Ece Temelkuran (1973) est sans doute la jeune écrivaine turque la plus en vue. Elle écrit quotidiennement, depuis dix ans, pour un des journaux turcs les plus populaires et est une journaliste primée. Elle mêle différentes formes de sentimentalisme dramatique à de l'humour noir qu'elle combine à son style post-moderne. Ce qui crée un espace à des liens subtiles avec la vie quotidienne.
La résidence d'Ece Temelkuran à Bruxelles fait partie d'une collaboration entre Passa Porta et Europalia 45/25.
© Photo: Muhsin AkgünTop
This letter is written to you because of the intense conversations we had about being a writer in the land of war and conflict and writing for the Western world.
I don't exactly recall your question that started our conversation about the particular issue but I remember myself almost hysterically talking about being a writer in and outside Turkey: "It is like a stage without a back-stage. It is like performing for two irrelevant audiences demanding totally different plays. It is damn tiring. Consuming."
Being very well aware of misery in using the word "performing", I carried on with something like this: "The Europeans are secretly asking from you to be the oppressed intellectual, agonizing artist etc. That reduces the writer to this one paragraph of CV, consisting of expressions like ‘fired from her work', ‘censored in several media' bla bla bla... And they almost never have the patience to listen to the rest of the story."
"On the other hand" I said, "The country is in such a mess that it becomes impossible to think clearly, to create or to contemplate the situation. They, as well, reduce you to ‘taking a stand'. You don't write, you don't think, you just take a stand and shout with people alike. It is madness. And damn tiring too."
When I arrived from Istanbul in Brussels, to the "housing the heart of Europe", the "house" was locked down. To my luck, Europe was too occupied to ask for a performance from "the oppressed writer". So here it was, a spacious back stage. Uninterrupted yet uncharted reading, writing and walking were deeply missed. So, I did all. Moreover, the few people I met (Catherine Vuylsteke, Dirk Vermaelen, Bozena Coignet, Johny and the others) throughout the stay were surprisingly interested in the "rest of the story". This might be the only one-month-time in several years that I did not talk about politics and did not perform at all. My soul was stripped off the stage requirements. So, dear Annelies, this is why you caught me off guard, on the back stage, without the costume, off the role.
I am thankful for our conversation and my own embarrassing excitement when talking about the issue, because in a very long while that was the first time that I acknowledged how tired I am. Well, I guess it is about time that I leave the "play".
23.11.15 > 21.12.15