{"id":31144,"date":"2024-02-04T11:24:43","date_gmt":"2024-02-04T09:24:43","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=31144"},"modified":"2024-02-04T11:24:43","modified_gmt":"2024-02-04T09:24:43","slug":"arthur-kayzakians-stolen-painting-and-the-nameless-father","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/","title":{"rendered":"Arthur Kayzakian’s Stolen Painting and The Nameless Father"},"content":{"rendered":"
The Book of Redacted Paintings<\/span><\/i> is a debut collection by Arthur Kayzakian that uses a medley of poetry, correspondence, and prose, challenging genre categorization while maintaining novelistic breadth. <\/span><\/h5>\n

 <\/p>\n

The Book of Redacted Paintings<\/span><\/i>, by Arthur Kayzakian<\/span>
\n<\/span>Black Lawrence Press<\/span><\/a> 2023<\/span>
\n<\/span>ISBN <\/span>9781625570512<\/span><\/p>\n

 <\/p>\n

Sean Casey<\/span><\/h4>\n

 <\/p>\n

Near the beginning of <\/span>The Book of Redacted Paintings<\/span><\/i> is a letter. Its author, whose name is redacted, tells the story of a painting, \u201cMy Father under the Stars,\u201d a rendering of a photograph of the nameless author\u2019s father taken just before the Iranian Revolution. The redacted writer\u2019s mother commissioned the painting in London where the family took refuge following the Revolution. The father remained behind in Iran, but the painting powerfully conveys his presence:<\/span><\/p>\n

We hung the portrait on the wall in our den; it was there when guests arrived. My father\u2019s countenance was so massive that the guests felt he could leap out of the painting and reach for the half-eaten baguet held in their hands. \u201cHe looks so real,\u201d they would say. The painting was hung there for years. We brought the painting to America when we migrated \u2026<\/p>\n

The painting, we learn, has been stolen.\u00a0<\/span><\/p>\n

\"The<\/a>
Published by Black Lawrence Press<\/a>.<\/figcaption><\/figure>\n

The Book of Redacted Paintings<\/span><\/i>, the remarkable debut collection by Arthur Kayzakian, tells the story of this painting, its theft, its absence, and attempts at its recovery. It does so in a medley of poetry, correspondence, and prose \u2014 one that challenges genre categorization while maintaining novelistic breadth. As the collection and its plot develops, the lost painting grows in resonance as a symbol of a more profound loss: that experienced by displaced populations. The painting\u2019s predicament speaks to the displacement of two diasporan populations: Iranians who fled during the Iranian Revolution of 1979 and Armenians who escaped 1915\u2019s Genocide in the Ottoman Empire. It\u00a0 also speaks to the absence of those who did not escape. In \u201cGalaxies,\u201d one of the book\u2019s finest poems, an unnamed soldier recites a poem on Iranian television. The poet, of Iranian and Armenian ancestry, invokes the duduk, the Armenian double-reed woodwind instrument:<\/span><\/p>\n

can you hear the desperation in my joy of living the sound of a duduk
\n<\/span><\/i>carries enough ecstasy to sadden the trees blowing sand over the graves of<\/p>\n

my scratched-out ancestors This is why I will light houses on fire\u00a0 I am a
\n<\/span>flower with the register of exile ready to exonerate my war dance<\/span><\/p>\n

Scratched-out ancestors<\/span><\/i>. People can be redacted too.<\/span><\/p>\n

While <\/span>The Book of Redacted Paintings<\/span><\/i> is a meditation on loss in its many variations and manifestations \u2014 redaction and erasure, silence and empty space, evaporation and death \u2014 Kayzakian is attuned to the ways presence inheres in absence. In \u201cStain on the Wall,\u201d a poem that hangs at a precarious angle on the page, prospective homebuyers pause at the wall where the painting once hung and note a stain. The absent painting\u2019s presence remains. The poem pivots to presence in its genetic form:<\/span><\/p>\n

\"\"<\/p>\n

The investigation into the stolen painting weaves through poems and correspondence (including a letter from the <\/span>FBI\u2019s Art Crime Team!)<\/span>. The painting is never recovered. What\u2019s more, the missing painting\u2019s absence deepens and metastasizes; its very existence grows tenuous. We come to discover that the painting that figures so prominently in the book does not exist. In \u201cBibliography of Paintings that Never Made it to the Wall,\u201d Kayzakian writes, \u201cThis painting does not exist, but in some version of this story, it was stolen in winter, the season my father was late from the war.\u201d <\/span>The painting does not exist, except in stories, where it does. <\/span>Elsewhere, an organization known as The Art Restoration Center writes that the painting cannot be recovered because<\/span> it has been \u201credacted from reality,\u201d its existence extinguished.<\/span><\/p>\n

In counterpoint to T<\/em><\/span>he Book of Redacted Paintings<\/span><\/i>\u2019 narrative and poetic variations on the theme of loss is the book\u2019s argument for the vivifying power of art in the face of dispossession and the redaction of people and places by people and nations. In<\/span> \u201cJust Because My Father was Never Painted Doesn\u2019t Mean the Painting Doesn\u2019t Exist,\u201d Kayzakian puts it this way:<\/span><\/p>\n

What I do know well: Electrons surging in his laughter.<\/span>
\n<\/span>My father is alive while I write this. My father\u2019s painting<\/span>
\n<\/span>is not alive while I write this.<\/span>
\n<\/span>He doesn\u2019t hold a divorce letter, but it\u2019s there waiting in his hand.<\/span>
\n<\/span>Experts say dark energy has its place in the universe.<\/span><\/p>\n

My father is alive while I write this<\/span><\/i>. It\u2019s an argument implicit throughout the collection but explicit here: in writing, one can bring into existence what has been taken. In stories, people and their stories and paintings exist. They live.<\/span><\/p>\n

Kayzakian\u2019s answer to the loss of the painting, and, by extension, the loss and absence of the dispossessed, is to find in absence an invitation to create. Where paintings and poems are missing, poems and paintings can be created. In \u201cQuestions Truths and Lies on Art Trauma,\u201d Kayzakian renders the predicament in question form: \u201cDoes the absence of a poem on a wall make you simmer? Do you think about the burning houses in your head?\u201d A few lines later, an invitation suggests a solution: \u201cHas anyone ever painted you?\u201d<\/span>\u00a0<\/span><\/p>\n

For the artist, absence can be the opening of a new horizon, aperture of possibility, reclamation of space. <\/span>The Book of Redacted Paintings<\/span><\/i> is a work about loss that makes art out of loss, with poems that bear holes and scars of redactions as central to their poetics and vitality. But what the reader finds in <\/span>The Book <\/span><\/i>is, ultimately, not absence but presence: the living presence and company of these poems, their subjects, and, yes, their paintings.<\/span> \u201cI tore the first world out of this book,\u201d Kayzakian writes in an early epigram. \u201cDo you see birds flying out of the holes in my song?\u201d<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.<\/p>\n","protected":false},"author":522,"featured_media":31448,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[6,2656,3331],"tags":[269,513,514,842,2705,2285,1367],"coauthors":[3332],"class_list":["post-31144","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-review","category-books","category-tmr-38-lsd-love-sex-desire","tag-armenian-american","tag-diaspora","tag-diaspora-poetry","tag-immigrant","tag-iranian-poet","tag-ottoman-empire","tag-poetry","entry"],"acf":[],"yoast_head":"\nArthur Kayzakian's Stolen Painting and The Nameless Father - The Markaz Review<\/title>\n<meta name=\"description\" content=\"Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arthur Kayzakian's Stolen Painting and The Nameless Father\" \/>\n<meta property=\"og:description\" content=\"Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/\" \/>\n<meta property=\"og:site_name\" content=\"The Markaz Review\" \/>\n<meta property=\"article:published_time\" content=\"2024-02-04T09:24:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1395\" \/>\n\t<meta property=\"og:image:height\" content=\"1025\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Sean Casey\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sean Casey\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/\"},\"author\":{\"name\":\"Sean Casey\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/person\\\/39f1c225879ccf28bd653899a4a06412\"},\"headline\":\"Arthur Kayzakian’s Stolen Painting and The Nameless Father\",\"datePublished\":\"2024-02-04T09:24:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/\"},\"wordCount\":1003,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2024\\\/02\\\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg\",\"keywords\":[\"Armenian American\",\"diaspora\",\"diaspora poetry\",\"immigrant\",\"Iranian poet\",\"Ottoman Empire\",\"poetry\"],\"articleSection\":[\"Book Reviews\",\"Books\",\"TMR 38 \u2022 LSD (Love Sex Desire)\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/\",\"name\":\"Arthur Kayzakian's Stolen Painting and The Nameless Father - The Markaz Review\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2024\\\/02\\\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg\",\"datePublished\":\"2024-02-04T09:24:43+00:00\",\"description\":\"Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#primaryimage\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2024\\\/02\\\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg\",\"contentUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2024\\\/02\\\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg\",\"width\":1395,\"height\":1025,\"caption\":\"Arshile Gorky, \\\"The Liver is the Cock's Comb,\\\" 1944 (courtesy Hammer Museum).\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/arthur-kayzakians-stolen-painting-and-the-nameless-father\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Arthur Kayzakian’s Stolen Painting and The Nameless Father\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#website\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/\",\"name\":\"The Markaz Review\",\"description\":\"Literature and Arts from the Center of the World\",\"publisher\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\",\"name\":\"The Markaz Review\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/cropped-New-2023-TMR-Logo-500-pix.jpg\",\"contentUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2023\\\/08\\\/cropped-New-2023-TMR-Logo-500-pix.jpg\",\"width\":473,\"height\":191,\"caption\":\"The Markaz Review\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/person\\\/39f1c225879ccf28bd653899a4a06412\",\"name\":\"Sean Casey\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/3cbb8361d41a27bda31e58e4b8ba1920684d39ee6518e039d4cd98ccd5289b9b?s=96&d=mm&r=g6535700d8a98422b63292a258dde7f7a\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/3cbb8361d41a27bda31e58e4b8ba1920684d39ee6518e039d4cd98ccd5289b9b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/3cbb8361d41a27bda31e58e4b8ba1920684d39ee6518e039d4cd98ccd5289b9b?s=96&d=mm&r=g\",\"caption\":\"Sean Casey\"},\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/author\\\/seancasey\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Arthur Kayzakian's Stolen Painting and The Nameless Father - The Markaz Review","description":"Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/","og_locale":"en_US","og_type":"article","og_title":"Arthur Kayzakian's Stolen Painting and The Nameless Father","og_description":"Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.","og_url":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/","og_site_name":"The Markaz Review","article_published_time":"2024-02-04T09:24:43+00:00","og_image":[{"width":1395,"height":1025,"url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg","type":"image\/jpeg"}],"author":"Sean Casey","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Sean Casey","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#article","isPartOf":{"@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/"},"author":{"name":"Sean Casey","@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/person\/39f1c225879ccf28bd653899a4a06412"},"headline":"Arthur Kayzakian’s Stolen Painting and The Nameless Father","datePublished":"2024-02-04T09:24:43+00:00","mainEntityOfPage":{"@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/"},"wordCount":1003,"commentCount":0,"publisher":{"@id":"https:\/\/themarkaz.org\/oldsite\/#organization"},"image":{"@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#primaryimage"},"thumbnailUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg","keywords":["Armenian American","diaspora","diaspora poetry","immigrant","Iranian poet","Ottoman Empire","poetry"],"articleSection":["Book Reviews","Books","TMR 38 \u2022 LSD (Love Sex Desire)"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/","url":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/","name":"Arthur Kayzakian's Stolen Painting and The Nameless Father - The Markaz Review","isPartOf":{"@id":"https:\/\/themarkaz.org\/oldsite\/#website"},"primaryImageOfPage":{"@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#primaryimage"},"image":{"@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#primaryimage"},"thumbnailUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg","datePublished":"2024-02-04T09:24:43+00:00","description":"Sean Casey on a rather unusual and remarkable debut from Arthur Kayzakian that melds poetry, prose and correspondence.","breadcrumb":{"@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#primaryimage","url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg","contentUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg","width":1395,"height":1025,"caption":"Arshile Gorky, \"The Liver is the Cock's Comb,\" 1944 (courtesy Hammer Museum)."},{"@type":"BreadcrumbList","@id":"https:\/\/themarkaz.org\/oldsite\/arthur-kayzakians-stolen-painting-and-the-nameless-father\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/themarkaz.org\/oldsite\/"},{"@type":"ListItem","position":2,"name":"Arthur Kayzakian’s Stolen Painting and The Nameless Father"}]},{"@type":"WebSite","@id":"https:\/\/themarkaz.org\/oldsite\/#website","url":"https:\/\/themarkaz.org\/oldsite\/","name":"The Markaz Review","description":"Literature and Arts from the Center of the World","publisher":{"@id":"https:\/\/themarkaz.org\/oldsite\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/themarkaz.org\/oldsite\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/themarkaz.org\/oldsite\/#organization","name":"The Markaz Review","url":"https:\/\/themarkaz.org\/oldsite\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/logo\/image\/","url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/08\/cropped-New-2023-TMR-Logo-500-pix.jpg","contentUrl":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/08\/cropped-New-2023-TMR-Logo-500-pix.jpg","width":473,"height":191,"caption":"The Markaz Review"},"image":{"@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/themarkaz.org\/oldsite\/#\/schema\/person\/39f1c225879ccf28bd653899a4a06412","name":"Sean Casey","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/3cbb8361d41a27bda31e58e4b8ba1920684d39ee6518e039d4cd98ccd5289b9b?s=96&d=mm&r=g6535700d8a98422b63292a258dde7f7a","url":"https:\/\/secure.gravatar.com\/avatar\/3cbb8361d41a27bda31e58e4b8ba1920684d39ee6518e039d4cd98ccd5289b9b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/3cbb8361d41a27bda31e58e4b8ba1920684d39ee6518e039d4cd98ccd5289b9b?s=96&d=mm&r=g","caption":"Sean Casey"},"url":"https:\/\/themarkaz.org\/oldsite\/author\/seancasey\/"}]}},"jetpack_featured_media_url":"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Arshile_gorky-the_liver_is_the_cock_s_comb-1944.jpg","_links":{"self":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts\/31144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/users\/522"}],"replies":[{"embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/comments?post=31144"}],"version-history":[{"count":0,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/posts\/31144\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/media\/31448"}],"wp:attachment":[{"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/media?parent=31144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/categories?post=31144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/tags?post=31144"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/themarkaz.org\/oldsite\/wp-json\/wp\/v2\/coauthors?post=31144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}