Taking us through his journey as a novelist and as a reader, Nobel Prize-winner Orhan Pamuk explores, with extraordinary insight, what constitutes what he calls “the center” of a work of fiction. Looking to works by writers as varied as Herman Melville and Virginia Woolf among many others, Pamuk examines the deeper reaches that emerge when we, as writers and readers, suspend our judgments and search for meaning inside the pages of a book, encouraging us all to do the same.
Ferit Orhan Pamuk is a Turkish novelist, screenwriter, academic, and recipient of the 2006 Nobel Prize in Literature. One of Turkey's most prominent novelists, he has sold over 13 million books in 63 languages, making him the country's best-selling writer. Pamuk's novels include Silent House, The White Castle, The Black Book, The New Life, My Name Is Red and Snow. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018. Of partial Circassian descent and born in Istanbul, Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre Étranger, 2002 Premio Grinzane Cavour and 2003 International Dublin Literary Award. The European Writers' Parliament came about as a result of a joint proposal by Pamuk and José Saramago. Pamuk's willingness to write books about contentious historical and political events put him at risk of censure in his homeland. In 2005, a lawyer sued him over a statement acknowledging the Armenian genocide in the Ottoman Empire. Pamuk said his intention had been to highlight issues of freedom of speech in Turkey. The court initially declined to hear the case, but in 2011 Pamuk was ordered to pay 6,000 liras in compensation for having insulted the plaintiffs' honor.
El autor discute e ilustra la noción de centro y tema en la novela, al tiempo que ensaya una explicación de fondo a las razones que nos llevan a leer obras de este género. En apretada síntesis, el autor esgrime lo siguiente: “El hombre moderno lee y necesita novelas para sentirse como en casa en el mundo, porque su relación con el universo en el que vive se ha visto dañada; y en este sentido, ha efectuado la transición de la ingenuidad al sentimentalismo.”