Her poetry was influenced heavily by the Garip movement in Turkey and she wrote works of satire in free verse.
[3] She initially wrote under aliases such as Nevin Nale, Gülen Gaye, Lafazan Meçhul ("the unknown talkative"), Funda and Fırtına, and even as such experienced a great fear of persecution.
This was because of her father and the patriarchal society seeing women's poetry as scandalous and promiscuous at the time and the ban of the British colonial government on civil servants publishing written work, which would cost her her job.
Marmara's father was outraged at the prospect but had to yield when his daughter stopped eating, sending her brother to Istanbul to see Oğuzcan.
[3] She lived at a house on Abdi Çavuş Street in the walled city of Nicosia, with which she became associated,[8] and died there on 31 January 1984.
[9] According to Tamer Öncül, who calls Marmara "one of the most qualified poets of the period", Marmara stayed away from the other "romantic hececiler" and the prominent Turkish Cypriot poets of her time, who wrote in the nationalist publication Çığ, and wrote ironic and satirical poems on social issues in free verse, with evidence of inspiration by the Garip movement and Nazım Hikmet.
Öncül writes that Marmara "seems to have solved the question of identity" in that her poetry is "not a tool for chauvinism" or for "nationalistic sermons" and the subjects of her poems are her own Turkish Cypriot people.
[11] Neriman Cahit calls Marmara the poet with the "largest amount of Cypriotness" in her writing among the prominent quartet of the female writers of her generation, consisting of Pembe Marmara, Urkiye Mine Balman, Necla Salih Suphi and Engin Gönül (Emine Oktan).
According to Cahit, Marmara is one of the first Turkish Cypriot poets that wrote satire whilst being concerned with both a personal and a communal outlook.