Asya Studies

Öz

In the history of literature, we see that criticism activities are not carried out only through articles. We can see literary works as a part of the history of criticism in terms of their value as reflecting the aesthetic views and intellectual structures of their artists, the dominant understanding of art of the period in which they were written in, and the literary schools to which they belong. As a matter of fact, every writer and poet was generally either a member of a literary approach before him or in his time, or was opposing it, and wrote their works in this context. In this article, we will focus on Kemal Tahir’s Yol Ayrımı and Tarık Buğra’s Yağmur Beklerken novels, which have been compared on various occasions, and we will try to show the second novel’s mechanisms that serves as an alternative to the first.
Kemal Tahir is a writer who has made a name for himself with his unique ideas and theses as well as his novels. Sometimes he sees his novels as a means to express his theses. Of course, this does not make him completely free from artistic concerns. Howerer, in Yol Ayrımı, his theses take precedence over his novel writing. Tarık Buğra, who crossed paths with Kemal Tahir in terms of covering the turning points of Turkish history such as the establishment of the Ottoman Empire and the transition to multiparty political life. In his works, he appears as a writer whose concern for art is at the forefront. These differences we mentioned are also reflected in the fiction of the novels Yol Ayrımı and Yağmur Beklerken; the same issue, the exprience of transition to multiparty political life, is revealed through different plots, characters, places and language/style preferences. İn this article, we will try to evaluate in which contexts Tarık Buğra deviates from Kemal Tahir in constructing the same subject.