Uncle toros

Abstract

A chain of events was triggered on the nights of April 23 and 24, 1915, in Constantinople, Turkey, that would end, approximately six years later, with death or forced deportation of more than two and a half million Armenians from their historical homeland in Central and Eastern Turkey. During those two nights over two hundred Armenian writers, historians, translators, poets, journalists, editors, and political leaders were arrested in their homes, taken to the central police station, and never seen again. The shock of the genocide not only nearly destroyed a nation, together with its articulate literary, political, and cultural leaders, but also paralyzed the creative abilities of its survivors. With their writers, poets, and political leaders lost, their symbolic vocabulary shattered, the Armenians have been unable to distill from the genocide a transcendent wisdom and to present to all cultures the fruits of that distillation via new poetry, art, theater, film, literature, and philosophy, hi the words of V. Oshagan, a modern writer on Armenian and American themes Seventy years after the event, the Genocide has still not been tackled by any author of note. The Armenians have not recovered from the trauma and with nothing forgotten and nothing forgiven, the Genocide is still continuing. As long as the Turk is identified with the principle of evil in the Armenian imagination, and as long as the Turkish government refuses to admit its guilt and make amends to the victims, the Genocide will continue and will prevent the Armenians from producing any work of art from the theme. Slowly, over the past two decades, powerful works have emerged that convey to the world, through poetry and myth, the true stupefaction of that horrendous time period. Among these works is the 1980 short story, “Uncle Toros,” by the Armenian writer Mooshegh Galshoyan. With insight and intuition, he portrayed the life of one eighty-year-old victim of the genocide. Old Uncle Toros's recurring nightmare of that event, as vividly told by Galshoyan, allows one to enter the Armenian trauma, to step into the unconscious life of a genocide victim. –A. Chutjian