Plagues of the Body and Plagues of the Mind - The Bulwark - 0 views
www.thebulwark.com/lagues-of-the-mind-orhan-pamuk
turkey literature authoritarian nationalism history culture politics narrative postmodernism myth
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Though Pamuk is playful where Tolstoy is strident, behind all the beautiful descriptions of Mingherian flowers and mountains of rose-colored marble, he is undeniably making an argument. If Tolstoy’s great theme in War and Peace is the powerlessness of humanity to remake the world through acts of will alone, Pamuk’s is the role of accident in shaping history and its writing. Tolstoy’s enemy was Napoleon, the embodiment of modernity’s hubris. Pamuk’s is the historiographic crimes of nationalism.
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This is a bold thing to say in Turkey, a country that has gone to great lengths to promulgate a heroic and highly sanitized account of its founding. It is even bolder when one notes that Mingheria’s struggle for independence, and its troubled post-independence history, function very well as an allegory of Turkey itself. Major Kâmil is, like Mustafa Kemal Atatürk, an Ottoman war hero and secularist who tries to found a country divided by ethnic and religious rivalries on a conception of linguistic and ethnic nationalism.
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Mingheria becomes independent not only through the great accident of the plague, but also through thousands of tiny accidents at crucial moments. The problem with nations, the book suggests, is that they take all these small instances in which things could just as well have been otherwise and cast them as a monumental inevitability. Once a nation-state comes into existence, the machinery of education and civic ritual and the instruments of propaganda and state violence are wielded to turn chance into fate. And that fate becomes inexorable.
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Like all of these books, it is about the power and untrustworthiness of written texts—history texts in particular. These various strands don’t always cohere. The question of who killed Bonkowski Pasha is part of the main story of the novel, and yet it disappears for chapters at a time. Perhaps more seriously, the postmodern elements sometimes sit uncomfortably with the torrents of historical and sensory detail