I can list some of the main qualities of the magazine Edebiyat, which is one of Nuri Pakdil's important/dimensional contributions to Turkish language, literature and poetry, which must be underlined for me, who has more or less experience in 'magazine publishing' in the context of 'literary magazine publishing'.

The most important function of Edebiyat, which has continued its publication life for 16 years, is that it has always carried the characteristic of being a typical 'school' in the world of poetry/literature. Edebiyat was such a 'school' that I, who watched that institution from outside, would involuntarily think: There is no 'graduating' from this 'school'! I can explain this judgment as the environment of working, sharing, belonging, perceiving the world/life formed within the body of Edebiyat magazine has created such a spiritual atmosphere that no student of the 'school' is eager for 'graduation'... The basic ontological tasks and needs of human beings such as 'growing up', 'inner-journey', and ‘being/remaining in a state' never end. I think that the Edebiyat magazine constantly injected this opportunity to the young poets and writers of the period who had the chance to join the aforementioned 'school'. It was impossible not to feel this for Edebiyat magazine readers like me, who followed Edebiyat with a literary appetite from the late 70's until it was closed...

The Edebiyat magazine was, at some point, both a sign of 'elitism' and an 'elitist' demand and movement in the poetry/literary perception of 'this side'. Not the slightest ray of expectation was reflected from the magazine regarding the ordinary, the vulgar, and the average. Yes, when we think of some miserable and despicable aspects of today's magazine publishing, we now understand better: The Edebiyat magazine was a ‘noble’ line... On the other hand, Edebiyat was a magazine, which was wondered about, showed interest and there constantly watched by the residents who did not approach poetry/literature with ideological fanaticism despite being on the “other side”.

The 'elitist attitude' in question gradually led to the shaping of Edebiyat's own type of reader, and a reader profile was born that wanted to constantly develop and enrich the world of perception and understanding...

As an author, Nuri Pakdil alone is a symbol of care, attention and diligence. It was inevitable that these qualities of him would be reflected in the magazine. In this respect, the Edebiyat magazine has had an attitude that should be taken as an example by today's magazines, especially in terms of "diligence", "care" and "attention" from its content to its form. For example, Nuri Pakdil has no tolerance for any revision in the magazine. Finding a revision in the Edebiyat magazine was almost miraculous. I never forget that at its last period, as magazine readers, we once witnessed such a 'miracle': In the next issue of the magazine an explanation of what a nerve-racking and destabilizing role that correction had played, was published... As far as I know, in Edebiyat, the revisions were made by following the letters one by one...

Signatures in Edebiyat, especially in the last period, were connected to the magazine with an extraordinary sense of belonging. There would be no question of them submitting their work to any other magazine; I think they did not feel the need to do so. For them, the Edebiyat magazine was in the position of a 'house' that they built and perceived themselves as 'themselves'. This was one of the literary sensitivities that is now forgotten today... The pulse of a whole team spirit was within the body. Considering the literary world of the period, this 'collective consciousness' level constituted a purely literary weight point. In this respect, the Edebiyat magazine had a central function.

One of the dynamics of the team spirit was the publication of the books of the authors and poets in the magazine family by the "Edebiyat dergisi yayınları" when the place and time came. Indeed, from the outside, the dominant feature of the Edebiyat magazine was that the works proceeded in a certain discipline and order... For example, the magazine came out as a result of a great collaboration, effort and sharing, and it took its place in the bookstore showcases on the first day of every month.

Nuri Pakdil is recognized/known as an 'uncompromising' author in terms of identity/personality. In this context, the magazine had a route drawn for itself, and this state of ‘being uncompromising' was meticulously maintained under all circumstances. The determined principles and rules were strictly followed, regardless of the average of the literary world, and the other side was expected to respect these principles and rules. For example, the "Öz-Türkçe” (Pure Turkish) orientation, shaped in the "language" attitude of the Edebiyat magazine, was often found excessive, and was frequently criticized by some interested people in "this side", but Nuri Pakdil did not listen to it... He was a genuine writer and we wouldn't expect him to give credit to such complaints...

The Edebiyat magazine presented its readers with a 'live' and 'decisive' image with each new issue. It would suggest a new spiritual balance and breakthrough power. It would rearrange the viewpoint of life, feed people's understanding of art/literature...

In my opinion, the 'aesthetic' perception texture of Edebiyat was the expression of an orientation that found its basis in 'ethical' concerns. Its sincere and original stance was immediately recognizable among other magazines, leading to a magazine identity that was taken as a 'model' in terms of aesthetic sensitivity. On the other hand, I think that having an ideal, determining a horizon in one's direction, and furthermore, establishing immanent ties with the authentic strengthen the 'aesthetic' context of the Edebiyat magazine.

Edebiyat was not a state of formation and unity in which various works of art took place. The climate reflected from the magazine showed that there was a lively, breathing pulse regarding the practice of living there itself. Therefore, thanks to this climate, it was felt that a physical, tangible, touchable cocoon of life was woven, and essentially it contained the cornerstones of an alternative life theme...