ROSETTA_MAGAZINE_201303
ROSETTA_MAGAZINE_201303
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.