Have you ever found yourself frustrated with a book, exclaiming, "UGH! You talk so much!"? Well, I know I have.

"The White Castle is a captivating and mystifying tale that delves into the complex themes of confused identity, self-reflection, and a world torn between two versions of itself."

The author reveals that his inspiration for the theme of impersonation stems from his relationship with his older brother, a relationship filled with a mix of jealousy and admiration.

Pamuk intentionally offers no clear answers or resolutions, leaving readers guessing and, more likely, eager to reread the book or engage in discussions with others who have read it. (Oops, they caught me!)

The book provides readers with an opportunity to understand that everything is a result of stories and that stories, in whatever form, have the power to shape us even as we are shaping them.

Well, that's what they say!

While it may be true, it's not what I would say if asked.

Personally, I would say that this book is cruel!

Listen! Forget about the main idea of the book for a moment.

The author repeatedly mentions "the patient reader" and "this book you are still reading patiently," and at times, he seems to know that you are debating whether to drop it or finish it. By saying these things, he makes you even more determined to finish it.

Only to then end the book with a plethora of unanswered questions! Which, apparently, is the author's goal.

I hate you! But I love you! God! You are so good!

"The White Castle" is a novel published in the distant year of 1985. It explores the theme of identity and blurs the boundaries between Asia and the Other, between the master and the slave, between the East and the West.

If traditionally we are accustomed to drawing dividing lines and understanding two different cultures through comparison, and in specific cases even directly through their opposition, then here Orhan Pamuk uses a completely different approach.

Set in the Ottoman Empire in the 17th century, the plot tells the story of a young talented Venetian captured in a naval battle and given to an enigmatic Turkish scholar. The visual resemblance between them is striking to those around, but most of all it is powerfully disturbing and plays with the minds of the two men. Their relationship becomes more complex over time through the exchange of knowledge, expressed in deep intellectual discussions, joint scientific projects, and two-way psychological manipulations. Gradually, their identities begin to merge in a surreal way. The increasingly frequent role-switching somehow disrupts the unstable self. Initially, the master and the slave, Hodja and the Italian, become intellectually equal, then along the path of logic they turn into competitors, until finally they become completely interchangeable figures. The differences between their physical characteristics, thoughts, feelings, and memories dissolve in a hypnotic symbiosis.

The end of the novel is ambiguous and poses the main question - Who is who in reality? Has the Venetian taken Hodja's place or has Hodja turned into a Venetian? Or perhaps the self is just an illusion?

Stylistically, Pamuk's prose is dense and multi-layered, intertwining history, philosophy, and psychological intrigue. One of the writer's particularly strong points is his ability to create an atmosphere rich in historical details. The reader is transported to the world of Ottoman Istanbul, where science and mysticism coexist.

Although "The White Castle" is a relatively short novel, it requires patience and careful reading. The reflections on the nature of the fluid identity, as well as on the theme of whether knowledge leads to true freedom or to greater enslavement, will stir us long after we close the last page of this book.

What defines each of us? What makes us lazy? Ambitious? Do good? Fall prey to evil? Perhaps we can only see ourselves in others? A mirror of our inner realities.

Orhan Pamuk constructs a captivating story within a story. The forgotten book, “The Quilter’s Stepson,” unfolds the tale of two men, a Venetian and a Turk in the 17th century Ottoman Empire. We are never informed of the Venetian's name, yet we learn about his background: a young scholar, engaged to be married, who is captured and sold into slavery in Istanbul.

His master is Hoja (the name meaning “master”). The curiosity lies in the fact that the two men are almost identical. Hoja desires the scholar to teach him everything, enabling him to progress further in the young Sultan's court. As a slave, the Venetian submits to teaching Hoja what he knows; Hoja demands more, a kind of friendship based on fear and respect.

They first come to notice by putting on fireworks for the eight-year-old Sultan, who is delighted. Then, many years later, when a plague strikes the city, they get their next significant opportunity. Their advice: lock down the city, restrict travel, and maintain a safe distance from others. Hmm, good advice indeed. It works, and the Sultan takes notice.

After twenty years, the two men fall into a strange relationship. Their closeness reveals their inner traits. The Venetian is horrified by Hoja's cruelty; Hoja is appalled by the Venetian's “soft” past. What makes each of them tick? Love? Hate? Something the other has? Wants?

Their next major challenge is creating a machine of war for the Sultan's upcoming battle. The Venetian is enticed by the fame; Hoja is obsessed with his own success or failure. Off they go towards victory.

Pamuk is a master at posing questions to us, making us wonder what will occur next. This duality is highly noticeable. The Venetian has no name; the Turk is simply the master. Yet, the master learns from the slave. One is Western; the other is Eastern. They each carry their own baggage. The Venetian is steeped in humanism; the Turk, in mysticism. They each have their religions, their cultures, their past. Nevertheless, both focus on learning. What makes the universe move? What makes us who we are?

The book reminded me of Calvino, who was also a master of storytelling and asking profound questions. Although it is a short book, I read it slowly due to all these powerful questions. I even contemplated a different income, something I rarely do. It must have been all this pondering that set me adrift in a story, far away off the Turkish coast in another time and space.

A big shout out to Glenn, for his recent and enlightening review that inspired me to pick up Pamuk again.

I didn't like it,

but maybe because I expected a lot from it as a historical novel.

It was really boring for me.

I left it several times,

but finally, I managed to finish it.

Perhaps my high expectations set the bar too high, and the book failed to meet them.

The story might have lacked the excitement and engaging elements that I was hoping for in a historical novel.

However, despite my initial disappointment,

finishing the book gave me a sense of accomplishment.

It also made me realize that sometimes our expectations can cloud our judgment,

and we need to approach books with an open mind and a willingness to explore different writing styles and storylines.

Maybe in the future, I'll be more cautious about setting my expectations too high and give books a fair chance to surprise me.

This short story is both charming and complex at the same time; let me explain.

The story explores the concept of duality that exists between the East and the West, Muslims and Christians, the master and the servant, and the self and the other. The question that the story poses regarding identity, its blurring, its resemblance to the other, and its entanglement in self-definition is a profound and meaningful one in the story.

Structurally, the text is composed, with multiple narrators and a variation in time and the hidden doubt in the narrator's reliability. Therefore, the story comes shrouded in ambiguous symbolism. I think those who are interested in the Freudian analysis method, or generally fans of Hermann Hesse's writings, will find something to their taste in this book (and I don't blame them).

Considering the story is artistically excellent, except that it comes fragmented, difficult, and unyielding, and does not open itself up to the reader. I really liked his work "My Name is Red" very much, and its description matches my preferences for this year. But the abundance of themes along with the many literary devices made the story tiring and tiresome. Literature students will respect its seriousness, which is a characteristic that distinguishes Orhan Pamuk's works, but the question is, will they like it?

Personally, it killed me and I only survived it when I finished it.

Kara Kitap'ın ana eksen sorusu olan "insan kendisi olabilir mi?" sorusuyla uğraşmaya Orhan Pamuk Beyaz Kale'de başlamış, Kara Kitap'tan sonra aynı meseleyle uğraşmaya Benim Adım Kırmızı 'da da devam edecek.

In this novel, the issue is being dealt with through the twin character cliché. The symbol of the mirror, the east-west conflict with one being the other's other, the tension between imitation and the original, the questions that can be asked in an endless loop such as what, who is how much imitation and how much original...

It seems that after writing Cevdet Bey ve Oğullarını, Pamuk thought hard about adding Lacanian psychoanalytic questions, symbols, and concepts to his pen during the lectures and in the library of Columbia University where he went for his then-wife's doctorate, and he learned very well how to incorporate the postmodern fictional elements that became popular in the early 1990s-2000s into his works.

Telling the story from the mouth of Pamuk's historian character Faruk Darvınoğlu and based on a so-called manuscript again aims to blur the sharp lines between the postmodern writing signs of the period and literature and history, fiction and reality, and to ask the reader questions such as "what is fiction and what is reality? How much of historical writing is fiction and how much is real? Can fiction be more functional than history in understanding historical reality?" etc.

However, fortunately, even if there is no manuscript in the middle, Pamuk has read a lot of Reşat Ekrem Koçu, İstanbul Ansiklopedisi, etc. in his pocket and for example, how was the plague lived in İstanbul, where was the street of mints, etc. He can draw the historical event from these secondary sources and base his fiction on historical events. Of course, when this novel was written, there were very limited secondary sources related to the plague in İstanbul. It is a much better studied subject now. Therefore, it should not be surprising that the plague after the covid19 pandemic can again become a novel subject for Pamuk in the light of the new discoveries of historians. Pamuk is undoubtedly reading history, doing historical research from secondary sources related to his novels, and is very good at keeping the pulse of the publishing market.

I was truly astonished at how effortlessly and swiftly I could read this. That is, until I reached the conclusion.

Then it dawned on me that I should commence anew and peruse it once more, for I was certain that I had overlooked something. You deceived me, Mr. Pamuk! And yet, I relished it!

The most captivating aspect of this book was the exploration of identity. What is the significance when I assert who I am? What distinguishes me from others? It's not something I desire to ponder constantly, but rather excellent musings to revolve around in the wee hours of the morning.

Sidetracking slightly, but I must air my grievance: My Finnish edition of this book has the entire plot expounded upon on the back cover. Likely the most exasperating thing a publisher could do! Once I arrived at the ending, nothing astonishing had occurred, and I felt a tinge of being cheated. It took me some time to overcome this and realize that I still savored the book despite this deception.

The individuals who disclose major plot points on the back cover ought to be penalized. My proposal: assemble them all in a secluded location and present them with a plethora of intriguing books to read. However, first, tear out the last 20 pages of each book. Ha! The book enthusiasts will exact their vengeance!

Here is the rewritten and expanded article:

I am myself and you are you. You are not me.

Both I am myself and you are you, and you are also related to me.

I am like a written note with you.

It is wrong to think that I am you or you are me.

This simple text seems to express the individuality and the complex relationship between two people. It emphasizes that while we have our own identities, there are also connections and interactions that occur. The use of the phrases "I am myself" and "you are you" highlights the importance of self-awareness and the recognition of the other person's distinctiveness. At the same time, the mention of "you are related to me" suggests that there is some form of bond or connection between the two. The comparison to a written note implies that the relationship is like a form of communication or expression. However, the text also warns against the mistake of confusing one's identity with that of the other. It reminds us to respect and maintain our individuality while also being open to the connection and interaction with others. Overall, this text offers a thought-provoking exploration of the nature of self and relationship.

The annotation claims that "The White Castle is a colorful and intricately patterned triumph of the imagination." However, I don't view it in such a lofty light. It is indeed good, but it doesn't reach the level of a true triumph.

Pamuk presents us with a story about a slave who, despite numerous difficulties and troubles, managed to find his place in the Turkish society of masters. There is also a master who appears to be both insane and genius simultaneously. They are as similar as brothers, and their minds have become alike as well. The knowledge of the Slave has become a part of Hoja, and Hoja's enthusiasm has become a part of the Slave. Not only the readers but also they themselves can hardly tell where one ends and the other begins.

The main idea underlying this narrative is that the human heart knows no bounds. People are capable of sacrificing themselves to save another human being. The fact that Hoja and the narrator swapped their lives serves as evidence of this profound truth. It shows that in the face of certain circumstances, the boundaries between individuals can blur, and the power of the human spirit can overcome even the most challenging situations.

"The White Castle" draws inspiration from "The Double" by Dostoevsky. Pamuk's talent for imbuing the narrative with Dostoevskian elements is truly remarkable. The detailed examination of identity, the interaction between the self and the other, and the philosophical profundity of the characters transform this novel into a fascinating exploration of the human mind. Pamuk's storytelling abounds in psychological complexity, delving into the deepest recesses of the human soul.

Its intricate relationships and the indistinct boundaries between the self and the other, reminiscent of Dostoevsky's exploration of the human condition, are outstanding. Pamuk's prose is both evocative and thought-provoking, and he constructs a narrative that engages the reader from start to finish. The novel's brilliance lies in its capacity to make you question the nature of identity and the intricacies of power and submission. It is a must-read for anyone who values the profound depth and complexity of Dostoevsky's works, as Pamuk skillfully continues this tradition with great expertise.

This is my third book by Pamuk, and I have adored all three. I can't wait to read more. He is an extraordinary writer!

"But we should seek the strange and astonishing in the world, not within ourselves! To search within, to ponder so long and intently about our own selves, would only bring us unhappiness. This is what befell the characters in my story: for this reason, heroes could never endure being themselves, for this reason, they always desired to be someone else."

If you want to know the differences between a Western mind and an Ottoman mind, read this book.

The Ottoman Empire had a long and complex history, and its culture and way of thinking were influenced by many factors.

The Western mind, on the other hand, has been shaped by different historical, cultural, and social experiences.

By reading this book, you can gain a better understanding of these differences and how they have affected the development of both the Ottoman Empire and the Western world.

Maybe this is the reason for our backwardness in the east. We need to learn from the Western mind and adapt its先进的 ideas and technologies to our own context.

This book provides a valuable perspective on this issue and can help us to think more deeply about our own development.

We are going to focus on the reading challenge regarding the novel "Di Lavoro" at the White Castle location. The related review video can be found at: https://youtu.be/eh9LOc2Wsek

Don't forget to explore the other videos on YouTube and share your thoughts.

This reading challenge aims to engage readers in a deeper understanding of the novel. By watching the review video, you can gain valuable insights and perspectives.

As you explore the other videos on YouTube, you might discover new interpretations and connections. Sharing your thoughts not only enriches the discussion but also helps others in their reading journey.

So, let's embark on this reading adventure together and see where it takes us.