![](\"http:\/\/students.brown.edu\/INDY\/archives\/2005-03-10\/images\/borges.jpg\")
Wally Zenner’e<\/p>\nWally Zenner’e<\/p>\n
Z\u00e2hir, Buenos Aires’te yirmi centavo de\u011ferinde \u00e7ok rastlanan bir parad\u0131r. Bir y\u00fcz\u00fcnde N T harfleri ve 2 say\u0131s\u0131 jiletle ya da \u00e7ak\u0131yla kaz\u0131nm\u0131\u015f gibidir; \u00f6b\u00fcr y\u00fcz\u00fcndeki tarihse 1929’dur. (G\u00fczerat’ta, 18. y\u00fczy\u0131l\u0131n sonuna do\u011fru, Z\u00e2hir bir kapland\u0131; Cava’da, \u0130nanan\u00adlar\u0131n ta\u015flad\u0131\u011f\u0131, Surakarta Camii’nden gelme k\u00f6r bir adamd\u0131; \u0130ran’da, Nadir \u015eah’\u0131n denizin dibine att\u0131rd\u0131\u00ad\u011f\u0131, y\u0131ld\u0131zlar\u0131n y\u00fcksekli\u011fini saptamaya yarayan bir g\u00f6k\u00adbilim \u00e2leti, bir “usturlap”t\u0131; 1892 s\u0131ralar\u0131nda Mehdi’nin zindanlar\u0131nda, Rudolf Karl von Slatin’in eliyle do\u00adkundu\u011fu, bir sar\u0131\u011f\u0131n katlar\u0131 aras\u0131na gizlenmi\u015f k\u00fc\u00e7\u00fck bir pusulayd\u0131; Zotenberg’e g\u00f6re Kurtuba Camii’nde on iki bin s\u00fctundan birinin mermerindeki bir damar\u00add\u0131; Tetwin gettosunda bir kuyunun dibiydi.)<\/p>\n
Bug\u00fcn kas\u0131m\u0131n on\u00fc\u00e7’\u00fc; Z\u00e2hir haziranda \u015fafak vakti elime ge\u00e7ti. Ben art\u0131k bu anlat\u0131daki ‘ben’ de\u011filim; ama olan\u00adlar\u0131 hat\u0131rlamam, hatta belki anlatmam bile h\u00e2l\u00e2 m\u00fcm\u00adk\u00fcn. Ne kadar b\u00f6l\u00fck p\u00f6r\u00e7\u00fck de olsa, h\u00e2l\u00e2 Borges’im.<\/p>\n
Clementina Villar, alt\u0131 haziranda \u00f6ld\u00fc. 1930’larda sosyete dergilerinde onun resimlerinden ge\u00e7ilmez\u00addi. Onun son derece g\u00fczel oldu\u011fu efsanesini yaratan, belki biraz da bu her an g\u00f6z\u00f6n\u00fcnde bulunma \u00f6zelli\u011fiy\u00addi; \u00e7\u00fcnk\u00fc her portresinin bu sav\u0131 kay\u0131ts\u0131z \u015farts\u0131z do\u011f\u00adrulamad\u0131\u011f\u0131 bir ger\u00e7ektir. Clementina Villar g\u00fczellikten \u00e7ok kusursuzlu\u011fa d\u00fc\u015fk\u00fcnd\u00fc zaten. \u0130branilerle \u00c7inli\u00adler akla gelebilecek b\u00fct\u00fcn insan\u00ee olas\u0131l\u0131klar\u0131 \u015fifrele\u00admi\u015flerdir; Mi\u015fnah’da bir terzinin Sebt g\u00fcn\u00fcnde ala\u00adcakaranl\u0131k \u00e7\u00f6kt\u00fckten sonra elinde i\u011fneyle soka\u011fa \u00e7\u0131k\u00admamas\u0131 gerekti\u011fi s\u00f6ylenir. T\u00f6renler Kitab\u0131’ndaysa, ko\u00adnu\u011fun kendisine ilk fincan sunuldu\u011funda a\u011f\u0131rba\u015fl\u0131 bir havaya b\u00fcr\u00fcnmesi, ikinci fincan sunuldu\u011funda da sayg\u0131l\u0131 bir ho\u015fnutluk g\u00f6stermesi gerekti\u011fi yaz\u0131l\u0131d\u0131r.<\/p>\n
\u00c7ok daha ayr\u0131nt\u0131l\u0131 olmakla birlikte, Clementina Vil\u00adlar’\u0131n kendi kendinden bekledi\u011fi uzla\u015fmaz s\u0131k\u0131d\u00fczen\u00adde bu \u00e7e\u015fitten bir \u015feylere rastlamak m\u00fcmk\u00fcnd\u00fc. Kon\u00adf\u00fc\u00e7y\u00fcs’\u00fcn izinde olan her \u00e7\u00f6mez ya da her Tal\u00admud’cu gibi, yapt\u0131\u011f\u0131 b\u00fct\u00fcn i\u015flerde kesin bir kusursuz\u00adluk g\u00f6zetirdi; \u00fcstelik, onun \u00e7abas\u0131 bu yukar\u0131dakilerden daha hayranl\u0131k verici ve yorucuydu, \u00e7\u00fcnk\u00fc iman\u0131n\u0131n denekta\u015flar\u0131 ebed\u00ee de\u011fil, Paris’le Hollywood’un durmadan de\u011fi\u015fen kaprislerine ba\u011fl\u0131yd\u0131. Clementina Villar gerekli yerlerde, gerekli saatte, gerekli tak\u0131p tak\u0131\u015ft\u0131rma ve gerekli b\u0131kk\u0131nl\u0131kla boy g\u00f6sterirdi; oysa b\u0131kk\u0131nl\u0131k, tak\u0131p tak\u0131\u015ft\u0131rma, saat ve yerin neredeyse o an modas\u0131 ge\u00e7er ve Clementina Villar, elinde an\u00adcak bir be\u011feni ucuzlu\u011funu tan\u0131mlamaya yarayacak gere\u00e7lerle kalakal\u0131rd\u0131. Flaubert gibi, o da mutlak ola\u00adn\u0131n aray\u0131\u015f\u0131 i\u00e7indeydi; ancak onunkisi bir an s\u00fcren bir Mutlak’t\u0131. \u00d6rnek bir ya\u015fam s\u00fcrd\u00fcr\u00fcyordu, ama i\u00e7ini sonu gelmez bir umars\u0131zl\u0131k duygusu kemirip durmaktayd\u0131. Kendi kendinden ka\u00e7mak istercesine s\u00fc\u00adrekli olarak yeni de\u011fi\u015fimler denerdi; sa\u00e7\u0131n\u0131n rengiyle bi\u00e7imine g\u00fcven olmayaca\u011f\u0131 herkes\u00e7e bilinirdi. G\u00fc\u00adl\u00fcmseyi\u015fini, tenini, g\u00f6z \u00e7izgisini durmadan de\u011fi\u015fti\u00adrirdi. Otuz ikisini ge\u00e7ti\u011fi halde h\u00e2l\u00e2 dal gibiydi. Sava\u015f \u00e7\u0131k\u0131nca kara kara d\u00fc\u015f\u00fcnmeye ba\u015flad\u0131; Paris, Alman i\u015f\u00adgali alt\u0131nda oldu\u011funa g\u00f6re, moda nas\u0131l izlenecekti?<\/p>\n
Hi\u00e7bir zaman g\u00fcvenmedi\u011fi bir yabanc\u0131, ona \u00e7ok\u00e7a si\u00adlindir \u015fapka satacak kadar iyiniyetinden yararland\u0131; bir y\u0131l sonra bu anlams\u0131z modellerin Paris’te hi\u00e7 giyilmemi\u015f oldu\u011fu ortaya \u00e7\u0131kt\u0131 -demek ki bunlar \u015fap\u00adka filan de\u011fil, rastgele, ne id\u00fc\u011f\u00fc belirsiz, deli sa\u00e7ma\u00ads\u0131 nesnelerdi!- Bel\u00e2lar pe\u015fpe\u015fe gelir ya; Dr. Villar, Araoz Soka\u011f\u0131’na ta\u015f\u0131nmak zorunda kald\u0131, k\u0131z\u0131n\u0131n res\u00admiyse art\u0131k y\u00fcz kremi ve otomobil rekl\u00e2mlar\u0131n\u0131 s\u00fcs\u00adl\u00fcyordu. ( Bol bol s\u00fcr\u00fcnd\u00fc\u011f\u00fc y\u00fcz kremiyle nicedir sahip olamad\u0131\u011f\u0131 otomobiller. ) Sanat\u0131n\u0131 ba\u015far\u0131yla s\u00fcrd\u00fcrebilmesi i\u00e7in b\u00fcy\u00fck bir servet gerekti\u011fini biliyordu ve yar\u0131m yamalak g\u00f6z kama\u015ft\u0131rmaktansa, sahneden \u00e7ekilmeyi ye\u011fledi. Ayr\u0131ca, ad\u0131 san\u0131 belirsiz ne oldum delileriyle a\u015f\u0131k atmak zorunda olmak da a\u011fr\u0131na gidi\u00adyordu. Araoz’daki kasvetli apartman dairesi de \u00e7eki\u00adlecek gibi de\u011fildi; Clementina Villar, haziran’\u0131n alt\u0131\u00ads\u0131nda G\u00fcney mahallesinin g\u00f6be\u011finde \u00f6lmek ayk\u0131r\u0131l\u0131\u00ad\u011f\u0131nda bulundu. Y\u00fcre\u011fim Arjantinlilere \u00f6zg\u00fc tutkula\u00adr\u0131n en i\u00e7teni olan z\u00fcppelikle dolup ta\u015farak ona \u00e2\u015f\u0131k oldu\u011fumu ve \u00f6l\u00fcm\u00fcn\u00fcn beni g\u00f6zya\u015flar\u0131na bo\u011fdu\u011fu\u00adnu da a\u00e7\u0131k\u00e7a s\u00f6yleyeyim mi dersiniz? Okur bunun \u00e7oktan fark\u0131na varm\u0131\u015ft\u0131r belki de.<\/p>\n
Bir \u00f6l\u00fcy\u00fc bekletirken, \u00e7\u00fcr\u00fcme s\u00fcrecinin cesede eski y\u00fczlerini kazand\u0131rd\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. O tel\u00e2\u015fl\u0131 alt\u0131 ha\u00adziran gecesinin bir an\u0131nda Clementina Villar sanki bir b\u00fcy\u00fc sonucu yirmi y\u0131l \u00f6nceki halini ald\u0131; y\u00fcz \u00e7iz\u00adgileri gururun, paran\u0131n, gen\u00e7li\u011fin, belli bir \u00fcst\u00fcnl\u00fc\u00ad\u011fe sahip oldu\u011fu bilincinin, hayal g\u00fcc\u00fc k\u0131tl\u0131\u011f\u0131n\u0131n, k\u0131\u00ads\u0131tlamalar\u0131n, vurdumduymazl\u0131\u011f\u0131n verdi\u011fi o sertli\u011fe yeniden kavu\u015ftu. Nedense, diye d\u00fc\u015f\u00fcnd\u00fcm, hi\u00e7 pe\u015fi\u00admi b\u0131rakmayan bu y\u00fcz\u00fcn hi\u00e7bir hali belle\u011fimde bu\u00adnun kadar uzun s\u00fcre yer etmeyecek; bunun son y\u00fcz\u00fc olmas\u0131 yersiz de\u011fil, \u00e7\u00fcnk\u00fc ilk y\u00fcz\u00fc de olabilirdi. Onu \u00f6l\u00fcm\u00fcn kusursuzla\u015ft\u0131rd\u0131\u011f\u0131 kibriyle, \u00e7i\u00e7eklerin aras\u0131n\u00adda kaskat\u0131 b\u0131rakt\u0131m. \u00c7\u0131k\u0131p gitti\u011fimde saat sabah\u0131n ikisi olmu\u015ftu herhalde. D\u0131\u015far\u0131da, bir ya da iki katl\u0131 tan\u0131d\u0131k evler, gece, karanl\u0131k ve sessizlik onlar\u0131 iyice s\u0131radanla\u015ft\u0131rd\u0131\u011f\u0131nda edindikleri soyut varl\u0131klar\u0131na b\u00fc\u00adr\u00fcnm\u00fc\u015flerdi. Neredeyse t\u00fcm\u00fcyle benlikten ar\u0131nm\u0131\u015f bir sofulu\u011fun sarho\u015flu\u011fuyla, sokaklar boyunca y\u00fcr\u00fc\u00add\u00fcm. Chile ve Yacuari’nin kesi\u015fti\u011fi k\u00f6\u015fede a\u00e7\u0131k bir d\u00fckk\u00e2n g\u00f6rd\u00fcm. Ve bu d\u00fckk\u00e2nda, \u015fans\u0131ma k\u00fcseyim, \u00fc\u00e7 adam k\u00e2\u011f\u0131t oynuyordu.<\/p>\n
‘Oxymoron’ diye adland\u0131r\u0131lan benzetme t\u00fcr\u00fcnde bir s\u00f6zc\u00fck, \u00f6n\u00fcne onun kar\u015f\u0131t\u0131 gibi g\u00f6r\u00fcnen bir s\u0131fat konularak nitelendirilir; bu ilke uyar\u0131nca Agnostik\u00adler kara \u0131\u015f\u0131ktan, simyac\u0131lar da kara g\u00fcne\u015ften s\u00f6zetmi\u015flerdir. Clementina Villar’a yapt\u0131\u011f\u0131m son ziyaret\u00adten \u00e7\u0131k\u0131p do\u011fruca bir barda i\u00e7ki i\u00e7meye gitmek be\u00adnim i\u00e7in bir \u00e7e\u015fit ‘oxymoron’ olmu\u015ftu; akl\u0131m\u0131 \u00e7elen, bu yapt\u0131\u011f\u0131m\u0131n kabal\u0131\u011f\u0131, kolayl\u0131\u011f\u0131yd\u0131. \u0130\u00e7erde s\u00fcrmek\u00adte olan, bir k\u00e2\u011f\u0131t oyunu oldu\u011fu i\u00e7in aradaki kar\u015f\u0131tl\u0131k daha da art\u0131yordu.) Bir bardak konyak istedim.<\/p>\n
Ba\u00adna bozukluklarla birlikte Z\u00e2hir’i de verdiler. Paraya bir an bakt\u0131m ve belki de bir humma ba\u015flang\u0131c\u0131 i\u00e7in\u00adde soka\u011fa \u00e7\u0131kt\u0131m. D\u00fcnyadaki her madeni paran\u0131n tarihte ve masallarda p\u0131r\u0131l p\u0131r\u0131l parlay\u0131p duran o \u00fcnl\u00fc paralar\u0131 simgeledi\u011fini ge\u00e7irdim akl\u0131mdan. Kharon’a verilen g\u00fcm\u00fc\u015f sikkeyi d\u00fc\u015f\u00fcnd\u00fcm; Belizarius’un dilendi\u011fi g\u00fcm\u00fc\u015f sikkeyi; Yahuda’ya verilen otuz par\u00e7a g\u00fcm\u00fc\u015f\u00fc; \u00fcnl\u00fc fahi\u015fe Lais’in drahmilerini; Yedi Uyu\u00adyanlar’dan birinin uzatt\u0131\u011f\u0131 antik sikkeyi; Binbir Gece Masallar\u0131ndaki b\u00fcy\u00fcc\u00fcn\u00fcn sonradan k\u00e2\u011f\u0131t par\u00e7ala\u00adr\u0131 oldu\u011fu anla\u015f\u0131lan p\u0131r\u0131l p\u0131r\u0131l paralar\u0131n\u0131; Isaac Laque\u00addem’in harcamakla bitmeyen pennysini; bir destan\u0131n her bir dizesi i\u00e7in \u00f6denen ve Firdevs\u00ee’nin alt\u0131n olmad\u0131k\u00adlar\u0131 i\u00e7in padi\u015faha geri yollad\u0131\u011f\u0131 altm\u0131\u015f bin par\u00e7a g\u00fc\u00adm\u00fc\u015f\u00fc; Ahab’\u0131n gemi dire\u011fine \u00e7iviledi\u011fi alt\u0131n \u0130span\u00adyol paras\u0131n\u0131; Leopold Bloom’un bozdurulamayan flo\u00adrinini; \u00fcst\u00fcndeki resim, ka\u00e7makta olan XVI. Louis’yi Varennes yak\u0131nlar\u0131nda eleveren Lui’yi. Sanki bir r\u00fc\u00adyadayd\u0131m, her bir madeni paran\u0131n b\u00f6ylesine g\u00f6steri\u015f\u00adli \u00e7a\u011fr\u0131\u015f\u0131mlarla y\u00fckl\u00fc olmas\u0131 bana b\u00fcy\u00fck, ama a\u00e7\u0131k\u00adlanmas\u0131 imk\u00e2ns\u0131z bir \u00f6nem ta\u015f\u0131yormu\u015f gibi geldi. Bo\u015f alanlarla bo\u015f sokaklar boyunca, giderek daha h\u0131zl\u0131 y\u00fcr\u00fcmeye ba\u015flad\u0131m. Sonunda, b\u0131kk\u0131nl\u0131k beni bir k\u00f6\u00ad\u015feye f\u0131rlatt\u0131 att\u0131. Hep ayn\u0131 yerde sab\u0131rla bekleyen de\u00admir parmakl\u0131klar\u0131 ve bunlar\u0131n gerisinde Consepcion’ un karal\u0131 beyazl\u0131 parke ta\u015flar\u0131n\u0131 g\u00f6rd\u00fcm. Bir \u00e7ember \u00e7izmi\u015f ve bana Z\u00e2hir’i verdikleri d\u00fckk\u00e2n\u0131n bulundu\u00ad\u011fu yerden bir ev \u00f6tesine varm\u0131\u015ft\u0131m.<\/p>\n
Geri d\u00f6nd\u00fcm. Karanl\u0131k pencere bana uzaktan d\u00fckk\u00e2n\u0131n kapal\u0131 oldu\u011funu g\u00f6steriyordu. Belgrano So\u00adka\u011f\u0131’nda bir taksiye bindim. Uykusuz, b\u00fcy\u00fclennmi\u015f gibi, neredeyse mutlulukla, cisimsel varl\u0131\u011f\u0131 paradan daha az olan bir \u015fey bulunmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm, \u00e7\u00fcn\u00adk\u00fc, asl\u0131na bak\u0131l\u0131rsa, her bir madeni para, (diyelim yirmi centavo de\u011ferinde bir para) i\u00e7inde gelecek za\u00admanlar\u0131 bar\u0131nd\u0131r\u0131yordu. Para soyuttur, diye tekrarla\u00add\u0131m; para gelecek zaman kipidir. Banliy\u00f6de bir gece ya da Brahms’\u0131n besteledi\u011fi m\u00fczik olabilir; haritalar, satran\u00e7 ya da kahve olabilir; bize alt\u0131n\u0131 hor g\u00f6rmeyi \u00f6\u011freten Epiktetos’un s\u00f6zleri olabilir; Pharos adas\u0131nda\u00adki Proteus’dan \u00e7ok daha de\u011fi\u015fkendir o.<\/p>\n
\u00d6nceden kes\u00adtirilemeyecek zamand\u0131r, Bergson’cu zamand\u0131r, M\u00fcs\u00adl\u00fcmanl\u0131\u011f\u0131n ya da Stoac\u0131lar\u0131n de\u011fi\u015fmez zaman\u0131 de\u011fil\u00addir. Gerekirciler d\u00fcnyada, ancak bir eylemin, yani ger\u00e7ekle\u015fip ger\u00e7ekle\u015fmeyece\u011fi belli olmayan tek bir eylemin varoldu\u011fu d\u00fc\u015f\u00fcncesine kar\u015f\u0131 \u00e7\u0131karlar; made\u00adn\u00ee paralar insan\u0131n \u00f6zg\u00fcr iradesinin simgesidir. (Bu ‘d\u00fc\u015f\u00fcncelerin’, Z\u00e2hir’e taban tabana z\u0131t bir ak\u0131l oyu\u00adnu ve iblis\u00e7e etkisinin ba\u015flang\u0131c\u0131 oldu\u011fu akl\u0131ma gel\u00admedi.) Epey kafa yorduktan sonra uyuyup kald\u0131m, ama, d\u00fc\u015f\u00fcmde kendimi yar\u0131 aslan yar\u0131 kartal bir ya\u00adrat\u0131\u011f\u0131n bek\u00e7ili\u011fini etti\u011fi madeni paralar olarak g\u00f6r\u00add\u00fcm.<\/p>\n
Ertesi g\u00fcn sarho\u015f oldu\u011fuma karar verdim. Ayn\u0131 zamanda ba\u015f\u0131m\u0131 bu kadar a\u011fr\u0131tan paradan kurtulma\u00ady\u0131 da akl\u0131ma koydum. Paraya bakt\u0131m; \u00fcst\u00fcndeki bir\u00adka\u00e7 \u00e7izikten ba\u015fka dikkati \u00e7ekecek bir yan\u0131 yoktu. En iyisi onu bah\u00e7eye g\u00f6mmek ya da k\u00fct\u00fcphanenin bir k\u00f6\u015fesine gizlemekti, ama kendimi onun \u00e7ekim alan\u0131n\u00addan kurtarmak istiyordum. Sonunda kaybetmeyi ye\u011f tuttum. O sabah Pilar’a ya da mezarl\u0131\u011fa gitmedim; metroyla Constitucion’a, oradan da San Juan’la Boe\u00addo’nun kesi\u015fti\u011fi k\u00f6\u015feye gittim. \u0130\u00e7imden gelen bir d\u00fcr\u00adt\u00fcye uyarak Urquiza’da indim, \u00f6nce Bat\u0131, sonra G\u00fc\u00adney y\u00f6n\u00fcnden y\u00fcr\u00fcd\u00fcm. Ama\u00e7l\u0131 bir ba\u015f\u0131bo\u015fluk i\u00e7in\u00adde birtak\u0131m k\u00f6\u015feleri d\u00f6nd\u00fcm ve g\u00f6z\u00fcme b\u00fct\u00fcn \u00f6te\u00adkiler gibi g\u00f6r\u00fcnen bir sokakta sefil k\u00fc\u00e7\u00fck bir tavernaya girdim, bir i\u00e7ki istedim, kar\u015f\u0131l\u0131\u011f\u0131n\u0131 da Z\u00e2hir’le \u00f6dedim. Kara g\u00f6zl\u00fcklerimin ard\u0131nda g\u00f6zlerimi iyice k\u0131sarak evlerin numaralar\u0131n\u0131 ya da soka\u011f\u0131n ad\u0131n\u0131 g\u00f6r\u00admemeyi ba\u015fard\u0131m. O gece bir veronal alarak deliksiz bir uyku \u00e7ektim.<\/p>\n
Haziran sonuna kadar hayal \u00fcr\u00fcn\u00fc bir hik\u00e2ye yazmakla u\u011fra\u015ft\u0131m.” Hik\u00e2yede bir iki tane gizemli do\u00adlayl\u0131 benzetme (ya da ‘kenning’) vard\u0131; \u00f6rne\u011fin, kan yerine k\u0131l\u0131\u00e7-suyu deniyor, alt\u0131n’\u0131n yerini y\u0131lan-yata\u011f\u0131 al\u0131yordu; hik\u00e2ye birinci tekil ki\u015fi a\u011fz\u0131ndan anlat\u0131l\u0131\u00adyordu. Anlat\u0131c\u0131, insan toplumundan ka\u00e7\u0131p vah\u015fi do\u011fa\u00adn\u0131n ortas\u0131nda ya\u015famaya \u00e7ekilen bir dervi\u015ftir. (Yerin ad\u0131 Gnitaheidr’dir) Ya\u015fam\u0131n\u0131n sadeli\u011fi ve d\u00fcr\u00fcstl\u00fc\u011f\u00fc nedeniyle onun bir melek oldu\u011funa inananlar var\u00add\u0131r; ancak bu, sofuca bir abartmad\u0131r, \u00e7\u00fcnk\u00fc g\u00fcnah\u00adtan ar\u0131nm\u0131\u015f insan yoktur. Asl\u0131n\u0131 ararsan\u0131z o da, b\u00fc\u00ady\u00fc arac\u0131l\u0131\u011f\u0131yla s\u0131n\u0131rs\u0131z bir serveti eline ge\u00e7iren k\u00f6t\u00fc \u00fcnl\u00fc b\u00fcy\u00fcc\u00fc babas\u0131n\u0131n bo\u011faz\u0131n\u0131 kesmi\u015ftir.<\/p>\n
Bizim der\u00advi\u015fin u\u011fruna ya\u015fam\u0131n\u0131 adad\u0131\u011f\u0131 ama\u00e7, bu hazineyi in\u00adsano\u011fullar\u0131n\u0131n \u00e7\u0131lg\u0131nca a\u00e7g\u00f6zl\u00fcl\u00fc\u011f\u00fcnden korumakt\u0131r; gece g\u00fcnd\u00fcz gizli hazinenin ba\u015f\u0131nda n\u00f6bet bekler. Ya\u00adk\u0131nda, belki de \u00e7ok yak\u0131nda s\u00f6zc\u00fcl\u00fc\u011f\u00fc son bulacakt\u0131r; y\u0131ld\u0131zlar ona bu bekleyi\u015f i sona erdirecek k\u0131l\u0131c\u0131n tav\u0131nda d\u00f6v\u00fcld\u00fc\u011f\u00fcn\u00fc bildirmi\u015flerdir. (Bu k\u0131l\u0131c\u0131n ad\u0131 Gram’d\u0131r.) Dervi\u015f giderek karma\u015f\u0131kla\u015fan bir retorik \u00fcslubu i\u00e7inde bedeninin g\u00f6zal\u0131c\u0131l\u0131\u011f\u0131yla devingenli\u011finden s\u00f6zeder; bir paragrafta dalg\u0131nl\u0131kla ‘pullar\u0131ndan’ dem vu\u00adrur; ba\u015fka bir paragrafta bek\u00e7ili\u011fini etti\u011fi hazinenin \u00e7ak\u0131p s\u00f6nen alt\u0131nlarla k\u0131rm\u0131z\u0131 halkalardan olu\u015ftu\u011fu\u00adnu s\u00f6yler. Sonunda dervi\u015fin, y\u0131lan Fafnir, \u00fczerine \u00e7\u00f6reklendi\u011fi hazineninse, Nibelunglar\u0131n hazinesi ol\u00addu\u011funu anlar\u0131z. Sigurd’un ortaya \u00e7\u0131kmas\u0131yla hik\u00e2ye birdenbire son bulur.<\/p>\n
Bu ufak el al\u0131\u015ft\u0131rmas\u0131n\u0131n (i\u00e7ine, bilgi\u00e7lik tasla\u00admak \u00fczere Fafnismal’dan al\u0131nma bir iki dize de katm\u0131\u015ft\u0131m) bana paray\u0131 unutma f\u0131rsat\u0131 sa\u011flad\u0131\u011f\u0131n\u0131 s\u00f6y\u00adlemi\u015ftim. Paray\u0131 unutmay\u0131 ba\u015fard\u0131\u011f\u0131mdan \u00f6ylesine emin oldu\u011fum geceler oldu ki, paray\u0131 mahsustan ak\u00adl\u0131ma getirdim. \u015euras\u0131 kesin ki, bunda da a\u015f\u0131r\u0131ya ka\u00e7\u00adt\u0131m; bu i\u015fi ba\u015flatmak, bitirmekten daha kolayd\u0131. Ken\u00addi kendime bu tiksin\u00e7 nikel paran\u0131n elden ele dola\u015fan, birbirinin e\u015fi, say\u0131s\u0131z, zarars\u0131z benzerlerinden farkl\u0131 olmad\u0131\u011f\u0131n\u0131 bo\u015funa s\u00f6yledim.<\/p>\n
Bu d\u00fc\u015f\u00fcncenin \u00e7e\u00adkicili\u011fine kap\u0131larak akl\u0131ma ba\u015fka maden\u00ee paralar\u0131 ge\u00adtirmeye \u00e7al\u0131\u015ft\u0131m; ama yapamad\u0131m. (Be\u015f ve on cen\u00adtavoluk \u015eili paralar\u0131 ve bir Uruguay vinteniyle giri\u015f\u00adti\u011fim, ba\u015far\u0131s\u0131zl\u0131kla sonu\u00e7lanan bir deneyi hat\u0131rl\u0131yo\u00adrum. Temmuzun onalt\u0131s\u0131nda elime bir \u0130ngiliz sterli\u00adni ge\u00e7ti. G\u00fcn boyu paraya bakmad\u0131m, ama o gece (ve \u00f6teki geceler) b\u00fcy\u00fctecin alt\u0131na koydum ve g\u00fc\u00e7l\u00fc bir ampul\u00fcn \u0131\u015f\u0131\u011f\u0131nda inceledim. Sonra kur\u015funkalemle k\u00e2\u00ad\u011f\u0131d\u0131n \u00fczerine izini \u00e7\u0131kard\u0131m. Ama ne paran\u0131n \u0131\u015f\u0131lt\u0131s\u0131 ne de ejdarhayla Aziz George bana yard\u0131mc\u0131 olmad\u0131\u00adlar; saplant\u0131lar\u0131m\u0131 de\u011fi\u015ftirmek elimden gelmiyordu.<\/p>\n
A\u011fustosta bir psikiyatra dan\u0131\u015fmaya karar ver\u00addim. Sa\u00e7ma hik\u00e2yemin t\u00fcm\u00fcn\u00fc anlatmad\u0131m ona; uy\u00adkusuzluktan \u015fik\u00e2yet\u00e7i oldu\u011fumu, \u015fey imgesinin .. -s\u00f6z\u00adgelimi bir poker fi\u015fi ya da m\u00e2deni para- bir t\u00fcrl\u00fc akl\u0131mdan \u00e7\u0131kmad\u0131\u011f\u0131n\u0131 s\u00f6yledim. Bir s\u00fcre sonra, Sar\u00admiento Soka\u011f\u0131’ndaki bir kitap\u00e7\u0131da Julio Barlach’\u0131n, Urkunden zur Geschichte der Z\u00e2hirsage \/ Z\u00e2hir Efsa\u00adnesinin Tarih\u00e7esine \u0130li\u015fkin Belgeler (Breslau, 1899) adl\u0131 kitab\u0131n\u0131n bir bas\u0131m\u0131 elime ge\u00e7ti.<\/p>\n
Ba\u015f\u0131mdaki bel\u00e2 bu kitapta b\u00fct\u00fcn\u00fcyle a\u00e7\u0131kl\u0131\u011fa ka\u00advu\u015fturuluyordu. \u00d6ns\u00f6ze bak\u0131l\u0131rsa, yazar \u00abHabicht koleksiyonundan al\u0131nm\u0131\u015f d\u00f6rt belgeyi, Philip Meadows, Taylor’\u0131n bu konudaki incelemesinin \u00f6zg\u00fcn elyazma\u00ads\u0131 da aralar\u0131nda olmak \u00fczere Z\u00e2hir inan\u0131\u015f\u0131yla ilgili b\u00fc\u00adt\u00fcn belgeleri her zaman el alt\u0131nda bulunacak bir cep, kitab\u0131 boyutlar\u0131nda bir araya getirmeyi\u00bb ama\u00e7lam\u0131\u015f\u00adt\u0131. Z\u00e2hir’e duyulan inan\u00e7 \u0130slam k\u00f6kenliydi ve 18. y\u00fcz\u00ady\u0131lda ba\u015flad\u0131\u011f\u0131 anla\u015f\u0131l\u0131yordu. (Barlach, Zotenberg’in, Ebu’l-Fid\u00e2ya atfetti\u011fi b\u00f6l\u00fcmleri reddediyor ‘Z\u00e2hir’ Arap\u00e7a’da \u00abad\u0131 belli\u00bb, \u00abg\u00f6zle g\u00f6r\u00fcl\u00fcr\u00bb anlam\u0131na ge\u00adliyordu; bu anlam\u0131yla Allah’\u0131n doksan dokuz ad\u0131ndan da biriydi ve halk (M\u00fcsl\u00fcman b\u00f6lgelerde ya\u015fayanlar) bu s\u00f6zc\u00fc\u011f\u00fc \u00abunutulmaz olma denilen o korkun\u00e7 \u00f6zel\u00adli\u011fe sahip olan ve imgesi insan\u0131 sonunda delirten var\u00adl\u0131k ya da nesneleri\u00bb tan\u0131mlamak i\u00e7in kullan\u0131yordu. Bu konudaki ilk kesin tan\u0131kl\u0131k, \u0130ranl\u0131 L\u00fctf – Ali Azur’ undu. Ate\u015f Tap\u0131na\u011f\u0131 adl\u0131 ya\u015fam\u00f6yk\u00fcsel ansiklopedi\u00adnin (\u2026) numaral\u0131 sayfalar\u0131nda bu \u00e7ok y\u00f6nl\u00fc yazar\u00ad-dervi\u015f, \u015eiraz’daki bir okulda \u00abbir bakan\u0131n bir daha akl\u0131ndan \u00e7\u0131karamayaca\u011f\u0131 bi\u00e7imde yap\u0131lm\u0131\u015f\u00bb bak\u0131r bir usturlap bulundu\u011funu yazar; \u00ab\u00f6yle ki, padi\u015fah, insan\u00adlar evreni unutmas\u0131nlar diye bunun denizin en de\u00adrin noktas\u0131na at\u0131lmas\u0131n\u0131\u00bb buyurmu\u015f. Meadows Tay\u00adlor’\u0131n incelemesi daha ayr\u0131nt\u0131l\u0131. (Haydarabad Niza\u00adm\u00ee’nin hizmetinde olan Taylor, Bir Kabaday\u0131n\u0131n \u0130ti\u00adraflar\u0131 adl\u0131 \u00fcnl\u00fc roman\u0131n da yazar\u0131d\u0131r.) 1832 s\u0131rala\u00adr\u0131nda B\u00fcy kentinin d\u0131\u015f mahallelerinde delilik ya da azizlik anlatmak \u00fczere kullan\u0131lan, pek duyulmam\u0131\u015f bir deyim \u00e7al\u0131nm\u0131\u015f Taylor’un kula\u011f\u0131na; \u00abkaplan g\u00f6r\u00adm\u00fc\u015f gibi\u00bb …<\/p>\n
Taylor’a s\u00f6z\u00fc edilen kaplan\u0131n, \u00f6mr\u00fcn\u00fcn sonuna kadar akl\u0131ndan \u00e7\u0131karamayaca\u011f\u0131 i\u00e7in, g\u00f6renin -bir defa da olsa- y\u0131k\u0131m\u0131na neden olan b\u00fcy\u00fcl\u00fc bir kaplan oldu\u011funu s\u00f6ylemi\u015fler. Biri bu bahts\u0131zlardan birinin Maysur’a kadar ka\u00e7t\u0131\u011f\u0131n\u0131, orada kaplan\u0131n res\u00admini bir saray\u0131n duvarlar\u0131na \u00e7izdi\u011fini s\u00f6ylemi\u015f. Y\u0131llar sonra Taylor, krall\u0131\u011f\u0131n hapishanelerinin duvarlar\u0131\u00adn\u0131 g\u00f6zden ge\u00e7iriyormu\u015f; Nittur’daki bir hapishanede vali, ona, duvarlar\u0131, tavan\u0131 ve taban\u0131 bir M\u00fcsl\u00fcman dervi\u015fi taraf\u0131ndan zaman\u0131n silmeden \u00f6nce yumu\u015fat\u00adt\u0131\u011f\u0131 vah\u015fi renklerde boyanm\u0131\u015f bir \u00e7e\u015fit \u00abu\u00e7suz bu\u00adcaks\u0131z kaplan\u00bb resmiyle kapl\u0131 bir h\u00fccre g\u00f6stermi\u015f. Bu kaplan, bakan\u0131n ba\u015f\u0131n\u0131 d\u00f6nd\u00fcrecek kadar \u00e7ok sa\u00ady\u0131da kaplandan olu\u015fuyormu\u015f; yol yol da kaplanlarla, nokta nokta kaplanlarla doluymu\u015f, denizleri, Himala\u00adyalar\u0131, bakt\u0131k\u00e7a i\u00e7inde daha \u00e7ok kaplanlar oldu\u011fu g\u00f6r\u00fclen ordular\u0131 varm\u0131\u015f. Ressam, y\u0131llar \u00f6nce ayn\u0131 h\u00fcc\u00adrede \u00f6lm\u00fc\u015fm\u00fc\u015f; Sind’den, belki de G\u00fczerat’tan geli\u00adyormu\u015f ve as\u0131l amac\u0131 bir d\u00fcnya haritas\u0131 \u00e7izmekmi\u015f. Hatta, bu \u00fcrk\u00fcn\u00e7 resimde bir haritan\u0131n izlerini g\u00f6r\u00admek de m\u00fcmk\u00fcnm\u00fc\u015f …<\/p>\n
Taylor, hik\u00e2yeyi Fort William\u00adl\u0131 Muhammed EI-Yemeni’ye anlatm\u0131\u015f; Muhammed ona bu d\u00fcnyada varolan her \u015feyin Zaher* bi\u00e7imine gi\u00adrebilece\u011fini, ama Her \u015eeye Kadir Olan’\u0131n, bir tanesi y\u0131\u011f\u0131nlar\u0131n akl\u0131n\u0131 ba\u015f\u0131ndan almaya yetti\u011fi i\u00e7in, ayn\u0131 anda iki \u015feyin bu bi\u00e7ime girmesine izin vermedi\u011fini anlatm\u0131\u015f. Ona d\u00fcnyada her zaman bir Z\u00e2hir bulun\u00addu\u011funu s\u00f6ylemi\u015f; ta Cahiliye Devri’nde Yauk adl\u0131 bir putmu\u015f bu; daha sonraysa y\u00fcz\u00fcnde ta\u015flarla i\u015flenmi\u015f bir pe\u00e7e ya da alt\u0131ndan bir maske** ta\u015f\u0131yan Horasanl\u0131 bir vel\u00ee, Allah’\u0131n ad\u0131n\u0131 s\u00f6kmenin m\u00fcmk\u00fcn olamaya\u00adca\u011f\u0131n\u0131 da s\u00f6ylemi\u015f.<\/p>\n
Barlach’\u0131n monografisini okudum – okudum, son\u00adra d\u00f6n\u00fcp yeniden okudum. Duygular\u0131m\u0131 belirtmeye gerek oldu\u011funu sanm\u0131yorum. Beni hi\u00e7bir \u015feyin kur\u00adtaramayaca\u011f\u0131n\u0131 anlad\u0131\u011f\u0131m zamanki \u00e7aresizli\u011fimi ha\u00adt\u0131rl\u0131yorum; ba\u015f\u0131mdaki bel\u00e2n\u0131n benim su\u00e7um olmad\u0131\u00ad\u011f\u0131n\u0131 bilmenin verdi\u011fi o rahatl\u0131k; Z\u00e2hir’in kendileri i\u00e7in bir maden\u00ee para de\u011fil de bir mermer par\u00e7as\u0131 ya da bir kaplan oldu\u011fu ki\u015filere duydu\u011fum k\u0131skan\u00e7l\u0131k. Bir kaplan\u0131 d\u00fc\u015f\u00fcnmemek ne kolay olurdu! A\u015fa\u011f\u0131daki b\u00f6l\u00fcm\u00fc nas\u0131l garip bir gerginlik i\u00e7inde okudu\u011fumu da hat\u0131rl\u0131yorum: G\u00fcl\u015fen-i Raz’\u0131n yorumcular\u0131ndan bi\u00adri, Z\u00e2hir’i g\u00f6renin \u00e7ok ge\u00e7meden G\u00fcl’\u00fc de g\u00f6rece\u011fini s\u00f6yler; bunu s\u00f6yleyerek arkas\u0131ndan Attar’\u0131n Esrarn\u00e2me’sinde ge\u00e7en bir dizeyi aktar\u0131r: ‘Z\u00e2hir, G\u00fcl’\u00fcn g\u00f6l\u00adgesi ve Perde’nin A\u00e7\u0131lmas\u0131’d\u0131r.”<\/p>\n
O gece Clementina’n\u0131n evinde k\u00fc\u00e7\u00fck k\u0131zkarde\u015fi Bayan Abascal’\u0131 g\u00f6remeyince \u015fa\u015f\u0131rm\u0131\u015ft\u0131m. Ekimde arkada\u015flar\u0131ndan biri, olup bitenleri anlatt\u0131: “Zavall\u0131 Julie! \u00d6ylesine garip davran\u0131r olmu\u015f ki, onu Bosch’a kapatmak zorunda kalm\u0131\u015flar. Ona ka\u015f\u0131kla yemek ye\u00addirmek durumunda olan hastabak\u0131c\u0131lar\u0131n \u00f6l\u00fcm\u00fcne neden olacak! . Biliyor musunuz, t\u0131pk\u0131 Morena Sack\u00admann’\u0131n \u015fof\u00f6r\u00fc gibi bir maden\u00ee paran\u0131n s\u00f6z\u00fcn\u00fc edip duruyormu\u015f.”<\/p>\n
Genellikle an\u0131lar\u0131 hafifleten zaman, Z\u00e2hir’ e ili\u015f\u00adkin an\u0131lar\u0131 \u00e7o\u011faltmaktan ba\u015fka i\u015fe yaram\u0131yor. \u00d6nce \u00f6n y\u00fcz\u00fcn\u00fc sonra da arka y\u00fcz\u00fcn\u00fc g\u00f6z\u00fcm\u00fcn \u00f6n\u00fcne ge\u00adtirebildi\u011fim zamanlar olmu\u015ftu. \u015eimdi her iki y\u00fcz\u00fcn\u00fc de ayn\u0131 anda g\u00f6rebiliyorum. Yok, Z\u00e2hir kristalden yap\u0131lm\u0131\u015f gibi de\u011fil; \u00e7\u00fcnk\u00fc her iki y\u00fcz birbirinin \u00fcze\u00adrine yans\u0131m\u0131\u015f gibi g\u00f6r\u00fcnm\u00fcyor; daha \u00e7ok, sanki ba\u00adk\u0131\u015flar\u0131m k\u00fcreselmi\u015f de, Z\u00e2hir de tam merkezdeymi\u015f gibi oluyor. Z\u00e2hir olmayan her \u015fey bana sanki \u00e7ok uzaklardan geliyormu\u015f gibi b\u00f6l\u00fck p\u00f6r\u00e7\u00fck ula\u015f\u0131yor; Clementina’n\u0131n kibirli g\u00f6r\u00fcnt\u00fcs\u00fc; fiziksel ac\u0131. Tenny\u00adson bir zamanlar tek bir \u00e7i\u00e7e\u011fi anlayabilsek kendi\u00admizin ve d\u00fcnyan\u0131n ne oldu\u011funu bilebilece\u011fimizi s\u00f6y\u00adlemi\u015fti. Bununla, ne kadar \u00f6nemsiz olursa olsun, ev\u00adrenin tarihini ve o sonsuz neden-sonu\u00e7 zincirini il\u00adgilendirmeyen bir olgu bulunmayaca\u011f\u0131n\u0131 s\u00f6ylemek is\u00adtemi\u015f olmal\u0131. Belki de \u0130rade’nin her bir bireyde \u00f6r\u00adt\u00fck bi\u00e7imde varoldu\u011funu s\u00f6yleyen Schopenhauer gi\u00adbi, o da g\u00f6zle g\u00f6rd\u00fc\u011f\u00fcm\u00fcz d\u00fcnyan\u0131n her g\u00f6r\u00fcng\u00fcde \u00f6rt\u00fck bi\u00e7imde varoldu\u011funu s\u00f6ylemek istemi\u015ftir. Ka\u00adbala’c\u0131lar insan\u0131n bir k\u00fc\u00e7\u00fck acun, evrenin simgesel bir aynas\u0131 oldu\u011funu s\u00f6ylerler; Tennyson’a g\u00f6re, her \u015fey b\u00f6yle olabilir. Her \u015fey, hatta katlan\u0131lmas\u0131 m\u00fcm\u00adk\u00fcn olmayan Z\u00e2hir bile.<\/p>\n
Julia’n\u0131n ba\u015f\u0131na gelenler daha 1948’e girmeden benim de ba\u015f\u0131ma gelecek. Beni de yedirip giydirmek zorunda kalacaklar, \u00f6\u011fleden sonra m\u0131 sabah m\u0131 ol\u00addu\u011funu bilemeyece\u011fim. Bu yazg\u0131ya korkun\u00e7 demek, bir s\u00f6zc\u00fck oyunu olmaktan ileriye gitmeyecek, \u00e7\u00fcnk\u00fc ko\u015fullar\u0131ndan hi\u00e7birine ger\u00e7ekten tan\u0131k olmayaca\u011f\u0131m. Ona bak\u0131l\u0131rsa kafatas\u0131n\u0131 a\u00e7t\u0131klar\u0131nda, bay\u0131lt\u0131lm\u0131\u015f bir adam\u0131n da korkun\u00e7 ac\u0131 duydu\u011fu s\u00f6ylenebilir. Art\u0131k evreni alg\u0131lamayaca\u011f\u0131m; Z\u00e2hir’i alg\u0131layaca\u011f\u0131m. \u0130de\u00adalist \u00f6\u011fretiye g\u00f6re ‘ya\u015famak’ ve ‘d\u00fc\u015f g\u00f6rmek’ s\u00f6zc\u00fck\u00adleri aras\u0131nda kesin bir e\u015f anlaml\u0131l\u0131k bulunmaktad\u0131r. Binlerce imgeden bir tekine ge\u00e7ece\u011fim; son derece karma\u015f\u0131k bir d\u00fc\u015ften son derece basit bir d\u00fc\u015fe ge\u00e7e\u00adce\u011fim. \u00d6tekiler benim delirdi\u011fimi d\u00fc\u015fleyecek; ben Z\u00e2hir’in d\u00fc\u015f\u00fcn\u00fc g\u00f6rece\u011fim. D\u00fcnya y\u00fcz\u00fcndeki b\u00fct\u00fcn insanlar, gece g\u00fcnd\u00fcz, Z\u00e2hir’in d\u00fc\u015f\u00fcn\u00fc g\u00f6r\u00fcrken han\u00adgisi d\u00fc\u015f, hangisi ger\u00e7ek olacak – yery\u00fcz\u00fc m\u00fc yoksa Z\u00e2hir mi?<\/p>\n
Gecenin \u0131ss\u0131z saatlerinde sokak sokak y\u00fcr\u00fcyebi\u00adliyorum hen\u00fcz. \u015eafak beni bir sabah Garay Park\u0131’n\u00addaki bir s\u0131ran\u0131n \u00fczerinde, Esrarn\u00e2me’de Z\u00e2hir’in G\u00fcl’ \u00fcn G\u00f6lgesi ve Perde’nin A\u00e7\u0131lmas\u0131 oldu\u011funu s\u00f6yleyen b\u00f6l\u00fcm\u00fc d\u00fc\u015f\u00fcn\u00fcrken (d\u00fc\u015f\u00fcnmeye \u00e7al\u0131\u015f\u0131rken) bast\u0131ra\u00adbilir. Bu s\u00f6zleri \u015fu bilgimle ba\u011fda\u015ft\u0131r\u0131yorum: S\u00fbf\u00eeler Tanr\u0131’da yitip gitmek i\u00e7in kendi adlar\u0131n\u0131 ya da Tanr\u0131’n\u0131n doksan dokuz ad\u0131n\u0131, anlams\u0131zla\u015f\u0131ncaya ka\u00addar tekrarlar. Bu yoldan’ gitmek istiyorum. Belki de ancak tekrar tekrar akl\u0131ma getirmek yoluyla Z\u00e2hir’i t\u00fcketip bitirece\u011fim sonunda. Belki de o paran\u0131n gerisinde Tanr\u0131’y\u0131 bulaca\u011f\u0131m.<\/p>\n
* Taylor’\u0131n imlas\u0131.<\/p>\n
** Barlach, Kur’an’da Yauk’tan s\u00f6zedildi\u011fini, vel\u00eeninse El Mukanna (Pe\u00e7eli) oldu\u011funu ve Philip Meadows Taylor’\u0131n \u015fa\u015f\u0131rt\u0131c\u0131 tan\u0131\u011f\u0131 d\u0131\u015f\u0131nda hi\u00e7 kimsenin de bu ikisini Z\u00e2hir’ le \u00f6zde\u015fle\u015ftirmedi\u011fini s\u00f6yl\u00fcyor.<\/p>\n
Yollar\u0131 \u00c7atallanan Bah\u00e7e \/ Jorge Luis Borges<\/p>\n
Can Yay\u0131nlar\u0131 \/ \u00c7ev: Fatih \u00d6zg\u00fcven<\/p>\n","protected":false},"excerpt":{"rendered":"
Wally Zenner’e Z\u00e2hir, Buenos Aires’te yirmi centavo de\u011ferinde \u00e7ok rastlanan bir parad\u0131r. Bir y\u00fcz\u00fcnde N T harfleri ve 2 say\u0131s\u0131 jiletle ya da \u00e7ak\u0131yla kaz\u0131nm\u0131\u015f gibidir; \u00f6b\u00fcr y\u00fcz\u00fcndeki tarihse 1929’dur. (G\u00fczerat’ta, 18. y\u00fczy\u0131l\u0131n sonuna do\u011fru, Z\u00e2hir bir kapland\u0131; Cava’da, \u0130nanan\u00adlar\u0131n ta\u015flad\u0131\u011f\u0131, Surakarta Camii’nden gelme k\u00f6r bir adamd\u0131; \u0130ran’da, Nadir \u015eah’\u0131n denizin dibine att\u0131rd\u0131\u00ad\u011f\u0131, y\u0131ld\u0131zlar\u0131n y\u00fcksekli\u011fini […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[115],"tags":[],"class_list":{"0":"post-4231","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-ceviri-oykuler"},"yoast_head":"\n