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ROSETTA_MAGAZINE_201303

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102 103<br />

ThE RELATIONShIp OF LOVE AND GEOGRAphY IN CEMAL<br />

SÜREYA’S pOETY<br />

By Özgür Özmeral Turkey<br />

Translated by Mesut Senol<br />

In his love poems, Cemal Süreya transmits his intellectual and<br />

emotional resources based on his own realities into his verses.<br />

The poet speaks out at every turn about the “exile” he has gone<br />

through, and while citing this fact in his poetry he combines it with<br />

the subject of the “love” he has experienced in its geographical and<br />

historical dimensions. The woman in his poems seems to be his<br />

companion, with her wanderer and nomadic identity. He catches<br />

certain cross currents, and he portrays them through imagery.<br />

“Geography and history, the East and the West, reality and fantasy,<br />

legend and the future intersect in his poetry. In other words, the<br />

location dimension keeps ahead of the time dimension. Cemal<br />

Süreya’s poetics involves movement and geography. It means exile,<br />

a nomad and a wanderer. So much so he would like to go about<br />

even after he dies:<br />

‘Have me go about a bit before I die’ 6<br />

The movement of love resembles the behavior of a traveler who cannot<br />

put up with losing time. It is pushy, and it continuously tries to increase<br />

its speed. He describes love and making love in his poem called<br />

“Repute” with the word galloping which is “the fastest running form of a<br />

horse”:<br />

“My breath becomes a red horse<br />

I figure it out for my face is on fire<br />

We are poor, and our nights are too short<br />

We ought to make love at a gallop”<br />

Since material and spiritual poverty derive from inside of life, it<br />

gives rise to the sense of running late, that the gap should be<br />

closed as soon as possible, and one has to move quicker. From this<br />

perspective there is a speed where love and sexuality transform into<br />

motion, and this speed demonstrates itself in the woman’s body<br />

which is to be explored. The woman’s body in Cemal Süreya’s poetry<br />

seems to be geography, a meeting point embracing the land and<br />

the sea, where sometimes it turns into a continent or another time<br />

6 Doğu Perinçek, Exile-Legend-Fantasy- Materyalizm, Hürriyet Gösteri 111, “Cemal Süreya Supplement” (February 1990): 36.<br />

7 Süreya, Love Words, San (Repute) 24.

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