He writes in his memoirs: "While reading these poems with a passionate and moving voice, sometimes wiping away tears, my father, who passed away at 47, remains in my eyes a symbol of a grand and noble past."

[citation needed] His wife described his linguistic sensitivity:[11]When Khalil worked at API (Azerbaijan Pedagogical Institute), he was deeply engaged in the struggle to purify the language.

But my true mission is to speak my people’s language and be the voice of their feelings.Despite the obstacles posed by the Soviet regime, in 1969, Uluturk was invited to the Nizami Institute of Literature at the Azerbaijan Academy of Sciences, where he continued his literary work as a senior researcher.

[18] Shortly thereafter, the Gorky Central Mobile Library and the Poetry Section of the Azerbaijan Writers’ Union organized another event to present Khalil Rza with the State Award for his works published by Gənclik and Maarif.

[citation needed] He was charged under Article 67 of the Azerbaijani SSR Criminal Code for inciting national hatred and faced a sentence ranging from three months to ten years.

His political program, submitted after the biography in his application, was as follows:[citation needed][26] Due to health issues, in 1992, Khalil Rza underwent diabetes and eye examinations at Cerrahpaşa Hospital in Istanbul upon the directive of Süleyman Demirel.

[39] In the 1950s, Khalil Rza's poems "Qatar gedər" (The Train Goes), "Budapeştdə heykəl" (Statue in Budapest), "Müqəddəs yol" (Holy Path), "Böyük günlər bayramı" (Holiday of Great Days), "Radionu dinlərkən" (While Listening to the Radio), and "Həyat düşüncələri" (Thoughts on Life) show a decrease in poetic intonation, while social-political poems such as "Şərqin gözləri" (Eyes of the East), "Şairin cavabı" (The Poet's Response), and "Bəzənin, a qızlar" exhibit traditional motifs and epic-lyric narratives.

[43] The social-political events and freedom movements occurring in the world during the 1960s contributed to the development of national literatures in terms of people's and universal values, leading to changes in artistic quality in poetry.

[44][45] Khalil Rza's poetic manifesto, the poem "Azadlıq" (Freedom), was first published in the December 24, 1960, issue of the newspaper "Ədəbiyyat və incəsənət" (Literature and Art) under the title "Afrikanın səsi" (Voice of Africa).

Some of the poetic samples written in the 1960s include: "Nifrətim var" (I Have Hatred) (1960), "And içirəm" (I Swear) (1962), "Şəlalə kimi" (Like a Waterfall) (1962), "Ermitaj və Avrora" (The Hermitage and Aurora) (1962), "Ürək qızıl gülə bənzər" (The Heart Resembles a Golden Rose) (1962), "Əyilmə" (Do Not Bow) (1962), "Qonaq çağırıram bəşəriyyəti" (I Call Humanity as a Guest) (1963), "Vəzifə" (Mission) (1967), "Mən Şərqəm" (I`am East) (1968).

Other poems on this theme include "Doğma ev" (Native Home) (1960), "Analar" (Mothers) (1960–61), "Mənim övladlarım" (My Children) (1962), "Anam ocaq qalayır" (1965), "Oğullar gərəkdir Azərbaycana" (Sons Are Needed for Azerbaijan) (1966), "Oyatmağa qıymaram" (I Will Not Allow Them to Wake Up) (1967), "Oğullarıma" (To My Sons) (1967), "Atanın şer dəftərindən" (From My Father's Poetic Notebook) (1968), "Yatır gül balalarım" (Sleep, My Flower Children) (1968), "Üzü nurlu anam mənim" (1969), "Qollarım üstündə" (On My Arms) (1969), "Sərvətim" (My Wealth) (1969), "Balalarım" (My Children) (1970), "Gizli iftixar" (Secret Pride) (1970), "Səadətim" (My Happiness) (1970), "Rzam üçün" (For My Rza), "Ata ev tikir" (Father Builds a Home), "Biz gəldi-gedərik, Vətən əbədi" (We Come and Go, but the Fatherland is Eternal) and others.

[52] The poet's poems "Bahar" (Spring) (1960), "Yeni pəncərələr" (New Windows) (1960), "Göygöldə sübh açılır" (Dawn Breaks in Goygol) (1961), "Mən Dneprə vurulmuşam" (I am in love with the Dnieper) (1961), "Riqa körfəzində günəşin qürubu" (Sunset in the Gulf of Riga) (1961), "Günəşin yarısı görünür ancaq" (Only Half of the Sun Is Visible) (1961), "Bir dəstə çiçək" (A Bunch of Flowers) (1961), "Bakı bağları" (Baku Gardens) (1961), "Bahar kimi" (Like Spring) (1962), "Qızıl balıq və şəlalə" (Goldfish and Waterfall) (1962), "Sonsuz qüvvət" (Endless Power) (1962), "Ömrümdə Kür çayını bu rəngdə görməmişdim" (I Have Never Seen the Kura River in This Color) (1962), "Göyçayda payız səhəri" (Autumn Morning in Goychay) (1963), "Dəlidağ" (Delidag Mountain) (1963), "Uşaq bağçası dənizdə" (Kindergarten by the Sea) (1964), "Quba bağları" (Quba Gardens) (1960-1968), "Güldəstə toplayıram" (I Gather a Bouquet) (1965), "Aç qoynunu, ana torpaq" (Open Your Arms, Motherland) (1965), "Gül bağında düşüncələr" (Thoughts in the Flower Garden) (1966), "Qobustan qayaları" (The Rocks of Gobustan) (1966), "Bütün fəsillərdə bahar yaşayır" (Spring Lives in All Seasons) (1967), "Gəncənin çinarları" (The Plane Trees of Ganja) (1967), "Dəniz səni çağırır" (The Sea Calls You) (1967), "Dəniz kimi yaşamaq" (Living Like the Sea) (1967), "Xəzərdən ayrıla bilmirəm" (I Cannot Separate from the Caspian) (1967), "Qar altında bahar" (Spring Under the Snow) (1968), "Çağırır Göyçay məni" (Goychay Calls Me), "Daşın ətri" (The Smell of Stone) (1968), "Sən mənə bənzəyirsən" (You Resemble Me) (1969), "Babalar yatan yerdə" (Where the Ancestors Sleep) (1969), "Baharda" (In Spring) (1969), and "Həftədə bir kərə, ayda bir kərə" (Once a Week, Once a Month) (1969) express a pastoral idyl, artistic images, and deep layers of thought.

In poems like "Heç olmaz ki..." (It Can't Be...), "İşsiz kişilər" (Unemployed Men), and "Düşüncələr" (Thoughts), he demonstrates poetic sensitivity and a civic stance towards these problems.

During these years, the poet published the following books: "Taparam səni" (I Will Find You) (1980), "Ömürdən uzun gecələr" (Longer than Life Nights) (1982), "Hara gedir bu dünya" (Where Is This World Going) (1983), "Daşdan çıxan bulaq" (Spring from Stone) (1986), and "Məndən başlanır Vətən" (The Homeland Begins with Me) (1988).

Among the works the poet wrote during these years are "Azərbaycan-türk salamı" (Azerbaijani-Turkish Greeting), "Azadlığım" (My Freedom), "Sarsılmazdır qüdrətimiz" (Our Unshakeable Strength) (1988), "Sumqayıt dastanı" (Sumgayit Epic) (1988), "Silahlan" (Arm Yourself) (1988), "Tonqallar meydanı" (Bonfire Square), "Azərbaycan" (Azerbaijan), "Qalx ayağa, Azərbaycan" (Stand Up, Azerbaijan), "Azadlıq meydanı" (Freedom Square), "Tanklar Bakıya girən gecə" (The Night Tanks Enter Baku), "Şuşam" (My Shusha) (1989), "Qara tabutlar gəlir" (Black Coffins Are Coming) (1989), "Yaşasın Xalq Cəbhəsi" (Long Live the People's Front) (1989), "Müstəqillik" (Independence) (1989), "Qanlı cəllada" (To the Bloody Executioner, M.S.

In his works such as "Qalx ayağa, Azərbaycan" (Stand Up, Azerbaijan), "Yalnız pasportunda" (Only in Your Passport), "Boz qurda öygü" (Lament for the Grey Wolf), and "Mən günəş ürəkli Khalil Rzayam", Turkism is emphasized as a fundamental indicator of national identity.

), Bakıdan gələn bağlama (The Package from Baku), and others indicate that the poet immediately recorded the events, facts, meetings, and memories that influenced him in his diaries, later using these notes as the basis for his poems.

[66] In Məhəbbət Dastanı (The Epic of Love), Khalil Rza lyrically presents his universal thoughts, recalling revolutionary movements in China, Poland, Germany, Africa, Hungary, Egypt, Korea, and Southern Azerbaijan while expressing protest against the horrors of Hiroshima.

Similarly, Qanadlılar (The Winged Ones) focuses on nature, specifically the Gizilaghaj Reserve, while Əfsanəli bir ölkə (A Legendary Land, 1977) is inspired by academician Hasan Aliyev's book Həyəcan Təbili (The Alarm Bell).

Other works from this period, such as İki qardaşın söhbəti (The Conversation of Two Brothers), focused on Southern Azerbaijan, while Qalx ayağa, Vətənim (Rise, My Homeland) and Məni bir dərd yandırır (A Sorrow Burns Me) were dedicated to the poet Sohrab Tahir.

The 2010 edition of Dünyaya pəncərə spans 72 printing sheets or 1,151 pages, featuring translated poetry from 28 nations, including Greek, Hungarian, Bulgarian, Czech, German, Japanese, French, English, Italian, Afghan, and Indian poets.

For instance, regarding Uzbek poetry, he mentioned Alisher Navoi, M. Shayxzoda, A. Arif, Saida Eyni, Zulfiya, J. Kamal, Gafur Ghulam, and Abdulla Qahhor.

[84] From Slavic literatures, he translated works by Russian writers such as Konstantin Simonov, Alexander Blok, Andrey Voznesensky, Yevgeny Yevtushenko, Nikolay Tikhonov, V. Lugovskoy, Ilya Selvinsky, and Nikolay Nekrasov; Ukrainian poet Taras Shevchenko; Belarusian writers Yanka Kupala and Yakub Kolas; and Baltic poets such as R. Rummo, U. Lant, L. Seppel, and L. Koidula (Estonian); I. Auzin, V. Belševica, M. Čaila, and A. Skalbe (Latvian); and Š. Vladas, K. Donelaitis, E. Meželaitis, J. Marcinkevičius, A. Maldonis, A. Baltakis, and V. Kalinauskas (Lithuanian).

For example, "Professor Əkrəm Cəfər danışır" (Professor Ekrem Jafar Speaks) (1969), "Qızıl gül düşür yada" (The Golden Rose Reminds) (1969) (about Prof. Abbas Zamanov), "Yusif Ziya Şirvanlı" (1969), "Səidə-xoşbəxt deməkdir" (Saida Means Happy) (1969) (about M. Sheykhzade's sister Saida Sheykhzade), "Saz və tüfəng ilə" (With a Saz and a Gun) (1967) (about the Lachin poet Sayyiah Muhammad), "Səngərdə doğulmuş sətirlər" (Lines Born in the Trench) (1967) (about war veteran Ahmad Ahmadov, who fought in the Caucasus, Ukraine, Belarus, and Poland), "Unudulmaz saatlar" (Unforgettable Hours) (1968) (about Hökumə Billuri), "Ənənə qol-budaq atır" (Tradition Spreads Branches) (1968), "Vaqif sənətinə yaraşan fırça" (The Brush Worthy of Vagif's Art) (1968) (about Ali Mina Tabrizli), "Əyyub Şirinzadə" (1969), "Öləndən sonra da yaşayır insan" (A Person Lives Even After Death) (1969), and "Şairin sevgilisi" (The Poet’s Beloved) (1969) provide information about the lives, activities, and works of individuals such as Ekrem Jafar, Abbas Zamanov, Yusif Ziya Shirvanlı, Saida Sheykhzade, Sayyiah Muhammad, Ahmad Ahmadov, Ilyas Ibrahim, Hokuma Billuri, Sohrab Tahir, Ayyub Shirin, Sakina Sheykhzade, Mirza Ibrahimov, and Ali Mina Tabrizli.

[95] In Khalil Rza Uluturk's scientific articles, the philosophical depth of national poetry, the political landscape of the era, humanism, Turkism, patriotism, and independence ideologies are explored.

His articles touching on national and historical issues, the ideals of Azerbaijan's independence, and themes of human freedom include:[81] The journalism of the 1980s stands out in terms of literary portraits and essays.

"Qardaşlıq görüşü" (Brotherhood Meeting) (30 July 1980) is about Abbas Abdulla, "Misilsiz milli xəzinə" (Unmatched National Treasure) (16 December 1984) focuses on Firudin Shushali, "Zeynalımızla ilk görüş" (Our First Meeting with Zeynal) (10 January 1985) discusses Zeynal Mammadov, "Yeganə təsəllimiz" (Our Only Comfort) (12 March 1985) is about Alfi Qasimov, "Kürlə Xəzər qovuşamda" (At the Convergence of the Kura and the Caspian) (21 April 1986) pertains to Zabil Parviz, "Qardaşım, qardaşım Azər İmam" (My Brother, Azer Imam) (12 May 1985) is about Azer Turan, "Zindanda poeziya günəşi" (14 February 1986) focuses on Musa Jalil, "Möcüzələr diyarında" (In the Land of Miracles) (5 October 1986) discusses Mestan Guner, "Poeziyaya çevrilmiş dostluq" (Friendship Turned to Poetry) (4 December 1987) is about the Russian poet Vyacheslav Shoshin, and "Günəş heç bir kəsdən mükafat ummaz" (The Sun Asks No Reward from Anyone) (23 December 1987) focuses on Firudin Shushali.

The content of these interviews is significant in terms of promoting national and spiritual values:[103] Both research-based and biographical works written about Khalil Rza Uluturk provide multifaceted information about his life, creativity, and role in Azerbaijani literature.

Two years later, in 1998, Yavuz Akhundlu dedicated considerable space to Khalil Rza Uluturk in his book "İstiqlal Şairləri" (Poets of Independence), emphasizing his national spirit and struggle.

That year, a methodological guide titled "Milli və Bəşəri Sənətkar" (A National and Universal Artist) was prepared for the 80th anniversary of Khalil Rza Uluturk’s birth.