Read The White Castle by Orhan Pamuk Victoria Rowe Holbrook Online

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'The White Castle', Orhan Pamuk's first novel, is the tale of a young Italian scholar captured by pirates and put up for auction at the Istanbul slave market. Acquired by a brilliant Turkish inventor, he is set to work on projects to entertain the jaded Sultan....

Title : The White Castle
Author :
Rating :
ISBN : 9780571244775
Format Type : Paperback
Number of Pages : 145 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The White Castle Reviews

  • Mevsim Yenice
    2019-04-16 16:09

    Benim açımdan tek kelimeyle “kusursuz” bir okuma deneyimi oldu Beyaz Kale. Orhan Pamuk’a olan hayranlığım bir kat daha arttı. O kadar derinlikli tarihsel detayların içinde zaman atlamaları yaparak kurgu yaratma cesareti, kabiliyeti, başarısı, sonunda yaşanan dönüşüm, hatta öyle bir roman ki bana kalırsa sonunun da çok önemli olmaması, sona gelene kadar içsel tüm gerginliği, çözümlemeyi yol boyunca yaptırmış olması, ve ve ve benim için en haz verici olan kısmı “yaşattığı his” inanılmazdı!Söze böyle girdikten sonra gelelim içeriğe.Beyaz Kale birçok farklı şekilde okunabilecek bir roman. İlk akla gelen, Osmanlı dönemine dair bildiğimiz, araştırdığımızda bulabileceğimiz bilgileri içinde barındırmış olması gerekçesiyle “tarihi roman” oluşu. Orhan Pamuk romanın en sonuna uzunca bir not düşmüş. “Beyaz Kale tarihsel bir roman değil” demiş!. Hikaye olarak tarihin içinde konumlanmış, dopdolu, yenilikçi bir roman dememiz daha doğru o halde Beyaz Kale’ye.Romanımızın kahramanları, Osmanlıya esir düşmüş Venedikli bir tüccar ve kendisine fiziksel olarak çok benzemesine karşın karakter olarak tam zıttı olan Hoca. Olaylar gelişir ve Venedikli tüccar köle olarak Hoca’ya satılır. Ülkede veba salgını baş göstermiştir. İkilimiz vebayı yenmek için bilimsel araştırmalar yapmaya çalışırken aslında esas bulmaya çalıştıkları şey, “insanın sahiden kim olduğudur”. Yer yer birbirlerinin içine geçmiş kadar yakınlaşıp benzeşmelerine, yer yer de birbirlerinden ölesiye tiksinip öldürmek isteyecek kadar yabancılaşmalarına tanık oluruz tüm bu tarihsel karmaşanın içinde. Uzaklaşmak yakınlaşmaya, benzemek benzememeye eş değer olur, dans eder durur zihnimizde tüm zıtlıklar. Bu ikili arasında geçen psikolojik savaşı anlatır tüm roman, arka fonda da 1600’lü yılların ikinci yarısındaki IV. Mehmet padişahlığındaki Osmanlı İmparatorluğu ve savaşın gerçek fiziksel boyutları vardır.Son söz olarak da, Orhan Pamuk umarım en kısa zamanda bu tadı, hissi verecek, her yönden doyurucu bir romanla okuyucunun karşısına çıkar.10/10Gözüm kapalı tavsiye ediyorum!

  • Ian
    2019-03-31 23:50

    A Short StartI started reading this novel, because it was Pamuk's shortest and although I liked the subject matter of his other novels, I was worried I might bite off more than I could chew (I am the sort of person who must finish a book once I've started it, even if I hate it). So this was a taster for me.From A to B Inevitably I think it is fair to say that what happens at the end is inevitable. His craftsmanship lies in how he achieves it. There is a moment towards the end of the book when the door opens and we're suddenly on the other side of the story. Only we have to look back over our shoulder and think, how did I get here?From A to B PredictablyIt annoys me when people criticise a book, because they think it is predictable. Everything is predictable to someone, if not necessarily me, because I didn't see it coming. (I am not a big fan of prediction. I don't see the point.)From A to B Enjoyably But even if it is predictable, the skill is in the journey, the telling.It's like a joke, or life or sex, we all know what the end is, it's what happens between now and then that matters.Something similar might have happened to us all, it's the little differences that matter.

  • Ahmad Sharabiani
    2019-04-25 23:19

    Beyaz Kale=The white castle: a novel, Orhan Pamuk (1952)عنوان: دژ سفید؛ قلعه سفید؛ نویسنده: اورهان پاموک؛ تاریخ نخستین خوانش: آوریل سال 2003 میلادیعنوان: دژ سفید؛ نویسنده: اورهان پاموک؛ مترجمها: فرهاد سخا، علی کاتبی؛ مشخصات نشر: تهران، نشر مرغ آمین، 1377، در 168 ص، شابک: 9645519195؛ موضوع: داستانهای نویسندگان ترکی، ترکیه، قرن 20 مک‍ت‍اب‌ در س‍ال‌ 1377 هجری شمسن با ع‍ن‍وان‌: «ق‍ل‍ع‍ه‌ س‍ف‍ی‍د»؛ و ب‍ا ت‍رج‍م‍ه‌: ارس‍لان‌ ف‍ص‍ی‍ح‍ی‌، ت‍وس‍ط: نشر ق‍ق‍ن‍وس‌ نیز، م‍ن‍ت‍ش‍ر ش‍ده‌ اس‍ت‌وقایع کتاب در استانبول قرن هفدهم میلادی روی می‌دهد. داستان درباره ی یک مرد دانشمند ایتالیایی ست که قصد سفر دریایی از: ونیز به ناپل را دارد، که توسط ناوگان امپراطوری عثمانی بازداشت و زندانی و به بردگی گرفتار می‌شود. نخست در خطر اعدام است اما مردی به نام استاد (هوجا یا همان خواجه) که شباهت زیادی به او دارد ایشان را به عنوان برده می‌خرد. دانشمند ونیزی به استاد که از نزدیکان سلطان است برای پیدا کردن ارج و قرب نزد پاشا یاری می‌کند و در نهایت آن دو به سلطان معرفی می‌شوند تا با کمک او اسلحه آهنین قدرتمندی بسازند. رمان از سویی تاریخ رویارویی امپراطوری عثمانی با اروپایی‌ها را به تصویر می‌کشد و از طرفی دیگر یک قصه است. پاموک در آفرینش این اثر که او را یک نویسنده جهانی کرد از تاریخ و فرهنگ و آیین پیشینیان خود الهام گرفته است؛ و چگونگی پیشرفت علم در دنیای قدیم را به مخاطبان و خوانندگان امروزی نشان داده است. ا. شربیانی

  • Paola
    2019-04-12 17:03

    Warning: you have to relax to read this book, just let go and let it take you where it wants. This is a novel on identity: the plot really does not matter (is this the defining feature of good literature?), the crucial point is how two individuals actually become one, to the point that we no longer know ourselves who is whom. Is the Italian slave really taking the place of his "hoja" (i.e. master, according to Adam Shatz in the London Review of Books), are they really swapping lives as previously fantasised? Or is this really a fantasy in itself, of the Turk, the Hoja, so disappointed with his fellow Turks, so disgusted with their intellectual inferiority, with their passiveness, with their lack of imagination, so much craving for the intellectually stimulating life that he can just barely perceive through the bearing, knowledge and stories of his learned slave, that he decides to live this swapped fantasy himself, willing himself to believe that he is no longer the Hoja, but the Italian former slave?The conclusion I want to believe is the latter - it is the Italian that really flees the siege of the White Castle, and who knows whether he ever reached his native land - and maybe good for him if he did not, what could have come out of such an impossible readjustment? Or maybe, it is Hoja himself who killed him on that fateful night, with such quintessentially unreliable narrator we will never really know. But I like to think that having finally reached that zenith he had been aspiring too for so many years, accepting the inevitable debacle was too much to bear, and finding comfort in living a dream nobody could take away from him almost unescapable. A great read.

  • Astraea
    2019-04-20 15:51

    رفتم نظری که برای این کتاب داده بودم 2سال پیش رو خوندم....اوه اوه....خیلی تند بود...از انتشارات گرفته تا الودگی هوا و تا حوزه ادبیات کودک و نوجوان و علم و خانواده!!!وایهیچی دیگه...حتی میشه داستانی از پاموک رو دوست نداشت!

  • Çağdaş T
    2019-04-08 00:15

    7 / 10Kitabın sonunda O.Pamuk'un kaleme aldığı sonsöz, hem samimi hem de doyurucuydu.Sonsözü okumasaydım bazı şeyler bende havada kalmış olacaktı. Pamuk okurken hep fazladan beklenti içindeyim (belki aldığı ödül nedeniyle ) Beklentimi karşılamadı ancak keyif aldım diyebilirim.

  • Reem Ghabbany
    2019-04-04 20:07

    "He did not want to think about how terrible the world would be if men spoke always of themselves, of their own peculiarities if their books and their stories were always about this"I don't know how to write a review for such a book!I'm sure it deserves more than 3 stars cause it's a unique and one of a kind story but I haven't enjoyed it that muchThe ending was vague as were the characterssometimes I thought the character Hoja was mentally disturbed and sometimes I thought he was a genius. as for his look alike, the slave who actually the story was about. he was brilliant. sometimes driven by his own emotion but he had something about him that made him superior to Hoja. perhaps it was his honesty. this book left me with mixed emotion. it's basically about a Turkish Muslim Scholar and his Christian Italian Slave who refuses to convert to Islam. The Master and his Slave look exactly alike! they spend all of their time together. they develop a weird bond between friendship and brotherhood. "I loved him, I loved him the way I loved that helpless, wretched ghost of my own self I saw in my dreams, as if choking on the shame, rage, sinfulness, and melancholy of that ghost, as if overcome with shame at the sight of a wild animal dying in pain or enraged by the selfishness of a spoilt son of my own. and perhaps most of all I loved him with the stupid revulsion and stupid joy of knowing my self"

  • إيمان
    2019-04-14 18:04

    لا أدري ولكن اما ان ذائقتي الادبية تاثرت بابتعادي لفترة عن القراءة ...و اما ان هذه الرواية ليست سوى عن مجموعة من "المخبولين"كتبت في لحظة غباء...في البداية ظننت ان هناك شيئا من الشبه بينها و بين "ليون الافريقي"لامين معلوف و لكن ما ان تجاوزت اولى الصفحات حتى ادركت انها ابعد ما يكون عن ذلك ....طريقة السرد مملة زادتها سوءا الترجمة السيئة...تركيبة الشخصيات غريبة حتى لا اقول ضعيفة...توقعت اكثر من هذه الرواية

  • Ebru Çökmez
    2019-04-16 18:50

    Yaklaşık 20 yıl sonra yeniden okuduğum Beyaz Kale'yi bu defa daha çok sevdim. İlk okuduğum zamanlarda (sanırım daha yirmi değildim); okunması gereken her şeyi sırayla okuyup, yanına bir tik atan, aç bir genç okurdum sadece. Şimdi daha sindire sindire, keyifli okumalar yapıyorum. eskiden okuyup rafa kaldırdığım, hakkı az verilmiş romanlar olduğunu yeni yeni idrak ediyorum. Beyaz Kale kesinlikle bu romanlardan biri.Çocuk yaşta tahta oturtulan hayvanlara meraklı Padişah Avcı Mehmet zamanında geçen hikayede Türklere esir düşmüş bir Venedikli ile fiziksel olarak tıpatıp benzeri ve sahibi Hoca'nın şahsında ikizlik, ötekilik, doğu-batı, bizler-onlar, ben ve o kavramlarını sorgulanıyor. Arka planı Osmanlı padişahının etrafındaki müneccimler, av seferleri, veba salgını gibi ilginç tarihsel olgular doldurmuş. Bu kısacık kitap, yığınla bilgiyi kahramanların kişisel buhranları eşliğinde kusursuz bir tarihsel atmosferde geçiriyor okuyucuya.Orhan Pamuk'un en iyi romanı değil bence ama edebiyatta öteki, ikiz kavramlarına ilgi duyanların mutlaka okuması gereken bir eser. Öncesinde Dostoyevski'nin Öteki romanı okunursa daha bir lezzetli olabilir..

  • Ksenia ^_^
    2019-04-19 22:49

    "The White Castle is a colorful and intricately patterned triumph of the imagination." - said the annotation. But I don't see The White Castle as a triumph. It's good but nothing more. Pamuk tells us a story about a slave who inspite all diffuculties and troubles took his place in the turkish society of masters and a master who seemed to be insane and genious at the same time. They are similar like brothers and their mind had become similar, too. Knowledge of the Slave became a part of Hoja. Hoja's enthusiasm became a part of the Slave. Not only readers but also they could hardly say where he ended and where started another one. The main idea is that human heart has no limits. People can sacrifice themselves to save another human being. The fact that Hoja and the narrator exchanged their lives proves that.

  • Al Bità
    2019-04-22 19:12

    It is almost impossible to talk about this book without revealing its ending (or at least what one might consider to be its ending). This strange work purports to be a 17th century manuscript found by one Faruk Darvinoglu in 1982. We find that in the manuscript we are about to read, '... some events described in the story bore little resemblance to fact', although the 'truth' of the general knowledge of the period seemed to be accurate (p.2). On page 3 Faruk reveals that a professor he had consulted tells him that 'in the old wooden houses on the back streets of Istanbul there were tens of thousands of manuscripts filled with stories of this kind'. Faruk tells us that the manuscript we are about to read is his own rendition into contemporary Turkish. He then writes: 'Readers seeing the dedication at the beginning may ask if it has a personal significance. I suppose that to see everything as connected with everything else is the addiction of our time. It is because I too have succumbed to this disease that I publish this tale.' The dedication he refers to is: 'For Nilgun Darvinoglu/ a loving sister/(1961—1980).' One presumes, therefore, that this dedication is by Faruk, not Pamuk (or is it?). In between this dedication and Faruk's Preface is a quotation allegedly from Marcel Proust (with no reference as to where in Proust's work this quotation is to be found) but with the qualification 'from the mistranslation of Y. K. Karaosmanoglu'. All this is in the beginning before the actual story itself... We are obviously in some murky territory here...The manuscript itself is a rather straightforward telling of a strange tale, told by an unnamed Italian narrator about his capture by Turks, and his adventures in Istanbul where he becomes the servant of/collaborator with one Hoja (a name which apparently means 'master') who is a few years older than him, but who apparently looks exactly like the narrator. The first ten chapters details almost obsessively the relationship between the narrator and his 'double', a kind of love/hate relationship, where gradually the differences between the two men become indistinguishable, until, at the end of chapter ten, when the assault on the Polish Doppio Castle (the White Castle of the Title) fails, and Hoja dons the narrator's clothes and identity and disappears from the story. Hoja becomes the Italian; the Italian becomes Hoja. It is from these ten chapters that all the 'discussion' about self-identity, self/other distinctions, slave/master relationships, and even the relationship between East and West derive from: but I would suggest that these come more from the readers than from the novel itself. By the way, is it just a 'concidence', or merely an example of seeing everything connected to everything else, that the name of the White castle is 'Doppio' (the Italian word for 'double')?It is really only in the final chapter (Chapter eleven) that one becomes embroiled in the complex literary trap that this novel really is, for it is here that the distinctions between the two men are, I believe, deliberately blurred, so that in the end one is no longer sure who is who. Stories of 'Hoja' as the Italian are referred to; narratives by the Italian, which point out his ignorance of Italian cities are cited; 'Hoja' is referred to as He and Him (with capital letters), and the sultan refers to Him as being the Italian captive while he is talking to the Italian (believing him to be Hoja) — or does he? The narrator, whoever he is, also seems to think his Childhood memories, exchanged with Hoja earlier, are indeed his own. There are numerous puzzling associations and confusions in this final chapter, and they all resonate with the general undermining of the narrative provided in the Preface by 'Faruk'.A complex example is provided on page 141 of my Faber 2009 paperback edition: The Italian (?) narrator is wishing that he might once more dream of 'my childhood in Edirne' (which is supposed to be Hoja's childhood) '... of the first time I saw Him (Hoja(?)) unbearded at the pasha's door, of the chill down my spine.' Going back to the beginning of Chapter two, we are told that 'The resemblance between myself and the man [Hoja] who entered the [pasha's] room was incredible! It was *me* there...'; then later in the paragraph: 'Then I decided he didn't resemble me all that much, he had a beard;...' So there is no way, really, that we can even say that the overriding images of the similarity of the two men more or less insisted upon throughout nine chapters is anything more than a delusion of the narrator... or if not, is Hoja bearded or unbearded? Any attempt to unravel the unravellable is bound to frustration. There is no way anyone will be able to find out. The novel resolves itself into a trick which, because of its paradoxical nature, cannot be resolved: so many of the images of the novel remain in the mind, never finding any peaceful resolution. This also means that any arguments about self/other, slave/master and East/West are also not able to be resolved. Whether this is a good thing is not is problematical (precisely because of its internal paradoxes).The final image of an old man, looking out through a window to his garden, remembering, is perhaps the best image to rest on at the end. It is a sad image, a suggestion that our memories are only what we make of them, of the narratives we tell ourselves — these are what ultimately provide us with meaning, regardless of whether they are true or not.

  • Lavinia
    2019-03-27 23:15

    Pamuk’s talent for storytelling is definitely unquestionable. Well, OK, you can disagree, I don’t care. I loved the setting; it was basically the main criteria for choosing the book (I’d probably need to mention the reader-friendly length, as well). I loved the plot (the double / the identical twin, the capacity of exchanging not only identities, but also memories, ideas and beliefs), the framing device, the (unreliable) 1st person narrative, the mind games and the twisted relationship / brutal conflict / love between Hoja and the slave and the cultural confrontation (West VS East). I definitely loved Luminita Munteanu’s translation. She’s the exclusive translator of Pamuk’s books in Romanian and she’s done an incredibly good job, not only translating, but also offering a huge deal of Ottoman background – for My Name Is Red, at least – and explanatory footnotes. It rarely happens that I really appreciate translations, but when I read a book that sounds so naturally Romanian to me, it’s a good translation, don’t you think? Well, all those words of Turkish origin that we have in Romanian helped a lot, as well. Actually, thank goodness for all the influences Romanian has got over the years – I would never, NEVER read a Russian (or other Slavic language), Hungarian or Turkish book in English if the Romanian version was available. OK, I’m getting weird, let’s move on.So, apparently, I liked the book; a comparison to My Name Is Red seems inevitable, hence the 3*. I’m not sure if it was the slow pace or something else, but somewhere after the middle I felt Pamuk lost me, the book was getting nowhere and I was tempted to abandon it. The reader is actually advised to do so, but I think it’s just a trick Pamuk uses in order to keep his reader curious, only to leave him with a dilemma at the end. Hmm.So in order to feed my recent interest in Turkish culture, I think my next Pamuk will be something quite different. Something that focuses on modern Turkey / the conflict between traditional and modern, old VS new etc. And I need some films, as well; I feel Fatih Akin’s are not enough.

  • Shoshi ♥~
    2019-04-15 20:58

    " أليس الجانب الأمتع من الحياة هو تلفيق حكايات ممتعة ،، والاستماع إلى حكايات ممتعة " - في البدء شكرا لامتاعي .. باموق في تجربتي الأولى معه وحتماً لن تكون الأخيرة ...سحرني ...أدهشني ..أحببت الصيغة التي كتب بها هذه الرواية ...وقبل أن أبدأ في الثرثرة عن هذه الرواية فتحذيراً لمن لم يقرأ الرواية ربما سأتحمس وأكشف شيئا بدون قصد ..ولكن في كلا الأحوال ..باموق ساحر حتى وإن كنت تعرف مسبقاً تسلسل الرواية !! أحببت أنه أختار شخصاًآخر ليكتب هذه الرواية .. وكأنه يتحدث معنا ككقراء ويتحاور معنا .. وازداد الأمر تعقيداً لأكتشف أن الراوي ليس هو نفسه بل هو شخص آخر عاش معه أو ربما اختلط علي الأمر ...أو كما يقول: " الآن وأنا أكتب هذا الكتاب لا أقدم صورة الواقع ،، بل انعكاس خيالاتي فقط " ... وهو ما يزيد الأمر حيرة ! أحببت أنه مارس فكرة " يخلق من الشبه أربعين " ليدفعني للتفكير ماذا لو سنحت لي الفرصة لمقابلة شخص ما يشبهني من الطرف الآخر للكرة الأرضية بغض النظر عن الظروف التي تم فيها اللقاء وبغض النظر عن الخلفية التي أتى منها التقاء للشرق والغرب تحت سقف واحد ...وفي خضم روايته عكس فترة من تاريخ تركيا بمهارة ..حين بدأ روايته بذلك الايطالي المسيحي الذي وقع أسيراً في يد العثمانيين ..حيث تلك الفترة كانو يعذبون المسيحين ويجبرونهم بالقوة ليتركو دينهم ويدخلو في الاسلام !! ولم يكتفِ بهذا بل زاد الأمر سوءا حين تم استعباده من قبل " الأستاذ " - والذي سنعرف أنه يشبهه- بحجة أنه يريد التعلم منه ... ومن هنا في نظري يبدأ محور الرواية في الحديث عن الذات والبحث والتفكر في النفس .. حيث يبدأ الأستاذ بالتعلم على يد الايطالي ومن ثم يتطور الأمر بالبحث عن ذاته في شبيهه الايطالي والعكس ..ويتطور الأمر بمطامح الأستاذ في الوصول إلى السلطان والذي عرفه منذ أن كان صغيرا " السلطان محمد الرابع " وجدته " السلطانة كوسم " ويعكس لنا بخفة التقاطات تاريخية عن تلك الفترة .. باموق سيطر علي بطريقة تناوله الذات من عدة وجوه سأكون كاذبة إن قلت أني لم أخلط في بعض الفصول بين ذلك الايطالي وشبيهه الأستاذ أم يجدر بي أن أقول الأستاذ وشبيهه الايطالي ...بعض الاقتباسات" ليس ثمة حياة يخطط لها مسبقا ، وأن الحكايات كلها عبارة عن مجموعة من المصادفات المتسلسلة "" أليس أفضل إثبات على أن الناس متشابهون هو استطاعتهم أخذ أمكنة بعضهم البعض ؟ "" ما أهمية من يكون الإنسان ؟ المهم هو ما يفعله " " هل نعرف أنفسنا ؟ على الإنسان أن يعرف نفسه جيدا ! "" البحث في داخلنا والتفكير بأنفسنا بأكثر مما هي عليه لا يمنحنا سوى الحزن "" زلة لسان تظهر تناظرية الحياة "" يجب علينا أن نبحث في الغريب والمدهش كما في حكايتي ،، نعم لعل هذا هو الأمر الوحيد الذي يمكننا عمله لمواجهة ضيق العالم الذي يسئمنا "_______ ولا عجب أن عبارة كهذه صدرت عن باموق : " الأدب هو موهبة أن نحكي حكايتنا الخاصة كما لو كانت تخص آخرين، وأن نحكي حكايات الآخرين كما لو كانت حكايتنا الخاصة " ** المراجعة ليست بالشكل الذي أريده ولكني حاولت ...ربما سأضيف عليها في وقت ما أو سأعيد صياغة بعض المقاطع ..** شكر خاص للمترجم عبدالقادر عبداللي ..

  • Helmisade
    2019-04-09 22:06

    I was surprised at how easy and fast this was to read. Until I got to the end, I mean. Then I felt that I should start over and read it again, because I was sure I missed something. You tricked me, Mr.Pamuk! And I liked it!The best part about this book was the exploration of identity. What does it mean, when I say who I am? What makes me me and not someone else? Not something I want to think about all the time, but excellent thoughts to spin around in the early hours of the morning.Slightly beside the point, but I must vent: My Finnish edition of this book has the whole plot explained on the back cover. Probably the most annoying thing a publisher can do! Once I got to the ending, nothing surprising had happened and I felt a bit cheated. It took me a while to get over it and realize that I enjoyed the book despite this deception.The people who reveal major plot points in the back cover should be punished. My suggestion: gather them all in a secluded place and give them a whole bunch of interesting books to read. Except, first rip out the last 20 pages of every book. Ha! The book nerds will have their revenge!

  • Mattia Ravasi
    2019-04-15 22:49

    Video review: https://www.youtube.com/watch?v=Po4dQ...Featured in my Top 20 Books I Read in 2017It'll make you feel wonderfully sinister. A dreamy, absorbing novel that's very dense but immensely captivating - on par with the weirdest fiction of Calvino, Borges or Hoffmann.

  • محمد صادقی
    2019-04-19 22:00

    شاید ایراد از من باشد که داستان های خیلی زیاد و خوبی خوانده ام و دیگر کتابی مثل (( قلعۀ سفید )) برایم جذابیتی ندارد. شاید هم ایراد از ترجمه، کج فهمی من، و یا هزار عامل دیگر باشد، اما خلاصه این‌که من این کتاب را خواندم و اصلا هم نتوانستم با آن ارتباط برقرار کنم.در واقع کتاب را بی تعارف، تا انتها (( تحمل )) کردم. آن‌چه من دیدم فقط نوشته‌هایی بود برای نشان دادن روابط و هویت‌یابی هایی که نمونه های درخشانی در سطح ادبیات جهان دارد . با نگاه بد بینانه، شاید تلاشی بود در جهت آفریدن یک (( مارکز )) ترک.

  • فهد الفهد
    2019-04-24 16:19

    القلعة البيضاء يقول الناشر في كلمة وضعها على قفا الكتاب، أن هذه الرواية وضعت باموق في مصاف الكتاب العالميين – وهي الرواية الثالثة له، بعد ( جودت بك وأولاده) و( البيت الصامت) -، ولكني بعد قراءة الرواية، لا أجد فيها ما يستحق كل هذا التقريظ والمديح. بل إن هذه الرواية – مقارنة بروايته الكبيرة ( اسمي أحمر) – تبدو كخربشات روائي مبتدئ، الرواية أولا ً تعتمد تماما ً على السرد باستخدام أسلوب ضمير المتكلم – ذات الضمير استخدم في ( اسمي أحمر) ولكنها تميزت بتعدد الرواة، وغرائبيتهم أحيانا ً -، أما الفكرة التي يدور حولها النص، فقد كانت عن عالم إيطالي يسقط في أسر العثمانيين، ويصير عبدا ً عند عالم تركي نصف مخبول، وثلاثة أرباع طموح، والأغرب أنه يشبهه في الشكل، حتى يقال أنهما تؤمان. وهكذا يأخذنا الراوي في رحلة طويلة تمتد لسنوات، وتظهر لنا المشاريع التي عمل عليها مع سيده التركي لجذب اهتمام السلطان – الطفل حينها -، ابتداء ً من صناعة الحكايات الخرافية المزينة بالرسوم، إلى التنبؤ بالغيب، ومعالجة الأمراض، وحتى صنع سلاح مدمر يقضي على الأعداء، وكيف انتهى الأمر بالعالمين إلى ما يشبه تبادل الهويات.ملاحظة: كتبت نقدي هذا حال قراءتي للرواية قبل سنوات، ولكن لدي عزم على قراءتها مرة أخرى، أظن أن قراءتي الأولى لها كانت قاصرة.

  • Chul-hyun Ahn
    2019-04-11 18:53

    Are we really so different from one another? Why am I not the magnificent white castle that sits on top of the hill but a rusty, creaking and nonsensical monstrosity wrought in hopes of "proving things to them", stuck in mud and sinking to its death with poor, accidental participants in it? Why can't I be you? If I knew who you were, where you come from and what you thought of while eating lunch with your family on an idle summer day of your youth? Are there really things to be found inside oneself ? Are they more real than things found outside? Does looking into oneself to find those things ever make that person happy?

  • Yehya chali
    2019-03-25 18:03

    If you want To know the differences between a Western mind and an Ottoman mind read this bookMaybe this is the reason of our backwardness in east

  • Abeerr Shiihab
    2019-03-28 22:06

    " متى سينتبه اولئك الحمقى إلى تلك الحقائق ؟ هل اجتماع كل هذا العدد من المخبولين مصادفه ام اضطرار ؟ لماذا هم حمقى إلى هذا الحد ؟ " ترجمه سيئه و مجرد سرد لا داعي له

  • Tuğçe Kozak
    2019-04-14 17:10

    Doğu-batı ikilemi ve kişinin kendisinden başkası olma özlemi Pamuk’un her okuduğum kitabında görülüyor, bu konuyu çok güzel işlediğini düşünüyorum. Orhan Pamuk favorilerim arasına giremez belki Beyaz Kale fakat ne yazsa keyifle aşkla okuyorum.

  • Asmaa
    2019-04-20 16:00

    قلعة بيضاء وأبطال لا يتسامحون مع كونهم أنفسهم ولذا يريد كلا منهما حياة الآخر وقصص خيالية وسلطان أحمق أم أنة أذكاهم وشيطان لا يمكن السيطرة علية إن خرج و"هم" و "نحن" وهو أصبح الآخر والآخر أصبح هو..!!ثلاثة أيام بلياليها اقتطعت منها سويعات في قراءة القلعة البيضاء, اقرأ قبل نومي و أول استيقاظي مباشرة على ضوء مصباحي الصغيرة أحب أن أضيف طقوسي الشخصية على كل رواية اقرأها, القلعة البيضاء رواية تستحق القراءة أكثر من مرة ربما أقراها بعد عدة أسابيع. قبل نهايتها أو في الثلث الأخير تحديداً شعرت بقليل من الدوار واختلت رؤيتي لها واختلطت عليا الأمور من الكاتب الحقيقي وأين حدود الخيال من الحقيقة. لا اعلم هل أعجبني كاتبها الأصلي اورهان أكثر أم أنة الخوجة أم أنة ذلك الشاب التركي الذي عثر على الكتاب في أرشيف مهمل لمدينة جيبزى وسرقة خلسة حيث أنة مكتشف الرواية في الأساس أم أنة الشاب الإيطالي العالم الذي يعرف كل شيء..أو أنها رؤيتة في أن "الحياة يجب الاستمتاع بها لا تحملها", ثم "أين يجب أن نبحث عن القصص" وهل بحثنا عنها بداخلنا والاستغراق في التفكير الطويل هو ما جلب لهم ولي البؤس والتعاسة..!؟ وهل كان احدهم يشبه الآخر تمام الشبه حقاً..؟وألعابهم الشريرة تلك التي صاحبت الرواية حتى أخرها. نسختي الورقية هي الأخرى لها قصتها" نسخة مستعملة طبعة 2006" صاحبها الأصلي لم يهتم بكتابة أسمة عليها ولا أي تفاصيل أخرى سوي عدة خطوط عشوائية على أجزاء غريبة من الرواية حيث وضع دائرة غير منتظمة حول كلمة "إحساسة به" في السطر التاسع عشر من الصفحة "122" وكتب فوقها بخط رمادي مهتز "إدراكة"..!!وفي الصفحة "132" حدد بالرصاص مربع غير منتظم حول أربعة أسطر من كلمة "حدة الخوجة التي تروقني" حتى كلمة "الحمقى"..!!وفي الصفحة "152" خط بالرصاص تحت كلمتين "سكرة إنتصارتة"..!!وفي الصفحة البيضاء التي تلت نهاية الفصل الثامن "166" رسم بعرض الصفحة شخبطة مثالية لطفل بالقلم الرصاص "هكذا تخيلت" وهذا أمر عليا التخلص منه ألا وهو إصدار الأحكام المسبقة لأنني لسبب مجهول عندما شرعت في بدء قراءة الفصل التاسع قلبت الكتاب لأجد أن شخبطة الطفل تلك هي رسم كروكي لغرفة ذات نافذة وبها ثلاثة طاولات على أولها وبجوار النافذة تحديدا شخص يجلس امامة أطباق وأكواب فارغة تداخلت خطوطها لكن مع شيء من التركيز يمكنك تميزها من بعضها البعض وكأنة كادرا سينمائياً.أنا صنعت قصة من المالك الأصلي لروايتي تلك والذي لا اعلم عنة شيئا سوى هذا, ربما أصابتني لعنة الخوجة وصديقة في خلق القصص حد اختلاط الحقيقة بالخيال والخيال بالحقيقة.ملحوظة أخيرة: هذا كتابي الثالث الذي اقرأة لـ أورهان باموق كان الأول "الحياة الجديدة" والثاني "ألوان أخرى" ولن يكون الأخير"القلعة البيضاء".

  • Hend
    2019-04-05 20:12

    i didn't like it, but may be because i expected a lot from it as a historical novel...it was boring for me, i leave it several times,but finally i finished it...

  • Saman Kashi
    2019-04-18 23:12

    نی من منم و نی تو توئی نی تو منیهم من منم و هم تو توئی و هم تو منیمن با تو چنانم ای نگار ختنیکاندر غلطم که من توام یا تو منی

  • Mohamed Shady
    2019-04-06 18:11

    لن أقول أنها بداية عظيمة، لكنها ليست مخيبة للآمال أيضًافى لقاء آخر ربما أستطيع الجزم :)

  • rr
    2019-03-25 16:54

    I wanted to love this book, and it seems uncomfortably unintellectual for me to say that I have mixed feelings about it. Much of the time I felt like I was reading through a haze which had the added effect of slowing all action down. The end of the novel I first found vexing in the extreme--I spent the whole rest of the day after I finished it in a snit. But I've made my peace with it, and I understand (I think) why it may have done what it did. In the end, I'm glad I read it, but I didn't entirely enjoy the experience of reading it.

  • Marci
    2019-04-13 21:53

    I'll be honest, I was pretty bored and disappointed.

  • Shovelmonkey1
    2019-03-25 20:50

    The White Castle, or Beyaz Kale as it was first printed in Turkish is a book which looks long and hard at the idea of personal identity. The narrator asks "Of what importance is it who a man is? The important thing is what we have done and will do." This Kafka-esque statement eloquently sums up the essence of the two main characters, the Hoja (teacher) and his Italian slave. Throughout their time together slave and master are caught in a tussle over their identities. Both recognise the similarities in appearance, desire and intellect but cannot reconcile themselves to the character flaws which they observe in each other. They are like physical windows into the souls of each other with each man looking deeper and deeper for answers but only growing more despairing when they find things that they do not like. The fact that they are master and slave means that they can never bridge this gap to become friends and find a way of truly understanding and appreciating each other because society rules dictate against this. And as the slave is tied to the master, so the Hoja is tied to his need to please the Ottoman Sultan and win his favour.A story of grandiose schemes, incessant desires of mind and flesh and the battle to be accepted, all set against the resplendent backdrop of Ottoman Istanbul, the gentle wash of the Bosphorus on the shore line and the beating of the Janissary drums.

  • Lisa (Harmonybites)
    2019-04-16 23:10

    Orhan Pamuk has won the Nobel Prize for literature and is supposed to be the premier man of letters in contemporary Turkey. However, I noted that more than one person on my friends' list on Goodreads was less than enthused with his books. Thus, instead of reading his more famous My Name is Red or Snow, I deliberately chose the slimmest volume on the shelf for my introduction--The White Castle--a mere 161 pages--yet this couldn't hold me even that far.Set in seventeenth century Turkey, it's the first person account of a Venetian captured and enslaved by the Turks. He comes to be owned by a master who is his physical double, who demands he teach him all he knows. Basically, what lost me was the style. And not because it was difficult or abstruse. Despite quotes comparing Pamuk to such writers as DeLillo, Borges, Nabokov and Proust, the prose in this novel is very simple--even simplistic. I never felt pulled in by the story or characters. The picture painted by the prose felt sketchy. There's very little dialogue, none of which is off-set. It's not so much a back and forth but rather a lot is reported or summarized. A lot of the events were summarized too rather than shown. Nothing made me feel a sense of time or place or characters in ways vivid enough to feel worth my time--so I stopped. And I think that's enough of Pamuk for me.

  • pegah
    2019-04-04 18:11

    فکر میکنم پاموک تو این کتاب میخواسته حرف مهمی بزنه اما نمیدونسته چه جوری! کتاب دیگه ای که از پاموک خوندم "استانبول" بود که به نظرم یه جورایی پیش نیاز این کتاب باشه. مسئله عثمانیها و روابطشون با ملل دیگه در پشت داستان "استاد" ترک و "برده" ایتالیایی نهفته س. استاد ترک نماینده عثمانیه که هنوز اعتماد به نفس حضور در مقابل تمدن بیزانسی رو نداره و همش فکر میکنه "ایتالیایی" از اون باهوشتر و چیزدانتر هست واسه همین همش میخواد از اون اطلاعات بگیره و بره پیش سلطان و اون دانش رو به پای خودش ثبت کنه. هر از چندگاهی یادش میاد که در موضع قدرته بنابراین شروع میکنه به قلدری در مقابل "برده"ش و میخواد بهش بفهمونه که در مقابل من چیزی نیستی. در طرف دیگه "برده" هست که درونا خودش رو برابر یا حتی بهتر از "استاد" میبینه اما محو رازورمز گونگی تمدن اسلامی عثمانی میشه طوری که دیگه دلش نمیخواد به وطن خودش برگرده. در کتاب "استانبول" پاموک از اروپاییهای زیادی حرف میزنه که در اوج قدرت عثمانی به استانبول سفر کردن و سفرنامه های متعددی از خودشون به جا گذاشتن. این کتاب سفرنامه ای هست که بدون رسیدگی به جزییات زندگی ترکها تعامل دو فرهنگ متفاوت رو به تصویر میکشه (الان که این ریویو رو براش نوشتم از 2 ستاره به 3 ستاره تبدیلش کردم!!)