Building on an parafictional engagement with a spectral interlocutor named Zi?an, an Armenian woman who would have lived almost a century before her, the Turkish artist ?z Öztat’s multimedia work attends to events, persons, and things that have been written out of history. Based on a short story by Zi?an recounting their experience of spending a night on a mystical island, named after its shape, which, in Arabic script, spells out Cennet (Paradise) or Cinnet (Possessed), the series "Conducted in Depth and Projected at Length" (2014) takes the form of an artist book, works on paper, and sculptural objects. Written between 1915-1917, Zi?an’s story, which imagines a non-gendered community, propels Öztat’s project to imagine an archive of queer experience that has been rendered ghostly within the exclusionary logics of the modernity in tandem with a history of community, culture, and ecology decimated through several waves of genocidal violence that extend from 1915 to the present day. This paper examines Öztat’s use of queer pedagogies to approach an impossible archive and an erased history. Queer sights and insights factor in threefold: in the spectral and untimely relationship between the two women; through the parallels between the ambiguity of linguistic signs and a non-gendered community; and in the influences that shape Zi?an as a fictional figure, based equally on the recent reparative feminist and queer historiography of women writers of the Ottoman Empire and Turkey as well as the archives of the queer, anti-fascist, French artist Claude Cahun.