{"id":4226,"date":"2010-02-17T17:03:51","date_gmt":"2010-02-17T14:03:51","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/17\/o-karsi-konulmaz-genclik-jm-g-le-clezio\/"},"modified":"2010-02-17T17:03:51","modified_gmt":"2010-02-17T14:03:51","slug":"o-karsi-konulmaz-genclik-jm-g-le-clezio","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/17\/o-karsi-konulmaz-genclik-jm-g-le-clezio\/","title":{"rendered":"O Kar\u015f\u0131 Konulmaz Gen\u00e7lik | J.M. – G. LE CLEZ\u0130O"},"content":{"rendered":"

Sartre, y\u00e2ni k\u00fclyutmazl\u0131\u011f\u0131n g\u00fczelli\u011fi. Bulant\u00ee’dan k\u0131rk y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcre sonra \u00abBibliotheque de la Pleiade\u00bb yay\u0131nlar\u0131ndan Jean-Paul Sartre’\u0131n Oeuvres Romanesques’inin (Romanesk Yap\u0131tlar) \u00e7\u0131kmas\u0131yla, Sartre’\u0131n b\u0131rakt\u0131\u011f\u0131 eserin g\u00fcc\u00fcn\u00fc, \u00f6nemini bir kez daha anl\u0131yoruz. Duvar (Le Mur) kitab\u0131nda toplanan k\u0131sa \u00f6yk\u00fcler gibi, \u00d6zg\u00fcrl\u00fc\u011f\u00fcn Yollar\u0131’n\u0131n son cildi olan ve \u00f6nce Temps Modernes dergisinde 1949’da bas\u0131ld\u0131ktan sonra, burada ilk kez kitap olarak yay\u0131mlanan Dr\u00f6le d’Amitte (Bir Tuhaf Arkada\u015fl\u0131k) gibi farkl\u0131 metinlerin bir araya, daha do\u011frusu kar\u015f\u0131 kar\u015f\u0131ya getirilmeleriyle Sartre’nin eserine b\u00fct\u00fcn g\u00fcc\u00fcn\u00fc kazand\u0131ran \u015feyi i\u00e7imizde duyuyoruz: d\u00fc\u015f\u00fcncesini canland\u0131ran, yarat\u0131s\u0131na dirim veren, o kar\u015f\u0131 konulmaz gen\u00e7li\u011fini…<\/p>\n

Arzu ile ger\u00e7e\u011fin, bireyin i\u015ftahlar\u0131, mutlulu\u011fa \u00f6zeni\u015fi ile do\u011frulu\u011fun (hakikatin) ve toplumun gerekleri aras\u0131ndaki \u00e7eli\u015fkidir bu. Sartre’\u0131n tutkusu do\u011frultuktur, do\u011fru oland\u0131r, hi\u00e7bir \u015feyin durduramad\u0131\u011f\u0131, hi\u00e7bir \u015feyin \u015fa\u015f\u0131rtamad\u0131\u011f\u0131 bir gen\u00e7li\u011fin g\u00f6n\u00fcl at\u0131l\u0131m\u0131d\u0131r. Hepsinden \u00f6te, zaman bozamaz bu ara\u015ft\u0131rmay\u0131.<\/p>\n

Sartre’daki tutarl\u0131l\u0131\u011f\u0131 da unutmamak gerekir, ve bu \u00e7a\u011fda\u015f yaz\u0131nda belki de tek \u00f6rnektir. Romanc\u0131, tiyatrocu ve felsefeci aras\u0131nda bir \u00abs\u00fcreklilik bile\u015fimi\u00bb ne gerek yoktur. Eser t\u00fcm\u00fcyle uyu\u015fma halindedir; \u00f6yle istenmi\u015f, \u00f6yle d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fcr, bir rastlant\u0131n\u0131n sonucu de\u011fil, bir ya\u015fam\u0131n anlat\u0131m\u0131d\u0131r. Ku\u015fkusuz, Sartre’a daha ilk andan itibaren bu kadar sad\u0131k yanda\u015f ve bu kadar d\u00fc\u015fman kazand\u0131ran da bu tutarl\u0131l\u0131kt\u0131r.<\/p>\n

Mathieu gibi, Brunet gibi ve tabii Roquentin gibi Sartre da ya\u015fam\u0131ndaki olaylar\u0131n aras\u0131ndan kendini tan\u0131maya, kendini en do\u011fru, en kesin bi\u00e7imde alg\u0131lamaya \u00e7al\u0131\u015f\u0131yordu. Bunun i\u00e7in de, yaz\u0131ndan iyi bir ara\u00e7 olamaz, \u00e7\u00fcnk\u00fc roman ger\u00e7ek varolu\u015fu meydana \u00e7\u0131karmak i\u00e7in g\u00f6r\u00fcnt\u00fcy\u00fc eleyen bir bak\u0131\u015f’t\u0131r. R\u00f6quentin g\u00fcnl\u00fc\u011f\u00fcn\u00fc yazar; Lucien’in \u00e7ocuklu\u011fu, Lulu’n\u00fcn evlili\u011fi, Mathieu’n\u00fcn salt ya\u015fam\u0131, hepsi birer i\u00e7 monolog olarak ya\u015fan\u0131rlar. Olaylar\u0131n trajik anlamlar\u0131n\u0131n i\u00e7ine i\u015fledi\u011fimiz anlarda zaman durur. \u00d6rne\u011fin demir yolu vagonuna kapat\u0131lan adamlar bilinmeyen bir kadere do\u011fru yol al\u0131rlarken, tarih de donukla\u015f\u0131r ve onlar\u0131 \u00f6l\u00fcm\u00fcn damgas\u0131yla damgalar:<\/p>\n

\u00abBir yazg\u0131lar\u0131 vard\u0131, krallar gibi, \u00f6l\u00fcler gibi.\u00bb<\/p>\n

Sartre’\u0131n s\u00f6zc\u00fcklerle arad\u0131\u011f\u0131 bu do\u011fruluk, giderek etten kemikten yap\u0131lm\u0131\u015f, ger\u00e7ek bir do\u011frulu\u011fa d\u00f6n\u00fc\u015f\u00fcr. Bu eserde, bize bu kadar dokunan da, insano\u011flunun d\u00fcnyaya a\u00e7\u0131lmas\u0131n\u0131 sa\u011flayan t\u00fcm insanl\u0131k maceras\u0131yla bu eserin zorunlu olarak kar\u0131\u015fm\u0131\u015f olmas\u0131d\u0131r. Bu ara\u015ft\u0131rma bir t\u00fcr vahiydir, bir \u00aba\u015fma\u00bb d\u0131r. \u0130nsan\u0131 felce u\u011fratan bir k\u00fclyutmazl\u0131\u011f\u0131n\u0131, kendi kendini yiyip bitirmekten ba\u015fka \u015fey yapamayan ma\u011frur bilincin edimdeki g\u00fczelli\u011fe do\u011fru evrimidir. Ama Roquentin’de, Mathieu’de ya da Brunet’de g\u00f6rd\u00fc\u011f\u00fcm\u00fcz endi\u015felerin ayn\u0131n\u0131 buluruz. K\u00fclyutmazl\u0131k hep ayn\u0131d\u0131r: ya\u015fant\u0131n\u0131n her an\u0131nda uyan\u0131k olan ve nerdeyse ac\u0131 veren, bazan insan\u0131 ba\u015f d\u00f6nmesine kadar g\u00f6t\u00fcren bir dikkat.<\/p>\n

Sartre’\u0131 ger\u00e7ek\u00e7i ve felsef\u00ee romandan, \u00f6zellikle de Malraux ve Camus’den ay\u0131ran b\u00fct\u00fcn \u00f6\u011feleri bug\u00fcn apa\u00e7\u0131k g\u00f6rmekteyiz. Sartre’c\u0131 ba\u011flan\u0131m (engagement) b\u00fct\u00fcnd\u00fcr, mutlakt\u0131r; bireyi bu d\u00fcnyada ya\u015famaya, her \u015feyi anlamaya, her \u015feyi sorgulamaya y\u00f6nelten bir ba\u011flan\u0131m. Ayn\u0131 zamanda kimsek o olmak inad\u0131d\u0131r, bazan delilik hatta \u00f6l\u00fcm pahas\u0131na! Mathieu, Brunet temelde Roquentin’den farkl\u0131 de\u011fildirler, \u00e7\u00fcnk\u00fc aray\u0131\u015flar\u0131ndan vazge\u00e7meyi reddetmek i\u00e7in, s\u0131rf kendilerine ihanet etmi\u015f olmamak i\u00e7in, \u00f6l\u00fcm\u00fc kar\u015f\u0131lamaya giderler. Bireycili\u011fin kahramanlar\u0131d\u0131r onlar; yapa yaln\u0131zd\u0131rlar.<\/p>\n

Sartre’\u0131n eserinde, \u00f6zellikle de deneyimin ve g\u00fcnl\u00fck ya\u015fant\u0131n\u0131n \u00fczerine kurulu birer yap\u0131 olan romanlar\u0131nda, ger\u00e7ek\u00e7ili\u011fin ola\u011fan\u00fcst\u00fc bir g\u00fcc\u00fc vard\u0131r. Ama bu ger\u00e7ek ne bir bilginin anla-t\u0131m\u0131d\u0131r, ne de insanlar\u0131n karde\u015fli\u011fine duyulan bir inanc\u0131n. Daha \u00e7ok, bir tamamlan\u0131\u015f, bazen de bir sarho\u015fluktur bu.<\/p>\n

Sartre’c\u0131 kahramanlar, Sartre’\u0131n kendisi gibi, yaln\u0131zca d\u00fcnyay\u0131 daha iyi yaratabilmek i\u00e7in ger\u00e7ekli\u011fe g\u00f6zlerini a\u00e7arlar, sanki b\u00fct\u00fcn bilgilerin s\u0131n\u0131r\u0131nda d\u00fcnyan\u0131n ve dilin son ve kesin birli\u011fi ortaya \u00e7\u0131kacakm\u0131\u015f gibi. Sartre, Zola ya da Frank Norris’den \u00e7ok, Rabelais’nin, Dostoyevski’nin ve Dos Passos’un miras\u00e7\u0131d\u0131r – ayr\u0131ca Celine’e \u00f6zg\u00fc olan d\u00fcnyada bir ba\u015fmaym\u0131\u015f gibi d\u00fc\u015f\u00fcnmenin hazz\u0131n\u0131, toyca yamanl\u0131\u011f\u0131, kendi \u00fczerine kurulu bir dilin yo\u011funlu\u011funu da buluruz onda.<\/p>\n

Mizah\u0131 da vard\u0131r Sartre’\u0131n; so\u011fuk, ge\u00e7ti\u011fi yerde ot bitmeyen, \u00f6fkeci bir mizah. \u00c7ok iyi tan\u0131d\u0131\u011f\u0131 burjuva s\u0131n\u0131f\u0131na, onun b\u00fct\u00fcn basit kusurlar\u0131na, k\u00fc\u00e7\u00fck korkakl\u0131klar\u0131na, k\u00fc\u00e7\u00fck g\u00fcl\u00fcn\u00e7l\u00fcklerine kar\u015f\u0131, \u00f6rne\u011fin Le Sursis (Ya\u015fanmam\u0131\u015f Zaman) roman\u0131nda oldu\u011fu gibi, ac\u0131 alaylar y\u00f6neltir. Bouvard’ yazar\u0131n\u0131n damgas\u0131n\u0131 ta\u015f\u0131yan bu alaylar Sartre’da bazan bir itiraf\u0131, bir \u00f6zele\u015ftiriyi and\u0131r\u0131rlar. Sartre’da insan\u0131 en \u00e7ok rahats\u0131z eden de budur; kendine y\u00f6neltti\u011fi bu i\u011fneli bak\u0131\u015ft\u0131r, t\u0131pk\u0131 Daniel’in bak\u0131\u015fm\u0131 delen ve ona Tanr\u0131y\u0131 d\u00fc\u015f\u00fcnd\u00fcrten sonsuzluk gibi. Ama Sartre, hemen ard\u0131n-dan d\u00fczeltir: \u00abBen sadece edebiyat yap\u0131yorum\u00bb.<\/p>\n

Ger\u00e7e\u011fin g\u00fcc\u00fc, Sartre’\u0131n eserini doldurur, ona ya\u015fam verir. Sava\u015f sonras\u0131nda en b\u00fcy\u00fck izleri b\u0131rakm\u0131\u015f olan bu romanlar\u0131n ve anlat\u0131lar\u0131n yeni bas\u0131mlar\u0131n\u0131 okurken, Sartre’\u0131n kelimeleriyle do-\u011furttu\u011fu her \u015fey bize \u00e7arp\u0131c\u0131 geliyor: Sanki her d\u00fc\u015f\u00fcnce, her s\u00f6z, her duyum tarihin a\u011f\u0131rl\u0131\u011f\u0131n\u0131 birlikte getiriyor; derin bir yank\u0131 b\u0131rak\u0131yor gibi: politik s\u00f6zler, s\u00f6ylenceler, toplu sanr\u0131lar, yan\u0131lsamalar, d\u00fc\u015f k\u0131r\u0131kl\u0131klar\u0131, \u00e7\u0131lg\u0131n umutlar, k\u0131saca bir \u00e7a\u011f dedi\u011fimiz her \u015fey buradad\u0131r; bu sayfalar\u0131n i\u00e7ine i\u015flemi\u015ftir. Ve ne \u00e7a\u011fd\u0131r o! Sava\u015f, Sartre’\u0131 b\u00fcy\u00fcleyen ve deh\u015fete d\u00fc\u015f\u00fcren, yerine oturmu\u015f d\u00fczenleri alt \u00fcst eden, insanlara maskelerinin alt\u0131nda ger\u00e7ekten ne olduklar\u0131n\u0131 g\u00f6steren sava\u015f!<\/p>\n

Mutlulu\u011fu da, mutsuzlu\u011fu da veren, asl\u0131nda do\u011fru oland\u0131r. Sartre’\u0131n eseri, bug\u00fcn tutarl\u0131l\u0131\u011f\u0131n\u0131 eksiksiz alg\u0131lad\u0131\u011f\u0131m\u0131z bu b\u00fct\u00fcn, bir simgedir; bir i\u00e7sel devrimdir \u00e7\u00fcnk\u00fc. Sartre’nin kahramanlar\u0131 da, bizler gibi, safl\u0131klar\u0131n\u0131 yitirmi\u015flerdir. Korkun\u00e7 zamanlarda ya\u015famaktad\u0131rlar aray\u0131\u015flar\u0131n\u0131. Dr\u00f6le d’Amitie’de Brunet’nin Vicarios’a s\u00f6yledikleri, umuda hi\u00e7bir yer b\u0131rakmaz:<\/p>\n

\u00abBir milyar esirle, yerk\u00fcrenin d\u00f6rt bir yan\u0131nda bu ate\u015fle mi? Arkada\u015fl\u0131k isteyebiliyorsun? Sevgi isteyebiliyorsun? Hi\u00e7 beklemeden insan olmak isteyebiliyorsun?\u00bb<\/p>\n

Hi\u00e7 ku\u015fkumuz olmas\u0131n: Sartre’\u0131n sesi bize h\u00e2l\u00e2 bug\u00fcn\u00fc anlat\u0131yor, \u015eimdiki \u00e7a\u011f\u0131m\u0131z\u0131.<\/p>\n

\u00c7eviren: Nil\u00fcfer Kuya\u015f<\/p>\n","protected":false},"excerpt":{"rendered":"

Sartre, y\u00e2ni k\u00fclyutmazl\u0131\u011f\u0131n g\u00fczelli\u011fi. Bulant\u00ee’dan k\u0131rk y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcre sonra \u00abBibliotheque de la Pleiade\u00bb yay\u0131nlar\u0131ndan Jean-Paul Sartre’\u0131n Oeuvres Romanesques’inin (Romanesk Yap\u0131tlar) \u00e7\u0131kmas\u0131yla, Sartre’\u0131n b\u0131rakt\u0131\u011f\u0131 eserin g\u00fcc\u00fcn\u00fc, \u00f6nemini bir kez daha anl\u0131yoruz. Duvar (Le Mur) kitab\u0131nda toplanan k\u0131sa \u00f6yk\u00fcler gibi, \u00d6zg\u00fcrl\u00fc\u011f\u00fcn Yollar\u0131’n\u0131n son cildi olan ve \u00f6nce Temps Modernes dergisinde 1949’da bas\u0131ld\u0131ktan sonra, burada ilk […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[138],"tags":[],"class_list":{"0":"post-4226","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-edebiyat-dunya"},"yoast_head":"\nO Kar\u015f\u0131 Konulmaz Gen\u00e7lik | J.M. - G. LE CLEZ\u0130O - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2010\/02\/17\/o-karsi-konulmaz-genclik-jm-g-le-clezio\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O Kar\u015f\u0131 Konulmaz Gen\u00e7lik | J.M. - G. LE CLEZ\u0130O\" \/>\n<meta property=\"og:description\" content=\"Sartre, y\u00e2ni k\u00fclyutmazl\u0131\u011f\u0131n g\u00fczelli\u011fi. Bulant\u00ee’dan k\u0131rk y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcre sonra \u00abBibliotheque de la Pleiade\u00bb yay\u0131nlar\u0131ndan Jean-Paul Sartre’\u0131n Oeuvres Romanesques’inin (Romanesk Yap\u0131tlar) \u00e7\u0131kmas\u0131yla, Sartre’\u0131n b\u0131rakt\u0131\u011f\u0131 eserin g\u00fcc\u00fcn\u00fc, \u00f6nemini bir kez daha anl\u0131yoruz. 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