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賲卮丕賴丿 廿賳爻丕賳賷丞
鈥�
Paperback
First published January 1, 1938
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About the author
N芒z谋m Hikmet
228听books782听followersNazim Hikmet was born on January 15, 1902 in Salonika, Ottoman Empire (now Thessalon铆ki, Greece), where his father served in the Foreign Service. He was exposed to poetry at an early age through his artist mother and poet grandfather, and had his first poems published when he was seventeen.
Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.
In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry鈥攆ive collections and four long poems鈥攚hile working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.
After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to 鈥渄epoetize鈥� poetry.
Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn鈥檛 Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (鈥淭he Epic of Shaykh Bedreddin鈥�) and Memleketimden insan manzaralari (鈥淧ortraits of People from My Land鈥�).
Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.
Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.
In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry鈥攆ive collections and four long poems鈥攚hile working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.
After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to 鈥渄epoetize鈥� poetry.
Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn鈥檛 Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (鈥淭he Epic of Shaykh Bedreddin鈥�) and Memleketimden insan manzaralari (鈥淧ortraits of People from My Land鈥�).
Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.
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Displaying 1 - 30 of 108 reviews
September 15, 2021
陌lyada, Aeneis, 陌lahi Komedya, Kantolar, Sava艧 ve Bar谋艧 vb. ile yan yana.
K谋salt谋lm谋艧 bir 莽evirisi (daha sonra tamam谋 莽evrildi) 1980'lerde Amerika'da 莽谋kt谋.
B眉y眉k bir Amerikan gazetesi Raymond Carver'dan o y谋l 莽谋kan en iyi kitaplar anketine kat谋lmas谋n谋 istedi臒inde Carver tek kitap olarak Memleketimden 陌nsan Manzaralar谋'n谋 se莽er.
K谋salt谋lm谋艧 bir 莽evirisi (daha sonra tamam谋 莽evrildi) 1980'lerde Amerika'da 莽谋kt谋.
B眉y眉k bir Amerikan gazetesi Raymond Carver'dan o y谋l 莽谋kan en iyi kitaplar anketine kat谋lmas谋n谋 istedi臒inde Carver tek kitap olarak Memleketimden 陌nsan Manzaralar谋'n谋 se莽er.
May 23, 2019
"Ba艧 parmak boyundaki adam, vicdan谋m谋z yani
bizimle mum 谋艧谋臒谋nda konu艧an,
yahut da kadehimizle ba艧 ba艧a kald谋臒谋m谋z zaman.
陌艧te benim de ba艧 parmak boyundaki adam谋m
(t谋pk谋 benim gibi kumral ve bodur)
T谋rman谋p oturdu kadehimin kenar谋na.
Ayaklar谋n谋 sall谋yor.
Benim ellerim titremese bu kadar, 莽atal谋n ucuyla itiversem onu,
d眉艧眉p kadehe bo臒ulabilir i莽inde rak谋n谋n.
Di艧leri ola臒an眉st眉 莽眉r眉k,
sesi ola臒an眉st眉 kal谋n
ve annesini 枚lm眉艧 g枚ren uykuda bir 莽ocuk gibi i莽ini 莽ekerek:
Hasan 艦evket, diyor,
Hasan 艧evket,
sen mahvolmu艧 bir insans谋n.
Nas谋l bu hale d眉艧t眉n?
Seni kimler bu hale soktu?
Ne zamandan beri bu haldesin?
Halbuki nas谋l yol ald谋 baz谋lar谋.鈥�
惭耻丑迟别艧别尘!
bizimle mum 谋艧谋臒谋nda konu艧an,
yahut da kadehimizle ba艧 ba艧a kald谋臒谋m谋z zaman.
陌艧te benim de ba艧 parmak boyundaki adam谋m
(t谋pk谋 benim gibi kumral ve bodur)
T谋rman谋p oturdu kadehimin kenar谋na.
Ayaklar谋n谋 sall谋yor.
Benim ellerim titremese bu kadar, 莽atal谋n ucuyla itiversem onu,
d眉艧眉p kadehe bo臒ulabilir i莽inde rak谋n谋n.
Di艧leri ola臒an眉st眉 莽眉r眉k,
sesi ola臒an眉st眉 kal谋n
ve annesini 枚lm眉艧 g枚ren uykuda bir 莽ocuk gibi i莽ini 莽ekerek:
Hasan 艦evket, diyor,
Hasan 艧evket,
sen mahvolmu艧 bir insans谋n.
Nas谋l bu hale d眉艧t眉n?
Seni kimler bu hale soktu?
Ne zamandan beri bu haldesin?
Halbuki nas谋l yol ald谋 baz谋lar谋.鈥�
惭耻丑迟别艧别尘!
August 27, 2019
The Turkish poet Nazim Hikmet (1902-1963) frankly was completely unknown to me. The reason is obvious: for years he was silenced in his own country; he was in prison because of his communist sympathies, and after his release he lived and worked in the Soviet Union. "Human landscapes" is his most important work: it鈥檚 kind of a patchwork with material that he wrote in prison in the 1940s, but a selection of it was only published in 1967, giving it an unfinished impression.
In fact, the title says perfectly what this book stands for: human landscapes. Hikmet jumps from one figure to the next, resulting in a kaleidoscope of characters, human stories, conversations and musings. The first chapters are mainly about people in a station buffet, on the trains themselves and even in the farms where the trains pass. After a while the storyline focuses on a group of political prisoners, with the poet Halil as a bridge figure; I suspect that this Halil has strong autobiographical features.
In the conversations the recent Turkish past is regularly evoked: the fall of the sultanate, the first world war and the establishment of the (Kemalistic) republic. And since the book is clearly situated in the period 1941-1942, there are also quite a few discussions about Hitler, about the German advance in the Soviet Union and about which side Turkey should take. Hikmet regularly provides a downright Marxist analysis of events through the figure of Halil. But to be clear: this is not a political book. Hikmet sketches the big and small things of life, with a lot of attention for the tragedy of human existence, which is reinforced by the corruption and the opportunism of both big and small people. Many passages are endearing, some purely poetic-sweet, others downright epic-dramatic.
In short, this very long work of poetry is mainly characterized by its variation: in figures, perspectives, themes. So much so that you sometimes lose your way, because Hikmet requires quite a bit of prior knowledge of the Turkish past and the local geography. And for a non-Turkish reader that sometimes makes this book difficult to understand and appreciate. But the style is very refreshingly modernist: Hikmet introduced the free verse form that was so typical of early 20th-century Western European poetry. I have no doubt that the translators have definitely done their best to convey the poetic expressiveness of the original, but in Turkish itself this work certainly cannot but make even more of an impression. (2.5 stars)
In fact, the title says perfectly what this book stands for: human landscapes. Hikmet jumps from one figure to the next, resulting in a kaleidoscope of characters, human stories, conversations and musings. The first chapters are mainly about people in a station buffet, on the trains themselves and even in the farms where the trains pass. After a while the storyline focuses on a group of political prisoners, with the poet Halil as a bridge figure; I suspect that this Halil has strong autobiographical features.
In the conversations the recent Turkish past is regularly evoked: the fall of the sultanate, the first world war and the establishment of the (Kemalistic) republic. And since the book is clearly situated in the period 1941-1942, there are also quite a few discussions about Hitler, about the German advance in the Soviet Union and about which side Turkey should take. Hikmet regularly provides a downright Marxist analysis of events through the figure of Halil. But to be clear: this is not a political book. Hikmet sketches the big and small things of life, with a lot of attention for the tragedy of human existence, which is reinforced by the corruption and the opportunism of both big and small people. Many passages are endearing, some purely poetic-sweet, others downright epic-dramatic.
In short, this very long work of poetry is mainly characterized by its variation: in figures, perspectives, themes. So much so that you sometimes lose your way, because Hikmet requires quite a bit of prior knowledge of the Turkish past and the local geography. And for a non-Turkish reader that sometimes makes this book difficult to understand and appreciate. But the style is very refreshingly modernist: Hikmet introduced the free verse form that was so typical of early 20th-century Western European poetry. I have no doubt that the translators have definitely done their best to convey the poetic expressiveness of the original, but in Turkish itself this work certainly cannot but make even more of an impression. (2.5 stars)
June 27, 2015
Ignore that it took me a year to read this novel. The fact that it went so long is no reflection on how good or bad this book is. Life and procrastination got in the way.
In my opinion, Human Landscapes from My Country is a very good novel in verse. This was the first time in many years that I took time to read an epic poem. The last epic I recall reading was John Milton's Paradise Lost and Paradise Regained when I was an English major.
This is the second time I've read poetry by Nazim Hikmet who remains one of my favorite poets and one who has had an influence on the poetry I write. Unlike the collection of his poems that I read a few years ago (The Poems of Nazim Hikmet), this novel is more raw, realistic, and pessimistic than the individual short poems I read in the previous collection of his works. However on occasion, there were elements in it of the his softer more optimistic tone this similar to what is found in The Poems.
Human Landscapes from My Country is an epic novel in verse that is about the early history of the Turkish Republic into World War II. It presents the various classes of the society, the Turkish peasant, outcasts, blue collar workers, prisoners of petty, passion, and political crimes, military men, artists, writers, and millionaires. Nazim Hikmet wrote this poetic novel during WWII when he was serving a thirteen year sentence as a political prisoner. I would describe this novel as disjointed and complex with a wide array of characters, some who are described in detail and others in passing, but at the same time everyone and ever event is connected in some way. In the last quarter of the novel the scene is shifted to a prison and to Russia fighting against the Nazi onslaught. Hikmet was imprisoned in Turkey because he was a Communist, so that he would shift suddenly outside of Turkish society to a prison and to Russia was rather surprising to me at first, but considering the ideology that he followed and what was occurring in his life as he penned this novel, it began to make sense.
If you are interested in Turkish history, culture, literature, or if you are just a poetry lover I highly recommend this book. Please note: if you know little about Turkish history at the end of Ottoman times through the World Wars, there is a glossary at the back clarifying various historical events and figures.
In my opinion, Human Landscapes from My Country is a very good novel in verse. This was the first time in many years that I took time to read an epic poem. The last epic I recall reading was John Milton's Paradise Lost and Paradise Regained when I was an English major.
This is the second time I've read poetry by Nazim Hikmet who remains one of my favorite poets and one who has had an influence on the poetry I write. Unlike the collection of his poems that I read a few years ago (The Poems of Nazim Hikmet), this novel is more raw, realistic, and pessimistic than the individual short poems I read in the previous collection of his works. However on occasion, there were elements in it of the his softer more optimistic tone this similar to what is found in The Poems.
Human Landscapes from My Country is an epic novel in verse that is about the early history of the Turkish Republic into World War II. It presents the various classes of the society, the Turkish peasant, outcasts, blue collar workers, prisoners of petty, passion, and political crimes, military men, artists, writers, and millionaires. Nazim Hikmet wrote this poetic novel during WWII when he was serving a thirteen year sentence as a political prisoner. I would describe this novel as disjointed and complex with a wide array of characters, some who are described in detail and others in passing, but at the same time everyone and ever event is connected in some way. In the last quarter of the novel the scene is shifted to a prison and to Russia fighting against the Nazi onslaught. Hikmet was imprisoned in Turkey because he was a Communist, so that he would shift suddenly outside of Turkish society to a prison and to Russia was rather surprising to me at first, but considering the ideology that he followed and what was occurring in his life as he penned this novel, it began to make sense.
If you are interested in Turkish history, culture, literature, or if you are just a poetry lover I highly recommend this book. Please note: if you know little about Turkish history at the end of Ottoman times through the World Wars, there is a glossary at the back clarifying various historical events and figures.
September 9, 2018
Muazzam...
September 28, 2016
"Onlar ki toprakta kar谋nca,
suda bal谋k,
havada ku艧 kadar
莽辞办迟耻谤濒补谤;
korkak,
cesur,
cahil,
丑补办卯尘
ve 莽ocukturlar
ve kahreden
yaratan ki onlard谋r,
destan谋m谋zda yaln谋z onlar谋n maceralar谋 vard谋r.
Onlar ki uyup hainin i臒vas谋na
sancaklar谋n谋 elden yere d眉艧眉r眉rler
ve d眉艧man谋 meydanda koyup
ka莽arlar evlerine
ve onlar ki bir nice murtada han莽er 眉艧眉r眉rler
ve ye艧il bir a臒a莽 gibi g眉len
ve merasimsiz a臒layan
ve ana avrat k眉freden ki onlard谋r,
destan谋m谋zda yaln谋z onlar谋n maceralar谋 vard谋r."
suda bal谋k,
havada ku艧 kadar
莽辞办迟耻谤濒补谤;
korkak,
cesur,
cahil,
丑补办卯尘
ve 莽ocukturlar
ve kahreden
yaratan ki onlard谋r,
destan谋m谋zda yaln谋z onlar谋n maceralar谋 vard谋r.
Onlar ki uyup hainin i臒vas谋na
sancaklar谋n谋 elden yere d眉艧眉r眉rler
ve d眉艧man谋 meydanda koyup
ka莽arlar evlerine
ve onlar ki bir nice murtada han莽er 眉艧眉r眉rler
ve ye艧il bir a臒a莽 gibi g眉len
ve merasimsiz a臒layan
ve ana avrat k眉freden ki onlard谋r,
destan谋m谋zda yaln谋z onlar谋n maceralar谋 vard谋r."
February 25, 2013
賱賯丿 毓丕卮鬲 丨賷丕丞 賯氐賷乇丞
孬賲丕賳賷丞 毓卮乇 毓丕賲丕賸 賮賯胤
賱賲 鬲卮亘毓 丨鬲賶 賲賳 丿賮亍 丕賱卮賲爻 !
____
賲丕 亘賷賳 丕爻胤賳亘賵賱 賵 噩亘丕賱 丕賱賱丕匕賯賷丞 賵 爻賴賵賱 廿丿賱亘 賵 兀丨賷丕亍 丨賱亘 , 乇丕賮賯賳賷 賴匕丕 丕賱賰鬲丕亘
孬賲丕賳賷丞 毓卮乇 毓丕賲丕賸 賮賯胤
賱賲 鬲卮亘毓 丨鬲賶 賲賳 丿賮亍 丕賱卮賲爻 !
____
賲丕 亘賷賳 丕爻胤賳亘賵賱 賵 噩亘丕賱 丕賱賱丕匕賯賷丞 賵 爻賴賵賱 廿丿賱亘 賵 兀丨賷丕亍 丨賱亘 , 乇丕賮賯賳賷 賴匕丕 丕賱賰鬲丕亘
July 3, 2020
Kitaptan geriye kalan en kuvvetli his
bunca zaman okumam谋艧 olmaya duyulan
辫颈艧尘补苍濒谋办
bunca zaman okumam谋艧 olmaya duyulan
辫颈艧尘补苍濒谋办
October 9, 2019
..G枚zler var:
annedir.
G枚zler var:
bebeklerinde yanan iki damla 谋艧谋kla
nefret ve kinden ibaret.
G枚zler var:
muhabbet.
G枚zler var:
bu臒daylar谋 g眉ne艧li bir harman manzaras谋 gibi bak谋yorlar.
Ve sonra ikide bir
ve sonra yine o g枚z:
inatla ve 谋srarla bakan
ve yar谋lm谋艧 ka艧谋
ve p谋nar谋ndan s谋zmakta kan...
annedir.
G枚zler var:
bebeklerinde yanan iki damla 谋艧谋kla
nefret ve kinden ibaret.
G枚zler var:
muhabbet.
G枚zler var:
bu臒daylar谋 g眉ne艧li bir harman manzaras谋 gibi bak谋yorlar.
Ve sonra ikide bir
ve sonra yine o g枚z:
inatla ve 谋srarla bakan
ve yar谋lm谋艧 ka艧谋
ve p谋nar谋ndan s谋zmakta kan...
September 12, 2014
Okudu臒umda lisedeydim.Beni derinden sarst谋.Hikayelerinden 枚te ,艧颈颈谤selli臒iyle de beni b眉y眉ledi.Koca bir y眉rekle, ince ince dokunan bir destan ve hi莽bir zaman haf谋zalardan silinmeyecek ; 'Memleketimden 陌nsan Manzaralar谋'
July 18, 2015
Pretty fucking amazing to make a novel of a poem. It's hard to follow, but as you glimps each moment, the reward is ever present. Beautiful. Beautiful.
August 15, 2019
Okudu臒um en iyi kitap, adeta vaha. Kocaman bir memleket alb眉m眉 resmen. 脟evirdik莽e ne portreler.
"Anlamak:
en b眉y眉k rahatl谋k.
Kar艧谋 konulmaz zoru sosyal zaruretlerin
ve kavga:
补办谋濒,
听听听听听听 y眉rek,
听听听听听听听听听听听听听听听听听听 yumruk,
alabildi臒ine nefret,
听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听 kin,
alabildi臒ine merhamet,
听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听 sevgi,
insan insan谋 s枚m眉rmesin diye
ve daha adil bir d眉nya
daha g眉zel bir memleket i莽in..."
"D眉nya ve yurt
ev ve a臒a莽,
insan ve 莽akal ve kurt,
ve b眉t眉n akarsular :
Ganj, Amazon, Nil, Volga, Menderes,
s枚zlerin ve hareketlerin hepsi :
h谋zla y眉kseldi, yak谋nla艧t谋 ses,
ulu bir besteyle doldu Akdeniz bah莽esi.
Yumdu g枚zlerini Cevdey Bey
ve elini b谋rak谋r gibi i莽ine denizin
b谋rakt谋 ihtiyar y眉re臒ini 莽al谋nan senfoniye.
Sekiz lambal谋 ve 39 modeliydi turun莽 bah莽esindeki radyo,
Ve p谋r谋l p谋r谋ld谋 isimleri istasyonlar谋n,
peri padi艧ah谋n谋n gizli memleketi gibiydi.
陌莽erde yaln谋z 眉莽 ki艧i uyan谋k :
ve radyo ba艧谋nda Halil, Ressam Ali ve Bethoven Hasan.
Sesi k谋sm谋艧lar.
Ve be艧 y眉z kilometre g眉neylerinde turun莽 bah莽esini dolduran senfoniyi dinliyorlar binlerce kilometre kuzeydo臒ular谋ndaki Moskova'dan."
"Anlamak:
en b眉y眉k rahatl谋k.
Kar艧谋 konulmaz zoru sosyal zaruretlerin
ve kavga:
补办谋濒,
听听听听听听 y眉rek,
听听听听听听听听听听听听听听听听听听 yumruk,
alabildi臒ine nefret,
听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听 kin,
alabildi臒ine merhamet,
听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听听 sevgi,
insan insan谋 s枚m眉rmesin diye
ve daha adil bir d眉nya
daha g眉zel bir memleket i莽in..."
"D眉nya ve yurt
ev ve a臒a莽,
insan ve 莽akal ve kurt,
ve b眉t眉n akarsular :
Ganj, Amazon, Nil, Volga, Menderes,
s枚zlerin ve hareketlerin hepsi :
h谋zla y眉kseldi, yak谋nla艧t谋 ses,
ulu bir besteyle doldu Akdeniz bah莽esi.
Yumdu g枚zlerini Cevdey Bey
ve elini b谋rak谋r gibi i莽ine denizin
b谋rakt谋 ihtiyar y眉re臒ini 莽al谋nan senfoniye.
Sekiz lambal谋 ve 39 modeliydi turun莽 bah莽esindeki radyo,
Ve p谋r谋l p谋r谋ld谋 isimleri istasyonlar谋n,
peri padi艧ah谋n谋n gizli memleketi gibiydi.
陌莽erde yaln谋z 眉莽 ki艧i uyan谋k :
ve radyo ba艧谋nda Halil, Ressam Ali ve Bethoven Hasan.
Sesi k谋sm谋艧lar.
Ve be艧 y眉z kilometre g眉neylerinde turun莽 bah莽esini dolduran senfoniyi dinliyorlar binlerce kilometre kuzeydo臒ular谋ndaki Moskova'dan."
August 9, 2008
I read this wonderful book some fourteen years ago. Naz谋m Hikmet is one of the best Turkish poets. He wrote it when he was in jail for his political views in 1940s. It gives a magnificent panorama of the Turkey of 1930s and 40s. His lines especially on the Turkish peasant, the Independence war among many others are still fresh in my memory. I want to read it again as soon as possible.
June 30, 2018
"Kitaba d眉艧t眉m,
sabahtan ak艧ama kadar okuyorum.
Kitaplar ak谋ll谋
kitaplar aptal.
Kitaplar b眉y眉k
kitaplar 莽ocuk.
Kitaplar en uzak, en g眉zel yolculuk
fakat k谋s谋r
fakat sensiz..."
sabahtan ak艧ama kadar okuyorum.
Kitaplar ak谋ll谋
kitaplar aptal.
Kitaplar b眉y眉k
kitaplar 莽ocuk.
Kitaplar en uzak, en g眉zel yolculuk
fakat k谋s谋r
fakat sensiz..."
March 13, 2017
The first page pulls you in immediately. Nazim Hikmet shows with clarity how extraordinarily empathetic he is to the stories of his countrymen. He captures their ideas and thoughts and showcases them in poetic, riveting language. What makes his book unusual, is that most books focusing on this time period are obsessed with the 'great man of Turkey,' Atat眉rk. Hikmet turns that hierarchy upside down, showing what common people experienced.
Because each profile may be but a page or two, not many characters stay with you throughout the book. A pungent sense of what life was like at the beginning of the Republic can be had. Turkish friends have often said to me that the Republic of Turkey was created for Turkish men by Turkish men. Women just happen to be living in it. Hikmet's writing actually shows that. Almost all of the characters in this book are men, women serve as mere props to be acted on. The largest female roles are given to a Turkish woman pining for her imprisoned husband and a Russian partisan fighting the Nazis on behalf of communism. This is a superb read for a clear-eyed, unsentimental, eye-opening view of Turkish patriarchy.
Another significant feature of the book is what is left out of the story. During the time chronicled and remembered in this 17,000-line epic poem, so many fascinating things happened in Anatolia. Things of horror for example, like the Armenian genocide. Yet the single reference to Armenians and what happened to them is on page 432. It hardly seemed mentioned, yet it had to be a trauma for the Turks as well as the Armenians. But what about the hat law, and the alphabet and measurement systems changing? The timekeeping and calendars changing, etc. I wondered if Nazim Hikmet was creating a selective memory for his Turkish readers of the future, leaving some of the homemade terror out.
It seems odd to stick a great man of letters in prison, who then spends his time chronicling prison stories told to him. Right now in 2017, for example, 81 different journalists are imprisoned in Turkey. A boatload of academics are as well. Is Turkey going to be known in literature circles for all of the prison memoirs it creates by constantly tossing the writers in prison? What an odd sector of society to showcase due to their close proximity to journalists, writers, or academics who think differently than the State.
Because each profile may be but a page or two, not many characters stay with you throughout the book. A pungent sense of what life was like at the beginning of the Republic can be had. Turkish friends have often said to me that the Republic of Turkey was created for Turkish men by Turkish men. Women just happen to be living in it. Hikmet's writing actually shows that. Almost all of the characters in this book are men, women serve as mere props to be acted on. The largest female roles are given to a Turkish woman pining for her imprisoned husband and a Russian partisan fighting the Nazis on behalf of communism. This is a superb read for a clear-eyed, unsentimental, eye-opening view of Turkish patriarchy.
Another significant feature of the book is what is left out of the story. During the time chronicled and remembered in this 17,000-line epic poem, so many fascinating things happened in Anatolia. Things of horror for example, like the Armenian genocide. Yet the single reference to Armenians and what happened to them is on page 432. It hardly seemed mentioned, yet it had to be a trauma for the Turks as well as the Armenians. But what about the hat law, and the alphabet and measurement systems changing? The timekeeping and calendars changing, etc. I wondered if Nazim Hikmet was creating a selective memory for his Turkish readers of the future, leaving some of the homemade terror out.
It seems odd to stick a great man of letters in prison, who then spends his time chronicling prison stories told to him. Right now in 2017, for example, 81 different journalists are imprisoned in Turkey. A boatload of academics are as well. Is Turkey going to be known in literature circles for all of the prison memoirs it creates by constantly tossing the writers in prison? What an odd sector of society to showcase due to their close proximity to journalists, writers, or academics who think differently than the State.
August 23, 2020
"Hem anlatsana bana :
Nas谋l oluyor da 莽谋ld谋rm谋yoruz 枚lece臒imizi bildi臒imiz halde?
Yoksa, ben 枚lmem gibi mi geliyor insana.
Day谋m s枚yl眉yor :
Cephede herkes b枚yle d眉艧眉n眉rm眉艧, do臒ru mu?
Yoksa 枚lmeye de mi al谋艧谋yoruz ihtiyarlamaya al谋艧t谋臒谋m谋z gibi.
Bence bunun sebebi 艧u :
Herbirimizdeki k谋sal谋臒谋na ra臒men,
Ya艧amak daha kuvvetli 枚l眉mden."
Nas谋l oluyor da 莽谋ld谋rm谋yoruz 枚lece臒imizi bildi臒imiz halde?
Yoksa, ben 枚lmem gibi mi geliyor insana.
Day谋m s枚yl眉yor :
Cephede herkes b枚yle d眉艧眉n眉rm眉艧, do臒ru mu?
Yoksa 枚lmeye de mi al谋艧谋yoruz ihtiyarlamaya al谋艧t谋臒谋m谋z gibi.
Bence bunun sebebi 艧u :
Herbirimizdeki k谋sal谋臒谋na ra臒men,
Ya艧amak daha kuvvetli 枚l眉mden."
July 25, 2022
"鈥擜te艧i ve ihaneti g枚rd眉k
ve yanan g枚zlerimizle durduk
bu d眉nyan谋n 眉zerinde."
ve yanan g枚zlerimizle durduk
bu d眉nyan谋n 眉zerinde."
March 21, 2025
"Ba艧ka bir devre giriyoruz,
yorulduk"
Bug眉n, 21 Mart "D眉nya 艦iir G眉n眉" ve d眉nya 艧颈颈谤den uzak duruyor gibi g枚r眉nse de biliyorum 艧颈颈谤 d眉nyaya yak谋n, hatta ta kendisi.
"Ama ne yapars谋n谋z,
insan deh艧etli bir 艧eylerle doluyor,
m眉thi艧 i臒reniyor bir 艧eylerden,
m眉thi艧 k谋z谋yor bir 艧eylere."
艦iir sadece bug眉ne de臒il, ge莽mi艧e ve gelece臒e de ses olur, bazen de ba艧ka zamanlarda 莽谋nlar, titre艧ir, titre艧tirir.
"Memedin aya臒谋nda yar谋m 莽ar谋klar.
Memet y眉z眉koyun yatm谋艧 say谋klar.
Memet beygir f谋艧k谋s谋ndan arpa ay谋klar.
Arpay谋 g枚t眉r眉p derede y谋kar.
G眉ne艧te kurutup yiyecek Memet.
Da臒 ta艧 Memet dolu, da臒 ta艧 sevkiyat.
脰l眉m Allah谋n emri, a莽l谋k olmasa fakat."
Sesini 艧颈颈谤ine sar谋p gelece臒e hayk谋ran bir eser ve 艧airini anmak istedim. Uzun uzad谋ya yorumlamay谋 haddim g枚rmedi臒im bir de臒erimiz olan N芒z谋m Hikmet ve "Memleketimden 陌nsan Manzaralar谋" adl谋 devasa eseri.
"S枚yleyecek ne kadar g眉zel s枚zlerim vard谋 insanlara bana hi莽birini s枚yletmediler."
艦airin 1939 y谋l谋nda yazmaya ba艧lad谋臒谋 ve 莽o臒unu hapishanedeyken olu艧turdu臒u bu destan eser, 1950 y谋l谋na gelindi臒inde 66 bin m谋sraya ula艧m谋艧 olsa da, 艧air hakk谋ndaki yasak nedeniyle yay谋mlanamam谋艧.
""陌艧siz kal谋rsam" diye d眉艧眉nd眉
22 ya艧谋nda.
"陌艧siz kal谋rsam" diye d眉艧眉nd眉
23 ya艧谋nda.
"陌艧siz kal谋rsam" diye d眉艧眉nd眉
24 ya艧谋nda.
Ve zaman zaman i艧siz kalarak
"陌艧siz kal谋rsam" diye d眉艧眉nd眉
50 ya艧谋na kadar.
51 ya艧谋nda "陌htiyarlad谋m" dedi,
"babamdan bir y谋l fazla ya艧ad谋m."
艦imdi 52 ya艧谋ndad谋r.
陌艧蝉颈锄诲颈谤."
艦airin vefat谋ndan sonra 1965 y谋l谋nda 17 bin m谋sra olarak yay谋mlanabilen eser, o g眉nden itibaren, hem edebi hem de i莽erik y枚n眉nden zamans谋zl谋臒谋n谋 korumaya devam etmi艧.
"脰lmeyi isteyecek kadar 莽谋ld谋rmak i莽in
bug眉n bu d眉nyada 枚yle 莽ok sebep var ki"
Memleketimizin ge莽mi艧ine ayna tutan ve bir d枚nem uygulamada olan 100 Temel Eser aras谋nda da kendine yer bulan bu eser, listelerde yer als谋n ya da almas谋n, dilimizin en g眉zel 枚rneklerinden biri olmay谋 s眉rd眉recektir.
"Onlar 眉midin d眉艧man谋d谋r, sevgilim,
akar suyun,
meyve 莽a臒谋nda a臒ac谋n,
serpilip geli艧en hayat谋n d眉艧man谋.
脟眉nk眉 枚l眉m vurdu damgas谋n谋 al谋nlar谋na:
- 莽眉r眉yen di艧, d枚k眉len et-,
bir daha geri d枚nmemek 眉zere y谋k谋l谋p gidecekler.
Ve elbette ki, sevgilim, elbet,
dola艧acakt谋r elini kolunu sallaya sallaya,
dola艧acakt谋r en 艧anl谋 elbisesiyle: i艧莽i tulumuyla
bu g眉zelim memlekette h眉rriyet.
Bursada havlucu Recebe,
Karab眉k fabrikas谋nda tesviyeci Hasana d眉艧man,
fakir k枚yl眉 Hat莽e kad谋na,
谋rgat S眉leymana d眉艧man,
sana d眉艧man, bana d眉艧man,
d眉艧眉nen insana d眉艧man,
vatan ki bu insanlar谋n evidir,
sevgilim, onlar vatana d眉艧man."
Maalesef baz谋 s枚zlerin ve baz谋 insanlar谋n zaman谋, 莽a臒谋yla uyum sa臒layam谋yor. Ama s枚z kalacak ve elbet bir duyan olacakt谋r. Duyulan ve duyulamayan t眉m 艧颈颈谤lerin g眉n眉 kutlu olsun.
yorulduk"
Bug眉n, 21 Mart "D眉nya 艦iir G眉n眉" ve d眉nya 艧颈颈谤den uzak duruyor gibi g枚r眉nse de biliyorum 艧颈颈谤 d眉nyaya yak谋n, hatta ta kendisi.
"Ama ne yapars谋n谋z,
insan deh艧etli bir 艧eylerle doluyor,
m眉thi艧 i臒reniyor bir 艧eylerden,
m眉thi艧 k谋z谋yor bir 艧eylere."
艦iir sadece bug眉ne de臒il, ge莽mi艧e ve gelece臒e de ses olur, bazen de ba艧ka zamanlarda 莽谋nlar, titre艧ir, titre艧tirir.
"Memedin aya臒谋nda yar谋m 莽ar谋klar.
Memet y眉z眉koyun yatm谋艧 say谋klar.
Memet beygir f谋艧k谋s谋ndan arpa ay谋klar.
Arpay谋 g枚t眉r眉p derede y谋kar.
G眉ne艧te kurutup yiyecek Memet.
Da臒 ta艧 Memet dolu, da臒 ta艧 sevkiyat.
脰l眉m Allah谋n emri, a莽l谋k olmasa fakat."
Sesini 艧颈颈谤ine sar谋p gelece臒e hayk谋ran bir eser ve 艧airini anmak istedim. Uzun uzad谋ya yorumlamay谋 haddim g枚rmedi臒im bir de臒erimiz olan N芒z谋m Hikmet ve "Memleketimden 陌nsan Manzaralar谋" adl谋 devasa eseri.
"S枚yleyecek ne kadar g眉zel s枚zlerim vard谋 insanlara bana hi莽birini s枚yletmediler."
艦airin 1939 y谋l谋nda yazmaya ba艧lad谋臒谋 ve 莽o臒unu hapishanedeyken olu艧turdu臒u bu destan eser, 1950 y谋l谋na gelindi臒inde 66 bin m谋sraya ula艧m谋艧 olsa da, 艧air hakk谋ndaki yasak nedeniyle yay谋mlanamam谋艧.
""陌艧siz kal谋rsam" diye d眉艧眉nd眉
22 ya艧谋nda.
"陌艧siz kal谋rsam" diye d眉艧眉nd眉
23 ya艧谋nda.
"陌艧siz kal谋rsam" diye d眉艧眉nd眉
24 ya艧谋nda.
Ve zaman zaman i艧siz kalarak
"陌艧siz kal谋rsam" diye d眉艧眉nd眉
50 ya艧谋na kadar.
51 ya艧谋nda "陌htiyarlad谋m" dedi,
"babamdan bir y谋l fazla ya艧ad谋m."
艦imdi 52 ya艧谋ndad谋r.
陌艧蝉颈锄诲颈谤."
艦airin vefat谋ndan sonra 1965 y谋l谋nda 17 bin m谋sra olarak yay谋mlanabilen eser, o g眉nden itibaren, hem edebi hem de i莽erik y枚n眉nden zamans谋zl谋臒谋n谋 korumaya devam etmi艧.
"脰lmeyi isteyecek kadar 莽谋ld谋rmak i莽in
bug眉n bu d眉nyada 枚yle 莽ok sebep var ki"
Memleketimizin ge莽mi艧ine ayna tutan ve bir d枚nem uygulamada olan 100 Temel Eser aras谋nda da kendine yer bulan bu eser, listelerde yer als谋n ya da almas谋n, dilimizin en g眉zel 枚rneklerinden biri olmay谋 s眉rd眉recektir.
"Onlar 眉midin d眉艧man谋d谋r, sevgilim,
akar suyun,
meyve 莽a臒谋nda a臒ac谋n,
serpilip geli艧en hayat谋n d眉艧man谋.
脟眉nk眉 枚l眉m vurdu damgas谋n谋 al谋nlar谋na:
- 莽眉r眉yen di艧, d枚k眉len et-,
bir daha geri d枚nmemek 眉zere y谋k谋l谋p gidecekler.
Ve elbette ki, sevgilim, elbet,
dola艧acakt谋r elini kolunu sallaya sallaya,
dola艧acakt谋r en 艧anl谋 elbisesiyle: i艧莽i tulumuyla
bu g眉zelim memlekette h眉rriyet.
Bursada havlucu Recebe,
Karab眉k fabrikas谋nda tesviyeci Hasana d眉艧man,
fakir k枚yl眉 Hat莽e kad谋na,
谋rgat S眉leymana d眉艧man,
sana d眉艧man, bana d眉艧man,
d眉艧眉nen insana d眉艧man,
vatan ki bu insanlar谋n evidir,
sevgilim, onlar vatana d眉艧man."
Maalesef baz谋 s枚zlerin ve baz谋 insanlar谋n zaman谋, 莽a臒谋yla uyum sa臒layam谋yor. Ama s枚z kalacak ve elbet bir duyan olacakt谋r. Duyulan ve duyulamayan t眉m 艧颈颈谤lerin g眉n眉 kutlu olsun.
November 29, 2018
Memleketimden 陌nsan Manzaralar谋 onlarca portreden meydana geliyor. Bunlar s谋n谋fsal bir duyarl谋l谋kla yaz谋lm谋艧 yoksul insan portreleri. N芒z谋m T眉rk insan谋n谋 harika anlatm谋艧. Okurken 艧unu d眉艧眉nd眉m, bir yabanc谋 bu kitab谋 okusa kesinlikle T眉rk insan谋n谋 tan谋r. Olumlu taraflar谋yla da olumsuz taraflar谋yla da T眉rk insan谋n谋n karakteristi臒i ancak bu kadar bir kitaba s谋臒abilirdi san谋r谋m.
Kitap bizi Haydarpa艧a gar谋na 1941 bahar谋na g枚t眉r眉yor. 陌kinci d眉nya sava艧谋n谋n ilk y谋llar谋n谋n yaratt谋臒谋 tedirginlik ve endi艧e m谋sralara olduk莽a sirayet etmi艧. D眉nya sava艧谋 fonda 莽alan bir 艧ark谋 gibi kitab谋n tamam谋na yay谋lm谋艧. 脺lke g眉ndemini olu艧turan "i艧gale u臒rayacak m谋y谋z", "sava艧a kat谋lacak m谋y谋z" sorular谋 memleket insan谋n谋n dilinden d眉艧m眉yor..
Kitap bizi Haydarpa艧a gar谋na 1941 bahar谋na g枚t眉r眉yor. 陌kinci d眉nya sava艧谋n谋n ilk y谋llar谋n谋n yaratt谋臒谋 tedirginlik ve endi艧e m谋sralara olduk莽a sirayet etmi艧. D眉nya sava艧谋 fonda 莽alan bir 艧ark谋 gibi kitab谋n tamam谋na yay谋lm谋艧. 脺lke g眉ndemini olu艧turan "i艧gale u臒rayacak m谋y谋z", "sava艧a kat谋lacak m谋y谋z" sorular谋 memleket insan谋n谋n dilinden d眉艧m眉yor..
January 4, 2018
D眉r眉st olmak gerekirse Naz谋m Hikmet鈥檌n 艧颈颈谤i de nesiri de bana hitap etmiyor. Bu tarzda yazan kimsenin ki hitap
et-
mi-
yor.
Kitapta bir莽ok 艧ey var kal谋nl谋臒谋na bakmamak laz谋m 莽眉nk眉 sayfalar谋n 莽o臒unu kaplayan yukarda 枚rnek verdi臒im gibi. Farkl谋 insanlar谋n hayatlar谋na dokunmu艧 yazar ben en 莽ok Sakarya Muharebesi鈥檔den bahsetti臒i k谋sm谋 be臒endim. Daha 枚nce Naz谋m Hikmet鈥檌n Kuvay-谋 Milliye鈥檚ini okumu艧tum o tad谋 ald谋m yine. Ama kitab谋 okurken ko艧uyormu艧 gibi bir hisse kap谋ld谋m. Her 艧ey 莽ok 莽abuk t眉kendi, her olay kendi i莽inde s枚nd眉. Hele de h谋zl谋 okumaya al谋艧k谋n biriyseniz sayfalar谋 ge莽erken m眉thi艧 bir ba艧 d枚nmesi ya艧aman谋z m眉mk眉n.
et-
mi-
yor.
Kitapta bir莽ok 艧ey var kal谋nl谋臒谋na bakmamak laz谋m 莽眉nk眉 sayfalar谋n 莽o臒unu kaplayan yukarda 枚rnek verdi臒im gibi. Farkl谋 insanlar谋n hayatlar谋na dokunmu艧 yazar ben en 莽ok Sakarya Muharebesi鈥檔den bahsetti臒i k谋sm谋 be臒endim. Daha 枚nce Naz谋m Hikmet鈥檌n Kuvay-谋 Milliye鈥檚ini okumu艧tum o tad谋 ald谋m yine. Ama kitab谋 okurken ko艧uyormu艧 gibi bir hisse kap谋ld谋m. Her 艧ey 莽ok 莽abuk t眉kendi, her olay kendi i莽inde s枚nd眉. Hele de h谋zl谋 okumaya al谋艧k谋n biriyseniz sayfalar谋 ge莽erken m眉thi艧 bir ba艧 d枚nmesi ya艧aman谋z m眉mk眉n.
Read
April 14, 2024This novel took me ages to finish and everything ended up being a big blur.馃珷 I think because I read a translation it lost a lot of its poetic aspects, which is unfortunate
Read
October 23, 2020D眉nya bu,
insan y眉r眉r, y眉kselir, 莽谋kar yoku艧u,
gayr谋 枚yle olur ki
ilk hareket noktas谋na bir daha d枚n眉p bakmaz.
Bizi yedi kat yerin dibinden al谋p s谋rt谋nda g枚t眉r眉rken z眉mr眉d眉 anka ku艧u
budumuzdan et kesip veririz.
Sonra Kafda臒谋'na ula艧t谋k m谋yd谋
ku艧 unutulur
biz buraya say-i zatimizle 莽谋kt谋k, deriz.
insan y眉r眉r, y眉kselir, 莽谋kar yoku艧u,
gayr谋 枚yle olur ki
ilk hareket noktas谋na bir daha d枚n眉p bakmaz.
Bizi yedi kat yerin dibinden al谋p s谋rt谋nda g枚t眉r眉rken z眉mr眉d眉 anka ku艧u
budumuzdan et kesip veririz.
Sonra Kafda臒谋'na ula艧t谋k m谋yd谋
ku艧 unutulur
biz buraya say-i zatimizle 莽谋kt谋k, deriz.
May 2, 2018
"Absoluut meesterwerk van dicht- en vertelkunst. Indrukwekkend op erg veel vlakken."
Dat schreef ik nadat ik Mensenlandschappen voor de eerste maal gelezen had. Ik heb het nu voor de tweede maal gelezen en kan enkel beamen wat ik toen dacht. Meer zelfs, het was deze maal mooier en krachtiger, realistischer en zachter. Hikmet beschrijft zijn wereld aan de hand van talloze mensen. We zien ze als landschappen die aan ons zicht passeren, als vanuit een trein. Hikmet beschrijft zonder verbloemen doch altijd met mededogen. Die warmte, liefde, dat begrip voor de medemens maakt Mensenlandschappen zoveel meer dan een po毛tische beschrijving van de mensheid. Het is een deugddoend boek, ondanks alles. Hikmet verbergt het negatieve en lelijke namelijk niet. Hij toont het evengoed als het goede en mooie. Hij doet dat echter op zo'n manier dat je geen wrok, bitterheid, wanhoop, haat... voelt, enkel droefnis, medelijden, hoop...
Zijn stijl en taal zijn dan ook z贸 mooi. Je kan niet anders dan houden van de beschrijvingen, de symboliek, het ritme, de structuur. De vele, kort beschreven Mensenlandschappen vormen samen een oneindige en universele wereld. Op magische manier lijkt het ganse leven op wondermooie wijze gevat in dit boek.
Ik ben ervan overtuigd dat dit een van die zeldzame boeken is die je kan blijven herlezen zonder ze ooit helemaal gelezen te hebben. Zoals je landschappen kan blijven ontdekken, naargelang het moment, je eigen plaats erin, de richting van je blik, je focus (op het specifieke of algemene, het kleine of grote, het tijdelijke of blijvende), je beweging, je snelheid, je afstand tot het landschap etc. Mensenlandschappen is niet 茅茅n prachtig boek, het is er vele.
Dat schreef ik nadat ik Mensenlandschappen voor de eerste maal gelezen had. Ik heb het nu voor de tweede maal gelezen en kan enkel beamen wat ik toen dacht. Meer zelfs, het was deze maal mooier en krachtiger, realistischer en zachter. Hikmet beschrijft zijn wereld aan de hand van talloze mensen. We zien ze als landschappen die aan ons zicht passeren, als vanuit een trein. Hikmet beschrijft zonder verbloemen doch altijd met mededogen. Die warmte, liefde, dat begrip voor de medemens maakt Mensenlandschappen zoveel meer dan een po毛tische beschrijving van de mensheid. Het is een deugddoend boek, ondanks alles. Hikmet verbergt het negatieve en lelijke namelijk niet. Hij toont het evengoed als het goede en mooie. Hij doet dat echter op zo'n manier dat je geen wrok, bitterheid, wanhoop, haat... voelt, enkel droefnis, medelijden, hoop...
Zijn stijl en taal zijn dan ook z贸 mooi. Je kan niet anders dan houden van de beschrijvingen, de symboliek, het ritme, de structuur. De vele, kort beschreven Mensenlandschappen vormen samen een oneindige en universele wereld. Op magische manier lijkt het ganse leven op wondermooie wijze gevat in dit boek.
Ik ben ervan overtuigd dat dit een van die zeldzame boeken is die je kan blijven herlezen zonder ze ooit helemaal gelezen te hebben. Zoals je landschappen kan blijven ontdekken, naargelang het moment, je eigen plaats erin, de richting van je blik, je focus (op het specifieke of algemene, het kleine of grote, het tijdelijke of blijvende), je beweging, je snelheid, je afstand tot het landschap etc. Mensenlandschappen is niet 茅茅n prachtig boek, het is er vele.
November 5, 2020
Nazim Hikmet efsane yazmis. Yani iyi olacagini bekliyordum ama cok iyiymis. Yerelde evrenseli bu kadar g眉zel yakalayan yetenekler cok nadir olsa gerek. Ayrica zamansiz. 1940li yillarda yazilmasina ragmen bu yil yayimlandi deseler ben itiraz etmezdim. Buyuk ihtimalle yillarca da boyle kalacak. Bu arada benim okudugum versiyonda eski t眉rkce kelimeler yenileriyle degistirilmisti ama sadece kelimelerin cagdasligini kastetmiyorum. Inanilmaz g眉ncel kalmis bir eser. Yazim tarzi da tam siir degil, tam d眉zyazi degil cok degisik ama cok g眉zel bir form. Gerek anlatim tarzi, gerek anlattigi hikayeler tam bir edebiyat efsanesi. Nedense son kisimlarda tempo biraz d眉s眉yor gibi hissettim. Bir de sovyet rusyaya baglaninca Nazim Hikmetin memleket kavrami daha genismis diye d眉s眉nd眉m ama benim de Nazim kadar evrensel olacak halim yok :) Okudugum en iyi t眉rkce edebiyat olabilir.
June 3, 2015
Bir insan ancak bu kadar iyi tan瑟r ve sever vatan瑟n瑟 ve insanlar瑟n瑟. Bu eser bir sevdan瑟n destan谋. Her ge耀en g眉n daha g眉zel, daha anlaml瑟..
Bindim ay 瑟艧瑟臒谋nda Anadolu S眉rat Katar谋鈥檔a, Nazim鈥檇an Kuvayi Milliye鈥檡i dinledim yemekli vagonda, duyguland谋m, g枚臒s眉m minnetle kabard谋. Cok sey s枚ylenebilir, fakat fazlas谋na hacet yok. Te艧ekk眉rler Naz谋m..
Bindim ay 瑟艧瑟臒谋nda Anadolu S眉rat Katar谋鈥檔a, Nazim鈥檇an Kuvayi Milliye鈥檡i dinledim yemekli vagonda, duyguland谋m, g枚臒s眉m minnetle kabard谋. Cok sey s枚ylenebilir, fakat fazlas谋na hacet yok. Te艧ekk眉rler Naz谋m..
December 7, 2014
Inan谋lmaz g眉zel bir kitap daha okudum.Naz谋m Hikmet'i okumaya pek f谋rsat谋m olmam谋艧t谋.Piraye'ye Mektuplar adl谋 kitab谋 莽ok be臒enmi艧tim.Ger莽i b眉y眉k ustalar谋n kitaplar谋 hakk谋nda konu艧urken 莽ekiniyorum.脟眉nk眉 be臒enmedi臒imiz kitaplar谋 genelde anlamad谋klar谋m谋z oluyor.Oda benim eksikli臒im.
August 15, 2016
N芒z谋m Hikmet, Haydarpa艧a tren gar谋ndan roman tad谋nda 艧颈颈谤leriyle Anadolu'ya yolculu臒a 莽谋kar谋yor.
Anadolu S眉rat Katar谋'nda ba艧layan hik芒ye karakterlerin birinci a臒z谋ndan anlat谋ld谋臒谋 i莽in okurken i艧莽isiyle i艧莽i, mahk没muyla mahk没m, 莽ocu臒uyla 莽ocuk oluyorsunuz.
Anadolu S眉rat Katar谋'nda ba艧layan hik芒ye karakterlerin birinci a臒z谋ndan anlat谋ld谋臒谋 i莽in okurken i艧莽isiyle i艧莽i, mahk没muyla mahk没m, 莽ocu臒uyla 莽ocuk oluyorsunuz.
April 7, 2012
Extremely important poet and writer and very profound poem written in prison.
Read it!
Read it!
November 24, 2018
Anlat谋lamaz, hissedilerek okunur yaln谋zca. Ola臒an眉st眉
January 31, 2025
I was a bit skeptical when I started this classic of Turkish literature, because I actually expected quite a lot of communist kitsch. Well, there is a good deal of it in the epic, but also much else. Hence the three stars reflect in this case a very mixed experience, and great difference in quality between the various parts.
The best part is the first part where Hikmet describes the lives of a number of Turks travelling in the third class compartment of a train from 陌stanbul to Ankara in the spring of 1941. As the title "Human landscapes" says Hikmet slowly shift from one character to the other and describes with powerful words their precarious situation at present, but also their memories of World War I and the Nation Liberation War. The overarching theme is that the poor population of Anatolia has been betrayed of the fruits of their struggle by the new Kemalist regime (a trope that actually also exists in an Islamist version). What is to be noted positively is that in this part Hikmet does not ahistorically impose Marxist class consciousness on the characters, instead he shows that most of them were deeply informed by a religious worldview (and often na茂vely sympathized with Hitler). An exception are of course the group of political prisoners transferred to Ankara.*
In the following book Hikmet describes upper class travelers in the dining car and the kitchen staff. In this case he caricatures the superficial Westernization of the passengers, and their willingness to collaborate with Nazism. Here the problem begins, neither her nor elsewhere in the book Hikmet refers to the fact that "1941 bahar谋nda" the Soviet Union was the main ally of the Third Reich.
in book three Hikmet turns again to the life of mostly lower class people but also academics in the countryside, as well as political prisoners. Here again he describes very impressively economic hardship as well as the isolation of the educated in rural society.
Throughout books four and five** the work becomes increasingly propagandistic, and Hikmet sometimes leaves Turkey and integrates scenes from World War II, in particular "The Great Patriotic War", apparently with the intention to show Turks the parallels with the Soviet War effort and the aforementioned Turkish military struggles. Although many passages still display great poetic power, Hikmet often descends into political lecturing here.
* The description of Ankara, at that time an assembly of government buildings in the steppe is very impressive.
** Both incomplete and partially lost.
The best part is the first part where Hikmet describes the lives of a number of Turks travelling in the third class compartment of a train from 陌stanbul to Ankara in the spring of 1941. As the title "Human landscapes" says Hikmet slowly shift from one character to the other and describes with powerful words their precarious situation at present, but also their memories of World War I and the Nation Liberation War. The overarching theme is that the poor population of Anatolia has been betrayed of the fruits of their struggle by the new Kemalist regime (a trope that actually also exists in an Islamist version). What is to be noted positively is that in this part Hikmet does not ahistorically impose Marxist class consciousness on the characters, instead he shows that most of them were deeply informed by a religious worldview (and often na茂vely sympathized with Hitler). An exception are of course the group of political prisoners transferred to Ankara.*
In the following book Hikmet describes upper class travelers in the dining car and the kitchen staff. In this case he caricatures the superficial Westernization of the passengers, and their willingness to collaborate with Nazism. Here the problem begins, neither her nor elsewhere in the book Hikmet refers to the fact that "1941 bahar谋nda" the Soviet Union was the main ally of the Third Reich.
in book three Hikmet turns again to the life of mostly lower class people but also academics in the countryside, as well as political prisoners. Here again he describes very impressively economic hardship as well as the isolation of the educated in rural society.
Throughout books four and five** the work becomes increasingly propagandistic, and Hikmet sometimes leaves Turkey and integrates scenes from World War II, in particular "The Great Patriotic War", apparently with the intention to show Turks the parallels with the Soviet War effort and the aforementioned Turkish military struggles. Although many passages still display great poetic power, Hikmet often descends into political lecturing here.
* The description of Ankara, at that time an assembly of government buildings in the steppe is very impressive.
** Both incomplete and partially lost.
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