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Nazım
Hikmet Ran |
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Man from Ayaş and his Tenants) portrays life in Ankara in the first years of the Republic while Abdülhak Şinasi Hisar’s “Fehim Bey ve Biz” (Sir Fehim and Us) tells of life in the villas and seaside mansions in İstanbul in the last period of the Empire in an analytical approach with rich details.
In poetry, Nazım Hikmet Ran demolished the concept of measure and became the first representative of a new movement called “free poetry”. He valued “content” in poetry and advocated that form be made fit to the content.
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Ziya Osman Saba, Ahmet Hamdi Tanpınar, Ahmet Muhip Dranas and Kemalettin Kamu, on the other hand, wrote poems with syllabic meters but still attached importance to “poetic quality”. In the second half of the 1930s, poets such as Cahit Sıtkı Tarancı, Fazıl Hüsnü Dağlarca and İlhan Berk tried to cultivate an independent approach to poetry while Necip Fazıl Kısakürek expressed in his poems some surrealist elements in a striking and unusual style. As for Faruk Nafiz Çamlıbel’s poems, they were occasionally inspired by the realities of Anatolia. |
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Coming to the 1940s, Sait Faik Abasıyanık brought a new concept of narration in the literature of stories, which sensitively addressed the world of the intellectual and the |
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| Cahit Sıtkı
Tarancı |
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ordinary individual rather than social difficulties. Sabahattin Ali dealt with the effects of cultural changes on individuals of various segments of society on a level of psychological analysis in his novels “İçimizdeki Şeytan” (The Satan Within-1940) and “Kürk Mantolu
Madonna (Madonna in Furs-1943). Other authors of the period such as Tarık Buğra, Oktay Akbal, Cevat Şakir Kabaağaçlı, Haldun Taner, Cevdet Kudret Solok and Samim Kocagöz produced works in line of realism. Meanwhile, the “Garip Movement” which emerged in poetry as a reaction not only to the old but also |
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to Nazım Hikmet Ran’s poems, left its mark on the period. Named after the book “Garip” (Wretched-1941) in which Orhan Veli Kanık, Oktay Rıfat Horozcu and Melih Cevdet Anday published their poems with no rhymes and measures, the movement which depicted daily life and individual matters with the simplicity of spoken language spread in no time and found many young followers. It also influenced the famous poets of the period such as Necati Cumalı, Bedri Rahmi Eyüboğlu and Behçet Necatigil. In the second half of the 1940s, Ceyhan Atuf Kansu, Cahit Külebi, Necati Cumalı and Bedri |
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Necati Cumalı
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Rahmi Eyüboğlu developed a narrative style of poetry based on stylistic expressions and attributing utmost importance to social sensitivity. |
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From the beginning of the 1950s, authors were rather inclined towards rural realities. Mahmut Makal’s “Bizim Köy” (Our Village-1950) and Fakir Baykurt’s “Yılanların Öcü” (Vengeance of the Snakes-1959) opened new horizons to Turkish literature with the observations on the lifestyle of the people in rural areas. Yaşar Kemal, one of the most prominent Turkish writers, published the first volume of his world - famous novel “İnce Memed”
(Memed, My Hawk) in |
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1955, dealing with the hardships the people of the Çukurova region endure and the attitudes they develop with an epical language. This novel also bore the first signs of the approaches and ex-pressions the author is to adopt in the following years. Kemal Tahir, who gained a reputation in literature with his novel “Göl İnsanları” (The Lake People) published in1955, is also among the authors who dealt with rural facts and life. This quest is also prevalent in the works of writers such as Demir Özlü, Ferit Edgü, Yusuf Atılgan and Nezihe Meriç, who began to write between the years of 1950 and 1960. |
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Yaşar Kemal |
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