The year is 1992. Ka, a poet and political exile, returns to Turkey as a journalist, assigned to investigate troubling reports of suicide in the small and mysterious city of Kars on the Turkish border. The snow is falling fast as he arrives, and soon all roads are closed. There's a 'suicide epidemic' amongst young religious women forbidden to wear ...
The year is 1992. Ka, a poet and political exile, returns to Turkey as a journalist, assigned to investigate troubling reports of suicide in the small and mysterious city of Kars on the Turkish border. The snow is falling fast as he arrives, and soon all roads are closed. There's a 'suicide epidemic' amongst young religious women forbidden to wear their headscarves. Islamists are poised to win the local elections and Ka is falling in love with the beautiful and radiant Ipek, now recently divorced. Amid blanketing snowfall and universal suspicion, he finds himself pursued by terrorism in a city wasting away under the shadow of Europe. In the midst of growing religious and political violence, the stage is set for a terrible and desperate act ...Touching, slyly comic, and humming with cerebral suspense, Snow evokes the spiritual fragility of the non-Western world, its ambivalence about the godless West, and its fury. "A novel of profound relevance to our present moment". (The Times).
Used-Good. This book is in good condition. All pages are intact, there are no tears to the book and the book is nice and clean. The pages might be slightly dog eared through previous use and textbooks might have a small amount of highlighting but nothing which will obstruct getting the maximum out of the book. Customers are protected by 100% refund guarantee if they are not happy.
In Snow, by Orhan Pamuk, a Nobel Prize recipient, its poet-protagonist Ka returns from exile in Germany to his hometown Istanbul to investigate the suicide of young girls as a result of a head scarf ban. While repression of Muslim women is a theme, the epic novel also explores the conflict between Western secularism and Islamist fundamentalism, state police repression, Kurdish separatism, terrorism, and the mediation of reality through technology, so that "all the world's a stage." Pamuk effectively dramatizes the poverty and grievances in Turkey, the ideological and theocratic murk of Middle Eastern politics, the felt passions and violence. One implausibility: Ka's poems come fully formed on the page; he apparently never revises. Snow is one of the few contemporary novels I've read that plunges the reader deeply into the intrigue of this shadow-world; Pamuk is too knowing not to reduce such complication into an oversimplified "clash of civilizations."
Apr 19, 2007
Understanding is Everything
"One of the pleasures of writing this novel, was to say to my Turkish readers and to my international audience, openly and a bit provocatively, but honestly, that what they call a terrorist is first of all a human being. Our secularists, who are always relying on the army and who are destroying Turkey's democracy, hated this book because here you have a deliberate attempt by a person who was never religious in his life to understand why someone ends up being what we or the Western world calls an Islamic fundamentalist terrorist." -Orhan Pamuk
Whether you are new to the writings of Orhan Pamuk or like me, a convert to his work in translation, you will find the book, "Snow," is packed, nay; overflowing with Turkish humanity. In Orhan Pamuk's self-avowed first (and last) political novel, the disaffected and somewhat anesthesitized inhabitants of Kars find their imperfect voice in his newest novel. Through mad-cap theatrical coup and broad, windy statements to an imagined and unhearing "Western Press," the reader is ingeniously treated and sometimes led by the nose through the complexity of an Islamic society that desires access to its past and admittance to the modern world.
Therein lies the rub.
Understanding is everything, although it can't immediately change anything. The readers of "Snow" will find many intricately-drawn zany characters, who represent a spectrum of political fundamentalist Islam; its adherents, admirers and detractors. All are deliciously served up on an exotic Turkish platter and are no less appealing for the remote locale.
As a reader, I am consistently amazed by Mr. Pamuk's stellar ability to give authentic, credible voice to a wide array of eccentric characters, each effortlessly recognizable for all their foible. There is a remarkable, transcendent levity to Pamuk's depiction of what are deeply tragic events; a rather mystical take on the "ship of fools" theory of life. When a young fundamentalist student in the book expresses his desire to become the "first Islamic science fiction writer" it is wistful, encouraging and poignant statement. The people of Kars do not by any means lack for voice. What they lack is a stable political vehicle that allows a coherent telling of their tale.
The varying degree of political involvement portrayed in the aloof dreaminess of love-sick Ka, ex-leftist, poet and main character, the complex hyperbole of Blue, fundamentalist outlaw, and Kadife, a forthright "westernized" girl from Istanbul converted to head-scarf activism represent the voices we don't usually hear behind the sad ubiquity of exploding bombs.
There are plenty of Pamukian literary devices in this novel that address the author's recurring themes and symbols. These have to do with questions of identity and metaphysics. Some note has been made in reviews here (USA) pondering the possible meaning(s) of Ka's name. I am told the author was influenced by Kafka. If readers of "Snow," desire a clue to the meaning or significance of the town's name, ("Kars") see the ending pages of "The New Life (also highly recommended)."
Every author has his own retinue of literary device and Mr. Pamuk continues to employ his own abundantly. The symbol of snow (in Turkish, "kar") is both tender metaphor and unifying symbol. Snowfall covers everything in the novel (and everyone) indiscriminately, possessing the miraculous nature of each snowflake's distinct design. Distinct design also aptly describes the Kars citizenry.
As I was finishing this valuable, well-written book, an Islamic faction in Iraq was holding two French journalists hostage, demanding that France lift its ban on the wearing of head-scarves by Muslim girls in French public schools. The underlying controversy of the book? A ban on head scarves in Turkish public schools by the state officials of Kars, resulting in a wave of suicides by young girls. Or was that the actual reason? Decide for yourself, by reading "Snow". One of the great fortuitous compliments I imagine an author receives (to his probable chagrin) is life attempting awkward imitation of his art. (Mr. Pamuk began this book before 9/11).
Understanding is everything, even when it changes nothing. Perhaps it is all we, at times, can do.
Publishers Weekly, 2004-07-19 A Turkish poet who spent 12 years as a political exile in Germany witnesses firsthand the clash between radical Islam and Western ideals in this enigmatically beautiful novel. Ka's reasons for visiting the small Turkish town of Kars are twofold: curiosity about the rash of suicides by young girls in the town and a hope to reconnect with "the beautiful Ipek," whom he knew as a youth. But Kars is a tangle of poverty-stricken families, Kurdish separatists, political Islamists (including Ipek's spirited sister Kadife) and Ka finds himself making compromises with all in a desperate play for his own happiness. Ka encounters government officials, idealistic students, leftist theater groups and the charismatic and perhaps terroristic Blue while trying to convince Ipek to return to Germany with him; each conversation pits warring ideologies against each other and against Ka's own weary melancholy. Pamuk himself becomes an important character, as he describes his attempts to piece together "what really happened" in the few days his friend Ka spent in Kars, during which snow cuts off the town from the rest of the world and a bloody coup from an unexpected source hurtles toward a startling climax. Pamuk's sometimes exhaustive conversations and descriptions create a stark picture of a too-little-known part of the world, where politics, religion and even happiness can seem alternately all-consuming and irrelevant. A detached tone and some dogmatic abstractions make for tough reading, but Ka's rediscovery of God and poetry in a desolate place makes the novel's sadness profound and moving. Agent, Andrew Wylie. (Aug.) Forecast: Pamuk's reputation-bigger outside the U.S. than in-enjoyed a boost with 2001's My Name Is Red. This timely, thoughtful and demanding book may see it grow further. Copyright 2004 Reed Business Information.
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