The silent house

from Wikipedia, the free encyclopedia

The silent house ( Turkish : Sessiz Ev ) is the title of a novel by the Turkish writer Orhan Pamuk from 1980 to 1983 .

Mountainous coastal landscape on the Gulf of İzmit on the Sea of ​​Marmara near the setting

Action overview

The main setting of the novel is the old house of the grandmother Fatma Darvinoglu near Gebze on the Marmara Sea , about 50 km from Istanbul , where in July 1980 the grandchildren Faruk, lecturer in history, Metin, high school student, and Nilgün, sociology student, spent a summer vacation week spend. The history of the family in the 20th century (prehistory) is inserted into this seven-day course.

prehistory

In 1906, Fatma's father recommended the eighteen-year-old daughter, who grew up sheltered in prosperity, to marry the 25-year-old doctor Selâhattin Darvinoğlu, who was courting for her, because of his bright future prospects, and gave her as a rule of life: “Men shouldn't be asked too many questions, curiosity is only for something Cats. ”Four years later, the marriage is still childless, Selâhattin is banned from Istanbul because of his radical political-freedom attitude and criticism of the party“ Committee for Unity and Progress ”.

He and his wife move to Cennethisar near Gebze at the confluence of the Bay of İzmit in the Marmara Sea, where they find a European-style house without wooden bars on the windows and with a balcony, a "window" on the then largely uninhabited mountainous coast in the agricultural environment zur Freiheit ”, in which her son Doğan (born 1915) can“ develop his own personality ”. Here, in addition to the numerous medical treatments at the beginning, the doctor begins to work on an encyclopedia with which he wants to reform Turkish society according to the model of Enlightenment knowledge, and even after the fall of the Young Turks does not return to Istanbul to pursue his life's work complete.

Over this work, which he left behind as a fragment when he died, he neglected his medical practice, annoyed the superstitious farmers who prefer natural medicines and had to finance the life of the family and his large alcohol consumption by selling his wife's hereditary jewelry. He climbs more and more into a nihilistic worldview, but Fatma rejects this as a diabolical work, increasingly withdraws from him and after his death burns some of his manuscripts.

He enters into a relationship with a maid (Chapter 23) and has two sons, İsmail (born 1928) and Recep (born 1927), who live with their mother in a wooden house in the garden. When he takes her to the main house in a cold winter, Fatma has an argument with the family next to him. She beats the children with a stick, causing them permanent damage: Recep becomes dwarfed, İsmail has a broken leg and has been limping ever since. Selâhattin has to submit to Fatma's wishes because of the financial dependence. He then married his lover to a farmer, giving her and her children the family name "Karataş, black stone". After the death of their mother, Doğan brought the two half-brothers back to Cennethisar during his military service in 1940 and supported them financially by selling the last of Fatma's diamonds to pay off the sins of his parents. The thirteen-year-old Recep becomes a servant to the Darvinoğlus, the one year younger İsmail later builds a house on the hills with the money and works as a ticket seller.

Doğan is studying politics, has three children (Faruk, Nilgün and Metin) with his wife Gül, who is seven years his junior, and becomes district administrator in Kemah in eastern Turkey. In the last two summers before the end of his civil service career, he sent his family to Cennethisar to relax. After the death of his wife (1964) he resigned from his post because he could no longer bear the misery of the farmers and moved into his mother's house to work out agricultural reform proposals and to send them to the Minister of Agriculture. Disappointed by the lack of reaction, he gets drunk more and more, continuing his fatherly excess alcohol. His children are raised by their aunt in Istanbul.

Main storyline

The main plot begins with the arrival of Faruk, Nilgün and Metin in Cennethisar and lasts for a week:

  • Tuesday: grandchildren arrive
  • Wednesday (from chapter 6): visit to the cemetery
  • Thursday (from chapter 12), Friday (from chapter 20) and Saturday (from chapter 22): holiday programs (Nilgün: beach, Faruk: archive in Gebze, Metin: night parties and his unrequited love for Ceylan) with a falling mood with Faruk and Metin.
Parallel plot: Hasan's, Recep's nephew, terrorist activities, his interest in Nilgün and the increasing tragic entanglement in the web of affection and political hostility
  • Sunday (from chapter 26): Hasan's attack on Nilgün
  • Monday (from chapter 30): Nilgün's death, Hasan's flight

The following sequence generally occurs on these days:

After Nilgün returns from swimming in the sea, Recep serves her and Faruk with morning coffee while Metin is still sleeping. Faruk then drives to Gebze. Nilgün spends the day reading Ivan Turgenev's novel Fathers and Sons (symbolic in relation to the plot) in the garden. Recep goes shopping at the market (Chapter 13) and cooks lunch. Everyone meets for dinner in the evening. Then Faruk and Nilgün chat on the terrace while Metin celebrates with friends. The grandmother spends most of the time in her room, with the exception of the evening meals in the dining room (Chapter 19). Only once does she leave the house to visit the cemetery with Recep and the grandchildren on the second day, where she remains alone at the end of the novel.

Literary classification and narrative form

In principle, like Pamuk's first-born Cevdet and his sons , the silent house is a three-generation social novel based on Thomas Mann's novel Buddenbrooks, with a focus on the family's bourgeois home. In contrast to these two works, the story is not presented chronologically, but is inserted in retrospectives, as in the novel Schnee , into a seven-day plot limited to a geographical location, which, in contrast to the uniform personal perspective in Schnee , alternately introduce five narrators , and this change of perspective is again reminiscent of Cevdet and his sons .

structure

The family history is mainly remembered by the 90-year-old lonely Fatma in her sleepless nights. In her mind she lives in the past, which she completely occupies, since she has hardly any part in the present. The representative of the father generation Receps complements these reminiscences. He too has an insight into the conflicts over the illegitimate children of his grandfather, and Fatma fears, however unfounded, that he will inform the grandchildren of her deeds. In addition to the grandmother, who represents her husband Selâhattin Darvinoğlu and at the same time his socially and ideologically backward-looking antagonist, the narrators are divided between his two branches of the family: the grandchildren Faruk and Metin come from the main line, Recep and his nephew Hasan from the illegal branch line.

The events of the holiday week in Cennethisar are described chronologically from different perspectives with content overlapping when the narrator changes. There is a division of tasks. Fatma (chap. 2, 7, 11, 16, 23, 29, 32) and v. a. Recep (Chapters 1, 6, 13, 19, 27, 30) observe the events and conversations in the house. The reader accompanies the servant with his purchases, visits to coffeehouses, services for the family and with the care of the injured Nilgün, Faruk (Ch. 4, 9, 14, 18, 24, 28) on the trips to Gebze or during the research in the Archive, Metin (chapters 5, 10, 15, 21, 25) on his nocturnal wanderings and Hasan (chapters 3, 8, 12, 17, 20, 22, 26, 31) in his family disputes and political actions as well as the Observation and tracking of Nilgün on the streets and on the beach.

Narrative form

According to the perspective of the characters in their observations, their level of information and their subjective evaluation, the author uses the first- person form throughout . Partly jump the narrator seamlessly from playing the main story to the flashbacks that during the mixing of dialogues, interior monologues of the mold at commenting considerations stream of consciousness (stream of consciousness) can assume z. B. in Recep's presentation: “I brought the rest of the dishes into the kitchen […]. The maggots and worms hang around in your intestines, Selâhattin always said [...]! "The long reflective passages during the sleepless night are particularly characteristic of Fatma:" I got out of bed, went to the window and looked down. A glow of light still falls from Recep's room into the garden: What are you still doing, you dwarf. I was afraid. He's devious. ”In Hasan's and Metin's imaginations, too, different narrative forms alternate when they deal with Nilgün or Ceylan, for example.

The family history in a historical context

The novel is framed by two military coups (1908 and 1980); but only refers specifically to a few historical events : In 1910, the doctor Selâhattin Darvinoğlu (1881–1942) was banished from Istanbul by Talât Pascha because of his radical, politically liberal attitude and criticism of the party Committee for Unity and Progress of the Young Turks . The main focus of his life, which began in Cennethisar, is related to the discussion about the development of the country between oriental tradition and European-oriented progress, which was sparked at this time by the dispute over the dissolution of parliament by the absolutist ruling Sultan Abdülhamid II . The rebellion of the Young Turks forced the regent to reverse his decision. In his opening speech on December 10, 1908 before the newly elected parliament, Abdülhamid justified the suspension of parliamentary control by stating that the education of the people would only have been brought to a sufficiently high level by expanding teaching.

This topic, in connection with the social order, forms the background of the family plot: Selâhattin writes an encyclopedia based on the model of the French encyclopedia to educate the people . His son Doğan (1915–1967), as a district administrator in Kemah in eastern Turkey, got to know the misery of farmers and worked out reform proposals and draft laws, which he sent to the Minister of Agriculture. As a historian, Faruk plans to present the history of the Gebze region and his communist- oriented sister tries to persuade him to analyze the connections and power structures and to take responsibility accordingly.

The second historical frame date is the military coup in Turkey in 1980 two months after the main story ended. Behind the calm holiday facade, the novel depicts the situation in Turkey at the end of the 1970s: The lack of political stability and the social problems, strikes and violence by left and right-wing extremist groups illustrate the extortion of protection money by the “nationalist youth” and the fear of business people from acts of revenge. The struggle against the communists culminates in Hasan's attack on Nilgün, who reads the lists of victims of political conflicts in the newspaper every day.

After the attack on Nilgün, Faruk walks along the beach and describes the atmosphere of society in this time of crisis metaphorically: “The closed, closed parasols have something helpless about them, something close to death: as if a civilization that has not been able to materialize is now emerging prepared to be relentlessly swept away by a storm that comes from some distance for some inexplicable reason… ”. “I [feel] now that everything [is] coming to an end. Perhaps there is such a sentence in Orhan's novel. "

Between these two events, exile and manslaughter, Pamuk unfolds a family image as a social microcosm:

Analysis of the protagonists

Fatma and the dream of the upper bourgeoisie

As the principal of her family, Fatma represents the old order. She dreams of her sheltered and carefree time as a girl in Istanbul and remembers (Chapter 32) the visits to her friends Nigân, Türkan and Şükran, the daughters of “the former Paris envoy and foundation minister Şükrü Paşa”. The first is the protagonist of Pamuk's first novel Cevdet and his sons (1982). Her noble father married her to the honorable, aspiring businessman and factory owner Cevdet Işikçi, and she led a wealthy life in a befitting villa over the Bosporus .

Fatma's marriage to a talented doctor is predicted to have a similar bright future, but bitterly she is lonely in the provinces with the dreamy encyclopedist, and she has to finance the family, which remains in the educated bourgeoisie, from her shrinking wealth. She sells her jewelry piece by piece and, as an old woman, keeps looking into her empty casket. The European nihilistic ideas and the political stubbornness of her husband, who remained in voluntary exile after the overthrow of his opponents, makes them responsible for their decline.

Father and Son - The Failed Reformers

Selâhattin

Selâhattin sees himself as the educator of the people and wants to free them from heresies based on superstition and mysticism . He firmly believes in the success of his encyclopedia, which is only supposed to contain information verified by scientific experiments and with which he reforms and nihilistic ideas according to the pattern of enlightening, Darwinian- scientific (he consequently chooses Darvinoğlu, son of Darwin's surname ) and nihilistic ideas wants to lead to an earthly "beautiful paradise of the future".

As he loses track of his research, he becomes “humble and acknowledges that the Europeans have explored everything down to the last detail before [him]”: “The guys over there have already discovered everything, and nothing new can be said anymore. […] Nothing new under the sun! Even that is not new […], but also comes from them ”. Before his death, when he realizes that he cannot complete his work, he explains to Fatma that he "understood at one stroke [...] why everything is the way it is and why we are not like them." They [would] have discovered death as a bottomless well and as nothing ”and“ Only those who know the dark will understand the brightness, and only those who [know] about the nothing will also understand Being. "He tries to convey his denomination to his son Recep:" The world is like the apple on the forbidden tree, [...] you leave it on the tree and don't eat it because you believe in those lies and are afraid, pick it but the apple of knowledge, do not be afraid, Recep, I picked it too and became free as a result, go my boy, you will conquer the world through it ”.

His turning away from religion and tradition stands for the increasing alienation from his upper-class wife and the relationship with a young widow stranded in Cenethissar, whom he hires as a maid and who, as he explains to Recep, “carried the beauty of [her] people in her ] ". The sad result of this non-legalized second marriage and his plan to have both women, albeit in a traditional serving and ruling role, and the three children live together in the main house, symbolize his children, deformed by Fatma's beatings, which he then with their mother against Pay with a farmer.

Dogan

Doğan (1915–1967) tries to implement some of his father's ideas. He is not studying economics or engineering techniques, as his mother hopes, to promote his career, but politics, and as a district administrator in agricultural eastern Turkey, he gathers experience with the life of farmers and their working conditions. After giving up his post in frustration, he developed proposals for agricultural structural reforms . In such concepts and their failure, he recalls Refik Işikçi in Cevdet and his sons . In the private sphere, he is somewhat more successful with a social model: He mitigates the deeds of his parents by bringing the half-brothers back from the poor village in Cenethissar to their father's house and re-establishing their contact with Selâhattin, compensating them, Recep for a job and İsmail helps to create a simple home.

The grandchildren - a reflection of the social upheavals

Doğan's children represent three facets of the intellectual bourgeoisie in its position between the rich upper class and the poor population group with their lack of opportunities for advancement due to poor education: doubts about the political possibilities as well as about the meaning of scientific research (Faruk), interest in communist ideas and commitment for structural changes (Nilgün) and dream of studying in the USA and a better life abroad (Metin).

Faruk and Nilgün

Faruk (born 1947) has lived since his wife Selma left him - the motif of unhappy one-sided love known from other Pamuk novels can also be found in Metin and Hasan - solely as a university lecturer for history in Istanbul. During his vacation stays, he researches the archive in Gebze about the plague and collects historical events and court cases in old newspapers and documents in order to come to terms with the past of the region and to present it (Chapters 14, 18). In doing so, he notes that "all incidents of a quarter of a century [move] through the convolutions of [his] brain without causal connections". "[B] at lunch [comes to him] the comparison with an endless worm galaxy in weightless nothing". He therefore ponders a volume of stories with “a believable fairy tale that sums up all events!” Because “in order to see and understand history and the world and life as they are, we actually need others Brain structures! "He complains:" Oh, this longing for stories turns our heads and takes us into a dream world. "

He then plans “to present all the events that happened in Gebze and the surrounding area in that century, without in any way classifying them according to their significance” in order to give the reader an impression of the incoherent addition of the history of life. Like father and grandfather, he will probably not carry out his plan, which he himself describes as a "nonsensical project". Hasan steals his documents, burns them and the rest ends up in the trash can at the train station (Chapter 31).

In the evening he discusses with Nilgün, who has been studying sociology for a year, about his projects, which she encourages him to undertake , but from a socialist position in order to present and explain the context of history (Chapters 19, 24): “To the To explain the world, these stories are necessary. ”She tries to get him to work as a historian and to get involved in order to change something in the country.

It is precisely this possibility that Faruk sadly doubts: "I know all the stories, but also all the counter-stories". In contrast to his sister, he “surrendered” without, as she accuses him, of having “fought” at all. He wonders "about people who like to take responsibility" because he "doesn't like [] it at all to be caught in the act by [his] consciousness". That is, he fears the contradiction between actions and moral reflections. Faruk simply wants to tell, "cleared of the amusing fictions", "[n] ot to improve the world, but simply to make known what has happened." In his melancholy about these inadequacies and his limitations and because he "did not more [endures] to live with two souls ”, in people's everyday life and in his thoughts, he takes refuge in the narcotic alcohol, like father and grandfather.

Metin

Metin lives with her aunt in Istanbul or at boarding school with Nilgün, attends the last class of the American high school, which he intends to finish with the Abitur the following year, in order to then study in America and pursue a career. He lacks the money for this, his income from math and English tutoring is nowhere near enough and he tries to persuade his grandmother to demolish the old house, sell part of the property and build a modern apartment building.

During his vacation stay, he visits his wealthy childhood friends every day, all sons and daughters of manufacturers and business people with a relatively large amount of financial and European-oriented personal leeway: his friend Vedat, who spontaneously becomes engaged at a party to Sema, who is unhappy because of her family quarrel , Turgay, who is sent to the military by his father for reasons of upbringing, Mehmet, who lives with a young English nurse in his parents' house, Turan, who has started a relationship with Hülya. Newcomers have joined this group: Fikret and Ceylan, with whom Metin falls in love. This club spends its summer holidays, when it is not drugged and drunk on the beach or alternately hanging around in the parents 'houses (Chapter 21), with night tours in the parents' sports cars, with which they “poor” cars with less horsepower. Pigs ”, like the overloaded Mercedes of a guest worker, whom they force to avoid the verge with the right wheels in order to amuse themselves with its camel-like, bumpy driving style. So they race to discos (Chapter 15), have fun with water-skiing rides and boat races (Chapter 10).

In his unfortunate efforts to impress Ceylan and to approach her physically on the beach (Chapter 21), he fails miserably: While Ceylan and his financially superior rival Fikret rush off in his Alpha Romeo, he stays in his brother's car on the And the “nationalistic youth” who come by on their nocturnal spray tour humiliates him and takes away his tuition money (Chapter 25).

Hasan

Hasan represents the dissatisfied children of the working class, who compare their low standard of living with that of the bourgeoisie and the rich, dream of social prestige and prosperity, but do not see any prospects for themselves according to their ideas. Because he refuses his father's proposals to become the ticket seller, hairdresser or gardener, he attends a high school and has to study during the summer holidays because he has not been promoted to the next class.

Instead, he and his friends Mustafa and Serdar roam the coastal region, forcing shopkeepers to buy outdated tickets for “nationalist youth” events and at night spraying slogans against the communists and socialists on the walls of houses. He has lost his sense of reality and dreams of a strong personality who impresses those around him. These desires mix with the irrepressible anger of those who feel socially disadvantaged. Accordingly, he rates the vacationing families from Istanbul across the board: “[L] auter terrible people. You are all full of guilt and will all receive your punishment. I am disgusted with them ”. In other words, he looks for valves, calls unknown people and insults them or he aims at random enemies such as the bureaucracy or communists, but also his father, whom he pretends to work on the subject matter at night (Kp. 12. 22) , and the teachers who “bully” him and encourage him to study while he is unable to.

Thus, when his companions, to whom he has to prove his loyalty to the party, learn of his love for one of the intellectual-bourgeois "society girls" (Chapter 20), he gets entangled in an emotional thicket of lies, from which he emerges with an act of violence breaks out. On one hand, he tries to talk to Nilgun, steals her green hair comb as a fetish and buys a similar red as previously (Ch. 17), on the other hand he accuses them against Mustafa as a Communist in the grocer because they the Republican Cumhuriyet , after Hasan's opinion "a Communist newspaper ”reads. Now he is forced to act: he tears up the newspapers in the grocer's shop (Chapter 22), whereupon the grocer has to stop selling them, and brutally beats the girl when she does not respond to his political instructions and gives him a "crazy" Fascist [s] ”.

In response to this act of violence, from which Nilgün died after a brain hemorrhage, he escaped and obtained a new identity by stealing an ID (Chapter 31), took the train to Haydarpaşa (Istanbul) and probably disappeared there in the right-wing terror scene.

Recep - a symbol of pragmatism and survival

The dwarfed Recep, next to Nilgün the second hero of the novel, who endures the whims of his dependent aged mistress with great dignity, symbolizes the social tensions and the sufferings of the people in his external deformity. Since he knows the history of his role, his composure and loyalty are astonishing, where one might actually expect justified outrage or rebellion against those who caused his deformation.

He is representative in his sense of responsibility for the household, his grateful service and human willingness to help a traditional, apolitical, subordinate population group. It is he who, when he meets his nephew Hasan while shopping, encourages him to study as a basis for a better life and repeatedly calls on the brothers to take the injured Nilgün to the hospital for treatment. He often has a better overview and keeps his distance from public opinion through his knowledge of human nature, which he has acquired through painful experiences. For example, in the assessment of Selâhattin, who was seen as a muddlehead and a weirdo, whose manuscripts he saved from being burned to Fatma and whose work he was the only one to honor. Apparently he understands his father's explanations (Chapter 30) that they all depend on his wife's fortune and that she also fed him with the jewelry she sold. For that they would have to endure the humiliations. His service is made easier by the fact that in addition to Fatma, who is dependent on his help and therefore surrendered to him in impotent anger, the family members treat him kindly and appreciate his work.

He is a realist and comments on his father's sayings, "Live generously and freely, and only believe in yourself and in your mind [...] Pick the apple of knowledge from the tree of paradise, Recep, don't be afraid, just pick it, you will become yourself then you may wind up in pain, but you will be free, and when all people are free, you will found the true paradise, namely the paradise on earth, and you will no longer fear anything ”. with “words [...] nothing but words; Sounds that dissolve once in the air; Words ... "

Biographical references

In his book Other Colors ( Turkish : Öteki Renkler , 1999) you can find out some of the author's experiences that have been incorporated into the novel.

Pamuk writes that his grandfather's letters were an inspiration when he was at the beginning of the 20th century. studied law in Berlin to his then fiancé and later wife Nikfal, in whom she was instructed in a similar way to Fatma Hanim by Selâhattin. Pamuk's grandmother was also indifferent to these forbidden and sinful ideas and lived in an unhappy relationship.

He also differentiated his own experiences in the early 1970s and placed them in the characterizations of the young people, with something of him in every figure. Similar families with similar grandmothers lived in his neighborhood, so he understands these situations very well. Templates for details such as the car races in their fathers' cars, the binge drinking at the parties in the homes and on the beach, going to discos and trying to kill time are the real stories he saw with his friends in Sahil, where he was spent some summer months.

Compared to Selâhattin or his own grandfather, there are fewer people today who want to change their culture so radically. Therefore his grandchildren would go other ways.

Reception and translations

Pamuk's second novel received mostly positive reviews. He was awarded the Madarali Novel Prize (1984) and the Prix ​​de la découverte européenne for the French translation (1991) and u. a. translated into different European languages:

  • into French: La maison du silence. Translation by Münevver Andaç. Gallimard, Paris 1988, ISBN 2-07-071085-8 .
  • in Italian: La casa del silenzio. Translation by Francesco Bruno. Frassinelli, Milano 1993, ISBN 88-7684-251-9 .
  • into Dutch: Het huis van de stilte . Translated by Margreet Dorleijn. De Arbeiderspers, Amsterdam 1995, ISBN 90-295-3420-6 .
  • into Swedish: Det tysta huset. Translation by Dilek Gür. Norstedt, Stockholm 1998, ISBN 91-7263-777-3 .
  • into Spanish: La casa del silencio (= Debolsillo 601). Translated by Rafael Carpintero Ortega. Random House Mondadori, Barcelona 2006, ISBN 84-931418-5-2 .
  • into Russian: Дом тишины ( Dom Tishiny ). Амфора, Санкт-Петербург 2007, ISBN 978-5-367-00526-4 .
  • into Polish: Dom ciszy. Wydawnictwo Literackie, Kraków 2009, ISBN 978-83-08-04312-7 .
  • into German: The silent house. Translation by Gerhard Meier. Hanser, Munich 2009, ISBN 978-3-446-23400-0 .
  • into English: The silent house. Translation by Robert Finn. Alfred A. Knopf, New York NY 2012, ISBN 978-0-307-70028-5 .

The German reviews emphasize the author's early, almost perfect mastery: “This is world literature” ( Frankfurter Allgemeine Zeitung ). The novel, which is based on models from European literature, paints a differentiated picture of Turkish society using the example of a family in radical sobriety.

References and comments

  1. ↑ Pamuk, Orhan: "The silent house". Munich 2009. p. 23. The following is quoted after this edition.
  2. ↑ a b Pamuk, p. 25.
  3. ↑ Pamuk, p. 118.
  4. ↑ Pamuk, p. 64.
  5. ↑ Pamuk, p. 126.
  6. ↑ Pamuk, p. 27.
  7. ↑ a b Pamuk, p. 190
  8. ↑ Pamuk, p. 323.
  9. ↑ Pamuk, p. 316.
  10. ↑ Pamuk, p. 317.
  11. ↑ Pamuk, p. 362.
  12. ↑ a b Pamuk, p. 161.
  13. ↑ Pamuk, p. 239.
  14. ↑ Pamuk, p. 163.
  15. ↑ Pamuk, p. 326.
  16. ↑ a b Pamuk, p. 330.
  17. ↑ Pamuk, p. 192 f.
  18. ↑ a b c d Pamuk, p. 178.
  19. ↑ a b c d Pamuk, p. 179.
  20. ↑ a b c Pamuk, p. 261.
  21. ↑ a b Pamuk, p. 320.
  22. ↑ Pamuk, p. 254.
  23. ↑ Pamuk, p. 252.
  24. ↑ Pamuk, p. 149.
  25. ↑ Pamuk, p. 31.
  26. ↑ Pamuk, p. 232.
  27. ↑ Pamuk, p. 168.
  28. ↑ Pamuk, p. 199.
  29. ↑ Pamuk, p. 175.
  30. ↑ Pamuk, p. 300.
  31. ↑ Pamuk, p. 342.
  32. ↑ Pamuk, p. 342 f.
  33. ↑ Pamuk, Orhan: Other Colors: Essays and a Story . English translation by Maureen Freely. Alfred A. Knopf New York :, 2007, pp. 131-132.
  34. ↑ Wolfgang Schneider: Only the walls listen. FAZ, October 30, 2009, accessed December 17, 2013 .
  35. ↑ Terrible tightness. Spiegel, October 12, 2009, accessed December 17, 2013 .