![](\"http:\/\/yazarlar.eu\/ali\/images\/AOT-P01.jpg\")
Sava\u015fma, oku!..<\/p>\nSava\u015fma, oku!..<\/p>\n
Militarizm, yani insanl\u0131\u011f\u0131n en eski, en kaba k\u00fclt\u00fcr\u00fc, ayn\u0131 insanl\u0131\u011f\u0131n edebiyat ve sanatta y\u00fczlerce y\u0131ld\u0131r zorlukla filizlendirdi\u011fi insanc\u0131l d\u00fc\u015f\u00fcnceyi bir kez daha \u00e7i\u011fniyor; bir kez daha sanata, edebiyata, daha iyi bir hayata adanm\u0131\u015f entelekt\u00fcel \u00e7abaya ku\u015fkuyla yakla\u015f\u0131yoruz. T\u0131pk\u0131 II. Payla\u015f\u0131m sava\u015f\u0131n\u0131 de\u011ferlendirirken Lionel Richard’\u0131n s\u00f6yledi\u011fi gibi; “Nazizmden sonra bizler art\u0131k sanata \/ edebiyata dik, kusursuz bir g\u00f6zle bakamayaca\u011f\u0131z, \u00e7\u00fcnk\u00fc ki\u015finin ak\u015fam Goethe’yi, Rielke’yi okuyup, Bach ve Schumann dinleyip ertesi g\u00fcn bir toplama kamp\u0131ndaki korkun\u00e7 g\u00f6revine \u00e7ekinmeden ba\u015flayaca\u011f\u0131n\u0131 bilmekteyiz” art\u0131k…<\/p>\n
Elbette o su\u00e7lar\u0131n sorumlusu sanat \/ edebiyat de\u011fildir. \u00c7\u00fcnk\u00fc edebiyat ve sanat \u00fcr\u00fcnleri yaln\u0131zca kendi alanlar\u0131 i\u00e7inde serpilip geli\u015fmezler; yani edebiyat edebiyat\u0131, sanat da sanat\u0131 yaratmaz. Bunlar somut bir tarihte ve toplumda, o toplumda var olan maddi \u00fcretim tarz\u0131n\u0131n, iktidar ili\u015fkilerinin ve ideolojilerin karma\u015f\u0131k ili\u015fkileri \u00fczerinde y\u00fckselen bir k\u00fclt\u00fcr\u00fcn \u00fcr\u00fcnleridir. Yani m\u00fccadele edilmesi gereken sava\u015fa, \u015fiddete, kahramanl\u0131k kost\u00fcm\u00fcne b\u00fcr\u00fcnm\u00fc\u015f baya\u011f\u0131l\u0131\u011f\u0131n her t\u00fcr\u00fcne \u00f6vg\u00fcler d\u00fczen k\u00fclt\u00fcr\u00fcn kendisidir. Sanat ve edebiyat\u0131n bug\u00fcn klasikle\u015fmi\u015f \u00f6rnekleri -\u00e7o\u011fu kez hain damgas\u0131n\u0131 yemek bahas\u0131na- tam da bunu yapmay\u0131 \u00fcstlenmi\u015flerdi i\u015fte.<\/p>\n
Sava\u015fa kar\u015f\u0131 edebiyat<\/strong><\/p>\n Sava\u015fkar\u015f\u0131t\u0131 sanat\u0131n ilk \u00f6rne\u011fidir ‘Lysistrata’. Tarihini ve kimli\u011fini Homeros’un sava\u015f, kahramanl\u0131k, erkekler aras\u0131ndaki y\u00fcce dostluk gibi temalar \u00fczerine kurulu destanlar\u0131nda arayan eski Yunan’da, sava\u015f\u0131n ard\u0131ndaki maddi \u00e7\u0131karlar\u0131 da, zarar\u0131 g\u00f6renlerin bu \u00e7\u0131karla ili\u015fkisizli\u011fini de g\u00fcld\u00fcr\u00fc bi\u00e7iminde sahnelemi\u015fti Aristophanes. \u00dcstelik sava\u015f\u0131n erkeklere \u00f6zg\u00fc bir oyun oldu\u011funu vurgulam\u0131\u015f, \u00e7\u00f6z\u00fcm\u00fc sava\u015fa kar\u015f\u0131 \u00e7\u0131kanlar\u0131n aktif eylemlili\u011finde bulmu\u015ftu… 20. y\u00fczy\u0131l; sava\u015flar \u00e7a\u011f\u0131<\/strong><\/p>\n Ayd\u0131nlanman\u0131n ilerleme ideali belki bilim ve teknoloji alan\u0131nda kar\u015f\u0131l\u0131\u011f\u0131n\u0131 buldu, ama bu t\u00fcrden ilerlemenin topluma getirisi geli\u015fmi\u015f silahlarla s\u00fcrd\u00fcr\u00fclen sava\u015flardaki kitlesel \u00f6l\u00fcmlerdi. \u00d6yle bir 20. Amerikan yitik ku\u015fa\u011f\u0131n\u0131n da ilgi alan\u0131yd\u0131 bu sava\u015flar. Ancak en \u00e7arp\u0131c\u0131 romanlar\u0131 yazmak E. Hemingway’e nasip oldu. I. Payla\u015f\u0131m Sava\u015f\u0131’nda ge\u00e7en ‘Silahlara Veda’ ve \u0130spanya \u0130\u00e7 Sava\u015f\u0131’n\u0131n h\u00fczn\u00fcn\u00fc yans\u0131tan ‘\u00c7anlar Kimin \u0130\u00e7in \u00c7al\u0131yor’, bug\u00fcn bile sava\u015f kar\u015f\u0131t\u0131 edebiyat\u0131n ‘en iyi’leri aras\u0131nda say\u0131l\u0131yorlar. Sava\u015f\u0131n birey \u00fczerindeki ruhsal, moral ve fiziksel etkilerinin y\u0131k\u0131c\u0131l\u0131\u011f\u0131n\u0131 incelerken k\u0131\u015fla hayat\u0131ndan cepheye, oradan cephe gerisine kadar yayd\u0131\u011f\u0131 hik\u00e2yesiyle, Dos Passos’un ‘\u00dc\u00e7 Asker’i de an\u0131lmaya de\u011fer. Bize gelince…<\/p>\n Sava\u015f temas\u0131 Cumhuriyet roman\u0131na Milli M\u00fccadele’yi i\u015fleyen metinlerle girer. M\u00fctareke ve Milli M\u00fccadele y\u0131llar\u0131n\u0131n ilk d\u00f6nem romanlar\u0131nda yer almas\u0131 Cumhuriyet’in ilan\u0131ndan az \u00f6nce, Halide Edip’in ‘Ate\u015ften G\u00f6mlek’ (1922) ve Yakup Kadri’nin ‘Kiral\u0131k Konak’ (1922) romanlar\u0131yla ba\u015flay\u0131p Attila \u0130lhan’\u0131n ‘Allah\u0131n S\u00fcng\u00fcleri’ne (2002) kadar uzan\u0131rken, sava\u015f\u0131n s\u0131cakl\u0131\u011f\u0131nda yaz\u0131lan I. D\u00f6nem \u00fcr\u00fcnleriyle 60’lardan sonra kaleme al\u0131nan II. D\u00f6nemdekiler aras\u0131nda g\u00f6zle g\u00f6r\u00fcl\u00fcr farkl\u0131l\u0131klar vard\u0131r. \u0130lk d\u00f6nemin \u00f6nemli romanlar\u0131nda -o y\u0131llar\u0131n egemen ideolojisi gere\u011fi Yunan ordusundan \u00e7ok yerli i\u015fbirlik\u00e7iler ve yobazlar\u0131n zulm\u00fc konu edilirken, ikinci d\u00f6nemde sava\u015f sahneleri \u015fiddetlenmi\u015f ve \u015fiddetin m\u00fcsebbibi olan Yunanl\u0131larla Ermenilere kar\u015f\u0131 neredeyse \u0131rksal bir yarg\u0131lamaya gidilmi\u015ftir. Bunda, milli e\u011fitim \u00f6\u011fretisinden ge\u00e7mi\u015f yazarlarca \u00fcretilen II. D\u00f6neme ait romanlardaki Milli M\u00fccadele tahayy\u00fcllerinin Cumhuriyet ideolojisi ve resmi tarih etraf\u0131nda \u015fekillenmesinin rol\u00fc vard\u0131r. Suyun \u00f6te yan\u0131ndaki durum da pek i\u00e7 a\u00e7\u0131c\u0131 de\u011fil. Tarih yeniden yaz\u0131l\u0131r, iki ulusun ideolojileri olu\u015fturulurken ‘icat’ edilmi\u015ftir bu kanl\u0131 \u00f6yk\u00fcler. \u0130ki \u00fclkede okutulan tarih kitaplar\u0131n\u0131 kar\u015f\u0131la\u015ft\u0131rd\u0131\u011f\u0131m\u0131zda, Anadolu’nun bu ac\u0131l\u0131 g\u00fcnlerinde kimin zalim kimin mazlum oldu\u011funu anlamak hepten olanaks\u0131zla\u015f\u0131r. Bu k\u0131s\u0131r d\u00f6ng\u00fc, Ya\u015far Kemal’in romanlar\u0131 ile y\u0131k\u0131l\u0131yor; Ya\u015far Kemal’in Sava\u015fma, oku!.. Militarizm, yani insanl\u0131\u011f\u0131n en eski, en kaba k\u00fclt\u00fcr\u00fc, ayn\u0131 insanl\u0131\u011f\u0131n edebiyat ve sanatta y\u00fczlerce y\u0131ld\u0131r zorlukla filizlendirdi\u011fi insanc\u0131l d\u00fc\u015f\u00fcnceyi bir kez daha \u00e7i\u011fniyor; bir kez daha sanata, edebiyata, daha iyi bir hayata adanm\u0131\u015f entelekt\u00fcel \u00e7abaya ku\u015fkuyla yakla\u015f\u0131yoruz. T\u0131pk\u0131 II. Payla\u015f\u0131m sava\u015f\u0131n\u0131 de\u011ferlendirirken Lionel Richard’\u0131n s\u00f6yledi\u011fi gibi; “Nazizmden sonra bizler art\u0131k sanata \/ edebiyata […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[134],"tags":[],"class_list":{"0":"post-4196","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kuram"},"yoast_head":"\n
Uzun Orta\u00e7a\u011f boyunca yazar ve sanat\u00e7\u0131lar soylular\u0131n, krallar\u0131n ve kliselerin himayesinde ya\u015fad\u0131lar ve elbette onlar\u0131n sava\u015flar\u0131na, onlar\u0131n yaratt\u0131\u011f\u0131 ac\u0131lara ili\u015fkin -olumsuz- bir \u015feyler yazmaya, bestelemeye ya da resmetmeye hi\u00e7 niyet etmediler, niyetleri vard\u0131ysa bile cesaretleri yetmemi\u015fti. Sava\u015fanlar partal giysileri, a\u00e7 kar\u0131nlar\u0131, tra\u015fs\u0131z y\u00fczleri, nas\u0131rla\u015fm\u0131\u015f elleriyle k\u00f6yl\u00fclerdi, ama bak\u0131ml\u0131 atlar\u0131n\u0131n \u00fczerine p\u0131r\u0131lt\u0131 z\u0131rhlar\u0131yla kurulmu\u015f ma\u011frur \u00e7ehreli \u015f\u00f6valyelerin, sultanlar\u0131n isimleri dillendirildi destanlarda; sanki erkekli\u011fin s\u0131nand\u0131\u011f\u0131 bir yar\u0131\u015f alan\u0131yd\u0131 sava\u015f meydan\u0131. Belki de yazarlar\u0131n \/ sanat\u00e7\u0131lar\u0131n suskunlu\u011fu karartm\u0131\u015ft\u0131 Orta\u00e7a\u011flar\u0131… K\u00f6t\u00fc olan bu k\u00fclt\u00fcr\u00fcn, yani tarihi ve edebiyat\u0131
‘kahramanlar\u0131n’ yapm\u0131\u015fl\u0131\u011f\u0131na dair inanc\u0131n g\u00fcn\u00fcm\u00fcze kadar ta\u015f\u0131nmas\u0131d\u0131r. K\u00f6t\u00fcd\u00fcr, \u00e7\u00fcnk\u00fc kahramanl\u0131k, bir sava\u015f simgesidir… Orta\u00e7a\u011f\u0131n sonu yakla\u015ft\u0131\u011f\u0131nda, Frans\u0131z devriminin arifesinde iki arkada\u015f\u0131n, \u0130ngiltere’de Jonathan Swift’in, Fransa’da Voltaire’in sesi y\u00fckselir; Swift, ‘Gulliver’in Gezileri’nde (1726), Voltaire ‘Candide’de (1759), insanlar\u0131n birbirlerine yapt\u0131\u011f\u0131 eziyetlere ve sava\u015flara, bar\u0131\u015f\u00e7\u0131l varl\u0131klar\u0131n ya\u015fad\u0131\u011f\u0131 hayali \u00fclkeleri anlatan \u00fctopyalarla yan\u0131t vereceklerdir.
Modern roman Ayd\u0131nlanma \u00e7a\u011f\u0131n\u0131n bir \u00fcr\u00fcn\u00fc, yazar ve ayd\u0131nlar Ayd\u0131nlanman\u0131n \u00e7ocu\u011fu, bu k\u00fclt\u00fcrel atmosferin yarat\u0131c\u0131s\u0131 ise ulus devletlerin do\u011fu\u015fudur. Ne yaz\u0131k ki do\u011fumun ebesi sava\u015ft\u0131r; yani ‘me\u015fru’dur sava\u015f, bir zorunluluktur… Balzac, Stendhal, Pu\u015fkin, Hugo, Dickens gibi yazarlar\u0131n romanlar\u0131nda sava\u015f\u0131n solu\u011fu, cephe gerisinde yaratt\u0131\u011f\u0131 ac\u0131 ve endi\u015feler, yitirilmi\u015f umutlar hep vard\u0131r, sava\u015f k\u00fclt\u00fcr\u00fcn\u00fcn -kahramanl\u0131k, korkakl\u0131k, \u015fan, \u015feref, onur vb.- motiflerini de kullanmazlar, ne var ki do\u011frudan bir reddiyeden de s\u00f6z edemeyiz. Yine de Lev N. Tolstoy’un ‘Sava\u015f ve Bar\u0131\u015f’\u0131n\u0131 (1869) anmak gerekir… 1805-1813 y\u0131llar\u0131 aras\u0131nda s\u00fcren Napoleon sava\u015flar\u0131 \u00fczerinden Avrupa tarihini b\u00fct\u00fcnl\u00fckl\u00fc bir bi\u00e7imde ele alan roman, tarihi yapan\u0131n b\u00fcy\u00fck adamlar ya da ‘kahramanlar’ de\u011fil halk\u0131n iradesi oldu\u011funu savunur ve insanlar\u0131n bar\u0131\u015f d\u00f6nemindeki mutlu hayatlar\u0131n\u0131n sava\u015fta nas\u0131l yerle bir edildi\u011fini bireysel dramlar \u00fczerinden canland\u0131r\u0131r. Y\u00fczy\u0131l\u0131n son b\u00fcy\u00fck romanc\u0131s\u0131 Emile Zola ise yaln\u0131zca sava\u015f kar\u015f\u0131t\u0131 romanlar yazmakla kalmam\u0131\u015f, 1897 y\u0131l\u0131nda ‘Dreyfus Davas\u0131’nda sergiledi\u011fi ayd\u0131n tavr\u0131yla militarizme kar\u015f\u0131 direnmi\u015ftir de.<\/p>\n
y\u00fczy\u0131l ki, ikisi b\u00fcy\u00fck ve genel, y\u00fczlercesi b\u00f6lgesel olmak \u00fczere sava\u015fs\u0131z ge\u00e7en tek bir y\u0131l ya\u015fanmam\u0131\u015f, uluslar\u0131n kaderini silah end\u00fcstrisi tayin eder hale gelmi\u015fti. Ama ayd\u0131nlar da vard\u0131; s\u00fcrg\u00fcnl\u00fc\u011f\u00fc, hapisli\u011fi, hain damgas\u0131n\u0131, t\u00fcrl\u00fc eziyeti g\u00f6\u011f\u00fcslemek pahas\u0131na sava\u015fa ‘HAYIR’ \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131 att\u0131lar. En g\u00fcr ses romanlardan y\u00fckselmi\u015fti…
\u00d6zellikle iki b\u00fcy\u00fck sava\u015f\u0131 da ya\u015fam\u0131\u015f ku\u015fa\u011f\u0131n\u0131 b\u00fct\u00fcn romanlar\u0131na sinmi\u015ftir sava\u015fa duyulan nefret. Hepsine yer vermek zor; bu nedenle yaz\u0131ld\u0131klar\u0131 y\u0131llardaki etkilerini ve bizdeki okunurluklar\u0131n\u0131 dikkate alarak s\u0131ral\u0131yorum… Almanya’dan ba\u015flayal\u0131m; Heinrich ve Thomas Mann karde\u015flerle Hermann Hesse, hen\u00fcz I. Payla\u015f\u0131m sava\u015f\u0131 s\u0131ras\u0131nda sava\u015f kar\u015f\u0131t\u0131 bir tav\u0131r sergilemi\u015fler, Hesse Alman militarizmini protesto etmek i\u00e7in \u0130svi\u00e7re uyru\u011funa ge\u00e7mi\u015f ve sava\u015f kar\u015f\u0131t\u0131 \u00e7al\u0131\u015fmalar\u0131 y\u00fcz\u00fcnden Almanya’da istenmeyen ki\u015fi ilan edilmi\u015fti. \u0130lgin\u00e7tir, kar\u015f\u0131 cephede de durum farkl\u0131 de\u011fildi; \u0130ngiliz yazar D. H. Lawrence de ayn\u0131 y\u0131llarda kar\u0131s\u0131n\u0131n Alman k\u00f6kenli, kendisinin sava\u015f kar\u015f\u0131t\u0131 olmas\u0131 nedeniyle \u00fclkesinde benzer tepkilerle kar\u015f\u0131la\u015fm\u0131\u015f, ka\u00e7ak durumuna d\u00fc\u015fm\u00fc\u015ft\u00fc. Heinrich ve Thomas Mann karde\u015flerse \u00fclkelerini II. Payla\u015f\u0131m sava\u015f\u0131 \u00f6ncesinde terk etmek zorunda kald\u0131lar…
\u0130ki sava\u015f aras\u0131nda yaz\u0131lan ‘Garp Cephesinde Yeni Bir \u015eey Yok’, d\u00fcnya edebiyat\u0131n\u0131n bu alandaki ba\u015fyap\u0131tlar\u0131dan biridir. Cepheye s\u00fcr\u00fclen gencecik Alman askerlerinin teker teker yitip gidi\u015fini evrensel bir trajediye d\u00f6n\u00fc\u015ft\u00fcren E. M. Remarque, insan hayat\u0131na verdi\u011fi de\u011ferin bedelini, di\u011ferleri gibi ‘vatanhaini’ ilan edilerek \u00f6deyecektir… Frans\u0131z yazar H. Barbusse’un cephenin \u00f6te yan\u0131n\u0131 benzer bir konu etraf\u0131nda caland\u0131rd\u0131\u011f\u0131
‘Ate\u015f’ ve Andre Malraux’un, \u0130spanya \u0130\u00e7 Sava\u015f\u0131’n\u0131 kaydetti\u011fi ‘Umut’, insanl\u0131\u011fa yap\u0131lm\u0131\u015f uyar\u0131lard\u0131r. \u00d6yle ki, Malraux, anlat\u0131s\u0131n\u0131 fa\u015fistlerin katliamlar\u0131yla s\u0131n\u0131rlamam\u0131\u015f, taraf oldu\u011fu Cumhuriyet\u00e7i saflardaki \u015fiddeti de yans\u0131tm\u0131\u015f ve kaybedenin insanl\u0131k oldu\u011funu g\u00f6stermeyi ba\u015farm\u0131\u015ft\u0131r. Devrimci edebiyat\u0131n ilk b\u00fcy\u00fck roman\u0131 ‘Durgun Don’un yazar\u0131 \u015eolohov da devrim saflar\u0131ndad\u0131r, ama devrimin pek \u00e7ok insan\u0131n hayat\u0131na, an\u0131lar\u0131na, gelece\u011fine, sevdiklerine mal oldu\u011funu izlemi\u015f ve roman\u0131na yan tutmadan yans\u0131tm\u0131\u015ft\u0131r. Ayn\u0131 durumu, devrim d\u00fc\u015f\u00fcncesiyle \u015fiddet aras\u0131ndaki \u00e7eli\u015fkiyi ‘Dr. Jivago’nun merkezine alan Boris Pasternak ise sava\u015f\u0131 kutsayan Satalinizm’in di\u015flileri aras\u0131nda \u00f6\u011f\u00fct\u00fclecektir.<\/p>\n
II. Payla\u015f\u0131m Sava\u015f\u0131 gelip \u00e7atmadan \u00f6nce, her \u00fclkeden y\u00fczlerce ayd\u0131n, sadece yazarlar de\u011fil, \u015fairler, ressamlar, y\u00f6netmenler, grafik ustalar\u0131 ve filozoflar sava\u015fa kar\u015f\u0131 bir enternasyonel olu\u015fturmay\u0131 ba\u015farm\u0131\u015flard\u0131. Ama ne yaz\u0131k ki, ne onlar ne de ad\u0131n\u0131 and\u0131\u011f\u0131m yazarlar ve romanlar\u0131 siyaset\u00e7iler ve komutanlar \u00fczerinde bir etki yaratabildiler; akla ve duygulara seslenen y\u00fcksek k\u00fclt\u00fcr \u00fcr\u00fcnlerinin varl\u0131\u011f\u0131, milyonlarca insan\u0131n can verdi\u011fi bir sava\u015f\u0131n ya\u015fanmas\u0131na engel olamayacakt\u0131… Edebiyat, sava\u015f sonras\u0131nda da sessiz kalmad\u0131; sava\u015fa kar\u015f\u0131 bir bellek, bar\u0131\u015f i\u00e7in yeni bir k\u00fclt\u00fcr yaratmak ad\u0131na, cephe, cephe gerisi, toplama kamplar\u0131, y\u0131k\u0131lan kentler, kolsuz bacaks\u0131z askerler, yani ya\u015fanan dram en ince ayr\u0131nt\u0131s\u0131na kadar romanlara ta\u015f\u0131nm\u0131\u015f ve en \u00e7arp\u0131c\u0131 \u00f6rnekler yine Alman yazarlar\u0131n kaleminden \u00e7\u0131km\u0131\u015ft\u0131. Sava\u015fkar\u015f\u0131t\u0131 edebiyat\u0131n en \u00f6nemli yazarlar\u0131ndan Heinrich B\u00f6ll, b\u00fct\u00fcn edebiyat hayat\u0131n\u0131 fa\u015fizm ve sonras\u0131ndaki y\u0131k\u0131m g\u00fcnlerine adam\u0131\u015ft\u0131r. Bu alandaki bir ba\u015fka \u00f6nemli isim, -Nazizme ve sava\u015fa kar\u015f\u0131 ‘Teneke Trampet’iyle G\u00fcnter Grass’t\u0131r. Frans\u0131z ayd\u0131nlar\u0131n\u0131 ise yazd\u0131klar\u0131ndan \u00e7ok duru\u015flar\u0131yla anmak gerekir; \u00f6zellikle de \u00fclkesi Fransa’n\u0131n Cezayir’i i\u015fgaline kar\u015f\u0131 verdi\u011fi m\u00fccadeleyle J.P.Sartre’\u0131!
D\u00fcnyan\u0131n b\u00fct\u00fcn edebiyatlar\u0131n\u0131n kat\u0131ld\u0131\u011f\u0131 sava\u015fkar\u015f\u0131t\u0131 ‘enternasyonel’ bug\u00fcnlere kadar uzan\u0131yor: Saul Bellow’un \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc militarizme teslim eden ‘Bo\u015flukta Sallanan Adam’\u0131, J. Kosinski’nin t\u00fcyler \u00fcrpertici ‘Boyal\u0131 Ku\u015f’u, N. Mailer’in ‘\u00c7\u0131plak ve \u00d6l\u00fc’s\u00fc, Kurt Vonnegut’un Dresden bombard\u0131man\u0131n\u0131 anlatt\u0131\u011f\u0131 ‘Mezbaha No: 5’i, Ha\u015fek’in saf ve temiz ‘Aslan Asker \u015evayk’\u0131, \u0130. Andri\u00e7’in y\u00fczlerce y\u0131ll\u0131k bir d\u00fc\u015fmanl\u0131\u011f\u0131 bar\u0131nd\u0131ran
‘Drina K\u00f6pr\u00fcs\u00fc’, \u0130smail Kadare’nin ge\u00e7mi\u015fin g\u00fcnahlar\u0131n\u0131 de\u015feledi\u011fi ‘\u00d6l\u00fc Ordunun Generali’, N. Kazancakis’in sava\u015fanlar kadar suskun kalanlar\u0131 da su\u00e7lad\u0131\u011f\u0131 ‘Yeniden \u00c7arm\u0131ha Gerili\u015f’, Dido Sotiriyu’nun ayr\u0131ld\u0131\u011f\u0131 topraklara \u00f6zlemini dillendirdi\u011fi ‘Benden Selam S\u00f6yle Anadolu’ya’, D. Buzzati’nin ‘Tatar \u00c7\u00f6l\u00fc’, W. Golding’in ‘Sineklerin Tanr\u0131s\u0131’, Romain Gary’nin ‘\u015eafakta Verilmi\u015f S\u00f6z\u00fcm Vard\u0131’, Primo Levi’nin ‘Bunlar Da M\u0131 \u0130nsan’ ve Salman Rushdie’nin “kimin himayesinde, kimin hat\u0131r\u0131na, kimin intikamc\u0131 k\u0131\u015fk\u0131rtmas\u0131yla silah alt\u0131na al\u0131nd\u0131\u011f\u0131n\u0131 ne bilen ne umursayan” insanlar tipleriyle ‘Geceyar\u0131s\u0131 \u00c7ocuklar\u0131’, ki\u015fisel tercihlerim olarak s\u0131ral\u0131n\u0131yorlar…<\/p>\n
B\u00f6ylece bir kez daha k\u00fclt\u00fcr bahsine d\u00f6n\u00fcyoruz. Cumhuriyet roman\u0131, sava\u015fkar\u015f\u0131t\u0131 \u00fcr\u00fcnler vermemi\u015fti, \u00e7\u00fcnk\u00fc birbirine kar\u015f\u0131t b\u00fct\u00fcn ideolojileri birle\u015ftirmi\u015fti sava\u015f; Sa\u011f kesim i\u00e7in Orta Asya’dan bug\u00fcne uzanan \u015fanl\u0131 tarihimizin yap\u0131c\u0131s\u0131yd\u0131 o… Kemalizm, g\u00fcc\u00fcn\u00fc Anadolu’da verilmi\u015f ‘Kutsal Sava\u015f’ mitinden al\u0131yordu… Sol kesim ise ideolojisi gere\u011fi antiemperyalist sava\u015flardan yanayd\u0131. Yani hakl\u0131 ve haks\u0131z sava\u015flar vard\u0131 zihilerimizde.
Ama hakkaniyetli olmak gerekirse, hi\u00e7birisi de bug\u00fcnk\u00fc gibi maddi \u00e7\u0131karlar pe\u015fine d\u00fc\u015fmemi\u015flerdi..!
Oysa do\u011frudan kat\u0131lmasa bile II. Payla\u015f\u0131m Sava\u015f\u0131’n\u0131n k\u00f6t\u00fc izlerini belle\u011fine kaydetmi\u015fti Cumhuriyet insan\u0131. Nas\u0131l ve neden gidildi\u011fi anla\u015f\u0131lamayan Kore’de kay\u0131plar vermi\u015f, K\u0131br\u0131s’ta sorunlar\u0131 h\u00e2l\u00e2 bitmeyen bir harekata giri\u015fmi\u015f ve 80’den bu yana Do\u011fu’daki sava\u015f hi\u00e7 g\u00fcndemden d\u00fc\u015fmemi\u015fti. \u0130\u015fte b\u00fct\u00fcn bunlara do\u011frudan bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015f g\u00f6remiyor, sadece sava\u015flar\u0131n etkiledi\u011fi insanlar\u0131n yer ald\u0131\u011f\u0131 romanlardan s\u00f6z edebiliyoruz. Mesela K\u0131br\u0131s Harekat\u0131, birka\u00e7 hamasi \u015fiiri saymazsak e\u011fer, Mehmet Ero\u011flu’nun ‘Iss\u0131zl\u0131\u011f\u0131n Ortas\u0131nda’ roman\u0131 d\u0131\u015f\u0131nda hi\u00e7 yans\u0131mam\u0131\u015f edebiyata, ancak o da Ero\u011flu’nun son roman\u0131 ‘Zaman\u0131n Manzaras\u0131’ (2002) kadar a\u00e7\u0131k bir \u015fiddet ele\u015ftirisi ta\u015f\u0131m\u0131yor. Murat Tuncel’in mek\u00e2n olarak Macaristan’\u0131, d\u00f6nem olarak II. Payla\u015f\u0131m Sava\u015f\u0131’n\u0131 konu edindi\u011fi ‘\u00dc\u00e7\u00fcnc\u00fc \u00d6l\u00fcm’\u00fc (2000) ise bu alandaki tek \u00f6rne\u011fimiz.<\/p>\n
‘Bir Ada Hik\u00e2yesi’ adl\u0131 d\u00f6rtlemesinin yay\u0131mlanan ilk \u00fc\u00e7 cildi, \u00fczerinde ya\u015fad\u0131\u011f\u0131m\u0131z co\u011frafyada iyilik ve k\u00f6t\u00fcl\u00fc\u011f\u00fcn, zalimlik ve mazlumlu\u011fun, \u00f6tekine duyulan d\u00fc\u015fmanl\u0131\u011f\u0131n tarihsel k\u00f6kenlerini, siyasi ve toplumsal nedenlerini, yitirilen y\u00fczbinlerce hayatla birlikte sorgularken, sava\u015f\u0131n ayn\u0131 zamanda bir do\u011fa, tarih ve k\u00fclt\u00fcr katliam\u0131 oldu\u011funu da hat\u0131rlat\u0131yor.
Bug\u00fcn sava\u015f\u0131 ola\u011fanla\u015ft\u0131ran \u015fey, k\u00fclt\u00fcr\u00fcn i\u00e7ine kodlanm\u0131\u015f sald\u0131rganl\u0131\u011f\u0131n bireylerin belle\u011finde bir kar\u015f\u0131l\u0131k bulmas\u0131ndand\u0131r. Ayd\u0131n, yazar ve sanat\u00e7\u0131lar\u0131n sava\u015fa kar\u015f\u0131 verdikleri \u00fcr\u00fcnlerin kar\u015f\u0131s\u0131na yine romanlar, filmler ve televizyon programlar\u0131 ile dikilen k\u00fclt\u00fcr end\u00fcstrisi, sava\u015f\u0131 her \u00e7e\u015fit macera hik\u00e2yesiyle ‘estetize’ ederken, sava\u015f k\u00fclt\u00fcr\u00fcyle geleneksel k\u00fclt\u00fcr aras\u0131ndaki benzerlikten faydalan\u0131yor. E\u011fer bug\u00fcn kanl\u0131 bir \u00e7a\u011f\u0131 geride b\u0131rak\u0131p yenisine haz\u0131rlan\u0131yor olmasayd\u0131k, insanlar\u0131n sava\u015f konulu filmlerden\/ romanlardan zevk almas\u0131na g\u00fcl\u00fcp ge\u00e7ebilirdik.
\u015eimdi \u015fu soru akl\u0131n\u0131za tak\u0131labilir belki de; “K\u00fclt\u00fcr end\u00fcstrisinin \u00fcretti\u011fi b\u00fct\u00fcn bu sava\u015f romanlar\u0131\/ filmleri aras\u0131nda hi\u00e7 mi iyisi yok?” Yok demi\u015fti Sartre ve bir soruyla kar\u015f\u0131l\u0131k vermi\u015fti; “A\u00e7\u0131k amac\u0131 insanlar\u0131n ezilmesine hizmet etmek olan iyi bir tek roman, Yahudilere, zencilere, s\u00f6m\u00fcrge halklar\u0131na kar\u015f\u0131 yaz\u0131lm\u0131\u015f bir tek iyi roman ad\u0131 verin bana”..!<\/p>\n","protected":false},"excerpt":{"rendered":"