“It is Allah who is creative, who brings that which is not into existence, who gives life to the lifeless. No one ought to compete with Him. The greatest of sins is committed by painters who presume to do what He does, who claim to be as creative as He.” (Ch.28, 160)
My Name is Red, set in late 16th century Istanbul of the Ottoman Empire, is rich in details, ambitious in scope, and subtle in philosophical meanings. In the center of this book, far from being a mere historical novel, is the recurring Pamuk’s internal East-West war. The novel is set in the time when the Ottomans’ confidence in the ever-expanding empire had begun to be shaken by the power of the West.
The story in a nutshell tells of two murders among Sultan Murat’s court artists; one of Elegant, a master miniaturist and gilder, the other of Enishte, the cunningly complicated organized commissioned by the sultan to produce a book that desecrates the Islamic religion. By contributing individual style to these art works, Enishte’s artists are accused of heresy, since the deviation of rote perpetual imitation is illustrating away from Allah’s perspective. Allah’s criterion of beauty is the only that which matters. The style the sultan’s artists surreptitiously adopt is that of Italian Renaissance. Figures are individuals, portraits are of specific people, and even trees, dogs, and dervishes are particulars.
Unlike mere decoration of the text, to portray individuals or objects for their own sake is to give them iconic standing. To coin such stature to objects and people is utter disrespect to Allah. The detective is Enishte’s nephew, Black, who has returned to Istanbul after his uncle had rejected his suit for the hand of Enishte’s daughter, Shekure. He has been summoned back to help organize the book for the sultan. When his uncle is slain, Black hastily weds Shekure, whose first husband disappeared in battle four years ago.
The book is itself constructed around the individualizing perspective; each chapter offers the varying first-person truths experienced by the characters. Death, Satan, a coin, a horse, also give their narratives. The irony of the heinous act is the murderer, who is faithful to the older artistic creed, betrays himself by a distinctive and detectable artistic style that proves his undoing. The narrative of Satan is by far the most provocative and profound. It evokes the philosophical duality that evil is as important and necessary as virtue (good). It’s the duality that one cannot exist without the other. Then at the very heart is an aesthetic tradition renewed and glorified without hatred and rancor. Though not always plot-driven, the book is a literary feat delving on how art, religion, and love intersect.
413 pp. Vintage International. Trade Paper. [Read|Skim|Toss] [Buy|Borrow]