Halid Ziya Usaklical's work, like all the novels and short stories of
Edebiyati Cedide, presents the mature stage of a movement whose
aim was to break away from Namik Kemal's school and style. Today
it is hard to associate with it. Because the generation of Namik Kemal
who had started out with a yearning for realism fell into a framework of
arbitrariness and deluded themselves as soon as they broke away from
the old literature. Those who separated themselves from Namik Kemal
also became slaves of a new arbitrariness both in language and in the
composition of their writings. This is reason why they were considered
"Alla Franca” for a long period of time.
His work does not crystallize around a clear and radical view of
society. That is why we find in his work the dimensions of the real
society only from time to time and in fragments, juxtaposed with the
aspired modes of life. Halid Ziya is not the kind of writer who
presents his time directly but rather in the absence of certain
essential elements. Perhaps Mai ve Siyah (The Blue and the Black)
has to be put in a different category though. This novel depicts the
life of middle class intellectuals in a period of our h i s t o r y:
t h e c o n t r a d i c t i o n s o f t h i s l i f e , t h e disparities in education, the
yearnings, the sorrows and the hopes. But it must be emphasized that
Mai ve Siyah depicts an artistic milieu; and this milieu is confined
within the limits of school, printing house, bookstore, and the Babi Ali
Avenue. The characters can be connected with real life only
through their backgrounds. These are the most alluring aspects of the
novel; i.e., the education of Ahmed Cemil, the story of his sister and
Raci and his wife. Halid Ziya achieves a universality in certain
passages. The novel does not deal with love as such. Ahmed Cemil's
distant love for his friend's sister is more like a dream than love and is
not the weak point of the novel as some had claimed but its strong point.
Because, for Ahmed Cemil, this young girl is not exclusively a love
object but a life style, a level of affluence he wants to achieve; in
other words, it is the natural world of his dreams. I think Mai ve Siyah
presents us with the indigenous story of our adventure. The only
fault to be found in the book is its handling of this yearning for an ideal
life in a narrow frame and hence its shallowness. Even in the days of
Namik Kemal type of westernization, to write books like the
westerners and to publish newspapers were considered to be very
special, very progressive and open minded compared to listening to
music.
Aski Memnu (The Forbidden Love) too like Mai ve Siyah is a novel that
is bound by its own fate. Just as Ahmed Cemil is devastated by a
few encounters with reality, Bihter (the heroine of The Forbidden
Love) destroys the rich and elite household of Adnan Bey equipped
with cooks, servants and a governess, and imbued with an odd
kind of sensitivity. Bihter's beauty, her female instincts, her
different family background, her sacrifice for her family for
money present her as more alive and more powerful than the people
around her. She enters this house like a lightning bolt striking
the hothouse. Aski Memnu is a little hell within a family. A set
of contrary situations bring out the strong points of the novel. Blood
ties, love, lack of willpower, sin intertwine all the characters of the novel
to each other; so much so that even death and separation cannot
unravel these knots. It is perhaps a bit strange that both novels end up
the same way. In Mai ve Siyah Ahmed Cemil and his mother and in
Aski Memnu Nihal and her father stay together but reduced to ruins.
The plot in Aski Memnu develops very fa st. Perhaps this is due
to the weaknesses of the protagonists to bear the weight of their
transgressions. In fact if we take away Bihter's presence that
illuminates this crowd of weak creatures and enables them to look into
their souls we have hardly anything left save a couple of names
and a couple of masks. From today's point of view some of the most
beautiful parts of the novel are the ones that give us the glimpses of
a corner of Istanbul and the Bosphorus of that time. Halid Ziya
depicts this Istanbul as it was lived then. Also The Notebooks of
a Dead Man gives us the Bosphorus of that time -- perhaps as much as
Eylül does -- with a flair that is enjoyable even today. This is a first in
our literature.
Halid Ziya was not one of the bold writers who perceived themselves
inside life and opened a new road as in the Russian novel. He did not
enter into life recklessly. We can even say that he did not even feel
the fever of this life. He, like all his literary colleagues,
adhered to the French novel that was the fashion of his time. The
conditions of intellectual life in the country were not yet ready to
surpass these models. Until the appearance of Yahya Ke mal
the relationship of our literature with the west was a form of
smuggling at the customs. Yahya Kemal taught us to understand the
west with an awareness beyond imitation. He was the one who
introduced the authentic Turkish -- the one spoken in the street and at
home -- into our literature. We learned the real value of ideas and the
secret of relating the problems of the country with what we were
reading. He was the one to introduce to us the authentic values of
French culture with which we were in close contact for almost a
hundred years. I am not claiming this opinion only for my generation;
this is true for those who came before us too.
Some of the passages in his work show how far he can reach if he
abandons his models and concentrates on observation of life. The
Clock-Maker Brothers has this quality. This minor masterpiece is
the beginning of short story in our literature. If Halid Ziya had been a
man of sudden revolutions his work would have changed much after
this story. But he had accepted the established order.
Because of this in Ferdi & His Company he misses all the
possibilities that social contradictions offer a novelist. Yet, we
must not forget that it was only through him that we could
attain the value of the universal in the art of fiction.
In his long and prolific life he witnessed some reactions against his
work, but he knew that what was achieved with faith could not be
obliterated. Perhaps because of this belief he faced all the
objections calmly.
Halid Ziya is the founder of the Turkish novel. He will have his share in
each victory this tradition may achieve in our land.
Ahmet Hamdi Tanpinar. Edebiyat Uzerine Makaleler, pp. 296-300.
Istanbul: Milli Egitim Basimevi, 1969.
Originally published in Űlkű, #85, 1 Nisan, 1945, pp. 1-2.