Orhan Veli Kanık, Oktay Rifat, and Melih Cevdet Anday, who were educated at Ankara Atatürk High School, returned to Ankara after completing their higher education in 1936, marking the trio's return to literature. The translations of Raymond Radiguet's Butterfly poem and Orhan Veli's Saksılar poem in the 101st issue of Varlık magazine, which they started publishing in 1936, are considered the first examples of this genre.[2]
The period in which the first examples were given with the Butterfly and Saksılar poems in 1937. During this period, there was no consensus on the principles of the movement.[3]
It is the first poetry book published by the three poets on Orhan Veli's recommendation. The preface of the book expresses their common views on poetry and outlines the principles of the Garip movement for the first time.[3] According to them, embellishing, concretizing, or abstracting the expression harms the meaning.[4]
The preface of the book differs between the first and second editions, showing Orhan Veli Kanık's changes in opinion.[3]
Author
Number of Poems
Melih Cevdet
16
Oktay Rıfat
21
Orhan Veli
24
Toplam
61
Some of the 61 poems published in the book were previously published in periodicals such as Varlık magazine.[3]
This period, which started with the writing of the Garip book, ended with the trio distancing themselves from literature due to their military service.[3]
This period revolves around the Yaprak magazine, in which the three writers were on the editorial board. This period ended a few months after the publication of the 28th issue of the magazine when Orhan Veli died.[3][5]
The Mavi magazine, around which writers opposing the syllabic meter gathered, was started by Teoman Civelek, Ülkü Arman, Güner Sümer, and Bekir Çiftçi in 1952. Later, Attila İlhan, Ahmet Oktay, and Yılmaz Gruda also published their works in this magazine. These writers later adopted a movement known as Mavi movement. The Mavi movement paved the way for the Second New Movement movement.[6]
In the Garip foreword, the following views are mentioned:[7]
The interaction between different art forms should be opposed.
Harmony in poetry can be achieved without rhythm and rhyme.
All kinds of meaning and figures of speech should be abandoned in poetry.
Works were created in a manner that emphasized meaning, in reaction to syllabic meter poets, Nazım Hikmet's socialist realist political poetry, and Ahmet Haşim's pure poetry approach.[5] They rejected the notion of poeticism.[8]
It is claimed that the movement shares many similarities with Japanese haiku poetry and that Orhan Veli encountered Eastern poetry, particularly Japanese haiku, while translating Kikaku’s poems from French to Turkish.[9]
The Garipçiler are the only group in Turkish literature to adopt the dadaism movement.[10]
^Çetin, Nurullah; Sakallı, Fatih; Karataş, Cengiz, eds. (2021). Republican Period Turkish Literature (1st ed.). Ankara: İlbilge Publishing. p. 97. ISBN978-605-74157-0-7.
^ abcdefgÇetin, Nurullah; Sakallı, Fatih; Karataş, Cengiz, eds. (2021). Republican Period Turkish Literature (1st ed.). Ankara: İlbilge Publishing. p. 98. ISBN978-605-74157-0-7.
^Şahan, Kayhan (September 2018). "Metaphors and Orhan Veli's Poetry". International Journal of Turkish Literature Culture Education. 7 (3): 1823. Archived from the original on 25 May 2024. Retrieved 25 May 2024.
