{"id":4214,"date":"2010-02-13T12:40:47","date_gmt":"2010-02-13T09:40:47","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/13\/bir-dunya-gorusu-siiri-zedelemeden-siirselligi-bozmadan-nasil-siirsellestirilir-kendi-sesinden-14-siir-attila-ilhan\/"},"modified":"2010-02-13T12:40:47","modified_gmt":"2010-02-13T09:40:47","slug":"bir-dunya-gorusu-siiri-zedelemeden-siirselligi-bozmadan-nasil-siirsellestirilir-kendi-sesinden-14-siir-attila-ilhan","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/13\/bir-dunya-gorusu-siiri-zedelemeden-siirselligi-bozmadan-nasil-siirsellestirilir-kendi-sesinden-14-siir-attila-ilhan\/","title":{"rendered":"Bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc \u015fiiri zedelemeden, \u015fiirselli\u011fi bozmadan nas\u0131l \u015fiirselle\u015ftirilir | Kendi sesinden 14 \u015fiir – Attila \u0130lhan"},"content":{"rendered":"

Her \u015fairi; gerek edebiyat tarihi gerek ele\u015ftiri disiplini i\u00e7ine yerle\u015ftirmek, \u00e7o\u011fu zaman farkl\u0131 de\u011ferlendirme ve yakla\u015f\u0131m y\u00f6ntemlerini gerekli k\u0131lar.
Okurlar\u0131yla aralar\u0131ndaki ba\u011f\u0131 kurmada kimi \u015fairler i\u00e7in ele\u015ftirmenlere daha a\u011f\u0131r g\u00f6revler d\u00fc\u015fer. Bazan bir \u015f\u00e2rih, bazan bir ele\u015ftirmen, bazan bir edebiyat tarih\u00e7isi \u00f6zelli\u011fini ayn\u0131 teknede yo\u011fururlar.
\u0130yi ve has \u015fiir, her zaman zor anla\u015f\u0131lan, kendini g\u00fc\u00e7 ele veren \u015fiir anlam\u0131na gelmez. \u015eiirin anla\u015f\u0131labilirli\u011fini, alg\u0131lanabilirli\u011fini \u015fairin kendisi se\u00e7er. Okurunu o tayin eder.
Neden bu giri\u015fi yapma gere\u011fini durdum?<\/p>\n

Attil\u00e2 \u0130lhan’\u0131n \u015fiiri ne kolay ne de zor anla\u015f\u0131lan bir \u015fiirdir. \u015eiirsel tad\u0131n al\u0131nabilece\u011fi \u015fiirdir.Okurlar\u0131n \u00f6n\u00fcnde onu pop\u00fcler yapan, herkesin i\u00e7indeki \u015fiiri ke\u015ffetmesinden kaynaklan\u0131r. Hepimizin i\u00e7inde ke\u015ffedilmeyi bekleyen bir \u015fiirsellik vard\u0131r, bir \u00f6z, bir n\u00fcve, nebula uyand\u0131r\u0131lmay\u0131 bekler.
Attil\u00e2 \u0130lhan bu uyand\u0131rmay\u0131 ba\u015farm\u0131\u015ft\u0131r.
Onun \u00e7ok okunurlu\u011fu, \u015fiirinin mahiyetini belirlemiyor. Ama \u015fiirinin kitlelere ula\u015fmas\u0131n\u0131 sa\u011fl\u0131yor.
\u015eairlerin \u00e7o\u011funlu\u011fu i\u00e7in ge\u00e7erli bir yarg\u0131y\u0131 savunurum. Her okur, \u015fiir bilgisi oran\u0131nda o \u015fairi sever ve anlar. Her \u015fiiri bir metin incelemesi mertebesinde okuyanlara, yorumlayanlara s\u00f6z\u00fcm yok.
\u00c7\u00fcnk\u00fc ben \u015fiirin, herkesin hayat\u0131nda kar\u015f\u0131l\u0131\u011f\u0131n\u0131n olmas\u0131n\u0131 savunanlardan\u0131m. \u0130\u015fte onun \u015fiirinin ortak paydas\u0131 burada. Bazan a\u015fk \u015fiiriyle yetinenler bir y\u00f6n\u00fcn\u00fc tan\u0131r, toplumsal ger\u00e7ek\u00e7i edebiyat \u00fcr\u00fcnlerini sevenler bir ba\u015fka y\u00f6n\u00fcn\u00fc bilir.
\u015eairlerin baz\u0131s\u0131, ilk \u015fiirlerinden son \u015fiirine kadar bir de\u011fi\u015fimin pe\u015findedir. De\u011fi\u015fim, geli\u015fimle \u00e7at\u0131\u015fabilir de, \u00e7ak\u0131\u015fabilir de.
Onun ilk \u015fiirinden bug\u00fcne kadar yazd\u0131klar\u0131na d\u00fczg\u00fcn bir hat \u00e7ekilebilir.
Donan\u0131m\u0131n\u0131 sa\u011flay\u0131p \u015fiir yazmaya ba\u015flad\u0131\u011f\u0131ndan, kendi \u00e7izgisindeki bir geli\u015fimi ya\u015fam\u0131\u015f ama reddetmi\u015ftir.
\u0130\u00e7erik \u00e7e\u015fitlemesindeki zenginlik, okuru de\u011fi\u015fim ve geli\u015fim kavramlar\u0131 aras\u0131nda yan\u0131tabilir. Yukar\u0131daki tezden onun kendini tekrarlayan bir \u015fair oldu\u011funu \u00e7\u0131karmay\u0131n. Ayn\u0131 \u00f6z\u00fc, ayn\u0131 kalitede yazmak da ustal\u0131\u011f\u0131n bir ba\u015fka tan\u0131m\u0131d\u0131r.
\u015eairleri de\u011fi\u015fik okumalarla s\u0131namak, benim zevklerimden biridir. Onun \u015fiirinin ka\u00e7 vitraydan ge\u00e7ti\u011fini prizma k\u0131r\u0131lmalar\u0131ndan sonra ka\u00e7 \u0131\u015f\u0131k k\u0131r\u0131lmas\u0131na u\u011frad\u0131\u011f\u0131n\u0131 saptaman\u0131n yollar\u0131ndan biridir, benim i\u00e7in ilkidir.
Onu her d\u00f6nemde de ba\u015fka ba\u015fka okuyabilirsiniz. Zaten o merakl\u0131s\u0131 i\u00e7in notlarla size yard\u0131mc\u0131 olabilecektir. Bana kal\u0131rsa siz sadece onun notlar\u0131yla da s\u0131n\u0131rlamay\u0131n kendinizi. \u015eairin siz \u00e7ekmek istedi\u011fi anlam evreninde k\u0131s\u0131l\u0131p kalmay\u0131n.
Onun \u015fiirini ele\u015ftirirken, hep d\u00fczyaz\u0131s\u0131n\u0131 da hep belle\u011fimden \u00e7\u0131karmak istemem. \u00c7\u00fcnk\u00fc o \u015fiir, yazd\u0131\u011f\u0131 bir yaz\u0131n\u0131n uygulamas\u0131d\u0131r, \u015fiirsel alandaki tezah\u00fcr\u00fcd\u00fcr. Ya da o \u015fiir bir d\u00fczyaz\u0131ya g\u00f6nderme gereksinimi do\u011furmu\u015ftur onda.
Her okur, her \u015fairin bir ba\u015fka \u015fiirsel katman\u0131na ula\u015fabilir, imge, \u00e7a\u011fr\u0131\u015f\u0131m a\u011fac\u0131na \u00e7\u0131kabildi\u011fi kadar ondan yaralan\u0131r.
Ele\u015ftirmenler \u015fiiri, \u015fiir tarihinin i\u00e7ine yerle\u015ftirirler, bunu yaparken de biraz soldururlar. Ben bu kimyasal i\u015flemden m\u00fcmk\u00fcn mertebe kendimi uzak tutmaya \u00e7abalar\u0131m.
Okur ise, onu hayat\u0131n\u0131n tarihi i\u00e7ine yerle\u015ftirir. Ne edebiyat tarihi umurundad\u0131r, ne de ele\u015ftiri. \u015eiirle okurun yak\u0131nl\u0131\u011f\u0131 b\u00f6yle kuruldu\u011fu anda o \u015fair okur i\u00e7in vazge\u00e7ilmezdir.
Ele\u015ftirmenlerin katk\u0131s\u0131yla bir \u015fairin sevilmesi de, \u015fairin de\u011ferine halel getirmez ancak okurun say\u0131s\u0131n\u0131 azalt\u0131r. Tahamm\u00fcll\u00fc okur, gittik\u00e7e azalmaktad\u0131r. Attil\u00e2 \u0130lhan, hi\u00e7bir zaman \u015fiir okurunun tahamm\u00fcl\u00fcn\u00fc s\u0131namad\u0131. Yorgun arg\u0131n eve d\u00f6nene \u015fiirin suretini sundu, a\u015fk k\u0131rg\u0131n\u0131n yaras\u0131na merhem oldu.
T\u00fcrk \u015fiirinin tarihi ile toplumsal ve siyasal tarih kimi zaman alt motif olarak, kimi zaman da y\u00fcksekten seyrederek onun \u015fiirinde kendini g\u00f6sterdi.
\u0130kisinin aras\u0131ndaki imge al\u0131\u015f-veri\u015fi, bu \u015fiirin, okur \u00f6n\u00fcndeki \u00e7a\u011fr\u0131\u015f\u0131m kat say\u0131s\u0131n\u0131 art\u0131rd\u0131. Her ana kavramla hesapla\u015ft\u0131, bu tav\u0131r \u015fiirin ya da ona daha \u00e7ok yara\u015fan bir kavramla, kendinden do\u011fan, do\u011farm\u0131\u015f gibi do\u011fal olan \u015fiirin kuram\u0131n\u0131 \u00e7\u0131karmak m\u00fcmk\u00fcnd\u00fcr.
D\u00fczyaz\u0131lar\u0131n\u0131 okuyunca, \u015fiirinin ard\u0131ndaki d\u00fcnya g\u00f6r\u00fc\u015f\u00fc netle\u015fir. Belki de tersine s\u00f6ylemek daha do\u011frudur, bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc \u015fiiri zedelemeden, \u015fiirselli\u011fi bozmadan nas\u0131l \u015fiirselle\u015ftirilir, bunu g\u00f6r\u00fcrs\u00fcn\u00fcz.
Her toplumcu ger\u00e7ek\u00e7i \u015fair i\u00e7in ge\u00e7erli bu tehlikeden ancak ustalar s\u0131yr\u0131labilirler. Attil\u00e2 \u0130lhan \u00f6rne\u011finde oldu\u011fu gibi. Doktrinin, fikrin \u015fiire ayk\u0131r\u0131 gelen sivrili\u011fi, \u015fiir k\u0131l\u0131\u011f\u0131na b\u00fcr\u00fcnmezse tats\u0131zla\u015f\u0131r.
Attil\u00e2 \u0130lhan’\u0131n \u015fiirinde, T\u00fcrk\u00e7e’nin Cumhuriyet sonras\u0131 ar\u0131la\u015fma ser\u00fcvenine y\u00fczde y\u00fcz bir sadakat yoktur. Yazd\u0131\u011f\u0131 \u015fiir gere\u011fi baz\u0131 kelimeleri yok saymas\u0131, onun birikimini kullanmamas\u0131 m\u00fcmk\u00fcn de\u011fildir. \u00dcstelik a\u015fk \u015fiiri ve toplumcu ger\u00e7ek\u00e7i \u015fiir i\u00e7in \u00f6z, ar\u0131 T\u00fcrk\u00e7ecilik anlay\u0131\u015f\u0131 ba\u011fda\u015f\u0131r iki kavram de\u011fildir.
Tarihe oturtulan, onun \u015fiirini yazan biri i\u00e7in dil \u00f6nemli bir ara\u00e7t\u0131r.
Dilin tutarl\u0131l\u0131\u011f\u0131, kavramlarda, kelimelerde kendini belli eder.
Hangi Edebiyat, onun \u015fiirinin olu\u015fum s\u00fcrecine, toplumcu ger\u00e7ek\u00e7i edebiyat\u00e7\u0131lar\u0131n kimliklerine yakla\u015f\u0131m\u0131n ilgi \u00e7ekici yaz\u0131lar toplam\u0131d\u0131r.
Ayr\u0131ca Attil\u00e2 \u0130lhan’\u0131n toplumcu ger\u00e7ek\u00e7i \u00e7izgide kendi ku\u015fa\u011f\u0131ndan ya da daha \u00f6ncekilerden hakk\u0131 yenmi\u015f g\u00f6z\u00fcyle bakt\u0131\u011f\u0131 adlar \u00fczerine de\u011ferlendirmeleri, ele\u015ftirel g\u00f6zle edebiyatta yakla\u015f\u0131m\u0131m\u0131z\u0131 \u00f6rnekler. Hi\u00e7 ku\u015fkusuz \u00f6zneldir, \u00e7\u00fcnk\u00fc kendi edebiyat konseptinin tercihinin i\u00e7indeki ki\u015filerdir.
Hangi Edebiyat’taki parantez i\u00e7i bir yarg\u0131n\u0131n alt\u0131n bir \u00f6l\u00e7\u00fct say\u0131n kendi \u015fiiri, roman\u0131 i\u00e7in; Yaz\u0131n\u0131n ad\u0131 Hasan \u0130zzettin’in d\u00f6n\u00fc\u015f\u00fcd\u00fcr. (Cumhuriyet \u015fiirini Necip Faz\u0131l’dan sonraya tamamlayacak Cahit S\u0131tk\u0131 ile Ahmet Muhip idiyse, Naz\u0131m Hikmet’ten sonraya tamamlayacak olan Hasan \u0130zzettin gibi g\u00f6r\u00fcn\u00fcyordu bana, ama sonra biliyorsunuz Garip felaketi oldu. Yozla\u015ft\u0131k\u00e7a yozla\u015ft\u0131k.)
Atill\u00e2 \u0130lhan’\u0131n Garip hareketine kar\u015f\u0131tl\u0131\u011f\u0131, toplumca ger\u00e7ek\u00e7i \u015fiirle onu ba\u011fda\u015ft\u0131rmamas\u0131nda kaynaklanmaktad\u0131r.
Bana kal\u0131rsa, ayr\u0131ca T\u00fcrk \u015fiirindeki \u015fiirselli\u011fe kar\u015f\u0131t bir \u015fiir ak\u0131m\u0131n\u0131n beslendi\u011fi kan\u0131s\u0131 da onu buna g\u00f6t\u00fcrebilir.
Attil\u00e2 \u0130lhan’n\u0131n d\u00fczyaz\u0131s\u0131ndaki \u015fiiri severim. \u00c7\u00fcnk\u00fc d\u00fczyaz\u0131s\u0131n da imgelere, \u00e7a\u011fr\u0131\u015f\u0131mlara, s\u00f6z sanatlar\u0131na ihtiyac\u0131 vard\u0131r.
\u0130\u015fte, Hasan Tan\u0131r\u0131kut’un\u00a0 \u00f6l\u00fcm ilan\u0131n\u0131 bir c\u00fcmlede yazm\u0131\u015f ama o benim i\u00e7in bir dize; “Hasan’\u0131n \u00f6l\u00fcm ilan\u0131n\u0131, bulut mavisi bir sabah gazetede g\u00f6rmek mukaddermi\u015f!”
‘Cinayet bu be’ , yaz\u0131s\u0131nda, bence de hakk\u0131 yenmi\u015f, edebiyat tarihinde \u0131skalanm\u0131\u015f bug\u00fcn okunurlu\u011funu tart\u0131\u015fabilece\u011fim, okunmam\u0131\u015f\/ okutulmam\u0131\u015f bir romanc\u0131n\u0131n Re\u015fat Enis’in \u00f6nemini, yerini belirler.
T\u00fcrk edebiyat\u0131na ger\u00e7ek\u00e7i toplumcu a\u00e7\u0131dan bakmak, baz\u0131 yazarlara ak\u0131m ad\u0131na iltimas ge\u00e7mek de\u011fildir.
Re\u015fat Enis<\/em>‘i anlat\u0131rken, onun savruklu\u011funu roman \u00fcslubundan, yap\u0131s\u0131ndan r\u00f6portaja d\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc s\u00f6yler.
Ben de Re\u015fat Enis<\/strong> okudum, bug\u00fcn ayn\u0131 i\u015ftihay\u0131 duyup duymayaca\u011f\u0131m\u0131 bilemiyorum. Ke\u015fke kitaplar\u0131 bas\u0131lsa da, gen\u00e7 ku\u015fa\u011f\u0131n d\u00fc\u015f\u00fcncesini \u00f6\u011frenebilsek!
Re\u015fat Enis’i ben \u00e7ok sonralar\u0131 Esentepe<\/em>‘deki Gazeteciler Mahallesi<\/em>‘ndeki evinde ziyaret ettim.
Attil\u00e2 \u0130lhan’\u0131n edebiyat zincirinin halkas\u0131n\u0131n kopuklu\u011funu \u00f6nlemeyen bu yarg\u0131s\u0131na kat\u0131l\u0131yorum: “Niye b\u00f6yle yap\u0131yoruz?Ik\u0131na s\u0131k\u0131na iki uzun hikaye yazabilmi\u015f bir z\u00fcppeye, b\u00fcy\u00fck romanc\u0131 diye sayfalar ay\u0131r\u0131p, \u00f6zel say\u0131lar d\u00fczenliyoruz da, ya\u015fad\u0131\u011f\u0131 d\u00f6nemin toplumsal ve bireysel panoramas\u0131n\u0131,bir d\u00fcz\u00fcne baba romanla \u00e7izmi\u015f bir kalem erbab\u0131n\u0131,b\u00f6yle hi\u00e7e say\u0131yoruz. Cinayet bu be!
Re\u015fat Enis’in ki\u015fili\u011finde, ilk metropol roman\u0131 denemelerini kaleme alan, ilgin\u00e7 bir yazar\u0131 ke\u015ffetmeme yol a\u00e7t\u0131.”(33)
Ben de, edebiyat\u0131n gelenekle hesapla\u015fma oldu\u011funa inand\u0131\u011f\u0131mdan, bir yazar\u0131n, \u015fairin etkilenme\/hesapla\u015fma s\u00fcrecinden sonra ki\u015filik bulaca\u011f\u0131 kan\u0131s\u0131nday\u0131m. Falih R\u0131fk\u0131<\/strong>‘y\u0131 ve daha bir \u00e7ok okumayan\u0131n T\u00fcrk edebiyat\u0131nda bir varl\u0131k olaca\u011f\u0131na inanm\u0131yorum.
Bu \u00f6znel bir yarg\u0131 de\u011fildir, \u00f6rnekleriyle \u00f6znel bir sonu\u00e7tur.
Bat\u0131 kaynaklar\u0131n\u0131n yeterli oldu\u011funu d\u00fc\u015f\u00fcnemiyorum.
Attil\u00e2 \u0130lhan, burada bir edebiyat tarih\u00e7isi ya da bir ele\u015ftirmen tavr\u0131yla de\u011fil, bir edebiyat\u00e7\u0131n\u0131n olu\u015fum s\u00fcrecini a\u00e7\u0131klamas\u0131 bak\u0131m\u0131ndan bana \u00e7ok ilgi \u00e7ekici geliyor.
Kad\u0131n yazarlardan s\u00f6z ederken bak\u0131n kimleri say\u0131yor: Nezihe Muhittin, G\u00fczide Sabri, Mebrure Sami, M\u00fckerrem Kamil, Cahit U\u00e7ak<\/strong>. Ve ard\u0131ndan her gen\u00e7 ku\u015fak edebiyet\u00e7\u0131s\u0131na d\u00fcstur olacak okkada bir ger\u00e7e\u011fe var\u0131yor: “\u015eimdi bak\u0131n ne diyorum, e\u011fer bug\u00fcn Attil\u00e2 \u0130lhan bir halt olabilmi\u015fse, elbette, onlar\u0131 da okudu\u011fu i\u00e7in olabilmi\u015ftir. Bu s\u00f6z\u00fcm, herkesin kula\u011f\u0131na k\u00fcpe!<\/em>“
Sadece g\u00fcn\u00fcn moda yazarlar\u0131na yaslanarak, yazar, \u015fair olunmas\u0131… Daha rastlamad\u0131m… Olmas\u0131 ebnim a\u00e7\u0131mdan da imkans\u0131zd\u0131r.
Bug\u00fcn ortalarda ad\u0131 \u00e7ok ge\u00e7en birka\u00e7 ki\u015fiye sar\u0131l\u0131p edebiyat yapmak ne m\u00fcmk\u00fcn:
“\u015ea\u015fk\u0131n Woody Allen’i, Jacques Seguela’y\u0131, \u00f6b\u00fcr \u0131v\u0131r z\u0131v\u0131r\u0131 okumu\u015f ama! Y\u0131k\u0131ls\u0131n kar\u015f\u0131mdan!<\/em>
Atilla \u0130lhan 1940 toplumcu ger\u00e7ek\u00e7i ku\u015fa\u011f\u0131n\u0131n hakk\u0131n\u0131n yenmemesi i\u00e7in \u00e7ok \u00e7abalad\u0131. Onlar\u0131n edebiyat\u0131m\u0131zdaki, toplumsal ve siyasal tarihimizdeki yerlerini irdeledi.
Neden \u00f6nemli olduklar\u0131n\u0131 yazarak, ele\u015ftirmenlik, edebiyat tarih\u00e7ili\u011fi g\u00f6revini \u00fcstlendi. Kendisine edebiyat\u0131 sevdirmi\u015f, ondan ger\u00e7ek\u00e7i edebiyat bilinci uyand\u0131rm\u0131\u015f b\u00fct\u00fcn adlar\u0131n okunmas\u0131n\u0131 \u0131srarla tavsiye etti, \u00f6zellikle gen\u00e7 ku\u015faklara. Kendi edebi ya\u015fam\u0131ndan \u00f6rnekler vererek.
Suat Dervi\u015f’i bir roman kahraman\u0131 yapt\u0131\u011f\u0131n\u0131 s\u00f6ylemesi bo\u015funa de\u011fildir, kuram\u0131n\u0131n uygulamas\u0131d\u0131r.
S\u00fcreklili\u011fin \u015fart oldu\u011funu bak\u0131n nas\u0131l a\u00e7\u0131kl\u0131yor: “H.\u0130 Dinamo, Niyazi Ak\u0131nc\u0131o\u011flu, Cahit Irgat, \u00d6.Faruk Toprak, A.Kadir, Enver G\u00f6k\u00e7e, Sabri Soran, Ahmet Arif… Ger\u00e7ek\u00e7ilik Sava\u015f\u0131’n\u0131n ‘fedailer mangas\u0131’ ndan toplumcu \u015fairler, art\u0131k hi\u00e7biri ya\u015fam\u0131yor; onlar\u0131 ‘ya\u015fatmak’, gen\u00e7 ‘toplumcu’ sanat\u00e7\u0131lara d\u00fc\u015fmez mi?
D\u00fc\u015fmesine d\u00fc\u015fer de, g\u00fcn\u00fcm\u00fcz\u00fcn ‘toplumcu’ ge\u00e7inen sanat\u00e7\u0131lar\u0131, nedense \u00dc\u00e7\u00fcnc\u00fc Yeni’nin (Siyah) ‘sirkinde’\u00a0 palya\u00e7oluk yapmay\u0131 tercih ediyor<\/em>.”
Onlar\u0131n \u00f6ne \u00e7\u0131kmas\u0131n\u0131, okunmas\u0131n\u0131 sa\u011flamak amac\u0131yla bir televizyon program\u0131nda Niyazi Ak\u0131nc\u0131o\u011flu’nun \u015fiirini okur, edinilen telefonlar, yarg\u0131n\u0131n ispat\u0131d\u0131r.
Bu \u00f6rnek, \u015funu g\u00f6stermektedir ki, e\u011fer has\u0131lsa okunur ve be\u011fenilir. Ve belki de edebiyat\u0131n \u015fiirin bug\u00fcnk\u00fc \u00e7ehresi de\u011fi\u015fir.
Birbirine paralel bir de\u011ferlendirme y\u00f6ntemi vard\u0131r.
1940 ger\u00e7ek\u00e7i, toplumcu ku\u015fa\u011f\u0131 \u00fczerine yazarken, sarmal bi\u00e7imde onlar\u0131n hem edebiyattaki ba\u015far\u0131lar\u0131n\u0131 hem doktriner ger\u00e7ek\u00e7iliklerini dile getirir.
Naz\u0131m Hikmet<\/strong> dedi\u011finde gibi onlar\u0131n kom\u00fcnistli\u011fi y\u00fcz\u00fcnden veya o ak\u0131m sayesinde \u00f6v\u00fclmediklerini, ger\u00e7ekten iyi sanat\u00e7\u0131 olduklar\u0131 i\u00e7in \u00f6v\u00fcld\u00fcklerinin alt\u0131n\u0131 \u00e7izer. \u00c7\u00fcnk\u00fc bu iki husus \u00fclkemizde \u00e7ok tart\u0131\u015f\u0131lm\u0131\u015f ve kar\u0131\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r.\u0130kisini ay\u0131rmak i\u00e7in Naz\u0131m hakk\u0131nda \u00e7ok yazm\u0131\u015ft\u0131r. Ayr\u0131ca kendi ku\u015fa\u011f\u0131n\u0131n, Naz\u0131m’\u0131 kurtarmak i\u00e7in nas\u0131l yurt d\u0131\u015f\u0131nda \u00e7al\u0131\u015ft\u0131klar\u0131n\u0131 belirtir. \u00d6v\u00fcnmekten \u00e7ok, bir \u015fairle, gen\u00e7 ku\u015faktan \u015fairlerin yazarlar\u0131n dayan\u0131\u015fmas\u0131n\u0131 \u00f6rneklemek olarak yorumlanmal\u0131d\u0131r bu. Naz\u0131m \u00f6rne\u011fi, bir edebiyat\u00e7\u0131n\u0131n savundu\u011fu rejimle bile ba\u011fda\u015famad\u0131\u011f\u0131n\u0131 g\u00f6sterir.
Mayakovskiy<\/strong> ve Naz\u0131m <\/strong>yaz\u0131lar\u0131 sanat\u00e7\u0131n\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fc \u00fczerine manifestolard\u0131r.
K\u00f6y roman\u0131 bir zamanlar\u0131n \u00e7ok okunan, \u00e7ok be\u011fenilen ama art\u0131k raflardan kald\u0131r\u0131lan bir anlay\u0131\u015f sembolleridir.
K\u00f6y roman\u0131na bak\u0131\u015f, o romanlar\u0131n \u015fematizmini \u00f6zetlemiyor mu?
Gene de zaman\u0131nda bu ger\u00e7ek\u00e7i \u00e7\u0131k\u0131\u015f gerekliydi diyelim. Ayr\u0131ca Mahmut Makal<\/strong>‘\u0131n Bizim K\u00f6y<\/em> ‘\u00fcn\u00fcn K\u00f6y Enstit\u00fcleri’nin g\u00fcndemde bulundu\u011fu bir d\u00f6nemde bunlar da yaz\u0131lmal\u0131yd\u0131 derim.
Gelelim Attil\u00e2 \u0130lhan’\u0131n yorumuna…
Al\u0131nt\u0131layal\u0131m:
“A\u011falar\u0131n ve ‘adamlar\u0131n\u0131n’ imamlar\u0131n’ domuzlu\u011funu ne kadar cafcafl\u0131, Memed’in yoksullu\u011funu ne kadar dokunakl\u0131 yazars\u0131n\u0131z, hele bir de araya ak yay\u0131k ayran\u0131n\u0131, \u00e7am kozalaklar\u0131 top gibi patlayan Toros da\u011flar\u0131n\u0131 soku\u015fturursan\u0131z, birinciye gelen bir toplumcu ger\u00e7ek\u00e7i bir sosyalist sanat\u00e7\u0131 say\u0131l\u0131rs\u0131n\u0131z art\u0131k,<\/em>“
Sonunda ince bir saydam yarg\u0131ya var\u0131yor: “K\u00f6y roman\u0131 de\u011fil, mesele roman yazmak<\/em>“
‘Bilimsel mi?’<\/em> ba\u015fl\u0131kl\u0131 yaz\u0131 1974’de yay\u0131nlanm\u0131\u015f : Tarihini koymam, eskimezli\u011fi konusundaki kan\u0131t\u0131m\u0131 desteklesin diye.
H\u00e2l\u00e2 bug\u00fcn ben de ayn\u0131 kan\u0131da oldu\u011fumu belirterek o g\u00f6r\u00fc\u015fe kat\u0131l\u0131r\u0131m.
1960’lardan sonra halk \u015fiiri devrimci s\u00f6ylemin temsilcisi say\u0131l\u0131yordu, divan \u015fiiri de saray \u015fiiri diye halktan uzak say\u0131l\u0131rd\u0131. Biri Halktan kopuk, di\u011feri halk\u0131n i\u00e7inden. \u0130kisi de \u015fiire,
\u015fiir d\u0131\u015f\u0131 tan\u0131mlamalarla bak\u0131\u015f\u0131n kurban\u0131, ger\u00e7ek\u00e7ilikten yoksun. Hele halk \u015fiirinin her y\u00fczy\u0131lda de\u011fi\u015fmez kal\u0131plar\u0131 tekrarlad\u0131\u011f\u0131n\u0131, ayn\u0131 divan \u015fiiri gibi oldu\u011funu bilmek i\u00e7in epey zaman harcad\u0131k.
\u00d6zellikle ikisinin de g\u00fczellikse ayn\u0131 g\u00fczelli\u011fi farkl\u0131 s\u00f6yle\u015filerini dile getiriyor: “Nas\u0131l sadece divan \u015fiiri oldu\u011fu i\u00e7in bir gazel ya da kaside a\u015fa\u011f\u0131lanamazsa, t\u0131pk\u0131 onun gibi, sadece halk \u015fiiri oldu\u011fu i\u00e7in herhangi bir ko\u015fma ya da varsa\u011f\u0131 y\u00fcceltilemez.<\/em>”
Gene bir noktaya odaklanal\u0131m. Ta ilk \u015fiirinden itibaren T\u00fcrk \u015fiir gelene\u011fini iyi bilen \u015fair Attil\u00e2 \u0130lhan, politik ama\u00e7larla \u015fiiri kirletmeye hep kar\u015f\u0131 durmu\u015ftur.
Pir Sultan Abdal’\u0131n \u015fiirlerinin birer ihtilal manifestosu yerine ge\u00e7en g\u00fcnlerde bu \u015fa\u015fk\u0131nl\u0131\u011f\u0131 ya\u015fayanlar, tan\u0131kl\u0131k edenler Attil\u00e2 \u0130lhan’a daha \u00e7ok hak vereceklerdir.
Ancak, madalyonun bir ba\u015fka yan\u0131 da var. Bizim ayd\u0131nlar\u0131m\u0131z divan \u015fiiriyle \u0130kinci Yeni’den sonra ilgilendiler.
Ata\u00e7<\/strong> i\u00e7in s\u00f6ylediklerinin bir b\u00f6l\u00fcm\u00fcne kat\u0131l\u0131yorum. Nurullah Ata\u00e7 tipik bir cumhuriyet ayd\u0131n\u0131yd\u0131, ko\u015fulsuz bat\u0131 uygarl\u0131\u011f\u0131na teslimiyetin temsilcisiydi.
Cumhuriyet ku\u015fa\u011f\u0131n\u0131n \u00e7o\u011fu \u00f6yle de\u011fil miydi?
Ne var ki bireysel, \u00f6znel de olsa ele\u015ftirinin sayg\u0131nl\u0131k kazanmas\u0131na, bir edebiyat t\u00fcr\u00fc olarak yerle\u015fmesine \u00e7ok katk\u0131da bulundu.
D\u00f6nemin \u00f6nemli ad\u0131yd\u0131 ama bu bireysel \u00e7\u0131k\u0131\u015ftan ba\u015fka ele\u015ftirmenler ne derece yararlanabildiler. Tart\u0131\u015f\u0131l\u0131r. Asl\u0131nda Ata\u00e7<\/strong>‘\u0131 tek yanl\u0131 bulundu\u011fundan tepki g\u00f6steriyor. \u00c7\u00fcnk\u00fc, toplumcu ger\u00e7ek\u00e7i edebiyat\u0131 savunmayan, hatta ona yan \u00e7izen edebiyat anlay\u0131\u015f\u0131 Attil\u00e2 \u0130lhan’\u0131n
Ata\u00e7’a kar\u015f\u0131 olmas\u0131 i\u00e7in yeterli bir nedendi. Attil\u00e2 \u0130lhan’\u0131n Ata\u00e7 \u00fczerine yazd\u0131klar\u0131, onun bat\u0131l\u0131la\u015fmaya kar\u015f\u0131 oldu\u011fu yarg\u0131s\u0131na g\u00f6t\u00fcrmesin sizi. Ancak g\u00f6z\u00fc kapal\u0131 ele\u015ftirisiz bir bat\u0131 kabullenmesi, bat\u0131 kap\u0131kululu\u011fu da bizim edebiyat\u0131m\u0131z\u0131n baz\u0131 \u00f6zelliklerini gereksiz yere s\u0131f\u0131ra indirgedi\u011finden bu ele\u015ftirici tavr\u0131 tak\u0131n\u0131yor. Alaturka s\u00f6z\u00fcnden \u00fcrkmeyen bir bat\u0131l\u0131la\u015fma .
Avrupa \u015fiiri kar\u015f\u0131s\u0131nda T\u00fcrk \u015fiirinin, geleneksel \u015fiirimizin de onlarla boy \u00f6l\u00e7\u00fc\u015fecek \u00f6rneklere sahip oldu\u011funu tart\u0131\u015f\u0131p sonuca varan bir bat\u0131l\u0131la\u015fma.
Asl\u0131nda yaz\u0131lar\u0131nda, roman \u00fczerindeki tart\u0131\u015fmalar\u0131nda, zincirin halkalar\u0131n\u0131 eklemede, eski ku\u015fak romanc\u0131lar\u0131n\u0131n bat\u0131da devr ald\u0131klar\u0131n\u0131 yeni ku\u015faklara aktard\u0131\u011f\u0131 g\u00f6r\u00fc\u015f\u00fc \u00e7\u0131kar ortaya.
Attil\u00e2 \u0130lhan’da benimsedi\u011fim ak\u0131mlar, ki\u015filikler ba\u011flant\u0131s\u0131na s\u0131rt \u00e7evirmemesidir.
Geleneksel \u00e7izgi i\u00e7inde, kar\u015f\u0131l\u0131kl\u0131 etkile\u015fimi ve ayr\u0131ca sentez kavram\u0131n\u0131 a\u00e7\u0131kl\u0131\u011fa, netli\u011fe kavu\u015fturur. “Bir toplumun sanat\u0131, birbirinin i\u00e7inden \u00e7\u0131k\u0131p zincirlenen halkalardan olu\u015fur. Osmanl\u0131 sanat\u0131 bile\u015fimi, Bizans, Arap, Acem, T\u00fcrk, Ermeni vs. k\u00fclt\u00fcrlerinin Anadolu’da zaman i\u00e7inde kayna\u015farak yo\u011funla\u015fmalar\u0131 sayesinde meydana gelmi\u015ftir. \u00d6zg\u00fcnd\u00fcr. Bundan T\u00fcrk ulusal k\u00fclt\u00fcr ve sanat\u0131n\u0131n sa\u011f\u0131lmas\u0131 elbette \u00e7a\u011fda\u015f y\u00f6ntemlerin yard\u0131m\u0131yla ger\u00e7ekle\u015ftirilecek, bu arada muhakkak etkisi alt\u0131nda kal\u0131nacak yabanc\u0131 esintiler olacakt\u0131r.<\/em>“
Tanzimat’tan beri, her ‘yenilik’ bir ‘taklit’tir yaz\u0131s\u0131, sadece edebiyat\u0131m\u0131z\u0131n yenile\u015fmesine, b\u00fcnye de\u011fi\u015ftirmesine de\u011fil, d\u00fc\u015f\u00fcnce hareketlerinin haritas\u0131 a\u00e7\u0131s\u0131ndan da bat\u0131 ile T\u00fcrkiye aras\u0131ndaki k\u00fclt\u00fcrel egemenlik ili\u015fkisine de\u011finir.
Evet, belki zaman zaman Attil\u00e2 \u0130lhan, bat\u0131 konusunda en u\u00e7 noktaya \u00e7eker bizi. Unutmamal\u0131 ki en u\u00e7 noktadan meselelerin soranlar\u0131n daha net g\u00f6r\u00fcnd\u00fc\u011f\u00fc ger\u00e7ektir.
\u0130ster ki herkes kendince bu sivrilikleri t\u00f6rp\u00fclesin, ayr\u0131nt\u0131ya insin.
Bizim edebiyat maceram\u0131z i\u00e7inde bat\u0131n\u0131n pay\u0131n\u0131, bizim pay\u0131m\u0131z\u0131, sentez oran\u0131n\u0131 \u00e7ok incelemi\u015f, \u00fczerinde \u00e7ok kafa yormu\u015ftur.
Bu konuya e\u011filmekte de hakl\u0131d\u0131r, \u00f6zg\u00fcn bir edebiyat\u0131n \u00f6l\u00e7\u00fctlerini ancak bu mukayese sonunda ortaya \u00e7\u0131karabiliriz.
1960 sonras\u0131 kaynaklara y\u00f6neli\u015f, i\u00e7inde felsefenin, toplumculu\u011fun da oldu\u011fu yeni okuma al\u0131\u015ft\u0131rmalar\u0131n\u0131n ba\u015flang\u0131c\u0131 olmu\u015ftur.
\u0130kinci Yeni’nin geleneksel \u015fiiri g\u00f6z \u00f6n\u00fcne almak zorunda kalmas\u0131ndan \u00f6t\u00fcr\u00fc o ak\u0131m\u0131 savunaca\u011f\u0131m noktalar vard\u0131r. Gene de bat\u0131n\u0131n etkisinin b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc ink\u00e2r edemem.
Attil\u00e2 \u0130lhan, ulusal ak\u0131mlarla, d\u00fc\u015f\u00fcnceyle, uluslar aras\u0131 olan\u0131n k\u0131vam\u0131n\u0131 arad\u0131 her zaman Niyazi Ak\u0131nc\u0131o\u011flu<\/strong>‘nun Edirne<\/em> \u015fiiri i\u00e7in s\u00f6yledikleri, \u0130kinci Yeni<\/em>‘nin baz\u0131 \u015fairleri ya da \u0130kinci Yeni’nin etkiledikleri ustalar\u0131n \u015fiirdeki yerlerine bir bak\u0131\u015f a\u00e7\u0131s\u0131d\u0131r.
Onlar i\u00e7inde bana kal\u0131rsa lehe bir yorumdur. “Niyazi Ak\u0131nc\u0131o\u011flu’nun ‘Edirne’ \u015fiiri, ne g\u00fczel \u00f6rnektir buna. Divan Edebiyat\u0131’n\u0131n maj\u00f6r gamlar\u0131 \u00fczerine yaz\u0131lm\u0131\u015f bir halk \u015fiiridir<\/em>.”
Attil\u00e2 \u0130lhan’\u0131n merakl\u0131s\u0131 i\u00e7in ekler’inden uzun, kapsaml\u0131 bir yaz\u0131dan \u00e7ok \u00f6nemli sonu\u00e7lar \u00e7\u0131kaca\u011f\u0131na inan\u0131yorum. \u00c7\u00fcnk\u00fc, bir \u015fiirin olu\u015fum s\u00fcreci beni \u00e7ok ilgilendirir. Okur, \u015fiirin sa\u011flamas\u0131n\u0131 yapma imk\u00e2n\u0131n\u0131 bulur.
Attil\u00e2 \u0130lhan, \u015fiir, edebiyat \u00fczerine d\u00fczyaz\u0131lar\u0131yla da gelene\u011fin do\u011fu\/bat\u0131 bile\u015fiminden moderniteye nas\u0131l a\u00e7\u0131laca\u011f\u0131n\u0131 g\u00f6stermi\u015ftir.<\/p>\n

Do\u011fan H\u0131zlan<\/strong><\/p>\n

\u00a0<\/p>\n


<\/strong><\/p>\n

<\/embed><\/p>\n","protected":false},"excerpt":{"rendered":"

Her \u015fairi; gerek edebiyat tarihi gerek ele\u015ftiri disiplini i\u00e7ine yerle\u015ftirmek, \u00e7o\u011fu zaman farkl\u0131 de\u011ferlendirme ve yakla\u015f\u0131m y\u00f6ntemlerini gerekli k\u0131lar.Okurlar\u0131yla aralar\u0131ndaki ba\u011f\u0131 kurmada kimi \u015fairler i\u00e7in ele\u015ftirmenlere daha a\u011f\u0131r g\u00f6revler d\u00fc\u015fer. 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