"Pagan life seduces me a little more with each passing day. If it were possible today, I would change my religion and would joyfully embrace poetic paganism," wrote the Armenian poet Daniel Varuzhan in 1908. During the seven years that remained in his life, he wrote largely in this "pagan" vein. If it was an artistic endeavour, why then should art be defined in reference to religion? And which religion precisely? Was Varuzhan echoing Schelling's Philosophy of Art?
Mourning Philology draws on Varuzhan and his work to present a history of the national imagination, which is also a history of national philology, as a reaction to the two main philological inventions of the nineteenth century: mythological religion and the native. In its first part, the book thus gives an account of the successive stages of the orientalist philology. The last episode in this story of national emergence took place in 1914 in Constantinople, when the literary journal Mehyan gathered around Varuzhan the great names to come of Armenian literature in the diaspora

Genocide is a matter of law. It is also a matter of history. Engaging some of the most disturbing responses to the Armenian genocide, Marc Nichanian strikingly reveals the complex role played by law and history in making this and other genocides endure as contentious events.

Nichanian's book argues that both law and history fail to contend with the very nature of events for which there is no archive (no documents, no witnesses). Both history and law fail to address the modern reality that events can be--and are now being--perpetrated that "depend" upon the destruction of the archive, turning monstrous deeds into nonevents. Genocide, this book makes us see, is in one sense the "destruction" of the archive. It relies on the historiographic perversion.

The Candidate is one of the most masterful, psychologically penetrating novels in Armenian diaspora literature. Published in 1967 at a time of political awakening among the descendants of survivors of the Armenian genocide, the novel explores themes of trauma, forgiveness, reconciliation, friendship, and sacrifice, and examines the relationship between victim and perpetrator. The book opens in 1927 in Paris after Minas has found his friend Vahakn’s body on the floor of the apartment they share. In a fragmentary way, Minas tells of his meeting Vahakn in the cafés of the Latin Quarter; the friendship that joins them; their conversations with Ziya, a Turkish student in Paris; Vahakn’s murder of Ziya; and Vahakn’s suicide. At the core of the novel is the note Vahakn leaves Minas to explain the enigma of Ziya’s murder and his own suicide. The letter recounts Vahakn’s and his mother’s deportation from their village in the Ottoman Empire; his mother’s death and Vahakn’s adoption by a Turkish woman, Fatma, who rapes and abuses him; his feelings of alienation and self-estrangement in France; and his inability to adapt to life after trauma. Known for his innovation of the Western Armenian novel, Vorpouni challenges the narrative elements of the conventional novel by playing with subjectivity and linearity. His melding of contemporary French literary and intellectual currents produces a literary and cultural hybrid unique in Western Armenian literature.