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Orhan Pamuk:
I didn’t worry too much about making the first box, which I built around the earring Füsun dropped, but the main problem I would face throughout the making of the museum became immediately clear when I got to this second box: what kind of compositional logic should I use to place the objects in the box? What shape should each box take? I had already collected some objects before and during the writing of the novel, such as Füsun’s yellow shoes and the cowbell. I worked on making the “fake” Jenny Colon bag—named after the Romantic poet Gérard de Nerval’s lover—with Istanbul’s artisans; and I had found the Sanselize Butik’s old signboard. So now, I asked myself, should I put the objects in the box according to the order in which they appear in the book or should I make a different tableau out of them? It was while imagining this box that I made the decision that would delay the completion of the museum for months—nay, years—and bring me both joy and sadness.