Cenk Kolçak

- Turkey -

Cenk Kolçak (born 1991, Istanbul) is a poet and cultural editor of Kurdish heritage who writes in Turkish. His poetry and essays have appeared in various literary and cultural journals, and he continues to contribute interviews and cultural articles to newspapers and magazines.

 

His first poetry collection, Akbabalar Çağında (In the Age of Vultures, Öteki Yayınevi, 2018), received the 2019 Ruhi Türkyılmaz Sanatevi Poetry Award. His second book, Su ve Parya (Water and the Pariah, Manos Kitap, 2021), won the Rıfat Ilgaz Poetry Award. His poems have been translated into several languages.

 

Kolçak has also worked as an editor and presenter of cultural programs on television, including Edebiyattan Sayfalar. He was among the founders of the Jurnal Türkiye news platform and serves on the editorial board of the Yirmibirmart Literature, Culture, and Art Platform. In 2024, he contributed the motto of the Antalya Golden Orange Film Festival. He continues to work as an independent cultural editor and copywriter, and is a member of PEN Turkey.

 

He has been invited to festivals such as the Mosaic of Images International Poetry Festival (2019, Gaziantep), the 6th Offline Istanbul International Poetry Festival (2023), and the 2nd International Homer Literature and Art Festival (2023).

 


 


Bearing Witness: Cenk Kolçak’s Landscapes of Memory

 

Cenk Kolçak’s poetry moves between the intimate and the epic, weaving personal witness and collective memory into a tapestry of symbols and stylized language. Born in Istanbul in 1991 of Kurdish heritage, Kolçak has established himself as both a cultural editor and a poet whose every line bears the weight of history, identity, and hope. Through the poems now available in English, his voice remains distinct: dialogic, testimonial, and attentive to the world’s fractures.

 

At the heart of Kolçak’s work is the act of bearing witness. In Sea Diary, iodine becomes a spark, summoning memories of fishermen’s nets and lighthouses that “stand within the sight distance of every eye,” a reminder that even the most remote truths beg to be seen. Each poem feels like a diary entry and a call to attention. His partially symbolic, partially phenomenological motifs ground the work in vivid sensory detail while opening onto philosophical reflection.

 

Kolçak’s landscapes carry the traces of exile and resistance: “like a Jewish cemetery,” in I Like Horses, Too, he welcomes belated visitors while lamenting violence against the Kurds; or, in A Pediment for Flowerless Seas, he invokes cities rebuilt over centuries, where gates close and open endlessly in the ruins of conflict. Yet even amid such political urgency, there pulses an undercurrent of hope. A House in Troia explores how migration and mythic memory interweave, evoking the sounds of daily life against the backdrop of Troy’s ancient ruins. Likewise, Shower and Feronia expand this vision, transforming rain and mythic encounter into gestures of persistence: hands raised to God, blue wildflowers that “resound in memory.”

 

Kolçak’s poetic technique—alternating monologue, dialogue, and refrains—creates a communal conversation. His sentences bend between the concrete and the metaphysical, producing a rhythm at once urgent and contemplative. For the Versopolis reader, Cenk Kolçak offers a compass through the geography of loss and longing, showing us how poetry can both chart our fractures and illuminate a path forward: not thorugh a straightforwardly digestible language, but stylized and intentionally elusive. In his writing, every stone, breeze, and glow becomes an invitation to bear witness — and, ultimately, to hope.

 


 

By Efe Duyan