All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, William Shakespeare, As You Like It
A "turkey": an event, usually a play, that has failed miserably. ("To lay an egg" has the same meaning in the theater.) A "ham" is a poor actor, one who emotes, that is, overacts and "hogs" the spotlight.
23 NOVEMBER 2013
HAPPY TEACHERS DAY!
Strike the set! Clear the house! Pay the ham actors! (Not again!) Mop the stage! Light the ghost light! Let's close this turkey!
The play is called WHY DOES AMERICA HATE THE TURKISH PEOPLE? The question will never be answered. But the play must be stopped. It has been running for 33 years, nonstop, matinees and evening performances. It is relentless. Every day was drama, tension, anxiety, suspense, violence, murder, treachery, lies, a bit of comedy to ease the darkness, treason, more treason, jailings, gassings, blindings, beatings, stabbings, murders, and no kissing, no dancing, no music, no art, nothing that would appeal to a person with half a brain. But it kept running because it was well-financed. America is such a generous country, particularly when it’s backing a major political puppet show..
After softening up the audience with a storm of violence inspired by earlier CIA performances in South and Central America, Vietnam and Iran, the play opened in Turkey in 1980 with a military coup. A tin-pot general named Kenan Evren introduced a long running terror scene from a script scribbled by the CIA station-chief in Ankara. General Tin-Pot (not to be confused with Pol Pot of Cambodia) destroyed the left-wing of Turkish politics and traumatized the Turkish youth and their parents for decades. Mass jailing, torture, executions, and assaults littered the stage with bodies. A Shakespeare tragedy could not have been bloodier. Ingeniously, Evren proclaimed he was saving the country in the name of Ataturk, thus poisoning the people to despise not only Ataturk (who was long dead and would have hung Evren if he were living) and the Turkish army. This brought onstage a cast of bumblers who ushered in decades of corruption, continued collaboration with America, and various political dalliances with Islamic radicals and not-so radicals. Overall, the Evren tin-pot legacy created passivity and helplessness in the nation. The state was the power and it could do anything. Thus grew the early roots of today's fascism. Worse, there was a "deep" state that could do anything it wanted. And so Turkey became a terror state. And the people quaked in their seats. Talk of what might the government do for the people that might better their lives and bring social justice...well, that just was not in the scenario.
The plot was to weaken the security mechanisms of the country. It was a success. The army had lost the support of the people which is why it was so easily destroyed in Act 2 below. And except for a few courageous newspapers, the media grew increasingly corrupt and subservient to political power. As usual, ample amounts of CIA money padded the pockets to inspire such propaganda-journalism. The play's first act lasted 23 years. Tension grew slowly and the moment grew ripe for action.. America could finally control the vital land mass called Turkey, the bridge between "civilized" Europe and the "wild" Middle East. And it would do it through the theatrical device called "deus ex machina," god from a machine. It was a prop literally as old as recorded time itself, more specifically from the Greek theater. Stuck for a solution to a problem, the Greeks simply used a winch to lower a god onstage. The god solved it and the narrative moved on. And in this precise manner, the god-like Americans lowered a "moderate Islamic" hero onto the stage. Act 2 has begun. And thus descended god-like Recep Tayyip Erdoğan. This, as the world now knows, has proven to be the pathetic-joke part of the play. A man of many faces, Erdoğan has been an extremely poor player, full of sound and fury signifying nothing.
The rest we all know. Erdoğan's personality grew more and more violent. Inflexible and scowling, he seemed to be dreadfully miscast as an actor to bring "moderate" anything to anywhere. But wait! In fact, he was perfect for this CIA production, indeed a Laurence Olivier. Why? Because the entire production was and remains staged.
Why? Because there is no conflict between Abdullah Gül and Erdoğan. There is no conflict between the cemaat of Fethullah Gülen and the AKP government. Remember, these three are creatures of America, not Turkey. And these three players have been acting in this farce for years. Erdogan's attitude is that of the classic "bad" cop. He is divisive by design. Why? To lacerate the nation so that the people will crave peace and security. Today, anyone seems better than this particular bad cop, Tayyip. Enter from stage-right, "good" cop Gůl, The New York Times now touts Gül as "affable and smiling." This is the same newspaper that for ten years touted Tayyip as "charismatic." Turkish people, do you see the game? Do you see and hear the conniving actors? Do you smell the stench of this performance?
And the political opposition parties have also been written into the script. CHP invites a "Gülenista" like Mustafa Sarıgül to run for mayor of Istanbul. The Istanbul police and no doubt many more organizations are solidly Gülen operations. Sarıgül, a ranter of the old school of Turkish political speech-making, has a "slimy" reputation. No one really knows what he stands for, aside from himself. But he seems crucial to the takeover of Turkey by the Gülen movement. As Istanbul goes in next year's local election so will Turkey go in the national election on 13 June 2015. The army? Gülen. The police? Gülen. The courts? Gülen. What is left? Not much. And the opposition parties have cooperated in this destruction. .
Recently another American "Gülenista," Morton Abramowitz, strutted onstage. He had a bit part in Act 1 above, a supporting role for the development of the Gülen movement in Turkey and indeed the world. Former ambassador to Turkey (1989-1991) and enthusiastic Green Card sponsor for Fethullah Gülen, Abramowitz opined to the world that Erdoğan was a failure. This is the same Abramowitz that fingered Erdoğan for greatness in 1996. And now, seventeen years later, Abramowitz claims the stage to denounce him. This line was delivered with perfect timing as Gülen and Erdoğan are now engaged in a wooden sword fight for power. Turkish people, this is all staged, a phoney. Tayyip is actually being led offstage kicking and screaming. Can't you hear him? He has done a superb job in destroying the country, even its arteries have been crushed. And the Gülen movement and Mustafa Sarıgül and Kemal Kılıçdaroğlu and Devlet Bahçeli and the Kurds and Kurdistan and Abdullah Öcalan and Joe Biden’s foreign policy pipe dreams, all these self-serving "ham" actors now wait in the wings to begin the final act. So ends Act 2.
Act 3 begins. It will be horrible...
A "ghost light" on an empty stage. The show is over.