|Title:||The Innocence of Objects|
|Format:||docx azw doc docx|
|ePUB size:||1498 kb|
|FB2 size:||1168 kb|
|DJVU size:||1855 kb|
|Category:||History and Criticism|
|Publisher:||Harry N. Abrams; First Edition edition (October 1, 2012)|
Cabinet 28 in Orhan Pamuk's Museum of Innocence in Istanbul. As such, this book spills over with pleasure. Using it is like using Italo Calvino’s Invisible Cities as a guidebook to Venice. Fictions and objects and place are all intricately and beautifully held together.
The Innocence of Objects-Pamuk’s tour de force and mind-bender about museums, art, artifice, and the place of fiction and the writer in the world-is a nonfiction narrative unlike most you will encounter. This unique art book is a tour of an actual museum, in Istanbul, which Nobel Prize winning author Orhan Pamuk created as a repository of physical objects described the chapters in his 2009 novel The Museum of Innocence. I adore house museums, There are great ones in St. Petersburg- Blok's and Pushkin's, Dostoyevsky's, Akhmatova's, and in Moscow-Tolstoy's, -the Russians are very fond of the. I've been to George Sand's and Victor Hugo's in Paris.
6 quotes from The Innocence of Objects: ‘We don't need more museums that try to construct the historical narratives of a society, community, team, nation. The Innocence of Objects Quotes Showing 1-6 of 6. We don't need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are riches, more humane, and much more joyful. Orhan Pamuk, The Innocence of Objects.
We must read Orhan Pamuk's second novel through the double veneer of time and translation. The majority of the 74 chapters of The Innocence of Objects – the elegant catalogue from the Museum of Innocence that the author opened in Istanbul this year, and which takes its name from his 2008 novel – present relics of 20th-century Istanbul life, mini-essays and novel excerpts. This is the monument that Kemal, the narrator of The Museum of Innocence, used to commemorate his doomed affair with the beautiful Fusun.
Orhan Pamuk received the Nobel Prize in Literature in 2006. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University. The Black Book Paperback. The New Life Paperback.
The book jacket of The Innocence of Objects states that Pamuk divides his time between Istanbul and New York City, and this division is signified in the museum by an Ottoman pocket watch belonging to Kemal that has two faces, showing the time in Turkey and Europe ( The East-West Watch, C’est Moi ). It should not evade us that Pamuk’s museum is in the private sector, bought with money made, in large part, from selling a certain vision of Turkey to foreigners. The cozy feel of the museum’s interior, the antiqued numbers over the vitrines, and the faded beauty of its objects are all part of the same curatorial strategy: to generate in us a false sense of longing, a nostalgia for something that neither we nor anyone else has ever experienced.
Orhan Pamuk’s The Innocence of Objects makes me want to stand up and shout! It is a triumph of intimacy over sterility, depth over superficiality, and humanity over inhumanity. It is also the most perfect intersection of art and literature that I have ever encountered. The Huffington Post.
It's getting late in the Istanbul of Orhan Pamuk's new novel (his first since winning the 2006 Nobel prize), late in almost every sense of the word. Not dead, far from that, but the hours are small and time itself seems to be running down, as though the whole city were a memorial to its own better days. Though when was that? Under Ataturk, maybe? Or possibly before, in the Ottoman past that lies all around but of which the book's characters can hardly ever speak . Both his collecting and The Museum of Innocence itself are best understood as examples of what Pamuk elsewhere calls hüzün. It is the Turkish word for melancholy, but hüzün has a more complicated weight than the English term.