This book brings together the short stories Ara Güler penned during his early period, and his photographs. Güler is known internationally as a photographer and considered the most important representative of creative photography in Turkey, however, he is a relative unknown as a short story writer, and the various aspects of Güler the writer appear in breathtaking range in We Will Live After Babylon. This new edition of three simultaneously published volumes in Turkish, Armenian and English, brings together Güler’s visual production with his texts, who appear to also take photographs through the medium of the short story, to form a “photograph-short story album”. Güler thinks that his early period short stories have an important role in his ability to “capture meaningful moments and combine them in a narrative”, and describes these 13 short stories as “a kind of photography”. There is no doubt that Güler is a “man of the visual world” and We Will Live After Babylon is a solid proof of that.
I realize now that my emotions in these short stories, somehow, turned into a visual narrative. Even then, I must have fallen into a visual world. It seems to me that there is a common style of narrative to writing and visuality. In fact, there is no doubt about it, otherwise, we wouldn’t have the art of cinema. After all, when I look at my photographs, from time to time, I find impressions from my theatre work, or from what I imagined adding to my short stories. So perhaps I owe my ability to “capture a moment, and form a composition” in photography to all my old work.
Anyhow, it appears that, as a result of this kind of thing, one gathers visual material. Visual material, just like poetry, writing, painting or the performing arts, gathers its own from somewhere, takes on a new form, and becomes visual art. After all, if one pays attention to the short stories I wrote, one can observe that they are, in a sense, a kind of photography.