Nâzım Hikmet, fled from Turkey through Romania to the Soviet Union, Moscow in June 1951. This is his third time in Moscow. When his first coming to Moscow as an university student, Moscow, is an art center with all the enthusiasm, energy, courage and experimentation of the October Revolution. However since the late 1920s, especially since the declaration of socialist realism as the official ideology of the State at the Soviet Writers Union Congress in 1934, it becomes the center of a supervisory, oppressive, uniformizing policy of art. Defending the artist's freedom of creation, aesthetic experimentation and universality throughout his life, Nâzım Hikmet has a hard time accepting the environment he encountered in this last visit to Moscow. He does not hesitate to voice his reaction loudly against the works that support the single man cult and which can be considered the same as form and content. His attitude will cause criticism of the State during both the period of Stalin and Kruschev, from the moment he took his first step into Moscow. In this process, Aleksandr Fadeyev who is the executive of Stalin's art policies prevents him from entering an open conflict with power, ensures his security in Moscow, supports and supervises him also. Therefore, it would be meaningful to discuss the variable dynamics of Nâzım Hikmet and Fadeyev’s friendship to understand Nâzım Hikmet’s relationship with the political-artistic environment he found there after his last visit to the Soviet Union in 1951.
Nâzım Hikmet, Aleksandr Fadeyev, Moscow, Socialist realism, Soviet avangard