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Among the 1930s cultural and intellectual figures given place of pride are Albert Einstein, Pablo Picasso and John Steinbeck. Guernica is reproduced in an inset about Picasso, illustrating the artist’s hatred of war. (47) A lengthy excerpt from the Grapes of Wrath concludes with Steinbeck’s denunciation of depression-era America: “And money that might have gone to wages went for gas, for guns, for agents and spies, for blacklists, for drilling. On the highways the people moved like ants and searched for work, for food. And the anger began to ferment.”

The book places added emphasis on the harsh terms imposed on Germany at Versailles. Prefiguring the later treatment of Al Qaeda terrorism, the intention appears not so much to justify Nazism, but rather to present injustice as the causal force behind violence and cruelty in world politics.

the Holocaust instead appears here as one among several examples of Western barbarity

The foundation of the UN is immediately followed by a discussion of Israel under the heading “Imperial Powers in the Remaking of the Middle East.” (80-81) The Palestine problem, students learn, is the principal cause of conflict in the region. It began when the Ottoman Empire, “the biggest obstacle to the foundation of a Jewish state,” grew weak, leading to the creation of Israel.

Next comes a discussion of the post-war financial order and the International Monetary Fund. Students learn that “the IMF’s standard formula, which recommends austerity policies for countries in economic crises, generally results in failure, chaos and social unrest.” (81-83) An excerpt, which students are then asked to discuss, explains how the IMF prescribes different policies for developed and developing countries.

only in the context of the Cold War origins of the EU does the book engage in any explicitly religious clash-of-civilizations style rhetoric. The idea of European unity is traced back to the Crusades, while a quote about the centrality of Christianity to European identity appears under a dramatic picture of Pope Francis standing with European leaders. (112) The next page states that the EU’s treatment of Turkey’s candidacy, coupled with the fact that “all the countries within it were Christian” had “raised questions” about the EU’s identity.

Early Cold War era decolonization also provides an opportunity to celebrate Atatürk’s role as an anti-imperialist hero for Muslims and the entire Third World. (122-123) “Turkey’s national struggle against imperialism in Anatolia struck the first great blow against imperialism in the 20th century,” the authors write. “Mustafa Kemal, with his role in the War of Independence and his political, economic, social and cultural revolutions after it, served as an example for underdeveloped and colonized nations.” Atatürk himself is quoted as saying, in 1922, that “what we are defending is the cause of all Eastern nations, of all oppressed nations.” Thus, the book explains that “the success of the national struggle brought joy to the entire colonized Islamic world, and served as a source of inspiration to members of other faiths.” The section ends with quotes from leaders such as Jawaharlal Nehru, Muhammad Ali Jinnah, and Habib Bourguiba about how Atatürk inspired them in their own anti-imperial struggles or was simply, in Nehru’s words, “my hero.” An accompanying graphic shows Atatürk’s image superimposed over a map with arrows pointing to all the countries, from Algeria to Indonesia, whose revolutions were supposedly influenced by Turkey’s War of Independence.

Amidst the polarization of the Erdoğan era, what is striking in this book is the authors’ efforts to weave together the conflicting strands of Turkish political history into a coherent narrative. Illustrating Ernst Renan’s argument about the role of forgetting in nation-building, this account glosses over the depth of the divisions and hostility between rival historical actors, presenting them as all working side by side toward a common national goal

Turkey’s real struggle in the 21st century, as in the 20th, is against dependence on foreign technology

The narrative of national independence also helps smooth over Turkey’s Cold War domestic divides. Students are introduced to the ‘68 Generation and left-wing leaders likes Deniz Gezmiş as anti-imperialists protesting against the U.S. Sixth Fleet in support of a fully independent Turkey. (185-186)[9] In this context, Baskin Oran’s work is again cited, this time quoting Uğur Mumcu on the role of “dark forces,” presumably the CIA, in laying the groundwork for Turkey’s 1971 coup.

The book also offers a relatively neutral treatment of political activism during the ensuing decade, suggesting that rival ideological movements were all good faith responses to the country’s challenges. On this, the authors quote Kemal Karpat: “Both right and left wing ideologies sought to develop an explanation for social phenomena and a perspective on the future. A person’s choice of one of these ideologies was generally the result of chance or circumstance.” (202) Thus the authors imply that while foreign powers provoked or exploited these movements, the individual citizens who participated in them can be given the benefit of the doubt. Interestingly, the book takes a similar approach in discussing the 2013 Gezi protests: “If various financial interests and foreign intelligence agencies had a role in the Gezi Park events, a majority of the activists were unaware of it and joined these protests of their own will.”

The authors also offer a balanced treatment of the fraught domestic politics during the period from 1945 to 1960 when Turkey held its first democratic election and experienced its first coup. (138-142, 144-146) They focus their criticism on the negative impact of U.S. aid, arguing that Washington intentionally sought to make Turkey economically and politically dependent, then sponsored a coup when these efforts were threatened.

a book which begins with a portrait of Atatürk ends with a photo of the Bayraktar TB2.

the book’s biases are less in the realm of wild distortion and more reminiscent of those that plague ideologically infused nationalistic history education in all too many countries

its exaggerated critique of European imperialism may be no more misleading than the whitewashing still found in some European textbooks

At moments, Contemporary Turkish and World History is better aligned with recent left-leaning scholarship than the patriotic accounts many Americans grew up reading as well

Throughout the 20th century, America defined itself as the world’s premier anti-imperialist power, all while gradually reproducing many of the elements that had defined previous empires.[11] Today, it often seems that Turkey’s aspirations for great power status reflect the facets of 20th century American power it has condemned most vigorously

Turkey’s marriage of power projection and anti-colonial critique have been particularly visible – and effective – in Africa. Ankara has presented itself as an “emancipatory actor,” while providing humanitarian aid, establishing military bases, selling weapons across the continent.[13] In doing so, Turkish leaders have faced some of the same contradictions as previous emancipatory actors. In August 2020, for example, members of Mali’s military overthrew a president with whom Erdoğan enjoyed good relations. Ankara expressed its “sorrow” and “deep concern.”[14] Then, a month later, Mevlüt Çavuşoğlu became the first foreign official to meet with the country’s new military leaders. “Like a brother,” he “sincerely shared” his hopes for a smooth “transition process” back to democracy

Selçuk Bayraktar, the architect of Turkey’s drone program, said that as a student “I was obsessed with Noam Chomsky.” [16] During the 1980s and 90s, America sold Ankara F-16 jets and Sikorsky helicopters that were used to wage a brutal counterinsurgency campaign in southeast Anatolia. No one was more critical of this than left-wing scholars like Chomsky.[17] Now, Ankara is selling Bayraktar drones to Ethiopia, where they are being used to kill civilians and destroy schools in another violent civil war.

certain themes dominate Contemporary Turkish and World History. At the center of its narrative is the struggle for global hegemony, in military, economic, technological and artistic terms

Culture is in the air like cigarette smoke in pubs before the ban, but it’s also pinned down in editorial rules and style guides. It’s there in tropes and cliches, precedent and the dread line “just how we’ve always done it”.

if Laura Kuenssberg had needed to be “told what to say — or what not to say” she would never have been appointed Political Editor

NOTMWTS is a shield intended to bat away further questions, to avoid closer scrutiny of how stories are chosen, framed, and reported. “All you’re doing is trying to find the truth,” is a line that comes from the same place as claims of journalistic impartiality and objectivity

purporting to offer true objectivity is like saying you can draw a perfect circle freehand

the notion that there are no clues to Kuenssberg’s politics or worldview in the thousands of hours of broadcasting she undertook in that role is downright insulting to viewers and listeners

Kuenssberg is far from alone in having provided a megaphone for anonymous sources, “not told what to say” but happily parroting lines to a huge audience; it’s an epidemic in British political journalism, where WhatsApp messages whip onto Twitter with undue weight and ceremony.

Their beloved Orwell — writer of two of the handful of books that every columnist leans on at some point (1984 and Animal Farm) — wrote in an unused preface5 to the latter that: Unpopular ideas can be silenced, and inconvenient facts kept dark, without the need for any official ban. Anyone who has lived long in a foreign country will know of instances of sensational items of news—things which on their own merits would get the big headlines—being kept right out of the British press, not because the Government intervened but because of a general tacit agreement that ‘it wouldn’t do’ to mention that particular fact. So far as the daily newspapers go, this is easy to understand. The British press is extremely centralised, and most of it is owned by wealthy men who have every motive to be dishonest on certain important topics. But the same kind of veiled censorship also operates in books and periodicals, as well as in plays, films and radio. At any given moment there is an orthodoxy, a body of ideas which it is assumed that all right-thinking people will accept without question. It is not exactly forbidden to say this, that or the other, but it is ‘not done’ to say it, just as in mid-Victorian times it was ‘not done’ to mention trousers in the presence of a lady. Anyone who challenges the prevailing orthodoxy finds himself silenced with surprising effectiveness. A genuinely unfashionable opinion is almost never given a fair hearing, either in the popular press or in the highbrow periodicals.

The unfashionable opinions have changed and shifted over time but the silence around them prevails