Tuesday, February 19, 2013

fake Jenny Colon handbag

todo o Museum of Innocence em .pdf, aqui, uma maldade.

o episódio da carteira falsa (que eu já tinha lido antes, mas onde) é desconcertante e incómodo, mas não passaria de uma história comum de um qualquer romance. o nome 'Jenny Colon' já dava uma pista para um algo mais: este é o nome da amada de Gérard de Nerval, um personagem literário em Istanbul.

mas o que se segue à entrega voluntária da virgindade e o paralelo que é estabelecido, o derramar de sangue desse sacrifício e a descrição de Istanbul como uma slaughter house na manhã do Eid-ul-Adha (Feast of the Sacrifice) alteram tudo, alteram também o modo de ler. o Eid-ul-Adha é a cerimónia em que se matam os cordeiros tal como foi morto por Abraão o cordeiro do sacrifício.

o olhar de Füsun, imóvel, que vê o cordeiro ser morto e o sacrifício de sangue que ela própria fará anos mais tarde (e de novo ver algo de fora e de dentro, a mesma coisa). depois ainda o sangue da mulher vítima de um acidente no trânsito e que ambos observam encarcerada no carro a lutar pela vida (e o que será o tema de Vida Nova).

há uma compulsão de criação de mundos paralelos, como os muitos cenários em que se podiam tornar os desenhos no tapete da sala da avó.

a falsa mala Jenny Colon está presente no Museu real:
"First, he bought the building, in 1998. “Then I began to think of a story, the story of a family living in this building,” he said. “Then I began to collect the objects they use; the clothes they wear, their visions, the pictures in their lives.

“It’s not that I first wrote the book and then searched for the yellow shoe. First I found the shoe, and I thought this was appropriate for a person like this,” he said. “So the objects, in ways, form the characters of the plot. Sometimes they even help the plot. So I was at that time continuously collecting objects.”

His attention turns to the purse. “This Jenny Colon bag — it is an imaginary brand. There was no real Jenny Colon,” he said. “So we went to the fake-bag producers of Istanbul, and there are many. We designed this and they helped us with the production of it.”

Vitrine No. 11 is titled “The Feast of the Sacrifice” — the story of Abraham and the slaughter of the sacrificial lamb, present in the Bible and the Koran, lies at the heart of his novel, Mr. Pamuk said.

His character Kemal says in the novel that “if we love someone very much, we know that even if we give him the most valuable thing we have, we know not to expect harm from him. This is what sacrifice is.”

“This is of course related to the way Fusun gives her virginity to Kemal,” he said. “Perhaps the power of giving something precious without expecting anything, perhaps Kemal’s infatuation with Fusun, is due to this. We don’t know.”

(daqui)

a mala e o sapato amarelo da boutique Şanzelize (Champs-Élisées).


"Istambul resembled a slaughter house. It was not just in the poor areas, or the empty lots in dark and narrow backstreets, or among the ruins and burned-out lots - even on the big avenues and in the richest neighbourhoods, people had been slaughtering lambs, tens of thousands of them since the early hours of the morning. In some places the sidewalk and the cobblestones were covered in blood. As our car rolled down hills and across bridges and wound its way through the back streets, we saw lambs that had just been slaughtered, lambs being chopped into pieces, lambs being skinned. We took the Galata Bridge across the Golden Horn."
Pamuk em The Musem of Innocence.

[uma população inteira a ser sacrificada por Abraão]

os cordeiros são pintados de vermelho com henna, tal como as noivas na festa de preparação para o casamento. deslumbrante sacrifício.


imagem do filme The Colour of Pomegranates, de S. Parajanov. (daqui: The Original scenario of Sayat-Nova)

(coincidências: "Paradjanov claimed his inspiration for the film was the Armenian illuminated miniatures". o próximo livro na minha lista é My Name is Red)

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