Turkish writers handle questions aesthetic and political raised by the disaster: Is artwork acceptable amidst the struggling – and even attainable? Did some assume the patriarch would defend them? Will classes be discovered for Istanbul, doubtless web site of the subsequent apocalypse?
Within the April version of Varlık, contributors try to come back to phrases with the loss, confusion and grief brought on by the earthquakes of 6 February. Greater than 50,000 folks died in Turkey and a minimum of 7,000 in Syria; hundreds of thousands extra have been left homeless.
Whereas many Turkish folks really feel that the response to the disaster from their authorities and state-run reduction businesses was insufficient, some requested if it was moral to forged blame as folks had been nonetheless being dragged from the rubble. Emre Zeytinoğlu, an artwork historian, notes that the devastation raised different painful questions too, together with whether or not artwork could be made in instances of catastrophe. In an essay starting from Adorno’s ideas on poetry after Auschwitz to Karlheinz Stockhausen’s reference to 9/11 as best art work of all time, Zeytinoğlu says the query has no decision.
Thinker Zeynep Direk can also be looking for solutions – particularly why some Turks had been stunned to see failure from a state that since 2018 has been run as a presidential system. The issue, she suggests, is obedience to a patriarch. ‘Did they assume this man might defend their wives and kids like a father determine? Did they assume they had been his youngsters? Was this phantasm destroyed when the folks trapped underneath the rubble within the earthquake had been left alone for essential hours?’
Drawing on their work analyzing recollections of the tried coup in Turkey on 15 July 2016, Muharrem Ersin Kuşdil and Merve Çavuşoğlu focus on how society remembers traumatic occasions. Collective recollections are formed by the actions and wishes of many contesting teams, they level out, significantly ‘victims and perpetrators’.
The bottom flexed
Poet Ersun Çıplak relates his expertise of the quakes and their aftermath within the southern metropolis of Adana. Shaken awake at 4.17 a.m., it was like ‘being inside a washer. It was that sort of noise. The bottom beneath my ft flexed and stretched.’ Later, he fled his residence once more together with his daughter in his arms as an aftershock rippled via the bottom and ‘I noticed the home reverse rise and fall and lean in direction of us.’
Because the information of deaths of associates and colleagues rolls in, Çıplak is unable to search out consolation within the snippets of poetry he encounters on social media. He’s reminded of Nazım Hikmet, who inside days of the 1939 Erzincan earthquake produced a poem (‘Black information’) to mark the occasion. The pace of Hikmet’s response is bewildering, writes Çıplak. ‘If we had been to checklist solely the names of the deceased, if attainable, it will exceed the pages naming the forged of characters within the Iliad. Frankly, those that have skilled this tragedy maybe want just one factor: first to stay silent, then to scream in anger.’
Istanbul is a megacity that lives within the shadow of a future earthquake. Selçuk Orhan tracks the rampant building and growth that has reworked his residence metropolis over his lifetime. Dwelling in Istanbul means accepting a life riddled with uncertainty, he says. ‘Right this moment we’ve got skilled an apocalypse; worse nonetheless, we’re stated to be on the eve of different apocalypses.’
Overview by Steve Bryant