Names are not innocent.
Names are not neutral.
Names are not just sounds.
Names are weapons.
In this country, naming is not defining.
In this country, naming names is targeting.
“Black Fatma.”
This is not the name of an insect.
It's a stamp.
This is a preliminary decision.
It's a declaration of crushability.
Execution begins at the very first word.
There is no need for a second word.
“Kara.”
It means being black in this country:
It means to be guilty.
It means to be suspicious.
It means unacceptable.
It means not being protected.
It means being free to be crushed.
You may not have done anything yet.
You may not yet have spoken, walked or been seen.
But if you're black, it's decided.
This is not a matter of law.
This is a fascism of aesthetics.
In this country, crime does not start with action.
Crime starts with the body.
It starts with color.
It starts with the tone of voice.
It starts with clothing.
It starts with smell.
It starts with the neighborhood.
Black Fatma and the ladybug are of the same nature.
But not from the same community.
One is “good luck”.
The other is the “cleanliness problem”.
This difference is not biological.
This difference is not natural.
This difference is a political decision.
Ladybugs are loved because they are beautiful.
It is beautiful because it is acceptable.
It is acceptable because it is safe.
It is non-dangerous because it is made to look classless.
But Kara Fatma is not classless.
Tomboy is a lower class.
Kara Fatma is a back alley.
Black Fatma is the basement.
Black Fatma is uninsured.
Kara Fatma is indifferent.
Black Fatma is “unpredictable”.
And in this country, the “unpredictable”
crushed.
Ladybug is a fairy tale.
Tomboy is real.
Fairy tales are loved.
The truth is crushed.
So when the ladybug lands on the windowsill:
Photographs are taken.
The story is written.
It is shown to children.
When Black Fatma appeared:
The slipper gets up.
Slippers are not an Object
Slippers are not an innocent household item.
Slippers are the most common means of execution in this country.
Slippers
It is extrajudicial.
It is vulnerable.
It is without evidence.
It is quiet.
Approved.
Shameless slipper thrower.
Because the slipper thrower feels justified.
Where does this justification come from?
Aesthetics.
Class.
Majority.
The slipper lands in the name of “we”.
The slipper lands in the name of “society”.
The slipper lands in the name of “order”.
Slippers are the domestic version of fascism.
Aesthetic Fascism
Fascism does not always come in uniform.
Sometimes it comes with pleasure.
Sometimes he comes saying “good”.
Sometimes he comes saying “I am disturbed”.
Fascism in this country often talks like this:
“Visual pollution.”
“Social sensitivity.”
“It bothers us.”
Who is uncomfortable?
Why is it uncomfortable?
What is uncomfortable?
These are not asked.
Because aesthetic judgment is not questioned.
Aesthetic judgment is considered natural.
But aesthetics is not natural.
Aesthetics is class.
Aesthetics is political.
Aesthetics is a sifting mechanism.
The beautiful stays inside.
The ugly one is thrown out.
It's as simple as that.
It's that wild.
Media The Hand that Lifted the Slipper from the Air
The media does not say “kill”.
The media doesn't need it.
The media says:
“It's uncomfortable.”
“There was a backlash.”
“Some people...”
These sentences are the foreword to violence.
These sentences are a call for lynching.
But he wears a tie.
But it's clean.
But it is acceptable.
The media does not make Kara Fatma a criminal.
It makes it suspicious.
The suspect can be crushed at any moment.
Judgment The Sentence That Legitimizes Slippers
“Strong suspicion of a crime.”
“Public order.”
“Social sensitivity.”
These are not laws.
These are the official language of aesthetic discomfort.
Ladybugs need proof.
For a tomboy, visibility is enough.
If you are seen, you are guilty.
If you're here, you're too much.
If you speak, you are a provocateur.
Politics The Center that Declares Who's ‘Black’
Politics makes it clearer.
“These,” he says.
“Marginal,” he says.
“It's not local,” he says.
Then he leaves the responsibility to society:
“The nation will do what is necessary.”
So the slipper is now collective.
Now everyone is an executioner.
A Matter of Class The Politics of the Body
The poor body is dangerous in this country.
Because the poor body shows the lie of the order.
That's why:
The poor body must not be seen.
The poor body should not be crowded.
The poor body should not speak.
This is the first thing children are taught.
“Love the ladybug.”
“Run away from the Black Fatma.”
This is not an insect lesson.
This is obedience training.
The child grows up.
He uses this reflex when he becomes the boss.
It uses this reflex to dominate.
They use this reflex when they become voters.
And the system works like clockwork.
The real question is this;
Why are you so afraid of Black Fatma?
Because Black Fatma reminds you of this:
One day you too may be declared black.
One day your body may be found incompatible.
One day your neighborhood may be declared risky.
One day your voice may be considered annoying.
Not the bug,
into your own future.
But the truth does not change:
Slippers come down.
The body is crushed.
Order is relaxed.
And if this order is to survive,
someone's bound to be black.
Someone will always be poor.
Someone will be crushed.
Because this is the regime,
always wants the slipper to have a target.
And that's why:
This is not a bug article.
This is an exposure of the regime of obedience.
This is a declaration of aesthetic fascism.
This is a domestic form of class warfare.
And yes, let's be clear:
In defense of Black Fatma,
is to take sides in this country.
There is no neutrality.
Either you hold the slipper,
or the oppressed.
There is no other choice.