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Parafiction and Plausibility Author(S): Carrie Lambert-Beatty Source: October, Vol Make-Believe : Parafiction and Plausibility Author(s): Carrie Lambert-Beatty Source: October, Vol. 129 (Summer, 2009), pp. 51-84 Published by: MIT Press Stable URL: http://www.jstor.org/stable/40368563 Accessed: 10-02-2016 22:16 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org This content downloaded from 128.122.7.28 on Wed, 10 Feb 2016 22:16:47 UTC All use subject to JSTOR Terms and Conditions Make-Believe: Parafictionand Plausibility* CARRIE LAMBERT-BEATTY Thereis no steadyunretracing progress in thislife; we do not advance throughfixed gradations, and at thelast onepause: throughinfancy 's unconscious spell,boyhood's thoughtless faith, adolescence,doubt (thecommon doom), then skepticism, then disbelief restingat last in manhood'spondering repose of If But once again gone through,we tracethe round again; and are infants,boys, and men,and Ifs eter- nally. Wherelies thefinal harbor,whence we unmoor no more? - HermanMelville l Istanbul,2005 Whenthe artistMichael Blum arrived in Istanbulto preparefor that city's NinthInternational Biennial, he discoveredthat the apartment building that had been homein the earlytwentieth century to the teacher,translator, communist, and feministSafiye Behar was slated for demolition. A remarkable,iflittle-known historicalfigure, Behar (1890-1965) was a TurkishJew who enjoyed a longfriend- ship- somesay a romance- withMustafa Kemal Ataturk, founder of theTurkish Republic.The twomet in 1905,in theheady atmosphere of the Zeuve Birahanesi, * Partsof this essay were presented at ThreeWallsGallery and DePaulUniversity in Chicago,and theInstitute of FineArts, New York. Feedback from Huey Copeland, Blake Stimson, Jonathan Katz, Tom Williams,Claire Bishop, Eve Melzer,and TaylorWalsh, and readingsby Helen Molesworth, JenniferRoberts, and, especially,Julia Bryan-Wilson, helped me tremendously.An earlyversion of some of thismaterial was publishedin TalkingWith Your Mouth Full: NewLanguage for Socially Engaged Art (Chicago:ThreeWalls Gallery and GreenLantern Press, 2008). Special thanks to MichaelBlum, Walid Raad, and Aliza Shvarts,and to mystudents, particularly David Andersson, Austin Guest, Trevor Martin,and Jack McGrath. Finally, while working on thispaper I had the benefitof readingVered Maimon'simportant essay "The ThirdCitizen" published in thecurrent issue of October.I hope that theconversation beffun in thesepaees will continue beyond them. 1. HermanMelville, Moby Dick; or, The Whale (1851; New York: Penguin, 1986), p. 602. OCTOBER 129, Summer2009, pp. 51-84. © 2009 OctoberMagazine, Ltd. and MassachusettsInstitute of Technology. This content downloaded from 128.122.7.28 on Wed, 10 Feb 2016 22:16:47 UTC All use subject to JSTOR Terms and Conditions 52 OCTOBER a bar ownedby Safiye's father on the groundfloor of the same now-crumbling buildingin theBeyoglu (then Pera) districtof Istanbul. Throughout the last years of theSultanate and earlyyears of the Republic,Behar and Kemalmaintained a correspondenceboth intimateand intellectual.The fewsurviving examples of theirletters suggest Behar had considerableinfluence on the leaderduring this crucialperiod in Turkishhistory, particularly concerning the rights of women in the new republic.The friendshipended onlywith Kemal's death in 1938,the sameyear Safiye emigrated to Chicago.There she wasactive for many years as a translatorof Turkish and an organizerfor various leftist causes. Blum,who trainedas a historianat the Sorbonnebefore beginning his art practice,gave over his Biennial exhibition to the documentationof Behar's life.2 He constructeda modest but thorough historical house museum (necessarily dis- placed fromthe condemnedbuilding to an apartmentcomplex - the "Deniz Palas,"or "Palace of the Sea"- beingused forthe Biennial).Culling materials fromvarious historical societies and archives,as wellas fromBehar's descendants, he set up vitrinesfeaturing her letters,photographs, and books,and arranged originalfurnishings in therooms of the apartment, to be peeredat overPlexiglas barriers.He relayedBehar's life story with both bilingual didactics and a certain flairfor stagecraft (a side tablebore a dishof roastedchickpeas, Kemal's favorite snack).A videointerview with Behar's grandson, Chicago architect Melik Tutuncu, broughther family legacy up to thepresent. Recoveringthe forgotten life story and unacknowledgedhistorical role of a femalefigure from an ethnicminority, this project, A TributetoSafiye Behar, partici- patesin a projectof revision whose foundations are in thefeminist and civil-rights movementsof the 1960s and '70s.Splitting History into histories (and herstories), it also buildson thepostmodern critique of metanarratives, while nodding to the discourseson identityand hybridityof the 1980sand '90s.Yet Blum's project was verymuch of its own moment. Under cover of thehighly conventional visual lan- guage of the house museum,Blum was able to addresstwo publics, and two politicalsituations, at once. For thelocal, Turkish audience, the frank discussion of MustafaKemal's likely affair with the Jewish woman, and herinfluence on his reforms,served as a criticalintervention in theofficial hagiography of theleader thatcontinues to saturatepublic lifein Turkey.The exposureof a previously repressedhistory signaled a critiqueof thatstate's penchant for secrecy (most infamously,its continuing denials of the Armenian genocide). Meanwhile, for the largecontingent of internationalvisitors brought to Istanbulby the Biennialin 2005- a momentwhen Turkey's potential membership in the EuropeanUnion wasbeing hotly debated - thelife story of thissecular, cosmopolitan, internation- alist,and progressivewoman, with her feminist organizing and herlove letters in 2. Blumreceived a master'sdegree from the Universityof ParisPantheon-Sorbonne, prior to attendingthe Ecole Nationale de la Photographiein Aries.Born in Jerusalem, he is currentlybased in Vienna. This content downloaded from 128.122.7.28 on Wed, 10 Feb 2016 22:16:47 UTC All use subject to JSTOR Terms and Conditions Make-Believe:Parafiction and Plausibility 53 French,cut intostereotypes about Turkey as backwards,other, and "Islamicist" (perhapsreminding them, for instance, that Turkish women had theright to vote earlierthan their sisters in France).3 A TributetoSafiye Behar, then, was both historical and political(and a sugges- tionthat the former is inevitablythe latter as well).But it was also somethingelse again.For, arguably, the mostsubstantial thing about the lifeof SafiyeBehar is thatMichael Blum made it up. To someviewers, the fictionality ofthe installation's central figure was betrayed bydetails like the imperfectly pasted-on cover of the book of Nazim Hikmet's poetry on whichBehar was credited as translator,or thecoincidence that her face, blurred, blocked,or remote,could never quite be madeout in anyof the group photographs on display.4There is also a traceof overactingin thevideo, and a touchof dark humor,as whenSafiye 's grandson describes the death of his entire immediate family in a freakaccident in 1966- a convenienttragedy for Blum, whose research might otherwisehave gone on forever(and a personallycoincidental one, since that is also theyear of his ownbirth). But thoughsubtle clues were planted, the displaywas meantto be convincing.While several writers on theexhibition chose to revealthe fiction,some otherwise astute critics seemed to acceptthe exhibition's claims, find- ingSafiye Behar a fascinatingfigure but the artwork itself flat-footed.5 Turkish press reactionvaried according to themedia outlet. The progressiveRadikal ran a support- ive interviewwith the "Austrianhistorian" about Safiyeand her importanceto Turkishhistory, and onlyat thevery end of the long piece revealed that she was a fic- tion,recategorizing Blum as an artist.6In otherpublications, the ideological threat ofthis project to both Kemalist and Islamicistconservative forces in Turkeywas regis- teredmore clearly (one writerjoked thatonly Behar's fictionality saved her from assassination).7For his part, Blum always maintained, ifpressed, that Behar was "real to me."Curators and officialexhibition publications kept the question open,8 and 3. It intervenedin yet another waywhen the project was exhibited at the National Museum of ContemporaryArt, Athens, in 2006. 4. Additionally,knowledgeable viewers knew something was amiss when theylearned that one ot Behar's sons marrieda granddaughterof (the childless)Emma Goldman. 5. Reviewsof Blum's installationinclude: Elena Crippa, "Michael Blum,A Tributeto SafiyeBehar, 2005, 9th IstanbulBiennial," e-cart 7 (March 2006), at http://www.e-cart.ro, accessed May 1, 2008; T J. Demos, "9th InternationalIstanbul Biennial,"Artforum 44, no. 3 (November2005); Alison Carrolland CarolineWilliams, "Istanbul Biennale," Artlink 26. 6. "Atatiirk'slover Safiye," Radikal, August 28, 2005. I am gratefulto Merih Uz forresearch assistance on the Turkishpress reaction, to UnverRustem for English translations, and to both of themfor informa- tivediscussions
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