Diaries have been despised by many writers of the Turkish literature. Some writers have thought of their diaries as their own business and they didn’t want them to be published, hid or burned them. The Western literature is very comfortable with the idea though. Kafka’s diaries are as important as his novels. So, are Dostoyevsky’s diaries. Cesare Pavese’s diaries are known and read more than his novels even in Turkish. Because diary readers separate from others or most readers achieve to give diaries a different place. However; diaries in Turkish literature is the simplest toil of a writer. Why would readers waste their time with diaries instead of reading the great work?! The diary in the Western literature is the road to the great work and it is full of twists and ties and details. Small steps take one to the great work. It is possible to follow the traces of those steps through the diaries.

A selection of the diaries
Remainder (2015, Cümle Publishing) is a selection of poet Kâmil Aydoğan’s diaries kept since the 1980s. The writer mentions that he tried to write almost every day. When this is the case, we can tell that Remainder consists of only the entries that seem important or not so private. Publishing diaries has always had a side which is dangerous or open to any kind of misinterpretation. How could an event or a thought that interests only its writer carry an importance for readers? What is told in the diaries is supposed to grab readers in a way, things are supposed to be presented to readers from different aspects. Kâmil Aydoğan considers that and he collects his diaries under one title that is going to address every kind of reader.

Three types of narration
We see three types of narration in Remainder: ‘from event to thought,’ ‘from sense to thought,’ and ‘from thought to thought.’ Aydoğan’s narration is sensible in parts especially where we can describe as ‘from event to thought,’ wise, and impressive. For instance, when he tells about what he had been through during his sibling Asst. Prof. Dr. Feramuz Aydoğan’s funeral or his resignation from İzmir Directorate of National Education, he leaves readers to his experiences. These are places that making the difference between sense and thought through telling events are not easy. His narration becomes poetic in these parts. Moreover; in some parts, events end, poems begin. Aydoğan writes the poem of living as he retells his experiences.

The parts that we can call ‘from sense to thought’ are where Aydoğan has a heart-to-heart talk to himself. For example, in one of his diaries he addresses his father. He complains about the people who are not honest and who try to con him. In this way, he writes about his search or his rejection as he has heart-to-heart talks to his father, friend, or sibling in his diaries, therefore strengthening his hand.

In parts that we can describe as ‘from thought to thought,’ we meet the essayist Kâmil Aydoğan. He tries to produce new thoughts in these parts, going back and forth between the thoughts. In some parts, he comes up with poetic narrations out of well-known ideas, trying to bring into question the unchanged truths once again. These parts don’t contain any uncertainties. He narrates self-assuredly.

Kâmil Aydoğan has a different place in diary gender, which is the lack or neglect of the Turkish literature, by means of his different narration techniques. He allows readers enter his life, in other words, his heart. He distills his thoughts in a retort of heart and experiences. That is why he touches every kind of reader somehow.