Status Updates From My Name is Red

The murder spends the night at various haunts, including a “soup kitchen” and a coffeehouse telling stories about style, blindness, and horses. Satan tells of his origins, makes two refutations of his involvement with evil, and refutes the Frankish style—he chose not to bow down to Man. Shekure sneaks into Black’s room in the middle of the night, questioning his involvement in the murder, and hears a sound.

The three miniaturists each make their depiction of a horse.

Demasiados nombres demasiados personajes, ayuda

Black and Osman continue going through illustrations looking for a “signature” to give away the murderer. The illustration found on Elegant’s body is delivered to them from Shekure, where they find an irregularity in the nose. They pore through piece upon piece looking for a matching inconsistency.

Master Osman and Black begin the work of locating the consistent “signatures” of each miniaturist across the various paintings. Master Osman gives a history and personality traits of each.

Enjoying this so far. The rotating narrators are introduced clearly each time, which helps keep everything straight, and there’s a wonderful haughtiness to some of them that I’m finding quite entertaining. It’s definitely experimental and a little weird, but very controlled. The meta commentary on art and perspective, especially through the recurring Layla and Majnun story, is genuinely clever.