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Bill Blass

William Ralph Blass (June 22, 1922 – June 12, 2002) was an American fashion designer. He was the recipient of many fashion awards, including seven Coty Awards and the Fashion Institute of Technology's Lifetime Achievement Award (1999).

Early life
Blass was born in Fort Wayne, Indiana, the son of Ralph Aldrich Blass, a traveling hardware salesman, and his wife, Ethyl (Keyser) Blass.

In his autobiography, Blass wrote that the margins in his school books were filled with sketches of Hollywood-inspired fashions instead of notes. At fifteen, he began sewing and selling evening gowns for $25 each to a New York manufacturer. At seventeen he had saved enough money to move to Manhattan and study fashion. At eighteen, he was the first male to win Mademoiselle ' s Design for Living award. He spent his salary of $30 a week on clothing, shoes and elegant meals.

In 1943, Blass enlisted in the Army. Due to his intelligence and talent, he was assigned to the 603rd Camouflage Battalion, which came to be known as the Ghost Army. Its mission was to deceive the German Army into believing the Allies were positioned in fake locations, for example by using dummy tanks. He served in this unit at several major operations including the Battle of the Bulge, and the Rhine River crossing. The Ghost Army received the Congressional Gold Medal on March 21, 2024.

Fashion career
After the war, Blass returned to New York, and was promptly hired as Anne Klein's assistant. However, he was soon fired; allegedly, Anne told him that while he had good manners, he had no talent. He was a protégé of Baron Nicholas de Gunzburg. In 1970, after two decades of success in menswear and womenswear, he bought Maurice Rentner Ltd., which he had joined in 1959, and renamed it Bill Blass Limited.

Over the next 30 years he expanded his line to include swimwear, furs, luggage, perfume, and chocolate. In 1967, he was the first American couture fashion designer to start a menswear line. That part of his business grew to offer everything from ties, socks and belts to suits and evening clothes. It was made by 18 licensees.

Like many designers, his women's-couture collections lost money but served to promote other parts of his business. By the mid-1990s, his ready-to-wear business grossed about $9 million annually and his 97 licensing agreements had retail sales of more than $700 million a year.

His clients, many of whom were also his friends, included Happy Rockefeller, Brooke Astor, Nancy Kissinger, Jessye Norman, Gloria Vanderbilt and Patricia Buckley.

Design style
Blass is largely credited with creating the relaxed, elegant look that American fashion favored in the late 20th century. In a time period where international attention was solely focused on French fashion, Blass was able to create designs that would eventually shift the focus onto American fashion as well. Inspired by European fashion designers like Coco Chanel, Blass modernized womenswear by allowing them comfort while still maintaining a sense of glamour; he would create designs typical of sportswear, but create them using luxurious fabrics. His signature style consisted of feminine ruffles, luxury materials such as mink or cashmere, and sharply-cut, simple silhouettes.

Blass's looks would incorporate Golden Age Hollywood's glamour with sportswear, taking sportswear silhouettes, and creating them with luxurious materials such as mink, silk, and cashmere, or blending pieces traditionally found in sportswear with dramatic ball skirts. Blass was the first American to incorporate fabrics traditionally only found in menswear, such as pinstripes and houndstooth, into womenswear. His clothing was always very wearable, a characteristic that set him apart from his contemporaries, as most of them were focused on creating fantastical clothes.

Advertisements
Blass was one of the first designers bold enough and recognizable enough to star in his own advertisements. In one such campaign launched during the 1960 's, Blass was pictured alongside two models wielding machine guns. Text proclaiming "They can't knock off Bill Blass" was emblazoned across the image. Employing witty slogans such as '' Positively Blassphemous", Bill Blass became a celebrity in his own right.

Versailles 1973
During November 1973, at the Palace of Versailles, five American fashion designers, one of whom was Bill Blass, faced off against five French designers who were at the time considered to be the best of the best – Hubert de Givenchy, Yves Saint Laurent, Emanuel Ungaro, Pierre Cardin, and Marc Bohan of Christian Dior – in a battle of fashion shows. The event is often credited as the event that put American fashion in the international spotlight.

The Bill Blass Edition Continental Mark series
Beginning in 1975, and continuing until 1992, Blass lent his talents to the Ford Motor Company for an edition of their Continental Mark series of automobiles. In 1976, he shared model configurations with Emilio Pucci, Hubert de Givenchy, and Cartier. Each year, as goes true fashion, the interior and exterior color combinations would be updated. One of the most popular was the 1979 edition honoring a nautical theme, as did the Blass logo of the time. Small anchors were incorporated into the exterior accent striping and interior accents within the Blass "back-to-back B" design theme. The 1979 through 1983 Mark series Blass models were available with a "carriage roof" giving a convertible top look to the cars. After 1983, the Bill Blass edition became a color option with rear quarter window model designations and a few features that were options on the standard model.

Awards and recognition
Over the years, Blass won three Coty American Fashion Critics Awards. He won the 1968 Coty for men's wear. The Council of Fashion Designers of American awarded Blass their Lifetime Achievement Award in 1987 and was the group's first winner of their Humanitarian Leadership Award in 1996. He was also named to the International Best Dressed List Hall of Fame List.

New York Public Library
In 1994, Blass gave $10 million to the New York Public Library. In recognition of the gift, the Public Catalog Room of the New York Public Library Main Branch at Fifth Avenue and 42nd Street was named the Bill Blass Public Catalogue Room.

Retirement and death
In 1999, Blass sold Bill Blass Limited for $50 million to Michael Groveman and retired to his home in New Preston, Connecticut. Blass, longtime a heavy smoker, was diagnosed with oral/tongue cancer in 2000, not long after he began writing his memoir. His cancer later developed into throat cancer, resulting in his death on June 12, 2002, ten days away from his 80th birthday.

Blass collected art and was a connoisseur of antiquities and in his will bequeathed half of his $52 million estate, as well as several important ancient sculptures, to the Metropolitan Museum of Art.

Quotes
"The beauty of being able to draw, or paint, from an early age is that you never feel trapped, least of all by your immediate circumstances."

"The secret of living is not staying too long. I have learned when to leave the party."

“When in doubt, wear red.”

“Fashion can be bought by anybody; style takes discernment, it has to do with individuality.”

“Sometimes the eye gets so accustomed that if you don't have a change, you're bored. It's the same with fashion, you know. And that, I suppose, is what style is about.”

“Simplicity is the soul of modern elegance.”

Publications

 * Dining in Manhattan Cookbook: A Collection of Gourmet Recipes for Complete Meals from Manhattan's Finest Restaurants, with Joan G. Hauser (1983)
 * Bare Blass, edited by Cathy Horyn (2002)

title: Bill Blass


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User talk:Dw~enwiki

I have made a very heavy cut of your Day-Age Creationism. Basically everything baring the first paragraph. I am sure you will feel this is unjustified, but I hope that on re-reading the excised material you can see my reasoning - it is not relevant, it is not focussed, it is POV. Such a block of material should develop the arguments/reasoning of the Creationist and I did not feel this was so. If you still disagree please restore the extra material, I will not start an edit war over this. TwoOneTwo 23:24, 15 Dec 2003 (UTC)

Your account will be renamed
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Unfortunately, your account clashes with another account also called Dw. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Dw~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Renamed
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Dw~enwiki


text:
Talk:Day-age creationism

Pennock, DA & OEC
I'm citing Pennock fairly extensively on the views of DA-Creationists. One problem that I'm running up against is that he seems to treat them as more-or-less synonymous with OECs generally (although he doesn't appear to come right out and state this), and refers to explicitly DAy-Age arguments as OEC arguments. Are there any forms of OEC still with a following other than DA? If so, I'll have to be careful which of the arguments Pennock describes that I use in this article. HrafnTalkStalk 03:48, 3 March 2008 (UTC)

Improper grammar title
should be lower case C

 * Why?PiCo (talk) 15:17, 15 June 2008 (UTC)

POV
Okay, I tried to add the this Template:unbalanced to the article, but it got reverted so I'm here going to explain my reasoning. Basically, the article needs a criticism section. It only contains the view of those that believe in Day-Age creationism, and doesn't mention the views of those who disagree with it. Those that do, can be divided into two categories: fundamental theists who believe that the word day means the literal meaning of the word day i.e. 24 hours, OR non-theists who believe in a less religious view i.e. it wasn't God's doing or whatever, or (perhaps?) criticizing it as some kind of an attempt at hanging onto beliefs they would see as long disproved. I therefore feel until such a section can be created, the template would be adequate to show that it isn't neutral. Deamon138 (talk) 06:43, 27 June 2008 (UTC)

HrafnTalkStalk 07:01, 27 June 2008 (UTC)
 * 1) "Fundamental theists" has no well-defined meaning in this context. If you mean Young Earth creationists, then it would be perfectly reasonable to include the views of more prominent YEC organizations/individuals on DAC (though I should warn you that there's a troll doing the rounds who insists on attempting to delete such perspectives).
 * 2) "Non-theists" would not have any view on DAC, as it is a viewpoint on interpretation of a book (the Bible) that they assign no value to. Any disagreement they would have would be with Old Earth creationism (or even Creationism) more generally -- so should reasonably be handled in that (those) articles.

Yeah YECs were what I meant for the first group. Still, there must be a group that think that the Day-Age creationism doesn't go far enough, and that believers in it may as well just accept science full stop and reject the Bible, no? Of course, criticisms of OEC should go in that article, but surely those that disagree with it would disagree also on particular aspects of it, of which this article is one? A small criticism section would be adequate, so that it's at least known that people disagree with this idea. Deamon138 (talk) 07:08, 27 June 2008 (UTC) Plus the OEC article doesn't mention the second type of criticism anyway, only the criticism that it rejects the Bible's infallibility, which is done by thise in your point one (YECs). Deamon138 (talk) 07:10, 27 June 2008 (UTC)

 * I've just been reviewing the talk archives & The Creationists, and the problem on the first point seems to be that the DAC/YEC disagreement seems to quickly devolve into a 'he said/she said' over the exact meaning of the wording of Genesis -- a subject in which neither side provides reliable experts. This makes it very hard to make a balanced presentation per WP:DUE. The "believers in it may as well just accept science full stop" view applies to all creationism, so isn't a specific to DAC. Also this perspective generally doesn't care about the theological reasons why creationists hold these views so would be uninterested in singling out DAC. HrafnTalkStalk 07:21, 27 June 2008 (UTC)

 * In response to your tacked-on second comment. DAC (and OEC more generally) is less vocal, and makes fewer claims (and generally no unique ones) than YEC (particularly Creation science) and Intelligent design -- it therefore receives far less critical attention from the scientific community specific to it. WP:UNDUE would therefore dictate that the article should not say much more than to note the scientific community's general rejection of creationism and acceptance of evolution. HrafnTalkStalk 07:31, 27 June 2008 (UTC)

 * Also, strictly-speaking, DAC straddles the creation-evolution divide in that it includes theistic evolutionists and progressive creationists. As such, it can be considered to be a purely theological, as opposed to (pseudo)scientific, position -- thus rendering scientific criticism largely beside the point. What we really need is a good, neutral, discussion of the theological merits vs YEC, from a religious studies perspective. HrafnTalkStalk 08:05, 27 June 2008 (UTC)

Quark Confinement Time
I ran into an explication of Day-Age creationism a number of years ago that may be significant enough to merit inclusion here. It's the argument of Gerald Schroeder that measuring days from the point of quark confinement yields approximately 15 billion years, each day-age roughly corresponding to the Genesis account. Thoughts as to whether it should be included? Gabrielthursday (talk) 20:02, 3 July 2008 (UTC)

 * You will need to source this and show that it is notable enough to warrant inclusion, along with explaining the "mechanics" of this theory i.e. how do quarks see time in the way you describe? Deamon138 (talk) 20:10, 3 July 2008 (UTC)

 * Agree about sourcing and with your point about dealing with the mechanics of the suggestion. As for notability, it is a standard applied to articles, rather than content.  I think the question is whether it is relevant and significant with respect to the subject article.  Other thoughts? Gabrielthursday (talk) 21:28, 3 July 2008 (UTC)

 * About the notability thing: you kinda summed up what I meant when you said, "I think the question is whether it is relevant and significant with respect to the subject article." I guess I meant notable with respect to the subject article. I reckon if you find a number of sources about this then it would show this anyway, but it's important that it is a significant idea, and not just this one guy Gerald Schroeder's idea. Deamon138 (talk) 21:32, 3 July 2008 (UTC)

Schroeder's reasonably prominent (at least from memory of his name turning up in similar discussions before -- his article doesn't provide cites for an association with creationism -- or for anything else much actually). We would however need WP:RSs for both the argument and placing it/Schroeder within the boundaries of DAC. HrafnTalkStalk 04:56, 4 July 2008 (UTC)

Day-Age Creation is an attempt to contempories the Bibles account??
The first sentence of this article states: 'Day-Age creationism, a type of Old Earth creationism, is an effort to reconcile the literal Genesis account of Creation with modern scientific theories on the age of the Universe, the Earth, life, and humans.'

Do we have any proof for this, because as we look through Christian history, we have seen many debate the age of the earth BEFORE any "Modern" theories such as evolution have come to light. E.g. Augustine, and many others —Preceding unsigned comment added by Kronix (talk • contribs) 00:28, 22 September 2008 (UTC)

Isaac of Acre
I have some question's regarding this edit. First of all, I assume that the quoted source (Hinshaw) only supports the 13.7 billion figure, right? Hinshaw doesn't mention Isaac? In that case, could someone name (a) the source saying that Isaac made this calculation and (b) the source saying that Isaac's calculation is relevant to the topic of Day-Age creationism? Gabbe (talk) 17:38, 16 November 2009 (UTC)

 * Agreed -- both of these components are absolutely necessary, and need to be cited to a WP:RS, for this material to be included in this article. HrafnTalkStalk(P) 18:07, 16 November 2009 (UTC)

 * The claim about Isaac of Acre & 15,340,500,000 years appears to have been made by Aryeh Kaplan in Immortality, resurrection, and the age of the universe: a kabbalistic view. Nothing to link it to D-A creationism as yet. HrafnTalkStalk(P) 18:23, 16 November 2009 (UTC)

Ambiguous wording
A sentence reads:

The day-age theory tries to reconcile these views by believing that the creation "days" were not ordinary 24-hour days, but actually lasted for long periods of time—or as the theory's name implies: the "days" each lasted an age. According to this view, the sequence and duration of the creation "days" is representative or symbolic of the sequence and duration of events that scientists theorize to have happened.

I can see a few problems with this sentence: I would suggest "that scientists have discovered", "which science discovered" or "which were evaluated scientifically". I am not sure what to suggest for "day-age theory", perhaps that "day-age doctrine" would not be adequate. Perhaps that interpretation or hypothesis would. Possibly that we could simply use:
 * "day-age theory" might make it sound like it's a Scientific theory, but it lacks the weight of a scientific theory (and is actually a doctrine).
 * "that scientists theorize to have happened" is ambiguous, especially in the light of the previous issue: it gives the impression that both are merely opinions or hypotheses, if we don't consider "day-age theory" to be a scientific theory. We however know that there is strong consensus and evidence for dating the earth (and interestingly, those subscribing to the "day-age creationism" doctine do not deny this aspect).

Day-age creationism attempts to reconcile these views by believing that the creation "days" were not ordinary 24-hour days, but actually lasted for long periods of time (as day-age implies, the "days" each lasted an age). According to this view, the sequence and duration of the creation "days" is representative or symbolic of the sequence and duration of events which were evaluated scientifically.

76.10.128.192 (talk) 19:44, 4 March 2014 (UTC)

 * "Day-age theory" is fine as far as I'm concerned. It is not the case that all theories are scientific theories, so I think your concern misplaced. I do agree that the phrase "events that scientists theorize to have happened" is awkward and could be tightened up, but I fear your proposed phrasing is not an improvement. Maybe "...duration of events recognised by the scientific community" but that's not wonderful either. Gabrielthursday (talk) 23:41, 5 March 2014 (UTC)

 * I agree that there also is the colloquial term "theory", and depending on the context we may infer that it's the implied meaning... Another idea might be:

 * Day-age creationism attempts to reconcile these views by believing that the creation "days" were not ordinary 24-hour days, but actually lasted for long periods of time (as day-age implies, the "days" each lasted an age). According to this view, the sequence and duration of the creation "days" may be paralleled to the scientific consensus for the age of the earth.
 * Day-age creationism attempts to reconcile these views by believing that the creation "days" were not ordinary 24-hour days, but actually lasted for long periods of time (as day-age implies, the "days" each lasted an age). According to this view, the sequence and duration of the creation "days" may be paralleled to the scientific consensus for the age of the earth.

 * Considering that the article title itself is "Day-age creationism" I have preserved it above, but it's still only another suggestion. I have seen other uses of "theory" in the article, but those seemed less awkward in their context.  Thanks again, 76.10.128.192 (talk) 05:31, 13 March 2014 (UTC)

 * I don't see the awkwardness in the use of theory in this context, but perhaps I'm missing something. I'd suggest it's not a colloquial use of "theory", it's right in the vernacular - there are theories in literature, history, etc. as well as in science.
 * I like the language of "parallel to the scientific consensus for the age of the earth", but I think we're losing the parallels to specific periods. So maybe "scientific consensus for the history of the universe"? Thanks, Gabrielthursday (talk) 09:46, 14 March 2014 (UTC)

 * I think that you're right, it's not only about the age of the earth itself... Since you now are two who suggest to keep "theory", perhaps that it should remain, afterall.  Probably that the reason I find it awkward is because of the way "theory" is often misinterpreted.  I've seen this fallacy exploited in religious literature, like "Darwinism is just a theory" ("Darwinism" is used here to imply a cult or avoid mention of the Modern evolutionary synthesis, and "just a theory" claims that the theory is merely opinion or hypothesis).  Day-age creationism seems to be held by both theistic evolutionist and some more traditional creationist beliefs (other than Young Earth creationism).  So yet another iteration:

 * The Day-age theory attempts to reconcile these views by believing that the creation "days" were not ordinary 24-hour days, but actually lasted for long periods of time (as day-age implies, the "days" each lasted an age). According to this view, the sequence and duration of the creation "days" may be paralleled to the scientific consensus for the age of the earth and the universe.

 * Note that the "earth" and "universe" links above actually point to age of the earth and age of the universe. 76.10.128.192 (talk) 04:55, 16 March 2014 (UTC)

 * I have made the change as there seemed to not be any objections to the last proposed formulation. Thanks for your help. 76.10.128.192 (talk) 15:09, 25 March 2014 (UTC)

15.219.233.70 edit
I've not taken the liberty to revert the recent 15.219.233.70 edit but there seems to be a few issues: might be original research if not referencing to a text demonstrating the same conclusion (references are to verses only), and is slightly unclear about the part where the day is taken from the bible. 76.10.128.192 (talk) 15:16, 25 March 2014 (UTC)

 * After rereading the change today, I found that there were multiple issues, and since noone fixed it or proposed changes here, I decided to revert it for now. 76.10.128.192 (talk) 06:17, 29 March 2014 (UTC)

Is this necessarily pseudoscientific?
There is a warning at the top of the talk page that sanctions might be imposed on editors of this article, because the article is related to pseudoscience. However, the article states that the day-age interpretation is also popular among some theistic evolutionists, who accept the scientific consensus on evolution. Therefore, I don't think it would be WP:NPOV to label this article as such. It's fair to label YEC, Intelligent Design, and to a certain extent the other forms of OEC as such, because they reject the scientific consensus on how evolution works, but I think this is more a literary interpretation of the Bible rather than a pseudoscientific thinking, as both people who accept and reject the scientific consensus on evolution believe in this interpretation. (Note: I personally believe in theistic evolution, and I fully accept the scientific consensus on evolution, the age of the earth, etc. The article on theistic evolution is not labelled as pseudoscience.) Félix An (talk) 16:36, 4 January 2021 (UTC)
 * I was WP:BOLD just got rid of it. If you disagree, you may add it back as necessary and/or discuss. Félix An (talk) 22:33, 5 January 2021 (UTC)

title: Talk:Day-age creationism


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Number 55

Number 55 (Broj 55) is a 2014 Croatian war film directed by Kristijan Milić, billed as "the first action movie" about the 1991–95 Croatian War of Independence.

The film won eight Golden Arenas, including the Big Golden Arena for Best Film. The cast also includes Luka Peroš best known for his role of Marseille in Money Heist.

Plot
Movie takes place during the Independence War in Croatia. The film is based on a true story that happened on the eve in autumn of 1991 in the small Croatian village of Kusonje, near Pakrac. A small group of Croatian soldiers went on a patrol in an improvised armored car that they had made. In Kusonje, they get ambushed by Serb forces and are forced to hide in a nearby abandoned house that bears the house number 55. Their resistance to the rebeling forces, the JNA and Serbian special forces takes almost 24 hours. In parallel, the film follows the efforts of their fellow soldiers to pull them out of the encirclement.

title: Number 55


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Talk:The Morrow Project

untitled
The link you have given is a RPG fan page that listed the first paragraph of the description of The Morrow Project in his discussion about the imagninary vehicle he built to use in a TMP or GRUPS game.

I am the copyright holder of The original website that paragraph was taken from.

Again it is a general description of the game. We often put it in advertising materails. We also use it as a standard explanation of the game when people ask.

I still don't understand what you are objecting to.

This article and its content is currently being discussed at the Village Pump. —Frecklefoot 16:44, 17 Dec 2003 (UTC)

I believe this page is now relatively stable. It is not listed on VfD and the copyright holder has said he does not object to the quotation of the text from his website, which he himself added. However the page still reads a little bit like an ad, and the website text has not been formally released into the public domain (as far as I am aware). I suggest a rework and/or paraphrasing of the existing text (by the original author, or not) would remove any lingering doubts. Please don't bite the newbies. Anjouli 18:26, 17 Dec 2003 (UTC)

Recondo?
The heavy Recon teams are called Recondo(Recon-Commando) right? --Theredstarswl 20:57, 2 January 2006 (UTC)

Recondo? answer
I don't know about that. In real life, the U. S. Army did sometimes use the word "recondo," especially in Vietnam, but this was an American military slang term meaning: "the art of an American conducting recon and patrol in the jungle, while thinking and behaving as if he were using an Asian martial arts style" -- 'do' means 'way' or 'art' in Japanese. On the one hand, the word was a kind of joke and play on words, while on the other hand it was not a joke at all. I don't know that it has anything to do with combinig the word recconissance with the word commando.

SithiR

Game history
This section seems to be both short and incomplete.

The hyperlink to Robert Sadler is wrong; it links to a Wikipedia page about an Australian politician who died in the 1920s.

HScrimgeour (talk) 17:07, 1 June 2014 (UTC)

Confusion over 4th and "4th" editions
So, in 2013 Christopher Morrell and Robert O'Connor produced the 4th edition rules for this game, as you can see here:

https://www.amazon.com/Morrow-Project-4th-Role-play-Post-Apocalyptic/dp/0976604345

https://www.abebooks.com/9780976604341/Morrow-Project-4th-Edition-Science-0976604345/plp

https://books.google.com/books/about/The_Morrow_Project_4th_Edition.html?id=JctjrgEACAAJ

https://rpggeek.com/rpgitem/140527/morrow-project-4th-edition

See ISBN 10: 0976604345 ISBN 13: 9780976604341

Chris and Tammy Garland bought out Timeline Ltd. in 2017, and in 2020 Chris started a Kickstarter to produce a (second?) "4th Edition" rules (i.e. technically 5th edition). This version was never printed/produced/released. 137.244.82.100 (talk) 18:58, 8 January 2024 (UTC)

title: Talk:The Morrow Project


text:
USS Barracuda

USS Barracuda may refer to more than one United States Navy ship:

 * USS Barracuda was the original name of a submarine renamed USS F-2 (SS-21) in 1911 while under construction
 * Barracuda (SP-23), a proposed patrol boat inspected for possible service in late 1916 or early 1917 which never entered U.S. Navy service
 * USS Barracuda (SP-845), a patrol boat in commission from 1917 to 1919
 * USS Barracuda (SS-163), originally named USS V-1 when she was launched in 1924, a submarine in commission from 1924 to 1937 and from 1940 to 1945
 * USS Barracuda (SSK-1), later SST-3, originally named USS K-1 when she was launched in 1951, a submarine in commission from 1951 to 1959.

title: USS Barracuda


text:
USS F-2 (SS-21)

USS F-2 (SS-21) was an F-class submarine built for the United States Navy during the 1910s.

Description
The F-class boats had a length of 142 ft overall, a beam of 15 ft and a mean draft of 12 ft. They displaced 330 LT on the surface and 400 LT submerged. The F-class submarines had a crew of 1 officer and 21 enlisted men. They had a diving depth of 200 ft.

For surface running, the boats were powered by two 390 bhp NELSECO diesel engines, each driving one propeller shaft. When submerged each propeller was driven by a 310 hp electric motor. They could reach 14 kn on the surface and 11.25 kn underwater. On the surface, the boats had a range of 2500 nmi at 11 kn and 100 nmi at 5 kn submerged.

The F-class submarines were armed with four 18-inch (450 mm) torpedo tubes in the bow, no reloads were carried.

Construction and career
The boat was named Barracuda when she was laid down by Union Iron Works of San Francisco, California, but was renamed on 17 November 1911. She was launched on 19 March 1912 sponsored by Miss A. R. Rolph, daughter of James Rolph, the mayor of San Francisco, and commissioned on 25 June 1912.

F-2 joined the 1st Submarine Group, Pacific Torpedo Flotilla, in operations between San Diego, California, and San Pedro, Los Angeles out of San Pedro Submarine Base, the Flotilla's base. She continued to play an important part in developing tactics and coordinating the use of undersea craft with the fleet during an extended training period in the Hawaiian Islands's Naval Submarine Base Pearl Harbor from August 1914-November 1915.

After lying in ordinary at Mare Island Naval Shipyard from 16 March 1916 – 13 June 1917, F-2 became flagship of Division 1, Submarine Force, Pacific Fleet. Returning to operations out of San Pedro, she participated in surface and submerged exercises, torpedo-proving practice, experiments in balancing at various depths, and trained prospective crews of new submarines. On 18 September 1919, she was placed in reserve commission at San Pedro to be used in elemental school work until decommissioned at Mare Island on 16 March 1922. She was sold on 17 August.

title: USS F-2 (SS-21)


text:
USS Barracuda (SS-163)

USS Barracuda (SF-4/SS-163), lead ship of her class and first of the "V-boats," was the second ship of the United States Navy to be named for the barracuda (after USS F-2).

Construction and commissioning
Barracuda′s keel was laid down at Portsmouth Navy Yard. She was launched as V-1 (SF-4) on 17 July 1924, sponsored by Mrs. Cornelia Wolcott Snyder, wife of Captain Snyder, and commissioned on 1 October 1924. V-1 and her sisters V-2 (Bass) and V-3 (Bonita) were the only class of the nine "V-boats" designed to meet the fleet submarine requirement of 21 kn surface speed for operating with contemporary battleships.

Engineering
V-1 was completed with two Busch-Sulzer direct-drive 6-cylinder 2-cycle main diesel engines of 2250 hp each, along with two Busch-Sulzer auxiliary diesel engines of 1000 hp each, driving electrical generators. The latter were primarily for charging batteries, but to reach maximum surfaced speed, they could augment the mechanically coupled main-propulsion engines by driving the 1,200 hp (890 kW) electric motors in parallel via an electric transmission. Although it wasn't until about 1939 that its problems were solved, electric transmission in a pure diesel-electric arrangement became the propulsion system for the successful fleet submarines of World War II, the Tambor-class through the Tench-class. Prior to recommissioning in 1940, the auxiliary diesels were replaced with two BuEng Maschinenfabrik Augsburg Nürnberg AG (MAN-designed) 6-cylinder 4-cycle diesel engines of 1000 hp each. In 1942-43 Barracuda was converted to a cargo submarine, with the main engines removed to provide cargo space, significantly reducing her speed on the remaining auxiliary diesels.

Construction
V-1 had been commissioned in 1924 for surface running only, to permit an early trial of her engines. She was assigned to Submarine Division 20 and, after cruising along the New England coast, sailed on 14 January 1925 on a surface cruise of the Caribbean Sea, returning in May 1925 for completion. V-1 cruised along the Atlantic coast and in the Caribbean until November 1927.

Operational life
On 8 November 1927 Squadron 20 left Portsmouth, New Hampshire, for San Diego, California, arriving 3 December. Between December 1927 and May 1932 V-1 served with the Squadron on routine operations with the fleet along the west coast, in the Hawaiian Islands, and in the Caribbean. During this period her 5 inch (127 mm)/51 caliber deck gun was replaced by a 3 inch (76 mm)/50 caliber weapon. Her name was changed to Barracuda 9 March 1931 (for the scrapped F-2) and her hull classification symbol to SS-163, 1 July 1931. In May 1932 she went into Rotating Reserve with Submarine Division 15 at Mare Island Naval Shipyard. In January 1933 Barracuda was assigned to Submarine Division 12 and, until late in 1936, operated along the west coast and cruised to Pearl Harbor and the Panama Canal Zone with the fleet. On 28 October 1936 she left San Diego for the Caribbean where she took part in the Gravimetric Survey Expedition. On 8 January 1937 Barracuda sailed from St. Thomas, Virgin Islands, and arrived at Philadelphia, Pennsylvania, on 14 January, where she remained until placed out of commission 14 May 1937.

Recommissioning
Barracuda was recommissioned at Portsmouth, New Hampshire, on 5 September 1940 and assigned to Submarine Division 9. She sailed from Portsmouth 2 March 1941 to Bermuda, returning in June to join Submarine Division 71. She remained in the New England area until sailing from New London, Connecticut, on 17 November 1941 to join the Pacific Fleet. She attended to duty in the Pacific Patrol Area until 15 December 1941 when she rejoined the Atlantic Fleet. Between 15 December 1941 and 7 September 1942 Barracuda was attached to Submarine Division 31 and completed six war patrols in the Pacific Ocean, southwest of Panama, without enemy contacts.

Barracuda returned to Coco Solo, Canal Zone, on 7 September 1942 and, following voyage repairs, she proceeded to Philadelphia, Pennsylvania, for overhaul. At this time she was converted to a cargo submarine with the removal of her main engines, severely restricting her speed on the auxiliary engines. Following overhaul she was based at New London until February 1945 with Submarine Divisions 13 and 31. She operated on training problems with destroyers, other submarines, and planes in Block Island Sound. Barracuda arrived at Philadelphia Navy Yard on 16 February 1945; was decommissioned 3 March 1945; and sold 16 November 1945.

Awards

 * American Defense Service Medal with "FLEET" clasp
 * American Campaign Medal ribbon.svg American Campaign Medal
 * Asiatic-Pacific Campaign Medal ribbon.svg Asiatic-Pacific Campaign Medal
 * World War II Victory Medal ribbon.svg World War II Victory Medal

title: USS Barracuda (SS-163)


text:
USS Barracuda (SSK-1)

USS Barracuda (SSK-1/SST-3/SS-550) (originally USS K-1 (SSK-1)), the lead ship of her class, was a submarine that was the third ship of the United States Navy to be named for the barracuda, a voracious, pike-like fish. Her keel was laid down on 1 July 1949 by the Electric Boat Division of General Dynamics Corporation in Groton, Connecticut. She was launched on 2 March 1951 as K-1, sponsored by Mrs. Willis Manning Thomas (her late husband died as commanding officer of USS Pompano (SS-181)), and commissioned on 10 November 1951. Notably, future President of the United States Jimmy Carter served as an officer on K-1 as part of its pre-commissioning crew and during its first year of active service until he was reassigned on 16 October 1952.

The three SSK boats, Barracuda (SSK-1), Bass (SSK-2), and Bonita (SSK-3), were equipped with the large BQR-4 bow-mounted sonar array as part of Project Kayo, which experimented with the use of passive acoustics via low-frequency bow-mounted sonar arrays. When the boat was rigged for silent running, these arrays gave greatly improved convergence zone detection ranges against snorkeling submarines. The SSKs themselves were limited in their anti-submarine warfare capabilities by their low speed and their need to snorkel periodically, but the advances in sonar technology they pioneered were invaluable to later nuclear-powered submarines. The class was developed as mobilization prototypes should large numbers of Soviet submarines based on the Type XXI U-boat appear.

Barracuda joined Submarine Development Group 2, which was stationed at her home port of New London, Connecticut. She cruised along the Atlantic coast of the United States and Canada, in the Caribbean Sea, and made a voyage to Greenock and Rothesay, Scotland, in June 1955. On 15 December 1955 her name was changed from K-1 to Barracuda (SSK-1). During intervals between and after these cruises, Barracuda operated along the eastern seaboard carrying out training and experimental exercises.

Redesignation and service as training submarine
In 1958, the Soviet threat changed from conventional to nuclear-powered submarines, and the SSK force was withdrawn from the SSK role and redesignated. Barracuda was redesignated SST-3 on 15 July 1959 and operated for the next several years out of Charleston, South Carolina and Key West, Florida. Barracuda was overhauled from 1963 to 1964 at Norfolk, Virginia. Her distinctive forward sonar array was removed and replaced with a streamlined bow at the submarine base in Key West Naval Base alongside USS Bushnell (AS-15) – similar to submarines converted to GUPPY configurations. In 1965 she conducted training operations out of Key West.

In 1968 she was transferred to Charleston, South Carolina and served as a training platform for junior officers and enlisted personnel. On 1 August 1972 she was redesignated as SS-T3. Although, based on redesignation of her sisters as SS-551 and SS-552, the hull number SS-550 was probably reserved for her, she never officially held this designation.

Fate
Barracuda was decommissioned on 1 October 1973 at Charleston and was stricken on the same day. She was scrapped between 8 April and 8 July 1974 near Charleston, South Carolina.

title: USS Barracuda (SSK-1)


text:
Talk:Seventeen (American magazine)

2010 IP comment
There are serious issues of tone and style throughout. —Preceding unsigned comment added by 68.37.245.89 (talk) 02:46, 19 April 2010 (UTC)

deletion
I deleted :
 * The title is said to have come from Frank Sinatra's song "It Was a Very Good Year", which begins with the line "When I was seventeen".

since the song wasn't out in 1944, when the magazine was first created. RickK 23:36, 15 Dec 2003 (UTC)

What???
There should be a contoversy, because so many people complain about this.
 * I agree, there should be a controversy section. I know a lot of parents are opposed to Seventeen. I can't change it, though. I live in the UK where the magazine is unknown.Nukleoptra 16:32, 17 March 2007 (UTC)
 * Quite surprised there is no controversy section or mention of feminist opposition. Sabar Cont 20:20, 6 September 2007 (UTC)

Also
There has been very few, I think only one or two non-blondes as a covergirl for Seventeen, it has been published in the letters section of this magazine many times. —The preceding unsigned comment was added by 71.198.38.213 (talk) 05:55, 5 May 2007 (UTC).

Fair use rationale for Image:Albaseventeen.JPG
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main competitor
Cosmo Girl is no more so what should we say in the opening paragraph now?

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Blacklisted Links Found on Seventeen (American magazine)
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A poem printed in Seventeen about 50 years ago.
Can anyone tell me if I can get a copy of a poem called "A Little Girl's Room" published in Seventeen? 108.35.189.184 (talk) 01:01, 26 February 2022 (UTC)

Rhoda Friedman Ring, creator of Seventeen magazine
Rhoda Ring passed away on June 15, 2022, at the age of 99. Please consider reading her obituary, which is the true story of her creation "Seventeen" magazine. https://kraftsussman.com/tribute/details/4473/Rhoda-Ring/obituary.html. Rhoda was a PR professional for Bert Nevins. Walter Annenberg, the owner of Triangle Publications was a Bert Nevins Agency client. My husband and I were family friends and former Northern New Jersey cooperative apartment residents of Rhoda Ring. Your consideration is appreciated. Mrs. Jerome Liebowitz2603:7000:BE00:94B:84B4:D061:7CDF:FCFA (talk) 03:17, 24 June 2022 (UTC).

Link to the disambiguation page is missing
There is missing the link to the disambiguation page.

Ping welcome, Steue (talk) 02:54, 20 November 2022 (UTC)

title: Talk:Seventeen (American magazine)


text:
The Avengers (comic book)

The Avengers is the name of several comic book titles featuring the team the Avengers and published by Marvel Comics, beginning with the original The Avengers comic book series which debuted in 1963.

Publication history
In 1960, DC Comics launched a comic book series featuring a team of superheroes called the Justice League. Impressed by that book's strong sales, Martin Goodman, the owner of Marvel Comics predecessor Timely Comics, asked Stan Lee to create a title featuring a similar team of superheroes for Marvel. Lee recounts in Origins of Marvel Comics:

"Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. ... 'If the Justice League is selling,' spoke he, 'why don't we put out a comic book that features a team of superheroes?'"

Much like the Justice League, the Avengers were an assemblage of pre-existing superhero characters created by Lee and Jack Kirby. Kirby did the artwork for the first eight issues only, in addition to doing the layouts for issues #14–16. This initial series, published bi-monthly through issue #6 (July 1964) and monthly thereafter, ran through issue #402 (Sept. 1996), with spinoffs including several annuals, miniseries and a giant-size quarterly sister series that ran briefly in the mid-1970s. Marvel filed for a trademark for "The Avengers" in 1967 and the United States Patent and Trademark Office issued the registration in 1970.

Between 1996 and 2004, Marvel relaunched the primary Avengers title three times. In 1996, the "Heroes Reborn" line, in which Marvel contracted outside companies to produce four titles, included a new volume of The Avengers. It took place in an alternate universe, with a revamped history unrelated to mainstream Marvel continuity. The Avengers vol. 2 was written by Rob Liefeld and penciled by Jim Valentino, and ran for 13 issues (Nov. 1996–Nov. 1997). The final issue, which featured a crossover with the other Heroes Reborn titles, returned the characters to the main Marvel Universe.

The Avengers vol. 3 relaunched and ran for 84 issues from February 1998 to August 2004. To coincide with what would have been the 500th issue of the original series, Marvel changed the numbering, and The Avengers #500-503 (Sept.– Dec. 2004), the one-shot Avengers Finale (Jan. 2005) became the "Avengers Disassembled" storyline and final issues. Avengers vol. 4 debuted in July 2010 and ran until January 2013. Vol. 5 was launched in February 2013. After Secret Wars, a new Avengers team debuted, dubbed the All-New, All-Different Avengers, starting with a Free Comic Book Day preview.

1960s
In the first issue, the Avengers team began with Ant-Man (Hank Pym), Hulk (Bruce Banner), Iron Man (Anthony Stark), Thor, and the Wasp (Janet van Dyne). The roster changed almost immediately after the first issue; in the second issue, Ant-Man became Giant-Man, and at the end of the issue, Hulk quit the team. Issue #4 brought the title's first major milestone: the revival and return of Captain America (Steve Rogers).

1970s
The creative team of writer Roy Thomas and artist John Buscema introduced new characters such as Arkon in issue #75 (April 1970) and Red Wolf in #80 (Sept. 1970). The team's adventures increased in scope as the team crossed into an alternate dimension and battled the Squadron Supreme,  and fought in the Kree-Skrull War,   which guest-starred the Kree hero, Mar-Vell/Captain Marvel. Novelist Harlan Ellison plotted two stories for the series. The first ("The Summons of Psyklop") was published in issue #88 (May 1971) and the second ("Five Dooms to Save Tomorrow") in #101 (July 1972).

Writer Steve Englehart introduced Mantis, who joined the team along with the reformed Swordsman.

During the summer of 1973, Englehart and artists Bob Brown and Sal Buscema produced "The Avengers-Defenders Clash" storyline which crossed over between the two team titles. This eight-issue story was the first summertime cross-title event, and was very popular with readers.

George Pérez became the title's artist with issue #141 (Nov. 1975) which saw the start of a seven-part story featuring the Squadron Supreme and the Serpent Crown. In 2010, Comics Bulletin ranked Englehart's run on The Avengers eighth on its list of the "Top 10 1970s Marvels".

After Englehart departed and a seven-issue stint by Gerry Conway, Jim Shooter began as writer, generating several classic adventures, including "The Bride of Ultron", the "Nefaria Trilogy", and "The Korvac Saga". Shooter introduced the character of Henry Peter Gyrich, the Avengers' liaison to the United States National Security Council. The true origins of Quicksilver and the Scarlet Witch were revealed in a three-part story that ran in issues #185-187 (July-Sept. 1979).

1980s
The first major development was the breakdown of Henry Pym, which writer Roger Stern resolved this by having Pym outwit Egghead and defeated the latest incarnation of the Masters of Evil single-handedly, and proved his innocence.

Stern developed several major storylines, such as "Ultimate Vision";   the formation of the West Coast Avengers; and "Avengers Under Siege". Rogue, who would later become a member of the X-Men, was introduced in The Avengers Annual #10 (1981) by writer Chris Claremont and artist Michael Golden.

Stern created the villain, Nebula, who falsely claimed to be the granddaughter of Thanos. Following Stern's departure, Walt Simonson wrote the series briefly but left due to editorial conflicts.

John Byrne took over writing both West Coast Avengers and The Avengers and merged the two separate Avengers teams into one team with two bases. Byrne's contributions included a revamping of the Vision, and the discovery that the children of the Scarlet Witch and the Vision were actually illusions. The Avengers titles in late 1989 were involved in the major crossover event "Acts of Vengeance".

1990s
Bob Harras and Steve Epting took over the title in the summer of 1991 and introduced a stable lineup with ongoing story lines and character development. Their primary antagonists in this run were the mysterious Proctor and his team of other-dimensional Avengers known as the Gatherers.

This culminated in "Operation: Galactic Storm", a 19-part storyline that ran through all Avengers-related titles and showcased a conflict between the Kree and the Shi'ar Empire.

Marvel contracted out The Avengers and three related titles — Captain America, Fantastic Four, and Iron Man to former Marvel artists Jim Lee and Rob Liefeld, two of the founding creators of Image Comics. While The Avengers was relaunched as a new series, the "Heroes Reborn" line ended after a year as planned and the license reverted to Marvel.

Writer Kurt Busiek and penciler George Pérez launched a new volume of the series with The Avengers vol. 3, #1 (Feb. 1998). Busiek concurrently wrote the limited series Avengers Forever. Busiek's run included many of the Avengers' traditional villains.

2000s
Successor writer Geoff Johns dealt with the aftermath of Busiek's Kang arc, as the Avengers were granted international authority by the United Nations. Chuck Austen followed as writer. Writer Brian Michael Bendis then rebooted the series with the "Avengers Disassembled" storyline.

2010s
All four Avengers series (The Mighty Avengers, New Avengers, Dark Avengers, and Avengers: The Initiative) were canceled, and a new ongoing series titled Avengers was launched in May 2010, written by Brian Michael Bendis and penciled by John Romita Jr.

In 2012, a biweekly Avengers title was launched, written by Jonathan Hickman and drawn by different artists for each story arc. After Secret Wars, a new Avengers title (vol. 6) dubbed the All-New, All-Different Avengers launched in 2015 written by Mark Waid, with alternating artwork by Mahmud Asrar and Adam Kubert, and covers by Alex Ross. Mark Waid and Alex Ross continued with Avengers vol. 7, which launched in 2017, with artwork by Mike del Mundo.

It was relaunched once again in 2018 as part of Marvel's "Fresh Start" relaunch featuring a creative by Jason Aaron (w) and Ed McGuinness (pen).

title: The Avengers (comic book)


text:
Talk:Supernormal stimulus

Untitled
The football is an urban myth, I believe. It certainly shouldn't be in the article unless we can produce a reference to a paper of Lorenz's describing the experiment. Lorenz did use a football-sized cardboard easter egg (as used in Germany and Austria for wrapping Easter presents), but that was in a different experiment, on eggrolling, and I don't think he ever did choice experiments with this stimulus. seglea 23:42, 15 Dec 2003 (UTC)

Thanks for the corrections and additions. I think the article is greatly improved. -- Karada 00:55, 16 Dec 2003 (UTC)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 4 September 2019 and 27 November 2019. Further details are available on the course page. Student editor(s): Ethologyisfun31.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 08:39, 18 January 2022 (UTC)

title: Talk:Supernormal stimulus


text:
Leo V of Armenia

Leo V or Levon V (occasionally Levon VI; Լեւոն, Levon V; 1342 – 29 November 1393), of the House of Lusignan, was the last Latin king of the Armenian Kingdom of Cilicia. Leo was described as "Leo V, King of Armenia" on his own personal seal (Sigilum Leonis Quinti Regis Armenie), and as "Leo of Lusignan the Fifth" in the Middle French inscription on his cenotaph: Leon de Lizingnen quint.

Reign in Cilicia
In 1365, Pope Urban V selected Leo as the potential ruler of Cilician Armenia, but Constantine IV ascended the throne instead. After Constantine IV's murder, Catholicos Constantine V led the people in crowning Leo on September 14, 1374. However, his reign encountered internal opposition concerning the spiritual authority of the Pope.

Leo ruled until April 13, 1375 when he was overthrown and captured following the fall of Sis by an invading army from the Mamluk Sultanate in Egypt. In July 1377, he met monk Jean Dardel, who accompanied him as counselor, ambassador, and historian-biographer. Leo was held hostage in Egypt with his wife and daughter for five years until ransomed by the King of Castile, John I. In October 1382, he embarked from Alexandria to Europe.

Life in Europe
Leo arrived ill and poor to Medina del Campo. In 1382 or 1383, the King of Castile named Leo Lord of Madrid. John I granted him for life the town of Madrid, Andújar, Guadalajara and Villareal (today Ciudad Real) and a yearly gift of 150,000 maravedis. Leon rebuilt the towers of the Royal Alcázar.

According to father Juan de Mariana, Leo left Castile for France after the death of his protector in 1390. Federico Bravo, however, states that he left after two years of ruling, and five years later, the Madrilenians were conceded the revocation of the lordship by John.

Leo V apparently went to Paris in June 1384, and received the Saint-Ouen castle and a sizable pension from King Charles VI of France. He attempted to reconcile the French and the English (at the time fighting the Hundred Years' War) in order to set up a new Crusade and obtain help to recover his lands, but the meeting he organized in 1386 between Boulogne and Calais were unsuccessful. Leo continued his diplomatic mission to England in 1389 and in 1392.

Death
Leo V never recovered his throne, and died in Paris on November 29, 1393. His remains were laid to rest in the Couvent des Célestins, the second most important burial site for royalty after Saint-Denis, located near what is now the Place de la Bastille in Paris. The prestigious convent was located nearby Leo's residence of Hôtel des Tournelles, itself near Hôtel Saint-Pol, the favourite residence of Charles V and Charles VI in the area of Le Marais.

Leo received lavish funerals and had a lavish tomb, located in the choir of the church. However, the convent was profanated during the French Revolution. After the revolution, his tombstone was recovered by Alexandre Lenoir who placed it in his Musée des monuments Français in the Saint-Denis Basilica. In 1815, during the Restoration, a new cenotaph was established for Leo V at the royal Saint Denis Basilica where most representatives of the French monarchy lie.

The effigy on the tombstone, by an anonymous artist, is of a high realism and quality, and it is thought that it was made while Leo was still alive. Leo V is depicted holding a scepter (now broken) and gloves, symbol of great princes.

The tombstone bears the following inscription in Old French: "Cy gist tres noble et excellent prince Leon de Lizingnen quint roy latin du royaume d'Armenie qui rendit l'ame a Dieu a Paris le XXIXe jour de novembre l'an de grace M.CCC.IIIIXX.XIII. Priez pour luy."

English translation: "Here lies the right noble and excellent Prince Leon de Lusignan V, Latin king of the kingdom of Armenia, who passed away in Paris on the 29th day of November of the year of Grace 1393. Pray for him."

He had one legitimate daughter, Marie de Lusignan (ca 1370 – Cairo, before July 4, 1381, who predeceased her mother and father), and two illegitimate sons, Guy de Lusignan or Guido de Armenia (died 1405), a Canon in Autun, Bayeux, Paris and Arras and Captain de la Tour d'Amblay, and Stephan or Etienne de Lusignan, a Knight in Sis.

Upon his death the title of King of Armenia was claimed by Leo's distant cousin James I.

title: Leo V of Armenia


text:
Orhan Pamuk

Ferit Orhan Pamuk (born 7 June 1952; ) is a Turkish novelist, screenwriter, academic, and recipient of the 2006 Nobel Prize in Literature. One of Turkey's most prominent novelists, he has sold over 13 million books in 63 languages, making him the country's best-selling writer.

Pamuk's novels include Silent House, The White Castle, The Black Book, The New Life, My Name Is Red and Snow. He is the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018.

Of partial Circassian descent and born in Istanbul, Pamuk is the first Turkish Nobel laureate. He is also the recipient of numerous other literary awards. My Name Is Red won the 2002 Prix du Meilleur Livre Étranger, 2002 Premio Grinzane Cavour and 2003 International Dublin Literary Award.

The European Writers' Parliament came about as a result of a joint proposal by Pamuk and José Saramago. Pamuk's willingness to write books about contentious historical and political events put him at risk of censure in his homeland. In 2005, a lawyer sued him over a statement acknowledging the Armenian genocide in the Ottoman Empire. Pamuk said his intention had been to highlight issues of freedom of speech in Turkey. The court initially declined to hear the case, but in 2011 Pamuk was ordered to pay 6,000 liras in compensation for having insulted the plaintiffs' honor.

Early life
Pamuk was born in Istanbul, in 1952, and grew up in a wealthy but declining upper-class family, an experience he describes in passing in his novels The Black Book and Cevdet Bey and His Sons, as well as more thoroughly in his personal memoir Istanbul: Memories and the City. Pamuk's paternal grandmother was Circassian. He was educated at Robert College secondary school in Istanbul and studied architecture at the Istanbul Technical University, a subject related to his dream career, painting. He left architecture school after three years to become a full-time writer, and graduated from the Institute of Journalism at the University of Istanbul in 1976. From ages 22 to 30, Pamuk lived with his mother, writing his first novel and attempting to find a publisher. He describes himself as a Cultural Muslim who identifies with Islam historically and culturally while not believing in a personal connection to God.

Work
Pamuk started writing regularly in 1974. His first novel, Karanlık ve Işık (Darkness and Light) was a co-winner of the 1979 Milliyet Press Novel Contest (Mehmet Eroğlu was the other winner). This novel was published with the title Cevdet Bey ve Oğulları (Mr. Cevdet and His Sons) in 1982 and won the Orhan Kemal Novel Prize in 1983. It tells the story of three generations of a wealthy Istanbul family living in Nişantaşı, the district of Istanbul where Pamuk grew up.

Pamuk won a number of critical prizes for his early work, including the 1984 Madarali Novel Prize for his second novel Sessiz Ev (Silent House) and the 1991 Prix de la Découverte Européenne for its French translation. His historical novel Beyaz Kale (The White Castle), published in Turkish in 1985, won the 1990 Independent Award for Foreign Fiction and extended his reputation abroad. On 19 May 1991, The New York Times Book Review wrote, "A new star has risen in the east—Orhan Pamuk." He started experimenting with postmodern techniques in his novels, a change from his early works' strict naturalism.

Popular success took a bit longer, but his 1990 novel Kara Kitap (The Black Book) became one of the most controversial and popular books in Turkish literature, due to its complexity and richness. In 1992, he wrote the screenplay for the movie Gizli Yüz (Secret Face), based on Kara Kitap and directed by a prominent Turkish director, Ömer Kavur. Pamuk's fifth novel, Yeni Hayat (New Life), caused a sensation in Turkey upon its 1994 publication and became the fastest-selling book in Turkish history. By this time, Pamuk had also become a high-profile figure in Turkey due to his support for Kurdish political rights. In 1995, he was among a group of authors tried for writing essays that criticized Turkey's treatment of the Kurds. In 1999, Pamuk published his book of essays Öteki Renkler (Other Colors).

In 2019, the 66-year-old Nobel laureate held an exhibition of his photographs of Istanbul taken from his own balcony, "Balkon: Photos by Orhan Pamuk". It captured the "subtle and ever-changing view of Istanbul" photographed by Pamuk from his balcony using a telephoto lens. Curated by Gerhard Steidl, the German publisher of his photo book Balkon, the exhibition ran for three months at the Yapı Kredi Culture and Arts building on Istanbul's Istiklal Street. It featured more than 600 colour photos selected from over 8,500 Pamuk took over a five-month period in late 2012 and early 2013, in what the gallery called "a period of intense creativity".

My Name Is Red
Pamuk's international reputation continued to increase when he published Benim Adım Kırmızı (My Name is Red) in 1998. The novel blends mystery, romance, and philosophical puzzles in a setting of 16th-century Istanbul. It opens a window into the reign of Ottoman Sultan Murat III in nine snowy winter days of 1591, inviting the reader to experience the tension between East and West from a breathlessly urgent perspective. My Name Is Red has been translated into 24 languages and in 2003 won the International Dublin Literary Award, one of the world's most lucrative literary prizes.

Asked what impact winning this last award (currently $127,000) had on his life and work, Pamuk replied: Nothing changed in my life since I work all the time. I've spent 30 years writing fiction. For the first 10 years, I worried about money and no one asked how much money I made. The second decade I spent money and no one was asking about that. And I've spent the last 10 years with everyone expecting to hear how I spend the money, which I will not do.

Snow
Pamuk followed this with the novel Kar, published in 2002 (English translation: Snow, 2004). Set in the border city of Kars, it explores the conflict between Islamism and Westernism in modern Turkey. Snow follows Ka, an expatriate Turkish poet, as he wanders around the snowy Kars and gets caught up in the muddle of aimless Islamists, MPs, headscarf advocates, secularists, and a number of factions who die and kill in the name of highly contradictory ideals. The New York Times listed Snow as one of its Ten Best Books of 2004.

In a conversation with Carol Becker in the Brooklyn Rail about creating sympathetic characters in the political novel, Pamuk said: I strongly feel that the art of the novel is based on the human capacity, though it’s a limited capacity, to be able to identify with "the other". Only human beings can do this. It requires imagination, a sort of morality, a self-imposed goal of understanding this person who is different from us, which is a rarity.

The Museum of Innocence
In May 2007, Pamuk was among the jury members at the Cannes Film Festival headed by British director Stephen Frears. He completed his next novel, Masumiyet Müzesi (The Museum of Innocence) in the summer of 2008 - the first novel he published after receiving the 2006 Nobel Prize in Literature.

Pamuk created an actual Museum of Innocence, consisting of everyday objects tied to the narrative, and housed them at an Istanbul house he purchased. Pamuk collaborated on a documentary "The Innocence of Memories" that expanded on his Museum of Innocence. Pamuk stated that "(Museum of Dreams will) tell a different version of the love story set in Istanbul through objects and Grant Gee’s wonderful new film". In both Snow and the Museum of Innocence Pamuk describes tragic love-stories, where men fall in love with beautiful women at first sight. Pamuk's heroes tend to be educated men who fall tragically in love with beauties, but who seem doomed to a decrepit loneliness.

In 2013, Pamuk invited Grazia Toderi, whose work he admired, to design a work for the Museum of Innocence in Istanbul. Their collaboration culminated in the exhibition Words and Stars. Words and Stars opened on 2 April 2017, at the MART (Museo di Arte Moderna e Contemporanea di Trento e Rovereto), and which explores "the inclination of man to explore space and innate vocation to question the stars." The show was curated by Gianfranco Maraniello. It also showed from 4 November 2016 to 29 March 2017 from 5–6 November 2016 at the Palazzo Madama, Piazza Castello, Turin, and at Infini-to, the Planetarium of Turin (Infini.to - Planetario di Torino, Museo dell'Astronomia e dello Spazio) by invitation.

Non-fiction
Pamuk published a memoir/travelogue Istanbul—Hatıralar ve Şehir in 2003 (English version, Istanbul—Memories and the City, 2005). Pamuk's Other Colours – a collection of non-fiction and a story — was published in the UK in September 2007.

Asked how personal his book Istanbul: Memories and the City was, Pamuk replied: I thought I would write Memories and the City in six months, but it took me one year to complete. And I was working twelve hours a day, just reading and working. My life, because of so many things, was in a crisis; I don’t want to go into those details: divorce, father dying, professional problems, problems with this, problems with that, everything was bad. I thought if I were to be weak I would have a depression. But every day I would wake up and have a cold shower and sit down and remember and write, always paying attention to the beauty of the book. Honestly, I may have hurt my mother, my family. My father was dead, but my mother is still alive. But I can’t care about that; I must care about the beauty of the book.

Style
Pamuk's books are characterized by a confusion or loss of identity brought on in part by the conflict between Western and Eastern values. They are often disturbing or unsettling, and include complex plots and characters. His works are also redolent with discussion of and fascination with the creative arts, such as literature and painting. Pamuk's work often touches on the deep-rooted tensions between East and West and tradition and modernism/secularism.

Pamuk speaks about "the angel of inspiration" when he discusses his creativity:

"I am just listening to an inner music, the mystery of which I don't completely know. And I don't want to know."

"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."

A group of writers assert that some parts of Pamuk's works are heavily influenced by the works of other writers, and some chapters are almost totally quoted from other books. Pamuk himself said that his works have been inspired by the writings of rebel poet Kazi Nazrul Islam. One of the writers, nationalist popular historian Murat Bardakçı, accused him of counterfeiting and plagiarism in the Hurriyet, a Turkish newspaper. Another accusation is that Pamuk's novel The White Castle contains exact paragraphs from Fuad Carim's Kanuni Devrinde İstanbul ("Istanbul in the Time of the Kanuni") novel. After a question raised at the 2009 Boston Book Festival as to whether he wanted to respond to these accusations, Pamuk responded, "No I do not. Next question?". However, many attributed such accusations to their ignorance about postmodern literature, and the literary technique of intertextuality which Pamuk almost always uses in his novels in full disclosure.

Personal life
Pamuk's elder brother Şevket Pamuk, who sometimes appears as a fictionalized character in his works, is a professor of economics internationally recognised for his work in economic history of the Ottoman Empire, working at Boğaziçi University in Istanbul. Pamuk also has a younger half-sister, Hümeyra Pamuk, who is a journalist.

On 1 March 1982, Pamuk married historian Aylin Türegün. From 1985 to 1988, while she was a graduate student at Columbia University, Pamuk assumed the position of visiting scholar there, using the time to conduct research and write his novel The Black Book at the university's Butler Library. This period also included a visiting fellowship at the University of Iowa. Pamuk returned to Istanbul, a city to which he is strongly attached. In 1991 he and his wife had a daughter, Rüya, whose name means "dream" in Turkish, and to whom his novel My Name is Red is dedicated. In 2002, they were divorced.

In 2006, Pamuk returned to the U.S. to take a position as a visiting professor at Columbia, where he was a Fellow with Columbia's Committee on Global Thought and held an appointment in Columbia's Middle East and Asian Languages and Cultures department and at its School of the Arts. In the 2007–08 academic year Pamuk returned to Columbia to jointly teach comparative literature classes with Andreas Huyssen and David Damrosch. Pamuk was also a writer-in-residence at Bard College. In 2009, he was Harvard's Charles Eliot Norton Lecturer, delivering a series of lectures titled "The Naive and Sentimental Novelist".

Orhan publicly acknowledged his relationship with the writer Kiran Desai. In January 2011, Turkish-Armenian artist Karolin Fişekçi told Hürriyet Daily News that Pamuk had a two-and-a-half-year relationship with her during the same time (2010–12), which Pamuk expressly denied.

Since 2011 he has been in a relationship with Aslı Akyavaş, whom he married in 2022.

Trial
In 2005, after Pamuk made a statement about the Armenian genocide and mass killings of Kurds, a criminal case was opened against him based on a complaint filed by lawyer Kemal Kerinçsiz. The charges were dropped on 22 January 2006. In Bilecik, his books were burned in a nationalist rally. Pamuk subsequently said his intent was to draw attention to freedom of speech issues. Kerinçsiz appealed to the Supreme Court of Appeal, which ordered the court in Şişli to reopen the case. On 27 March 2011, Pamuk was found guilty and ordered to pay 6,000 liras in compensation to five people for, among other things, having insulted their honour.

Pamuk's statements
The criminal charges against Pamuk resulted from remarks he made during an interview in February 2005 with the Swiss publication Das Magazin, a weekly supplement to a number of Swiss daily newspapers: the Tages-Anzeiger, the Basler Zeitung, the Berner Zeitung and the Solothurner Tagblatt. In the interview, Pamuk said, "Thirty thousand Kurds have been killed here, and a million Armenians. And almost nobody dares to mention that. So I do." Turkish historians were divided over the remarks.

Pamuk said he was consequently subjected to a hate campaign that forced him to flee the country. He returned later in 2005 to face the charges against him. In an interview with BBC News, he said that he wanted to defend freedom of speech, which was Turkey's only hope for coming to terms with its history: "What happened to the Ottoman Armenians in 1915 was a major thing that was hidden from the Turkish nation; it was a taboo. But we have to be able to talk about the past." But when CNN TURK asked Pamuk about his speech, he admitted that he said that "Armenians were killed" but he denied that he said "Turks killed Armenians", and estimated the number of deaths as 1 million in that speech.

Prosecution
At the time, Article 301 of the Turkish Penal Code stated: "A person who publicly insults the Republic or Turkish Grand National Assembly, shall be punishable by imprisonment of between six months to three years." Pamuk was charged with violating this law in the interview. In October, after the prosecution had begun, Pamuk reiterated his views in a speech given during an award ceremony in Germany: "I repeat, I said loud and clear that one million Armenians and 30,000 Kurds were killed in Turkey."

Article 301's old form before 2005 (and also the new form after the amendments in 2008) required that prosecution under the article needs to be approved by the Ministry of Justice. A few minutes after Pamuk's trial started on 16 December, the judge found that this approval had not yet been received and suspended the proceedings. In an interview published in the Akşam newspaper the same day, then Justice Minister Cemil Çiçek said he had not yet received Pamuk's file but would study it thoroughly once it came.

On 29 December 2005, Turkish state prosecutors dropped the charge that Pamuk insulted Turkey's armed forces, although the charge of "insulting Turkishness" remained.

International reaction
The charges against Pamuk caused an international outcry and led to questions in some circles about Turkey's proposed entry into the European Union. On 30 November, the European Parliament announced that it would send a delegation of five MEPs led by Camiel Eurlings, to observe the trial. EU Enlargement Commissioner Olli Rehn subsequently stated that the Pamuk case would be a "litmus test" of Turkey's commitment to the EU's membership criteria.

On 1 December, Amnesty International released a statement calling for Article 301 to be repealed and for Pamuk and six other people awaiting trial under the act to be freed. PEN American Center also denounced the charges against Pamuk, stating: "PEN finds it extraordinary that a state that has ratified both the United Nations International Covenant on Civil and Political Rights, and the European Convention on Human Rights, both of which see freedom of expression as central, should have a Penal Code that includes a clause that is so clearly contrary to these very same principles."

On 13 December, eight world-renowned authors—José Saramago, Gabriel García Márquez, Günter Grass, Umberto Eco, Carlos Fuentes, Juan Goytisolo, John Updike and Mario Vargas Llosa—issued a joint statement supporting Pamuk and decrying the charges against him as a violation of human rights.

In 2008, in an open online poll, Pamuk was voted as the fourth most intellectual person in the world on the list of Top 100 Public Intellectuals by Prospect Magazine (United Kingdom) and Foreign Policy (United States).

Charges dropped
On 22 January 2006, Turkey's Justice Ministry refused to issue an approval of the prosecution, saying that they had no authority to open a case against Pamuk under the new penal code. With the trial in the local court, it was ruled the next day that the case could not continue without Justice Ministry approval. Pamuk's lawyer, Haluk İnanıcı, subsequently confirmed that the charges had been dropped.

The announcement occurred in a week when the EU was scheduled to begin a review of the Turkish justice system.

Interplay
EU enlargement commissioner Olli Rehn welcomed the dropping of charges, saying, "This is obviously good news for Mr. Pamuk, but it's also good news for freedom of expression in Turkey". But some EU representatives expressed disappointment that the justice ministry had rejected the prosecution on a technicality rather than on principle. An Ankara-based EU diplomat reportedly said, "It is good the case has apparently been dropped, but the justice ministry never took a clear position or gave any sign of trying to defend Pamuk". Meanwhile, the lawyer who had led the effort to try Pamuk, Kemal Kerinçsiz, said he would appeal the decision, saying, "Orhan Pamuk must be punished for insulting Turkey and Turkishness, it is a grave crime and it should not be left unpunished."

In 2006, the magazine Time listed Pamuk in the cover article "TIME 100: The People Who Shape Our World", in the category "Heroes & Pioneers", for speaking up.

In April 2006, on the BBC's HARDtalk program, Pamuk stated that his remarks regarding the Armenian genocide were meant to draw attention to freedom of expression issues in Turkey rather than to the massacres themselves.

On 19–20 December 2006, a symposium on Orhan Pamuk and His Work was held at Sabancı University, Istanbul. Pamuk himself gave the closing address.

In January 2008, Turkish authorities arrested 13 ultranationalists, including Kerinçsiz, for participating in a Turkish nationalist underground organisation, Ergenekon, allegedly conspiring to assassinate political figures, including several Christian missionaries and Armenian intellectual Hrant Dink. Several reports suggest that Pamuk was among the figures this group plotted to kill. The police informed Pamuk about the assassination plans eight months before the Ergenekon investigation.

Awards and honours

 * 1979 Milliyet Press Novel Contest Award (Turkey) for his novel Karanlık ve Işık (co-winner)
 * 1983 Orhan Kemal Novel Prize (Turkey) for his novel Cevdet Bey ve Oğulları
 * 1984 Madarali Novel Prize (Turkey) for his novel Sessiz Ev
 * 1990 Independent Foreign Fiction Prize (United Kingdom) for his novel Beyaz Kale
 * 1991 Prix de la Découverte Européenne (France) for the French edition of Sessiz Ev: La Maison de Silence
 * 1991 Antalya Golden Orange Film Festival (Turkey) Best Original Screenplay Gizli Yüz
 * 1995 Prix France Culture (France) for his novel Kara Kitap: Le Livre Noir
 * 2002 Prix du Meilleur Livre Etranger (France) for his novel My Name Is Red: Mon Nom est Rouge
 * 2002 Premio Grinzane Cavour (Italy) for his novel My Name Is Red
 * 2003 International Dublin Literary Award (Ireland) for his novel My Name Is Red (awarded jointly with translator Erdağ M. Göknar)
 * 2005 Peace Prize of the German Book Trade (Germany)
 * 2005 Prix Médicis étranger (France) for his novel Snow: La Neige
 * 2006 Nobel Prize in Literature (Sweden)
 * 2006 Washington University in St. Louis's Distinguished Humanist Award (United States)
 * 2006 Ordre des Arts et des Lettres Commandeur ribbon.svg Ordre des Arts et des Lettres (France)
 * 2008 Ovidius Prize (Romania)
 * 2010 Norman Mailer Prize, Lifetime Achievement (USA)
 * 2012 Sonning Prize (Denmark)
 * 2012 Legion Honneur Officier ribbon.svg Légion d'honneur Officier (France)
 * 2014 The Mary Lynn Kotz Award (USA) for his book "The Innocence of Objects"
 * 2014 Tabernakul Prize (Macedonia)
 * 2014 European Museum of the Year Award (Estonia)
 * 2014 Helena Vaz da Silva European Award for Public Awareness on Cultural Heritage (Portugal)
 * 2015 Erdal Öz Prize (Turkey), for his novel A Strangeness in My Mind
 * 2015 Aydın Doğan Foundation Award (Turkey), for his novel A Strangeness in My Mind
 * 2016 The Yasnaya Polyana Literary Award ("Foreign Literature" category, Russia) for his novel A Strangeness in My Mind
 * 2016 Milovan Vidaković Prize in Novi Sad (Serbia)
 * 2017 Budapest Grand Prize (Hungary)
 * 2017 Literary Flame Prize (Montenegro)
 * 2019 Golden Plate Award of the American Academy of Achievement

Doctorates, honoris causa

 * 2007 Free University of Berlin, Department of Philosophy and Humanities – 4 May 2007
 * 2007 Tilburg University – 15 November 2007
 * 2007 Boğaziçi University, Department of Turkish Language and Literature – 14 May 2007
 * 2007 Georgetown University's Honorary Degree: Doctor of Humane Letters honoris causa
 * 2007 Complutense University of Madrid
 * 2008 University of Florence
 * 2008 American University of Beirut
 * 2009 University of Rouen
 * 2010 University of Tirana
 * 2010 Yale University
 * 2011 Sofia University
 * 2017 Brera Academy (Italia)
 * 2017 St. Petersburg State University
 * 2018 University of Crete
 * 2023 Paris Nanterre University
 * 2023 Adam Mickiewicz University in Poznań, Poland

Honours

 * 2005 Honorary Member of American Academy of Arts and Letters (USA)
 * 2008 Honorary Member of Social Sciences of Chinese Academy (China)
 * 2008 Honorary Member of American Academy of Arts and Sciences (USA)

In 2005, Pamuk received the €25,000 Peace Prize of the German Book Trade for his literary work, in which "Europe and Islamic Turkey find a place for one another." The award presentation was held at Paul's Church, Frankfurt.

Novels (English)
All the novels except Cevdet Bey and his Sons have been translated into English.
 * The White Castle, translated by Victoria Holbrook, Manchester (UK): Carcanet Press Limited, 1990; 1991; New York: George Braziller, 1991 [original title: Beyaz Kale]. Set in the 17th century with a Preface set in 1985.
 * The Black Book, translated by Güneli Gün, New York: Farrar, Straus & Giroux, 1994 [original title: Kara Kitap]. (A new translation by Maureen Freely was published in 2006). Set in 1980s.
 * The New Life, translated by Güneli Gün, New York: Farrar, Straus & Giroux, 1997 [original title: Yeni Hayat]. Set in the early 1990s.
 * My Name Is Red, translated by Erdağ M. Göknar, New York: Alfred A. Knopf, 2001 [original title: Benim Adım Kırmızı]. Set in 1591.
 * Snow, translated by Maureen Freely, New York: Alfred A. Knopf, 2004 [original title: Kar]. Set in the early 1990s.
 * The Museum of Innocence, translated by Maureen Freely, New York: Alfred A. Knopf, was released on 20 October 2009 [original title: Masumiyet Müzesi]. Set in 1975-84.
 * Silent House, translated by Robert Finn, New York: Alfred A. Knopf, 2012 [original title: Sessiz Ev]. Set in July 1980.
 * A Strangeness in My Mind, translated by Ekin Oklap, New York: Alfred A. Knopf, 2015 [original title: Kafamda Bir Tuhaflık]. Set in 1969-2012.
 * The Red-Haired Woman, translated by Ekin Oklap, New York: Alfred A. Knopf, 2017 [original title: Kırmızı saçlı kadın]. Set in 1980.
 * Nights of Plague, translated by Ekin Oklap, London: Faber & Faber, 2022 [original title: Veba Geceleri]. Set in 1901 in the fictional island of Mingheria.

Untranslated

 * Cevdet Bey ve Oğulları or Karanlık ve Işık (Cevdet Bey and his Sons or Darkness and Light) Istanbul: Karacan Yayınları (1982). Set in 1905-70.

Short Story

 * "To Look Out the Window" in Other Colours: Essays and a Story, translated by Maureen Freely, New York: Alfred A. Knopf, 2007 [original title: Öteki Renkler]. Set in early 1960s.

Non-fiction (English)

 * Istanbul: Memories and the City, translated by Maureen Freely, New York: Alfred A. Knopf, 2005 [original title: İstanbul: Hatıralar ve Şehir]
 * My Father’s Suitcase [original title: Babamın Bavulu] Nobel lecture
 * Other Colors: Essays and a Story, translated by Maureen Freely, New York: Alfred A. Knopf, 2007 [original title: Öteki Renkler]
 * The Innocence of Objects [original title: Şeylerin Masumiyeti]
 * The Naive and Sentimental Novelist, Harvard University Press, 2010
 * Balkon, Steidl Publisher, 2018
 * Orange, Steidl Publisher, 2020

Novels

 * Cevdet Bey ve Oğulları (Cevdet Bey and His Sons), novel, Istanbul: Karacan Yayınları, 1982
 * Sessiz Ev (Silent House), novel, Istanbul: Can Yayınları, 1983
 * Beyaz Kale (The White Castle), novel, Istanbul: Can Yayınları, 1985
 * Kara Kitap (The Black Book), novel, Istanbul: Can Yayınları, 1990
 * Yeni Hayat (The New Life), novel, Istanbul: İletişim Yayınları, 1994
 * Benim Adım Kırmızı (My Name is Red), novel, Istanbul: İletişim Yayınları, 1998
 * Kar (Snow), novel, Istanbul: İletişim Yayınları, 2002
 * Masumiyet Müzesi (The Museum of Innocence), novel, Istanbul: İletişim Yayınları, 2008
 * Kafamda Bir Tuhaflık (A Strangeness in My Mind), novel, Istanbul: Yapı Kredi Publications, 2014
 * Kırmızı Saçlı Kadın, (The Red-Haired Woman), novel, Yapı Kredi Yayınları, 2016
 * Veba Geceleri (tr,): "Nights of Plague" (2021)
 * Fathers, Mothers and Sons: Cevdet Bey and Sons; The Silent House; The Red-Haired Woman ("Delta" Omnibüs, Novels volume I), Yapı Kredi Yayınları, 2018

Other works

 * Gizli Yüz (Secret Face), screenplay, Istanbul: Can Yayınları, 1992
 * Öteki Renkler (Other Colours), essays, Istanbul: İletişim Yayınları, 1999
 * İstanbul: Hatıralar ve Şehir (Istanbul: Memories and the City), memoirs, Istanbul: Yapı Kredi Yayınları, 2003
 * Babamın Bavulu (My Father's Suitcase), Nobel Söylevi, İstanbul, İletişim Yayınları, 2007
 * Manzaradan Parçalar: Hayat, Sokaklar, Edebiyat (Pieces from the View: Life, Streets, Literature), essays, Istanbul: İletişim Yayınları, 2010
 * Saf ve Düşünceli Romancı ("Naive and Sentimental Novelist") literary criticism, İstanbul: İletişim Yayınları, 2011
 * Şeylerin Masumiyeti (The Innocence of Objects), Masumiyet Müzesi Kataloğu, İletişim Yayınları 2012
 * Resimli İstanbul - Hatıralar ve Şehir, memoir, Yapı Kredi Yayınları, 2015
 * Hatıraların Masumiyeti, scripts and essays, Yapı Kredi Yayınları, 2016
 * Balkon, (Introduction and photographs), Yapı Kredi Yayınları, 2018
 * Orange, (Introduction and Photographs), Yapi Kredi Yayınları, 192 pages, 350 images, 2020
 * Uzak Dağlar ve Hatıralar Yapi Kredi Yayınları, selections from personal diary and photographs, 2022

title: Orhan Pamuk