An open letter to Slavoj Žižek

Turkey's record on human rights means it is no model for the Arab world.

On his recent visit to Turkey, the philosopher Slavoj Žižek praised the country and suggested that it could taken as a model by the Arab world. Here, one of Turkey's leading commentators responds. (NB: We have linked to Turkish-language sources where none are available in English)

Dear Mr Žižek,

As an attentive follower of your work, I feel obliged to write to you after hearing your comments on Turkey. I share your admiration for my country, which I think made you say "if the Arab world really needs a model, Turkey can be taken as a model". Yet I can not help but repeat the sentence with which I concluded my contribution to The Doha Debates on 12 January: "Turkey can not be a model for the Arab World because it has enough problems already."

One of the distasteful things about authoritarian regimes -- as you might already know very well -- is that they turn writers into imbeciles by forcing us to repeat the obvious over and over again. Such as: "Journalists should not be jailed"; "It is cruel to put Kurdish minors in jail"; "Teargas shouldn't be used excessively, especially to a degree that causes death"; "Students holding a banner for free education shouldn't be put in jail for years "; "There should be no punishment without law"; etc etc.

I have experienced an intimidating decrease in my own IQ lately, due to repeating the fact that Turkey is turning into a state of fear. Turkey's good people are already exhausted from running from one courtroom to another following political cases that could even inspire Kafka to revise his oeuvre.

That is why my dear friend, the journalist Ahmet Şık, when defending himself against a ridiculous indictment, quoted Roland Barthes saying: "Fascism does not only silence people but also forces them to speak." With another 103 journalists Ahmet has been jailed for about a year without any verdict. I invite you to admire the latest judiciary fashion of the season in Turkey: blurry accusations, no solid evidence but months or even years of detention. With more than 9,000 applications filed against it at the European Court for Human Rights (ECHR) in 2011, Turkey is the worst offender when it comes to freedom of speech.

If those figures are not enough, you should know that a few days ago Ahmet's lawyer, during his defense statement, told the judges that prosecutors have been threatening him, arguing that his defense statement could result in prosecution under anti-terror laws. I think you would agree with me on his right to be alarmed, given that there are 40 lawyers in detention under that very anti-terror -- thus anti-democratic -- law.

I already know that you have no faith in Europe anymore so these figures might not interest you. Though I've heard that you are still inspired by Tahrir Square's call for freedom. I think our mutual friends in Egypt, Tunisia or Syria deserve better than our life in Turkey. Having lived in Beirut for a year, and covered the Tahrir stories and currently being based in Tunisia, I think that Turkey might even be inspired by some of those countries' appreciation for human life.

Because my compatriots who burn themselves to death have never been as legendary as Mouhammed Bouazizi of Tunisia. On 22 June 2010, the 20-year-old Erkan Gümüştaş set himself alight to protest the living conditions in prison. I am quite sure that only a few know his name in Turkey. His death hardly made it into the Turkish Human Rights Association reports, let alone setting the media ablaze.

Our police forces are no less merciless than the SCAF in Egypt. Metin Lokumcu, a teacher, died of a heart attack caused by the excessive use of tear gas during an assault on an anti-government protest on 31 May 2011. His friends were arrested under the anti-terrorism law when they wanted to protest against the violent crackdown on protesters.

The Kurdish children who, in order to earn some money, had to smuggle cigarettes across the mountainous border with Iraq, have been no luckier than the young Syrian casualties. Their pictures didn't make it to the news when nine of them were killed after an "operation accident" in Uludere. The government decided to hush up the incident, and our prime minister stated that those who criticise the event are unfair towards the government. In the end, maybe Turkey simply has more shiny window dressing and better marks from the IMF for its economic adjustments.

The last thing I want is to be one of those writers who have nothing to say about their countries except exposing the sins that are committed there. It is not only unfair to my country but also deeply hurtful for myself. Especially when you are doing it in another language, it bruises your emotional ties to your beloved country. I am sure you know what I mean. But it also hurts to see that you are serving the goals of an international marketing project by saying "Turkey can be a model for the Arab world". We, as people of Turkey, deserve better. As do the Arabs.

Yours,

 

Ece Temelkuran

 

PS: I would very much like to introduce you to my arrested journalist friend Ahmet one day. He is certainly much more witty than me. Somehow a year in prison has increased his capacity to mock our tragedies, beginning with his own.

Ece Temelkuran is a Turkish journalist and political commentator, who has written for the Guardian and New Left Review. Follow her on Twitter @ETemelkuran

Getty
Show Hide image

In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 05 May 2016 issue of the New Statesman, The longest hatred