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Arsenal defender Gabriel kept Viktor Gyokeres quiet — then had the audacity to steal the in-demand Sporting Lisbon striker's trademark goal celebration. After heading in Arsenal's third first-half goal in the Champions League on Tuesday, Gabriel linked the fingers of his hands and placed them over his eyes, before laughing with his teammates. Javascript is required for you to be able to read premium content. Please enable it in your browser settings.The Oppo A5 Pro 5G smartphone has been launched in China and the smartphone is powered by MediaTek Dimensity 7300 SoC. The smartphone gets IP66, IP68 and IP69 ratings against water and dust protection. The smartphone gets up to 12GB of RAM and it is claimed to have 360-degree drop resistance. We have mentioned the specifications of the Oppo A5 Pro 5G smartphone below. Oppo A5 Pro 5G gets a 6.7-inch full-HD+ AMOLED screen with a 120Hz refresh rate. The peak brightness level is up to 1200 nits and 2,160Hz high-frequency PWM dimming rate. At the core is a MediaTek Dimensity 7300 SoC (4nm octacore) and it are paired with up to 12GB of LPDDR4X RAM. The onboard storage is up to 512GB of UFS 3.1. In terms of camera specs, the Oppo A5 Pro 5G gets 50-megapixel primary sensor with an f/1.8 aperture with OIS. There is 2-megapixel monochrome sensor with f/2.4 aperture. On the front the smartphone gets 16- megapixel sensor with an f/2.4 aperture. The device offers 6000mAh battery with up to 80W fast charging support. Connectivity wise the Oppo A5 Pro 5G offers 5G, 4G VoLTE, dual-band Wi-Fi 5, Bluetooth 5.4, GPS, Galileo, QZSS, NFC and much more. There is a USB-C port on the device. In terms of dimensions, the Oppo A5 Pro 5G is 161.50 x 74.85 x 7.55mm while the weight is 180g. This is applicable for Quartz White and Rock Black variants. On the other hand, the New Year Red and Sandstone Purple versions have 7.67mm profile. The weight is 186grams. When it comes to prices, the Oppo A5 Pro 5G costs CNY 1,999 (est Rs. 23,300) for the 8GB + 256GB base variant. The 8GB + 512GB and 12GB + 256GB variants cost CNY 2,199 (est Rs. 25,700). The top 12GB + 512GB version costs CNY 2,499 (roughly Rs. 29,200). Colour options that are available on the device include New Year Red, Quartz White, Rock Black, and Sandstone Purple.
In a move that has piqued the curiosity of gamers and tech enthusiasts worldwide, Supermicro Computer Inc. has announced its upcoming earnings release date. This event is not just a financial milestone, but a glimpse into the future of gaming technology. With the rapid evolution of gaming hardware, Supermicro’s advancements could reshape the landscape. Supermicro’s Credibility : Known for its pioneering work in high-performance computing solutions, Supermicro stands at the forefront of gaming technology innovation. The much-anticipated earnings report is expected to reveal significant insights into their current performance and future projects. The Implications for Gamers : As technology drives the gaming industry towards more immersive and demanding experiences, hardware requirements escalate. Supermicro’s new developments may lead to groundbreaking improvements in processing speed, graphics capabilities, and energy efficiency. This could facilitate the next generation of games, offering even more realistic and engaging worlds for players to explore. Why This Matters : This earnings release date is more than a routine financial announcement. It is likely to include details on upcoming products that promise to enhance the gaming experience significantly. As gamers eagerly await these innovations, Supermicro’s advancements could challenge competitors and lead to a wave of new technologies. In essence, the upcoming Supermicro earnings announcement is poised to herald exciting changes in the gaming world, marking a pivotal moment for industry stakeholders and consumers alike. Supermicro’s Game-Changing Innovations: What Gamers Need to Know Now Supermicro Computer Inc.’s pending earnings release has generated considerable excitement among gamers and industry insiders. As the company prepares to unveil its financial performance, there is much speculation about the potential innovations in gaming technology that could revolutionize the industry. Game-Changing Features to Anticipate Supermicro is known for its pioneering roles in high-performance computing solutions, particularly those that may set new standards in gaming technology. The upcoming earnings report is expected to offer deeper insights into the following areas: – Enhanced Processing Speeds : Innovations that could drastically improve loading times and game responsiveness. – Superior Graphics Capabilities : With potential advancements allowing for more realistic imagery and detailed virtual environments. – Energy Efficiency : New developments could mean more sustainable and cost-effective gaming solutions. Insights into Pricing and Market Strategies Alongside technological advancements, understanding Supermicro’s pricing strategy is key for market analysis. While specific pricing details are often reserved for product launches, trends in recent reports suggest competitive pricing that could disrupt the market and make these next-gen technologies more accessible to a broader audience. Compatibility and Integration Considerations As new gaming hardware is unveiled, compatibility with existing systems will be critical. Supermicro is expected to maintain high compatibility standards, ensuring that new products integrate smoothly with current gaming setups. This commitment to seamless integration could be a decisive factor for gamers considering upgrades. Pros and Cons of Anticipated Innovations Pros: – High Performance : Advanced technologies promise a superior gaming experience. – Sustainability : Potential energy-efficient solutions could lower costs and environmental impact. Cons: – Transition Costs : Gamers may need to invest in new systems to fully utilize these advancements. – Market Competition : High competitiveness can lead to rapid technology obsolescence. Potential Controversies and Competitor Analysis As with any major industry shift, Supermicro’s upcoming releases might stir controversies surrounding technology adoption and market dynamics. Competitors may challenge the company’s announcements, leading to a fast-paced evolutionary race in the gaming tech market. Future Predictions and Trends Looking ahead, Supermicro’s announcements could set new trends within the gaming industry. Analysts predict a continued emphasis on virtual reality and augmented reality integrations, further expanding the horizons of what is possible with gaming experiences. For more on their potential innovations and industry influence, keep an eye on Supermicro official communications as they reveal the future of gaming technology.Should the Boston Bruins trade or re-sign Trent Frederic?
U.S. Urinary Catheters Market Poised for Tremendous Growth from 2024 to 2032
Mobile wallets that allow you to pay using your phone have been around for well more than a decade, and over those years they’ve grown in popularity, becoming a key part of consumers’ credit card usage. According to a "state of credit card report" for 2025 from credit bureau Experian, 53% of Americans in a survey say they use digital wallets more frequently than traditional payment methods. To further incentivize mobile wallet usage, some credit card issuers offer bonus rewards when you elect to pay that way. But those incentives can go beyond just higher reward rates. In fact, mobile wallets in some ways are becoming an essential part of activating and holding a credit card. For example, they can offer immediate access to your credit line, and they can be easier and safer than paying with a physical card. From a rewards perspective, it can make a lot of sense to reach for your phone now instead of your physical card. The Apple Card offers its highest reward rates when you use it through the Apple Pay mobile wallet. Same goes for the PayPal Cashback Mastercard® when you use it to make purchases via the PayPal digital wallet. The Kroger grocery store giant has a co-branded credit card that earns the most when you pay using an eligible digital wallet, and some major credit cards with quarterly rotating bonus categories have a history of incentivizing digital wallet use. But again, these days it's not just about the rewards. Mobile wallets like Apple Pay, Samsung Pay and PayPal can offer immediate access to your credit line while you wait for your physical card to arrive after approval. Indeed, most major issuers including Bank of America®, Capital One and Chase now offer instant virtual credit card numbers for eligible cards that can be used upon approval by adding them to a digital wallet. Additionally, many co-branded credit cards — those offered in partnership with another brand — commonly offer instant card access and can be used immediately on in-brand purchases. Credit cards typically take seven to 10 days to arrive after approval, so instant access to your credit line can be particularly useful if you need to make an urgent or unexpected purchase. Plus, they allow you to start spending toward a card’s sign-up bonus right away. As issuers push toward mobile payments, a growing number of merchants and businesses are similarly adopting the payment method. The percentage of U.S. businesses that used digital wallets increased to 62% in 2023, compared to 47% the previous year, according to a 2023 survey commissioned by the Federal Reserve Financial Services. Wider acceptance is potentially good news for the average American, who according to Experian has about four credit cards. While that won’t necessarily weigh down your wallet, it can be hard to manage multiple cards and rewards categories at once. Mobile wallets offer a more efficient way to store and organize all of your workhorse cards, while not having to carry around ones that you don't use often. They can also help you more easily monitor your spending and rewards, and some even track your orders' status and arrival time. Plus, paying with a digital wallet offers added security. That’s because it uses technology called tokenization when you pay, which masks your real credit card number and instead sends an encrypted "token" that’s unique to each payment. This is unlike swiping or dipping a physical card, during which your credit card number is more directly accessible. And again, because a mobile wallet doesn't require you to have your physical cards present, there's less chance of one falling out of your pocket or purse. More From NerdWallet Should You Donate Your Points and Miles to Charity? Need Credit Card Debt Relief? Debt Management Could Help If You’re in Credit Card Debt, Forget About Rewards Funto Omojola writes for NerdWallet. Email: fomojola@nerdwallet.com . The article Activating Your Credit Card? Don’t Skip the Mobile Wallet Step originally appeared on NerdWallet.
How he keeps the planes running on timeMinnesota State-Mankato announces fall graduates
AMMAN — In collaboration with Plan International, the Prime Ministry's Human Rights Unit hosted a nationwide workshop on Friday to create a draft national plan for implementing the Universal Periodic Review of Human Rights 2024's recommendations. At the workshop's launch, Director of the Prime Ministry's Human Rights Department Khalil Abdallat noted that Jordan is still working toward His Majesty King Abdullah's vision, which is centred on establishing a state of law and upholding people's rights and freedoms, the Jordan News Agency, Petra, reported. He said that Jordan had ratified 204 of the 279 recommendations made by the Universal Periodic Review of Human Rights, highlighting the significance of these measures in bolstering the state's human rights process, which advocates for determining national priorities through participation in order to address regional and economic issues and using teamwork to create a conducive environment for carrying out international commitments. In order to apply the Universal Periodic Review of Human Rights' recommendations, incorporate them into their plans and programmes, and give the Human Rights Unit all the tools it needs to follow up on them, the prime minister sent out a circular to all official organisations, he said. According to Abdallat, the government has endeavoured to carry out the Royal vision by releasing a set of laws, procedures, and guidelines that support the advancement and fortification of the human rights framework and uphold international obligations. He underlined that the workshop's goal is to match the review recommendations with national objectives, such as the Sustainable Development Goals, the comprehensive national human rights plan, and the National Centre for Human Rights report. He emphasised the significance of establishing a timeline and precise measurement indicators to guarantee the intended outcomes and that ongoing evaluation will serve as the foundation for raising performance and increasing transparency. Plan International's Country Director Hamida Jahama stressed the significance of the collaboration with the Prime Ministry's Human Rights Unit, which is an extension of the organisation's work with regional coalitions to support the Universal Periodic Review's 2024 recommendations. She said that the goal of this collaboration is to boost civil society's contribution to Jordan's endeavours and pledges to build and modify the Kingdom's human rights framework, which has made significant strides in this area. Since young men and women's involvement in national consultations related to the Universal Periodic Review demonstrates their awareness and commitment to human rights issues and advancing social justice in Jordan, Jahama emphasised the significance of involving, supporting, and empowering them to bring about long-lasting positive change in their communities.Wall Street's main indexes all closed higher on Tuesday, with gains in megacap and growth stocks bolstering benchmarks in a truncated Christmas Eve session. Both the Dow Jones Industrial Average and Nasdaq Composite scored four straight sessions of gains, with the S&P 500 taking its winning streak to three sessions, marking the first day of the seasonal Santa Claus rally. The Dow had skidded for 10 straight sessions earlier this month, its longest losing streak since 1974. With megacap stocks having outsized influence on markets, their performance is often a key driver of indexes. When coupled with reduced trading volumes and few other catalysts, as many investors take time off for the holidays, this is even more pronounced. All the so-called Magnificent Seven megacap technology stocks climbed on Tuesday, led by the 7.4% jump in Tesla shares. The automaker's best one-day gain in six weeks helped push the consumer discretionary index 2.6% higher. It was the top gaining sector in the S&P, with all 11 ending in positive territory. Elsewhere, chip manufacturers were also buoyant. Broadcom and Nvidia rose 3.2% and 0.4%, respectively, while Arm Holdings climbed 3.9%, recouping most of the losses suffered the previous day from losing a court case. Growth names rose despite U.S. Treasury interest rates remaining elevated - the benchmark 10-year note yielded around 4.61% on Tuesday, its highest level since May. Traditionally, higher debt costs crimp growth stocks. However, the long-term themes around technology development, including advancements in artificial intelligence, overshadow any near-term moves in Treasuries, said Charlie Ripley, senior investment strategist for Allianz Investment Management. "This reinforces that view that the sector is going to remain strong, and should be well into the new year," he said. The S&P 500 climbed 65.97 points, or 1.10%, to 6,040.04 points, while the Nasdaq Composite advanced 266.24 points, or 1.35%, to 20,031.13. The Dow Jones Industrial Average rose 390.08 points, or 0.91%, to 43,297.03. Stock markets shut at 1:00 p.m. ET on Tuesday and will be closed for Christmas on Wednesday. After a stellar run to record highs following the November U.S. election, which sparked hopes of pro-business policies under President-elect Donald Trump, Wall Street's rally hit a bump this month as investors grappled with the prospect of higher interest rates in 2025. The Federal Reserve eased borrowing costs for the third time this year last Wednesday, but signaled only two more 25-basis-point reductions next year, down from its September projection of four cuts, as policymakers weigh the possibility of Trump's policies stoking inflation. Allianz's Ripley said the themes which had driven the market higher in the past two months remained intact, and actions by the Fed had not killed the rally. "Heading into 2025, things are set up with good positioning," he said, noting factors including economic outlook, consumption in the U.S. and the labor market. Crypto-related stocks traded higher on Tuesday, with Microstrategy, Riot Platforms, and MARA Holdings all climbing between 4.7% and 8.1%, as the price of bitcoin advanced. NeueHealth soared 75% after the healthcare provider said New Enterprise Associates, its largest shareholder, and a group of existing investors will take the company private in a $1.3 billion deal. American Airlines' shares edged up 0.6% after trading lower for much of the session. The carrier briefly grounded all its flights in the United States on Tuesday due to an unspecified technical issue. (This story has not been edited by Devdiscourse staff and is auto-generated from a syndicated feed.)
NoneFormer President Olusegun Obasanjo has advised Osun state governor, Ademola Adeleke, not to be distracted by his critics but to remain focused in his development plan. The former president who inaugurated 2.7 kilometre old garage-Lameco road in Osogbo, Tuesday, as part of activities marking the second year in office of Adeleke, praised Adeleke for surprising people that he is not just dancing but also performing. Obasanjo posited that Adeleke’s achievement is not only for the people of Osun alone, but for the entire Yoruba race. He said, “Ile-Ife, the cradle of Yoruba race is in Osun State, so the development of Osun is in the interest of the entire Yoruba race. Ignore what your predecessors have failed to do. Focus on moving Osun to greater height and you will be doing good for the Yoruba people globally. “I decided to be here against all odds because of the successes Governor Adeleke achieved within two years. The governor has disappointed critics. He has shown that he is not only a good dancer but also a good performer.” Earlier, Governor Adeleke disclosed that his administration is committed to delivering on his agenda to reviving the state economy through infrastructure development. He said, “To revive the state and deliver on good governance, my administration launched out with a five-point agenda. We targeted specific areas of needs of the people which form the major components of the clearly defined agenda.The goal principally was to address the aspirations and immediate needs of our people. “Our administration has constructed over 120 kilometers of roads across the state. Several inter- state and intra-city roads completed are to be commissioned during this 16 days anniversary. Two major flyovers are also progressing to completion at Osogbo while works are progressing at the Ile Ife Flyover and Ilesa dualization. “I have redirected our efforts and plan at the completion of Iwo-Osogbo road. We have added the dualisation of Odoori – Adeeke road inside Iwo to be executed in two phases. The first phase will reach Post -Office and Oluwo Palace while the second phase will take off from Post Office to Adeeke Junction. “For the second half of our government, I reassure all sons and daughters of Osun State that the government under my leadership will complete all ongoing projects. We will continue to address the infra and social needs of our people. We will strike a balance between hard and soft infrastructure.”
PRISTINA, Kosovo (AP) — Kosovo’s main ethnic Serb party on Tuesday said its ban from the upcoming general election is “institutional and political violence” against the ethnic minority. Zlatan Elek of Srpska Lista, or Serb List, said the move was “done on the orders of Albin in order to gain some easy political points,” adding they would appeal the decision. Elek was referring to Kosovo’s prime minister, Albin Kurti. The Central Election Commission declined to certify Srpska Lista, justifying the move by pointing to its nationalist stance and close ties to Serbia. The Srspka Lista party has nine out of the 10 lawmakers the ethnic Serb minority currently has in the 120-seat parliament. Kosovo holds a parliamentary election on Feb. 9 , which is expected to be a key test for Kurti, whose governing party won in a landslide in 2021. European Union-facilitated negotiations to normalize ties with neighboring Serbia are a top priority for any Cabinet in power after the polls. Western powers also expressed concern about the move, fearing it may further aggravate the already tense ties between Kosovo and Serbia. Kosovo was a Serbian province until a war broke out between Serbian government forces and ethnic Albanian separatists in Kosovo, which left about 11,400 dead, mainly ethnic Albanians. NATO’s 78-day bombing campaign in 1999 ended the war and pushed Serbian forces out. Kosovo proclaimed independence in 2008, which Serbia doesn’t recognize. Belgrade still considers Kosovo as its province and has a major influence on the ethnic Serb minority living there. Serb President Aleksandar Vučić criticized the move to ban the party, saying “Kurti is trying to root out the Serb people from (our) southern province.” Kurti considers the Srpska Lista as the “political branch of Milan Radoicic and of Serb state terrorism.” Radoicic, a politician and wealthy businessman with ties to Serbia’s ruling populist party and Vučić, was among 45 people charged in Kosovo in connection with a gunfight last year in which a Kosovar police officer was killed following an incursion by heavily armed Serb gunmen. He is free and under investigation in Serbia, which refuses to extradite him to Kosovo. The prime minister accused the Serb party of being behind all the incidents in the four northern municipalities, where most of the ethnic Serb minority lives. “Srpska Lista unfortunately represents Serbia's widest and the highest level of intervention into Kosovo’s internal affairs and in our democratic elections,” he said at a news conference. Kurti accused Belgrade of being behind two terrorist groups on their “planning, financing and offering logistics” to commit terror attacks in Kosovo. Vučić has planned other attacks in Kosovo during the new year festivities and Orthodox Christmas to deflect attention from the “internal tensions in Serbia, the continuous opposing protests ,” according to Kurti. Semini reported from Tirana, Albania. Follow Llazar Semini at https://x.com/lseminiPremier League leaders Liverpool ruthlessly exploited another slip by their title rivals to move seven points clear with a match in hand after a 3-1 win over Leicester. Chelsea’s surprise defeat at home to Fulham earlier in the day had been an unexpected gift for Arne Slot’s side and they drove home their advantage by outclassing the struggling Foxes. Having overcome the early setback of conceding to Jordan Ayew, with even the travelling fans expressing their surprise they were winning away after taking just five points on the road this season, the home team had too much quality. That was personified by the excellent Cody Gakpo, whose eighth goal in his last 14 appearances produced the equaliser in first-half added time with the Netherlands international unlucky to have a second ruled out for offside by VAR. Further goals from Curtis Jones and Mohamed Salah, with his 19th of the season, stretched Liverpool’s unbeaten run to 22 matches. For Leicester, who had slipped into the bottom three after Wolves’ win over Manchester United, it is now one win from the last 10 in the league and Ruud van Nistelrooy has plenty of work to do, although he was not helped here by the absence of leading scorer Jamie Vardy through injury. It looked liked Liverpool meant business from the off with Salah’s volley from Gakpo’s far-post cross just being kept out by Jakub Stolarczyk, making his league debut after former Liverpool goalkeeper Danny Ward was omitted from the squad having struggled in the defeat to Wolves. But if the hosts thought that had set the tone they were badly mistaken after being opened up with such simplicity in only the sixth minute. Stephy Mavididi broke down the left and his low cross picked out Ayew, who turned Andy Robertson far too easily, with his shot deflecting off Virgil van Dijk to take it just out of Alisson Becker’s reach. With a surprise lead to cling to Leicester knew they had to quell the storm heading their way and they began by trying to take as much time out of the game as they could, much to Anfield’s frustration. It took a further 18 minutes for Liverpool to threaten with Gakpo cutting in from the left to fire over, a precursor for what was to follow just before half-time. That was the prompt for the attacks to rain down on the Foxes goal, with Salah’s shot looping up off Victor Kristiansen and landing on the roof of the net and Robertson heading against a post. Gakpo’s inclination to come in off the left was proving a problem for the visitors, doing their utmost to resist the pressure, but when Salah curled a shot onto the crossbar on the stroke of half-time it appeared they had survived. However, Gakpo once again drifted in off the flank to collect an Alexis Mac Allister pass before curling what is fast becoming his trademark effort over Stolarczyk and inside the far post. Early the second half Darwin Nunez fired over Ryan Gravenberch’s cross before Jones side-footed home Mac Allister’s cross after an intricate passing move inside the penalty area involving Nunez, Salah and the Argentina international. Leicester’s ambition remained limited but Patson Daka should have done better from a two-on-one counter attack with Mavididi but completely missed his kick with the goal looming. 🎯 — Liverpool FC (@LFC) Nunez forced a save out of the goalkeeper before Gakpo blasted home what he thought was his second only for VAR to rule Nunez was offside in the build-up. But Liverpool’s third was eventually delivered by the left foot of Salah, who curled the ball outside Kristiansen, inside Jannick Vestergaard and past Stolarczyk inside the far post.PGA Tour pro shares staggering airline travel costs for 2024 seasonThank you for reading Hyperallergic! Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. Support Hyperallergic’s independent arts journalism for as little as $8 per month. Become a Member I give different answers whenever people ask what my favorite novel is, but Turkish writer Orhan Pamuk’s My Name Is Red (1998) is probably my most frequent reply. The way Pamuk tells what is at the center of its atom a pulpy murder mystery inside the most pointillist, deliciously orbital structure; the way he joyfully insists upon the vital and complex interiority of every character, however peripheral (the dog’s chapters are among my favorite) feels instructive not just creatively, but also ethically. Taking in Pamuk’s 50-year bibliography feels like an extended fulfillment of this life-doubling promise of narrative art — you get to perceive the world robustly from myriad unprecedented subjectivities wholly separate from your own. To behold Memories of Distant Mountains: Illustrated Notebooks, 2009-2022 , Pamuk’s new book of selected journal entries and paintings translated by Ekin Oklap and published by Knopf, is to witness one of the great literary imaginations of the last 50 years at work. It turns out that making a novel is labor and nothing is inevitable — on one page, we see the Nobel Laureate working out plot details about A Strangeness in My Mind (2014) in the margins of a watercolor of his window view. On another, “This coconut green, the garden, the dogs, the yellow sand, the trees ...” The book is a treasure trove of beloved particulars for the Pamuk-obsessed like me, but it’s also an indispensable document for anyone interested in how art gets made, how inspiration has to find the artist working. It was my luck to be able to speak with Pamuk over Zoom on a sunny Iowa morning earlier this month. Our conversation has been edited and condensed for clarity. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Kaveh Akbar: We are ostensibly met here to talk about your new Memories of Distant Mountains . This is a sort of Blakeian book of your journals over your watercolor paintings; it’s a beautiful, extraordinary art object to hold in your hands. Orhan Pamuk: I have been keeping diaries since the age of 10 in Ankara when my mother gave me as a birthday president a diary in which there was a lock, which told me that there is a habit called “keeping a diary.” I was only 10 years old. And then it is related to secret thoughts because there is a lock on it. I tried to write. It didn’t work, but I had an idea of what a journalist was. I am a, I wouldn’t say manic, but a journal reader, from Virginia Woolf to Tolstoy and Thomas Bond. So many people kept journals, and most of the time they’re edited. And I like these texts, but it’s a practicality. I’ve been keeping these Moleskines. I have 30 of these. So one day I said, “Why don’t I do a book with them?” So I picked up the best, say, 400 double pages with pictures — but all the pages are with pictures — from the notebooks that I’ve been keeping from 2009 to today, while I also had many others without pictures. I then tried to form a book, the logic being that the editing of the book, the sequence of the pages, is not chronological but thematical. The book starts with what I wrote in 2016 about landscape. We turn one page, then it continues to what I wrote about the landscape in 2012, then we turn a page. The book is designed by themes, but not, as in many journals or memoirs, by time. And it took a lot of time to compose and put them together. KA: For readers who haven’t picked up the book yet, could you provide some background? OP: The readers should know perhaps that I am a well-known novelist, but till the age of 22, as I wrote in my autobiographical Istanbul book, I wanted to be a painter. A screw was loose in my mind. I thought I killed the painter in me, but after 10 years, I began to paint more and more. As sometimes I jokingly say, I got out of the closet as a painter in the last 10 years. I even have a museum now. So the suppressed painterly side in me, which I thought was more authentic, more genuine ... because to live between the ages of seven and 22 in a family of engineers, civil engineers, I made them accept that I would go to the Istanbul Technical University, but since I like painting, I would also be an architect. And they all said yes. KA: You talk about killing the painter inside you, but now he’s back. OP: I couldn’t kill the painter in me. In fact, it resurrected. One day I entered a stationery shop, got out two big sets of art materials and notebooks, and from then on I was happily painting. But secretly, not proudly showing, and perhaps knowing that essentially I am a better writer while I can’t help it. KA: That’s my thing! I paint too. OP: Oh really? That’s so nice to hear. KA: I have a painting room, and a nice easel my spouse got me. OP: Wow! You’re like me. What is your hierarchy of writers who paint? KA: William Blake. Number one. OP: He’s the obvious one, because he was successful in an equal measure and he was thinking of the page as both painting and text. KA: That’s the obvious correlative with yours — his illuminations, Paradise Lost , working directly with a text. OP: But for me, I always think that August Strindberg, the Swedish playwright, is the best writer-painter. How do you measure that? John Updike studied painting art in Oxford and was interested in these subjects, but he did not paint himself, or he didn’t get out of the closet as a painter. KA: How about painters who are writers? OP: Yeah. Picasso wanted to be like that. KA: Yeah, of course. I love Paul Klee. OP: Oh, of course! Paul is important because I have an exhibition in Germany in Lenbachhaus where they have the best Paul Klee collections. Another Klee collection is at the Metropolitan Museum of Art. KA: And his writing is extraordinary. I love his writing so much. OP: He went to North Africa, to Tunisia, in his 30s. And that also, some critics say, influenced his paintings. KA: It’s fun to think about writers who are secretly great painters, and painters who are secretly great writers. But I mentioned that I paint, too, to say that the reason that I write and don’t paint publicly is because I can write well enough to do it in a public way and can make a living at it. Painting, I am not talented. I just like doing it. OP: Okay, I’m embarrassed. I’m exactly like you, but shameless, perhaps. KA: No! No, I think that what you’ve made here is extraordinary. OP: Thank you. Don’t forget that I also have a museum. That is, I imagined a museum. So that was the first time that the dead painter, or the painter that I tried to kill that is inside me, publicly went out. KA: Of course, because you created the perfect museum for him. OP: Yes. I created a museum related to my novel, The Museum of Innocence . KA: Do you want to talk about the museum for the readers who might not know about it? OP: Perhaps because there is a painter in me who never died, one day I had an idea: “Why don’t I open a museum in which I exhibit objects, but the stories of these objects will be told in an annotated museum catalog in which the annotations are put in such a sequence that it may read like a novel without pictures?” Then, just as I was about to finish the novel, I decided — a conservative decision that I sometimes regret — to make the novel look like a normal 19th-century novel instead of an annotated catalog. KA: But this is one of the great geniuses moments in your work. OP: Oh, if you’re going to continue like that, I will be shy. KA: No, sorry. OP: And then you’ll say, “This guy is a maniac narcissist! He says genius!” KA: No, you don’t have to! I’m saying it. OP: Okay, I like it, continue saying it! KA: So many novels have a linear trajectory through which they move through these terminals of narrative, right? But, in The Museum of Innocence and My Name is Red , you move from a speaker to the dog, you know? It’s this orbital motion where all the propulsion is centripetal. OP: Yes, which comes to my idea that I like writing novels. But what I like more is imagining novels. That is, you’re just asleep, lying on your sofa with your dog, then you’re thinking, “This part will be told by this, then there will be a chapter which no one understands” — or they will understand, of course, when they’re doing a second reading or reading carefully — and then you plan this. Then I switch to this kind of composition of the novel. Before you begin to write, imagining your set composition is even more joyful than executing a novel. You compose, you know what you’re going to do, you’re going to write this, but sometimes you cannot. That’s the bad part. That’s what they call here “writer’s block.” And you imagine there’s no block. The imagination is boundless. A serious writer’s tragedy is his hands, his fingers, his pencils do not obey and listen to what’s in his or her mind. KA: What do you do to clear that synapse? OP: I advise: Just don’t insist too much because it will be frustrating. My advice to writers is, please develop your story a lot before executing to write it. Chapter it, then pile up notes about that chapter. And also don’t listen to the advice of a writer who is 70 years old! KA: That’s always my thing, whenever a student asks me anything, I always say, “I wouldn’t have listened to me.” I would’ve said, “I know what I’m doing. Leave me alone. I have my library to teach me. I don’t need you.” That brings me to the fact that it feels to me like you are in many ways this Borgesian writer for whom the physical book itself is the magic. You know how when you read Nabokov or Borges, you feel their profound affection for the book object itself? OP: For Nabokov, Borges, yes. In fact, in his novel Ada , Nabokov had also alluded to Borges. While, on the other hand, I admire Borges a lot, but he never understood the novels. He once said, “Henry James would have written a long novel about this, but let me tell you this in a short story.” KA: Exactly. He wrote extraordinary poetry, too. OP: Yeah. But on the other hand, he tells this story in three pages. So Henry James is, and is not unnecessarily, 597 pages. It’s just Borges doesn’t have the joy, or he maybe does, but he is a bit cynical. For Borges, a novel is not its story. It’s something else. KA: That’s true. But there’s a way in which he was a vacuum. He was just this voracious mouth that wanted to consume stories — the more efficient, the better, right? There’s this piece from him I love where he’s talking about the Qur’an as the supreme Arab text— OP: “There are no camels, there are no camels.” KA: Right! He says because there are no camels, the Qur’an is supremely Arab. “Mohammed, as an Arab, had no reason to know that camels were particularly Arab.” But in fact, there are camels everywhere in the Qur’an! It’s clear that Borges read two chapters that happened to not mention a camel. And so he says, “I got what I need there.” OP: It’s that he was talking to people who had never read the Qur’an. KA: Of course. So he can say there are no camels in the Qur’an. But I love this because it shows he got the idea and he moved on. OP: But it’s good to illustrate one idea and I like that. KA: Yeah, he kind of channels Schopenhauer to say that, though there are no nightingales in Argentina, Keats heard the nightingale for everyone. I say this to say that the utter joy in wringing out from the universe what would never exist had it not been for your being there in that moment — that is everywhere apparent in the pages of Memories of Distant Mountains . We are experiencing a process of live cognition. It’s like reading Klee’s journals, or Woolf’s, that sense of utter delight. And I don’t mean everything is about pink puppy tails and babies wagging their toes, but that delight in having created where otherwise there would be nothing, something I associate with Borges and Woolf, two of my favorite writers, and I very much associate with you as well. OP: Yes. Thank you so much ... I don’t know what to say! KA: No, I know! I’m sorry, I’m just barking like a happy walrus. So can you talk a little bit about how you curated these pages? OP: First, humanity invented journal keeping, as my mother’s gift to me at the age of 10 suggests, to write secret ideas. You bury your treasure. You write a note. You have some thoughts you want to write down, because they will be unacceptable by society. So you have to have a secret place. And a diary was, has always been, even there was nothing secret there, been a secret place. In the 1930s, French writer André Gide published parts of his diary, and suddenly he legitimized publishing your journal when you’re alive. I am a journal-keeper, and keeping journals is, I would say, easy. I fill a page like this, there are no pictures here in half an hour. And in this half an hour, most of the time, I’m waiting to go out with my wife. She’s late. I’m waiting for a taxi. I have some empty time. There are times I say to myself, “I haven’t written to my journal for five days. Why don’t I sit down and give two hours?” I carry these notebooks in which I draw and write. It feels like carrying my writing desk and my watercolors and painting materials with me. And I’m happy I am doing it. And I’m always saying to my friends, “Why don’t you keep a journal?” I go to my wife, I go to my friends, “You know what we did in three years, two months ago?” And I read it aloud. And, again, it’s partly related to self-importance, partly that this is an original idea that I may never develop. I have an idea. I write that down, that idea. At the beginning when I was keeping these notebooks, it was not for publication, but after a while I realized that I was also addressing some future readers, one day. KA: Of course. And you also now have control over it too, right? As opposed to some posthumous collection coming out. OP: Yes. After I go, they’d immediately publish the pages that I don’t want to be published. KA: Of course. I think about this. I also think about my generation for whom all of this is digital now. And no one is going to want to read our emails. OP: Why? There may be some people who are interested. We may be writing some of our best lines in an email. Italo Calvino called himself a graphomaniac. A graphomaniac is someone who is obsessively writing. And he never went down in his quality, the cloth was Calvino cloth, of course. KA: I associate that with Dickinson too, right? Where there’s the seamlessness between her letters and her poetry. OP: You produce that cloth all the time, but sometimes then the story, the composition, the total meaning is not clear. Diary or publication of diaries is about honoring these little fragments of pages that you understand will not form a whole by itself. And I decided that I would publish some of it, hoping that some people would be interested — some people like you would be interested. KA: So many of the paintings that we see in these pages are landscapes of sorts of the view out a window, or the city view. You write in the book about how painting starts with visualizing what you can’t remember, and so, functionally, what is being painted is time , instead of a landscape. OP: Yes. Let me clarify. If you paint the same landscape all the time — which I do from here, from my New York or Istanbul window, looking at Hudson or Bosphorus, or the landscape of your table — then you begin to write about, in a way, time. KA: Can you share a little bit about this experience? When we see Istanbul in your novels, we see it across time. We see you experiencing it as a young man and then as an older man. One of the things that I think about in relation to your work, and to being an Iranian writer situated in America, is that if I was in Iran today and I was writing the exact same stuff that I was writing, but in Farsi, I would feel excluded from a global conversation of letters. Whereas being an Iranian in America allows me to participate. OP: Good question. I think I am extremely lucky because after the age of 40, my books began to get translated into English, and they were relatively successful. Better publishers always wanted my work. I had a father who wanted to be a poet like you, who failed and ended up a businessman, who respected my decision to be a writer. When I was 24, he would say, “Well, it’s easy being a famous writer in Turkey. What about international, global recognition?” My father would challenge me with words like that. Unfortunately, he didn’t see my Nobel Prize! Either way, I would be so happy if he had seen it. But he would also say that I would get it before anyone else. I had a father like that, and he had a big library. I owe him a lot. I owe a lot to my mother, too. When they divorced, my mother raised us. KA: You write about this beautifully. What’s the difference between being a famous writer in Turkey and being an internationally famous Turkish writer with a Nobel Prize? OP: I’ll give you an example: What I write about should have global resonance. I have self-consciously thought about this, especially when I was writing A Strangeness In My Mind , which was about the making of a shantytown in Istanbul. At that time, I was, relatively speaking, famous and successful. So I went to Brazil and saw favelas of Rio de Janeiro. I went to Bombay and saw Dharavi, which is also a favela and a business place. And I researched and researched about Turkey’s shantytowns, which were relatively better, I would say, whatever “better” means, more comfortable. I said to myself that when I’m picking up details of Turkish shantytowns, I will also consider what is more — “universal” is a kitschy word — but what are the general problems? At that time when I was writing A Strangeness in My Mind , around 2012 to 2016, I was already thinking of my novel as a global novel, but not when I was young. When I was writing my Black Book or early novels, I was only addressing Turkish leadership. But the fire that my father put in me that I had to be internationally successful was there all the time. KA: And it’s cool to see the names of characters from A Strangeness in My Mind in your notes. We see you contemplating its main characters, Mevlut and Rayiha, presumably as you write them. OP: Yes. These are the parts of [ Memories of Distant Mountains ] that I really care about. The whole effort of a fiction writer, especially when writing a long novel like me, is forcing yourself to identify with your characters like a really naive person. They make fun. I have to be Mevlut. I have to be one of my characters. I have to see the world and the beauty — or not the beauty, but convincing power — the beauty of the sentence is something else — but the convincing truth. The authenticity of the subject matter really depends on the writer’s identification with the character. You write about places that you don’t belong to by culture and class, or by geography, or even sometimes by language. It gets harder and harder if there are these distances. While on the other hand, we don’t want to read about the middle-class writer’s personal life all the time. In fact, the joy of being a writer is, I am not this person . I’m not Mevlut. I’m a middle-class writer, but I’m doing so much to identify with him. First, I will respect this person as a humanist. Second is my capacity to see the world through my character’s point of view. Be that person. These are the most attractive, interesting, playful sides of being a novelist. Not only do you have to identify with the character so that you will think what he or she will do next, but you also — this is another part we may talk about — you also have to write it beautifully. KA: Of course. No one wants to just be hit on the head with a cudgel of narrative, right? You have to earn the reader’s attention. Horace says that language should delight and instruct. And we are in a time when many of the sociopolitical circumstances of our reality feel very dire and urgent. In America, I don’t know if this is the same in Turkish literature, but it feels like lots of writing is really galloping headfirst into instruction and perhaps neglecting the delight a little bit. OP: You think so? This is what they used to say about left-wing writing in Turkey in the 1970s: “You are always very pedagogical or propaganda. What about beauty?” In the non-Western world they expect you to be more didactic, educational, useful. Especially in my early time, I was always criticized for not being political enough. I was considered in the first two decades of my writing in Turkey a bourgeois writer, while other writers, more political, more leftist, more radical, consider themselves doing an ethical job. While I’m trying to defend the autonomy, the beauty of the sentences. It was very hard. KA: Snow becomes the riposte to those criticisms of you because it is more overtly — I don’t think that there’s such a thing as apolitical language — but it is more explicitly political in its narrative. But I also think it’s interesting because you talk about visiting the favelas and visiting Bombay, but when you talk about writing Snow ... it’s almost like in writing those characters, you are writing on the cusp of between provinciality and modernity. OP: Provinciality is a great subject of mine, and it’s deeply related to the fact that there was an Ottoman Empire which dissolved very fast on the edge of Europe. So Europe is very close, but as a Turk you’re also living a very poor life, you’re not important. You don’t have any power over history. Who cares about you? These are questions that you also ask. And you’re now talking about a global readership: Oh, I’m so lucky. I have to thank God many times. Yes, I have that privilege. But only 1% of the world is global, the rest is provincial and feels deeply so. Then you realize provinciality is also a great subject that addresses the hearts of the people. It’s also a very taboo subject. The provincial will never say, “I’m provincial.” KA: Exactly. OP: “I’m like you! My heart is like yours!” That is the most they can say: “I’m like you.” KA: It’s the cumulative exhausting effect of having to insist all the time, “We’re just like you. I’m just like you. I’m just like you.” It’s in contemporary Persian literature. Or right now you see all of these voices from Palestine saying, “We love our children just like you. That’s how we love our children. And look what you’re doing to them!” OP: Which they’re saying, unfortunately, so that they’re killed less. KA: Of course, because you have to impress that upon empire. Empire doesn’t understand. The interiority of someone that you can’t imagine is an interiority that you treat brusquely. You treat the security of that person with ambivalence. Which is why it is excruciating to have to continually say, “You know how you love your children? That’s how we love our children. You know how you love your husband? That’s how we fell in love.” So much of the world lives in this provinciality, illegible to empire. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. 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