![]() ![]() The development of the novel, as outlined by Pamuk, then seems interestingly different from the process of writing which Pamuk spoke of in his Nobel acceptance speech: And when something didn’t work, I understood that I had to intervene.” I saw the expression on their face, if they wee satisfied. I made my brother Sevket, who is an economist, check that dates and numbers were correct. I made my ex-wife read the book, who is a history teacher, my daughter, my editors. There were repetitions, or characters that appeared surprisingly after having been mentioned two hundred pages before. Two people, my personal assistant and an editor at the Turkish publishing houlse reviewed everything for months. For a long period I continued to copy-edit. Then, in the final phase, I paid a lot of attention to details. I reflected on it, and I worked around it. The idea for the drama and its development had already come about ten years ago. ![]() The last one, Istanbul, which brought me such good luck, was in 2002. Orhan Pamuk is interviewed in the latest edition of Venerdi di Repubblica magazine, here in Italy, and discusses the lengthy writing process he undertook for his new novel The Museum of Innocence, which will be published later this year (the Turkish version coming first, will be unveiled at this year’s Frankfurt book fair, where Turkey will be guest of honour). ![]()
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