1.

Man is the product of the culture in which he was born. He carries the traces of this in his life and belief. He holds on to life with what he got from there.

As he moves away from the universe of the culture he was born into, he falls into depression. He crumbles in the tide of dead ends. He becomes the toy of impudence that cracks the rocks. He becomes unaware of the fact that time is the greatest evaluator. He cannot know what to look at from which perspective!

Living with a muddy point of view extinguishes his flame. He cannot see the working laws of creation. He is euchred in the timelessness and spacelessness it hangs on. He cannot initiate the discovery of the criteria to extract the residues inside him.

He becomes indifferent to the perception of history, culture and geography. He prefers to dwell in the infuriating whirlpool of nihilism. He does not know that he will disappear as he loses his values! That he will carry wood to the fires that will ignite his body with his hand!

With geography, culture and faith that feed it, man is saved from disappearing. The life becomes ever blooming with the propositions that breed from them. The desire to live grows in the heart. Man acquires the knowledge of which world he will turn his senses into.

He wants to be inseparably connected to its culture and land. The placelessness and the homelessness hurt him. He cannot stop the destruction inside. He sees the rupture from his place in the tone of trouble. That's why he does not want to leave people and his tribe.

As memories are traced, life becomes rooted. Man is protected from the calamity of the historylessness. The feeling of being safe sprouts in the heart. Civilizations arise as a result of this devotion and search. The invention of tools that will make life easier begins.

Of course, the exchange between civilizations cannot be ignored. However, every civilization produces its own example of origin. It establishes his home and city in the direction of the principles it received from there. It does not copy the origin instance of another civilization. Because the design of the space should be pure.

Western urbanism and Islamic urbanism diverge at this point. The city architecture in the west is shaped by taking the boulevards as the center. Life revives from here and continues its flow. That's why Paris is important. It is the model city of western urban planning. It is the root example of the modern perception in urbanization.

The idea of the boulevard emerged in order to keep the rebels under control and to easily suppress the rebellions. All streets open to avenues, boulevards. The others are tied to blind roads as a dead end.

On the other hand, in Islamic civilization, cities are built around Grand Mosques. The houses are built around the Grand Mosques, which form the center point. The city expands from here to the periphery as needed. As an indicator of this principle, Maraş was established in the Grand Mosque region and expanded towards the periphery.

The Castle, Taş Mescit and Grand Mosque gather the city in themselves. The roads converge on the same route. They are connected with each other here. The architectural texture presents integrity with the history here. What remains for man is to trace from the past to the present.

As the imagination of modern periods, the tendency to connect all roads around a boulevard wanted to ignore the inner texture of the city. However, it could not disperse this texture, which was engraved into the stones and the soil, and could not eliminate it despite his intervention. As a result of what has been done, the artificiality has emerged. Although not desired, the desires of those who gave its language to the city were preserved at the center point.

All roads still lead to Grand Mosque in Maraş. From there people go to other places. This situation cannot be explained by other than the sanctity of the labor penetrating the stone.

The situation does not change for those who live in the neighborhoods formed later in the city either. The roads of those who leave their home for their daily work fall here. After the daily bustle, they also go to their houses from here.

Maybe this is related to the fact that the city is not on the crossing roads. Maybe this is related to the fact that the city is not on the through roads. The city, which is almost bracketed by geography, has to live such a fate. That's why it is abstemious. It does not lose its heart without thinking. It knits the cross-stitch of self-sufficiency. It does not open its world to those who look at it with the eyes of a tourist. It always wants to be approached, to be looked at from the inside.

‘Therefore, one cannot go to Maraş by accident. But only by ‘perseverance’.

‘The city, which was built on the skirts of Ahır Mountain, exhibits its position that it did not "deign" to interact with the world until recently. The tie it has with its surroundings is as little as possible.  It stands on its own feet. It does not consent to anybody for reaching its inner world. The other is stranger according to those living here.'

The city in question is the Maraş of the 1940s and 1950s. It is the place where Rasim Özdenören was born and spent his childhood. The city has a population of thirty-five thousand. It is in a narrow area that cannot extend from the border with Pınarbaşı to the east, Batıpark to the west, and Arkbaşı countryside to the north, to Karamaraş in the south.

It looks like a town. Therefore, it is portrayed as a town in Rasim Özdenören's stories.

There is a question that we come across from time to time as a Maraş native: 'How is it possible, they say, that so many names can come out of a small city like Maraş?' He answers the questions as follows: I said that Maraş is mainly located in a closed geography. People of Maraş, who do not think of opening and expanding outward, have covered distances in deepening inward and towards themselves.'

According to him, the people of Maraş can be defined as “people who are dignified, somewhat still and introverted, able to analyze themselves, carry this depth and ingenuity as a talent in themselves, and are familiar with the sense of humor and tragedy.”

Maraş, which he portrays in his stories, confirms the above mentioned.

Considering the publication dates of his books; we wanted to look at the photograph of the city described in the stories.

2.

The childhood is a country whose borders cannot be finished. The author starts his subconscious journeys from there. He spins his cocoon with what he has acquired from there. He deepens inside with the years of knowledge. Thus, he creates the world of writing.

Rasim Özdenören narrates his childhood days in depth in his stories. With a vigorous mind, he presents the undercurrents of his memory to the reader. He says what he will say in a natural flow. He does not allow for artificiality.

In his first published book, the Patients and the Lights, he deals with the individual. Everything takes place within the individual. He digs into the subconscious depths of the individual. He makes spiritual analysis. He always tells about the sickness states. The events come after experiences.

Maraş is silently embodied in the sum of these stories. Those who read “Patients and Lights” take a trip to the past in Maraş in the 1940s and 1950s.

3.

In some of the stories in "The Dissolution", traces of Maraş are clearly seen. A typical Maraş family is photographed in 'Family'. In fact, the same photograph can be found in most of the Anatolian towns. The families, often composed of poor people; dissolves slowly over time. The tragic situation in question is told in the story "Family".

The story of "The Dissolution" was also shot as a TV movie. It is based on original observations. The main structures of the city are explained first. From the building materials used in the construction of these structures to the space saving in the city, the things seen are transferred frame by frame.

While the author talks about the people living in the old center of the city and the buildings here;

‘The house of Ragıb was in the middle of the city. Although the old center of the city was here, a vast area has now been abandoned, only the old stone inns, arched and domed structures remained. Most of these buildings were demolished and stood empty. The tradesmen such as tinsmiths, blacksmiths and coppersmiths used the rooms or sections of the buildings that remained intact enough to be used as workplaces, and some other rooms, usually on the ground floor, were inhabited by single journeymen of these tradesmen.' He brings the abandonment of these structures to their fate to the agenda.

Regarding one of the inns he mentioned, 'the street lamps were on when Kerim entered the old, stone inn's large door whose coating iron was completely rusted, and huge pins and rivets had been dismantled partly. It was a huge two-storey building, surrounded by rooms on all four sides. To get to the upper floor, two staircases of malta stone were built along each wall. The stones of the stairs were worn and ripped from their places. There were piles of scrap iron here and there in the courtyard,' he explains.

He continues to describe the structures in the city center. It's the turn of government building. With a subtle observation;

 ‘The government building was an old stone-built building. It was on the main street of the city, on one side of the bazaar. Since there were no other buildings around, it looked very big and unlikable where it was' he says.

The surroundings of the castle, then he moves on to the description of the unplanned settlements here. It gives explanations to the reader about the layout styles of the randomly scattered houses. It emphasizes the proximity of houses to each other. While describing the solidarity among the people living here, he does not refrain from mentioning the hardships. He makes the observation that,

“The bottom of the Castle is filled with piles of adobe houses at the back. The houses were built so haphazardly, so irregularly that someone looking down here from a hill might think all these houses were one house or one heap of earth. The streets are narrow and irregular. Here and there, the water of a fountain built by a rich person as charity has overflowed from its pool and covered that part of the street with mud. The houses are generally two-storey with courtyards. Most of them have adjacent or common walls. Here, everyone knows each other; an event that takes place at one end of the street is instantly heard at the other end. Those living in the other neighborhoods of the city look down on those who live here, and when they want to condemn someone for any of their behavior, they say, 'Did you come from the bottom of the Castle, man?'

4.

Şehmuz in the story 'A Polyphonic Death' lives in one of the northwest villages. In a hamlet surrounded by mountains on three sides! Far away from both the village and the city! It has no connection with the city. In winter, it also loses its connection with the world. Those here have the obligation to live shrinking inward. They don't have any handles other than themselves. 'This was a hamlet connected to a village in the province "M", but far from both the village and the city, without roads, surrounded by mountains on three sides, and closed by the river "D" in front. Since there was no connection to the city, the bad weather would show its negative effects mostly in these kinds of places. In winter, this place would be closed to the whole world, would be withdrawn into itself completely, without showing any sign of vitality, struggling with hunger, fear of death, often not waiting for any hope, it would melt into spring under the pressure of a vicious, merciless cold.'

In the story "The Morning Interval", Halil comes to his house in the late afternoon. He knocks on the door hand over hand. He gets angry with his wife who is late in opening the door. He is hectic in every way. He asks his wife to prepare the horse. His name has been involved in a murder. He will go and hide in his brother's house. In this way, he will try to protect himself. His wife is unaware of what is going on. With a non-verbal speech;

‘They entered the room together. Without saying a word, the woman took out a few sheets of bread from the bread box. She poured the warm water from the jug into a large bowl. She wet the bread on the tablecloth. Then she brought a few pieces of dried fruit pulp, grape sausage, and samsa from another box and left them next to the bread. ” After they ate their meals together, they set out.

'When they crossed the narrow, stony road between the gardens outside the city and reached the goat path that curved into the mountain, they saw a "lonely juniper" on the hill, followed by the moonlight. The tree stood defiantly alone at the top of the bare mountain, against the yellow glowing darkness, against the valley floating in a splendid void at the lower end of the mountain, against the silent mystical rustle of the night. As the goat path stretched from the stony slope of the mountain to that tree in a worming way, it appeared and disappeared, giving the impression that it would never reach there, and even if it did, it seemed like it would end suddenly after that. In the void of the night, a long, pathetic coyote howl suddenly scraped the little white stones, the surface of the yellow darkness, stumbling and sticking in some unknown place. Silence. Then the silence broke up with other aimless coyote howls, the rustle of the night with a sound like the tearing of a useless little rag, the sound of the bereaved. These voices swirled and swirled around them in a menacing omen until they had crossed the mountain. They see the night, the mountain, and white, small stones slipping under their feet, the yellow face of the darkness, melted by this sound that seems to come from a single source or from all sides.’ The gendarmes arrived in the town before them. They search his brother's house. They go to the coffee shop in town and ask him. But they cannot find Halil. They take control of all the roads. The footsteps of Halil and his wife are heard in the darkness of the night. They shoot against them. Halil thinks of turning back and running away from the street they were walking on. He wants to throw the saddlebag on his back to get rid of its weight. He cannot find time for that either. He is killed in the end.

'A Polyphonic Death' was shot as a television movie and received the jury's special award at the International Prague TV Films Competition.

The characters such as Şehmuz, Kamber, Hatiç, Arap Baba, Bakaç Ali in the aforementioned story are Maraş characters with their own features.

In the story, the local foods such as bread sheet, dried fruit pulp, grape sausage, samsa, and vineyard products are also included.

It is possible to evaluate 'The Blood' and 'The Conflict' from the stories in 'A Polyphonic Death' in the same category.

5.

The reader is taken on a tour of Maraş in the story "When the Moon Rises at Nights" in "The Distorted". The author starts the description of the city with Kanlıdere and finishes with arasa,

‘Kanlıdere. Who knows, in memory of what terrible event, the long dry ditch that gives the impression that blood flows from its bed instead of water in the minds of the child/dry creek where the sewers are drained from the surrounding where weeds grow, in a humming silence under the moonlight/a thin swamp

Uzunoluk. In the past, there was lush water flowing in a big wooden board, then a stone passage was built with the gutter decayed and demolished, then it is covered and turned into a road and now there is a small bazaar there, with its bakery, kebab shop and grocer, and a small fountain erected in the name of a liberation valiant

The silvery yellow light of the moon

Mount Engizek. Highland.

Bertiz. A village in the distance

The earthen roofs are not only for preventing the northeaster from blowing but also for drying the tarhana in carats

Mount Ahır. Few people have dreamed of building a very high Chinese wall in front of it so that the last crumb of a magnificent chain, a dry mountain will prevent the northeaster

After Isha everywhere is deserted

Boğazkesen. The main road. The lights are shining there only sporadically/the busiest section of the city/boğazkesen/terrible name/there was a big fire at the time now there is a brand new sparkling building at the site of the fire/the road ends in the old municipality area below/it is just the old municipality area beyond the narrow road of the bazaar it is one-way no entrance only exit/abarabaşı on the upper side that's the it tepesi/an old church stone/an old hospital stone/the dogs the junkies

The yellow light of the moon is silvery

On the left side of Boğazkesen the magnificent body of the castle/the bastions have been repaired/the light bulbs blowing on the northeaster/the houses at the bottom of the castle/Nobody's throat has been cut in Boğazkesen/the bottom of the castle is different/ Tekke is different/houses are on top of each other in. Tekke/the roads are impassable/muddy

Çürük. Hortum. Hacaslan's lunatic/if you tied a thread on his finger he wouldn't be able to move in summer and winter barefoot

In Boğazkesen area small shops repairmen traveler lahmacun sellers crispy crispy kahkes with oil boiler buns Düvenönü tinsmiths small shopkeepers tinsmith apprentices/dog skin collector children, whose last destination is Şahadil, starting from the castle and heading towards the Arkbaşı/no life/no future

Çarşıbaşı. Coppersmiths saddlebag makers merchants glassmakers shoe makers hardware stores liver kebab shops shoe repairers peddlers herbalists yemeni makers pot makers winders old salt inn arasa.

In the section above, taken from the story called 'When the Moon Rises  at Nights' in 'The Distorted', the author draws attention to the characteristics of some villages, neighborhoods and streets in Maraş by giving their names.

In the same book, he also includes names such as Ejder, Duran, Durdu, Elif, Saniye, Güllü, Ökkeş, which are widely used in Maraş.

He does not forget the names of the districts in the city such as Mağaralı, Tekke, Düvenönü, Arkbaşı, Kayabaşı, Şahadil, Kümbet, İt Tepesi, Çukuroba Mosque, Abdallar Neighborhood.

In addition to this, local idioms such as cobul, mırtık, kâhge, mitil, cangama, yekinmek, kırat, bazlama, bulgur aşı, gazep, öllünün körü, türemiyesi, teres, sasımak, daraba also take their place in the story.

Çürük, Hortum, and Hacaslan's madman are among the story types as indispensable figures of the city.

6.

In the 'Stove' story in 'The Door to the Sea', Rasim Özdenören narrates the story of a man who has been released from prison, enters Maraş with great longing and takes a taxi to go home.

In the story "A Man", it is expressed that a person who sets out to buy wheat at the time of the morning prayer, goes step by step from the qibla side of the Maraş castle towards the Grand Mosque, which is located in the center of the city, from the old stone-built Mufti building. The walking person says that, ‘I crossed the side streets and came to the area in the middle of the city. There was an old stone building here. The Grand Mosque was also around this building. The castle was visible from here in all its glory. But when you came here, you could no longer imagine the Hittite ruler and his guards in strange armor, the lions waiting at the door, the lions that were terrifying with the roars of their breath, even if they were always dozing, among the concrete buildings, the majestic carcasses. When it started to get dark, the castle was already turning into a tourist attraction.'

It is seen that local expressions such as horanta, bıldır, daraba, partal, şilte, deveme, Şekerdere, çerçi, döğme, savan, tosbağa, sofa, incoz, zerdali, mintan, garbi yeli, soyka, arasa, kerevet, kahbe avratlılar, kahbe dölleri, deyyus, keven are used in 'The Door to the Sea'.

7.

'The Man Who Grows Roses' begins with a description of the city, people and life that change according to the seasons and months. The reader is invited to watch the Maraş photograph from history to the present. The person who has lost his memory is instilled with the history again. The months and seasons that determine the life of the city and its people are told. The works to be done in the aforementioned months and seasons are mentioned. The author draws the panorama of the city,

‘The city ruins. And the human ruins./ The cadavers. Is it possible to reach a place/ by dealing with cadavers?/ A big castle/ a huge pile of earth in the heart of the city/ earthen/ minarets/ domes/ narrow streets/ alleys. MAIN STREET./ used to be cobble stone/ now asphalt/ cobble/ stones/ remained/ under/ asphalt./ You should see this city in autumn/ when the northeaster blows crazy/ one afternoon./ It swings/ northeaster/ shakes/ all over/ zinc-coated roofs whistle/ not only on the roofs/ in the streets/ and/ under the city/ at crossroads/ in the middle of a solitude/ came through ancient times/ left alone for hundreds of years./ The months/ JULY/ AUGUST/ SEPTEMBER/ it's the must time// OCTOBER/ return from the vineyard/ getting ready for winter/ NOVEMBER/ DECEMBER/ brutal cold/ humid cold/ highland/ mountain air/ JANUARY/ FEBRUARY/ wood stoves/ fires pulled from stoves/ a lectern is set up under the quilts/ do you know what a lectern is?/ MARCH/ APRIL/ extract/ the passing/ TIME/ What are people looking for in this city? On the streets/ in the bazaars/ in narrow streets/ Where do people go? Pınarbaşı/ is the picnic area/ and Şahadil cemetery,' and shows the last frame of the photograph to people of Maraş.

The city is viewed through the lens of 'The Man Who Grows Rose'. The author, who sees the reluctance and boredom collide with Ahır Mountain with a crusty luminosity away from the moonlight draws a portrait,

‘NIGHT/ KANLIDERE BRIDGE. ABARABAŞI./ THE MONTH FAR AWAY./ A CRUSTY LUMINOSITY,/ LIKE/ A NEWBORN BABY'S EYES/ HITS THE SLOPES OF BARREN AHIR MOUNTAIN,/ DESIRELESSLY.' The desirelessness towards life has permeated the mountain and stone. Man has fallen into curse. What happened occurred contrarily to expectations. The city now lives the dead of winter.

Every season has its own flavor here. The summer is preparation for winter. Everything takes place in accordance with the commandment, 'The winter migration is within you.' With the stage of working and struggling, the stage of inspection is reached. The summers to pass in a sense of occasion are expected. Before what happens happens, the preparations are made. The efforts are made not to cause complacency. Those who have vineyards in the summer move to their vineyards. You do not go to the vineyard just for a picnic as it is now.

The rhythmic flow of life demands this. Resting and working together constitute a whole. In the vineyards, on the one hand, the winter preparations specific to Maraş are made, on the other hand, you have fun. Folk tales such as A Thousand and One Nights, Kerem and Aslı, Tahir and Zühre, Yusuf and Züleyha are told by those who know. Thus, a child's memory is established in the vintage season, which passes in a ceremonial atmosphere. Rasim Özdenören, who witnessed all these with the spirit of a child narrates,

'Towards the end of summer, the wind gets stronger, the town is dusty; most of the families migrated to the vineyards, the vineyards are not just a trip or a picnic spot, winter grain is prepared there, molasses is extracted, grape churchkhela is made, fruits are picked, those that will be left to dry are dried, in short, you work all summer long, for children who realize that they are going to the vineyard for the first time, the situation is certainly different: everything is new to them, a field to run, a tree to climb, a newly invented game, everything is all nature. In the afternoon, grown herbs are gathered between the vineyards, they are gathered into a large heap, the grass has dried well, in the evening, after sunset, that huge heap of grass is set on fire in an open place in a ceremonial atmosphere, this is the grass fire, the children whirl around the fire with screams of joy, towards the end of summer, the grapes are ripe, the ripe grapes are collected in saddles, the grapes are pressed to the top of the saddles, crushed and juiced, grape juice is laid on cloths and dried, dried fruit pulp is made, then samsa is made from the dried fruit pulp, all this lasts for days, nights, weeks, while working at night - this is a work carried out sitting down - a man or a woman who has the gift of storytelling tells tales, A Thousand and One Nights, Kerem and Aslı, Tahir and Zühre, Yusuf and Züleyha ... child minds develop with these tales, they leap, it is not known how time passes, bodies tired from working during the day slowly go to sleep, one of the young girls gets up and spreads the beds on the roof or the earthen space in front of the house, they fall asleep under the moonlight, under the magnificent sky paved with billions of stars, the rustling of night insects is a unique nature music, somewhere an insect or a bird sings at regular intervals, a bat darts into the dark with a sharp cry, the quarry gleams white in the moonlight, the moon turns, the deep black shadow of the crab apple spills out into the dry earth as a mottled speck, when you wake up in the morning, the pomegranate flowers will have bloomed, in order to save the figs from the birds' beaks, it is necessary to get up earlier than them, that legendary black snake seen here and there is still not killed, according to some it is wrist-thick, others say it is like a big tree...’ He tells the hunter Ali, who is known to have shot the partridges while they were flying, that his duty to kill the snake has fallen. There are also some folk beliefs here. The children are warned by their mothers that it is not good to look at the moon, and that it is necessary to look at the green as soon as they open their eyes in the morning. The mothers ask their children to take their jackets on their backs against the morning cold. Now comes the preparations for the next year. The dead fruit trees are cut down. The trees are cleaned by cutting the dead branches. The woods are prepared for the winter. The garden is arranged for planting vegetables. The water arc is overhauled.

"The Man Who Grows Rose" is entirely Maraş's novel. The characters such as Çarli, Sitare, Zelda, and Marya mentioned in the novel attract attention with their being foreigner. The characters such as Ömer, Burhan, Tansel etc., on the other hand, are personalities that are articulated to them and alienated from the root of the soul.

Trying to knead a personality from the experiences, "The Man Who Grows Rose" searches for the lost soul root. He is busy growing roses in his house. No one can make sense of his act of growing roses. His life seems strange, incomprehensible at all.

He is focused on knitting his own inner integrity. He doesn't share his state with anyone by wrapping himself in his solitude on his way to and from the mosque. He is alone in the mosque as well. What they see is a mystery!

The names such as Ahır Mountain, Batıpark, Pınarbaşı, Çarşıbaşı, Şahadil, Antepyolu, Uzunoluk, Bahçelievler, Arkbaşı, Kanlıdere Bridge, Abarabaşı in the "Man Who Grows Rose" are still the names of districts in and around the city.

The novel also includes local expressions such as alambaç, samsa, sucuk, bastık, purluk, hezen, daraba, nahır, masere, çarşı ekmeği.

The character, 'The Man Who Grows Rose', does not express a tangible personality. He tells a stance to the reader.

However, as Hüseyin Yorulmaz stated, it is possible to count Sütçü İmam, Rıdvan Hoca and Bahçeci Hoca among the propositions of "The Man Who Grows Rose". Because each of them signs a world for the people of Maraş. Sütçü İmam is 'a symbolic personality who opens the way for independence and salvation in front of the public in difficult times, and ignites the ashen ember in his people'. Rıdvan Hoca, in the sermon he read from the Grand Mosque pulpit, ignited the 'spark' in the people by saying, 'Friday prayers cannot be performed in a city where the enemy flag is flying in its castle.' Bahçeci Hoca, on the other hand, has woven his own cocoon by living a simple life. He made his living by radio repair, mouse trap, bookbinding, manufacturing shoe repair needle and quilt needle. The materials he produced were exported to Diyarbakır, İskenderun and Mersin and kept in the market. He has an inventive side. Although the Germans wanted to take him to Germany with attractive money offers, he refused.

Maraş is traced in Rasim Özdenören's stories. The texture of the city has permeated all layers of the narrative. He tells about his own Maraş. He tries to witness the city that has gone through destruction and fires with his writings. He reflects on his writings by turning his projectors on the Maraş of his childhood days. He finds a way to look at his own city, his own space, from anywhere. Moreover, he always searches the undercurrents of his memories. Rasim Özdenören's Maraş is the Maraş of the 1940s and 1950s. It is the city of Maraş, which is known for its self-sufficiency without overflowing around. With his enclosed state, it tries to install his soul wherever it is. It does not deign to get support from someone else. That's why people here always find something to tell each other on long winter nights, in vineyard houses, and in times of milling. Rasim Özdenören's world, who grew up in such an environment, is enriched with these narratives. It expands as he reads, champs at the bit, and turns into writing. It becomes a story or an essay or a novel. The life of "The Man Who Grows Rose", which expands greatly, is embodied in the taste of poetry. The writing is named and presented to the reader. As one reads Rasim Özdenören, who used the Maraş region as the material for his writings, he gets to know more closely the possibilities and riches of the city he lives in. He sees the richness of the culture to which he belongs. With these narratives, he gains the ability to overcome his loneliness. He enjoys the pleasure of turning and looking at his own sky.

REFERENCES
1- Rasim Özdenören, Hastalar ve Işıklar, İz Yayınları, İstanbul, 1998
2- Rasim Özdenören, Çözülme, İz Yayınları, İstanbul, 1998
3- Rasim Özdenören, Çok Sesli Bir Ölüm, İz Yayınları, İstanbul,1998
4- Rasim Özdenören, Çarpılmışlar, İz Yayınları, İstanbul, 1998
5- Rasim Özdenören, Denize Açılan Kapı, İz Yayınları, İstanbul, 1999
6- Rasim Özdenören, Gül Yetiştiren Adam, İz Yayınları, İstanbul, 2006
7- Rasim Özdenören, ‘Benim Maraş’ım’, Dört Mevsim Maraş,