Guy Martin’s The Parallel State is a fascinating book that examines the complexity between truth, lies and fiction in modern day Turkey. It draws its title from a Turkish phrase, ‘the parallel state,’ that infers a police state on the hunt for an ever-present enemy. It has a non-linear narrative, compiled of chapters of information that use different visual and literary strategies to investigate contemporary depictions of Turkey. This includes Martin’s photographic documentary images that respond to the increasing political unrest in Turkey between 2012 and 2017, inclusive of the protests in Taksim square, Gezi Park Istanbul in 2013, and the failed coup attempt in 2016. These images sit alongside his photographic stills made on the sets of popular Turkish soap operas.
According to Martin, Turkish soap operas are the most watched TV programs in the world. He refers to them as a soft power tool through which Turkey represents itself, mirroring and reflecting real life through fiction. When making the soap opera stills, Martin noticed a synergy between what he was documenting on the choreographed sets and what was happening on the streets of Turkey. Working on the premise that truth and fiction echo each other, in ‘Parallel State’ the soap opera stills and street images are indistinguishable, which we can assume is the point.
In addition to Martin’s photographic images there is supplementary visual media that adds to the complexity of the narrative told. This includes vernacular ‘Martyr’ portrait images, subtitled TV stills of televangelist Adnan Oktar’s ‘Kittens,’ and a selection of 1970s and 1980s Turkish movie posters.[1] The cosmetically enhanced ‘Kittens’ present an alternative face of modern Islam, in Turkey. The movie posters, made at a time when Turkey wrestled with its political and cultural identity, suggest a liberalism seen in 1970s/’80s movie fiction. These visuals intersect with Martin’s own images and collectively disrupt a traditional narrative reading of the book.
In addition, the visuals are punctuated by distinct textual information. A third of the way through the book, the viewer is able to read a transcript of the WhatsApp communications between the plotters of the failed 2016 Turkish coup. Moreover, the book offers a written critical context to ground the visuals. This is provided by the poet and storyteller Pelin Turgut; an essay from Piotr Zalewski and Martin’s own writing about his conceptualisation of the project and process of making the work.
The Parallel State is a substantial book that does not convey an authoritative version of modern day Turkey. Instead, divergent realities and perspectives are interwoven throughout the book. Acknowledging the plural voices which are needed to comment on contemporary Turkish culture, the genius of this book is the complexity with which the narrative is told. At the heart of this book is a dialogue with contemporary visual culture in Turkey. The Parallel State challenges traditional forms of photographic documentation and offers a progressive way of thinking about the complexity with which we digest blurring notions of truth and fiction.
– reviewed for Photomonitor by Caroline Molloy
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[1] At the time of publication, Adnan Oktar is in prison awaiting trial for tax fraud, terrorism and sexual abuse.
The Parallel State is published by GOST Books. It was launched at Paris Photo November 2018 and is included in Time Magazine’s best twenty-five books of the year, 2018. Copies of the book can be ordered here.
Images below from The Parallel State © Guy Martin, courtesy of GOST Books:
