My Name is Red,
by Orhan Pamuk, translated by Erdağ M. Göknar
Published by Vintage (2002)
I’m not sure I will be able to do justice to the plot of My Name Is Red. It’s difficult to put into words. In essence, it is a murder mystery. An individual, Elegant has been murdered, and his corpse lies undiscovered at the bottom of a well. Speaking from the afterlife, he hopes that his body is found soon and that the murderer is captured.
However, Elegant is not the sole narrator through the book. Each fresh chapter introduces a new character to the story, and ends up explaining their backstory, alongwith how much they know about the murder of Elegant. As we learn more about the motives for murder, so we learn about the motives behind art, and the possibilities of its interpretation.
Pamuk’s consistency with exploring the blurring of lines in the confluence between the East and the West continues here as well. Each narrator, though modernist, has an intriguing take on the value and role of art in a person’s life. So too, does each narrator have a perspective on whom the likely murderer is. Pamuk unravels the plot slowly, allowing for these philosophical discussions and beliefs to be exposed in as nuanced a manner as possible. Pamuk manages to portray the 16th century world, full of its own contradictions, and capture it in a manner that is wholesome and enjoyable.
However, if you are reading Pamuk purely for the murder mystery – this might not live up to your expectations. There’s barely any distinction drawn in the likelihood that one of the narrators may have murdered elegant, which leaves room for a lot of doubt, and a lot of tension, one that Pamuk diffuses in a manner that isn’t all that appreciable. The narratives is skewed and feels heavily-strung together.
As a result, Pamuk’s novel gets 5-stars on its value as a text and its contribution to my understanding of ideas that it presents – lucid, simplistic, and detailed. However, as a pure literary text, my jury will have to wait for a re-read. Or multiple re-reads.