The Museum of Innocence (78 page)

All these objects—the saltshakers, china dogs, thimbles, pencils, barrettes, ashtrays—had a way of migrating, like the flocks of storks that flew silently over Istanbul twice a year to every part of the world. In the flea markets of Athens and Rome I had seen lighters identical to one I had bought for Füsun—and there were others almost exactly like it in Paris and Beirut. This saltshaker, made in a small Istanbul factory, which sat on the Keskin table for two years, was to be seen in restaurants in the poorer parts of Istanbul, but I also noticed it in a Halal restaurant in New Delhi, in a soup kitchen in an old quarter of Cairo, among the wares the peddlers set out on the canvases they spread on the sidewalks of Barcelona every Sunday, and in an unremarkable kitchen supply store in Rome. What is certain: Someone somewhere had produced the first of these saltshakers, and then others made molds from them for mass production in many other countries, so that over the years, millions of copies had spread out from the southern Mediterranean and the Balkans, to enter the daily lives of untold families. To contemplate how this saltshaker had spread to the farthest reaches of the globe suggested a great mystery, as great as the way migratory birds communicate among themselves, always taking the same routes every year. Another wave of saltshakers would always arrive, the old ones replaced with the new, as surely as a south wind deposits its debris on the shore, and each time people would forget the objects with which they had lived so intimately, never even acknowledging their emotional attachment to them.

I brought my entire collection to the newly converted museum, along with the bedframe, the musty mattress, and the blue sheet on which Füsun and I had made love in the Merhamet Apartments, storing these last three objects in the attic. When the Keskins had lived in the house, the attic had been the domain of mice, spiders, and cockroaches, and the dark, mildewy home of the water tank; but now it had become a clean, bright room open to the stars by a skylight. I wanted to sleep surrounded by all the things that reminded me of Füsun and made me feel her presence, and so that spring evening I used the key to the new door on Dalgıç Street to enter the house that had metamorphosed into a museum, and, like a ghost, I climbed the long, straight staircase, and throwing myself upon the bed in the attic, I fell asleep.

Some fill their dwellings with objects and, by the time their lives are coming to an end, turn their houses into museums. But I, having turned another family’s house into a museum, was now—by the presence of my bed, my room, my very self—trying to turn it back into a house. What could be more beautiful than to spend one’s nights surrounded by objects connecting one to his deepest sentimental attachments and memories!

Especially in the spring and summer, I began to spend more nights in the attic flat. İhsan the architect had created a space in the heart of the building, which I could see through a great opening between the upper and lower levels; I could pass the night in the company of each and every object in my collection—commune with the entire edifice. Real museums are places where Time is transformed into Space.

My mother was uneasy about my living in the attic of my museum, but because I ate lunch with her regularly and had reconnected with some of my old friends (though never with Sibel and Zaim), and went on summer yacht trips to Suadiye and the Princes’ Islands, and because she, too, had come to believe in this as the only way I could bear the pain of having lost Füsun, she did not say a word; contrary to everyone she knew, she was prepared to regard my creation of a museum in the house where the Keskins had lived, exhibiting things that told the story of my love for Füsun, and the life we had shared, as perfectly normal.

“And oh, of course you must take all the old things in my wardrobe, too, and in my drawers…. I’ll never have a reason to wear those hats again, and the same goes for those handbags, and your father’s old things…. Take my knitting set, too, and the buttons and swatches. There’s no point in spending money on seamstresses now that I’m in my seventies,” she would say.

Whenever I was in Istanbul, I would pay monthly visits to Aunt Nesibe, who seemed happy with her new apartment and her new circle of friends. It was upon returning from my first visit to the Museum Berggruen in Berlin that I told her excitedly about the agreement I’d heard about between the founder, Heinz Berggruen, and the municipal government, a pact whereby he would be allowed to spend the rest of his days in the garret of the house he’d bequeathed to the city, to display the collection he had accumulated over a lifetime.

“While strolling through the museum, visitors can walk into a room or climb the stairs and find themselves face-to-face with the person who created the collection, until the day he dies. Isn’t that strange, Aunt Nesibe?”

“May God ordain that your time will be late in coming,” said Aunt Nesibe as she lit a cigarette. Then she wept a bit for Füsun, and with the cigarette still in her mouth, and the tears still streaming down her cheeks, she gave me a mysterious smile.

83

Happiness

IN THE middle of one moonlit night passed at the house in Çukurcuma, I awoke in my little curtainless attic room, bathed in a sweet glow, and gazed down at the empty space of the museum below. The silvery moonlight pouring through the windows into my museum, which sometimes seemed as if it might never be completed, gave the building and its empty center a frighteningly vacant aspect, as if it were continuous with infinite space. My entire collection of thirty years stood nestled in the shadows on the lower floors, encroaching like the gallery of a theater upon this emptiness. I could see it all—the things that Füsun and her family had used in this house, the rusting wreck of the Chevrolet, every fixture from the stove to the refrigerator, from the table on which we ate supper for eight years to the television we had watched while eating; and like a shaman who can see the souls of things, I could feel their stories flickering inside me.

That was the night I realized that my museum would need an annotated catalog, relating in detail the stories of each and every object. There was no doubt that this would also constitute the story of my love for Füsun and my veneration.

In the light of the moon, each and every thing tucked into the shadows, as if part of the empty space, seemed to point to an indivisible moment, akin to Aristotle’s indivisible atoms. I realized then that just as the line joining together Aristotle’s moments was Time, so, too, the line joining together these objects would be a story. In other words, a writer might undertake to write the catalog in the same form as he might write a novel. But having no desire to attempt such a book myself, I asked: Who could do this for me?

This is how I came to seek out the esteemed Orhan Pamuk, who has narrated the story in my name, and with my approval. Once upon a time his father and uncle did business with my father and the rest of us. Coming as he did from an old Nişantaşı family that had lost its fortune, he would, I thought, have an excellent understanding of the background of my story. I had also heard that he was a man lovingly devoted to his work and who took storytelling seriously.

I went to my first meeting with Orhan Bey well prepared. Before I spoke of Füsun, I told him that over the previous fifteen years I had traveled the world, visiting 1,743 museums in all, saving all of my admission tickets, and to pique his interest, I told him about the museums devoted to the memory of his favorite writers: When he heard that the only genuine piece in the F. M. Dostoevsky Literary-Memorial Museum in Saint Petersburg was a hat kept under a bell jar, with a caption saying “This truly belonged to Dostoevsky,” perhaps he would give me a smile. What would he have to say about the Nabokov Museum in the same city, which during the Stalin era had served as the office of the domestic board of censors? I told how, having visited the Musée Marcel Proust in Illiers-Combray and having seen the portraits of those who had served as models for his works, I left none the wiser about his novels, though possessing a clearer idea of the world in which the author had lived. No, I did not find the idea of a writer’s museum absurd. For example, at Spinoza’s house in the small city of Rijnsburg in Holland, I thought it was fitting that they had gathered together all the books in his library which were enumerated in an official report issued after his death, ordering them from largest to smallest, as was customary in the seventeenth century. And what a happy day I had walking through the labyrinth of rooms at the Tagore Museum, gazing at the author’s watercolors, and recalling the dusty, musty scent of the first generation of Atatürk Museums, all the while listening to Calcutta’s unending roar! I talked of visiting Pirandello’s house in the city of Agrigento, Sicily, and seeing photographs that might have been of my own family; of the city views from the windows of the Strindberg Museum in the Blue Tower in Stockholm; and of the gloomy little four-story house in Baltimore that Edgar Allan Poe had shared with his aunt and his ten-year-old cousin Virginia, whom he would later marry. I found it so familiar: Of all the museums I visited, it was this tiny four-story Baltimore Poe House and Museum, which now sits in the middle of a poor, outlying neighborhood, that reminded me most of the Keskin household, its forlorn air, its rooms, and its shape. But as I told Orhan Bey, the most magnificent writer’s museum I had seen was the Museo Mario Praz on Giulia Street in Rome. If he ever managed to make an appointment to visit, as I had done, the home of Mario Praz, the celebrated historian and author of
The Romantic Agony
, who had an equal passion for visual art as for literature, he must, I advised, read the book in which the great author told the story of his wondrous collection like a novel, room by room, object by object. By contrast, the house in Rouen where Flaubert was born was full of his father’s medical books, so there was no need for a writer to visit the Musée Flaubert et d’Histoire de la Médecine. Then I looked carefully into our author’s eyes: “While Flaubert was writing
Madame Bovary
, inspired by his beloved Louise Collet, to whom he had made love in horse carriages and provincial hotels, just as in the novel, he kept in a drawer a lock of her hair, as well as a handkerchief and a slipper of hers, and he would, from time to time, take these things out to caress them, looking in particular at the slipper to recall how she walked—as you certainly know from his letters, Orhan Bey.”

“No, I didn’t know that,” he said. “But I love it.”

“I once loved a woman so much that I, too, hid away locks of her hair, and her handkerchiefs, and her barrettes, and everything she ever owned, and for many years I found consolation in them, Orhan Bey. May I, in all sincerity, tell you my story?”

“Of course, go right ahead.”

So it was during our first meeting, at Hünkar (the restaurant that had replaced the now defunct Fuaye), that I told him my whole story—not in a disciplined way, but jumping back and forth—in the space of three hours. I was overexcited, and had drunk three double
rakıs
, and I think my elation got the better of me, making my story sound to some degree ordinary.

“I knew Füsun,” said Orhan Bey. “I remember her from the engagement party at the Hilton. I was so very sorry to hear she had died. She used to work at that boutique down the road. I even danced with her at your engagement party.”

“Is that true? She was such an exceptional person, wasn’t she…. I’m not talking about her beauty, but her soul, Orhan Bey. When you were dancing with her, what did you say to each other?”

“If you really have all of Füsun’s things in your possession, I would like to see them.”

First he came to Çukurcuma, showing a genuine interest in this collection I’d assembled and this museum I’d made from an old house, an admiration he made no effort to conceal. Now and then he would pick up an object, for example, the yellow pump that Füsun was wearing the first time I saw her in the Şanzelize Boutique, and he’d ask me to tell him its story, and so I would.

Later on we began to work in a more organized fashion. Whenever I was in Istanbul he would come to my attic once a week, always asking me why the objects and photographs I had recalled and organized in a row had to appear in the same order in the boxes and display cases of the museum and why each had to be mentioned in its particular chapters. With the greatest pleasure I would tell him. He listened very carefully to everything I said, and when I saw him taking notes I was pleased—and proud.

“Please finish this novel now, so that people who are interested can tour the museum with the book in hand. As they walk from case to case in my museum, seeking a better understanding of my love for Füsun, I’ll come down from my attic room in my pajamas and wander among them.”

“But you haven’t finished your museum either, Kemal Bey,” Orhan Bey would say by way of reply.

“There are many museums in the world I have yet to see,” I would say with a smile. And then I would try, yet again, to explain the spiritual effect that the silence of museums had on me, what sublime happiness it was to be in a far corner of the world on an ordinary Tuesday morning, strolling through a forgotten museum in an out-of-the-way neighborhood, and evading the scrutiny of the guards. Whenever I returned from my travels I would ring Orhan Bey at once, and tell him about the museums I’d seen, bringing tickets and brochures out of my pocket, as well as the little trinkets and directional signs that I had pocketed in the museums I most liked.

It was just after my return from one such journey that, after telling him my story, and describing the museums I’d visited, I asked him how the novel was progressing.

“I am writing the novel in the first person singular,” said Orhan Bey.

“What do you mean?”

“In the book you are telling your own story, and saying ‘I,’ Kemal Bey. I am speaking in your voice. Right now I am trying very hard to put myself in your place, to be you.”

“I understand,” I said. “So tell me, have you ever been in love this way, Orhan Bey?”

“Hmmmmm … We aren’t talking about me,” he said, and he fell silent.