Kemal ÖZER
Translated by Ülkün Tansel
Turkish poetry writing which gained momentum following the proclamation of the
Republic- entered a phase of change / transformation manifesting itself both in literary
life as well as in social life of the 1940s. This change / transformation is partly related to
the disillusionment in the expectations fostered by the Republic. Labor world has not
been able to receive the place it deserves in the social and political sense. The
enthusiasm of the founding years did not result in a thrust that would carry workers
ahead. On the contrary it reduced the share they received and increased their burden.
The literature –with poetry in the lead- has not remained indifferent to this change /
transformation. As the 1940s are approached, the evolutionary phase which the country
entered into, assumed new dimensions due to the introduction of a big external factor.
The Second World War widens yet further the artistic awareness which already has
gained momentum along with the humanitarian expectations it introduced to the world of
labor. Nazım Hikmet standing at the focal point of this artistic awareness is in jail and
poetry itself is under siege both in the political and artistic sense.
Poetry is under siege politically; because, obstacles are placed on its path of
expression. It is surrounded by sanctions and limits. At the same time, it is under siege
artistically; because, beginning with the 1940s the Garip movement has emerged and it
has placed an artistic limitation on poetry which, due to the awareness of the labor
world, had assumed a function.
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Thus, during the 1940s, the representatives of this poetry under double siege are going
through a process of self assertion on the one hand, and a process of self development
on the other. Oğuz Tansel is one of those poets that we encounter at this point. This
phase of change / transition not only brings sanctions and limits on these poets in
having their say; but it also obliges them to put inevitable limitations on self-
development.
As the number one under artistic limitations, stands the necessity of remaining distant to
the Garip movement. Another requirement is to remain outside the sphere of influence
of the Nazım Hikmet poetry. In between these limiting ends, the themes remaining for
the 1940 generation of poets are, events within the country, their reflections on the
individuals and themes concerning the Second World War.
Avoidances and making use of the available, results inevitably in common styles of
expression and common content. When we look at Oğuz Tansel’s poetry, we see that
he is one of those poets who moves most, outside of the aforementioned general
picture.
The similitudes in style and sound caused by the general use of four line stanzas is
overcome in Oğuz Tansel’s poetry through a punctuated yet fluent sound arrangement.
One does not also, come across often a stereotyped content resulting from such
grouping of stanzas. This is because, he is able to view the society in which he lives
and the people of this society with his own eyes and express his observations in a
unique style. In his poem titled “Men” he is able to say the following lines for instance:
“One among them who discovered the sun inside him /Like a mountain clearing off the
haze / Rose and spoke thunder-like: / “Resignation does not become us!”
Reflecting a political stance and the humanitarian essence is yet another source for
similitude. But Oğuz Tansel knows how to avoid such similitude as well. In his poem
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titled “Road” he shall say: “This is the pavement of rain and sun / Speed son, without
letting the boss know / Lest they’ll let you grasp fire for gold / Forget not to add coolant
to the engine”
As for similutude in the images he avoids them through his own sketches as in his poem
titled “A Man and the Child” : “A glitter of joy cast light onto my way / A man, a woman
with son on her shoulder / Seemingly well clothed in dark of the night / Kept striding on”
Among his metaphors, some noteworthy examples occasionally stand out such as, “The
sky, a big Seljuk tile,” or “The marketplace mirrors every occupation.” An original
reference to commoner’s usage such as: “A healthy head will not abide the pillow.”
Sometimes a shaking warning to the reader such as “Why have we not built a hospital
for the birds?”
These observations which we have based on his early works like Savrulmayı Bekleyen
Harman and Gözünü Sevdiğim indicate to us that he is a poet who in this early phase
was keen to reflect the realities of life and be his original self as he bear witness to the
society and the era in which he lives and avoid and overcome similitudes through his
unique vision and style of expression. What bestows him this difference is, no doubt, his
love and affinity for the common people and carrying this to such a level as to be able to
think and feel together with them.
In his second artistic phase when he faces us with his volume Dağı Öpmeler Oğuz
Tansel further develops this characteristic not with every day realities but through
universal themes, when particularly the serial poems Bilitis and Kındam are taken into
consideration. In this development the concept of motherland is not reflected solely in
political terms; but it envelops all the wealth which the homeland has accumulated and
gained throughout history.
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Getting to know the motherland, assuming its possession becomes equivalent to
embracing all that wealth. As for those elements of the commoner’s creativity
contributing to the language and expression, they are –other than being put to
occasional use- simply elevated to the level of a poetic language and style of
expression.
Thus Oğuz Tansel, transforms his artistic odyssey upon which he embarks during an
epoch of change and transition, into a personal epoch of change and transition.
This essay is the text of the speech delivered by Kemal Özer during the memorial
meeting titled “Oğuz Tansel, the Poet of Peace” at the Middle East Technical
University’s Cultural and Convention Center, Kemal Kurdaş Auditorium, on December 7,
2007.