The Innocence of Memories is an important addition to the oeuvre of Nobel Prize-winning author Orhan Pamuk. Comprised of the screenplay of the acclaimed film by Grant Gee from 2015 (by the same name), a transcript of the author and filmmaker in conversation, and captivating colour stills, it is an essential volume for understanding Pamuk's work. Drawing on the themes from Pamuk's best-selling books, The Museum of Innocence, Istanbul and The Black Book, this book is both an accompaniment to the author's previous publications and a wonderfully revelatory exploration of Orhan Pamuk's key ideas about art, love, and memory.

The Nobel Prize winner’s catalog of his Istanbul museum is like “wandering past the illuminated windows of an arcade. . . . This book spills over with pleasure”(The New York Times). The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel of lost love, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk’s catalog of this remarkable museum, he writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul (illustrated with Pamuk’s superb collection of haunting photographs and movie stills), and of course the customs and traditions of his beloved city. The book’s imagery is equally evocative, ranging from the ephemera of everyday life to the superb photographs of Turkish photographer Ara Güler. Combining compelling visual images and writing, The Innocence of Objects is an original work of art and literature.

From the Nobel Prize winner and acclaimed author of My Name is Red comes a portrait of Istanbul by its foremost writer, revealing the melancholy that comes of living amid the ruins of a lost empire. "Delightful, profound, marvelously origina.... Pamuk tells the story of the city through the eyes of memory." —The Washington Post Book World A shimmering evocation, by turns intimate and panoramic, of one of the world’s great cities, by its foremost writer. Orhan Pamuk was born in Istanbul and still lives in the family apartment building where his mother first held him in her arms. His portrait of his city is thus also a self-portrait, refracted by memory and the melancholy—or hüzün—that all Istanbullus share. With cinematic fluidity, Pamuk moves from his glamorous, unhappy parents to the gorgeous, decrepit mansions overlooking the Bosphorus; from the dawning of his self-consciousness to the writers and painters—both Turkish and foreign—who would shape his consciousness of his city. Like Joyce’s Dublin and Borges’ Buenos Aires, Pamuk’s Istanbul is a triumphant encounter of place and sensibility, beautifully written and immensely moving.

"An in depth look at the personal struggles many of us secretly experience with sex."--page 4 of cover.

A new and revelatory book from the bestselling author of The Museum of Innocence and the winner of the Nobel Prize in Literature.

World Cinema and the Essay Film examines the ways in which essay film practices are deployed by non-Western filmmakers in specific local and national contexts, in an interconnected world. The book identifies the essay film as a political and ethical tool to reflect upon and potentially resist the multiple, often contradictory effects of globalization. With case studies of essayistic works by John Akomfrah, Nguyen Trinh Thi and Apichatpong Weerasethakul, amongst many others, and with a photo-essay by Trinh T. Min-ha and a discussion of Frances Calvert's work, it expands current research on the essay film beyond canonical filmmakers and frameworks, and presents transnational perspectives on what is becoming a global film practice.

Jordi Fernández here offers a philosophical investigation of memory, one which engages with memory's philosophically puzzling characteristics in order to clarify what memory is. Memories interact with mental states of other types in a particular way, and they also have associated feelings that these other mental states lack. They are special in terms of their representational capacity too, since one can have memories of objective events as well as memories of one's own past experiences. Finally, memories are epistemically unique, in that beliefs formed on the basis of memories are protected from certain errors of misidentification, and are justified in a way which does not rely on any cognitive capacity other than memory. To explain these unique features, Fernández proposes that memories have a particular functional role which involves past perceptual experiences and beliefs about the past. He suggests that memories have a particular content as well, namely that they represent themselves as having a certain causal origin. Fernández then explains the feelings associated with our memories as the experience of some of the things that our memories represent, things such as our own past experiences, or the fact that memories originate in those experiences. He also accounts for the special justification for belief afforded by our memories in terms of the content that memories have. The resulting picture is a unified account of several philosophically interesting aspects of memory, one that will appeal to philosophers of mind, metaphysicians, and epistemologists alike.