Simplicity is a actual circuitous concept. ‘Keep it simple’ is acceptable advice, but not if its aftereffect is a dumbing down of agreeable or a concoction of account appear the patronizingly inane. Simplicity, if it indicates an affected and blunt assuming of contrarily circuitous material, is what writers generally seek, but rarely achieve. For some absolutely abundant artists the superior is accomplished allegedly afterwards effort. This is the superior and the ability of illusion.
An absorbing archetype of this complication of the allegedly simple can be activate in The Red Haired Woman by Orhan Pamuk. So abundant fiction takes the anatomy of a adventures that examples charge not be listed. These activity belief crop abounding forms, from archival arrangement to end-of-life recollection, from abstruse memories to self-analysis. Actual few would chase the awful aboriginal anatomy of Orhan Pamuk’s atypical and, crucially, the clairvoyant of this book will not be acquainted of its beginning boldness until the end, conceivably even some time afterwards finishing the book.
The Red Haired Woman is in the three audible parts. The novel’s arch appearance is alleged Cem, admitting the anecdotal is able-bodied developed afore we are acquainted of any name. In the aboriginal part, Cem is still at school. His bankrupt ancestors cannot accession the banknote to accredit the lad to appear a crammer to abetment his studies, so he takes a anniversary job labouring for a able-bodied digger. We are aware, admitting never explicitly, that there are complexities in these familial relationships. We are in Istanbul, breadth we commonly acquisition Orhan Pamuk, but thirty years ago if the city-limits had not sprawled to its accepted admeasurement and conceivably breadth assertive things were not discussed openly.
Mahmut, adept of his trade, is the able-bodied digger. He and his two cadre activate to plan on angled arena in ÅngÅ‘ren which, at the time, is a asleep little abode above the city-limits limits, breadth anybody knows anybody else’s business and breadth addition is just on the horizon. The able-bodied diggers go about their assignment during the day and retire to a bar in boondocks a lot of evenings. There is a theatre accumulation in the town, and one of its associates is a thirty-something woman with red hair. Cem becomes bedeviled with her adorableness and, as generally is the case in Orhan Pamuk’s fiction, the awareness becomes all-consuming for this adolescent and affectable man. Stubbornly, the able-bodied blasting does not crop its ambition and Cem extends his break in ÅngÅ‘ren. Conceivably predictably, encounters with the red-haired woman do abundant to brainwash the adolescent man. Eventually the labourer leaves the activity in aberrant affairs afore it is accomplished to acknowledgment home to Istanbul, abrogation abaft in ÅngÅ‘ren things that will abide to abode him.
In allotment two of The Red Head Woman, we accommodated Cem again, but now he is an adult, university accomplished – so the crammer the labouring paid for did at atomic some acceptable – and on the way to acceptable a affluent acreage developer, a cogent but conceivably not above force in Istanbul’s modernisation. He is acquainted of abundant that he larboard abaft in ÅngÅ‘ren, back the summer of able-bodied digging has larboard abounding enduring memories. These are brought into aciculate focus if a arrangement to redevelop locations of the breadth comes beyond his board and Cem decides to accompany the project. He appropriately needs to re-visit to the breadth and re-tread the alone partially apparent paths he trod during that alone affecting summer some three decades previously. Some of the characters he knew those years ago are still around. Some of the issues that motivated bone are still in focus.
Part three of the book is accounting afterwards Cem’s captivation with ÅngÅ‘ren has concluded. It is in this area that we apprehend a altered angle on Cem’s activity and to acknowledge its detail in a analysis would cheapen the appulse of the book. Suffice it to say that from this altered perspective, Cem’s accomplishments and memories crop on a wholly altered character. We knew all forth that there was abeyant for consequences, but Cem never anticipation to acquisition out what ability accept happened. But absoluteness catches up, and acerbity grows if it is ignored. All acquaintance is particular, and we have to all be acquainted that alone perspectives are annihilation added than that, individual. It is the after-effects that are shared.
But Orhan Pamuk’s The Red Haired Woman is abundant added than an alone fabulous life. The able-bodied diggers, visiting the bar in ÅngÅ‘ren, babble about abounding things. Repeatedly, two belief are advised from altered viewpoints. Oedipus, a man accursed to annihilation his ancestor and ally his mother, is one. A angle the able-bodied diggers analyze is that Oedipus is not acquainted of the anathema that directs his life, and that even if he carefully tries to abstain it shackles, the ability of fate added condemns him to its confines. The additional story, from the Shahmaneh, appearance Sohrab and Rostam. About counterbalancing Oedipus, this adventure has a ancestor annihilate his son. And it is these themes, pre-determination, fate, the paternal, affectionate and filial, and again eventually disability that anatomy an bookish courage in the work. Cem the acreage developer is set to improve the abode that did so abundant to access his personality, his angle on activity and his future. But the abode will acknowledge itself in his activity in a different, wholly abrupt way that Cem, himself, created, but can neither access nor control. The patricide and the filicide of the belief that bedeviled Cem in his adolescence eventually action it out in this ablaze book.
The Red Haired Woman, this short, attainable and allegedly simple atypical appropriately develops bookish and abstract dimensions, attenuated with its connected atmosphere of political appearance and bread-and-butter change. Alone at the end does the clairvoyant become absolutely acquainted of the complication of its themes, and how expertly Orhan Pamuk blends these allegedly disparate account into a biographical accomplished alleged Cem, the arch appearance through which we acquaintance an absolute appearance of the world. And yet the account of this book, alpha to finish, is consistently simple. The appearance is cellophane and the absoluteness is about tangible. It is both claimed and general, banal and ontological, reassuringly simple and yet emotionally circuitous and challenging. It is a absolute archetype of how artlessness is it the affection of the complex. Or was that the added way round?