A\u015fk, insan\u0131 belli bir varl\u0131\u011fa, bir nesneye ya da evrensel bir de\u011fere do\u011fru s\u00fcr\u00fckleyen g\u00f6n\u00fcl ba\u011f\u0131; sevginin en \u00fcst a\u015famas\u0131, bir \u00fctopya, bir tutku ve ayn\u0131 zamanda derun\u00ee bir g\u00f6n\u00fcl halidir. Her ne kadar Nietzsche ve Schopenhauer a\u015fk\u0131, soyunu s\u00fcrd\u00fcrmek amac\u0131yla insana kurulmu\u015f olan “ho\u015f ve bilgece bir tuzak” olarak g\u00f6rseler de; Descartes ve Spinoza, a\u015fk\u0131, yarat\u0131c\u0131 ve y\u00fcce bir g\u00fc\u00e7 olarak d\u00fc\u015f\u00fcnmektedirler. Dante, belki de bu nedenden dolay\u0131 g\u00fcne\u015f ve y\u0131ld\u0131zlar\u0131 hareket ettiren a\u015fkt\u0131r demektedir. Mevlana ise; “Vars\u0131n \u00e2\u015f\u0131k g\u00fcnaha girsin, ho\u015f g\u00f6r\/Sevda \u015farab\u0131ndan i\u00e7mi\u015f-arlanmaz” demektedir. <\/p>\n\n\n\n
\u015eu veya bu nedenle olsun: \u0130nsan sevmeli.<\/p>\n\n\n\n
\u0130nsan sevince, ku\u015flar daha candan \u00f6ter, r\u00fczg\u00e2r ba\u015fka y\u00f6nden ba\u015fka t\u00fcrl\u00fc eser; do\u011fada \u015fenlik havas\u0131 eser. <\/p>\n\n\n\n
\u0130nsan sevince, g\u00f6zler daha farkl\u0131 g\u00f6r\u00fcr; ya\u015fam bir ba\u015fka t\u00fcrl\u00fc anlam ve de\u011fer kazan\u0131r. <\/p>\n\n\n\n
\u0130\u015fte, Seher Gitti<\/strong> roman\u0131nda ya\u015fama anlam ve de\u011fer katmak isteyenlerin a\u015fk\u0131 anlat\u0131lmakta. Roman\u0131n kahramanlar\u0131ndan Seher a\u015f\u0131kt\u0131r, “Emil” a\u015f\u0131kt\u0131r, \u015e\u00fckr\u00fc a\u015f\u0131kt\u0131r, Svetlana a\u015f\u0131kt\u0131r… Seher, iki erkek; \u015e\u00fckr\u00fc ve Emil, a\u015fk\u0131yla dostu aras\u0131nda zor bir tercih ve s\u0131navla kar\u015f\u0131 kar\u015f\u0131ya. Yani bir yanda dostluk, di\u011fer yanda a\u015fk! Oysa “a\u015fk dostu d\u00fc\u015fman\u0131 tan\u0131maz” (s.60), “A\u015fk, dostlu\u011fun da \u00fcst\u00fcnde, insano\u011flunu kimi y\u00fccelten, kimi yerlerde s\u00fcr\u00fcnd\u00fcren \u00fcst\u00fcn bir g\u00fc\u00e7”t\u00fcr (s.67).<\/p>\n\n\n\n A\u015fk g\u00f6n\u00fcl ilac\u0131d\u0131r, ama ac\u0131d\u0131r. A\u015fk tatl\u0131 bir r\u00fcyad\u0131r, ama \u0131zd\u0131rapt\u0131r. A\u015fk \u0131\u015f\u0131lt\u0131d\u0131r, ama \u00e7ark\u0131felektir. Svetlana’n\u0131n deyi\u015fiyle “A\u015fk hem tatl\u0131, hem ac\u0131, \u00e7ileli bir g\u00f6n\u00fcl hastal\u0131\u011f\u0131d\u0131r. Tutu\u015fmak, yanmak, erimek, beklemek demektir uzun uzun” (s.92).<\/p>\n\n\n\n Seher Gitti<\/strong>‘yi okuduktan sonra, Louis Aragon’un “Mutlu ak yoktur” s\u00f6z\u00fcne hak verdim: Seher Gitti<\/strong>‘nin sonunda ac\u0131 s\u00fcrprizler var! <\/p>\n\n\n\n Roman\u0131n g\u00fczel bir kurgusu var; Ahmet T\u00fcrkay, ya\u015fam \u00f6yk\u00fclerini, do\u011fa betimlemelerini ve ya\u015fama dair temel sorunlar\u0131 temiz ve d\u00fczg\u00fcn bir T\u00fcrk\u00e7eyle bir dantel gibi i\u00e7 i\u00e7e \u00f6rm\u00fc\u015f. S\u00fcr\u00fckleyici; insan bir solukta okumak istiyor. <\/p>\n\n\n\n Roman Bulgaristan’da ge\u00e7mektedir. Kitap ba\u015ftan sona h\u00fcmanizm kokuyor. Bulgar T\u00fcrk, M\u00fcsl\u00fcman insanlar aras\u0131ndaki sevecen insani ili\u015fkiler ve dayan\u0131\u015fma abart\u0131lmadan, kendi do\u011fall\u0131\u011f\u0131 i\u00e7inde i\u015flenmi\u015ftir. <\/p>\n\n\n\n Kitapta s\u00fcr\u00fcp giden g\u00fcnl\u00fck ya\u015fam, Bulgaristan’da “sosyalizm”in rafa kalkmadan \u00f6ncesine mi sonras\u0131na m\u0131 ait oldu\u011fu ba\u015fta pek net de\u011fil, ancak sat\u0131r aralar\u0131ndan ve kitab\u0131n sonuna gelince “sosyalist d\u00f6nem”e ait oldu\u011funu anl\u0131yoruz. “Sosyalist d\u00f6nem”e ait olmas\u0131, Bulgaristan’da veya T\u00fcrkiye’de olmas\u0131 da asl\u0131nda o kadar \u00f6nemli de\u011fil; insanlar\u0131n sorunlar\u0131 genelde hep ayn\u0131: Yaln\u0131zl\u0131k, ekmek kavgas\u0131, e\u011fitim ayr\u0131l\u0131k, trafik kazalar\u0131, toplumsal kirlilik, do\u011fal \u00e7evre kirlili\u011fi…<\/p>\n\n\n\n Romanda i\u015flenen yaln\u0131zl\u0131k, ba\u015fl\u0131 ba\u015f\u0131na ele al\u0131nmas\u0131 gereken bir konu bence. Sosyal geli\u015fmenin mi, kentle\u015fmenin mi, yoksa her ikisinin etkisiyle mi insan insana yabanc\u0131la\u015fmakta; yaln\u0131zl\u0131\u011f\u0131n dayan\u0131lmaz girdab\u0131nda, kalabal\u0131k i\u00e7inde insanlar yaln\u0131z kalmakta. Bu dert, insanlar\u0131n en b\u00fcy\u00fck ba\u015f a\u011fr\u0131lar\u0131ndan biri; yaln\u0131zl\u0131k insanlar\u0131 bitiriyor. “Vakit daha erkendi, eve gitmek istemiyordu can\u0131. Yaln\u0131zl\u0131\u011f\u0131n\u0131 bek\u00e2r odas\u0131na ta\u015f\u0131mak zor geliyordu Svetlana’ya. Bu kente yerle\u015fince \u00e7o\u011falan yaln\u0131zl\u0131\u011f\u0131 \u00fc\u00e7 y\u0131ld\u0131r yakas\u0131n\u0131 b\u0131rakm\u0131yordu. … Yaln\u0131zl\u0131\u011f\u0131n koynu, bo\u015f yuva gibi so\u011fuktu” (s.30-31). Yaln\u0131zl\u0131k bundan g\u00fczel daha nas\u0131l anlat\u0131l\u0131r? Ya \u015fu sat\u0131rlara ne demeli: “Da\u011flar\u0131n do\u011fusu ayd\u0131nlanmaya ba\u015flam\u0131\u015ft\u0131. \u00c7ok ge\u00e7meden ay do\u011facak, gecenin kara \u00f6rt\u00fcs\u00fc \u00fcst\u00fcne g\u00fcm\u00fc\u015f y\u0131ld\u0131z\u0131 \u00e7ekecekti. G\u00f6ky\u00fcz\u00fc a\u00e7\u0131k, gitgide a\u011f\u0131rla\u015f\u0131yordu. Bu gecede k\u0131ra\u011f\u0131 d\u00fc\u015fecekti. Emil kederle i\u00e7ini \u00e7ekti. Ne kadar yaln\u0131zd\u0131 \u015fu ya\u015fl\u0131l\u0131\u011f\u0131 alt\u0131nda ezilen kocam\u0131\u015f d\u00fcnyada! Kap\u0131s\u0131n\u0131 \u00e7al\u0131p sohbet edebilece\u011fi tek ki\u015fi yoktu kasabada. Salt kasabada de\u011fil, hi\u00e7bir yerde yoktu. Defter yapra\u011f\u0131n\u0131n ortas\u0131nda ufac\u0131k bir nokta gibi yaln\u0131z, ba\u015fka birisi var m\u0131yd\u0131 acaba.” (s.46)<\/p>\n\n\n\n Para ise, “\u00e7a\u011f\u0131n hastal\u0131\u011f\u0131” olarak nitelendirilmektedir. (s.94)<\/p>\n\n\n\n Bir ba\u015fka toplumsal yara da, kimsesiz \u00e7ocuklard\u0131r. Romanda bu konu yazg\u0131lar\u0131 ayn\u0131 olan Emil ve Svetlana \u00f6rne\u011finde elen al\u0131nmaktad\u0131r. Emil ve Svetlana’n\u0131n anne ve babalar\u0131 belli de\u011fil, Devlet \u00c7ocuk Esirgeme Yurdu’nda b\u00fcy\u00fcm\u00fc\u015flerdir. Toplum taraf\u0131ndan d\u0131\u015flanmaktad\u0131rlar. Seher g\u00fczel, c\u0131v\u0131l c\u0131v\u0131l \u00f6ten, g\u00f6renleri kendine hayran b\u0131rakan, ne\u015feli bir k\u0131z oldu\u011fu kadar, ak\u0131ll\u0131 bir k\u0131zd\u0131r; yeri geldi\u011finde ahlak dersi bile verir: “\u0130nsanlar do\u011fal g\u00f6r\u00fcn\u00fcmleriyle \u00e7\u0131km\u0131yorlar birbirlerinin kar\u015f\u0131s\u0131na. Ba\u015fka t\u00fcrl\u00fc g\u00f6r\u00fcnme, \u00f6zbenli\u011fini \u00f6rtme \u00f6zentisi i\u00e7indeler. \u0130nsan kendini ink\u00e2r edebilir mi? Bak\u0131r\u0131 parlatan kalayd\u0131r. Ne var ki kalay kal\u0131c\u0131 de\u011fil, gidicidir. <\/p>\n\n\n\n … Pi\u00e7lik nedir? Nik\u00e2h d\u0131\u015f\u0131 do\u011fanlara pi\u00e7 derler. Nik\u00e2hl\u0131 kad\u0131nlar hi\u00e7 mi pi\u00e7 do\u011furmazlar? Bunlar\u0131 bildi\u011fimiz halde susar, g\u00f6rmezden geliriz. Bir \u00e7o\u011funun anlay\u0131\u015f\u0131na g\u00f6re pi\u00e7, namussuz, ahl\u00e2ks\u0131z, \u0131rz d\u00fc\u015fman\u0131d\u0131r. Genel anlamda b\u00f6yle tan\u0131mlan\u0131r. Aram\u0131zda az m\u0131 b\u00f6yleleri? Onlar da m\u0131 birer pi\u00e7tirler? Emil anal\u0131 babal\u0131 \u00e7ocuklardan daha d\u00fcr\u00fcst, daha terbiyeli, daha ak\u0131ll\u0131d\u0131r. Neresinde onun pi\u00e7lik.”<\/p>\n\n\n\n Romandaki do\u011fa betimlemeleri ise ayr\u0131 bir g\u00fczellikte. \u0130nsan okurken zevk al\u0131yor. \u015eu sat\u0131rlarda oldu\u011fu gibi: “Canl\u0131 cans\u0131z, do\u011fada her \u015fey bahara seviniyordu. Ya\u015flar\u0131 bilinmeyen kart tepeler, gen\u00e7liklerinin deli dolu \u00e7a\u011f\u0131n\u0131 ya\u015farlarm\u0131\u015f gibi g\u00f6zal\u0131c\u0131yd\u0131lar. Ku\u015flar, biz olmasak bahar\u0131n\u0131z be\u015f para etmez, dercesine \u015fark\u0131lar\u0131na ruhlar\u0131n\u0131 d\u00f6kerek \u00f6t\u00fc\u015f\u00fcyorlard\u0131. \u00d6te yandan efil efil esen r\u00fczg\u00e2r, “ben de var\u0131m, ben, unutmay\u0131n sak\u0131n” f\u0131s\u0131lt\u0131s\u0131yla kendisini duyumsat\u0131yordu.” (s.96)<\/p>\n\n\n\n Kendisini duyumsatan b\u00f6ylesi bir bahar g\u00fcn\u00fc, Seher, bir ku\u015f mis\u00e2li sonunda h\u00fcz\u00fcnle bilinmez bir yere u\u00e7ar gider.<\/p>\n\n\n\n Seherle birlikte giden biraz da kendi \u00fctopyalar\u0131m\u0131z m\u0131? <\/p>\n\n\n\n Ne dersiniz?<\/p>\n\n\n\n ***<\/p>\n\n\n\n Ahmet T\u00fcrkay karde\u015fim, eline ve y\u00fcre\u011fine sa\u011fl\u0131k: Ben, Seher Gitti<\/strong>‘yi okurken sayfalar aras\u0131nda senin sakl\u0131 kocaman sevecen y\u00fcre\u011fini g\u00f6rd\u00fcm.<\/p>\n\n\n\n Kitab\u0131n k\u00fcnyesi:<\/strong> Seher Gitti (Roman), Ahmet T\u00fcrkay, 184 sayfa, Berfin Yay\u0131nlar\u0131, Ocak 2008, \u0130stanbul. <\/p>\n\n\n\n Berfin Bahar Dergisi, Y\u0131l: 2008 Say\u0131: 121’de yay\u0131nland\u0131.<\/em><\/p>\n\n\n A\u015fk, insan\u0131 belli bir varl\u0131\u011fa, bir nesneye ya da evrensel bir de\u011fere do\u011fru s\u00fcr\u00fckleyen g\u00f6n\u00fcl ba\u011f\u0131; sevginin en \u00fcst a\u015famas\u0131, bir \u00fctopya, bir tutku ve ayn\u0131 zamanda derun\u00ee bir g\u00f6n\u00fcl halidir. Her ne kadar Nietzsche ve Schopenhauer a\u015fk\u0131, soyunu s\u00fcrd\u00fcrmek amac\u0131yla insana kurulmu\u015f olan “ho\u015f ve bilgece bir tuzak” olarak g\u00f6rseler de; Descartes ve Spinoza, a\u015fk\u0131, yarat\u0131c\u0131 ve y\u00fcce bir g\u00fc\u00e7 olarak d\u00fc\u015f\u00fcnmektedirler. Dante, belki de bu nedenden dolay\u0131 g\u00fcne\u015f ve y\u0131ld\u0131zlar\u0131 hareket ettiren a\u015fkt\u0131r demektedir. Mevlana ise; “Vars\u0131n \u00e2\u015f\u0131k g\u00fcnaha girsin, ho\u015f g\u00f6r\/Sevda \u015farab\u0131ndan i\u00e7mi\u015f-arlanmaz” demektedir. \u015eu veya bu nedenle olsun: \u0130nsan sevmeli. \u0130nsan sevince, ku\u015flar daha candan \u00f6ter,<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[449,1197],"tags":[4473,4474,1728,4472],"class_list":["post-6408","post","type-post","status-publish","format-standard","hentry","category-inceleme","category-kultur","tag-ahmet-turkay","tag-berfin-yayinlari","tag-roman","tag-seher-gitti"],"_links":{"self":[{"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=\/wp\/v2\/posts\/6408","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6408"}],"version-history":[{"count":1,"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=\/wp\/v2\/posts\/6408\/revisions"}],"predecessor-version":[{"id":6409,"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=\/wp\/v2\/posts\/6408\/revisions\/6409"}],"wp:attachment":[{"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6408"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6408"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.uzulmez.site\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6408"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}