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故事发生在1975年春天的伊斯坦布尔。已有婚约的30岁富家公子凯末尔（Kemal）意外遇到出身贫寒的远房表妹——18岁的清纯少女芙颂（Füsun），并迅速坠入爱河。在一个半月炽热的爱恋过后，凯末尔与未婚妻茜贝尔（Sibel）解除了婚约，却发现芙颂消失于人间。凯末尔无法接受这一事实，开始深入伊斯坦布尔的后街陋巷追随芙颂的影子和幽灵。为了平复爱的痛苦，他悉心收集起心上人的一切，她爱过的，甚至是她触碰过的一切，并将它们珍藏于自己的“纯真博物馆”。
《纯真博物馆》是土耳其著名作家奥尔罕·帕穆克“最柔情的小说”，读者也可以追随书中的凯末尔，走入土耳其的街头巷尾，目睹20世纪70年代后期到本世纪初土耳其社会传统与现代之间错综复杂的关系，体会主人公痛失所爱后的无法自拔与感动。
I had not said， This trip to Paris is not on business， Mother. For if she’d asked my reason， I could not have offered her a proper answer， having concealed the purpose even from myself. As I left for the airport， I considered my journey in some sense the atonement（赎罪）I had obsessively（着魔似地）sought for my sins， among them， my having failed to notice Füsun’s（芙颂，故事中的女主人公）earring.
But as soon as I had boarded the plane， I realized that I had set out on this voyage both to forget and to dream. Every corner of Istanbul（伊斯坦布尔）was teeming with（充满着）reminders of her. The moment we were airborne（在空中的）， I noticed that outside Istanbul， I was able to think about Füsun through the prism（棱镜）of my obsession； but in the plane I could see my obsession， and Füsun， from the outside.
I felt such consolation（安慰）， the same deep understanding， as I wandered idly around museums. I do not mean the Louvre（卢浮宫）or the Beaubourg（博堡，乔治·蓬皮杜国家艺术文化中心的昵称或诨名）， or the other crowded， ostentatious（招摇的）ones of that ilk（同一类的）； I am speaking now of the many empty museums I found in Paris， the collections that no one ever visits. There was the Musée édith Piaf1， founded by a great admirer， where by appointment I viewed hairbrushes， combs， and teddy bears； and the Musée de la Préfecture de Police（警察局博物馆）， where I spent an entire day； and the Musée JacquemartAndré2， where other objects were arranged alongside paintings in a most original way—I saw empty chairs， chandeliers（枝形大吊灯）， and haunting unfurnished spaces there. Whenever wandering alone through museums like this，I felt myself uplifted（精神振奋的）. I would find a room at the back， far from the gaze of the guards who paid close attention to my every step； as the sound of traffic and construction and the urban din（喧嚣）filtered in（渗入，透进）from outside， it was as if I had entered a separate realm（王國）that coexisted with the city’s crowded streets but was not of them； and in the eerie（怪异的）timelessness of this other universe， I would find solace（慰藉）.
Sometimes， thus consoled， I would imagine it possible for me to frame my collection with a story， and I would dream happily of a museum where I could display my life—the life that first my mother， and then Osman， and finally everyone else thought I had wasted—where I could tell my story through the things that Füsun had left behind， as a lesson to us all. In the morning， after a leisurely breakfast at the hotel， I would kill time on the avenues and in the cafés until the little museums had opened； I’d write postcards to my mother and Aunt Nesibe， peruse（浏览）the local papers， trying to figure out what had happened in Istanbul and the world， and at eleven o’clock I would pick up my notebook and set out hopefully on the day’s program.
1. 伊迪丝·琵雅芙（édith Piaf， 1915—1963），被譽为法国香颂女王。法国传记电影《玫瑰人生》就是根据她的生平拍摄的。
2. 雅克马尔-安德烈博物馆，建于1869年，曾经是法兰西第二帝国富有的银行家爱德华·安德烈（édouard André）和他的妻子内尔·雅克马尔（Nellie Jacquemart）的宅邸，现为杰出艺术品的收藏博物馆，藏有挂毯、地毯、家具和作品原稿，但主要以印度、埃及和希腊的油画和雕塑为主。
3. 法国卡蒙多·尼西博物馆，原为犹太裔银行家卡蒙多·莫伊斯（Moise de Camondo）的私宅，1911年至1914年由建筑师René Sergent依照凡尔赛小特里亚农宫设计修建，收藏了典型的18世纪法国家居内饰，如家具、地毯、油画、瓷器、水晶、细木镶嵌等。
4. 莫里斯·拉威尔（1875—1937），法国印象派作曲家的最杰出代表之一。代表作品有《达芙妮与克罗埃》、《鹅妈妈》、《波莱罗舞曲》等。
5. 马克·莱蒙（Mark Lemon， 1809—1870），英国作家，是英国老牌杂志Punch和The Field的创始编辑之一，还以为The Illustrated London News 编写圣诞故事而著称。
6. 古斯塔夫·莫罗（Gustave Moreau， 1826—1898），法国象征主义画家，抽象表现主义的先驱。作品有《雅歌一景》、《幽灵》、《俄狄浦斯和斯芬克斯》、《朱庇特与塞墨勒》等。他的大多数作品都收藏在家乡巴黎的古斯塔夫·莫罗博物馆。
《纯真博物馆》是土耳其著名作家奥尔罕·帕穆克“最柔情的小说”，读者也可以追随书中的凯末尔，走入土耳其的街头巷尾，目睹20世纪70年代后期到本世纪初土耳其社会传统与现代之间错综复杂的关系，体会主人公痛失所爱后的无法自拔与感动。
I had not said， This trip to Paris is not on business， Mother. For if she’d asked my reason， I could not have offered her a proper answer， having concealed the purpose even from myself. As I left for the airport， I considered my journey in some sense the atonement（赎罪）I had obsessively（着魔似地）sought for my sins， among them， my having failed to notice Füsun’s（芙颂，故事中的女主人公）earring.
But as soon as I had boarded the plane， I realized that I had set out on this voyage both to forget and to dream. Every corner of Istanbul（伊斯坦布尔）was teeming with（充满着）reminders of her. The moment we were airborne（在空中的）， I noticed that outside Istanbul， I was able to think about Füsun through the prism（棱镜）of my obsession； but in the plane I could see my obsession， and Füsun， from the outside.
I felt such consolation（安慰）， the same deep understanding， as I wandered idly around museums. I do not mean the Louvre（卢浮宫）or the Beaubourg（博堡，乔治·蓬皮杜国家艺术文化中心的昵称或诨名）， or the other crowded， ostentatious（招摇的）ones of that ilk（同一类的）； I am speaking now of the many empty museums I found in Paris， the collections that no one ever visits. There was the Musée édith Piaf1， founded by a great admirer， where by appointment I viewed hairbrushes， combs， and teddy bears； and the Musée de la Préfecture de Police（警察局博物馆）， where I spent an entire day； and the Musée JacquemartAndré2， where other objects were arranged alongside paintings in a most original way—I saw empty chairs， chandeliers（枝形大吊灯）， and haunting unfurnished spaces there. Whenever wandering alone through museums like this，I felt myself uplifted（精神振奋的）. I would find a room at the back， far from the gaze of the guards who paid close attention to my every step； as the sound of traffic and construction and the urban din（喧嚣）filtered in（渗入，透进）from outside， it was as if I had entered a separate realm（王國）that coexisted with the city’s crowded streets but was not of them； and in the eerie（怪异的）timelessness of this other universe， I would find solace（慰藉）.
Sometimes， thus consoled， I would imagine it possible for me to frame my collection with a story， and I would dream happily of a museum where I could display my life—the life that first my mother， and then Osman， and finally everyone else thought I had wasted—where I could tell my story through the things that Füsun had left behind， as a lesson to us all. In the morning， after a leisurely breakfast at the hotel， I would kill time on the avenues and in the cafés until the little museums had opened； I’d write postcards to my mother and Aunt Nesibe， peruse（浏览）the local papers， trying to figure out what had happened in Istanbul and the world， and at eleven o’clock I would pick up my notebook and set out hopefully on the day’s program.
1. 伊迪丝·琵雅芙（édith Piaf， 1915—1963），被譽为法国香颂女王。法国传记电影《玫瑰人生》就是根据她的生平拍摄的。
2. 雅克马尔-安德烈博物馆，建于1869年，曾经是法兰西第二帝国富有的银行家爱德华·安德烈（édouard André）和他的妻子内尔·雅克马尔（Nellie Jacquemart）的宅邸，现为杰出艺术品的收藏博物馆，藏有挂毯、地毯、家具和作品原稿，但主要以印度、埃及和希腊的油画和雕塑为主。
3. 法国卡蒙多·尼西博物馆，原为犹太裔银行家卡蒙多·莫伊斯（Moise de Camondo）的私宅，1911年至1914年由建筑师René Sergent依照凡尔赛小特里亚农宫设计修建，收藏了典型的18世纪法国家居内饰，如家具、地毯、油画、瓷器、水晶、细木镶嵌等。
4. 莫里斯·拉威尔（1875—1937），法国印象派作曲家的最杰出代表之一。代表作品有《达芙妮与克罗埃》、《鹅妈妈》、《波莱罗舞曲》等。
5. 马克·莱蒙（Mark Lemon， 1809—1870），英国作家，是英国老牌杂志Punch和The Field的创始编辑之一，还以为The Illustrated London News 编写圣诞故事而著称。
6. 古斯塔夫·莫罗（Gustave Moreau， 1826—1898），法国象征主义画家，抽象表现主义的先驱。作品有《雅歌一景》、《幽灵》、《俄狄浦斯和斯芬克斯》、《朱庇特与塞墨勒》等。他的大多数作品都收藏在家乡巴黎的古斯塔夫·莫罗博物馆。