This is my first Orhan Pamuk novel, and also his first since winning the Nobel Prize in 2006. It is a story of two lovers in 1970's Istanbul, or rather one lover's obsession with the other. This obsession ultimately manifests itself as a museum, hence the title.
Kemal is a wealthy, westernised Turk, about to become engaged to the equally sophisticated Sibel, when he meets Fusun, a poor distant cousin, in a boutique. Taken by Fusun's beauty, he offers to tutor her in Maths in preparation for her university entrance exam. Soon Kemal and Fusun are entangled in a secret relationship and constantly getting tangled between the sheets at his mother's Merhamet Apartments, surrounded by trinkets and collectibles that had outlived their use. As his engagement with Sibel draws near, Kemal truly believes that he will be able to continue his relationship with both women, and so he invites Fusun and her family to his engagement party. Unfortunately Fusun finds out from some of the party guests that Kemal and Sibel had already consummated their relationship long before their engagement - although it was only when Sibel was 'absolutely sure that there would be in the end a wedding did she give herself to him'.
SPOILER ALERT!!!
Frustrated, Fusun deserts Kemal, who plunges into depression. Sibel attempts to cheer him up, but eventually she leaves him too, breaking off the engagement. Kemal then sets off in search of his lost love.
When he finally finds her again, Fusun is living with her parents in Cukurcuma and married to a film director wannabe. The husband sees Kemal as a potential financier for his dream art film, in which Fusun is to be the star. Seeing this as a means to stay in contact with Fusun, and possibly ultimately win her back, Kemal plays along and starts to spend the next 8 years with Fusun's family, having most of his suppers in the small house in Cukurcuma. As a means to preserve the memories of the time spent there, Kemal starts collecting small artefacts from Fusun's household, particularly items that Fusun has come in contact with. This growing collection is later displayed in Kemal's museum.
I found this book a bit frustrating. Kemal's obsession with Fusun seems highly superficial. Despite Kemal's assertions of Fusun's kindness and wisdom, there is hardly any evidence of such behaviour in their interactions. Instead she comes across as a bit of a bimbo, whose loftiest aspirations is to become a movie star. Even when she dies in the end, I did not feel sorry for either of them, as the circumstances that lead to the accident were a direct result of what I find extremely childish behaviour - walking off in a tantrum and then insisting on driving, all because she was protected from mixing with the film crowd so many years ago. And it was not even something that she really wanted anymore!
What I do like about the book is the wonderfully descriptive writing of the scenes and sounds of 1970's and early 80's Istanbul, the glimpses of a society trying to find its place and identity as a modern, forward-looking nation - a society that appears almost embarassed of its traditions and culture. The book is almost self-deprecating in this respect, and sometimes I suspect it is also this self-depreciation that intentionally chooses to depict Kemal and Fusun's otherwise shallow relationship as one of the greatest love stories.
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