shrinks

Thursday, April 23, 2009
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ON SHRINKS
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After the composition of his First Piano Concerto, Rachmaninoff is said to have experienced a crisis during which he became convinced he had lost his creative impetus permanently. But after seeing a psychiatrist he recovered his creativity and composed his Second Piano Concerto, or so we are told by his biographers. What we are not told is that if he had not seen a shrink, maybe he would have composed nine symphonies. Marlon Brando was under constant psychiatric care and instead of getting better, he got worse, in addition to making an unholy mess of his private life and his physique. Neither Tolstoy nor Dostoevsky were ever treated by a shrink, and my guess is, their problems were worse than Rachmaninoff's and Brando's combined.
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Once upon a time, in the Middle Ages, we were celebrated for being good fighters. We still are, but only against the wrong enemy: ourselves.
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I write for two totally non-literary reasons: to fight boredom and to acquire friends; and with every book I have published, I have acquired a new friend; also (alas!) twenty-two enemies.
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There is no evidence to suggest that the average Christian, Hindu, Buddhist, Muslim, or Jew is a better human being than the average agnostic or atheist. Which amounts to saying: all organized religions are more or less alike and very often they succeed only in legitimizing prejudice, promoting a false sense of moral superiority, and dehumanizing a fraction of mankind with such labels as pagans, heretics, infidels or giaours.
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Friday, April 24, 2009
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ARMENIAN MANIFESTO
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What choice did we have under the Ottomans and the Soviets?
Wrong question.
When we had a choice, we failed to present a united front to the enemy.
And what made our enemies invincible was their solidarity.
Let's not lose sight of that fundamental fact, which our dividers do their utmost to cover up in order to appear
(a) to be blameless, and
(b) to continue dividing us.
Blameless?
Why do you think General Antranik wanted to see them hanged from the nearest tree?
Why do you think Zarian called them “cannibals”?
And please,don't tell me our sermonizers, speechifiers, and Turcocentric ghazetajis know better than Zarian, the General, and Charents, whose final “Message” mentions neither Turks nor Russians.
Let's not have any illusions about our men at the top, who like Wall Street chief executive officers, care more about their powers and privileges than the welfare of the nation. Which is why, at the risk of repeating myself, I will say again:
Armenians of the world unite, you have nothing to lose but your dividers.
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Saturday, April 25, 2009
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MAXIMS AND REFLECTIONS
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It is not easy writing for readers who already know everything they need to know, even if what they really know happens to be recycled mumbo jumbo.
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Work hard, but not too hard: you may be digging your own grave.
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Authority thrives on ignorance. Where there are leaders (as opposed to public servants) there will be spin doctors, cover-up artists, an uninformed community, and dupes.
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From nature’s point of view, chastity is a far more dangerous sexual perversion than all the others combined.
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Venetian saying: "The priest’s friend loses his faith, the doctor’s his health, the lawyer’s his fortune."
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Schopenhauer: "We pay an attention to the opinion of others which is out of all proportion to its value."
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When midgets are in charge, giants become outlaws.
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Ara Baliozian reads the Armenians, yo’
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by Christopher Atamian
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Published: Saturday April 18, 2009

"Lying is done with words and also ­silence." -Adrienne Rich

The poetic genre known as the aphorism goes back at least to Hippocrates, in 5th-century B.C.E. Greece. The word aphorism derives from the Greek aphorismos and denotes an original and easily remembered thought, expression, or witticism. Popular aphorists of the past include Pascal, La Rochefoucauld, and Erasmus. Armenians have a practitioner of this rarefied art as well, and he goes by the name of Ara Baliozian.

The author of some 20 books of prose, poetry, and plays, as well as translations of Armenian writers such as Zabel Yessayan and Kostan Zarian, Baliozian was born in Athens, attended the now-­defunct College Moorat-Raphael in Venice, and currently resides in Kitchener, Ontario. His newest work, a slim volume (56 pages) titled Pertinentes Impertinences, is a series of reflections and aphorisms in French translated from English by Denis Donikian, Mireille ­Besnilian, and Dalita Roger, and published last year by Arvesd Aysor in Yerevan.

Baliozian writes about a wide range of topics and people, though he seems particularly at home when perhaps justifiably lambasting Armenian politicians and leaders. Baliozian takes no prisoners - intellectual or otherwise. This hasn't necessarily made him the most popular writer in the Armenian diaspora, though an increasing number of people now read his work with passion and a deep-seated sense of appreciation for his daring to say what so many others think. Whether Baliozian's views represent those of an enlightened minority or of a silent majority, his work should be read by every Armenian, especially when they are young and in their formative stages, as a means of opening their minds to different ideas and ways of thinking about their culture.

In a sense, Baliozian is heir to the Armenian writers before him who dared to analyze and constructively criticize Armenian society. The Armenian mind that Baliozian deconstructs so ably is a direct descendant of the mentality that Hagop Oshagan describes in novels such as Mnatsortats and Haji Murad and that Constantinopolitan writers such as Krikor Zohrab wrote about before the Catastrophe of 1915. "If you want to understand Armenians," Baliozian writes, "don't read their nationalist historians; read instead a history of Armenian literature. The only reason we don't burn writers the way Indians burn widows is that we prefer to ignore them, which amounts to burying them alive." Baliozian on the sacred cows of Armenian culture: "Because I refuse to share their obsession with massacres and money, they call me negative. One way to be positive in their eyes is to adopt ‘Yes, sir!' as a mantra.'" (Both quoted from baliozian.blogspot.com. All quotes that follow are from Pertinentes Impertinences.)

Baliozian's oeuvre is in point of fact rather subversive. He uses repetition to his advantage and hammers away at his iconoclastic thoughts and ideas in the same way that the Armenian press and powers that be have drilled their own propaganda into Armenian minds and hearts for centuries now. It's a welcome counterbalance. While no one would deny, for example, the terrible suffering that successive Ottoman and Turkish governments have inflicted on Armenians and on the Armenian psyche, Baliozian is quick to confront the type of knee-jerk anti-Turkism that portrays Turks as somehow more cruel or barbaric by nature than others: "Our magazines regularly publish so many anti-Turkish commentaries that if our editors were to define what it means to be Armenian, I would imagine they would define it as hating Turks. And to think that these are the exact same people who criticize me under the pretext that I am a repetitive pessimist." (p. 18)

Baliozian's writing is also an intelligent and sometimes humorous call to introspection and societal self-criticism: "An Armenian-American composer admitted to me one day: ‘I hope that Armenians won't support me. I'd be grateful if they spared me their hostility.'" (p. 49) When analyzing the current Armenian craze for all things Gorky, Baliozian recalls the following: "Speaking of Arshile Gorky, one of our elder statesmen once told me: ‘Not a single Armenian bought a painting from Gorky while he was alive.'?" (p. 49)

The author is at his most incisive when taking on taboos in Armenian intellectual history and commenting on the behavior of certain contemporary leaders: "Our charlatans tell us that our patrons, bishops, and do-gooders know better than we do because they speak in the name of God and Capital. And when God and Capital speak, the scribblers are meant to shut their mouths and listen. Otherwise their mouths must be shut for them, that is to say, cut their tongues cut out, in good old Ottoman fashion." (p. 27)

There is isn't much to criticize about Pertinentes Impertinences apart from the fact that Baliozian, perhaps weary of repeating the same mantras that go unheeded, may indeed at times begin to sound repetitive. Baliozian's observations, however, are about as close as any contemporary Armenian writer comes to getting at the truth of things. And as the commonplace aphorism states, the truth will set you free. A fitting coda to this piece and to Baliozian's work comes from Kingsley Amis, whom the author quotes as saying: "If you don't disturb anybody with what you write, then I think there's no point in writing." (p. 47)

All (re)-translations of Baliozian's writing from French to English were made by Christopher Atamian.