In the poems of Murathan Mungan, the values of decay and decay

Industrialized, mechanized society in the modern new world order wants to make more space for its existence in the world by expanding and expanding its habitat. As the universe expands its boundaries and opens up new areas, the human spirit trapped between buildings begins to shrink. The effort to make sense of the universe turns the face of science to a minimum. The return to the minimalist also manifests itself in art. Minimal images entering the poem create multiple dimensions by loading fractal semantic values into the poem. Murathan Mungan attuned to modern poetry, placing multiple values on minimal images. The decay mefhum, which is a minimal image, is processed in figurative language in the poetry of Mungan verse. The individual who commoditizes nature in steps also refutes himself while wiping the earth out in its exhaustion. The existential pains of the individual, which are lonely among the rising buildings, come into being in the image of decay. Murathan Mungan, who is on an existential quest, expresses in his poems the delusions of existential pangs with decay. The man who steps the earth with birth comes closer to its decay at every step. Amorphous, old, withering, deformed beings; unattainable goals, lost loves corrupt the environment and soul of the individual, turning the individual into walking corpses. The individual who expects to be accepted as he steps through the world wants to be one with the society. The individual either mixes into society by giving up his or her self, or is ostracized by experiencing social conflict. Both situations reveal social decay. Murathan Mungan's smelly image is processed by rotting jeweler's work. In his poems, which he wrote under the influence of postmodernism, traces of the second new are found. The image of decay is shaped by the influence of existentialism, postmodernism. Poet the image of decay, mating with the concepts of love, time, existentialism, words, society, religion and water; dreams that it cannot reach are gathered under the banner of their unattainable love and views that contradict society. Evoking decay; amber, amber, mold, rust, change, transformation, desert and poison images take their place in the layers of poetry as companions of decay. In the research, Murathan Mungan delves into the semantic depths of the poem by looking at the angles and reflections of the decay image