{"id":4301,"date":"2010-03-01T17:05:57","date_gmt":"2010-03-01T14:05:57","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/03\/01\/kavganin-direnmenin-solugu-ruzgar-olanlarin-icinde-varolan-bir-sair-kavga-sairi-adnan-yucel\/"},"modified":"2010-03-01T17:05:57","modified_gmt":"2010-03-01T14:05:57","slug":"kavganin-direnmenin-solugu-ruzgar-olanlarin-icinde-varolan-bir-sair-kavga-sairi-adnan-yucel","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/03\/01\/kavganin-direnmenin-solugu-ruzgar-olanlarin-icinde-varolan-bir-sair-kavga-sairi-adnan-yucel\/","title":{"rendered":"Kavgan\u0131n, direnmenin, solu\u011fu r\u00fczgar olanlar\u0131n i\u00e7inde varolan bir \u015fair, kavga \u015fairi | Adnan Y\u00fccel"},"content":{"rendered":"

<\/span><\/span><\/p>\n

Saraylar saltanatlar \u00e7\u00f6ker
kan susar birg\u00fcn
zul\u00fcm biter.
menek\u015felerde a\u00e7\u0131l\u0131r \u00fcst\u00fcm\u00fczde
leylaklarda g\u00fcler.
bug\u00fcnlerden geriye,
bir yar\u0131na gidenler kal\u0131r
bir de yar\u0131nlar i\u00e7in direnenler… <\/em><\/p>\n

Adnan Y\u00fccel<\/strong><\/p>\n

Fa\u015fist 12 Eyl\u00fcl cuntas\u0131n\u0131n vah\u015fetine kar\u015f\u0131 direnen kom\u00fcnistlerin solu\u011funda, yapra\u011f\u0131n k\u0131m\u0131ldamad\u0131\u011f\u0131 tasfiyeci havalarda bu sessizli\u011fe bir \u00e7\u0131\u011fl\u0131k gerek diyerek kondular\u0131n kap\u0131lar\u0131na yaprak yaprak d\u00fc\u015fen umutta, fabrika kap\u0131lar\u0131ndaki direni\u015flerde, i\u015fkencecilerin te\u015fhir masalar\u0131n\u0131 tekmeleyen \u00c7ukurova’n\u0131n yi\u011fit delikanl\u0131lar\u0131n\u0131n i\u00e7erisinde varolan bir \u015fair, Adnan Y\u00fccel; eme\u011fin ve kavgan\u0131n \u015fairi. <\/span>
\u201cSevdim solu\u011funu r\u00fczgar k\u0131lan insanlar\u0131\/Solu\u011fumu soluklar\u0131na katt\u0131m\u201c<\/em> diyen Adnan Y\u00fccel, hayata g\u00f6zlerini yumdu\u011fu 2002’in 24 Temmuz’undan birka\u00e7 g\u00fcn \u00f6nce, hasta yata\u011f\u0131nda “1 May\u0131s nas\u0131l ge\u00e7ti, s\u0131n\u0131f \u00e7al\u0131\u015fmam\u0131z nas\u0131l?”<\/em> diye soruyordu. O, 8 y\u0131l \u00f6nce aram\u0131zdan ayr\u0131ld\u0131. Ne ki ya\u011fmur damlalar\u0131, nar \u00e7i\u00e7ekleri, r\u00fczgar ve solu\u011fu r\u00fczgar olanlar, g\u00fcl k\u0131y\u0131mlar\u0131, yeralt\u0131 nehirleri, ate\u015f ve g\u00fcne\u015f, sonsuza ko\u015fan d\u00fc\u015fler… gibi imgeleriyle de\u011fil sadece, t\u00fcm\u00fc umut, direni\u015f ve kavga a\u015f\u0131layan yarat\u0131s\u0131yla aram\u0131zda, s\u0131ram\u0131zda, kavgam\u0131zda ya\u015f\u0131yor ve ya\u015fayacak. \u015eehitlerimiz ya\u015f\u0131yor, devrim s\u00fcr\u00fcyor…Adnan Y\u00fccel\u2019in 1970\u2032li y\u0131llar\u0131n sonlar\u0131nda ba\u015flad\u0131\u011f\u0131 yazma ser\u00fcveni, di\u011fer dergi ve gazetelerde \u00e7\u0131kan \u00fcr\u00fcnleri d\u0131\u015f\u0131nda somut olarak ilk \u015fiir kitab\u0131n\u0131n yay\u0131nlanmas\u0131yla ba\u015flar (1979). Y\u00fccel\u2019in \u015fiiri \u00f6zellikle \u201880 \u00f6ncesinde geli\u015fen devrimci s\u0131n\u0131f hareketinden ba\u011f\u0131ms\u0131z d\u00fc\u015f\u00fcn\u00fclemez. Zaten ilk \u015fiir kitab\u0131 bu d\u00f6nemi yans\u0131tan bir isimle yay\u0131nlan\u0131r: Kavgalara S\u00f6zlenen Sevda<\/p>\n

Hemen sonra 1980 fa\u015fist darbesi ger\u00e7ekle\u015fir. Bu s\u00fcre\u00e7 ilerici her kesimi vuran \u201ckoyu bir eyl\u00fcl sar\u0131s\u0131\u201d<\/em> olarak dile gelecektir daha sonraki \u015fiirlerinde. \u00d6yle ki Adnan Y\u00fccel, 12 Eyl\u00fcl d\u00f6neminde olsun, 90\u2019lar\u0131n ikinci yar\u0131s\u0131ndan itibaren ortaya \u00e7\u0131kan liberal tasfiyecilik s\u00fcreci olsun; ayd\u0131nlar\u0131n, sanat\u00e7\u0131lar\u0131n ve \u015fairlerin g\u00fcn\u00fcn havas\u0131na \u201cuyum sa\u011flad\u0131klar\u0131\u201d, sistemin ve d\u00fczenin suyuna gittikleri yerde ger\u00e7ekten ba\u015f\u0131 dik \u00fcretimini s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr.<\/p>\n

Adnan Y\u00fccel \u015fiirlerinde evrensel temalar kullanm\u0131\u015ft\u0131r ku\u015fkusuz: Kavga, direnme, umut, g\u00fcven\u2026 Romantik, k\u0131r\u0131lgan, yer yer naif bir alg\u0131 ve i\u00e7 d\u00fc\u015f\u00fcn\u00fc\u015f vard\u0131r m\u0131sralar\u0131nda. O a\u00e7\u0131dan da evrensellik, as\u0131l olarak onu derinden etkileyen s\u00fcre\u00e7lerin, i\u00e7 d\u00fcnyas\u0131nda yaratt\u0131\u011f\u0131 patlamalar\u0131n duygusal imgelemi olarak kal\u0131r. Tarihsel – toplumsal ko\u015fullar\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fc ve ak\u0131\u015f\u0131n i\u00e7indeki devinimin bu b\u00fct\u00fcnsellik i\u00e7inden alg\u0131lan\u0131p imgelere d\u00f6k\u00fcl\u00fc\u015f\u00fcnden ve evrensel olan\u0131n buradan yakalanmas\u0131ndan ziyade, daha lokal ve etkileyici bir yo\u011funluk ta\u015f\u0131yan kesitler i\u00e7inden yakalamaya ve aktarmaya \u00e7al\u0131\u015f\u0131r meram\u0131n\u0131.<\/p>\n

\u201c\u015eiir \u00e7evirisi zordur\u201d<\/em> denir. Burada esas sorun asl\u0131nda \u015fiirin ulusal alg\u0131 ve s\u00f6ylemler \u00fczerinden \u015fekillenmesidir. Vaptsarov\u2019un \u015fiirini okurken ya da Naz\u0131m\u2019\u0131n ba\u015fka dillerdeki \u00e7evirilerine bakt\u0131\u011f\u0131m\u0131zda onlar\u0131n bu s\u0131n\u0131rl\u0131l\u0131klar\u0131 a\u015ft\u0131klar\u0131n\u0131 rahatl\u0131kla s\u00f6yleyebiliyoruz. Hangi dilde okunursa okunsun ortak bir duygulan\u0131m ve co\u015fkunlu\u011fu aktarabilmeleri, yaratabilmeleri bu s\u00f6yledi\u011fimizi do\u011frular; bu da onlar\u0131n \u00e7evirisinin hi\u00e7 de \u201czor\u201d<\/em> olmad\u0131\u011f\u0131 anlam\u0131na geliyor. Anlat\u0131lan kavga da olsa a\u015fk da olsa bunlar, yerel duyu\u015f ve anlat\u0131m s\u0131n\u0131rlar\u0131na hapsolduk\u00e7a s\u00f6yleyi\u015fin evrensel bir anlat\u0131m\u0131n d\u00fczeyine ula\u015fmas\u0131 pek de m\u00fcmk\u00fcn olmaz.<\/p>\n

1982\u2019de yay\u0131nlanan Soframda Kaval Sesi adl\u0131 yap\u0131t\u0131 Y\u00fccel\u2019in kararl\u0131 \u00fcretkenli\u011finin ilk habercisi olur. Bu eserinde \u015fiirlerinin t\u00fcm\u00fcne n\u00fcfuz eden e\u015f bir s\u00f6ylem d\u00fczeyinden s\u00f6z edemiyoruz. \u015eiirlerinin neredeyse t\u00fcm\u00fc bireysel bir anlat\u0131 kurgusuna dayan\u0131r. Bu bireysellik bast\u0131r\u0131lan, soluksuz kalm\u0131\u015f bir sesi \u00e7\u0131\u011fl\u0131klama \u00e7abas\u0131d\u0131r asl\u0131nda; ama yorgundur ve biraz da k\u0131rg\u0131n! \u201cYa\u015fam\u0131n bahar\u0131\u201d<\/em> belirsiz bir gelecek d\u00fc\u015f\u00fc i\u00e7erisinde g\u00f6zden yitmi\u015ftir. Bunu bir aray\u0131\u015f n\u00fcvesi olarak de\u011ferlendirmek de m\u00fcmk\u00fcn; \u00e7\u00fcnk\u00fc bu s\u00fcreci anlama ve tarif etme kayg\u0131s\u0131n\u0131 da g\u00f6rebilmekteyiz: \u201cSelam s\u00f6yle ya\u015fam\u0131n bahar\u0131na \/ De ki korkular \u00e7\u00f6km\u00fc\u015f vadilere \/ \u015eimdi menderesler \u00e7iziyor \u0131rmaklar \/ Zaman lekeli bir utan\u00e7 sessizli\u011finde\u201d<\/em><\/p>\n

Adnan Y\u00fccel\u2019in \u015fiirde kulland\u0131\u011f\u0131 ve \u201cnehir \u015fiir\u201d<\/em> olarak adland\u0131r\u0131lan uzun bir anlat\u0131 \u00f6rg\u00fcs\u00fcne dayal\u0131 iki \u015fiir kitab\u0131n\u0131 (\u201cYery\u00fcz\u00fc A\u015fk\u0131n Y\u00fcz\u00fc Oluncaya Dek\u201d<\/em> ve \u201cAte\u015fin ve G\u00fcne\u015fin \u00c7ocuklar\u0131\u201d<\/em>) \u00f6zellikle anmak gerekiyor. T\u00fcrkiye\u2019de \u00e7ok da yayg\u0131n olmayan hikaye \u015fiir olarak adland\u0131r\u0131lan bu bi\u00e7im, onun \u015fiirlerinin, kendi deyimiyle, \u201cdoru\u011funu\u201d<\/em> olu\u015fturur.<\/p>\n

Yery\u00fcz\u00fc A\u015fk\u0131n Y\u00fcz\u00fc Oluncaya Dek\u2019te (1986), ikinci \u015fiir kitab\u0131ndaki yaln\u0131zl\u0131\u011f\u0131 k\u0131rm\u0131\u015ft\u0131r art\u0131k. \u00c7o\u011ful konu\u015fan bir s\u00f6ylencedir art\u0131k \u015fiir. Zaten Y\u00fccel, bu \u015fiire aray\u0131\u015flar\u0131n\u0131n sonu\u00e7lar\u0131n\u0131 ald\u0131\u011f\u0131n\u0131n ifadesiyle ba\u015fl\u0131yor: \u201cA\u015fks\u0131z ve parampar\u00e7ayd\u0131 ya\u015fam \/ Bir inanc\u0131n y\u00fcceli\u011finde buldum seni \/ Bir kavgan\u0131n g\u00fczelli\u011finde sevdim. \/ Bitmedi daha s\u00fcr\u00fcyor o kavga \/ Ve s\u00fcrecek \/ Yery\u00fcz\u00fc a\u015fk\u0131n y\u00fcz\u00fc oluncaya dek!\u201d<\/em><\/p>\n

\u201c\u0130nanc\u0131n y\u00fcceli\u011finde\u201d<\/em> ve \u201ckavgan\u0131n g\u00fczelli\u011finde\u201d<\/em> bulunan neydi? \u201cSiz ki anlard\u0131n\u0131z a\u015fk\u0131n dilinden\u2026\/ \u015eiirlerde t\u00fcrk\u00fclerde tan\u0131m\u0131\u015ft\u0131m\u201d<\/em> dedikleri ve 12 Eyl\u00fcl darbesine kar\u015f\u0131 direnmeyi bir ilke d\u00fczeyinde kabul eden \u201ck\u0131r \u00e7i\u00e7ekleri\u201d<\/em> ve \u201cyer alt\u0131 nehirleriydi\u201d<\/em> elbette. Olduk\u00e7a g\u00fc\u00e7l\u00fc bir ses yakalad\u0131\u011f\u0131 a\u015fikar olan bu nehir, \u201ckavga\u201d<\/em> s\u0131n\u0131fl\u0131 toplumlar\u0131n evrimi ve toplumsal d\u00f6n\u00fc\u015f\u00fcmle ele al\u0131narak g\u00fcn\u00fcm\u00fcze kardar gelir. Bu eserinde \u201cbiz\u201d<\/em>in sesini yakalam\u0131\u015f bir Adnan Y\u00fccel\u2019le y\u00fcz y\u00fcze geliyoruz: \u201cOysa toprak yorulur biz yorulursak \/ Susarsak b\u00fct\u00fcn d\u00fcnya susar\u201d<\/em><\/p>\n

\u015eiirin arka plan\u0131 ve temel beslenme kaynaklar\u0131n\u0131 inceledi\u011fimizde T\u00fcrkiye panoramas\u0131n\u0131 veri\u015fte \u201ci\u00e7eriden\u201d<\/em> bir sesle konu\u015fur; ancak toplumsal d\u00f6n\u00fc\u015f\u00fcm\u00fcn kendisi s\u0131n\u0131fsal geli\u015fim ekseninde d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde zay\u0131f ve y\u00fczeysel kal\u0131r. Toplumsal d\u00f6n\u00fc\u015f\u00fcm\u00fcn temel g\u00fcc\u00fc olan i\u015f\u00e7i s\u0131n\u0131f\u0131 onun \u015fiirinde bir s\u00f6ylem olarak belirir; ama bu s\u00f6ylem \u00f6znel bir duyu\u015ftan \u00f6teye ge\u00e7meye, s\u0131n\u0131fsal \u00e7eli\u015fkileri dillendirmeye ve bunlar\u0131 bir s\u0131n\u0131f perspektifiyle \u00e7\u00f6z\u00fcmlemeye y\u00f6nelmez. Burada Anadolu\u2019nun direngen y\u00fcz\u00fc \u00f6ne \u00e7\u0131kar: Pir Sultan\u2019dan Dadalo\u011flu\u2019na, Hallac-\u0131 Mansur\u2019a de\u011fin Anadolu farkl\u0131 d\u00f6nemleri ve m\u00fccadeleci solu\u011fuyla dile gelir adeta.<\/p>\n

1984 \u2013 1986 y\u0131llar\u0131 fa\u015fist cuntaya kar\u015f\u0131 k\u0131p\u0131rdan\u0131\u015flar\u0131n ba\u015flad\u0131\u011f\u0131, hapishanelerde direni\u015flerin ve \u00f6l\u00fcm oru\u00e7lar\u0131n\u0131n, k\u0131ran k\u0131rana m\u00fccadelelerin s\u00fcrd\u00fc\u011f\u00fc bir d\u00f6nemdir. Yery\u00fcz\u00fc A\u015fk\u0131n Y\u00fcz\u00fc Oluncaya Dek\u2019in \u00f6zellikle yedinci ve sekizinci b\u00f6l\u00fcmleri bu m\u00fccadele s\u00fcrecinde \u201cteslim bayraklar\u0131n\u0131 \u00e7ekenlerden\u201d \u201czul\u00fcm tufan\u0131\u201d<\/em>na direnen \u201cbir tutam k\u0131r \u00e7i\u00e7e\u011fine\u201d<\/em> kadar farkl\u0131 tutum ve duru\u015flar\u0131 anlat\u0131r. \u015eiirin son b\u00f6l\u00fcm\u00fc ise \u201c\u00e7o\u011ful\u201d<\/em> olman\u0131n verdi\u011fi bir g\u00fc\u00e7le meydan okumaya d\u00f6n\u00fc\u015f\u00fcr: \u201c\u0130mgelerin en ula\u015f\u0131lmaz doru\u011funda \/ Ey her \u015feye bitti diyenler \/ Korkunun sofras\u0131nda y\u0131lg\u0131nl\u0131k yiyenler \/ Ne k\u0131rlarda direnen \u00e7i\u00e7ekler \/ Ne kentlerde devle\u015fen \u00f6fkeler \/ Hen\u00fcz elveda demediler\u201d
<\/em>
Adnan Y\u00fccel\u2019in felsefi, k\u00fclt\u00fcrel bir derinlik ve estetik de\u011fer ta\u015f\u0131yan yap\u0131tlar\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, ilk \u00fcr\u00fcnlerinde yakalad\u0131\u011f\u0131 etkiyi ve g\u00fcc\u00fc sonrakilerde bulam\u0131yoruz, hatta bir yerden sonra hep ayn\u0131 simgelerle ve s\u00f6yleyi\u015f bi\u00e7imiyle ayn\u0131 \u015fiiri yaz\u0131yor izlenimini do\u011furuyor. \u015eairin \u015fiirinin geli\u015fiminde doruk noktas\u0131n\u0131 ifade eden Yery\u00fcz\u00fc A\u015fk\u0131n Y\u00fcz\u00fc Oluncaya Dek\u2019ten sonraki \u00fcr\u00fcnlerinde dil, bi\u00e7im ve i\u00e7erik bak\u0131m\u0131ndan ciddi anlamda bir tekrar g\u00f6ze \u00e7arpmaktad\u0131r. Hatta son kitab\u0131nda (Sular Tan\u0131kt\u0131r A\u015fk\u0131m\u0131za) bu tekrar, anlam boyutunu a\u015f\u0131p dize tekrar\u0131na d\u00f6n\u00fc\u015fecektir.<\/p>\n

Bu tekrarda dikkati \u00e7eken \u00f6nemli bir nokta vard\u0131r: S\u00f6z konusu d\u00f6nem, yani 1996 sonras\u0131 s\u00fcre\u00e7 toplumsal hareketin gerilemeye ba\u015flad\u0131\u011f\u0131 bir d\u00f6nemdir. Bir \u00f6nceki \u015fiir kitab\u0131ndan (\u00c7ukurova \u00c7e\u015fitlemesi) bu yana ge\u00e7en be\u015f y\u0131ll\u0131k s\u00fcre zarf\u0131nda \u00fcretkenli\u011finde bir durgunluk g\u00f6ze \u00e7arpmaktad\u0131r. Oysa 1984\u2032ten sonraki s\u00fcre\u00e7te neredeyse her y\u0131l bir \u015fiir kitab\u0131 yay\u0131nlanm\u0131\u015ft\u0131r. Olgunluk d\u00f6nemi diyebilece\u011fimiz bu s\u00fcre\u00e7te bir durgunluk ya\u015famas\u0131n\u0131n sebebini tam da toplumsal m\u00fccadele ile sanat\u0131 aras\u0131nda kurdu\u011fu ba\u011fda aramak gerekir.<\/p>\n

Orhan Kemal, Ya\u015far Kemal gibi yazarlar\u0131 da d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fczde asl\u0131nda onlarda temel bir \u00f6zellik vard\u0131r: Bu yazarlar yap\u0131tlar\u0131n\u0131 olu\u015ftururken g\u00f6zlemlerini ustaca aktarmay\u0131 ba\u015far\u0131rlar. Daha \u00e7ok izlenimci bir \u00e7izgi s\u00fcrd\u00fcren bu yazarlar, mesela \u00c7ukurova\u2019daki kapitalistle\u015fme s\u00fcreciyle birlikte \u00e7\u00f6z\u00fclen toplumsal- k\u00fclt\u00fcrel- ekonomik yap\u0131y\u0131 ola\u011fan\u00fcst\u00fc bir yetenekle g\u00f6zlemleyip bunu hikayele\u015ftirmeyi ba\u015far\u0131rlar. Bizler Eskici D\u00fckkan\u0131\u2018ndaki baba karakterini okurken onun asl\u0131nda geleneksel yap\u0131y\u0131 temsil etti\u011fini, \u00e7ocuklar\u0131n\u0131n e\u011filimlerinin ise yeni \u015fekillenen yap\u0131ya denk d\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc anlar\u0131z. Burada yaz\u0131nsal anlamda hi\u00e7bir zorlama ya da s\u00fcrt\u00fcnme hissetmeyiz. Ama i\u00e7eriden yap\u0131lan bu g\u00f6zlemlerde genel ele\u015ftirellik s\u0131n\u0131rlar\u0131 \u00e7ok da zorlanmaz. Yani yeni olan\u0131n ele\u015ftirisine \u00e7ok da rastlamay\u0131z. Var olan ele\u015ftirellik daha \u00e7ok karakterlerin ya\u015fad\u0131klar\u0131 zorlanma, \u00e7\u0131k\u0131\u015fs\u0131zl\u0131k ve k\u0131r\u0131lmalarda belirir, onlar ne ya\u015farlarsa biz de eserde bunlar\u0131 okur, g\u00f6r\u00fcr\u00fcz.<\/p>\n

Y\u00fccel\u2019in \u015fiirlerinde \u00c7ukurova, pamuk tarlalar\u0131nca bembeyaz, bu\u011fday tarlalar\u0131nca alt\u0131n sar\u0131s\u0131 g\u00f6r\u00fcmleriyle girer \u015fiire. \u00d6zelde \u00c7ukurova daha genel anlamdaysa Akdeniz ve Anadolu do\u011fal ve tarihi \u00f6zellikleriyle \u015fiirinin temel beslenme kayna\u011f\u0131 olur. \u00c7ukurova \u00c7e\u015fitlemesi adl\u0131 kitab\u0131n\u0131 da \u201cger\u00e7ek bir \u00e7e\u015fitleme\u201d<\/em> olarak niteler. Orada \u00c7ukurova\u2019n\u0131n do\u011fal yap\u0131s\u0131ndan tarihsel dokusuna de\u011fin bir dizi \u00f6geye rastlamak m\u00fcmk\u00fcnd\u00fcr. \u0130ki b\u00f6l\u00fcmden olu\u015fan eserinin ilk b\u00f6l\u00fcm\u00fcn\u00fc bu do\u011fal – tarihsel yap\u0131 olu\u015ftururken ikinci k\u0131s\u0131mda insan\u0131yla direngen ve ba\u015f e\u011fmez bir \u00c7ukurova ile \u00e7\u0131kar kar\u015f\u0131m\u0131za: \u201c\u00c7ukurova emek yang\u0131n\u0131 bir yerdir \/ Mutlaka bilmen gerekir \/ O kartal ki \/ kazanc\u0131lar \u00e7ar\u015f\u0131s\u0131nda \u00e7eki\u00e7 sesidir \/ Sayac\u0131lar \u00e7ar\u015f\u0131s\u0131nda diki\u015f sesidir \/ Bir eli Kiremithane mahallesindedir\u201d<\/em> Ama s\u00f6z\u00fcn\u00fc etti\u011fimiz izlenimcilik Adnan Y\u00fccel\u2019de de belirgindir. O da g\u00f6zlemledikleri \u00fczerinden duygusal – d\u00fc\u015f\u00fcnsel izlenimlerini yans\u0131t\u0131r \u00e7o\u011funlukla. Onun yazma eyleminin en etkin itici g\u00fcc\u00fc toplumsal m\u00fccadelenin geli\u015fkinli\u011fidir. Mesela ya\u015fanan yenilgi s\u00fcreci sonras\u0131 bir hareketlenme s\u00fcreciyse o da ayn\u0131 heyecan ve co\u015fkuyla bu halaya kat\u0131l\u0131r \u015fiirleriyle. K\u0131sacas\u0131 ilham\u0131 kavga olan bir \u015fairdi Adnan Y\u00fccel. Ama \u015fiir sadece anl\u0131k resimleri ya da duygusal doruklar\u0131 yans\u0131t\u0131yorsa eninde sonunda \u00fcretimi vuran bir noktaya gelmektedir. Ama sadece \u00c7ukurova de\u011fildir Y\u00fccel\u2019in eserlerinin konusu. Yery\u00fcz\u00fc A\u015fk\u0131n Y\u00fcz\u00fc Oluncaya Dek demesi de y\u00fcz\u00fcn\u00fc bir d\u00fcnya d\u00fc\u015f\u00fcne d\u00f6nd\u00fcrd\u00fc\u011f\u00fc anlam\u0131na gelmez mi zaten.<\/span><\/span><\/p>\n

Adnan Y\u00fccel’in \u015fiirlerini sitemizde bulabilirsiniz….
<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Saraylar saltanatlar \u00e7\u00f6kerkan susar birg\u00fcnzul\u00fcm biter.menek\u015felerde a\u00e7\u0131l\u0131r \u00fcst\u00fcm\u00fczdeleylaklarda g\u00fcler.bug\u00fcnlerden geriye,bir yar\u0131na gidenler kal\u0131rbir de yar\u0131nlar i\u00e7in direnenler… Adnan Y\u00fccel Fa\u015fist 12 Eyl\u00fcl cuntas\u0131n\u0131n vah\u015fetine kar\u015f\u0131 direnen kom\u00fcnistlerin solu\u011funda, yapra\u011f\u0131n k\u0131m\u0131ldamad\u0131\u011f\u0131 tasfiyeci havalarda bu sessizli\u011fe bir \u00e7\u0131\u011fl\u0131k gerek diyerek kondular\u0131n kap\u0131lar\u0131na yaprak yaprak d\u00fc\u015fen umutta, fabrika kap\u0131lar\u0131ndaki direni\u015flerde, i\u015fkencecilerin te\u015fhir masalar\u0131n\u0131 tekmeleyen \u00c7ukurova’n\u0131n yi\u011fit delikanl\u0131lar\u0131n\u0131n i\u00e7erisinde […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[122],"tags":[],"class_list":{"0":"post-4301","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-sair-e-dair"},"yoast_head":"\nKavgan\u0131n, direnmenin, solu\u011fu r\u00fczgar olanlar\u0131n i\u00e7inde varolan bir \u015fair, kavga \u015fairi | Adnan Y\u00fccel - 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