November 7, 2009

notebooks

Booker-prize winner Michael Ondaatje’s preferred medium is 8½-by-11-inch Muji brand lined notebooks. He completes the first three or four drafts by hand, sometimes literally cutting and pasting passages and whole chapters with scissors and tape. Some of his notebooks have pages with four layers underneath.

When he’s in the middle of a novel, Colum McCann sometimes prints out a chapter or two in large font, staples it together like a book, and takes it to Central Park. He finds a quiet bench and pretends he’s reading a book by someone else.

(more)

November 3, 2009

just protest voting

“There ain’t no voting no more–just protest voting.” – some dude who walked into my friend N’s polling place this morning.

[UPDATE: THT offers a handy NYC Mayoral Voting Guide, with supplementary photos.  I'd like to echo his admiration for the musically-enhanced website of the Rent Is Too Damn High party candidate, Jimmy McMillan.]

For my fellow New Yorkers, I can only repeat Gawker (!?)–Don’t Vote for Bloomberg.  Read the whole anti-endorsement, but here are some highlights:

For all the talk of Bloomberg the power-player who at least gets things done without worrying about the unions and special interests, he’s been unable to win any political battle with anyone he couldn’t literally buy off.

[...]

His record on housing, like his record on nearly everything having to do with the outer boroughs and poverty and human beings who make less than $100,000 a year, has been a ridiculous disgrace. His entire philosophy of development solving everything turned out to be precisely, 100% wrong.

[...]

Bloomberg deserves to be run out of town on an inadequately funded public rail line for the 2004 GOP convention alone. Remember that ridiculous farce? No, of course not, no one does, besides the thousands of people improperly spied on, arrested, harassed, and detained by the NYPD. All of this was completely illegal. No heads rolled.

One more special bonus factoid: New York leads the world in marijuana arrests! Specifically, marijuana arrests of black people!

And he is personally a jerk. He is a thin-skinned, unpleasant, sanctimonious asshole. His company is being sued for a culture of sexual discrimination that plaintiffs say Bloomberg himself contributed to. He is a tremendous dick to reporters whenever he gets cranky. He is fucking race-baiting with Rudy Giuliani again, because why not?

Don’t vote for him.  I’m not sure who to vote for, because I’m not exactly a fan of the Democratic candidate.  But if you’re going to protest vote, protest against the plutocrat with the city press in his pocket who flies away to play golf in Bermuda each weekend while the rest of us deal with weekend subway service disruptions.  And I haven’t even mentioned the most personal (all politics is local) reason for my antipathy to the mayor: his shady attempts to bully the EPA over the potential Gowanus Superfund designation.

Also, for my people back in WA: vote YES on Referendum 71 (to stop right-wing assholes from taking away domestic partnership rights recently granted to queer families, and NO on state idiot Tim Eyman’s latest initiative (1033).

Happy Election Day.  Fingers crossed for Maine.

November 2, 2009

a turkish mosque in brooklyn

While we are on the subject of mosques, here’s one closer to (this) home: one day the other week, after breakfast with friends in Sunset Park, and I set out on a circuit through the neighborhood’s groceries (Chinese, Vietnamese, Turkish, Mexican, Gujarati….)  I lingered a long time in Birlik Market, at Eighth Avenue and 60th Street, over jars of sour-cherry jam and packaged mantı, but more to listen than to shop:  the woman working the counter that day was Chinese, but the old men in the back aisles were bickering in Turkish, and I hovered nearby, letting the sound wash over my ears.

A few steps up the block, women pushing strollers were spilling out of the Fatih mosque after Friday prayers.  The mosque constitutes the center of a half-block Turkish knot in the center of Brooklyn’s Chinatown, with a shop selling nazar boncukları and Kütahya tiles and clothing on one side, and the market plus a restaurant on the other, with one of those all-purpose travel agency/tax accountancy/translation service businesses that sprout up in immigrant neighborhoods all over New York.  I’d wondered about the provenance of this Turkish outpost, and googling, found a quasi-answer on Google Books: the mosque, it turns out, used to be a cinema.  According to Barbara Daly Metcalf,

The Turkish mosque was originally a movie theater, designed, as many American movie houses have been, as a Hollywood amalgam of Orientalist-Moorish-Arabesque fantasies. The conversion of the movie house into a mosque reclaims the Orientalist style, invests it with new meaning, and literally reorients the building.

(Making Muslim Space in North America and Europe, p. 210-11.)

Perhaps one of these days, I’ll ask if I can go take photos inside this one, too.  In the meantime, if you missed Aman Ali and Bassam Tariq’s 30 Mosques in 3o Days project this past Ramadan, it’s a fascinating exploration of faith (and food) in New York City mosques, although the pair didn’t make it to any of the Turkish ones this time.  Maybe next year.

October 25, 2009

eski cami: exterior wall

eskicamiexterior

The late-afternoon light was complicit in the act of calligraphy, but the shadows threatened to rewrite the holy book.

October 24, 2009

eski cami at qarrtsiluni

The good people at qarrtsiluni have published a series of photographs I took this summer (of Arabic calligraphy on the walls of the Eski Cami in Edirne) in their “Words of Power” issue.  Their virtual pages have hosted a number of artists and writers I greatly admire, and it’s an honor to get to play in their sandbox.

October 24, 2009

کیان را آزاد کنید

This is not the post I wanted to return to this space with. A week ago, I heard the wonderful news that Maziar Bahari had been released from Evin Prison and was en route to London (where his partner is about to give birth to their first child). His release gave us great hope that Kian’s might follow.

Instead, on Tuesday, I found out that Kian has been sentenced to a prison term of 15 years, on the patently ridiculous trumped-up charges that he was involved in orchestrating the post-election protests (which he did not take part in) as part of some sort of international NGO/CIA conspiracy (which does not exist).  The NYT’s Lede blog linked to extensive material on the case, including an excerpt from Negar Azimi’s 2007 piece on the Bush administration’s disastrous “democracy promotion” fund for Iran (which was the provided the original pretext for Iran’s persecution of scholars and NGO staff like Kian and Haleh Esfandiari, both vocal critics of the Bush administration and its policies toward Iran).  Haleh–who was imprisoned with Kian in 2007, and returned to the US after their release–has written a post for the New York Review of Books about his sentence.  Kian’s friend Karim Sadjadpour has just published a story in Foreign Policy magazine.

This news is devastating, even more so because Kian was only a few weeks away from leaving Iran to take up the offer of a visiting professorship at Columbia University. He was supposed to be here, in New York, by now.  (Here is a video from the dean of Columbia’s Graduate School of Architecture, Planning, and Preservation, calling for Kian’s release, and speaking about his place in our academic community.)  I am thinking of the last time we met–over coffee and lemon cake at Columbus Circle, during one of his quiet trips abroad after his release–and of how he talked about all the books he was planning to write.  I am thinking about the pictures he showed me of his baby daughter, born just weeks after his release from Evin in 2007, who turned two this month.

There are petitions to sign (the new Free Kian site has links).  But his case is now tangled up in international politics–some suggest the sentence may be intended to make him a bargaining chip in US-Iran negotiations–and I am not sure what else we can do, save make noise, make it clear that he is not forgotten, that we will keep watching and waiting until he is back home with his family again, and they are free to go as they wish.

The other night, at a gathering of friends who come together from time to time to read aloud to one another, I shared a short piece he wrote for an Amnesty India publication about his first imprisonment, in 2007: “May I Take a Book With Me?” In it, he writes,

Books also helped open my cell to the world outside.  I must have seemed mad to request deliveries from Amazon, shipped to Paris, couriered to Bahar, then relayed to me through the prison system. But imagining a worldwide network of booksellers, all in motion to bring a book to me, was exhilarating and reassuring. I ordered a book by a French writer I had met at the New School years before, and felt in touch with my former colleagues there. In a footnote, I saw the name of a Polish intellectual I knew, and again felt less anonymous. The penciled margin notes in a book given to me by a friend took me to a cool hill station in Pakistan. If I was thinking of all of them, maybe they were thinking of me.

We are thinking of him still.

October 7, 2009

prelude to a return

bogazdakikadin

Everything on the Bosphorus was a reflection. Light was reflection, sound was reflection; sporadically, here, one might become the echo of an array of things unbeknownst to oneself.

-Ahmet Hamdi Tanpınar, A Mind at Peace (Huzur), translated from the Turkish by Erdağ Göknar.

August 27, 2009

stray dogs (istanbul’s almost over)

fourdogs

The indomitable Frederick Seidel came to İstanbul, and wrote a poem about it.  It’s my last day among the stray dogs of Galata; I’m flying to Heathrow this evening, and back to the States on Monday.  So the poem seems particularly appropriate for this week–ranging back and forth across this city, dwelling for a brief moment on London, and then coming to rest, at the end, in New York City, with İstanbul still echoing in its ears.

Istanbul
Frederick Seidel

Stray dogs with a red plastic tag in one ear
Have been licensed
By the city to be safe and allowed to live in the street,
So they wander around, or more likely just lie there,
Healthy, checked by a city vet, without a care.
They’re red-tagged Turks and they’re an elite.
You walk past them in the street.
They’re bums, they’re the homeless, not educated.
It’s complicated, but they’re regulated.
It isn’t complicated.
The red tag is their fez.
That’s what the republic Atatürk founded says.

The Four Seasons Hotel Istanbul
Has toothsomely been called the best hotel in the world.
The luxury takes place in what was once a prison.
To be a prisoner of luxury
In the old centre of the city
Is such a Turkish incarceration
To luxuriate in.
The Turkish hot chocolate the Four Seasons serves perspires
Oriental desires.
Think swarthy sweetness.
Think secular Atatürk.
But Sultanahmet has turned more than a bit Islamic.

From Claridge’s and London I have come
To the holy city of Byzantium
To see Ayasofya.
I see the Blue Mosque and I see a
Fanta-zi-a projected on the air
Whose six minarets make it Disney beyond compare,
A fat domed flying saucer with sticking-up spikes of hair.
I am awakened to the opposite of despair
By the Blue Mosque’s muezzin’s dawn call to prayer.
Another nearby mosque’s muezzin immediately starts to call.
Come one, come all!
Antiphonally back and forth, and I go back to sleep.

I dream I’m dead in the trunk of a car. I’m the survivor.
I’ve hired for the morning a car and driver.
It’s my Disney Fantasia
To drive to Asia.
Let’s cross the Bosphorus.
It won’t be hard for us.
Each day I take my pills from the day’s section of the tray
Lest the Lord disappear me and throw me away.
I find myself across the bridge in Asia thinking of Aldo Moro.
Who on the Golden Horn thinks of Aldo Moro any more, though?
I’m back at the Four Seasons.
The Red Brigades had their reasons.

Be so kind as to cover yourself please with the blanket, presidente.
We’re going to drive you to another location for your safety.
So he covered himself.
Moretti immediately pumped
Eleven rounds into the blanket point-blank.
The car was left on a street pointedly
Equidistant from the Christian Democratic headquarters
And the Communist Party headquarters.
I’ll stay in bed under the red bedspread.
A Turkish flag of red soaks the bed.
I’m better red and dead.
I’m full of bull in Istanbul.

Awake!
Listen to the Voice! Climb out of the trunk! Rise and shine!
The bullet-riddled Moro is divine.
Each bullet hole is a portal to the immortal.
I’ve breathed so many million tears my legs ache.
My fellow Armenians, my brain is about to break.
I walk up the hill to Topkapi Palace past the red-tagged dogs.
I’ve heisted so much bullion.
I’ve lived a life of luxury.
I’ve lived my own Topkapi of poetry.
I’ve lived through four seasons. The muezzin calls.
The duelling muezzins call. It’s dawn. It’s dark. I SEE.

There’s the Statue of Liberty,
And there’s the United States of America,
And America’s holding the Statue of Liberty up in the air
Just exactly the way a grinning actor holds up his Oscar.
We’re in a holding pattern over land and water
On a rotating stage, circling New York Harbor.
We turn past the torch.
We’re on final approach.
It’s the end of my flight and Istanbul’s almost over.
The tugboats towing Ellis Island are the size of ants.
They trumpet like elephants.
The Blue Mosque broadcasts one of its beautiful chants.

August 26, 2009

dam/nation

So, an article I wrote about the big dam projects in Turkish Kurdistan was published last week on China Dialogue, a bilingual web magazine dealing with environmental issues: “The Ilısu Dam’s Uncertain Future“:

Since a group of European backers withdraw funding in July, the fate of the controversial Ilisu dam – and that of the surrounding, mostly Kurdish communities in southeastern Turkey – has been in limbo. The dam, located on the Tigris River, 65 kilometres from the Syrian and Iraqi borders, would power a 1,200-megawatt hydroelectric plant, while displacing tens of thousands of local residents and submerging the ancient city of Hasankeyf beneath a vast reservoir. The project has drawn widespread criticism from environmental groups in Turkey and abroad, who are concerned that it will threaten endangered species, reduce downstream water flows and cause irreparable ecological damage to the Tigris River basin.

Ilısu is part of the “Southeastern Anatolian Project” (Güneyanadolu Projesi, or GAP), a massive multi-dam hydroelectricity, irrigation and development project dating back to the late 1970’s that encompasses nine provinces in Southeastern Turkey, in the Kurdish-majority region that abuts the Syrian, Iraqi, and Iranian borders.  The controversies surrounding GAP will be familiar to anyone acquainted with contested mega-dams elsewhere, like China’s Three Gorges or India’s Sardar Sarovar on the Narmada–they involve consequences like population displacement, environmental damage, the flooding of settlements, and the destruction of archaeological sites and historical built heritage.  GAP has also sparked tension with Syria and Iraq due to the dams’ impact on downstream water levels of the Euphrates and Tigris (here’s a recent NYT article on the devastating drought plaguing the Euphrates in Iraq).  The Turkish government maintains the the dams are absolutely necessary to increase energy independence and develop the economy of the impoverished southeast.

Mega-dams (and massive infrastructural projects) were, and are, irresistible to a sort of twentieth-century nationalist understanding of development: dams are symbols of modernity and progress, technical prowess, and mastery over nature, and often seem to be claimed as specifically “national” achievements.  The centerpiece of GAP is the Atatürk Dam on the Euphrates,  and GAP’s website credits Atatürk with the original inspiration for the hydroelectric exploitation of the region’s water resources (much as Nehru’s vision is inevitably invoked in support of the Sardar Sarovar dam, and the poem Mao wrote championing Three Gorges is now chiseled on monuments near the reservoir.  Think, too, of the Hoover Dam).   An engraving of the Atatürk Dam decorated the back of Turkish banknotes for nearly fifteen years.  But the people whose lives are drastically altered by such massive infrastructural projects may not so easily view themselves as part of the national community whose standing is raised by the infrastructural achievement in question: as I write in the piece, GAP has been met with considerable resistance in many of the communities it is supposed to help, for reasons inseparable from the political context of the Kurdish issue in Turkey.

Resistance to the Ilısu Dam and other GAP projects–in a region scarred by almost two decades of intermittent civil war–stems from a deep suspicion of the Turkish state’s motives and priorities.  Some residents fear that the energy produced by the dams will merely be transferred to Western Turkey, and many Kurds see GAP as an attempt to consolidate, in concrete and steel form, the dominion of the Turkish state (and the Turkish army) over the southeast.  (There is indeed a security rationale for GAP: the construction of dams, roads, and massive reservoirs reshapes the landscape to better suit techniques of oversight and control, such as checkpoints and patrols.)  But the greatest concern source of opposition is the flooding that will create the massive Ilısu reservoir–both because of the number of people the flooding will displace, and because of the places that will be lost beneath the water.

The campaign against Ilısu–both abroad and in Turkey–has focused on the threat to Hasankeyf and the “cultural heritage” it embodies–the material traces of perhaps ten thousand years of human inhabitation: bridges, tombs, hammams, mosques and churches, a kaleidoscope of remnants from successive waves of empire and influence.  The Turkish government and the Ilısu Consortium have devised an expensive plan to move some of Hasankeyf’s “most valuable” monuments to an archaeological park on higher ground (unsurprisingly, most archaeologists are hardly mollified by this proposal).   And just as there are resettlement plans for the ruins, there are resettlement proposals for the people who live around (and sometimes inside) them.  But despite the fact that living conditions in Hasankeyf are difficult, the town’s mayor and the majority of the residents are opposed to the dam.   Distrust of the government and its resettlement action plan are no doubt part of the reason–assistance to the tens of thousands displaced by previous dam projects (and the hundreds of thousands made refugees, often at gunpoint, by the conflict) has been dismal.  Because so many residents of the region lack formal land rights, securing compensation for lost homes and fishing income is difficult even when the plans are implemented.

And the relationship Hasankeyf’s people have with the landscape and material world around them is something that can’t be resettled, or compensated.   This Kurdish Human Rights Project report quotes a resident who tells the interviewer, “‘Hasankeyf is not just artefacts, caves and bones, it is our inheritance and we should have access to it.”  In reading and writing about Ilısu, I’ve been reminded of a presentation that Vyjayanthi Rao (an anthropologist at the New School) made at a conference on ruins at Columbia last spring.  She spoke about a dam in Andhra Pradesh that had flooded a number of inhabited settlements in an area rich with ruins; the Archaeological Survey of India conducted a massive salvage project that removed several temples from the flood zone and placed them in an archaeological park of sorts (not unlike the one planned for Hasankeyf)–a jumble of orphaned ruins, decontextualized and struck dumb.   The inhabitants of one village that was flooded refused to cooperate with the resettlement plan; instead, they built a new village on the banks of the reservoir, reusing some of the bricks and stones from the old.  The water level in the reservoir is seasonally variable, and in the dry months, water goes down far enough that the old site of the village is exposed.  Every year, she told us, the people migrate back to their old village when the receding waters leave it dry, and stay there until the waters rise again.

August 17, 2009

the patient dervish

UNTIL the very recent days of the Turkish Republic, when every effort is being made to adopt the ways of Western civilization, it has been the picturesque and wellnigh universal custom for shops to carry on their walls small placards, usually framed, and these placards have contained in beautiful Arabic writing verses from the Quran, traditions of Muhammed, rhymed and unrhymed sayings which have for generations been passed down from father to son. Coffee-houses, barber shops, booksellers, grocery stores, pharmacies, candy stores, fruit-stands, private houses even, all have decorated their walls with more or less artistically copied bits of wisdom from the past. In general there is no record of the authors or sources from which the sayings have come. They reflect in some measure also the thought of Turkish society as that thought has been passed on through the centuries.

So begins Prof. Dr. Hilmi Ömer’s article “Everyday Philosophy of the Turkish People in Stambul“, from the April 1933 issue of the journal Philosophy.   I came across it while searching for some entirely unrelated information the other week, and it is possibly the most charming thing I have ever found on JSTOR.   I devoted my twitter feed to a selection of the aphorisms for a day or two, and reproduce some of my favorite lines here, arranged as a found poem (or several)–though I’m not sure it’s fair to call it found poetry, when much of the source material is already a form of verse. Maybe “remixed poetry.”

I.
The patient dervish receives his desires.
Through patience sour grapes become sugar (helva).
The one who believes in Fate is free from sorrow.

II.
The World is a field sown for the next World.
It is an Inn with two doors.
This world is a Mill, it is ceaselessly turning.
The eye of man is a lantern, in the end it will go out.
There is no rest in the World.

III.
Wear not yourself out by losing your heart in vain.
If you fly into the air like Solomon,
some day the earth will of necessity consume you.
Cross not over the coward’s bridge; let the water carry you off.
Wealth and power, silver and gold are never anyone’s forever.
Real merit is in healing a broken heart.

IV.
Be of the people of Love; the World was established by Love.
O Lord, may everything end well.

August 16, 2009

yolculuk

tramvayinda

Yolculuk

Yolculuk niyetinde değilim.
Fakat böyle bir iş yapmaya kalksam
Doğru İstanbula giderim.
Beni Bebek tramvayında görünce
Ne yaparsın acep?

Mamafih söylediğim gibi
Yolculuk niyetinde değilim.

Traveling

I’ve got no intention of traveling.
But if took it in my head to do such a thing
I’d go straight to İstanbul.
When you saw me on the tramway to Bebek
what would you do, I wonder?

Still, like I said
I’ve got no intention of traveling.

-Orhan Veli Kanık

(translation mine, but I suspect it of being influenced by one I read years ago)

Orhan Veli is one of the most beloved twentieth-century Turkish poets, and every foreign student who’s ever taken a Turkish language class has been made to read his poem “İstanbul’u Dinliyorum” (Listening to Istanbul) at some point.  Veli’s verse is spare and clean; he writes of quotidian objects and experiences of urban life–taverns, water-sellers, pigeons, mustard, migraines.  He died young, at thirty-six, of a head injury from a drunken fall on an İstanbul street.

“Yolculuk” is one of my favorite Veli poems; my first, short-lived blog was named after it.  Some folks I know in a rembetiko band here are planning to set a number of his poems to music.  I’m not sure this one will lend itself to the task, but I am eager to hear what they come up with.

The tramway to Bebek no longer exists; the photo above is of the Taksim-Tünel tram.  You can read Murat Nemet-Nejat’s English translations of Veli’s work at this wonderful webpage.

August 14, 2009

a garden grows in gowanus

Just a day or so after I saw that NYT blogpost on my street here in İstanbul, the paper’s home and garden section featured a whole article on my street back in Brooklyn–eerie, perhaps, but I was delighted to see the latter, because it’s about one of my favorite things in my neighborhood: the guerrilla garden down the block from our building:

garden2

BEAUTY is more powerful when it’s unexpected. Like the garden on Union Street, right by the drawbridge to the Gowanus Canal in Brooklyn, where shuttered warehouses meet the cracked, treeless cement.

Eight-foot sunflowers tower over the graffiti on the warehouse wall. Larkspur and lavender, bee balm and verbena, clematis and sweet alyssum bloom here, as if they have freely self-seeded in the concrete.

“It used to be all sunflowers straight out to the street, so you had to walk through them,” said Kirstin Tobiasson, 39, who started this garden seven years ago when she was renting a studio in the warehouse.

It’s not that I don’t think there’s beauty in the cement and warehouses too, under the right conditions–but the garden is a joyful thing, and some of the stories in the article give you a sense of the power it exercises on those who pass by it, and find themselves a little besotted–the best, for me, is the moment in mid-spring when the lilacs erupt, and I can walk past breathing in their air every evening.  Alongside the orchard at my grandparents’ farm–where we lived for several intervals when I was a kid, and visited frequently thereafter–there was a path lined on both sides with six-foot-tall lilac trees, abundantly productive, and when they bent over heavy with blossoms in the spring, my cousins and I would pretend the fragrant tunnel was a passage to a fairy-world.  I’ve never liked the color purple, but still love lilacs for their scent alone.

lilac

Tobiasson’s work is a great gift to all of us lucky enough to live near the garden.  I’ve been photographing it since we moved to the neighborhood more than two years ago (here’s an old post with some photos from summer/autumn ‘07).  The sunflowers steal the show around this time of year, but some of my favorite moments come in deep winter, when the garden’s bones–like the rows of upside-down green glass wine bottles used to shore up the beds–are visible–

bottles

and the bare branches sketch their own pictures on the brick wall, alongside those drawn in spraypaint and stencil.

winter

But this summer, the city paved over the street-side strip of the garden (you bastards, that was one of the best lilac trees) with concrete, as the the blog 66 Square Feet (linked to in the article) recounts here, and here.  If I’d known, I’d have taken more photos before leaving, walked through twice as many times a day.  When I go back, I’ll cherish it even more now that there’s less of it to love.  And now, thanks to the NYT piece, I know the name of one of the riotous, taxi-yellow flowers I’d never recognized–they’re called yellow loosestrife; delightful, like something out of Cockney rhyming-slang.

August 9, 2009

the listeners

the listeners

August 5, 2009

two cities

IMG_6072

İstanbul Modern, Tophane, August 2009

August 5, 2009

galatadan yıldıza

You know, I suspect it’s never good news when the NYT Travel section brands your neighborhood “an up-and-coming district,” complete with profiles of little fashion boutiques on the street where you live.  Keep this up, and I won’t be able to afford to stay here next time I come back to Istanbul….(indeed, I don’t think any of the boutiques in question were open when I lived here in 2005.  Maybe one.)  But then, I can hardly blame others for being seduced by its charms:

In recent years, the still rough-around-the-edges neighborhood has been rapidly transforming, and it is now home to a cluster of stylish boutiques and small restaurants. It’s easy to see why.

Galata — a Genoese colony during Byzantine and Ottoman times, later a Jewish neighborhood (several synagogues remain) — may be one of Istanbul’s most atmospheric districts. Its winding streets and elegant buildings imbue it with a distinctly European flair. Grand old apartments offer stunning views of the Bosporus.

At the neighborhood’s center stands the 12th-century Galata Tower. A few years back, the city closed the area around the tower to traffic, creating a piazzalike square. The tower was already a powerful symbol for the neighborhood, but the closure had the effect of making it a kind of anchor from which civic life radiates.

“Civic life” on the square in this case seems to consist largely of camera-bearing tourists (Turkish, not just internationals), apple sellers, buskers, and stray dogs, but the pedestrianization of the larger area leading out to Yüksek Kaldırım–and the resulting explosion of open-air restaurant tables–is a striking change.  It makes me wonder about one of the great transformations of Beyoğlu itself in recent decades–the conversion of İstiklal Caddesi into a pedestrian-only thoroughfare, through which an estimated three million people now pass on an average weekend day (you’ll believe it, too, if you try to walk from Taksim to Tünel at ten pm on a Saturday night).  The pedestrianization of the street–a major step towards the revitalization of the city center, Mayor Bloomberg, take note–happened in 1992, before I ever set foot in the city, and it’s almost unimaginable to me that the former Grande Rue de Pera (or Cadde-i Kebir) was once choked with cars.  But when the municipality banned cars from İstiklal, they razed scores of old buildings to build the many-lane Tarlabaşı Bulvarı.  The city always pays a price for its metamorphoses.

Also, I forgive Yigal Schliefer for enticing all these prospective tourists to our street on account of his last contribution, which alerted me to the opening of the stunning new library of the Istanbul Research Centre for Islamic History, Art and Culture, which is now housed in the restored former armory of Yıldız Palace.  In fact, I’m planning to go work there for the rest of the afternoon.  I have an article to write, but it may fall to the wayside as I go looking for the first Latin translation of the Qur’an (c. 1550), or other bookish delights.

August 3, 2009

the french-turkish (rail) connection

Just on the heels of that last post, I saw this hilarious Chanel No. 5 ad–starring Audrey Tautou, the Orient Express, and Istanbul ferries (hat tip to TP):

I’m particularly amused because they swapped out the railway stations–the striking one featured in the ad is Haydarpaşa Gar, on the Asian side near Kadıköy, whereas trains from Europe, including the Orient Express, terminate on the European side–at the less spectacular Sirkeci Gar near Eminönü.  Indeed, there’s a scene near the end of the ad–where we seen the train drawing into the station–that’s a complete collage: the domes and minarets of Sultanahmet, with Haydarpaşa pasted in vaguely where Sirkeci should be (but the skyline looks a bit off; maybe they’ve crowded the mosques closer together, or perhaps put the skyline on top of the hill behind Haydarpaşa where that Ottoman military school should be?) and the train coming in at an angle that wouldn’t quite fit either.

All in all, though, it’s a very pretty advertisement.  That’s the actual (revived) Venice Simplon Orient Express, by the way, which you can ride from Paris to İstanbul next time you’ve got ten thousand euros to spare, single cabin price.  (I’m not going to be booking a trip anytime soon.)  But I have come in to Istanbul by train before–over the border from Bulgaria, via Sofia and Plovdiv–and recommend the journey highly.  The border crossings from Greece and Bulgaria in the middle of the night are no fun (everyone must get off and queue sleepily for a visa) but then you get to wake up on the gently clanking train just past dawn, with the sea of Marmara outside your right window, and watch the view as you curl around the tip of Sarayburnu, where the Golden Horn meets the Bosphorus, arriving into the bustle of Eminönü at the height of the morning commute, with thousands of people pouring on and off ferries headed to all points of the city.

August 2, 2009

of europe

Selim Sesler’s not playing at Badehane this week (or last, or next)–because among other things, he’s going to be in Paris, to perform at the “Saison de la Turquie en France“– “a nine-month-long culture festival that is bringing hundreds of Turkish artists, musicians, writers and other experts to cities throughout France,” according to this post on the NYT travel blog.  The politics behind this are intriguing–it comes on the heels of several tense years in Turkish-French relations, inflamed by widespread French opposition (and sometimes outright obstructionism) to Turkish EU membership, as well as the French National Assembly’s decision in 2006 to pass legislation recognizing the Armenian genocide.  The former has always been a particularly bitter pill to swallow for Turkish Kemalist elites (mention Sarkozy’s name here if you want to hear some choice expressions) because France was, more than any other European nation, the model for the idealized Western, national(ist) modernity that Kemal–and generations of Francophile Ottoman reformers before him, hearkening back to the French Revolution–aspired to emulate.  French words leaked into the (Ottoman) Turkish language, French literature influenced those who wrote in it; Turkish laiklik takes not only its name but many of its contours from French laïcité (and hence, the persistence of the headscarf issue in both countries)–the list goes on.  French intransigence stings, more so than the simple racism or anti-immigrant sentiment from other European nations, and there’s an air of the spurned pupil about the Turkish reaction: we tried so hard to be like you, and yet in your eyes, we’re still not civilized enough.  So this festival is not just a cultural event or a tourism-booster; it’s a political PR exercise that aims to alter French perceptions of contemporary Turkey.  Says the NYT:

The irony of France playing host to a huge Turkish festival is not lost on the co-chairmen of the event.

Stanislas Pierret, the French co-commissioner, said his goal was to provide “a platform for the Turkish people to show what Turkey is really like.’’

“Istanbul now is like the New York of Europe,’’ he said. “There is a lot of creativity every where.’’

I can’t help smiling at that last sentence–partly for the blithe, assertive “of Europe” (and after all those years of Pera being the “Paris of the Orient”! although Beirut always claimed that title too), but also because I’ve been wandering around drawing little Istanbul–New York columns in my head all week, weighing and adding up totals: missing one thing from there, loving another thing here so much that all the glories of Brooklyn won’t make up for its absence.  Both cities, for me, are inexhaustible.  Istanbul, I think, is also coming into a moment that New York has just passed through, a giddy phase of revival after decades of percieved decline, bringing revitalization in some respects (especially in arts communities, youth culture, political life) and on its heels, a certain deadening in others (overconsumption, skyrocketing cost of living, chain-store blight).  I’m looking forward to continuing to play the comparison game as I split my life between the two cities in the years to come.

Anyway, for those of you who might be in France, go hear Selim on the 8th (he doesn’t disappoint), drink a Türk kahvesi at the Café Turc, and check out the Ara Güler exhibition at the Maison Européenne de la Photographie and the wide range of cinema offerings, from Yeşilçam golden oldies to Nuri Bilge Ceylan’s oeuvre.   There’s even a panel on “Les inspirations françaises dans l’Empire ottoman et la Turquie moderne”–what did I tell you?

July 31, 2009

harika bir hikâye

I tried to post this last night, but the internet connection had a fit of bad temper, so it’s a day late.

P1010005

This is a story about something that happened five years ago today.  I’m certain about the timing, because it happened on my twenty-third birthday, and this is my twenty-eighth. For once, I’m going to tell a story with the actual names of the people involved–it makes no sense without using one of them, so I’ll use them all–and one of these people has written a travelogue about that summer that’s already seen print, so we’re not very anonymous anyhow.

That summer, the last one I spent in İstanbul, I was halfway through my M.Phil program, and enrolled as a student in Boğaziçi University’s intensive Turkish language summer school.   Midway through the course, Rahul and Niharika–two dear friends, neighbors and co-conspirators who lived across the street from me in Oxford, came to visit Turkey for two weeks, bringing along their lovely flatmate Sinead. Boğaziçi banned guests from the undeservedly named Superdorm, where I’d been staying, so I moved off-campus, and took a flat in the center of Beyoğlu, near Taksim Square.  The flat was on Büyükparmakkapı street, just off İstiklal Caddesi, in a pink-colored building that dated to 1923, the year Mustafa Kemal had proclaimed the Turkish Republic.  My landlady, a friend of my old Turkish teacher Selim, owned a bookshop/coffeeshop called Kitaplı Kahve on the second floor, and I lived above it, on the third.  The street was full of türkü bars and a eurotrash club or two, nargileh cafes and bookstores, late-night büfes and the occasional locksmith, as well as a cobbler I still visit when my sandals need repairing.  The greengrocer just around the corner at the back end makes a brief appearance in Fatih Akın’s film Duvara Karşı.

The two-room flat had indifferent plumbing and occasional mice, but the rooms were spacious, with extra beds and couches for my visitors, and faded movie posters from the glory days of Turkish cinema on the peeling yellow walls.  (Rahul later wrote that “with its high ceilings and wooden floors and large windows…this is like one of those Parsi flats in Bombay that you could only hope to inherit. Although with a malfunctioning toilet, a shower behind a pile of bricks in a corner of the bedroom, curtain rails that fell off at the slightest tug and no magnificent rosewood furniture, this is a Parsi on welfare from the Panchayat…”)  It is, to this day, the only apartment I’ve ever lived in alone.

My birthday fell during my friends’ visit, and we spent a lovely evening in Beyoğlu: dinner at Zencefil, fruit wine and cocktails at Limonlu Bahçe, and then Rahul and Sinead and I decided to go out dancing in one of the rooftop clubs in Pera–where you climb the stairs up six or seven floors of a narrow belle epoque building, past the lower floors of the club that are deceptively empty, and emerge out onto a crowded, lively terrace at the top of the city, with a view in every direction, an open-air dancefloor, and soft cushions lounging around the roof’s edge.  Niharika, though, was tired, and went back to the flat early–taking the sole set of keys.

We stayed out later than expected, but didn’t think it would be a problem–she had a mobile phone, and in any case, the main door from the street into the building was usually left open all day and sometimes all night, so people could come and go from the cafe and the men’s social club on the lower floor; every flat had a heavy double-locked door of its own for safety, and I never particularly worried about strangers in the stairwell.  But when we came back, around three, the door to the street was shut and locked–and Niharika was not answering the phone.

We sat down on the stoop for a moment or two to think, next to the tables spilled out onto the sidewalk by the işkembeci (tripe soup, a favored late-night anti-hangover food) joint next door.  And then someone noticed that the lights were still on in the Emekçi Hareket Partisi office across the street, three floors up–and the door at the base of that building was still open.  The bay window at the front of my flat looked out into a small flat opposite that served as the local headquarters of the Emekçi Hareket Partisi–the Workers’ Movement Party, one minor Marxist-Leninist organization among many on the Turkish left.  I could always see straight into their front room–populated by attractive young party members with interesting haircuts,  who spent their time chainsmoking, chatting, drinking tea and stacking innumerable political pamphlets–and they could see me sitting and reading at my window, although we’d never acknowledged each other’s presence.

With an enthusiasm fueled by desperation and alcohol, we climbed up the dark stairwell and knocked on their door, and I explained, in broken Turkish, our plight. The bemused (but kindly) leftists let us in, and we went straight to their front window, opened it, and started yelling over to mine.  Then, fishing around for something to throw across and hit the window with, we started tossing coins from our pockets–this was before the currency reform, so mostly old 500,000 lira coins, some of them the heavy ones that had gone into circulation before the last round of inflation.

I should pause here and explain that Niharika’s name was frequently a source of confusion (to others) and amusement (to us) on the trip, because the last three syllables are pronounced identically to the Turkish work harika, an exclamatory adjective meaning (more or less) Wonderful! Awesome! Fantastic!  As a result, when any one of us called her name out, people around often mistook it for an expression of excited approval about something.

So, then, imagine the spectacle we presented to the drinkers and işkembe diners in Büyükparmakkapı street that hot July night: at three in the morning, three foreigners–a tall, very brown Indian man, a short, very pale Irish/Scotswoman, and myself, intermediate enough in height and color to have passed for Turkish in the street (at least, before this incident)–throwing money from out of the window of the Workers’ Movement Party HQ down to the street below, all the while shouting Wonderful! over and over again, in tones of mild desperation.

We woke her up after a few minutes, thankfully, but I suspect the neighbors were talking about the deli yabanci kiz for the rest of the summer.

July 28, 2009

damascene-green

Damascus was weeks ago, and there have been hundreds of photos and miles and a few good stories since, to which I’ll move on soon.  But echoing in my head while I was there, and today again when I pulled up the below photo, was that line–Damascene-green–from Agha Shahid Ali’s “Barcelona Airport.”  The poem is from his last book, the wonderful Rooms are Never Finished, which came to Turkey with me last time, and would have come again, had I not brought instead The Veiled Suite, the volume of his complete poems released earlier this year.

At the launch of The Veiled Suite, which was also a memorial gathering for its author, several poets and colleagues read his poems to a small audience gathered in a lecture hall at NYU.  At the end of the evening, one said to the crowd, “Our last reader is something of a special surprise,” and went on to tell us that the university had in its possession some recordings of Shahid reading, and the event’s organizers figured that the man himself ought to have the last word.  He stepped down from the podium, and someone in the back fiddled with a knob, and Shahid’s voice–lavish, gleeful, about ready to tip into either self-satisfied or self-mocking laughter–filled the room, telling the story of an encounter with a security agent at the Barcelona airport, and the poem that came out of it.  I only came to his poetry after he was already dead, and had never heard his voice before, but he was clearly one of those poets who are the best readers of their own work.  He read the first line–his actual answer, apparently, to the italicized question–with particular gusto.

Barcelona Airport

Are you carrying anything that could
be dangerous for the other passengers?

O just my heart     first terrorist
(a flame dies by dawn     in every shade)

Crescent-lit     it fits the profile
on your screen

Damascene-green
in blood’s mansions      (candle that burned
till its flame died      in blue corridors)

it’s relit each time     it tries to exit
this body for another’s     in another century

(Andalusia was      but to be missed)

Last week I went     to the Pyrenees
and then came here     for the year’s farewell
to your city

In your custom of countdowns
as the gongs were struck     I gulped each grape
(the heart skipped     its beats wildly):

Ten . . . Seven      the Year whirled in
to castanets     to strings DRUMS Two

DRUMS ONE! DRUMS Champagne!

So what white      will the heart wear
till the soul is     its own blood-filled crystal
ruby refuge     for a fugitive angel?

His wings waxed silver      to track the Atlantic
he won’t–like      any body–let

the soul go     So delete my emerald beats
(in each color all night      a candle burns)

Hit ENTER     the Mediterranean
this minute is     uncut sapphire

And your Catalan sky?     Behold how to hide
one must . . . like God     spend all one’s blue.

Agha Shahid Ali, Rooms are Never Finished

(There seem to be very few audio recordings of Agha Shahid Ali online.  Here’s one of “The Purse-Seiner Atlantis“, from the Paris Review; I’ve searched more than once for the recording played that night at NYU, but to no avail. I hope it will eventually be made available to the public.)

July 28, 2009

ternary

ternary

A reply, of sorts, to this.  They were lounging at the foot of the pillars that hold up the Dome of the Treasury in the courtyard of the Umayyad Mosque.

July 23, 2009

the holes in the roof

holes1

holes2

In August 1925, Syrian nationalists and Druze leaders launched a rebellion against French colonial rule.  The Great Syrian Revolt, or Syrian Revolution, turned into the “largest, longest, and most destructive of the Arab Middle Eastern revolts”; it soon “spread to Damascus and came to include most regions and social strata of mandate Syria, rural and urban.  For more than two years, a ragtag collection of farmers, urban tradesmen and workers, and former junior officers of the Ottoman and Arab armies managed to challenge, and often defeat, the colonial army of one of the most powerful countries in the world.”  (Michael Provence, The Great Syrian Revolt and the Rise of Arab Nationalism, 12.)

Despite their often-brutal use of armed force, it took the French authorities until 1927 to put down the revolt.  Less than a decade later, the Syrian General Strike of 1936 brought about the negotiations that led to the Franco-Syrian treaty of the same year, and eventually, to independence.

In October 1925, French forces bombarded Damascus for forty-eight hours, killing an estimated 1500 people, demolishing whole neighborhoods, and even scandalizing the metropole (though five years earlier, the British had pioneered similar tactics of aerial assault against rebellious Fallujah).  The revolt continued, and the city was shelled again the following year.

During the assaults, bullets fired from the French planes pierced the long corrugated-metal roof of the Ottoman-era Souq al-Hamidiyyeh in the old city.  The holes in the roof were left unpatched, and streams of light still fall from them through the thick air, forming a bright dapple on the ground, almost like the patterns cast by the pierced domes of hammams.  People pass though, across the years, but the hole-punched lights on the ground remain, unmoved.

July 20, 2009

re-bar exercise

Lucas wrote a four-line poem, and is soliciting translations–in any language.  I’ve contributed one in inelegant Turkish; the post’s been up for only an hour or two and there are six or so others already (Hebrew, Tagalog, Yoruba, French, Italian…)  Anyway, I know that some readers of this blog can do me one better (with the Turkish) and others can add Arabic, Portuguese, Spanish, every flavour of Hindustani from Persianate Urdu to shuddh Hindi, Persian itself, German, Afrikaans, and maybe some Kannada or Malayalam to boot.  Go over to Porous Borders and give it a try.

July 16, 2009

arabic hiphop again

hiphop

Graffiti in the old city, Damascus, July 2009

The Hairdryer Treatment has got another excellent post on Arabic hiphop up, with some interesting links and a shoutout to Brooklyn insitution Rashid Music (when I walk from Gowanus up to Atlantic Avenue to hit Sahadi’s, Damascus Bakery, and the like, I often come home via Court Street, and stick my head in to see what’s on offer at Rashid’s).  The bulk of the post is the introduction (with sound clip) to a Lebanese-based crew from Burj al-Barajneh, one of the largest Palestinian refugee camps in Lebanon:

out of this backdrop comes katibeh 5, who are the rap equivalent of what you would get it you put the wu-tang clan, ghassan kanafi, and public enemy in a blender. militant, political, sharp, charismatic, and acutely aware of their place and second-class status in lebanese society. their new album, ahla fik bil moukhayamat (welcome to the camps) [....] unleashes that potential and exceeds my expectations. they are fiercely political and take shots at pretty much everyone, but also display witty humor and the ability to list fanon, nietzsche, and mishima as influences. katibeh 5 offer a unique voice not only in the continually evolving narrative of arabic hip-hop, but also the larger palestinian, lebanese, and pan-arab formulation of identity in the post-nakba period. 4 palestinian refugees and a sierra leonean refugee (c4, jazzar, moscow, molotov, and bobo) rapping in arabic and hailing from burj al-barajneh in lebanon. and doing it quite well. welcome to hip-hop in 2009.

Ahlan beeku to that.

(Incidentally, R. was visiting Beirut–where she used to live, before we both ended up in Oxford and then Brooklyn–before meeting up with me in Damascus the other week, and she’d just bought some fantastic cartoon teeshirts from some hiphop group in Beirut.  Forgotten the details of what they said, but I’ll check ‘em out when I’m home.)

July 16, 2009

enemy combatant

Dave speaks truth (and ruth):

We are afraid of poetry, and suspicious of the people who write it. Why do they have to write in code? Why can’t they just come out and say what they mean? If they’re men, why can’t they engage in more manly pursuits, like playing with their firearms or watching professional wrestling?

We are afraid of ideas, and suspicious of the people who enjoy engaging with them. We seem to agree with Big Brother in 1984 that Ignorance is Strength.

We are afraid of true freedom and what it might lead to. We excel in the building of prisons and the construction of tortured logic to support our continued exploitation of global resources, natural and human. We are — as the amateur Yemeni poet in the article says — artists of insults and humiliation. We falsely conflate freedom with ownership, which is to say, slavery.

We are, above all, afraid of the truth.

But read it all.

And if you want to give your time, money, and/or attention to people who are working to close not only Guantanamo, but all of America’s gulags–Bagram, the black sites–check out Human Rights First, the Center for Constitutional Rights, and of course HRW and the ACLU.  Mahvish Khan’s My Guantanamo Diary is very much worth reading, alongside the book of poems Dave writes about, as is Jane Mayer’s indispensible The Dark Side.  I have to say that while I expected to be disappointed by an Obama administration on any number of issues (and worked hard to elect him anyway), his cowardice and lack of conviction on the detainees is the bitterest pill to swallow; I didn’t expect that.

Also, via AR, news of an ongoing protest by the detainees at Bagram–who, unlike those at Guantanamo, don’t even have regular access to laywers.

July 15, 2009

o’neill in four parts

Mark Sarvas at The Elegant Variation has been posting day-by-day the installments of a wonderful four-part interview with Joseph O’Neill: 1, 2, and 3; the final portion will be posted tomorrow.  O’Neill’s responses (on Netherland, his reading and writing habits, literary matters, sport) are thoughtful, sometimes surprising, and often very funny–a self-deprecating sense of humor that was also on display during his panel at the Brooklyn Book Festival last fall.  Today’s installment includes a nice photo of the author brandishing a cricket bat, the answer to a question I’d been curious about (he was conversant in Turkish as a child, but no longer considers himself a speaker of the language) and the intriguing tidbit that he’s married to a woman who, while his editor at FSG, rejected his second novel.

My favorite part so far, though, is this bit from the first segment–Amitavaji (hat-tip for the original link) and Lucas both beat me to posting it, but I’m going to copycat anyhow:

I mean, you know, if the plot is good then I am grateful for it. But I am a terrible reader of novels. I only read a few and I re-read what I read. And then I re-read them like books of poems and sort of dip into pages 12-17 and I look at words and sentences. The whole suspenseful element is not really something that particularly interests me. Possibly because I lack concentration. Possibly because my brain has turned into macaroni cheese.

As an inverterate (and often partial) re-reader, it’s nice to see my prejudices reinforced by so admirable a source.  Anyway, if you haven’t read Netherland, do; and if you have, and liked it, go hunt down a copy of O’Neill’s family memoir, Blood-Dark Track.  The book, which is out-of-print but hopefully won’t remain so much longer, interweaves the stories of O’Neill’s two grandfathers–one Irish, one Turkish–both imprisoned by British authorities during the Second World War under murky political circumstances.  (Mark Maz/ower once told me it’s the only book that, upon finishing, made him want to write a fan letter to the author.)  I’m wishing I’d brought it along with me this summer, especially because one grandfather was very much a figure of the post-Ottoman world I’m always trying to untangle.  As the NYT review describes him:

Joseph Dakad, we learn, was a Syrian-born Christian who owned a hotel in Mersin, a port in southern Turkey on the Mediterranean. It was a humid town of old families and flowered verandas, with palms on the shore and warships in the harbor — a kind of pocket Casablanca where a Levantine like Dakad could flourish. He spoke French, Arabic, Turkish, English, German, Italian and Spanish. He dressed in silk shirts, practiced his horsemanship, promenaded with respectable women, ate oranges daily and hoarded tin beneath his restaurant.

One need not be obsessed with the midcentury history of the eastern Mediterranean coast (or, for that matter, of the British Isles) to find the book engaging.  In the meantime, I can always reread Netherland, dipping in & out like it was a book of poems.

July 13, 2009

black and white city: vertical

souk

courtyards

cup

Damascus, Old City.

July 13, 2009

black and white city: horizontal

asadpasha

oldcity

umayyad

taxi

Damascus, Old City

July 11, 2009

not again

Last night I got the bad news I’ve been fearing since the election unrest in Iran began: Kian has been arrested.  Intelligence agents came to his home in Tehran and took him away; we don’t even know where he is being held.  I am very worried about him, and my heart goes out to his family.  The last email he sent me, a couple of weeks ago, promised baby pictures–I’m praying he’ll be home playing with his daughter soon.  His legal status from the last case is still unresolved.  Maziar Bahari, a Canadian-Iranian journalist I became acquainted with as a result of efforts on Kian’s behalf during his prior imprisonment, is also being detained in Iran and was forced to make a televised false confession.

The NYT’s Lede blog (scroll down) has excerpts from Kian’s contributions to a recent roundtable about Obama’s speech to to Muslim world, and some background on his and Haleh’s detentions back in 2007.

I cut short my week in Syria (which up until last night, was one of the happiest weeks of recent years) and am headed back to İstanbul tomorrow to see if there’s anything I can do.

July 6, 2009

sunrise in hatay

(Update: oh I am here, I am here!  It took almost 8 hours–to travel approximately 90 kilometers–but I am here, and as head-over-heels fallen for this place as I ever was, as I ever have been since the first time across that border eight years ago.)

Having been refused a visa at the Syrian consulate in İstanbul (which totally was not enforcing that regulation on American passport-holders fıve years ago, when I walked out with a multiple entry visa the same day), the sane thing to do would probably be to sigh, enjoy the manifold pleasures of Turkey, and save a return to Syria for another summer.  Only a crazy person would, say, jump on the 16 hour overnight bus to Antakya and then head to the border sans visa, having heard that some travelers have been getting them at the crossing–albeit with a 5-7 hour wait, for Americans, whose papers must be faxed to Damascus and back.

But I am exactly that kind of crazy person, and here I sit at dawn in the Antakya otogar–which is sadly now on the outskirts of town, depriving me of the chance to eat künefe for breakfast, but also has got internet!–waiting for the Has bus to take me to the border.  Inşallah I will lay my head down tonight in Aleppo, and tomorrow morning, head onwards to Damascus to meet R., who will be there this week.  If I don’t get the visa, well, the food in Antakya is a pretty good consolation prize, and it will be good to spend some time here–since last leaving, I wrote a masters’ thesis and a bunch of conference papers about this place, all that time never coming back myself.  We have a lot to catch up on, Hatay and I.  I’m just going to try to stop by and say hello to some other beloved cities (waterwheels,  souqs, tamarind juice, the storyteller in the cafe behind the Ummayyad mosque, Bab Touma) first.  Fingers crossed.

July 4, 2009

light and water

In other news, I’m pleased to annouce my camera and I have resolved our differences, and are spending a lot of quality time together on bridges, boats, and quays (these are a few of my favorite things).  Here’s a recent journey: a walk around the little quayside park in Perşembe Pazarı on the northern side of the Golden Horn, then onto a Karaköy-Kadıköy ferry across the Bosphorus and the Sea of Marmara’s edge, to the Asian side; later, returning from Kadıköy to Eminönü, followed by a walk across the Galata bridge back to Karaköy, and then up the hill to home.  The smells of salt and fish, and the conversations of seagulls, are constant fellow travelers.

persemberpazari

threemen

iskele

sarayburnu

balikekmek

1. Lonely dock in Perşembe Pazarı; 2. Three men in a boat (the Karaköy-Kadıköy ferry); 3. Passengers waiting at the Kadıköy iskelesi (ferry pier) at sunset; 4. Sarayburnu reflected in the windows of a Kadıköy-Eminönü ferry; 5. Balık ekmek (fresh fish sandwich) boats at Eminönü.