allow the narrators to continue their self-deceptions. Even Recep, the only one who can be said to produce his best efforts, fails. "Silent House" also caused me, though, to think back about one issue that bothered me greatly about "The Museum of Innocence"--the passivity of the female characters. In "The Museum of Innocence", the female characters accepted their fate (at least until the conclusion and even then, the woman who is the object of the narrator's destructive obsession acts as though she has no choices). In "The Silent House", two women are assaulted. One continues to ride around in a car with her attacker and dismisses the importance of the incident; the other refuses to seek medical attention. That this minimization of violence in "The Silent House"--and the lack of agency that marks the women in both novels--is likely part of Pamuk's critique of Turkish society. But it does not help his case that we spend so much time understanding men who act childishly and in the end destructively and so little among the injured women.

  • Lisabet Sarai
    2019-04-25 18:26

    I spent several weeks reading Orhan Pamuk’s Silent House. Pamuk’s books are dense and difficult, but well worth the effort, if one measures this by those “aha” moments occasionally triggered by great literature.Silent House is Pamuk’s second novel, first published in 1983. On the surface, it’s the story of a single family. In her second floor room, in the old house in a seaside village where she has spent her adult life, a frail ninety year old widow awaits the annual visit of her three grandchildren: overweight, alcoholic Faruk, a professor obsessed with history; his stylish, left-leaning younger sister Nilgün; and materialistic, self-absorbed college student Metin, who is saving his money to go to America and become a captain of industry. The dwarf Recep, now a faithful servant to the grandmother, is in fact her husband’s illegitimate son, crippled due to her treatment of him as a child. Teen-aged Hasan is the son of Recep’s bastard brother and a member of a thuggish nationalist gang. The overall mood is one of dissatisfaction, bitterness and decay.Each chapter is an intimate, in many cases disturbing, peek into the mind of one of the characters—grandmother Fatma, Faruk, Recep, Metin and Hasan (but not, interestingly, Nilgün). These first person narratives come close to stream of consciousness. They portray the ebb and flow of emotion, the irrationality of thought, the occasionally overwhelming physical sensation. The effect in each case is one of intense isolation, which becomes more oppressive as the book proceeds towards its shocking and violent conclusion.I particularly appreciated the depiction of Fatma’s inner life. She is not suffering from dementia, but she experiences the objects in her environment and especially the passage of time in an almost hallucinatory manner. I found her mental wanderings totally convincing. It’s plausible to me that when one reaches such an advanced age, so-called reality might begin to waver.However, these distinctive, vivid characters are not the author’s deepest concern. Fundamentally, I believe, Silent House is a book about perception, memory and history. The book was published on the eve of a nationalist coup. I don’t know enough about Turkish history to appreciate the specific references, but the messages are more universal. Pamuk’s characters share a loss of connection to the past, a distrust of the present, and a sense of inferiority that leads them to actions they know are wrong, but which they cannot resist.I was surprised that this author’s early work shows none of the typical optimism of youth. Silent House turned out to be far darker than I expected. More than once I considered putting the book down without finishing it. I’m glad I didn’t yield to my discomfort. That’s part of the point of this novel.

  • رانيا محيو الخليلي
    2019-05-21 14:12

    "منزل السكون" أو "منزل الصمت" كما النسخة العربية المترجمة، هي أول رواية أقرأها لأورهان باموق، الروائي التركي الحائزعلى جائزة نوبل للآداب عام 2006. كل ما يسعني قوله تلخيصّا هو أنّ باموق كاتب روائي خمس نجوم يتمتع بنفس دوستويفسكي عالي الجودة. قرأت هذه الرواية بالفرنسية والترجمة المنقولة عن التركية كانت متقنة لدرجة أنني لم أشعر قط أنها مترجمة. تجري أحداث هذه الرواية في أواخر السبعينات بداية الثمانينات وهي مرحلة سياسية إنتقالية في التاريخ التركي وكذلك في الشرق الأوسط. نقرأ هذه الرواية على لسان أكثر من راوٍ، فالحكاية تبدأ مع "رجب" الإبن غيرالشرعي لصلاح الدين. وصلاح الدين كان طبيبًا أجبر على مغادرة اسطنبول لميوله السياسية المتطرفة والإستقرار في مدينة "قلعة الجنة" المحاذية للبحر. عرفنا من الفصل الأول أن رجب قزم ويخدم في منزل كبير تقطنه امرأة عجوز هي فاطمة زوجة صلاح الدين. ثم ننتقل للفصل الثاني حيث تخبرنا فاطمة سيدة المنزل باقي التفاصيل. وهكذا تتنقل الأحداث على أكثر من لسان ومن أكثر من وجهة نظر. فحين يصل أحفاد فاطمة من إبنها الوحيد "دوغان" إلى المنزل - نعلم منها أن دوغان توفي بعد فترة قصيرة من موت زوجته- نقرأ التكملة من "فاروق" الولد البكرومن ثم من "متين" الولد الأصغر، وحدها "نيلغون" الإبنة الوسطى لا تتكلم ولا تخبرنا ما يدور في خلدها من أحداث أو من تكملة لباقي حيثيات الرواية لأنها ستكون هي الحدث الأكبر في نهاية الرواية. ثم نسمع الحكاية من طرف غريب نوعًا ما عن العائلة وهو "حسن" إبن شقيق رجب إسماعيل وهو أيضًا الإبن الثاني غير الشرعي للطبيب صلاح الدين من والدة كانت تعمل خادمة في المنزل الذي حُكم عليه بالسكون. وهكذا تتناقل الأحداث بين الماضي البعيد جدًا والبعيد وصولا للحاضر على لسان هؤلاء كل بدوره وما على القارىء إلاّ إستنباط هوية المتكلم من خلال المضمون. تقنية روائية جدًا مبتكرة يعتادها من يقرأ بسهولة لسلاسة الأسلوب وقدرة الكاتب على إتقان دور الخادم والرجل والمرأة العجوز والشاب المتهور والشاب الناقم دون أي خطأ تأليفي واحد يجعلنا لا نتقبل رد فعل أو وجهة نظر أي متكلم منهم جميعًا. الرواية إجتماعية سياسية نرى فيها الملحد والمؤمن، العلماني الشيوعي والمتزمت لمبررات غير دينية وإنما لنقمة إجتماعية من طبقة برجوازية تتمتع حاليًا بإمتيازات معيشية وإما كانت تتمتع بهذه الإمتيازات كعائلة صلاح الدين. فصلاح الدين الجد قضى حياته بائسًا في سبيل كتابة موسوعة إلحادية يحاول من خلالها تغيير أسلوب تفكير المجتمع التركي المؤمن. أنفق لأجل هذه الموسوعة كل ما تمتلكه فاطمة من مجوهرات، وبعد موته لم تتوان فاطمة عن إحراقها والتخلص منها. الفروقات الإجتماعية كانت جلية من حيث وصف التناقض بين المنازل الفاخرة والمنازل الهالكة التي تخترقها الأمطار، وكذلك في التعامل الطبقي بين الشخصيات. نقمة حسن على نيلغون وإن بدت لأسباب سياسية كونه يكتشف أنها شيوعية لكن إن بحثنا في العمق نجد أن دافعه لمهاجمتها والإنقضاض عليها كان لأنها رفضت محاولاته المتكررة للتقرب منها. كان يشعر بنقص طبقي تجاهها وكذلك بنقص ثقافي لأنه يجد صعوبات في إكمال دراسته بينما هي طالبة جامعة أينما وجدت يكون أمام ناظريها كتاب. الرواية ماتعة جدًا وتمنيت لو أنها لم تنته، رائعة من حيث الوصف والسرد والبوح بالمشاعر والأحاسيس عبر أكثر من وجهة نظر. وبُعيد نهايتها توقفت مرارا عند مقطع تحدّث فيه "فاروق" عن صديقه الروائي "أورهان" ذاكرًا جملة له من إحدى رواياته، فخيّل إلي هنا أنّ الروائي "أورهان" يخبرنا قصة صديقه "فاروق". رواية متقنة، مصقولة ومكتوبة بعناية، أنصح قراءتها بشدة. تجدر الإشارة إلى أنّ هذه الرواية هي الثانية لأورهان باموق والأولى التي تُرجمت للفرنسية.

  • Tanja Berg
    2019-05-02 18:05

    I was a bit uncertain of the rating for this book. However, I landed on 4* out of 5 mostly because I rather enjoyed it. This despite the fact that the alternating voices, perspectives and even tenses were confusing at times. Most of the voices - there was never any warning - I could quickly and easily tell apart, but the two teenage boys, Metin and Hasan were a bit difficult every now and then. Purposely so, the translator tells me at the end of the book.Hasan and Metin are related, although they don't know it. They both have the same grandfather, Selâhattin, long dead. He had an affair with the maid and two children by her. One of them, a dwarf, Recep, is now keeping the house for Fatma, Selâhattin's widow. She awaits her three grandchildren who come and stay for a week every year - Metin, Nilgün and Faruk. The setting is the late 1970's in Turkey and the fact that I had absolutely no clue as to the historical aspects hampered my understanding a bit.I don't think this a great book exactly, but it's oddly endearing in its telling of already broken dreams and dreams about to be broken. Filed in the reading challeng 2015 in the category "a book you have thought about reading for a long time". This book has been on my shelves since March 2009 and I can now finally say that I've read it and quite enjoyed it.

  • Simona
    2019-05-20 16:05

    "La casa del silenzio" è una casa che sa di stantio, di polvere e di muffa. E' una casa triste, sola. E' la casa di Fatma, una nonnina di 90 anni, bisbetica, petulante, una casa che risuona del suo livore nei confronti del marito alcolista e attivista politico; è la casa di Recep, il nano; è la casa dei tre nipoti che giungono di tanto in tanto a trovarla. E' la casa di Faruk, il maggiore, un uomo che beve per sfuggire alla noia e alla ex moglie; è la casa di Nilgun, una studentessa attivista politica che crede in una rivoluzione che probabilmente non arriverà mai; è la casa di Metin che sogna di giungere negli Stati Uniti per arricchirsi. Impariamo a conoscere i vari personaggi, grazie alle loro stesse parole, alle loro stesse voci, come se ogni capitolo fosse una delle tante vite che popolano questa casa, dove il non detto, il silenzio, appunto, è più forte del resto.Ed è qui la bellezza del libro: il fluire dei pensieri, delle sensazioni, delle emozioni di ognuno dei protagonisti, che vanno a comporre quel mosaico chiamato vita.

  • زهرة منصور
    2019-05-02 14:21

    "لا يمكنكِ أن تبدئي حياة جديدة، ولكن، إذا كان بيدكِ كتاب، مهما كان هذا الكتاب معقدًا وشائكًا، يمكن أن تعودي إلى بداية الكتاب المنتهي، وتقرئينه من جديد، لفهم الغامض والحياة، أليس كذلك يا فاطمة؟" بلاغة النهاية!رواية الشخصيات! اصوات مختلفة بتوجهاتها وبنزعاتها النفسية..رواية تعبر عن مرض الصمت..ما يدور بنفوسهم من غرور كان أو طمع أو طيبة أو احلام وآمال أو نهايات بائسة أكثر ما استفزني تلك العجوز وتأثرت فعلا ببكاء "متين"عند سريرها عندما قال لماذا مات أبي وامي وتعيشين انت؟ هذا عذابها!

  • Andrea Andrei
    2019-05-14 19:01

    "Pentru ca, asa cum aveam sa cuget cu mult mai tarziu, in timp ce stau aici, in pat, odata sfarsita, viata- calatoria aceea cu trasura pe care n-o faci decat o singura data- nu mai poate fi luata de la capat, insa daca ai o carte in mana, oricat de complicata si de incalcita ar fi ea, poti sa te intorci daca vrei, cand o ispravesti, la primele pagini, pentru a incerca sa deslusesti ceea ce ti s-a parut de nepatruns si pentru a pricepe insasi viata, nu-i asa, Fatma?"

  • Yanper
    2019-04-27 13:20

    Ένα μυθιστόρημα που μέσα από τις αναμνήσεις ενενήντα χρόνων της κεντρικής ηρωϊδας παρουσιάζεται η αέναη προσπάθεια της γεφύρωσης του χάσματος Ανατολής – Δύσης. Την ίδια στιγμή τα υπόλοιπα πρόσωπα του περιβάλλοντός της, μέσα από τις αφηγήσεις των περιγράφουν την κατάσταση που επικρατεί στην Τουρκία στην περίοδο 1975-1980, ακραίες πολιτικές αντιπαραθέσεις, φτώχεια, όνειρα και ένα κόσμος που προσπαθεί να βρει τον δρόμο του.

  • Sheri
    2019-05-16 13:21

    This book is a collection of representations and parallels. Pamuk draws lines between the oppressed and dominant across several groups: women/men; East/West; religious/atheist; poor/rich; educated/superstitious. He writes a series of chapters from each of the character’s perspectives and through these we learn about and sympathize with them individually as well as begin to understand the tapestry that is their world. Fatma is a great icon for the religious East. As a young girl she married Selahattin and despite his proclamations: “I’m so proud of you, I respect you, you know, I think of you as a free and independent person; I don’t think of you the way others think of their wives, as a concubine, an odalisque, a slave: you’re my equal, my dear, do you understand?” failed to achieve any meaningful relationship with him. She is unable to release herself from her biases and greed. As the keeper of the jewels and the judgmental one, she epitomizes Selahattin’s description of the upper class, cold woman: “Woman is the fulfillment of man…Women can be divided into two groups…The first is natural woman, those who enjoy the pleasures and joys that nature has given to them, relaxed, without problems, without worries, who usually come from the people, from the lower class…The second kind of woman: ill tempered; authoritarian, supposedly refined, who insists on persuading you to accept her preconceived notions, cold women with no empathy”. In the end, she simply stays in her bedroom lamenting the loss of her riches and worrying about her stuff: “I can’t see my things anymore, they’re free of my glances, all silent and unto themselves, they think that even without me they can stay where they are, motionless, but I know you; you’re there, my furniture, you’re there next to me, as though you know I’m here.”Metin has class concerns and issues; he is not-really part of the upper class of the city. He scrambles to fit in with the upper class in ways similar to Hasan’s struggle to fit in with the nationalists. Pamuk does a great job of showing the similarities between these two boys who are ultimately trying to jump up to the next socio-economic level. Metin’s fantasies about traveling to America and his frustration over Ceylan are remarkably like Hasan’s fantasies about becoming a powerful factory owner and his desire for Nilgun. Of course, the fact that these two are cousins (unbeknownst to them) and both are products of Selahattin’s failings just accentuates the building drama. Metin does have a better grasp on reality even if he is rather melodramatic: “I was becoming increasingly convinced that I was just a no-good lowlife, but at the same time I was feeling pretty good about myself, empty pride being the best antidote for worthlessness, to the point that I wanted to do something to make everyone pay attention to me, though unfortunately I couldn’t find either the courage or the excuse to do anything.”Recep is the most likable of all the narrators. He is simply lonely, but persevering. He knows his place in the world and rather than wish it were different (as Metin and Hasan), he accepts it and strives to do his best. He has some greatly contradictory (but all true) musings about friendship and his own outcast status. He says: “so there you are; what we call conversation and friendship. We tell each other things that we already know, and it makes me feel good; I know they’re just empty words, but it’s a distraction, at least, and I still get a kick out of it.” But then he also recognizes that “there are times when words can touch people, too, that I know. Somebody says hello, he listens to you tell about your life, then he tells you about his, and you listen to him, and in this way we each see our life through another’s eyes.” And yet, ultimately he just wants acceptance. The most poignantly sad lament I found to be: “When two people across from each other fall silent, that silence sometimes says more than if the two were talking. I sometimes think it would be nice to have a friend I could be silent with.”The novel’s biggest point, though, has to do with perception. Each of these characters is unable to see the world from outside of their own narcissistic view. Famuk’s obsession with the past is similar to Selahattin’s obsession with knowledge and his encyclopedia, but Famuk has the presence of mind to recognizes that bias is in all things and strives to present a story that is not (his)story. He wants to accurately portray without his own perceptions (don’t we all), but is stifled by his inability to do so. Ironically, it is Metin who best articulates our inability to understand or step outside of ourselves: “this ‘me’ that I was going to tell her about seemed like it never really existed. The thing I called me was like a box within a box; it was like there was always something else inside it, maybe if I kept looking I could finally find my real self and express it, but every new box I opened had, instead of a real, true Metin that I could show to Ceylan, just another box hiding him.”Overall it was interesting from a cultural and historical standpoint, but not super compelling. It was more of a setting piece (as others have noted on the verge of the political uprising in Turkey) than a character piece; these are more “representational” than real people. And Pamuk leaves us with the (always true) comment that literature can teach us about our own lives: “You can’t start out again in life, that’s a carriage ride you only take once, but with a book in your hand, no matter how confusing and perplexing it might be, once you’ve finished it, you can always go back to the beginning.”

  • Ben Babcock
    2019-05-12 13:20

    One of the background themes of The Prisoner of Heaven was the ongoing conflict between nationalist/fascist and socialist/communist ideologies in Spain in the middle of the twentieth century. History class in Canada focuses on fascism almost exclusively as seen in World War II. It elides over the Spanish Civil War (I’ve had to remedy that on my own time). It mentions Mussolini in passing as a buddy of Hitler’s rather than a fascist dictator in his own right. And everything after World War II is the vague era known as the “Cold War”, with no explanation that, in countries like Turkey, the conflict between communism and fascism was really just beginning.From this perspective I approach Silent House. Set in 1980s Turkey, and also written in that era but only recently translated into English, this book examines the polarized atmosphere of the country through a single family returned to the house of their matriarch. Fatma has outlived her husband, who had delusions of scientific grandeur, and her son. Her grandchildren come now to visit her, and they bring with them the scents and sounds and sights of a modern age. Fatma, who has lived her whole life in this grand house since relocating from Istanbul, does not embrace this change. Ever since the days of listening to her husband rant about the death of God and the rise of Western modernism, Fatma has been fearful of what such change might bring. Yet change is coming to this village.The New York Times Book Review has a blurb on the front cover of my edition, calling this “a microcosm of a country on the verge of a coup”. I am somewhat put out at them, because I would have liked to use microcosm to describe this book. But now that would look like copying, wouldn’t it? Because they are right: Orhan Pamuk uses the device of these characters and their interconnected, tangled lives to represent the Turkish state at large. Each character is diverse in their goals, values, and actions. In this way, Silent House exemplifies the ability of historical fiction to tell grand tales of history through the lives of small, insignificant figures. One does not need to recount the deeds of generals on battlefields to explain how a country rises and falls.I confess, however, to struggling with Silent House. It offers very little to capture one’s attention. The narration is curiously flat. Each chapter is told from the first-person perspective of a different character, as indicated by the chapter title. Sometimes it’s easy to forget which character is the narrator at the time, though; they sound very similar. And Pamuk tends to include flashbacks in which other characters suddenly start narrating, or engaging in dialogue without quotation marks, that can make it very confusing to follow. This is particularly evident in Fatma’s chapters, where she tends to recall conversations she once had with her husband, who was obsessed with somehow realigning Turkey along scientific principles imported from the West. I can appreciate what Pamuk is trying to do from a technical standpoint, but it leaves me cold.The other difficulty lies within the characters themselves. There is little to love about them, or even sympathize with. For example, Hasan is supposed to be a classical tragic figure. He is a misguided youth who has fallen in with some hotheaded fascists but also fallen in love with Nilgün, who has communist sympathies. Torn between these loyalties but ultimately too weak to decide for himself, Hasan is carried along on a tide of anger and violence that ends in injury and death. It really is a well-executed character arc—except that I never really felt connected to either Hasan or Nilgün. The latter doesn’t actually get a viewpoint chapter, while the former spends most of his chapters whining about how he doesn’t have enough money and doesn’t want to study.Overall, this combination of unsympathetic characters and difficult narration creates a scattered impression of the story. I feel like I’m viewing Silent House down the wrong end of a telescope: there is something intriguing here, but it didn’t quite work for me. I much preferred My Name is Red, which was also difficult to read but had some redeeming qualities in its characterization. What Silent House does is reaffirm Pamuk’s abilities as a writer while also hinting that, perhaps, he isn’t quite the writer for me.

  • Bruce
    2019-05-24 13:03

    This novel was Orhan Pamuk’s second, written and originally published in 1983, but it was much more recently finally translated into English. The story involves an extended family living a short distance from Istanbul where the now deceased grandfather was “exiled” for political reasons. The time of the narrative is in the late 1970’s, shortly before a period of political rebellion, and tension is in the air. The events described occur during one week when the aged grandmother’s grandchildren, two boys and a girl, come for their annual visit. The tone of the narrative is one of unrelieved bleakness and disappointment, each character feeling frustrated by his or her circumstances and each living in a world of dreams toward which no real efforts are being made toward realization. The society depicted is one of relative impoverishment, violence, and bursts of immediate gratification, all characters apparently caught in a web of futility.Like his much later novel, My Name is Red, a more skillful and fully realized work, Pamuk alternates chapters focusing on one major character and then another, all told in the first person, moving quickly back and forth from one perspective to another. The transitions in this early novel are not as smooth and seamless as in the later one, but the parallels are clear. Pamuk is masterful in his ability to bring alive a time and place, circumstances and an ambiance, and he provides a view into the lives, aspirations, and foiled ambitions of his characters during a difficult period in Turkish history. I am glad that I read this work that provides a view into not only a country and culture but also into Pamuk’s own development as a novelist.

  • Marco Caetano
    2019-05-07 15:02

    Algures na Turquia, próximo de Istambul, numa terra à beira-mar chamada Forte-Paraíso mora Fatma. Fatma é uma víuva nonagenária que serve de eixo a esta narrativa. Vive com um anão, Redjep, que para além seu criado, é também filho bastardo do seu defunto marido. Tudo isto numa casa que outrora foi nova, mas agora nem por isso... Todos os anos no Verão, os seus três netos vêem a Forte-Paraíso passar alguns dias de férias. Faruk, o mais velho, divorciado, parece querer seguir as pisadas do seu pai e do seu avô fazendo da bebida um vício. Nilgune é uma bela jovem que acaba de se descobrir para a vida ao tomar contacto com os ideais comunistas. Metine é um jovem estudante, bastante ambicioso, cujo o sonho é sair da Turquia e estudar e morar na América. Em suma, são três personalidades bastante distintas que nos levam a conhecer melhor o difícil enquadramento político e social que se vive na Turquia.Com alguns momentos mortos, que a meu ver eram desnecessários, a verdade é que "A casa do silêncio" consegue por vezes ter partes interessantes o suficiente para prender o leitor.Diz a sinopse do livro que nele se encontram estratégias narrativas usadas pelo autor em obras posteriores. Espero sinceramente que essas estratégias sejam as mesmas que ajudam a prender o leitor, pois quero ler mais obras do senhor Pamuk.Págs. 313Ref. ISBN: 978-972-23-4005-2Editora: Editorial Presençahttp://conspiracaodasletras.blogspot....

  • Tanuj Solanki
    2019-05-06 14:06

    Turkey as a polyphonic narration, as a multitude of ideas and desires. (The concordance of this notion with Indians' notions of India is the reason why Pamuk sells a lot here.)Patchily done. Almost juvenile at times in its experimental vigour, although extracting, in some places, traces of a genius that Pamuk would later come to wield at will.The heart of Pamuk's best novels - the return of the exiled man, or a man's quest / search for a woman, or both of these together, as in Snow and My Name is Red - is missing here. The problem is that none of the characters are vying for normative happiness (the tangible, non-fantastical variety), one that Pamuk romanticizes so beautifully in later novels, one that his best characters are willing to - contradictorily, of course - risk their lives for. Pamuk's seems to be struggling in trying to find the balance between writing a psychological novel and a political novel. He has still not figured how both can be done simultaneously.

  • هديل خلوف
    2019-05-20 19:04

    لا أعرف من أين أبدأ .. الرواية كانت صامتة (!) ورتيبة جداً وتحوي كماً هائلاً من الأفكار الفلسفبة التي ولا بد أنها تؤرق كاتب الرواية نفسه .. الشخصيات كانت متباينة وتملك كل منها جنونها الخاص .. لفت انتباهي شخصيتي متين وحسن .. هذان المراهقان الطموحان بجنون والذي يعاني كل منهما عقدة النقص .. كان متين من الطبقة الراقية ولا يعترف بوجود الله أما حسن فهو من الطبقة الفقيرة ومتطرف دينياً .. ومع ذلك كان هناك الكثير من نقاط التشابه وخصوصاً في طريقة التفكير !الرواية تجعلك تفكر .. لكنها رتيبة .. رتيبة جداً