Zitat des Tages von Orhan Pamuk:
The fictive structure, my work, my imagination, my books are about the details, the huge construction about culture, Islamic culture or modern Turkey. They're all intertwined.
I think less than people think I do about politics. I care about writing.
There's been quite a clear upswing in nationalist sentiments. Everyone is talking about it, in Turkey as well.
The opponents of this process have always tried to vilify westernization as a poor imitation.
Museums are western inventions where the rich and the powerful or the government and the state tend to exhibit the signs and symbol and images of their culture.
First, I would find an object which I would think is suitable for my characters and stories, then write about it, and in the end, I ended up with a house full of thousands of objects.
Novels are political because in them, we try to identify with people who are not like us. And, in that sense, I like the first-person singular because I have to imitate accurately the voice of someone who is not like me. The third-person singular gives me an authority over a character.
Istanbul is a vast place. There are very conservative neighbourhoods, there are places that are upper class, Westernised, consuming Western culture.
If a writer is to tell his own story - tell it slowly, and as if it were a story about other people - if he is to feel the power of the story rise up inside him, if he is to sit down at a table and patiently give himself over to this art - this craft - he must first have been given some hope.
The challenge is to lend conviction even to the voices which advocate views I find personally abhorrent, whether they are political Islamists or officers justifying a coup.
My home is attached to a study - in fact, my home is my study, and I have a little room to sleep in. I need to write looking onto the street or a landscape. Looking at reality from some distance gives me romantic visions.
Oscar Wilde always makes me smile - with respect and admiration. His short stories prove that it is possible to be both sarcastic, even cynical, but deeply compassionate. Just seeing the cover of one of Wilde's books in a bookshop makes me smile.
Language is me, in a way. Really, I feel it.
When people read a novel 600 pages long, six months pass, and all they will remember are five pages. They don't remember the text - instead, they remember the sensations the text gives them.
I don't look at emails, Internet or newspapers before 1 P.M. I wake at 7 A.M., eat fruit, drink tea or coffee, and read what I've achieved, or not achieved, the previous day. Then I take a shower and work on my next sentence until 1 P.M. After I've done emails and so on, I write again from 3 P.M. until 8 P.M.; then I socialise.
My hero wants to belong too, but he doesn't want to give up all the things he came to value in the west.
I write because I have an innate need to. I write because I can't do normal work. I write because I want to read books like the ones I write. I write because I am angry at everyone. I write because I love sitting in a room all day writing. I write because I can partake of real life only by changing it.
I want to describe the psychological state of the people in a certain city.
I consider myself Istanbul's storyteller. My subject matter is my town. I consider it my job to explore the hidden patterns of my city's clandestine corners, its shady, mysterious places, the things I love.
People look at me as sort of a diplomat for Turkey, which by nature, I'm not; I don't want to be. It's again about that playfulness. Being Turkey's voice or representative is not playful, it's not childlike; it makes me self-conscious, kills the child in me.
These political movements flourish on the margins of Turkish society because of poverty and because of the people's feeling that they are not being represented.
I see Turkey's future as being in Europe, as one of many prosperous, tolerant, democratic countries.
I really don't want to portray the Islamists as simply evil, the way it's often done in the west.
The hero of the book does long to experience God. But his conception of God is very western.
I have always thought that the place where you sleep or the place you share with your partner should be separate from the place where you write. The domestic rituals and details somehow kill the imagination. They kill the demon in me.
To appropriate an invention, be it artistic or technical, you have to have at least a part of your spirit embracing it so radically that you somehow change.
At first my publisher had reservations about publishing it in the form you are familiar with.
From a very young age, I suspected there was more to my world than I could see: somewhere in the streets of Istanbul, in a house resembling ours, there lived another Orhan so much like me he could pass for my twin, even my double.
I would be pleased if someone would invent a pill to remove my impatience, moodiness, and occasional bursts of anger. But if they did, I wouldn't be able to write my novels or paint.
For me, Westernization is not about consuming fanciful goods; it's about a system of free speech, democracy, egalitarianism and respect for the people's rights and dignity.
I have been attacked in Turkey more for my interviews than for my books. Political polemicists and columnists do not read novels there.
I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.
Authoritarianism, an unrealistic occidental imagination - these issues will never be settled. Turkey will continue to take Europe as a model; it will continue to pursue its search for democracy.
A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.
We fall in love more deeply when we're unhappy.
I write a world where everyone is partly right.