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Scandinavia in the First World War by Claes Ahlund

Author:Claes Ahlund

Language: eng

Format: epub

ISBN: 9789187121913

Publisher: Nordic Academic Press

Published: 2014-06-30T16:00:00+00:00

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Scandinavia in the First World War by Claes Ahlund

To tell the truth – witness literature and fiction

There are several stories in the books that function the same way as Karnig’s, but sometimes with a reversed chronology. This is seen, for example, when Dr Delacombe tells Garekin Effendi what happened when the young, promising doctor Haïk Hovsephian was abducted, put in prison, and eventually shot. The prelude to the abduction is related in the second book, which takes place in spring 1915. Most of the stories in this book are set in the city of Pera and the characters are urban and middle class. The abduction has already been described by Dr Delacombe in a letter in the first book: ‘they are all gone, friends and colleagues, politicians, members of the National Assembly, editors, professors, all the “intellectuals”: practically all have been deported or hanged or at best been shot in the dark deserts of Asia Minor; the patriarchate is closed, the newspapers withdrawn—’26

The instructive tone of this and similar passages must be attributed to the genre as such. This literature has a message; it is literature with a political purpose. In such genres, the imminent risk is that the political dimension overshadows the aesthetic, or, if you will, telling dominates over showing.27 This way of writing can also be linked to the text’s claims to truth, or at least to authenticity. The parallel to witness literature is illustrative. The historian Peter Englund has written about the difficulties of this genre; about the conflict between the literary and the testimony, between form and function. He calls witness literature a ‘mongrel form of literature’, for

 

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Scandinavia in the First World War by Claes Ahlund

Author:Claes Ahlund , Date: June 6, 2019

,Views: 48

Author:Claes Ahlund

Language: eng

Format: epub

ISBN: 9789187121913

Publisher: Nordic Academic Press

Published: 2014-06-30T16:00:00+00:00
To tell the truth – witness literature and fiction

There are several stories in the books that function the same way as Karnig’s, but sometimes with a reversed chronology. This is seen, for example, when Dr Delacombe tells Garekin Effendi what happened when the young, promising doctor Haïk Hovsephian was abducted, put in prison, and eventually shot. The prelude to the abduction is related in the second book, which takes place in spring 1915. Most of the stories in this book are set in the city of Pera and the characters are urban and middle class. The abduction has already been described by Dr Delacombe in a letter in the first book: ‘they are all gone, friends and colleagues, politicians, members of the National Assembly, editors, professors, all the “intellectuals”: practically all have been deported or hanged or at best been shot in the dark deserts of Asia Minor; the patriarchate is closed, the newspapers withdrawn—’26

The instructive tone of this and similar passages must be attributed to the genre as such. This literature has a message; it is literature with a political purpose. In such genres, the imminent risk is that the political dimension overshadows the aesthetic, or, if you will, telling dominates over showing.27 This way of writing can also be linked to the text’s claims to truth, or at least to authenticity. The parallel to witness literature is illustrative. The historian Peter Englund has written about the difficulties of this genre; about the conflict between the literary and the testimony, between form and function. He calls witness literature a ‘mongrel form of literature’, for

in spite of appearances, the genre is a difficult one, both in form and function. There are more failures than triumphs. The problem is that instead of a union of the best of two distinct literary worlds, we often get a union of the worst. The outcome functions neither as a source nor as literature. The requirements of veracity distort the literary form, while the literary form distorts the testimony. Auden wrote that every attempt to create something that could be at once beautiful and functional was doomed to fail, and this may even apply to witness literature.28

At the same time, the fragmented and disorganized is an effective counterweight to the tendentious and one-sided. Englund comments on the deformation that inevitably occurs when we make a narrative of the past: ‘We gain, of course, coherence, totality, and flow but at the risk of forcing narrative and teleological unity on to something that in reality is diverse, confused, and contradictory. The very form of narrative tempts us to tidy things up.’29 In his discussion of three testimonies from the First World War he points to the lack of concision and composition—it is not a linear story—as an indirect, ‘truer’ form. The same could be said of Nalbandiàn’s work. Thus, fragmented and disordered, the aesthetic in itself might be a way of approaching the Armenian experience. It is a frame that, perhaps paradoxically, does not try to define

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