In Voice, Vitrine, Tar: Unreliable Narrators from Archive to Memoir, Fiction to the Visual Arts, writer and researcher Çağla Özbek pursues ‘unreliable narration’ as an effective construct in revisiting feminist archives and imaginations, providing an invaluable method in doubling down on the critical breaks between recorded history and lived reality not only within the bounds of fiction writing, but also in visual arts and archival tendencies. Locating unreliable narration as a critical strategy extending outside the realm of literature which contests both linear history-making, the works of leading contemporary artist Hale Tenger are examined, pursuing possible unreliable narrators in them while making the argument that these visual narratives (which are often accompanied by reflective surfaces such as glass, vitrines, mirrors and puddles) deftly shed light on the tension between historiography and artistic imagination by pointing to the deep rifts between written history and the lived experience of historical events. The last section of the book comprises artist’s interviews with artists Furkan Öztekin and Esra Özdoğan who both use linguistic and narratological elements in completely different ways in their practices, along with a conversation with writer and editor Emrah Serdan, musing on the procedures of unreliable narration and the ways in which voice and truth relate to one another in literature and visual arts.
 
 
 
 
Ses, Zift, Vitrin; Arşivden Hatırata, Edebiyattan Görsel Sanatlara Güvenilmez Anlatıcılar Yazar ve araştırmacı Çağla Özbek Ses, Zift, Vitrin: Arşivden Hatırata, Edebiyattan Görsel Sanatlara Güvenilmez Anlatıcılar başlıklı yeni kitabında edebi bir anlatıbilimsel yöntem olarak “güvenilmez anlatıcılığı” görsel sanatlarda ziyaret edilmeye değer bir kavram olarak inceliyor; öznellik ve tarihselliğin kesişiminde güvenilmez anlatıcılığın feminist, queer tahayyülleri yeniden değerlendirmek, kayıtlı tarih ile yaşanmış gerçeklik arasındaki kritik kopukluklara daha yakından bakabilmek için sadece kurgu yazımının sınırları dahilinde değil, aynı zamanda görsel sanatlar için de kullanışlı bir tavır olabileceğini ortaya atıyor.