Turkey: The Country not the Bird

My wife and I recently returned from a cruise in the Mediterranean where we saw the sites of Italy, Greece and Turkey. I had thought that Erdogan’s Islamization of Turkey would have made it a very repressive country, and that Attaturk’s vision of a secular Turkey was as dead and buried as he was. I also thought that Italy and Greece were mostly western countries in the mold of Western Europe. What I found was the opposite.

While I loved visiting Italy and Greece once again, the impression I received was one of vibrant Third World countries that didn’t use credit cards — I constantly had to change dollars into euros in Rome and Athens – and countries that would be more at home in Eastern Europe. However, the museums were fantastic — even though you don’t know when parts of them will closed at weird hours for lack of money. The ancient Roman and Greek sites made it feel as if Rome and Greece still ruled the world, but those days are definitely millennia passed.

I expected Turkey to be similar, and it was in regard to credit cards, but it was much stranger than Italy or Greece. Arriving in Istanbul, the first thing you notice are the mosques, hundreds of them adorning the cityscape. I felt as if I’d arrived in an alien world where the mosques almost seemed as if they were flying saucers that had temporarily landed.

Istanbul, Turkey

One thing the government under the General Directorate of Foundations is trying to do is to reconvert museums and churches into mosques. There are no shortage of mosques, and according to the locals, one does not need a mosque to pray. Those that have been reconverted include the thirteenth century Haghia Sophia Church in Trabzon. As another example, after an earthquake in Istanbul in 1999, the sixth century Church of St. Sergius and Bacchus . The present Islamic government of Turkey has a choice to make. So far, they seem to be making the wrong one.

Once you acclimate yourself to the ever present mosques, you will notice how western the city of Istanbul really is. You feel you could be in Belgium, England or even the US. The people we met, especially the younger generation were decidedly modern and anti-Erdogan. They appreciated western values and didn’t want to give them up. Even one religious young man who was trying to find his place within Islam didn’t want to give up the freedoms his generation has sampled. While Erdogan may wish proudly to lead his people back to the seventh century, the modern generation is more than happy to remain in the twenty-first, and some of them are willing to fight for their freedoms. Attaturk may not be dead after all.

In many ways Istanbul is a modern city, it is a hub for international business and a modern cosmopolitan city. Even in the nineteenth century spice bazaar, you can get your Turkish Delight candy specially cut for you and then have the box shrink wrapped for freshness and to go easily through customs. But it is also pays attention to its traditional side in the care it takes to present its time-honored Mediterranean cooking. Its vegetarian tradition is beyond compare. In short, Turkey has the best of the old and the new. My wife and I liked it so much that we are thinking of going back in the spring. With the warmth of its people, its western and eastern flavors and its marvelous ancient archaeological sites, Turkey is a better than Disneyland because it’s all real. If its government can avoid wrecking it, Turkey will remain a wonder of the ancient and modern world.

Ten Ways To Tell if You’re an Anti-Semite (with apologies to David Letterman)

10. You’re careful to specify that you’re not an anti-Semite, only anti-Zionist.

9. Your definition of a non-violent protest is one in which the Palestinians only throw rocks and Molotov cocktails.

8. You think Israel is a racist state because it’s mainly for Jews, but you don’t think the 52 Islamic states are racist because they’re mainly for Muslims.

7. You think BDS (Boycotts, Divestment and Sanctions) just wants Israel to go back to its 1967 borders (that are in reality the 1949 Armistice lines).

6. You believe that the Mavi Marmara, one of the six ships sent from Turkey to break the Israeli blockade of Hamas-run Gaza, was just carrying aid to the Palestinians.

5. You believe that suicide bombing against Israeli civilians is okay, but you’re horrified at the Boston bombing.

4. You believe that Palestinians can do what they want to Israelis, but any counter measures by the Israelis are automatically war crimes.

3. You’re willing to speak out and volunteer for the Palestinian cause, but you wouldn’t do so for the Tibetan, Cypriote, Kurdish or other causes.

2. You feel that because you’re against many of the things the West does, including capitalism and intervention in Third World countries, that you automatically have to be against Israel, the invention of the West.

1. After reading the above nine reasons, you still think you’re only anti-Zionist.

Free Comedy of Errors Swings into Central Park

ShakespeareIf there’s one thing I hate, it is Shakespeare in modern drag. All these presumptuous directors think they can do Shakespeare one better. So, when my wife suggested we get free tickets to the Public Theater’s “The Comedy of Errors” at the Delacorte Theater in Central Park, my first thought was I didn’t want to go. My second thought was that a 1930s version of twins lost and found was probably worth the ticket price: exactly nothing. At least, I thought, our chance of getting tickets was practically nil. So when my wife excitedly announced we had two tickets, I resigned myself to a night of tortured transpositions.

When we entered the theater at 8:10 pm (start time 8:30), I was thinking about why I don’t like updated Shakespeare. In this case, it’s because it’s too much of a jump from a 16th century staging, with the play taking place in Ephesus, Turkey, to a 20th century one in upstate New York, without some sort of bridge between them to help suspend disbelief. Also, when directors try to modernize a Shakespearian play, so many of them get it grievously wrong. It’s usually either clunky and/or risible. Yet here, when we sat down, rather than facing a normally empty stage, surprisingly, several actors were hanging out at a dance hall. When they started to dance, with their swing-inspired moves, I was hooked.

Between scenes, the dancers also entertained, so the energetic pace of the show never wavered, nor did the audience’s enthusiasm. In fact, the dancing was so infectious that I was able to suspend disbelief over a 400+ year jump in the date and place of the setting. Through the dancers, the bridge across time and place was easily crossed, drawing us into 1930s upstate New York, complete with a Hopperesque set, an expanded version of the Edward Hopper work “Early Sunday Morning,” painted in 1930, and now on view at the Whitney Museum. In Central Park, there’s a statue of Shakespeare done by John Quincy Adams Ward that Hopper painted. It appears that the Public Theater is returning the favor and completing the homage.

Often when a director updates a play it appears awkward, but here, as in the recent update (2011) of “The Merchant of Venice” starring F. Murray Abraham, it works because of the dynamism of the actors, the staging and the nuance and insight of the director.

I am now a convert to modern staging of the Bard. Director Daniel Sullivan has won me to the cause. Even Shakespeare would have been proud. Hamish Linklater as the Antipholus twins and Jesse Tyler Ferguson as the Dromio servant twins steal and steel the show. The noble twins are the straight men, while the servant twins are the comedians. The slapstick works and works well, with more laughs in this version of the play than in any other I’ve seen. Perhaps Shakespeare was the Mel Brooks of his time, but it took a director like Sullivan to show us this.