Microsoft Word 1 Arif thesis cover final doc

CHAPTER 8 – YABAN, KADRO, ANKARA 
257 
strove to find solutions. As for me, all by myself in literature was writing 
that the approach to the people is possible only by drawing from Folk 
Literature. I was also writing that a good many master poets from Yunus 
Emre to Dertli will give the new generation priceless examples of sound 
and language (On this occasion I would like to say that I have not 
abandoned this idea and that Turkish Folklore is a boundless national 
cultural treasure). 
In short: Kadro was a small magazine but its claims were large. Also 
what, I think, annoyed the “official” personalities in the business was 
mostly this notion, “his not knowing his limits”. Likewise, at the time 
when I was to publish the magazine, in a conversation which I had with 
the Republican Party’s General Secretary, this person said to me: “From 
whom did you take the right to publish in the name of the party? If there 
is a need to publish an ideological magazine, only we can publish this 
and at any rate we are about to publish it. What’s more, you keep on 
saying something as Avant-Garde, Avant-Garde. What does this mean? 
Can there be an Avant-Garde ahead of us?” 
The “we” which the General Secretary mentioned was himself and the 
Central Committee under his own leadership. The majority of this 
committee is made up of former Provincial Governors and Directors, 
who address their superiors as “Sir” and while entering the “presence” to 
have some papers signed, button up their jackets. It follows according to 
the Republican Party’s Secretary that these people are the essential front 
arm of the Revolution. 
Unsurprisingly, seeing that the membership included former Leftists with Soviet 
connexions (with the inclusion, however surprising given his non Marxist 
background and his earlier spat with Nazım Hikmet, of Yakup Kadri) the journal 
Kadro
has in its mix of material exhibiting a coordinated outlook something of the 
flavour of magazines like 
LEF 
produced by members of the Soviet intelligentsia in 
the relatively free air of the 1920s. Much of the material in 
Kadro
is economic but it 
is possible to extract a few themes directly relevant to the imagined world of 
Yaban 
and 
Ankara. 
The first and most obvious is the physical condition of the peasantry. 
The second is the ideal of the unity of the leading classes with the peasantry, 
halka 
doğru
. The third, connected with this, is the notion of internal or autochthonous 

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