The Other Side of the Mountain

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At Mülkiye Association, we experienced the joy of a signing event, and right after, we delved into a deep conversation about Ece Ayhan’s life. However, news of an earthquake arrived: Anadolu Agency announced the passing of Yaşar Kemal. These two lines of news transported me back 22 years… It was probably March or April of 1993. Four friends from the same school had knocked on Yaşar Kemal’s door, and we had conducted an interview with him. As someone interested in literature, sitting down to talk with one of the masters of Turkish literature, enjoying Tilda Kemal’s cookies, and witnessing Yaşar Kemal’s humility contrasting with his imposing stature perhaps holds the secret to why I have remained connected to literature ever since.

Tomorrow, Teşvikiye will bid farewell to Yaşar Kemal, reuniting him with Tilda. Friends and artists will reminisce, and authorities may eulogize… Yet, I’m certain it won’t be my turn. I had penned the saga of four youthful minds over two decades ago, as they braced for university amidst winds of change, in the vernal air. I wasted no time retrieving that nearly torn newspaper from dusty archives. Then, I labored to transcribe the interview, breathing anew under the mountain’s shadow. And once more, I grasped that mountains are perpetual.

Ankara, March 2015.

The Other Side of the Mountain…

“The Other Side of the Mountain,” a trilogy comprising “Ortadirek,” “Yer Demir Gök Bakır,” and “Ölmez Otu.” Yet, my true intent lies in addressing the scribe of these tales, Yaşar Kemal—undoubtedly, a formidable peak among our literary landscape…

So imposing that when we braced for an interview, whispers of impossibility wafted from friends, intent on dissuasion. Regardless, a rendezvous was forged. Within a modest ground-floor abode, his consort ushered us in, ushering us around a table in the parlor, awaiting. Our nerves hummed with excitement as he emerged from an adjacent room: unkempt silver mane, seeming far from seventy, tall as a rugged hillock, a smile gracing his lips, voicing “Good morning.”

Formalities shared, I seized the floor. Unease lingered, his and mine. I began with gravitas: “Sir, I extend gratitude on behalf of my friends and myself for affording us this interview. Your renown graces international circles. First and foremost…”

Yaşar Kemal interrupted me saying: “Let’s dispense with formalities and proceed. Your eloquence is wasted at dawn. We can dissect your discourse another time. Pose your queries now!”

I was startled and went speechless upon his reaction. But…Laughter ensued—his laughter—amidst bewildered expressions. With paternal warmth, he embraced me, dissolving the rigidity, and igniting laughter among all. Yaşar Kemal, an avalanche of warmth, chipping the icy veneer, revealing a passage to the mountain’s flip side. Thus began our inquiry.

* Your works will be recognized by the literature books of the public schools from now on. What are your thoughts on this matter?

Today, the same educational system is applied worldwide. This educational system originated from the Greeks, passed through the Romans, and reached us. A teacher lectures to a class, and students listen and take notes. There’s no practicality. Everything is theoretical. However, I am against this type of education. People need to be in touch with nature and production through education. This kind of education was only possible in Turkey, thanks to the Village Institutes established after the War of Independence, but they no longer exist. If people were in touch with nature, perhaps wars wouldn’t disappear entirely, but they would significantly decrease. Weren’t those who dropped the atomic bomb on Hiroshima and those who had it dropped, products of this education system?

* You’re the only Turkish member of the World Culture Academy. Could you provide us with some information about this academy?

It was established through the efforts of the Swedish Academy of Sciences and the French Academy of Culture. It has 40 members from 21 countries, mostly French. They gather on April 30th.

* What is the place of Turkish literature in world literature, in your opinion?

A very good question. In the early 20th century, Turkish writers such as Nazım Hikmet, Sait Faik, and Orhan Kemal made great strides. However, Turkish literature is currently within a circle of fire. It’s challenging to write and publish a work; there are no translators, so our works remain unknown. – My novels were also translated into English by my wife Tilda. – I don’t want to say that good works aren’t being produced, but they are very few in number. The youth is also not very interested. Nonetheless, I still look to the future with hope.

* Which books are you currently reading? Who are your favorite authors?

I am reading “One Thousand and One Nights” again, for maybe the nth time. I also like Sait Faik. He has fantastic stories, and his storytelling is beautiful.

* Many famous authors and poets like Aziz Nesin and Yahya Kemal didn’t use their own names when producing their works. Your real name is Kemal Sadık Göğçeli. Why did you choose the name “Yaşar Kemal”?

Out of fear. I was in Ankara, working as a journalist, and I was writing “İnce Memed” in secret. When it was time to publish, Abidin Dino asked me, “What name are you going to use for this work?” When I said, “I will use my own name,” he said, “No, that won’t do. I’ll get into trouble. Let’s find you a name.” So, we sat down and came up with the name “Yaşar Kemal.” The police only managed to find me three years later. Of course, by then, “İnce Memed” had been published, and I had become famous, so they couldn’t touch me.

* Are you currently working on any specific projects?

I’ve adapted “The Legend of Binboga” into a play; it’s just been completed. Now, I’m thinking of writing one or two novels: titled “Ada” and “Anavarza.” However, I don’t have the time to write.

* What is your daily life like? Are there any challenges that come with being famous?

I don’t have fixed working hours or anything like that. Sometimes I write in the mornings, sometimes in the afternoons. I also have many visitors—especially students—so I don’t have much time to write. But I’m not complaining.

* We heard that you go for walks in the mornings. Do you have any other hobbies?

I’m a grown man, yet I still collect marbles. I have marbles from all around the world. I’ll show them to you in a moment. Also, I’m quite good at flying kites. It’s not the right season now. Oh, and I curse really well too! A lady from the World Culture Academy told me that. She read my works and said, “The characters in your works curse quite a bit!”

* I believe you have an anecdote about Hasan Tez as well. Could you tell us about it?

I was in Ankara. They were going to introduce me to the politician Hasan Tez. While introducing me, they said, “Yaşar Kemal, from Cumhuriyet Newspaper.” He didn’t recognize me. Then they said, “Yaşar Kemal, the author of İnce Memed.” Once again, Hasan Tez didn’t recognize me, so they added, “Nobel Prize nominee.” Then he asked, “In which province is the city of Nobel?”

By the time he called me the next day to say he was joking, it was already too late…

* How do you perceive young people’s approach to literature? What advice do you have for young people interested in literature?

I can’t say that young people read a lot. I see it every day. Little kids, teenagers, and anyone around are outside the door playing ball and making noise from morning until evening. I get quite upset with them. I wish they would read. I’m even fine if they read tabloid newspapers. Just read, that’s enough. This is my advice for all of you anyway. Read abundantly, read extensively.

* We heard that you don’t participate in television programs. Can you tell us why?

I don’t like television. Humans are creative. There’s no creativity in cinema. But when you read, your creative power increases. Even a single word like “plain” can trigger a lot within a person. When I say “plain,” Çukurova comes to mind. A vast, endless plain, blue… Different people imagine the plain differently, based on how they’ve experienced it.

* What are your views on culture?

Geographic surroundings and needs give birth to culture. Humans create their values this way, and local and national cultures emerge. This is fundamental for the formation of personality. By being in contact with foreign cultures, individuals complete their personalities; they remain incomplete until they become acquainted with other cultures. National cultures should contribute to world culture so that we can achieve a good place. The importance of the Cultural Academy comes from here. The world is deteriorating. We aim for national cultures to nourish each other; not to eliminate each other, as it has been done up to now.

Our questions had come to an end. After taking a few photos and seeing his marble collection, we thanked and said our goodbyes to Yaşar Kemal. As we left and started walking towards the shore, our minds were still on that “imposing mountain.” How easy everything had become after he broke the ice. Suddenly, we found ourselves on the other side of the mountain, in a warm and friendly conversation as comforting as Çukurova.

In short, the other side of the mountain is fruitful, productive, affectionate, and compassionate. Like Çukurova…

  • Interview by: Gökhan Savaş Tolu, Denizhan Nacar, Kerem İçelli, Barış Ekdi
  • Compiled & Edited by: Barış Ekdi
  • Özel Kaşgarlı Mahmut Özel Deneme Lisesi, Genç Gazete, Issue: 15, May 30, 1993.

Barış Ekdi

Barış Ekdi

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