Fehmi K’n?n Acayip Serüvenleri / Hilmi YAVUZ
About Hilmi Yavuz
Turkish poet, author. With his image and competence, placed to an effective area in contemporary Turkish poetry. He was born on April 14, 1936, ?stanbul. Due to his father’s district governorship missions, lived his childhood in several places of Anatolia. In 1955, he discontinued his education at Faculty of Law at ?stanbul University and then started to journalism. In the journal of Vatan, became correspondent and author. In 1964, went to England in order to complete his higher education. He worked in BBC Radio Turkish broadcast department. In 1969, graduated from Philosophy department, Faculty of Literature at University of London. When he returned to Turkey, worked in the editorial board of Meydan Larousse encyclopedia and worked in the publishers of Varl?k and Geli?im. He gave lectures about history of civilization at Mimar Sinan University and philosophy at Bosphorus University. He published his first poem in Dönüm journal which he made together with Demir Özlü and Ha?an Pulur, at the high school, in 1953 and 1954. He joined to the management of A journal. He wrote book reviews, articles about problems of art and thought in several journals and magazines. He rewarded “Yeditepe Poetry Rewards Prize” with his ”
and attentively chosen vocabularies and idioms are his methods that make his poems Do?u ?iirleri” in 1978.
In his first period poems, it seems that there are effects of “Second New Movement”. In his second book, he develops an attentive language and narration. Draws attention by creating an original vocabulary by bearing a historical event and reality. By his “Yaz ?iirleri” in 1981 and “Gizemli ?iirler” in 1984, he reached at a new level with regards to content and form, verged to a closed and latent poetry. In his last period poems, he aimed “reproducing”, by using a lyrical discourse and taking advantage of “Tasavvuf Thought”. He scrutinized the problematic of the relation between Islamic mysticism and language. Images he set, imitations powerful. He found a masterful combination by benefiting from the sources of contemporary Turkish and Western poetry and from the power of imagery of traditional Turkish poetry. It seems that he reflects the social genesis and situations by an effective discourse pattern.
Yavuz becomes efficient in the intellectual life of Turkey with his writings on philosophy, thought and literature, his approach to the sources of contemporary culture and his interesting analysis, propositions and criticism. He still works as an academic at Bosphorus University and continues his authorship career (User, 2017)
Starting with the epigraph of “Aynalara bakma, aynalar fenal?k, denizi, sonsuz olan? dü?ün art?k (p.5)” from Ahmet Muhip D?ranas, narration of Fehmi K. ve Acayip Serüvenleri reminds a transition from imaginary order inholding Lacanist mirror phase to a symbolic order (Ar?kan, 2015 p.386). In the narration, there is a story switching aspect constantly, created by the narrator, and this story does not form a completeness. When the narration ends up we realize that the situations having the opportunity of being an actual “event” such as why he goes to work, how kind of a job he has, how kind of a relationship he set with his surroundings, why they are being in the same environment and what they are doing are not processed at all. When we completely read the narration up, not even a small piece of information of events sticks in the mind. This arises from the perspective of postmodernist text against the notion of “event”. The narration begins with a waking up of Fehmi Kavk? on a summer morning. He returns to home at night after a long day. The narration ends up with a preparation scene of going to sleep. This time zone of his breakfast and arriving at the job delivers an impression of passing a long time by many interruptive subject matters. The author is also aware of this situation. Narration slowly processes as if it is a bus visiting all the stops on the way. All characters bring a new information and reference with them. For this reason, narration so lately reaches to the main course intended. As most of the postmodernist works, Fehmi K’n?n Acayip Serüvenleri has a shattered, disconnected and deactivated storytelling in its narration. In the novel, there is a constantly side changing story, and this story does not offer an integrity. All these features represent a right example of a postmodernist plotline.