Orhan Pamuk

Being a fiction writer makes you someone who works with irresponsibility.

Novels are political because in them, we try to identify with people who are not like us. And, in that sense, I like the first-person singular because I have to imitate accurately the voice of someone who is not like me. The third-person singular gives me an authority over a character.

Idealism, unrealistic idealism, is always contrasted with the reality of the people, of the man in the street. The details of daily life are always more convincing than the political fantasies of the earlier generations.

Authoritarianism, an unrealistic occidental imagination - these issues will never be settled. Turkey will continue to take Europe as a model; it will continue to pursue its search for democracy.

When I paint, I definitely live in the present, like someone in a shower whistling or singing.

I wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.

I write a world where everyone is partly right.

I don't like to make strong statements. I want to write strong novels... I keep my deep, radical things for my novels.

For me, Westernization is not about consuming fanciful goods; it's about a system of free speech, democracy, egalitarianism and respect for the people's rights and dignity.

I don't much care whether rural Anatolians or Istanbul secularists take power. I'm not close to any of them. What I care about is respect for the individual.

I always enjoy impersonating my characters in the first-person singular.

First, I would find an object which I would think is suitable for my characters and stories, then write about it, and in the end, I ended up with a house full of thousands of objects.

From a very young age, I suspected there was more to my world than I could see: somewhere in the streets of Istanbul, in a house resembling ours, there lived another Orhan so much like me he could pass for my twin, even my double.

Self-hatred is OK. I have self-hatred, too. It's OK. What's bad is if you don't know how to get out of it, don't know how to manage it. Self-hatred is, in fact, a good thing if you can clearly see the mechanism of it, because it helps you to understand others.

To appropriate an invention, be it artistic or technical, you have to have at least a part of your spirit embracing it so radically that you somehow change.

Just as good books give me the joys of being alive, bad novels depress me, and as I notice this sentiment coming from the pages, I stop. I also do not hesitate to walk out of a movie house if the film is bad.

The truly great books are always novels: 'Anna Karenina,' 'The Brothers Karamazov,' 'The Magic Mountain.' Just as with 'Shahnameh,' I browse these books from time to time to remember how a great book works on us or to teach my students at Columbia University.

I believe in a world where there are no heroes, and I've read and know humanity a lot. There are moments that I admire in a person courage, intellect, hard work. These are the qualities I admire in an intellectual, in a writer, and there are so many people who have these things.

When I write, I feel that I'm writing with my intellect. When I paint, I think it's some other force making me paint. I - as I wrote in my novel 'My Name is Red' - watch with amazement what my hand is doing on the paper, what kind of line, what kind of strange, beautiful thing it's doing in spite of my will, so to speak.

I came across humanity in Istanbul, and all I know about life comes from Istanbul, and definitely, I am writing about Istanbul. I also love the city because I live there, it has formed me, and it's me. Of course it is natural. If somebody lived all his life in Delhi, he will write about Delhi.

If I think back on the books to which I have devoted my entire life, I am most surprised by those moments when I have felt as if the sentences, dreams, and pages that have made me so ecstatically happy have not come from my own imagination - that another power has found them and generously presented them to me.

If a writer is to tell his own story - tell it slowly, and as if it were a story about other people - if he is to feel the power of the story rise up inside him, if he is to sit down at a table and patiently give himself over to this art - this craft - he must first have been given some hope.

I have the legacy of my father and his nocturnal automatic waking up. But I like those periods. I immediately have a different vision of humanity and my life.

My home is attached to a study - in fact, my home is my study, and I have a little room to sleep in. I need to write looking onto the street or a landscape. Looking at reality from some distance gives me romantic visions.

I don't look at emails, Internet or newspapers before 1 P.M. I wake at 7 A.M., eat fruit, drink tea or coffee, and read what I've achieved, or not achieved, the previous day. Then I take a shower and work on my next sentence until 1 P.M. After I've done emails and so on, I write again from 3 P.M. until 8 P.M.; then I socialise.

I would be pleased if someone would invent a pill to remove my impatience, moodiness, and occasional bursts of anger. But if they did, I wouldn't be able to write my novels or paint.

Language is me, in a way. Really, I feel it.

Culture is mix. Culture means a mix of things from other sources. And my town, Istanbul, was this kind of mix. Istanbul, in fact, and my work, is a testimony to the fact that East and West combine cultural gracefully, or sometimes in an anarchic way, came together, and that is what we should search for.

When the whole world reads your books, is there any other happiness for a writer? I am happy that my books are read in 57 languages. But I am focused on Istanbul not because of Istanbul but because of humanity. Everyone is the same in the end.

I think novelists should be disciplined and self-imposed working hours. I work a lot, but I don't feel that I'm working. I always feel that there is a child in me, healthy, and I'm playing.

Museums are western inventions where the rich and the powerful or the government and the state tend to exhibit the signs and symbol and images of their culture.

A museum should not just be a place for fancy paintings but should be a place where we can communicate our lives through our everyday objects.

Modernity means overabundance. We are living in the age of mass-produced objects, things that come without announcing themselves and end up on our tables, on our walls. We use them - most of us don't even notice them - and then they vanish without fanfare.

I get used to my fountain pens and my clothes, and I can never throw them away. I replace them only when I see that they are broken or embarrassing to wear.

I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.

I think less than people think I do about politics. I care about writing.

The fictive structure, my work, my imagination, my books are about the details, the huge construction about culture, Islamic culture or modern Turkey. They're all intertwined.

I strongly believe that the art of the novel works best when the writer identifies with whoever he or she is writing about. Novels in the end are based on the human capacity, compassion, and I can show more compassion to my characters if I write in a first person singular.

We should not judge Islam by terrorists. All civilizations and cultures produce terrorists. Every time there is a flag-burning, killing, or provocative films, I'm worried, not because something radical will happen, and this time, some people are killed. We're very sorry for that.

The secularists in Turkey haven't underestimated religion, they just made the mistake of believing they could control it with the power of the army alone.

Oscar Wilde always makes me smile - with respect and admiration. His short stories prove that it is possible to be both sarcastic, even cynical, but deeply compassionate. Just seeing the cover of one of Wilde's books in a bookshop makes me smile.

At the age of 60, I am less experimental and more mature. I want most of all to convey my understanding of life.

I want to describe the psychological state of the people in a certain city.

The challenge is to lend conviction even to the voices which advocate views I find personally abhorrent, whether they are political Islamists or officers justifying a coup.

People look at me as sort of a diplomat for Turkey, which by nature, I'm not; I don't want to be. It's again about that playfulness. Being Turkey's voice or representative is not playful, it's not childlike; it makes me self-conscious, kills the child in me.

When people read a novel 600 pages long, six months pass, and all they will remember are five pages. They don't remember the text - instead, they remember the sensations the text gives them.

Let us say in the pocket of one of my old coats I find a movie ticket from many years ago. Once I see the ticket, not only do I remember that I saw this movie, but also scenes from this movie, which I think I have entirely forgotten, come back to me. Objects have this power, and I like it.

The fueling of anti-Turkish sentiment in Europe is resulting in an anti-European, indiscriminate nationalism in Turkey.

I don't judge my characters.

Istanbul is a vast place. There are very conservative neighbourhoods, there are places that are upper class, Westernised, consuming Western culture.