SACW Special on Taksim Square protests in Turkey

A compilation of relevant commentary for readers in South Asia

Contents:
a) Memories of a Public Square (Orhan Pamuk)
b) Erdogan, Gezi Park And the Headscarf (Tulin Daloglu)
c) Turkey's protesters proclaimed as true heirs of nation's founding father (Luke Harding)
d) Behind Turkey's Viral Revolution, There Are Mad Men (Actually Women) (Emre Kizilkaya)
e) Educator’s jailing reveals Turkey at crossroads (Trudy Rubin)
f) Taksim Square protests: not a Turkish spring, but the new Young Turks (Betty Caplan)
g) The Turkish Government Do Not Wish To Demolish A Park, But Rather A Democracy (Chimene Suleyman)
h) What Would Ataturk Think? (Octavia Nasr)
i) For A Park And A Few Trees (Ilker Ayturk)
FULL TEXT PDF AT:
http://www.sacw.net/article4730.html

Memories of a Public Square (Orhan Pamuk)

In order to make sense of the protests in Taksim Square, in Istanbul, this week, and to understand those brave people who are out on the street, fighting against the police and choking on tear gas, I’d like to share a personal story. In my memoir, “Istanbul,” I wrote about how my whole family used to live in the flats that made up the Pamuk apartment block, in Nişantaşı. In front of this building stood a fifty-year-old chestnut tree, which is thankfully still there. In 1957, the municipality decided to cut the tree down in order to widen the street. The presumptuous bureaucrats and authoritarian governors ignored the neighborhood’s opposition. When the time came for the tree to be cut down, our family spent the whole day and night out on the street, taking turns guarding it. In this way, we not only protected our tree but also created a shared memory, which the whole family still looks back on with pleasure, and which binds us all together.

Today, Taksim Square is Istanbul’s chestnut tree. I’ve been living in Istanbul for sixty years, and I cannot imagine that there is a single inhabitant of this city who does not have at least one memory connected to Taksim Square. In the nineteen-thirties, the old artillery barracks, which the government now wants to convert into a shopping mall, contained a small football stadium that hosted official matches. The famous club Taksim Gazino, which was the center of Istanbul night life in the nineteen-forties and fifties, stood on a corner of Gezi Park. Later, buildings were demolished, trees were cut down, new trees were planted, and a row of shops and Istanbul’s most famous art gallery were set up along one side of the park. In the nineteen-sixties, I used to dream of becoming a painter and displaying my work at this gallery. In the seventies, the square was home to enthusiastic celebrations of Labor Day, led by leftist trade unions and N.G.O.s; for a time, I took part in these gatherings. (In 1977, forty-two people were killed in an outburst of provoked violence and the chaos that followed.) In my youth, I watched with curiosity and pleasure as all manner of political parties—right wing and left wing, nationalists, conservatives, socialists, and social democrats—held rallies in Taksim.

This year, the government banned Labor Day celebrations in the square. As for the barracks, everyone in Istanbul knew that they were going to end up as a shopping mall in the only green space left in the city center. Making such significant changes to a square and a park that cradle the memories of millions without consulting the people of Istanbul first was a grave mistake by the Erdoğan Administration. This insensitive attitude clearly reflects the government’s drift toward authoritarianism. (Turkey’s human-rights record is now worse than it has been in a decade.) But it fills me with hope and confidence to see that the people of Istanbul will not relinquish their right to hold political demonstrations in Taksim Square—or relinquish their memories—without a fight.

Orhan Pamuk is the author of eight novels, the memoir “Istanbul,” and three works of nonfiction, and is the winner of the 2006 Nobel Prize in Literature. He opened the Museum of Innocence in Istanbul last year, and published an accompanying catalogue, “The Innocence of Objects.”

Translated by Ekin Oklap.

Photograph by Holly Pickett/Redux.