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.
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.
'Snow' is my most popular book in the United States. But in Turkey, it was not as popular as 'My Name is Red,' or even 'The Museum of Innocence,' because the secular leaders didn't want this bourgeois Orhan trying to understand these head-scarf girls.
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.
One side of me is very busy paying attention to the details of life, the humanity of people, catching the street voices, the middle-class, upper-middle-class secret lives of Turks. The other side is interested in history and class and gender, trying to get all of society in a very realistic way.
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.
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 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.
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.
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