Tag: Cassandra

  • Podcast: ‘Turkey’s Phrase of the Year: Gözaltina aliniyorum’

     

    The Turkish phrase Gözaltına alınıyorum translates simply as: ‘I’m being taken into custody.’ This was selected by the independent media outlet T24 as the phrase of the year for 2025. Had it not been that, in my view, it just as easily could have been Türkiye’de yargı bağımsızdır, meaning ‘the judiciary in Turkey is independent,’ a line repeated endlessly, like a tongue-twister, by Ministers and MPs from Erdoğan’s ruling party, the AKP. And yes, I’m being ironic.

    On March 19, Turkey woke up to a morning marked by an operation aimed at eliminating the possibility of a change in power through elections, and declaring open war on institutional opposition.

    The mayor of the Istanbul Metropolitan Municipality (IMM) and the opposition’s presidential hopeful, Ekrem İmamoğlu, was taken into custody along with dozens of IMM employees and close members of his team. Shortly afterward, university students organized and gathered in front of Istanbul University main campus, marching toward Saraçhane, which is the location of the Istanbul mayoral headquarters, just a couple of kilometers away.

    Then more people joined. And more.

    Emergency bans on unauthorized demonstrations and marches were imposed at lightning speed. Metro and bus services were cancelled by government decree to block access to the area. The police presence and traffic checkpoints increased rapidly. Even these hastily implemented measures – designed specifically to prevent people from gathering in front of the IMM headquarters – failed to stop hundreds of thousands from filling the streets within hours.

    In the days that followed, people maintained a vigil through the nights, both at Çağlayan Courthouse, where Mayor İmamoğlu was taken, and in front of the municipality building. They refused to leave the Squares.

    While all this was unfolding, people like me – those watching from afar living abroad – fell into a grimly familiar ritual. Every morning around 6am, opening X (Twiiter) meant watching your entire timeline fill, within seconds, with posts like:

    “I’m being taken into custody.”

    “Police raided my home at dawn. I’m being taken into custody.”

    “The police came to my apartment in Şişli around 4:30 a.m. Please take care of my dog. I think I’m being taken into custody.”

    There were dozens of such tweets. Some days, without exaggeration, hundreds.

    Turkey Isn’t Outside the West. It Helped Build It

    Fast forward to today. Ekrem İmamoğlu, along with over 400 others, has been held in pretrial detention for nine months. Those detained include sixteen mayors from the main opposition Republican People’s Party (CHP); his lawyer, Mehmet Pehlivan; his election campaign adviser, Necati Özkan; his drivers, Recep Cebeci and Zekai Kıratlı (whose names do not even appear in the 4,000-page indictment); his assistant, Kadriye Kasapoğlu; district mayor Murat Çalık, a two-time cancer survivor currently undergoing treatment; and hundreds of others I cannot possibly list here.

    As I write these lines, social media is once again flooded with news of fresh crackdowns targeting the Istanbul Metropolitan Municipality. The municipality’s deputy secretary general, the head of the fire department, Remzi Albayrak, and dozens of others have been taken into custody as part of the ongoing operations against İmamoğlu and his circle.

    All of these individuals are accused of forming a criminal organization, corruption, causing public financial loss, and terrorism – charges that, over time, have increasingly been reframed as espionage, alongside several other alleged crimes.

    According to legal professionals and academics, these accusations are laid out in an indictment of roughly 4,000 pages that does not read as if it were prepared with professional rigour. The document has been widely criticized for being grossly inflated, riddled with technical errors, filled with repetitive sections, reliant almost exclusively on anonymous “secret witness” testimony, and strikingly devoid of concrete or substantiated evidence. More troubling still, some of the more than 400 people currently in detention are not even named in the indictment, yet they remain behind bars.

    Very recently, the European Court of Human Rights decided to fast-track Ekrem İmamoğlu’s case, specifically his application concerning unlawful detention. The application was filed by his lawyer, Mehmet Pehlivan who is himself currently in detention.

    Yet the European Court of Human Rights, along with international institutions more broadly, is increasingly portrayed by the Erdoğan government, now in its twenty-third year in power, as anti-national, foreign-backed, and unpatriotic. In official rhetoric, these institutions are cast as insufficiently “domestic” and allegedly hostile to Turkey’s national interests.

    This framing follows a familiar authoritarian script, but reality is more complicated, and far less convenient. Turkey is not an outsider to the Western political and legal order. It helped build it.

    Turkey is a founding signatory to the European Convention on Human Rights and a member of the Council of Europe, making it legally bound by both the Convention’s provisions and the case law of the European Court of Human Rights. It is also a party to the core United Nations human rights treaties.

    What, then, is the purpose of this fabricated, anti-Western, exclusionary narrative?

    ‘Down With Tyranny, Long Live Freedom!’

    The aim is to crush resistance, normalize sweeping losses of rights, freedoms, and prosperity, and impose a “new Turkey” modelled on a hybrid of Central Asian authoritarianism, Russian-style rule, and the institutional failures of parts of the post-colonial Middle East.

    This vision is fundamentally incompatible with Turkey’s realities: its diverse socio-cultural fabric and, more importantly, its socio-political legacy of more than two centuries of struggle for democracy and modernization.

    That legacy dates back to 1839, a decisive turning point in Ottoman history, when decades-long, Western-oriented reform efforts were institutionalized through the Tanzimat Edict. These reforms eventually led to the establishment of the first parliament and the first civilian constitution in 1876.

    With the Tanzimat Edict, Ottoman subjects were recognized as equal citizens for the first time. Egalitarian reforms in areas such as taxation and military service aimed to ensure that non-Muslims, alongside Turkish Muslim citizens, bore the same duties and responsibilities toward the state.

    The reforms also sought to guarantee the security of life, property, and honour for all citizens; to ensure property could be lawfully inherited; to establish transparency in judicial proceedings; and to prohibit executions without due process.

    These principles were not merely rhetorical. Concrete regulations gave them legal force, and the constitution that followed formally limited and distributed the powers of the sultan.

    In 1858, homosexuality was decriminalized, making the Ottoman Empire the second state in the world, after France in 1791, to take such a remarkable step.

    The path toward building a republic grounded in parliamentary democracy and equal citizenship, however, was never linear. As in France, Italy, or Japan, and many other democracies, progress came through reversals and ruptures. The Ottoman Empire’s first constitution was suspended and parliament dissolved, only to be reinstated three decades later. As borders across Europe were redrawn through wars and upheaval, this turbulent process culminated in the founding of the Republic of Turkey.

    Like other nations, Turks did not abandon the desire for a better future or the struggle required to build it. Today, however, all of this is under threat.

    President Erdoğan has amassed more power than many Ottoman sultans and continues to seek more. Research by the V-Dem Institute at the University of Gothenburg shows that Turkey’s democracy score stood at 0.17 in the early 1900s, rose to 0.53 in the early years of the republic, reached 0.74 in 2002 when Erdoğan’s AKP first came to power, and has since fallen back to 0.18.

    It is no coincidence that a slogan more than a century old has returned to the streets: Kahrolsun istibdat, yaşasın hürriyet! meaning  ‘Down with tyranny, long live freedom.’ It has been one of the most frequently chanted slogans at the Saraçhane demonstrations following İmamoğlu’s imprisonment.

    For more than two decades, Turkey’s media has been monopolized by oligarchs handpicked by Erdoğan. As a result, the voices of ordinary, hardworking, middle class Turks have been largely silenced, especially abroad. Deliberate policies have severed society’s connection with the outside world, suppressed public expression, and helped cement an image of Turkey as a failed democracy which is a perception many in the West has accepted uncritically.

    The Syrian war, and the years-long influx of refugees have reinforced this distorted view. Since 2012, Turkey has become nearly inseparable from Syria in the Western imagination, as if the country had absorbed another nation entirely. Over more than a decade, this association has come at steep economic, political, and moral costs, leaving Turkey and Syria almost interchangeable in the minds of outsiders.

    It is precisely these deliberately erased realities of Turkey that I want to bring back into focus in this article.

    Through its constitution, Turkey is a parliamentary democracy, and until roughly a decade ago, it functioned as one, at least since 1950, around the same time many Western democracies were consolidating. Eastern Europe, by contrast, remained under authoritarian rule until the 1990s. Since 2017, however, Turkey has gradually morphed into an electoral autocracy, with steadily eroding rights and freedoms.

    Yet Turkish society itself is not defined by these trends. Erdoğan is attempting to impose a regime change against the will of the people.

    Even before the unlawful detention of İmamoğlu and hundreds of others, a 2024 PEW Research survey showed that 67 percent of Turks were dissatisfied with the country’s democracy. Among those under 35, that figure rises to 75 percent. Eighty percent of respondents support direct, electoral democracy, while 62 percent reject the idea of indefinite rule by a strongman.

    In another striking example, 56 percent of people in Turkey believe that religious texts – given the country’s Muslim-majority population, in this case the Quran – should have no influence over the constitution or laws. This figure is several times higher than in other Muslim-majority countries, where comparable research could be conducted.

    For context, the same survey analyzed thirty-six countries, including Tunisia, which experienced a brief period of parliamentary democracy between 2011 and 2021 and today scores slightly higher than Turkey on democracy indices. Yet Tunisia is excluded from the section of the study that examines the role of the Quran in politics simply because even asking such questions is socially unacceptable there, despite Tunisia being one of the West’s preferred points of comparison with Turkey. By comparison, the equivalent figures are 51 percent in the United States, 57 percent in Poland (referring to the Bible), 54 percent in Israel (Jewish scripture), and just 12 percent in India (Hindu scripture).

    Only 17 percent of people in Turkey believe religious texts should influence national laws. By contrast, the figure is 66 percent in Indonesia (home to Bali, often perceived as a globally famous, relatively secular tourist destination), 22 percent in our complex, love-hate neighbor Greece, and 28 percent in the United States.

    Why does this matter?

    The overwhelming majority of Turks, regardless of religiosity or whether they vote for Erdoğan and the AKP, support Turkey’s constitutional definition as a secular, parliamentary, democratic republic. They want these founding principles to remain intact, and they are deeply dissatisfied with the current system of governance.

    A new constitutional amendment is expected soon. Just as previous amendments were justified with buzzwords like “military oversight,” “judiciary status quo,” or “democratization,” the government is likely to use the cultural rights demands of Turkey’s ethnic minorities, particularly the Kurds, as a pretext for a full constitutional overhaul. In reality, these issues could be addressed through minor, targeted adjustments without rewriting the constitution.

    In the near future, many will try to tell you otherwise. Please, don’t believe them.

  • ‘Devil in the Hills’: Jim Sheridan on the Sophie Toscan du Plantier Murder

    Listen to the second half of this podcast on Patreon.

    Jim Sheridan condemns the Irish government for handing over the file on the Sophie Toscan du Plantier case to the French authorities, wondering whether we are ‘still an independent country.’ He argues that this should never have been done ‘over the head of the Director of Public Prosecutions’ who concluded there was insufficient evidence to bring Ian Bailey to trial in the wake of the murder, or subsequently.

    Sheridan says:

    So okay, let’s just send it to France where they won’t allow Maureen Farrell [the witness who retracted her earlier claim that she had seen Ian Bailey with Sophie before the murder] to appear and say that she lied … And we have Francois Macron coming on the television speaking about this murder. Has he nothing better to do? I know the French family probably are trying their hardest … But there needs to be an intake of breath now and stop all this. It’s just too insane.

    Sheridan nevertheless claims to have ‘a soft spot’ for Sophie’s son, and ‘his pursuit of justice’, which he describes as ‘heroic’:

    But he was on the Late Late Show … and he said Bailey burned his coat on Christmas Day. But even the slightest perusal of the facts shows you that on the Christmas Day Bailey was on the Christmas swim, which is the only piece of video evidence we have.

    Jim Sheridan maintains that branding Ian Bailey a murderer, despite no criminal charge ever being made against him in an Irish court, brings shame on Ireland. But he argues there is no shame on West Cork.

    Sheridan also refers disparagingly to a 2000 New Yorker Magazine article by John Montague entitled ‘A Devil in the Hills’ – ‘Which meant the murderer had to be in West Cork because of a ludicrous idea that the only a local could know where she lived.’

    He believes, ‘we have to look at ourselves and grow up a bit … We can’t replace the French with the British.’

    Final Meeting

    Sheridan met Bailey two days before Christmas, ‘ostensibly to do an interview, but really just to see him.’ He adds that

    an interview with Ian was never of much value because he said the same thing over and over in the same way. He was almost like a child who wanted attention … his height, six four and big bearing and big voice … but when you got past that, there was a little child still there … He was like a big child. So I began to see him as a kid who thought he was in charge of everything He was the admiral and I was the captain of his ship … he was crazy in a way … But it wasn’t a bad crazy.

    In the podcast, Sheridan explores what made Bailey the perfect fall guy or scapegoat:

    In that valley where Sophie lived. In 1845 there were probably twenty-seven hamlets. In 1848, there were probably none. So the tribal memory of West Cork is of a disastrous famine.

    He reveals how, remarkably, the name of the landlord at that time was Bailey:

    It’s almost like the Sophie’s murder in its appearance mirrors the events of the Famine with a body left exposed. And I think it hit a tribal memory of shame and devastation, and somebody had to be responsible. And who’s responsible for the famine? It’s not the potatoes. It’s not a blight. It’s the English … whether they were or not. To name an Englishman was almost perfect, as they say in darts: 180.

    He adds that

    The Englishman they named was very eccentric and had a sergeant major accent, and he used words and phrases in a very ironic and sarcastic way, almost like a military man.

    Sheridan insists:

    The only way you can understand sarcasm and irony is in a power structure where even though somebody is saying something you understand, that doesn’t mean what it says. For instance.. [if] the Queen saying to the servants, “I love your shoes this morning,” means he hasn’t polished them. But the servant is so troubled in the power structure he knows exactly that the compliment is the opposite. That produces a dissociation with people in the way we speak and act. And Bailey was English perfection in sarcasm and irony. So, when he’s first asked, when he’s first told that he’s going to be sacked. Like anybody. He’s angry. And like anybody, he’s trying to rationalize it and he asks why. And they say, well, people are saying you’re the killer. At which point Bailey is probably the only journalist who’s really pointing the finger at France, at the husband … correctly or incorrectly, we don’t know. Probably incorrectly, but we leave that aside. [Then to the] editor who is firing him he says people are saying, you did it. And he says: “of course I did it to get a good story” … Which actually means nothing like: “I killed her” It means: “if my objective was to write stories about the murder. And that’s the reason I killed her. It’s not working, is it? I’m being fired.” That’s what it means.

    Jim Sheridan is unsure whether the new documentary he has made will blow the case open, but contends that ‘some of the information that I’ve got is very, very interesting … Some of which I got too late to include in the Sky documentary, and some of which I’ve got subsequently.’

  • Podcast: Believe Nothing Until it is Officially Denied! With guest Patrick Cockburn

    The first Cassandra Voices Podcast, hosted by Luke Sheahan, features a long form interview with the veteran journalist Patrick Cockburn. Patrick’s father Claud, a leading British Communist member and journalist fought in the Spanish Civil War and eventually settled in Ireland. Patrick says of his father:

    He used to say the big battalion commanders want to convince the small battalions, the weaker, the less wealthy that there’s absolutely no point in resisting the big powers, they might as well give up. Claude believed exactly the opposite, the big powers are always more fragile, that they had points of vulnerability and you can attack them, and that’s why I have just published this book, which will be published later this year which is a biography of my father which is called Believe Nothing Until it is Officially Denied.

    Following in his father’s footsteps, for fifty years Patrick Cockburn has been practicing the art of journalism with integrity and persistence: a specialist on the Middle East, he has written extensively on wars and political machinations from Beirut to Belfast and Baghdad.

    Within books like The Occupation and Saddam Hussein: An American Obsession (2002) (written with his brother Andrew), Patrick Cockburn has revealed the workings of Arab dictatorships and Western Imperialism alike. Over the last decade, he has also created a separate, no less distinguished profile as a memoirist: The Broken Boy (2022) describes his survival of a Polio epidemic in 1950s Cork, while Henry’s Demons (2011) co-authored with his son, immerses the reader into the pain of psychosis.

    For our conversation with Patrick Cockburn, we sought to sketch out the lives and work of two independent-minded writers: both himself and his father, Claud. As indicated, Claud’s fifty-year career brought him around the world, from Civil War Spain to Wall Street during the crash of 1929,  back to 1930s London, where his newsletter The Week both documented and fought the rise of Fascism. It was only after WW2 that Claud moved to Ireland, where Patrick and his siblings would be born from the 50s onwards.

    Making use of unclassified MI5 files, and an abundance of material directly remembered from his late father, Patrick spoke to Cassandra Voices as he was preparing the final manuscript of a new memoir, covering Claud’s life.

    Patrick also spoke out passionately about coverage of the war in Gaza:

    Evil becomes normalised … and a lot of the governments don’t want to recognise and the papers and those outlets that support the governments don’t want to go on about it. So it’s perfectly reasonable that we should have a big story about the Russians firing some rockets into a city in Ukraine and half a dozen people are killed and others injured. That is wrong and that gets a lot of publicity. Then several hundred people are killed in Gaza and that’s on the bottom of the page now, if it’s mentioned at all.

    The first part of the podcast is freely available. You can listen to part two by subscribing on Apple podcasts. We will also be sending the second half of the show to our loyal Patreon supporters in the next few days. The decision to charge for the second half comes from our determination to maintain our independence.

    Episode One: Believe Nothing Until it is Officially Denied! With guest Patrick Cockburn.
    Listen on Apple Podcasts or Spotify
    Host: Luke Sheehan
    Music: Loafing Heroes: ​​https://theloafingheroes.bandcamp.com
    Produced by Massimiliano Galli: https://www.massimilianogalli.com
    Feature Image: Daniele Idini

  • Cassandra Voices Podcast: Loafing Hero

    In our latest podcast Ben Pantrey interviews former musician of the month Bartholomew Ryan in Lisbon. They discuss his new album ‘Jabuti’ composed while on retreat in Brazil, just prior to the pandemic, as well as the creative process and the importance of loafing.

    We previously published the lyrics to Ryan’s song ‘Iguatu‘.

    Ben also recites an important passage from Milan Kundera‘s 1995 novel Slowness which served as the original inspiration for Ryan’s musical project.

    Why has the pleasure of slowness disappeared? Ah where have they gone, the amblers of yesteryear? Where have they gone, those loafing heroes of folk song, those vagabonds who roam from one mill to another and bed down under the stars? Have they vanished along with footpaths, with grasslands and clearings, with nature? There is a Czech proverb that describes their easy indolence in a metaphor: ‘They are gazing at God’s windows’. A person gazing at God’s windows is not bored; he is happy. In our world, indolence has turned into having nothing to do, which is a completely different thing: a person with nothing to do is frustrated, bored, is constantly searching for the activity he lacks.

    Enjoy!

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  • Support Cassandra Voices

    Introducing a New Offer on the Cassandra Voices Patreon Site

    Cassandra Voices is an independent Irish media outlet, specialising in long reads on politics, art and contemporary culture. It was founded in 2017 by Frank Armstrong, an established Irish journalist and law graduate, and Daniele Idini, an Italian photographer and trade unionist. Produced in Dublin, Cassandra Voices has featured writers from around the globe.

    The magazine aims to provide a non-partisan platform for voices across the political spectrum to inspire new thinking, while allowing for critiques and discussion on topics often overlooked in mainstream media.

    Apart from the online platform, the magazine has also released three print editions, as well as a book of poetry, and hopes, through readers contributions, to produce more in the near future.

    As an independent journalistic enterprise, Cassandra Voices depends on readers ongoing support through Patreon and one-off donations from as little as $2 through Buy Me a Coffee. All contributions work towards sustaining a diverse media ecosystem, essential in the current climate.

    We have now developed three new tiers for Patreon supporters:

    Helping Hands for €4.50 a month: this tier is for anyone looking to extend the hand of friendship to a relatively new, independent media organisation.

    Long Haulers for €9.50 per month: this tier is for those who wish to express a committed support for the continued work and growth of Cassandra Voices.

    Patron of the Arts for €43.50 per month: this tier is for the happy few who wish to contribute substantially and support our work and safeguard our independence.

    Our final bit of news is that we are delighted to welcome Ben Pantrey on board as a contributing editor.

    Ben is a young writer from Mullingar, Co. Westmeath. His creative work, including poetry and an Irish-language short story ‘Eibhlín’ have appeared in student magazines such as Scáthán and Grass. As a non-fiction writer, he wrote a number of pieces for the music section of TN2 magazine, and later worked as deputy music editor for the same publication from April 2020. In Trinity College Dublin, he took an English Studies course, graduating with a Bachelor of Arts in 2021.

    E-mail: admin@cassandravoices.com
    Facebook:@CassandraVoices
    Twitter: @voicescassandra
    Instagram:@cassandravoices

    Featured Image: Daniele Idini with John Kyle. © Fellipe Lopes

  • An Introduction to Cassandra Voices III Print Edition

    Introduction – To Boldly Go

    IN A PERIOD OF PROFOUND DISLOCATION WE ASSERT THE IMPORTANCE OF INDEPENDENT JOURNALISM.

    Last December two Cassandra Voices editors gathered for a think-in with an external advisor. What followed was, for us, an excruciating exercise defining the mission of our publication. Formulating a so-called ‘elevator pitch’ does not come easily to a writer and a photographer more accustomed to asking the questions and framing subjects. Now we were the ones squirming in the crosshairs. After mild coaxing, followed by sterner rebukes, the existential crisis lifted sufficiently for us to work out: we provide a home for independent voices to inspire new thinking.

    So what have these highfalutin words to do with the title of Cassandra Voices, featuring a legendary Trojan prophetess renowned for not having her warnings heeded? Well, we believe this space – in print and online – offers autonomous spirits an opportunity to give an unvarnished account of reality, subject to claims being properly referenced or corroborated. As such, this is a determination of relevant facts – often obscured in a mainstream media beholden to vested interests – on which moral evaluation depends. For example, unless we are exposed to the wretched of the earth – such as those confined to refugee camps within Europe’s borders – we are unlikely to consider what is happening to them to be wrong. Out of sight, out of mind.

    Prompted in particular by Fellipe Lopes’s self-determined journey to Camp Mória on the island of Lesbos island in Greece, we chose the theme of Displacement for this the third edition. It also encompasses the ongoing impact of the global financial crisis, beginning in 2007, which, in particular, has generated an unresolved housing crisis and widened existing health inequalities. Moreover, we are in the midst of an Internet Revolution profoundly altering the careers of musicians and writers, while social media corrodes our personal space in an age of ‘Surveillance Capitalism’. And we do not forget the environmental challenges of an accelerating and unprecedented Extinction and Climate Crisis, and now a sinister global pandemic.

    Finally, we remain committed to conveying a variety of forms through our publication – including photography, poetry, fiction, cultural criticism as well as more conventional journalism – bringing many lenses to understand the challenges we face.

    With contributions from: Ben Keatinge, Duncan Mclean, Caoimhe Butterly, Samuel McManus, Navlika Ramjee, David Langwallner, Sarah Hamilton, Bob Quinn, Mark Burrows, Fellipe Lopes, Vincent Dermody, Paul Gilgunn, Daniele Idini, Kevin Higgins, Daniel Wade, Stephen Mc Randal, Ilsa Monique Carter, Alberto Moreno, Alberto Marcos and Bartholomew Ryan.

    Design and Layout: Distinctive Repetition.

    PURCHASE YOUR COPY NOW

    The picture on the left, of the newly built Covid-19 Test facility on Sir John Rogerson’s Quay in Dublin, was taken by Daniele Idini on March 23rd, 2020. The photograph on the cover is from reportage by Fellipe Lopes on the Mória refugee camp in Lesbos, Greece in January, 2020. Graphic design and layout is by Distinctive Repetition.