» CORRUPTION & SNOW IN ISTANBUL

Corruption is like a ball of snow, once it’s set a rolling it must increase.”
— Charles Caleb Colton

Photo EssayUnlike corruption, ethnic bigotry, national chauvinism or dubious coup attempts, snow is growing rarer in Istanbul, but one day in early 2015, it didn’t seem to interrupt the usual activities of the city’s birds, fish or fishermen. A few dogs seemed on edge, and cat sightings were rarer, but otherwise it was business as usual.

Galata Bridge fishermen on a snowy day in Istanbul. - (c) 2016 Brian Awehali

I spent about two months in Turkey in the winter of 2014/15, mostly because I wanted to visit while it was still hospitable for U.S. citizens. Numerous people I spoke with in Istanbul mentioned exiled-to-the-U.S. Muslim cleric Fethullah Gulen and the “parallel state” he was suspected of operating within Turkey. The eerily unvarying invocation of this exact phrase made me wonder then how manufactured or propagandistic a concept it was, and later, in 2016, to what extent Erdogan was exaggerating and scapegoating real and perceived enemies in order to orchestrate a political advantage for himself while whipping up unifying enemies for the country to hate.

Galata Bridge fisherman on a snowy day in Istanbul. - (c) 2016 Brian Awehali

Of course, a majority of Turks don’t need much help when it comes to being hypernationalistic and disliking other people and nations… Continue reading

» FIKRET MUALLâ: “COLORS THAT EVOKE DREAMS”

Fikret Muallâ’s statue in Moda, Kadikoy, in Istanbul. (c) Brian Awehali

Fikret Muallâ’s statue in Moda, Kadikoy, in Istanbul. (c) Brian Awehali

Photo EssayAvant-garde painter Fikret Muallâ (1904-1967) was born in Istanbul, but lived most of his life in France. Muallâ was a soul tortured by circumstance and self-abuse, but he understood his pain as a crucible for the perfection of his art, which he testified to in one of the last letters he was to write:

“In my opinion every artist should suffer hardship, anguish and hunger. Only after that should they enjoy life. After the age of fifty, people start to seek comfort and health, and to think. That is my fate. My life has passed in a struggle against poverty. Now in this quiet village I submit to living peacefully by myself waiting for the final period of my life as ordained by God. Apart from this I have no problems! No pretensions. We have seen every kind of circumstance the world has to offer, we have tasted very few of the pleasures of life. Today what is left but for my tongue to recall the past and my brush to paint?”

Fikret Muallâ’s statue in Moda, Kadikoy, in Istanbul. (c) Brian Awehali

» SCENES FROM ALICATI, TURKEY

Photo EssayAlicati is a town on the “Turkish Riviera,” and it’s a favored getaway for wealthy Europeans, especially Greeks. It’s almost certainly lovelier to me during the quiet off-season.

Shoe polisher and scooter in the off-season, Alicati, Turkey, (c) 2016 Brian Awehali

Shoe polisher and scooter in the off-season, Alicati, Turkey, (c) 2016 Brian Awehali

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» 1500-YEAR-OLD BYZANTINE HOLE IN THE CEILING

Photo Essay

This photo, of a portal in the ceiling of one of the dim walkways that connect the first level to the second at the Hagia Sophia in Istanbul, strikes me as a great visual metaphor for what all of the religious and political leaders who’ve put this structure to use since about 537 C.E. have promised and exploited. – (c) 2016 Brian Awehali

This portal in the ceiling of one of the dim walkways that connect the first level to the second at the Hagia Sophia in Istanbul is as a nice metaphor for what religious and political leaders have exploited this structure for since about 537 C.E. – (c) 2016 Brian Awehali

» WISHES TO MEDUSA AT THE BASILICA CISTERN

Photo EssayThe Basilica Cistern (Yerebatan Sarnıcı) is spooky, but would be a lot spookier if it weren’t overrun with tour groups, or if it was still full of the corpses they once stored here, before turning it into a tourist attraction with a very repetitive, endless loop of classical music for a soundtrack.

Inverted Medusa at the Basilica Cistern in Istanbul, (c) 2016 Brian Awehali

Inverted Medusa at the Basilica Cistern in Istanbul, (c) 2016 Brian Awehali

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» WE LOOK LIKE THE TYPE

Blickensderfer

Text and photos by Brian Awehali

A recent surge in interest in typewriters isn’t just about nostalgia or fetishistic hipster concerns. It’s about light, speed, focus and pleasure. It’s also about digital discontent: As our type has grown speedier and more legible, we’ve become more legible to corporations, governments and private individuals in increasingly centralized, synoptic positions. What we look at looks back, in aggregate.


Two women — one young, the other elderly and pushing an upright shopping cart — paused to look in the window of the California Typewriter Company on San Pablo Avenue in Berkeley.

“Typewriters,” said the older woman, meaningfully.

“Old,” said the younger one, before glancing down at her smartphone.

It’s true; typewriters are old. But their invention, rise, and popular decline also paralleled one of the most transformative periods in modern human history. The newest typewriter in the Berkeley store, a sky-blue Olivetti Studio 46 manual built in Brazil in the early 1990s, might have been made before the younger woman was. Most are decades older, and it’s likely that many of these machines were used at some point by a woman entering the workforce for the first time, as a typist or secretary. The oldest typewriter in the store, a Smith Premier No. 2 with what look like wooden keys, was built in the startlingly retro-futuristic year of 1890, when events like the massacre of ghost dancers at Wounded Knee and the formal end of the US-Indian Wars co-existed in time with mass electrification and the appearance of the first computer — a punch card tabulator used for tallying census data.

The nostalgic and historic appeal of typewriters is easy to understand. But what’s driving the recent revival of practical interest in them? Who’s using typewriters, and why?

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