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Fictional Displacements: an Analysis of Three Texts by Orhan Pamuk

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Fictional Displacements: an Analysis of Three Texts by Orhan Pamuk Fictional Displacements: An Analysis of Three Texts by Orhan Pamuk Hande Gurses A Thesis submitted in fulfilment of the requirements for the PhD Degree at UCL June 2012 I, Hande Gurses confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 To my parents Didem & Haluk Gurses 3 Abstract This study aims to discuss the structural and contextual configuration of three books by Orhan Pamuk: The White Castle, My Name is Red and Istanbul: Memories of a City. The central line of enquiry will be the possibility of representing identity as the attempt to capture the elements that make the ‘self’ what it is. Without limiting my analysis to an individual or national definition of identity, I will argue that Pamuk, writing through the various metaphysical binaries including self/other, East/West, word/image, reality/fiction, and original/imitation, offers an alternative view of identity resulting from the definition of representation as différance. I will argue that within the framework of Pamuk’s work representation, far from offering a comforting resolution, is a space governed by ambivalence that results from the fluctuations of meaning. Representation, for Pamuk, is only possible as a process of constant displacement that enables meaning through difference and deferral. Accordingly the representation of identity is no longer limited to the binaries of the metaphysical tradition, which operate within firm boundaries, but manifests itself in constant fluctuation as ambivalence. Within this framework I will suggest that Pamuk’s works operate in that space of ambivalence, undermining the firm grounds of metaphysics by perpetually displacing any possibility of closure. Initially focusing on the self/other dichotomy I will argue that the representations of the ‘self’ are its reinventions through difference and deferral thus representing it as ‘an-other’. Using the theoretical framework offered by the writings of Jacques Derrida I will 4 study the various textual and stylistic strategies that Pamuk uses in the his books to enable the representation of identity as différance. 5 Acknowledgments I would like to express my deepest gratitude and respect to my thesis supervisor Professor Mairéad Hanrahan for her thoughtful guidance, criticism, patience and encouragement. It was her relentless support that gave me the courage to continue writing. I also would like to thank my supervisor Professor Timothy Matthews who not only suggested the topic for this study but also has helped me with his insightful comments and corrections. I would like to thank my friends in London and Istanbul for their support and company. Special mentionings are required for Elvin Aydın, who guided me through the journey to find my own voice and Özgür Öğütçen for conversations that clarified my thinking. Finally I would like to thank my family for their unconditional love and support throughout the course of this study. My parents Didem and Haluk Gurses have made this project possible. 6 Table of Contents Abstract...........................................................................4 Acknowledgments............................................................6 I. INTRODUCTION ........................................................8 A. THE NATION IN CONTEXT .............................................18 B. ORHAN PAMUK IN CONTEXT ........................................41 C. DISPLACEMENT IN CONTEXT ........................................50 II. THE STORY OF THE ‘I’: THE WHITE CASTLE .59 A. THE VENETIAN AND HOJA ............................................65 B. THE LAST CHAPTER ....................................................110 C. THE DEDICATION, THE EPIGRAPH AND THE PREFACE116 D. THE AFTERWORD ........................................................129 III. THE PAINTING OF THE ‘I’: MY NAME IS RED133 A. THE MINIATURE NOVEL .............................................143 B. THE IDENTITY OF THE ARTIST ....................................174 IV. THE SELF-PORTRAIT OF THE ‘I’: ISTANBUL: MEMORIES OF A CITY ................................................................................204 A. URBAN ANECDOTES....................................................210 B. ISTANBUL AND ORHAN ...............................................236 C. A SELF-PORTRAIT .......................................................266 V. CONCLUSION .........................................................273 VI. BIBLIOGRAPHY.................................................285 7 I. Introduction 8 ‘The art of the novel is the knack of being able to speak about ourselves as if we were another person, and about others as if we were in their shoes.’ (Pamuk, 2010: 71) ‘The possibilities and powers of displacement are extremely diverse in nature, and, rather than enumerating here all their titles, let us attempt to produce some of their effects as we go along, as we continue our march…’ (Derrida, 2004: 99) The autobiographical sources of this study could be dated back to 2005 when I first moved to London to pursue my postgraduate studies. It was with that physical displacement from Istanbul to London that I came to realize the complexities involved in what I until then believed to be easily accessible: my ‘self’. My move to London offered me an unprecedented experience by depriving me of the pre-existing paradigms, which until then kept me safely within the boundaries of a certain definition of my ‘self’. Not only was I deprived of the signs that constituted a major part of the representation of my ‘self’ but also indications that I believed to be immanent to my ‘self’ had quickly vanished. The simple act of introducing myself had all of a sudden become an elaborate process that left me not only puzzled but also frustrated for not being able to represent my ‘self’ properly. As is customary, I would introduce myself by initially telling my name, ‘Hande’1 which most of the time was received with an expression of confusion. Often it was the first time my interlocutor was being exposed to such a combination of letters and I was compelled to spell the letters and repeat the correct pronunciation to make it more 1 The word hande is Persian in origin and means ‘smile’ or ‘laughter’. It is a very common female name in Turkish, though few people are aware of its meaning in the original Persian. 9 comprehensible. Rather than providing an explanation regarding my ‘self’, my name would generate an obscure first impression leading to the inevitable question: ‘Where are you from?’ This enquiry, unlike the name, sought to obtain clarification regarding the geographical positioning of the person in question. My response, ‘Turkey’, however, revealed that the scope of the question wasn’t limited to the geographical boundaries but contributed to the formation of an impression that was charged with cultural, political and religious assumptions. These assumptions became evident with the comment that followed my response: ‘You don’t look Turkish.’ While the preconceived ideas concerning the looks of women from Turkey are irrelevant to the purpose of this study, it is important to note that my country of origin, just like my name, far from providing an ‘accurate’ representation of my ‘self’, resulted in further complications. As an alternative response I would occasionally resort to ‘Istanbul’ to define my ‘origin’, which most of the time was received with more enthusiasm. While on the one hand these occurrences forced me to find alternative attributes that would offer a better representation of my ‘self’, on the other they led me to call into question the definition of that ‘self’ that needed to be represented. What exactly was that ‘thing’ that ‘I’ referred to? Did it have a substance? Was it restricted to my material existence? Was it ever possible to capture its dynamic constitution? My inability to come up with a definition coincided with my re-discovery of Orhan Pamuk, whose work I was already familiar with, but had a chance to read under a new light in London as the inability to define a ‘self’ became a personal experience. In this study I will analyse three books by Orhan Pamuk, The White Castle, My Name is Red and 10 Istanbul: Memories of a City, using mainly the theoretical framework offered by the writings of Jacques Derrida. Focusing primarily on the problematization of the ‘self’, I will discuss Pamuk’s outlook on the metaphysical tradition of defining identity. I will study how Pamuk’s evaluation of the problematic definitions of the pairs self/other, East/West, real/fictional, modern/traditional, original/copy, far from aiming at a reversal of these hierarchies offers an alternative perspective deprived of the primacy of the ‘origin’. Before discussing the implications of displacement in Pamuk’s oeuvre and outlining the theoretical framework for this study I shall cite some biographical information on Orhan Pamuk and offer a brief overview of his writings in a chronological order. Ferit Orhan Pamuk, the 2006 Nobel laureate for literature, was born in 1952 in Istanbul. He and his family lived in the Westernized district of Nişantaşı, which figures in many of his novels. Pamuk’s grandfather was a civil engineer who made his fortune building railways during the early years of the Republic. After attending Robert College2 Pamuk studied architecture at Istanbul Technical University. At the end of his third year Pamuk abandoned his studies, deciding that ‘they would never let me make the sorts of
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