October 2012

Arts & Letters

'Silent House' by Orhan Pamuk

By Alexandra Coghlan

Originally published in 1983, Orhan Pamuk’s second novel has only now been translated into English. It’s an oversight that gives us a curious illusion of familiarity, of divination even. We already know the books this early experiment in narrative will beget – the Borgesian polyphony of My Name is Red, the political radicalism of Snow – and, like meeting the parents of a dear friend or lover, the urge is to trace back and examine what you already know through this new source.

In this case it’s an urge that yields plenty of insights, revealing a future Nobel laureate still finding his story. Like his heroes Woolf and Proust before him, Pamuk discovers it in the act of storytelling, the process of fiction and fact-making itself.

Three siblings gather in the remote Turkish seaside town of Cennethisar one summer, visiting their grandmother, Fatma, and revisiting childhood memories. As tensions build to the military coup of September 1980, each sibling absorbs the violence and political ideologies surrounding them, weaving these anxieties in to the self-narrated chapters that bring voices back to the shuttered rooms of Fatma’s silent house.

While less sophisticated than Red’s web of speakers, the associative streams of consciousness in Silent House celebrate Pamuk’s ear for dialogue. It’s particularly keen at catching the extremes of age: the monosyllabic brutality of first love and unheeded bitterness of old age. The English translation has an American flavour – the aspirational language of teenagers who know that “people can’t be anything in Turkey”.

Pamuk paces familiar ground in this portrait of Turkey at the trampled junction of West and East. But just as young Hasan finds meaning and a talisman in his beloved Nilgün’s comb, so Pamuk himself treasures the discarded personal effects too trivial for official history, fashioning them into a fragile story of self-determination.

Pamuk has often described the novel as a Western form, inorganic to Turkey’s hybrid culture, and here in his jostling, echoing, overlapping narratives, he makes a first attempt to reclaim this literary space. The novel – a literary ruin of memories that blocks new thoughts as surely as Fatma’s mouldering house stands in the way of developers – cannot be knocked down, but can be freshly filled with life (and, yes, death too). Pamuk’s characters take hold of their stories with gentle insistence, prying them out of the hands of the political, the epic, and preserving them instead as gleaming, vividly personal fragments.

Alexandra Coghlan

Alexandra Coghlan is the classical music critic for the New Statesman. She has written on the arts for the Guardian and Prospect.

'Silent House', Orhan Pamuk, Hamish Hamilton; $29.99
Cover: October 2012

October 2012

From the front page

Illustration

At home in the Antarctic

The screenwriters living with the crew of Mawson station

PM’s humble pie

The government’s economic reform agenda is threadbare

Image of the University of Sydney

Flat-earthers

The Australian’s crusade on free speech in universities

Image of Quarterly Essay 74, ‘The Prosperity Gospel’, by Erik Jensen

Everymen don’t exist

On the campaign trail with Scott Morrison and Bill Shorten – a Quarterly Essay extract


In This Issue

'Lore' by Cate Shortland (director)

'Questions of Travel', Michelle de Kretser,
Allen and Unwin; $39.99

'Questions of Travel' by Michelle de Kretser

'Montebello', Robert Drewe, Hamish Hamilton; $29.99

'Montebello' by Robert Drewe

Brett Whiteley painting Francis Bacon's portrait, London, 1984. Photograph by John Edwards. Image courtesy of Art Gallery NSW.

Anecdotes

Remembering Australian painters


More in Arts & Letters

Photo of Blackpink at Coachella

Seoul trained: K-pop and Blackpink

Trying to find meaning in the carefully formulated culture of K-pop

Cover image of Underland by Robert Macfarlane

The chthonic realms explored in Robert Macfarlane’s ‘Underland’

Cave systems, mines, urban sewers, mycelial networks, moulins and more

Still image from 'High Life'

A master’s misstep: Claire Denis’ ‘High Life’

The French auteur chooses a sci-fi film to start over-explaining things

Photo of Leonard French underneath his stained glass ceiling at the National Gallery of Victoria.

Leonard French’s Balzacian life

Reg MacDonald’s biography may return this Australian artist to the national imagination


More in Noted

Still image from ‘Assembly’ by Angelica Mesiti

‘Assembly’ by Angelica Mesiti at Venice Biennale

The democratic ideal is explored in the Australian Pavilion’s video installation

Cover image of 'Animalia' by Jean-Baptiste Del Amo

‘Animalia’ by Jean-Baptiste Del Amo

The French author delivers a pastoral that turns on human cruelty

‘The Essential Duchamp’ at the Art Gallery of NSW

A comprehensive exhibition of the 20th century’s most influential artist

‘Room for a Stranger’ by Melanie Cheng

The medico-writer delivers a novel driven less by storyline than accumulated observation


Read on

Image of the University of Sydney

Flat-earthers

The Australian’s crusade on free speech in universities

Image of Quarterly Essay 74, ‘The Prosperity Gospel’, by Erik Jensen

Everymen don’t exist

On the campaign trail with Scott Morrison and Bill Shorten – a Quarterly Essay extract

Image from ‘Fleabag’

Falling for ‘Fleabag’

On the problematic hotness of Andrew Scott’s Hot Priest

Image of Costume at Dark Mofo

Dark Mofo 2019: Costume

The Tasmanian electro-orchestral pop artist makes a beguiling debut in Hobart


×
×