Koray Feyiz interviews Veysel Çolak
 


 


TURKISH POETRY: POETRY FOR THE WORLD
 

"... the best poems in the 21st century are written in Turkey and in a few other countries where social contradictions are intense. . . Whatever the language, religion or race, Turkish poetry is poetry that prioritizes an observation of all mankind. It is the poetry of humanity that tries to understand life."

Veysel Çolak




(Translated from Turkish to English by Koray Feyiz)


KORAY FEYİZ: I want to do an interview with you. But I want this to be an interview different from the usual ones. I want to direct three questions to you that are connected to each other... in particular on Contemporary Turkish Poetry.

My hope is that you would address the following points: 1) The distance covered by contemporary Turkish poetry from the Republic era to today and contemporary Turkish poetry’s place within world poetry. 2) Your thoughts on Turkish and world poetry within a general framework. 3) Veysel Colak's poetry.

What would you say?

VEYSELÇOLAK: The first Turkish novel was Şemsettin Sami’s Taassuk-i Talat and Fitnat in 1872. This period of novel writing that started in Turkish led to Orhan Pamuk winning the Nobel Literature Prize in 2006. I feel the need to underline this because Western public opinion has not shown an interest in Turkish poetry as much as Turkish novels. Due to this attitude, Turkish literature has been limited to Yaşar Kemal, Orhan Kemal and Aziz Nesin and has sufficed with what they wrote.

Of course Nâzım Hikmet has been embraced as a poet spoken of throughout the world and translated into all languages. What is strange is that Nâzım Hikmet  has been considered only as someone of Turkish origin, and he has not been taken into account as the founder of Turkish poetry after 1923.  If it was realized that Nâzım Hikmet was very attached to Turkey and Turkish people and culture to the very end, and that he was concerned for the future of mankind and sought peace, Western public opinion might have approached Turkish poetry more thoughtfully. Actually, this is necessary, for the dominant factor in determining Turkish literature is poetry. This can plainly be seen from research. It is now known that Turks wrote poetry from 2900-3000 BC, that even today cannot be taken lightly. In the texts recovered from the Turfan excavations and in the Divânü Lűgati't dictionary of Mahmut from Kaşkar, Turkish poets named Aprın Çor Tigin, Çuçu, Ki-ki, Kül Tarkan, Asıg Tutung, Pratyaya Şiri, Kalun Kayşı, Çisuya Tutung can be found. Of these poets two poems of Aprın Çor Tigin have been recovered. The first of these is a lyrical love poem. In the poetry lines the syllables are not equal. The musical verse repetitions in this poem are provided by assonance and alliteration. Verse beginning rhymes were also given place. It can be said that world poetry continued its existence along these lines. In terms of forming a thought, it is worth citing the said poem of Aprın Çor Tigin. When looked at today, this poem is exciting, because one can see that contemporary poetry was conceived hundreds of years ago. The poem is as follows:
 

 
I think of my fiancé and worry.
as I worry
darling
I long to rejoin you
I think of my love
I think and think but...
I want to kiss
my own love
if I flee
my beautiful darling
I still couldn’t go
my compassionate!
If I nuzzled up (to you)
my little one
I still couldn’t nuzzle up to you
my beautifully fragrant one!
with the
Gods of Light
natured my darling
let us join and never depart
but for the might
of mighty angels
with my dark eyes
let us sit and laugh together...


I assume that Turks were writing such poems before accepting Islamic culture. It is not known whether women poets were among the first Turkish poets. It would have been great if it had been known because, after the Turks accepted Islam, only a handful of women poets made their presence felt, but could not be successful.  It is a sad situation that, until 1923, Turkish poetry was deprived of women's sensitivity and perception.  Now, in the year 2011,  it can be said that this issue has been easily overcome, for Turkish women and men have taken their rightful place in Turkish poetry. In this context, Turkish poetry is poetry that overlaps all of Turkish society.

After 1923, in other words, after the founding of the Turkish Republic, Turkish poetry revealed a multiple character. On one hand, poets continued the folk poem tradition that observes equal syllables in lines; on the other hand, poets continued to use the prosody measure taken from Arab culture. Starting with the national pride of the Turkish, Nâzım Hikmet, who covered world poetry together with an understanding of futurist poetry, which  was decisive in Turkish poetry. This poetry not only joined Mayakovski, Pablo Neruda, Luis Aragon, Yanis Ritsos and Octavio Paz but also joined Walt Whitman, Stéphane Mallarmé and Ezra Pound. This understanding of poetry, from a phonetic view, together with French and Farsi, succeeded in using all of the richness of Turkish as one of the most beautiful languages of the world.

In terms of sound, Turkish poetry is an effective poetry. Of course it was not just content with this, for it was a poetry that observed nature and man endowed with the contents of their future. This poetry’s positioning is a humanistic politization. It has man on its horizon. Individualism and collectivism is its foundation. This search was not only limited to Turkish cultural sources, it also assimilated world poetry.

After 1860, French poetry, in particular, French symbolism with Ahmet Haşim, Parnasism with Tevfik Fikret entered Turkish poetry and successful poems were rewarded for this. In 1937, Osman Ziya Saba wrote poetry suitable to the mystical perception of the world. In 1939, after Nâzım Hikmet, the most widely known Turkish poet in the world is Orhan Veli. Together with Melih Cevdet and Oktay Rifat, he started the Garip (“Bizarre”) poetry movement and wrote wonderful examples of ironic poetry. Orhan Veli benefited from Jacques Prévert, beyond inspiration, and did not ignore world poetry. Rahter, Orhan Veli observed it and aimed to transcend it, and it can easily be said that he succeeded in doing this. Following Nâzım Hikmet, the Socialist Realist poets in the 1940s Arif Damar, Enver Gökçe, Ahmed Arif, Şükran Kurdakul, Attila İlhan, A. Kadir, Niyazi Akıncıoğlu and Sabri Altınel wrote poetry against all forms of individual and collective injustice, and in doing so they did not make any concessions from poetic values.

Later Fazıl Hüsnü Dağlarca, Behçet Necatigil, Cahit Külebi, Salah Birsel, Sabahattin Kudret Aksal and Can Yücel each wrote lasting poems for humanity. When 1955 came Cemal Süreya, Ece Ayhan, Sezai Karakoç, İlhan Berk, Edip Cansever, Turgut Uyar, Ülkü Tamer, Kemal Özer, Ergin Günçe, Gülten Akın, Ahmet Oktay, Özdemir İnce and Güven Turan; in the 1960s Ataol Behramoğlu, İsmet Özel, Süreya Berfe, Özkan Mert, Metin Demirtaş; in the 70’s and thereafter Veysel Çolak, Ahmet Telli, Arife Kalender, Murathan Mungan, Sina Akyol, Metin Cengiz, Nuri Demirci, Mehmet Mümtaz Tuzcu, Adnan Özer, Haydar Ergülen, Akif Kurtuluş and many other poets perceived the world through poetry; they commented and tried to change it.

Poetry in Turkey was perceived as a life style and an approach suitable to this was developed. With this passion for poetry, the Turkish poet became curious about world poetry and learned it. There is no doubt, the fact that Turks are a nation that thinks with their feelings has a large part to do with this. Turks think that a society without poetry is lacking; a person without poems is alone, and for this reason will not abandon poetry. The world public opinion on poetry is not like this, and for this reason I can say that people in the world were never curious about Turkish poetry. This apathy, coupled with the fact that Turkish is not a widespread language has led to Turkish poetry not being sufficiently known; whereas, the best poems in the 21st century are written in Turkey, and in a few other countries where social contradictions are intense. It would be correct to say that the Turkish poets I have cited above have considerably surpassed the poems written in the world, but the poems of these poets have not been sufficiently translated into other languages. An isolated few translations are far from forming a lasting idea on Turkish poetry. Whatever the language, religion or race, Turkish poetry is poetry that prioritizes an observation of all mankind. It is the poetry of humanity that tries to understand life. While giving place to local and national colors in their poetry, the primary objective of the Turkish poets is to capture what is universal, to write poetry for the world. The simple love felt for people, love that is distant from self-interest, peace, opposition to war, value given to labor, class contradictions, the importance of women, looking after children, protecting individuals against all forms of pressure; responsibility felt for birds, water, forests, the sky; the respect accorded to one’s mother tongue and world languages make up the contents of Turkish poetry. In terms of subject and theme Turkish poetry is poetry in its totality. For whatever the individual and society lives for, it takes place diachronically or simultaneously in all poetry. This characteristic feature of Turkish poetry shows how different it is from world poetry. Having worried about the problems of life, Turkish poetry has never come down to a position of a play for the poet. Because of these features its usage value is high. For example, poetry is one of the basic means in approaching a lover. Political leaders in meeting areas give their most vital messages with a poem. The detainees in prison read poems of resistance to hold on to life. Poetry is also closely associated with underdevelopment. Rationalism coming to the forefront in countries that have undergone the industrial revolution has also brought with it a drifting away from poetry. Today in Scandinavian nations such as Sweden, Norway, Denmark, Finland and Iceland poetry is no longer an important cultural food. However in Turkey, individuals and society that have not received their share from the food of poetry are considered as not being able to develop. Thus, the importance of poetry is tied to this reason. When looked from this point of view, it can be said that the Turkish poet is a fanatic of poetry.

Now, let's read together two of my poems,  "The Street, the Cat and the Child," and " No Time Left."

 

  The Street, the Cat and the Child


I.

My body is a rebellious spring branch
I stretched across the sea and the stars multiplied
the oceans filled inside of me.

The man made love with the wind, the woman met the water
a bed from clouds wore out.

II.

The sea told the fish you had come
the migrant birds to the distance.

III.

The Amasya apple that keeps reddening on its branch
the two rivers that meet with you
the voice of waterfalls in my throat
whenever you wake me up
the sky on your face in front of me.

The impatient sun on the windows
the cat on the threshold
the shadows of the toy on your wall
the joy of the bud on the branch.

Your face a blooming daisy
your hair a locust tree rain.

The naughty beauty of tired nights
you will open your eyes shortly
the sparrow in your heart waits for you to awaken.

You envy a swallow
and laugh in your dream
the worker bee of the house smells you.

When your feet touches the water inside of me
try to be still for a while,
let your father at least for once sleep on the lap of the child.




IV.

The white cat deluded during the night
that came with you to the house
holds on to your scent
at your bedside while she sleeps
while her breasts and stomach cry for her dead kittens.

I learn from her to love you
whenever you fall over me and sleep
the two pigeons that land on your window bay
a flock of sparrows in your sleep
you would mix with them and fly away, if I let you.

If the door is ajar you carry the street
as you get older we fall out of each other
the words of silk have no purpose
no purpose at all
no matter how much blood I give from my veins.

I am pushed to a dark loneliness:
the flower doesn’t know that it fades as it blooms.


V.

Your laugh the rainbow
the shade that rests the walnuts
your heart like a garnet kites in your hair.

You are the future and the reality; you have a lot of work
this rusty world might fall on you
the cities a dark prison, the waters dead
the trees leafless the soil poisoned
more frightening is the monster in a human.


VI.

When I kiss you the anthers begin to rejoice
the mountains awaken, dawn arises with a stretch
you a climber to your mom, the streets a flood of color.


VII.

Don’t cry, the cat will be sad in your eyes
there she is, eaten her food and looking at you.


The World, 2010




No Time Left


No time left. Don’t be late with the water
the geraniums will wilt the apples we stored
will rot if we don’t bite them soon.

It’s late. You are in a falling plane
it may not give birth to the incubating moment.
Let us undress and enter the dream we started
if we make love the icebergs will melt
our job is to resist, come on, and quicken your heart.

No time left. May the day be plenty, your love a climber
hand in hand with the mountains may the young girls laugh.
The hand from Asia with a single carnation
a robust soil and the exile it leads.

Time is difficult. The shadow of bitterness on the window.
Let the waters gather us and collect us as sand
and later sweep us on a hidden path
as quarrelsome as love let it fall suddenly
from a waterfall increasing its flow
certainly it must have a meaning
in the mouth of a people tired of dreaming.


June 2006, the World
 
   


I too am one of those poetry fanatics that has lived in Turkey and written for forty years. Because poetry has a changing and developing nature, it has also led me to be like that, to be shaped in a similar way. I wrote changing and developing poetry. I saw poetry as a dialectical formation, life as a dialectical total and wrote my poetry with this approach. In this process I did not ignore tradition; I wrote poems that included it. This attitude led me to meet with special poetry. When looked at this way, I can easily say this: Poetry should be written for freedoms that are impossible to live. It should never be forgotten that poetry is the dearest setting for ‘civilian disobedience.’ The poet must adopt each poem as a revolution to the previous one in which surpassing it becomes a compulsory discipline. This must be seen as the prerequisite to creativity. The poet must write what should take place and not what has taken place. The poet must know that it is necessary that the symbol must reflect and must write to prove this. When poetry becomes the single setting in the breaking of ideology by language it must be realized that the symbol gains meaning as the single ideological possibility. This is the transcendency of the poet. Again, what should be embraced is not the poem reflecting reality but the reality of the reflection. There is no other way for a stripped, language killing poem. Even when opposing it, the reason for observing tradition is this. A true poet is as disorderly as life, as organized as life. The poet seeks to meet man with his tragedy. This poetry is the lyricism of intelligence against capitalism. It is defined in the language written but takes its universality from this characteristic. Poetry is humanistic politization; it is on the side of creative endeavor, activeness.

What should be observed is that poetry is the object as the determining means of the pioneer interpreter of language, in other words being able to go outside the given language. It would appear that poetry should be written with realism that wants the impossible. For this reason the poet is accountable. Yes, these words make up the modest summary of my poetics.

I should state that this poetic comprehension of mine is not different in thought from the style of contents. For the century we are in is a bad photograph of the individual’s expulsion from the promised land of historical liberation and the many beauties for this cause. The surveillance barbarianism of the means of communications has stolen man from the contradictions with history and from the consciousness of realizing history and forces to harden him against himself and the world.

It empties its reaction by turning over a friend, or an enemy, at a far corner he has never known of the closeness or the distance in any era of history. The feeling of being thrown or escaping from the world forces the individual to turn away from his tragedy, to become a herd. An individual that does not have a tragedy against hunger or fullness, love or quarrel, humanness or torture, war or peace, death or life is predestined to lose social cohesiveness. We are face-to-face with a type of individual that does not shoulder any self-sacrifice for himself and the society he exists in, that is gradually breaking down, decaying… The reason for existence and the setting for overcoming tragedy is historical totality. The historical organization process of the individual is this eternal tragedy dialectic that is lived through this totality. The individual’s stolen tragedy must be returned to him and all humane acts must be embodied in the individual’s tragedy. Such content can only be reflected through language as the house of meaning. A world outside of language turns to meaning with the possibility of language, transferred to the future and other individuals. External reality of language has to be put within language because life that inspires, that moves a poet, that provides the opportunity for the writing of new poems is what has lived. For this reason, the direct, tangible expression of what is thought, perceived, designed and recommended must be turned into poetry. Poetry is the politization of each stirring of life, the spreading of the horizon from one person to everyone else. Poetry is the esthetic organization of society’s freedom. Individuals of a society that have not succeeded in individualism cannot succeed in organizing and in the creative process. Poetry is the pioneer lyricism at every place and at every process because poetry is the linguistic meaning of man. Even if concise, the poems I write are based on these detections. I think that I write poetry on behalf of man, nature and their future that presents a future design. I give importance to having all facts and events lived diachronically or simultaneously because this is necessary. This is a way to explain life in its entirety and must be given importance. There is a need for this for mankind.

Turkish poetry was written for the world. I can easily say that I write my poetry conscious of this.

KORAY FEYİZ:  Thank you.

VEYSEL COLAK:   Thank you, too.

(Translated by Koray Feyiz)



Copyright
© 2011 Koray Feyiz and Veysel Colak

 

VEYSEL COLAK

(August 22, 1954, Cevizlik Village - Ikizdere – Rize)

 

Mehmet Pınar and Göksu Acar also used the signatures. Lady Rezine Çolak'ın son Mustafa. Childhood in Rize, was in Ankara and Manisa. Primary and secondary education completed, Turgutlu. Diyarbakir Training Institute (1977) and A. Ü. Faculty of Letters Department of Turkish Language and Literature (1992) concluded.Old Malatya High School in 1977, what the teacher was appointed. Old Malatya High School Maras, while in the manager was arrested and released for the events were cursed. When the task of Malatya / Agri Karakavak'a was then. Then, Manisa, Kırkağaç, Soma, Osmancalı, Bergama after long years of teaching, he was appointed to Izmir. Finally, he taught High School in Karsiyaka.
 

STRINGs Izmir, LEADING COMMENT POETRY magazine, brings his poetry. PEN Writers' Association of Turkey and a member of the Society of Authors. Living in Izmir, divorced father of three children.
 

The first poem was published in the newspaper in 1973, the Democratic Izmir. His poems, articles and interviews:Democratic Izmir, New Magazine, New A, tomorrow, right, Output, Milliyet Sanat, Yazko Literature, Literary Front, Genesis, Donemec, Poetry for Life, Turkey Writings, New Society, Contemporary Criticism, phantasy, Literature and Criticism, Adam Art, Donemec , human, broiler, concrete, ash, Slope, String, Dreams, E, Policy, Concept, Confusion, By, Words, Poetry Missing you, Being, Three Flowers, Ütopiya, New Style, Yom Art, Akatalpa, Yasakmeyve, Şiirsaati, Taflan, Ç.N. and so on. such as magazines and Politics, Republic, Democracy, was published in newspapers in the country agenda.

 

Seyit Nezir in 1988 and together with the text Metin Cengiz "All New Poetry Movement" which was among the initiators.

 

Ataol Behramoğlu Veysel Çolak'ı "New generation, highly personal and difficult to understand the language of poetry is a representative" as a show, Thanksgiving Şükran Kurdakul "enthusiasm, love, life forms point of view, rebellion, conflicts in an environment created by the generation of consciousness, interpreting the language of the common arınarak showed the ability to create their own language," said Gini.Set of all the works of the poet published in 2004, the Yom Publications Veysel Çolak.

 

AWARDS:

 

• In 1974, organized by Milliyet Art Magazine, "1974, The Most Successful Young Poet of the Year" award was one of the four poets.

• "Fish Are You?" Germany's children's book, 1979 Best Children's Book Fair for Children's Books II.Uluslararası second prize;

• "Photo Backs"-Cide Rıfat Ilgaz's poetry book, 1985 Literary Award (second place);

 

• "Dialogue of the Dead" 1989's poetry book, Halil Kocagöz Poetry Prize (Award shared with Metin Altıok);

• "Hope in love" Cankaya Municipality's file-Vascular Literary Magazine Spring 1992 Poetry Prize third;

• "Push" Literary Contest winner's poem and Taris 1993;

• "Stay My Heart Goodbye" file named Sabri Altınel Poetry Prize 1996, 1996 Golden Boll Award for Poetry;

•  "Ink Time" file, 1996 by Ertan Ali Rıza Poetry Prize,

• "Beautiful Crime" Behçet Aysan Poetry Prize for his poetry book and 2000, she has won poetry awards granted under the "Turgut Uyar Special Jury Prize" nude;

• "Edip Cansever-ever found" file, 1999 E Magazine Critic's Award,

• "A few bird a few moment,"Yunus Nadi Prize for his book 2008 (Award Abdülkadir Budak "distance" with his file) won.

• "A few bird a few moment" book, 2008 by M. Sunullah Arısoy Poetry Prize.

 

 

HIS WORKS:

 

POETRY BOOKS:

• "The sweat burned down in a God" (1978, Cem Publications, Ist., 128 p.)

• "Days rain" (1980, Turkey Articles Publications, Ank.)

• "Let Love" (1982, Solidarity Publications, Ank., 63 p.)

• "Photo Backs" (1985, Sycamore Publishing, Ist., 79 p.; 1985-Cide Rıfat Ilgaz Literary Award (second place)

• "Beyond The Lover" (1985, String Press, London)

• “Dialogue of the Dead” (1988, broiler Publications, Halil Kocagöz  Poetry Prize in 1989)

• “Hope in love” (1993, Cankaya Municipality Publications, Ank.)

• “Ice and Fire” (1994, Peak Broadcasting, Ank.)

• “La Voice of Love” (1995, Piya Publications, Ist.)

• “Glaze and Wound” / Public Forums 1 (1996, Peak Publishing, Ank.; sweat burned down in a God, the days rain, and a photo Backs Aşkolsun batch printing of his books)

• “Goodbye My heart Stay” / Collective Poems II (1996, Peak Broadcasting, Ank., 249s.; Sabri Altınel Poetry Prize in 1996; Beyond The Lover, Dialogue of the Dead, Hope in love, Ice and Fire collective edition of his books)

• “Beautiful Crime” (2000, Gendaş Culture Publications, Ist., 64 p.; Behçet Aysan Poetry Poetry Prize and 2000, she has won awards granted under the  "Turgut Uyar Special Jury Award ")

• “Darling,My Twin” (2000, Arrow Publications, Ist., 66 p.)

• “Ink Times” (2005, Papyrus Publishing, Realistic Walking Series in Poetry, Ist., 95 p.; 1996 Ali Rıza Ertan Poetry Prize - file)

• “A Few Bird A Few Moment” (2008, Imagine Publishing, Ank.)

• “Objective Are Us Love” (2010, Imagination Publishing, Ank.)

• “Images For Life”, (2011, c. Imagine, Istanbul

 

CHILDREN'S BOOKS:

 

• “Fish Are You?” (Children's poems, 1979, Carter Publications, Ist.; 1979 Germany II. The second prize in the International Children's Book Fair Good Children's Book)

 

NOVELS:

 

• "The Laughter Of Sexuality" (1995, Cell, Ist.)

 

REVIEW-ESSAY-CRITICISM BOOKS:

 

• Edip Cansever  ' in the poet's Blood, (1997, Era Publications, Ist.)

• The Naked Poetry, (2004, Ercan Publications)

• Audio Drank İnk, (1999, Other Publications, Ank.)

• Alienation and Other Poetry, (1999 , Gendaş Culture Publications, Ist.)

• What it is and How to Write Poetry? / Creative Writing Courses (2011, İkaros Yayınları, Education Series, Ank., P. 183)

• Caution! ... Poetry, (2009, Imagination Y.)

• Reflection Truth, (2009, Seal A.)

• Milhan 's Letters, (2010, Imagination Y.)

• First Poetry, Poetry Then, (2011, c. Imagine, Istanbul )

• Where To Enter A City, (2011, Heyamola y, Istanbul)

• Nazım Hikmet Poetry 'Human Landscapes', (y Salihli Council, Izmir, 2011)

 

PREPARATİON OF THE YEARS:

• 2002 Poetry Yearbook, January 2003, Gendaş Publications, Ist., 198 pages, E Monthly Cultural and Literary Magazine Poetry gifts

• 2003 Yearbook, January 2004, Agora, the new Millennium and Cultural Arts and Letters, Izmir, 192 p., Agora magazine gift

• 2004 Poetry Yearbook, January 2005, the Yom Publications, Sanliurfa, 157 p., gift of Yom Art Magazine

• 2005 Annual Poetry / Poetry Face of the Poet, 2006, broiler Publications

• 2006 Yearbook / Face of Poetry Society, 2007, Ilya Verlag, Izmir, 202 p., with Poetry magazine gift

• 2007 Yearbook / Poet Shoot Self, 2008, Digraf Publications, Ist., 184 p. Poetry

• 2008 Yearbook / All Previous Poetry Revolution, 2009, Digraf Publications, Ist., 240 p.

• 2009 Annual Poetry / Poetry, the poet can not be left!, 2010, Digraf Publications, Ist., 232 p.

• Yearbook 2010 Poetry / Poem Called Hell, 2011, Active c., Istanbul, 246 pages
 

REVIEWS:

 

Outside Of The Poem You Are Chill (Izmir, Karsiyaka Municipality Publications)

• Writing on Writing (Izmir, Karsiyaka Municipality Publications)

• Coastal Poetry Language (Izmir, Karsiyaka Municipality Publications)

 

REFERENCES:

 

• Present Republic Turkish Poetry Anthology, Volume 5 / Abdullah Özkan - Refik Durbaş / 1999, Size File Publications, Ist., N: From Past to Present 1060-1063

• Volume 5, Turkish Poetry, New Poetry 1960-2000 / Prepared by: Asım Bezirci - Kemal Özer / Expanded Second Edition: 2002, Universal Printing Publication, Ist., pp: 276-281

• Century Turkish Poetry (1900 - 2000) / III. Skin / Author: Mehmet H. Dogan / 2001, Yapi Kredi Publications, Ist., Pp: 156-161

• Reforms  'diagnosis date Authors Encyclopedia Volume I / 2001, Yapi Kredi Publications, Ist., N: 254

• 1975 - 2000 Last Quarter-Century Poetry Anthology / Yılmaz Odabaşı / 2000, Scala Publications, Ist., Pp: 288-292

• Glossary of names in our literature / Behçet Necatigil / Attachments 19 Edition: 2000, Being Publications, Ist., Pp: 120

• Last Century Turkish Poetry Anthology of Great Skin: 2 / Author: Ataol Behramoğlu / expanded fourth edition: 1997, Social Publications, Ist., Pp: 968-970, 1085-1086

 

 

KORAY FEYİZ

 

A Turkish poet, born in Istanbul in 1961, Koray Feyiz studied Geodesy and Photogrammetry Engineering, and Urban Planning, at Karadeniz Technical University, and at  Middle East Technical University. He completed his doctoral dissertation on Urban Psychology. Feyiz is currently engaged in research on Geographic Information Systems and Remote Sensing. His first published poem appeared in one of Turkey’s most prestigous literary magazines, Varlık, in 1987. His poems and prose essays have continued to appear in numerous Turkish literary magazines over the last two decades. He has also published seven collections of his poetry: Mezarlar Eskimedi (The Graveyard is Not Exhausted, İz, 1987), Bir Mektupta İki Yalnızlık (Two Solitudes in One Letter, Engin, 1988), Ben O Issız O Yorgun Şehir (I Am a Desolate, Exhausted City, Prospero, 1995), Uhrevi Zorba (The Metaphysical Autocrat, Urun, 1995), Düşle Gelen (To You Who Arrived in a Dream, Suteni, 1995), Seni Bağışladım Çünkü Beni Çok Üzdün (Cause of My Grief, I Forgive You, Hera, 1999) and Su Yarası (Wounded by the Water,  Artshop 2010)