3rd ANNUAL NAPOMO 30/30/30 :: DAY 9 :: MAIGA MILBOURNE on NAZIM HIKMET (1902-1963)
[Editor's Note: Maiga Milbourne comes to us via our favorite model: the person to person relay-style hand off from former participants (in this case, frequent OS contributor, and all around badass inspirational mama Caits Meissner). I was overwhelmed with gratitude
POETRY MONTH 30/30/30: Inspiration, Community, Tradition: Day 4 :: Tishon Woolcock on Orhan Veli Kanik
I’m going to level with you; I know nothing about Turkey and I know even less about Turkish Poetry. Luckily, I have Buké, my sole Turkish friend. Buké is tiny, smokes cigarettes, and speaks with a directness that can sometimes be mistaken for rudeness. It is she who introduced me to the Turkish poet Orhan Veli Kanik (1914-1950). I can’t speak to Kanik’s stature but, like Buké, his poetry is about as direct as a poet can get. Like the work of William Carlos Williams or, more contemporarily, Billy Collins, Kanik’s poems have been described as the kind of poetry that convinces readers they, too, can write a poem. Take, for example, “The Hill”.
.
THE HILL
In the next life, after the factories end their work
If the road taking us home
In the evenings
Is not
So steep
Death
Is not a horrible thing
At all.
It reads like something your grandfather might say and that’s what makes it so effective. A good poem is a story that never gets old. It stays with you and no matter how often you tell it there remains the same spark of truth. In “People”, Kanik expresses a single thought simply and profoundly. The profundity is apparent upon first reading but the genius of it is a slow burn.