Why did Pamuk kill Fusun ?

Why did Orhan Pamuk kill the heroine of the Museum of Innocence, Fusun ? Was it a move necessitated by urge to justify the theme which the title implies? Was it because Pamuk wanted a serious enough reason to illustrate the significance of the museum concept, especially by the introduction of tragedy?  Why did me the reader, with whom the author was trying to especially chat up towards the end of the story, feel like laughing when the scene of the accident came up ? Was the reader so lost, as it often happens in a novel or a movie, that I didn't let my dear heroine off ? That too a heroine who the hero has come to possess after such a lengthy wait of about 8 long years? 8 long years when he frequented almost with clock like regularity the house of his beloved, when the beloved was married  to another man? Is it an act of a devoted pure reader getting frustrated  and cheated when the author denies the hero the much awaited fruition with the reunion ?

 Why did  Pamuk kill Fusun ? Is there something patently unoriginal in the scene of the accident or was it my mind, besotted with the story telling, ecstatic at the long awaited reunion of Kemal and Fusun? Why did I feel like laughing when I felt that Fusun was really in a fatal crash? Why did I initially feel that it was jus fun,  Kemal will somehow regain the control of the wheel, will avert a crash at the last moment and will look lovingly at Fusun's face and will launch himself into those real life reveries? Why did I run through that chapter, rushing to check wether the heroine has really died? Is it because, in the novel, the hero has been separated from the heroine for such a long time, eight years plus, and I didn't want them to be tested at the possible end? In the Museum of Innocence, the denouement is n the middle. The long years of wait and struggle. Them when Fusun and Kemal , got together I felt the fiction will finally will head somewhere. But still, I was not sure where it will head, because, can a love story head somewhere else when the union of the lovers is a reality?

I did have my occasional disagreements with Fusun, though. Just like I have ahead my share of disagreements with Kemal too. There are decisions which we feel to be very easy to take when we watch others struggling through easy options and muddling into the worst actions. When the boot is on the other foot though, things turn topsy-tursy. If Kemal was so keen on Fusun, watching the kind of devotion he has displayed so far, the kind of perseverance with which he turned his back on the lives possible minus-Fusun, I feel Kemal could have easily opted out of Sibil, the one to whom, he got betrothed, and gone for Fusun. Even Fusun, could have given in early and could have wriggled out of firdun, her husband. After surviving all these, where did the accident come from? The accident which perhaps justifies the Musuem theme?

A friend who has been obsessed with this novel for a while, has told me that the author does something at the end which lends more credence to the title? He didn't elaborate, may be not to take the wind out of my sail. It was when the accident sprang up into my eyes that I realised what was that he meant. He probably was hinting at the killing of Fusun. My thoughts ran further. What could have happened to the novel by the title of Museum of Innocence, if the heroine has been alive? Will it have upset us? If we are not in the Taj Mahal mindset, will it be hard for us to accept a Museum for living? When Pamuk shuffles the coordinates of time and space in the novel, when he waxes eloquent on the spatialised temporalism of Museum, why was it hard to spatialise the living, allowing Time to freeze? How about a Museum in which the Fusunalia continues to grow, vaster than empires and more slow? Would it have been very difficult for the reader to accommodate such a fictional reality? 

I dream of the pair in the apartment which was the beloved home of  Fusun, the abode of their 8 year's meeting. I dream of them growing old. Together. I dream of Fusun growing less far away and melting down further to Kemal. I dream of them watching together the ships pass. I dream of a pairing  in which there is more equality between them. I dream of them watching movies and watching life watching them. I dream of Fusun growing down to Kemal and discovering further about the subtleties  of loving. The specificity and care with which Kemal build the museum up, article by article is the way I would love to see Fusun live to love. I dream of a museum of innocence in which they would experience the innocence of passion which is divorced from all kinds of nuances around.I dream of them walking into their sunsets hoarding emotions. Wouln't it have been great if the text worked that way? At times I feel that the author has etched kemal and Kemal has inscribed his singular state of love with such a tenor that Fusun has begun to lose her eminence. Is that why the text holds so superbly its head high, even after the unwanted tragedy? But if Fusun was expendable then why mourn her loss? The innocence of reading, perhaps!