Research and Journal
Weeks 10-11
Rosemarie Johnson
Professor E. O’Connell / English 101, Class #3226
Bluebeard
Although Goldhagen does not discuss the ramifications of the
premeditated destruction of a communal heritage on the survivors of
genocide, the loss of a culture is part of the post-genocidal process
itself.
Kurt Vonnegut’s fictional character, Rabo Karabekian is a first
generation Armenian-American, abstract painter, who exemplifies the
inability to deal with the truth of his tragic past. In his youth,
Rabo Karabekian was apprenticed to a famous Armenian painter by his
parents, survivors of the Armenian genocide. The painter, Gregorian,
who turned his back on his Armenian past, changed his name to Gregory
and became a pro-fascist obsessed with Mussolini. It was at this
point that Rabo’s life took a wrong direction.
Torn between the ideology of his mentor, and his parents’ negative
experiences as refugees, Rabo Karabekian spends his life painting
abstracts with varying degrees of success. However, it is not his art
that attracts attention, but his mysterious potato barn that is
boarded up and secured by six padlocks. Rabo resists the efforts of
anyone who attempts to discover the “secret” inside the potato barn
and it becomes generally accepted that the “secret” must be a cache of
stolen art.
After his death, when Rabo’s potato barn is opened, it is found to
contain an enormous realistic painting of Rabo and almost six thousand
survivors of the Holocaust. No explanation is given as to why Rabo
chose to hide this painting from the world, or if the painting is an
authentic depiction of his own experiences or a projection of his
feelings of victimization at the hands of Turkey’s ally, Germany. The
potato barn may represent a concentration camp which links the
Armenian genocide with the Nazi Holocaust, just as his abstract art
depicted his fragmented and ambivalent responses to his mentor’s
radical ideology and his parents’ undeniable truth.
The “secret” of the locked potato barn is like the Obama
Administration’s denial of the Armenian genocide: The truth will be
locked away until President Obama leaves office, and even then, the
truth will be the subject of controversy. The continued effort to
cover up the Armenian genocide may hold the most important lesson of
all, the test of our democracy.
Goldhagen correctly observes that “US intervention depends on the
particular case’s implication for American power…again and again
political leaders and elites prove themselves egotistic, with little
or no inclination to act morally in the international arena.”
Goldhagen, D.J. (2009), Worse Than War, (p 546). The Obama
Administration’s abstractions about Turkey will ultimately have to
face the truth which Rabo’s actions wrongly sought to evade. The
question is who is in charge of Mideast policy, the United States or
Turkey?
References
Vonnegut, K. (1987). Bluebeard
United States: Delacorte Press
Goldhagen, D.J. (2009). Worse Than War
United States: Public Affairs, a member of the Perseus Books Group
Ararat
(The film)
The Canadian film, directed by an Armenian Canadian director, Atom
Egoyan, is a film within a film which incorporates the feelings of
present day Armenians with the retelling of the story of the famous
Armenian painter, Arshile Gorky, whose paintings were influenced by
the suffering and loss of the Armenian genocide. Gorky who fled his
native Van with is mother and three sisters, only to see is mother die
of starvation in Yerevan in 1919, committed suicide at the age of
forty-eight.
The fictional hero of the film, Raffi, is only eighteen, but unlike
Bluebeard’s Rabo, Raffi is a seeker of absolute truth about his own
cultural past and its immediate affect on the lives of Armenian-
Canadians who still harbor hatred and distrust for the Turks, after
almost a century of Turkish denial and lack of justice.
Raffi sets out for Turkey with his camcorder, unsure of what he will
find at Van, Arshile Gorky’s birthplace and the site of a notorious
siege by the Turks. Although Canada, unlike the United States,
recognizes the Armenian genocide, Raffi takes up the Turkish challenge
to prove the historical basis for the events of 1915, and Gorky’s
account of the mass slaughter at Van, a community in Anatolia.
At Lake Van, near Mount Ararat, the alleged resting place of Noah’s
Ark, Raffi discovers the ruined city of Ani. As he films the complete
devastation of a once thriving Armenian community, he realizes the
extent to which the Turks went to erase the memory of the once
thriving Armenian community from Turkey. In the process of filming
the razed city of Ani, Raffi ponders on the significance of Mount
Ararat and the link between the Armenian genocide and the Holocaust.
It occurs to this seeker of truth, who has taken the right action in
exorcising the demons that beset Gorky and Rabo, that history is so
interwoven that in the denial of one atrocity lies the genesis of
another.
Raffi who is stopped by Turkish police at checkpoints demanding to
know why is filming in such an isolated region, finds himself under
scrutiny again at Turkish customs. Raffi finally realizes that truth
is relative. Turkey, a supposedly westernized state, has more to
defend than its national honor. In his documentary, Goldhagen, who
confronts victims and perpetrators alike in his own search for the
truth about genocide, would surely approve of Raffi’s personal quest.
However, Goldhagen is incorrect when he suggests that “…countries
like Turkey, which otherwise might not have embraced democracy, or
fallen away from it, saw democracy as the only option.” Goldhagen,
D.J. (2009), Worse Than War, (p 514). Turkey’s long standing; well
founded sense of impunity from the international community has allowed
it to embrace Western values to its benefit, while moving increasingly
closer to its Islamic roots.
References
Egoyan, A. (2002). Ararat. (The film)
Distributed by: Miramax Films, Release date, (2002, May 20)
Goldhagen, D.J. (2009). Worse Than War
United States: Public Affairs, a member of the Perseus Books Group