{"id":4335,"date":"2010-03-12T11:05:25","date_gmt":"2010-03-12T08:05:25","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/"},"modified":"2010-03-12T11:05:25","modified_gmt":"2010-03-12T08:05:25","slug":"turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/","title":{"rendered":"T\u00fcrkiye’de ve D\u00fcnya’da Orhan Kemal | Svetlana Uturgauri"},"content":{"rendered":"

Orhan Kemal (1914-1970) yaln\u0131z kendi \u00fclkesinde de\u011fil, \u00fclke \t\t\ts\u0131n\u0131rlar\u0131n\u0131n \u00e7ok \u00f6tesinde de tan\u0131nmaktad\u0131r. Orhan Kemal, \t\t\tSovyetler’de de \u00e7ok iyi tan\u0131nan bir yazard\u0131r. Bu T\u00fcrk yazar\u0131n\u0131n ilk \t\t\tse\u00e7me \u00f6yk\u00fcleri, Moskova’da 20 y\u0131l \u00f6nce yay\u0131nlanm\u0131\u015ft\u0131r.(1) Onun \t\t\tyazd\u0131klar\u0131n\u0131 \u015fimdi Azerbaycanl\u0131lar, Ukraynal\u0131lar, G\u00fcrc\u00fcler, \t\t\tKazaklar, Latviyal\u0131lar ve \u00d6zbekler de kendi dillerinde okuyorlar. \t\t\t<\/p>\n

Orhan Kemal’in yap\u0131tlar\u0131nda, bug\u00fcn yayg\u0131n olan yabanc\u0131la\u015fma sorununa \t\t\tya da yaln\u0131zl\u0131k felsefesine de\u011finilmiyor. Yazar, kendini bi\u00e7imsel \t\t\tdeneylere de kapt\u0131rm\u0131yor. Bu d\u00fczyaz\u0131 yazar\u0131n\u0131n geleneksel \t\t\tger\u00e7ek\u00e7ilik yakla\u015f\u0131m\u0131yla yazd\u0131\u011f\u0131 t\u00fcm yap\u0131tlar\u0131nda, T\u00fcrk emek\u00e7isinin; \t\t\ts\u00f6n\u00fck, g\u00fcndelik ya\u015fam\u0131ndan, onun yoksulluklarla dolu \u00e7evresinden; \t\t\tdevrimci, ilerici bir sanat\u00e7\u0131n\u0131n bilincinden ve ruhundan y\u00fckselen \t\t\tbir ger\u00e7eklik var.<\/p>\n

Orhan Kemal’in yap\u0131tlar\u0131, yaln\u0131z \u00e7evirmenlerin de\u011fil; Sovyetler, \t\t\tPolonya, \u00c7ekoslovakya, Bulgaristan ve Do\u011fu Almanya’daki \t\t\tara\u015ft\u0131rmac\u0131lar\u0131n da dikkatini \u00e7ekmi\u015ftir. Son y\u0131llarda, \u00f6zellikle \t\t\tkendi \u00fclkesi T\u00fcrkiye’de Orhan Kemal hakk\u0131nda \u00e7ok yaz\u0131 yaz\u0131l\u0131yor. \t\t\tEle\u015ftirmenler ve yazarlar, Orhan Kemal’in yap\u0131tlar\u0131n\u0131n \u00f6zelliklerini \t\t\tdaha iyi anlamak ve ulusal edebiyattaki yerini saptamak i\u00e7in \t\t\t\u00e7al\u0131\u015f\u0131yorlar.<\/p>\n

Orhan Kemal’in edebiyatta as\u0131l etkin oldu\u011fu, ?40-?60 y\u0131llar\u0131; ayn\u0131 \t\t\tzamanda T\u00fcrk ele\u015ftirel ger\u00e7ek\u00e7ili\u011finin estetik ve sanatsal olgunluk \t\t\tkazanmaya, belli ba\u015fl\u0131 bir ak\u0131m olarak kendini ortaya koymaya, \t\t\tasl\u0131nda \u00fclke edebiyat\u0131n\u0131n geli\u015fmesini y\u00f6nlendirmeye ba\u015flad\u0131\u011f\u0131 \t\t\td\u00f6nemdir. <\/p>\n

Toplumsal sorunslara kar\u015f\u0131 her zaman b\u00fcy\u00fck bir ilgi besleyen \t\t\tger\u00e7ek\u00e7i edebiyat, \u00f6zellikle k\u00f6ylerin ve kentlerin alt tabaka \t\t\tinsanlar\u0131n\u0131n ya\u015fam\u0131n\u0131 kaps\u0131yor. XX. Y\u00fczy\u0131l, halk kitlelerinin \t\t\ttarihini \u00f6n plana \u00e7\u0131kartm\u0131\u015ft\u0131r. \u00c7e\u015fitli \u00fclkelerin edebiyatlar\u0131 bu \t\t\ts\u00fcreci yans\u0131tm\u0131\u015ft\u0131r; bug\u00fcn de yans\u0131tmaktad\u0131r. Bir\u00e7ok \u00fclkenin \t\t\tger\u00e7ek\u00e7i yazarlar\u0131n\u0131n, bu arada T\u00fcrk yazarlar\u0131n\u0131n yap\u0131tlar\u0131n\u0131n da \t\t\tba\u015fl\u0131ca kahraman\u0131, emek\u00e7i insand\u0131r. <\/p>\n

Bunun yan\u0131nda ger\u00e7ek\u00e7i T\u00fcrk edebiyat\u0131, dikkatini toplumun belli bir \t\t\tkesimindeki insanlar\u0131n toplumsal bilin\u00e7lenme s\u00fcrecine \u00e7evirmi\u015ftir. \t\t\tToplumsal uyan\u0131\u015f ve toplumsal etkinlik s\u00fcrecine giren yeni bir \t\t\tinsan-kahraman ortaya \u00e7\u0131km\u0131\u015ft\u0131r (\u00d6rne\u011fin Sabahattin Ali’nin \t\t\tKuyucakl\u0131 Yusuf’u, Ya\u015far Kemal’in \u0130nce Memed’i, vb.). <\/p>\n

Bu ger\u00e7ek\u00e7i yazarlar, kahramanlar\u0131n\u0131n davran\u0131\u015flar\u0131n\u0131n ard\u0131nda yatan \t\t\tnedenleri, ki\u015filerin ruhsal yap\u0131s\u0131n\u0131, ya\u015famlar\u0131ndaki \u00e7eli\u015fkileri ve \t\t\tonlar\u0131n i\u00e7-dramlar\u0131n\u0131; ‘i\u00e7inden’ g\u00f6r\u00fcp resmediyorlard\u0131. Bunda, \t\t\tyazar\u0131n ya\u015fam deneylerinin bir par\u00e7as\u0131 olan betimlemelerin \t\t\tverilmesinden \u00e7ok, emek\u00e7i kitlelerin \u00e7\u0131karlar\u0131na cevap veren \t\t\tolaylar\u0131n de\u011ferlendirilmesi \u00f6nemlidir.
Her \u015feyi bilin\u00e7li olarak, halk\u0131n a\u00e7\u0131s\u0131ndan g\u00f6rmeye \u00e7al\u0131\u015fan T\u00fcrk \t\t\tedebiyat\u0131, daha ?30’lu y\u0131llarda kendini demokrat yazarlar\u0131n \t\t\tyap\u0131tlar\u0131nda g\u00f6stermi\u015ftir. \u00d6rne\u011fin; Re\u015fat Enis, Sadri Ertem, \t\t\tSabahattin Ali, Suat Dervi\u015f, vb. Toplumda ve edebiyat alan\u0131nda \t\t\t\u00fclkenin kendine \u00f6zg\u00fc geli\u015fmesinden \u00f6t\u00fcr\u00fc, ger\u00e7ekli\u011fi halk\u0131n g\u00f6z\u00fcyle \t\t\tg\u00f6rme y\u00f6ntemi; art\u0131k tek tek yazarlar\u0131n ki\u015fisel \u00f6zelli\u011fini ta\u015f\u0131yan \t\t\tbir y\u00f6ntem olmaktan \u00e7\u0131k\u0131p \u00e7a\u011fda\u015f ele\u015ftirel ger\u00e7ek\u00e7ilikte yasala\u015fan, \t\t\tnorm olarak yerle\u015fen bir y\u00f6ntem olarak ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Ger\u00e7ekli\u011fin \t\t\thalk a\u00e7\u0131s\u0131ndan de\u011ferlendirilmesi; yazarlar\u0131, halk\u0131n \u00e7ektiklerinin \t\t\t“k\u00f6kenlerine” inmeye g\u00f6t\u00fcr\u00fcyor. Bu y\u00f6ntem de, anlat\u0131lan olaylardaki \t\t\tneden-sonu\u00e7 ba\u011flant\u0131s\u0131n\u0131n daha derin ve net olarak yans\u0131t\u0131lmas\u0131na, \t\t\tanti-emperyalist ve anti-kapitalist e\u011filimin ger\u00e7ek\u00e7i T\u00fcrk \t\t\tedebiyat\u0131nda g\u00fc\u00e7lenmesine yol a\u00e7m\u0131\u015ft\u0131r. <\/p>\n

Son y\u0131llarda edebiyatta ele\u015ftirel ger\u00e7ek\u00e7ili\u011fin geli\u015fmesinde g\u00f6r\u00fclen \t\t\t\u00f6zelliklerden biri, T\u00fcrkiye’de \u00f6zellikle ?60-?70 y\u0131llar\u0131 aras\u0131nda \t\t\tg\u00f6zlenen sosyalist fikirlerin edebiyata girmesi olgusudur. Sosyalist \t\t\tfikirlerin yayg\u0131nla\u015fmas\u0131 ve T\u00fcrk ger\u00e7ek\u00e7ili\u011finin yeni bir niteli\u011fini \t\t\tolu\u015fturmas\u0131 – ger\u00e7ek\u00e7ilikle sosyalist fikirlerin birle\u015fmesi – \t\t\tkesinlikle sosyalist ger\u00e7ek\u00e7ili\u011fin do\u011fdu\u011fu anlam\u0131na gelmez. Yeni bir \t\t\tsanatsal d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fcn olgunla\u015fmas\u0131 i\u00e7in uzun bir s\u00fcre gereklidir. \t\t\tYeni fikirlere, yeni s\u00f6zc\u00fcklere gereksinme vard\u0131r; b\u00fct\u00fcn bunlar, \t\t\tGenrich Mann’a g\u00f6re Gorki i\u00e7in “d\u00fcnya edebiyat\u0131 i\u00e7inde yeni \t\t\tyollars\u0131n ve yeni bir perspektifin a\u00e7\u0131lmas\u0131na olanak sa\u011flam\u0131\u015ft\u0131r.(2) \t\t\t\u00c7a\u011fda\u015f T\u00fcrkiye’nin \u00f6zelliklerine gelince, burada sosyalist \t\t\tfikirlerin \u00e7ok \u00e7e\u015fitli oldu\u011funu, sosyalizme y\u00f6nelen T\u00fcrk yazarlar\u0131 \t\t\ti\u00e7in sosyal ve tarihsel ko\u015fullar nedeniyle sosyalizmin toplumsal bir \t\t\tideal olmaktan ileri gidemedi\u011fini eklememiz gerekir. <\/p>\n

De\u011fi\u015fik d\u00fcnya edebiyatlar\u0131ndan al\u0131nan bir\u00e7ok \u00f6rnek bize g\u00f6steriyor \t\t\tki, sosyalist fikirler, sosyalist ger\u00e7ek\u00e7ili\u011fin do\u011fmas\u0131ndan \u00e7ok \u00f6nce \t\t\tgeliyor. \u00d6rne\u011fin; E. Potie’nin Enternasyonal’i. Luna\u00e7arski’ye g\u00f6re \t\t\tger\u00e7ekten sosyalist ilk yap\u0131tlardan biri Jack London’\u0131n Demir \t\t\t\u00d6k\u00e7e’sidir. Ger\u00e7ekten de Mayakovski’nin “Misteri Buf”u, N\u00e2z\u0131m \t\t\tHikmet’in “Kan Konu\u015fuyor”u ve Sabahattin Ali’nin “D\u00fc\u015fmanlar”\u0131n\u0131n \t\t\tsosyalist bir e\u011filim ta\u015f\u0131d\u0131\u011f\u0131 tart\u0131\u015fma g\u00f6t\u00fcrmez. <\/p>\n

Yukar\u0131da sayd\u0131\u011f\u0131m\u0131z yap\u0131tlar sosyalist fikirlerin T\u00fcrk edebiyat\u0131na \t\t\t?30-?40 y\u0131l \u00f6nce girdi\u011fini kan\u0131tl\u0131yor ki; bu s\u00fcre\u00e7 N\u00e2z\u0131m Hikmet’in \t\t\tve Sabahattin Ali’nin yap\u0131tlar\u0131na ba\u011fl\u0131d\u0131r. Orhan Kemal’in yap\u0131tlar\u0131 \t\t\tda ayn\u0131 ak\u0131m\u0131n i\u00e7inde geli\u015fmi\u015ftir. Sosyalist e\u011filimin de\u011fi\u015fik \t\t\tbi\u00e7imlerde ve de\u011fi\u015fik \u00f6l\u00e7\u00fclerde bulunmas\u0131, bu tan\u0131nm\u0131\u015f sanat\u00e7\u0131lar\u0131 \t\t\ttart\u0131\u015fma g\u00f6t\u00fcrmez bir bi\u00e7imde birle\u015ftiren temeldir. <\/p>\n

Sanata sosyalist fikirlerin girmesiyle sosyalist e\u011filimli bir \t\t\tsanat\u0131n bi\u00e7imlenmesi s\u00fcreci ba\u015fl\u0131yor. Buna ba\u011fl\u0131 olarak da yeni bir \t\t\tsanatsal d\u00fcnya g\u00f6r\u00fc\u015f\u00fc do\u011fuyor. <\/p>\n

\u00dcnl\u00fc Sovyet edebiyat bilgini A. Mat\u00e7enko \u015f\u00f6yle diyor: “Sosyalist \t\t\tger\u00e7ek\u00e7ilikle sosyalist edebiyat birbirine ba\u011fl\u0131 ve birbirine \t\t\tyak\u0131nd\u0131r; ama bunlar ayn\u0131 olgular de\u011fildir. Sosyalist edebiyat, \t\t\tsosyalizmin olumlu etkisiyle olu\u015fan bir edebiyat demektir. De\u011fi\u015fik \t\t\tsosyalist d\u00fcnya g\u00f6r\u00fc\u015fleri vs sosyalizme kar\u015f\u0131 duyulan yak\u0131nl\u0131\u011f\u0131n \t\t\tde\u011fi\u015fik dereceleri bu edebiyata yans\u0131maktad\u0131r.”(3) ?60-?70 y\u0131llar\u0131 \t\t\taras\u0131nda T\u00fcrk edebiyat\u0131nda gerek bilimsel sosyalizm tutkusunu \t\t\tbenimseyen, gerekse de\u011fi\u015fik ulusal sosyalizm g\u00f6r\u00fc\u015f\u00fcn\u00fc savunan ve \t\t\tsosyalizme kar\u015f\u0131 belli belirsiz bir yak\u0131nl\u0131k duyan bir\u00e7ok yazar \t\t\tvard\u0131. <\/p>\n

Sosyalist edebiyatta kar\u015f\u0131t sanat ak\u0131mlar\u0131 ve de\u011fi\u015fik yarat\u0131c\u0131l\u0131k \t\t\ty\u00f6ntemleri de bulunabilir ve bu asl\u0131nda ka\u00e7\u0131n\u0131lmazd\u0131r. \u00c7a\u011fda\u015f T\u00fcrk \t\t\tele\u015ftirel ger\u00e7ek\u00e7ili\u011finde birbirinden ideolojik s\u0131n\u0131rlarla ayr\u0131lm\u0131\u015f \t\t\tsanatsal ve estetik e\u011filimlerin bulunu\u015fu sosyalist edebiyat\u0131n \t\t\tbi\u00e7imlenme s\u00fcrecinin ne denli g\u00fc\u00e7 geli\u015fti\u011fini kan\u0131tl\u0131yor. <\/p>\n

Bu t\u00fcr edebiyat\u0131n en \u00e7ok dikkati \u00e7eken \u00f6zelliklerini, \u00e7ok \u00f6zg\u00fcn bir \t\t\tbi\u00e7imde Orhan Kemal’in yap\u0131tlar\u0131nda g\u00f6r\u00fcyoruz. <\/p>\n

200’\u00fc a\u015fk\u0131n \u00f6yk\u00fc, 30’a yak\u0131n roman ve uzun \u00f6yk\u00fcde Orhan Kemal; \t\t\tedebiyat\u0131n\u0131 ya\u015famdan al\u0131nan malzemeyle zenginle\u015ftirmi\u015f, g\u00fcncel \t\t\ttoplumsal sorunlar konusunda dikkatini bilemi\u015ftir. Yeni temalar, \t\t\tyeni konular, yeni ki\u015filer yaratarak s\u0131n\u0131f s\u0131n\u0131r\u0131n\u0131n \u00f6tesinde \t\t\tduranlara kar\u015f\u0131 alt tabakalar\u0131n ya\u015fam\u0131n\u0131n geni\u015f bir tablosunu \t\t\t\u00e7izmi\u015ftir. <\/p>\n

Orhan Kemal’in kahramanlar\u0131; zanaat\u00e7\u0131lar, k\u00fc\u00e7\u00fck memurlar, i\u015f\u00e7iler, \t\t\tk\u00f6yl\u00fcler ve \u0131rgatlar, serserilerin eleba\u015flar\u0131, evsiz barks\u0131zlar ve \t\t\tfahi\u015felerdir. Yazar, fabrikat\u00f6rlere, m\u00fcteahhitlere, toprak a\u011falar\u0131na \t\t\tda ilgi duyuyor; ama onun en \u00e7ok dikkatini \u00e7eken \u015fey, b\u00fcy\u00fck \u00e7a\u011fda\u015f \t\t\tkentteki emek\u00e7i halk\u0131n yazg\u0131s\u0131d\u0131r. <\/p>\n

Emek\u00e7i halk \u00fczerine yazmak, Orhan Kemal i\u00e7in ki\u015fisel ve sanatsal bir \t\t\te\u011filim de\u011fildir; bu, onun \u00e7ok iyi d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015f, sanatsal-estetik \t\t\ttutumudur. Yazar\u0131n bu tutumu \u00f6zel s\u00f6yle\u015filerinde, makalelerinde \t\t\ts\u00fcrekli olarak ortaya konmu\u015ftur. Yazar\u0131n kan\u0131s\u0131na g\u00f6re \u00e7a\u011fda\u015f \t\t\tsanat\u0131n en \u00f6nemli malzemesi emek\u00e7i, \u00e7al\u0131\u015fan insanlard\u0131r. Yazar\u0131n \t\t\tamac\u0131 kendi eme\u011fiyle toplumun geli\u015fmesini etkilemek oldu\u011fundan o, \t\t\tbunlar\u0131 g\u00f6rmezlikten gelemez. Orhan Kemal’in sanat\u00e7\u0131 olarak \t\t\tedebiyattaki tutumu; yaln\u0131z sorunsal\u0131 i\u015fleyen konular\u0131nda, \t\t\tkahramanlar\u0131nda ve anlat\u0131m bi\u00e7iminde ortaya \u00e7\u0131kmakla kalmaz; bu \t\t\ttutum asl\u0131nda, Orhan Kemal’in, ulusunun yazg\u0131s\u0131na boyun e\u011fi\u015fine \t\t\tb\u00fcy\u00fck bir ac\u0131yla yakla\u015fmas\u0131nda, \u00e7al\u0131\u015fan kitlelerin bilincini \t\t\tuyand\u0131rmaya \u00e7al\u0131\u015fmas\u0131nda ve onlar\u0131 toplumsal etkinli\u011fe \u00e7a\u011f\u0131rmas\u0131nda \t\t\tkendini g\u00f6steriyor. <\/p>\n

K\u0131sa bir yaz\u0131 i\u00e7inde Orhan Kemal’in b\u0131rakt\u0131\u011f\u0131 geni\u015f edebiyat \u00fcr\u00fcn\u00fcn\u00fc \t\t\tb\u00fct\u00fcn yanlar\u0131yla incelemeye olanak yoktur. Bunun i\u00e7in, \u00e7ok geni\u015f ve \t\t\tuzun bir monografik ara\u015ft\u0131rma gerekir. Bu y\u00fczden yap\u0131tlar\u0131nda onun \t\t\tyazar ki\u015fili\u011finin en belirgin bi\u00e7imde ortaya \u00e7\u0131kt\u0131\u011f\u0131 alan\u0131, T\u00fcrk \t\t\tproletaryas\u0131ndan \u00e7izdi\u011fi tablolar\u0131 incelemek akla en yatk\u0131n yol \t\t\tolacakt\u0131r. \u00c7\u00fcnk\u00fc Orhan Kemal’in do\u011frudan do\u011fruya i\u015f\u00e7ilerin \t\t\tyazg\u0131lar\u0131n\u0131 ele almayan yap\u0131tlar\u0131 bile de\u011fi\u015fik \u00f6l\u00e7\u00fclerde bu \t\t\tsorunlarla ilgilidir. Ger\u00e7ekten de T\u00fcrk ayd\u0131n\u0131n\u0131n ve k\u00f6yl\u00fcs\u00fcn\u00fcn \t\t\tya\u015fam\u0131 Orhan Kemal?e \u00f6zg\u00fc ve yepyeni bir a\u00e7\u0131dan ele al\u0131nm\u0131\u015ft\u0131r. <\/p>\n

Ayd\u0131nlar\u0131n ya\u015fam\u0131na y\u00f6neldi\u011finde yazar, bunlar\u0131n emek\u00e7i s\u0131n\u0131fa \t\t\ttoplumsal bak\u0131mdan en yak\u0131n olan kesimini ele al\u0131yor: “\u0130nci?nin \t\t\tBabas\u0131”, “\u0130\u015f”, “On Lira”, “Kitap Satmaya Dair”, “\u0130nci’nin Maceras\u0131”ndaki \t\t\tkahramanlar, hep yoksulluk i\u00e7inde i\u015f pe\u015finde ko\u015fan ve arada s\u0131rada \t\t\temek\u00e7ilere kar\u0131\u015fan insanlard\u0131r. <\/p>\n

Orhan Kemal’in; k\u00f6yl\u00fcleri, al\u0131\u015f\u0131lm\u0131\u015f ya\u015fam ko\u015fullar\u0131 i\u00e7inde ele \t\t\tald\u0131\u011f\u0131 pek s\u0131k g\u00f6r\u00fclmez. Onun ilgisini daha \u00e7ok gurbette olan ve \t\t\tb\u00fcy\u00fck kentteki ya\u015fam anaforunun i\u00e7ine d\u00fc\u015fen k\u00f6yl\u00fcler \u00e7eker. \t\t\t“Yabanc\u0131”, “Hatice Aktur ve Saire”, “Bir Kad\u0131n”, “\u00c7\u00f6p\u00e7\u00fc”, “Ekmek \t\t\tPe\u015finde” \u00f6yk\u00fcleri, “Bereketli Topraklar \u00dczerinde” roman\u0131, \t\t\tkendilerini hapiste bulan “Ali” ve “Recepsin \u00f6yk\u00fcleri vb. <\/p>\n

“Ekmek Pe\u015finde” \u00f6yk\u00fcs\u00fcnde kente yerle\u015fmi\u015f k\u00f6yl\u00fclerin \u00e7ektiklerini \t\t\tg\u00f6r\u00fcyoruz. Fabrikan\u0131n g\u00e2vur icad\u0131 san\u0131ld\u0131\u011f\u0131 y\u0131llar art\u0131k gerilerde \t\t\tkalm\u0131\u015ft\u0131r. Dul Emeti?nin i\u00e7inde bulundu\u011fu toplulu\u011fu, bek\u00e7iler zor \t\t\tzaptediyorlar. Emeti, k\u00fc\u00e7\u00fck arsas\u0131n\u0131, k\u00f6y\u00fcndeki yoksul topraklar\u0131n\u0131, \t\t\tvar\u0131n\u0131 yo\u011funu yok pahas\u0131na sat\u0131p \u00e7ocuklar\u0131yla birlikte kente \t\t\tgelmi\u015ftir. O\u011flunu fabrikaya yerle\u015ftirmek kolay olmam\u0131\u015ft\u0131r onun i\u00e7in. \t\t\tSa\u011fl\u0131k raporu ve n\u00fcfus ka\u011f\u0131d\u0131 gerekmi\u015ftir. N\u00fcfus ka\u011f\u0131d\u0131 parayla ve \t\t\tyalanc\u0131 bir tan\u0131kla zar zor ele ge\u00e7irilmi\u015ftir ama sa\u011fl\u0131k raporu \t\t\tnas\u0131l ele ge\u00e7irilecektir?.. \u00c7\u00fcnk\u00fc delikanl\u0131 hastad\u0131r. <\/p>\n

“Kad\u0131n” \u00f6yk\u00fcs\u00fcn\u00fcn ads\u0131z kahraman\u0131, koskocaman kentte tek ba\u015f\u0131na \t\t\tkald\u0131\u011f\u0131 zaman a\u00e7l\u0131ktan \u00f6lmemek i\u00e7in kendini satmak zorunda kal\u0131r. \t\t\t
Son 20 y\u0131l i\u00e7inde yaz\u0131lan en iyi T\u00fcrk romanlar\u0131ndan biri olan \t\t\t?Bereketli Topraklar \u00dczerinde? adl\u0131 yap\u0131tta tema \u00fc\u00e7 k\u00f6yl\u00fc \u00e7evresinde \t\t\t\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Bunlar, en m\u00fcbrem gereksinmeleri olan ekmek paras\u0131n\u0131 \t\t\tkazanmak i\u00e7in; evlerini, ailelerini terketmi\u015flerdir. \u0130\u015f ararken, \t\t\tg\u00fcndelik ya\u015famlar\u0131nda \u0131rgatlar ve fabrikada \u00e7al\u0131\u015fan i\u015f\u00e7iler aras\u0131na \t\t\tgirerler. K\u00f6se Hasan, hastal\u0131ktan kurtar\u0131lamayarak \u00f6l\u00fcr; Pehlivan \t\t\tAli’yse kat\u0131 y\u00fcrekli bir m\u00fcteahhit y\u00fcz\u00fcnden kazaya kurban gider; \t\t\tk\u00f6y\u00fcne yaln\u0131z \u0130flahs\u0131z Yusuf d\u00f6nebilir. Gurbette kald\u0131\u011f\u0131 aylar \t\t\ts\u0131ras\u0131nda elde etti\u011fi tek \u015fey, bir gaz lambas\u0131d\u0131r.
Basit emek\u00e7ilere kar\u015f\u0131 s\u0131cak bir sevgiyle dolu olan (bu, T\u00fcrk \t\t\tele\u015ftirmenlerinin durmadan vurgulad\u0131klar\u0131 bir noktad\u0131r) bu romanda \t\t\tyazar, i\u015f\u00e7ilerin, \u0131rgatlar\u0131n ve k\u00f6yl\u00fclerin ya\u015famlar\u0131ndaki \t\t\tbenzerlikleri g\u00f6stermeyi ba\u015far\u0131yor. Sadri Ertem ve Sabahattin \t\t\tAli’nin k\u00f6yl\u00fclerine kar\u015f\u0131n, Orhan Ke-. mal’in k\u00f6yl\u00fcleri, \t\t\ts\u0131k\u0131nt\u0131larla dolu ya\u015famlar\u0131na sab\u0131r ve teslimiyetle boyun \t\t\te\u011fmiyorlar. “Bereketli Topraklar \u00dczerinde”ki K\u00fcrt Zeynel gibi, \t\t\tya\u015fama egemen olan insanl\u0131k d\u0131\u015f\u0131 davran\u0131\u015flara ve adaletsizli\u011fe kar\u015f\u0131 \t\t\tisyan ediyorlar. “Afa-rac\u0131 Hac\u0131”n\u0131n ba\u015f ki\u015fisi olan Ali gibi onlar \t\t\tda kendilerini sonsuz bir bask\u0131 alt\u0131nda tutmak isteyenlere kar\u015f\u0131 \t\t\thalk\u0131n ba\u015fkald\u0131rmas\u0131n\u0131 temsil ederek \u015f\u00f6yle ba\u011f\u0131r\u0131yorlar:”… \t\t\tTarlan\u0131z var, tak\u0131m\u0131n\u0131z var, \u00e7iftiniz var, \u00e7ubu\u011funuz var, Con \t\t\tDire’ler, Hanomak’lar… Var o\u011flu var… G\u00f6zlerini toprak \t\t\tdoyuras\u0131calar… Derya deniz mal\u0131n \u00fcst\u00fcne oturmu\u015f, k\u00f6y\u00fc \t\t\tzaptetmi\u015fsiniz! Benim bir ine\u011fim mi g\u00f6z\u00fcn\u00fcze batt\u0131? F\u0131ka-raya bir \t\t\tine\u011fi de mi \u00e7ok g\u00f6rd\u00fcn\u00fcz? Bu ne adaletsizliktir can\u0131m?” (4) <\/p>\n

Orhan Kemal, k\u00f6y\u00fc yeni bir tarihsel – toplumsal a\u015famada, kapitalizm \t\t\ta\u015famas\u0131nda g\u00f6rm\u00fc\u015ft\u00fcr. Yazd\u0131klar\u0131nda 20-30’lu y\u0131llar\u0131n T\u00fcrk k\u00f6y\u00fcne \t\t\tbakan Sadri Ertem ve Sabahattin Ali’ye \u00f6zg\u00fc yar\u0131-feodal a\u011fa – k\u00f6yl\u00fc \t\t\tili\u015fkileri de\u011fil, kapitalist toprak a\u011fas\u0131n\u0131n ve \u0131rgat\u0131n \u00e7at\u0131\u015fan \t\t\t\u00e7\u0131karlar\u0131n\u0131, bu s\u00fcre\u00e7le birlikte giden k\u00f6yl\u00fclerin k\u00f6yden \t\t\tuzakla\u015fmas\u0131, i\u015f\u00e7i s\u0131n\u0131f\u0131na kar\u0131\u015f\u0131p onu doldurmas\u0131 gibi sorunlar\u0131 ve \t\t\t\u00e7at\u0131\u015fmalar\u0131 da yans\u0131t\u0131yor. <\/p>\n

Orhan Kemal, s\u0131n\u0131fsal – toplumsal ili\u015fki ilkelerinin kentte oldu\u011fu \t\t\tgibi k\u00f6yde de ge\u00e7erli oldu\u011funu g\u00f6steriyor. De\u011fi\u015fik emek\u00e7i kitlelerin \t\t\tve s\u0131n\u0131flar\u0131n temsilcileri olan kahramanlar\u0131n birbirlerine \t\t\tbenzemelerinden yararlanarak Orhan Kemal, bunlar\u0131n toplumsal \t\t\tdurumlar\u0131ndaki ortak yanlan bize g\u00f6steriyor; yazar, bu emek\u00e7i halk\u0131, \t\t\t“d\u00fcnyan\u0131n egemen g\u00fc\u00e7leri”nin kar\u015f\u0131s\u0131na koyuyor. K\u0131saca Orhan Kemal, \t\t\tyap\u0131tlar\u0131nda b\u00fct\u00fcn olarak \u00e7a\u011fda\u015f toplumun toplumsal yap\u0131s\u0131n\u0131 ortaya \t\t\t\u00e7\u0131kar\u0131yor. <\/p>\n

Orhan Kemal’de en yayg\u0131n kahraman tipi olan kentte \u00e7al\u0131\u015fan i\u015f\u00e7inin, \t\t\tulusal edebiyatta bir \u00f6nc\u00fcs\u00fc vard\u0131r; ne var ki bu tip, Halit Ziya \t\t\tU\u015fakl\u0131gil’in yap\u0131tlar\u0131nda belirsiz bir bi\u00e7imde \u00e7izilmi\u015f ve \t\t\tgenellikle savunmas\u0131z bir kurban gibi g\u00f6sterilmi\u015ftir. Bundan sonra \t\t\t\u00d6mer Seyfettin, Refik Halit Karay, Kenan Hulusi, Sadri Ertem, Sait \t\t\tFaik ve Sabahattin Ali gibi ger\u00e7ek\u00e7i yazarlar\u0131n yap\u0131tlar\u0131nda bu \t\t\ti\u015f\u00e7i, \u00e7ok trajik yazg\u0131s\u0131na terkedilmi\u015f olarak g\u00f6r\u00fcl\u00fcyor. <\/p>\n

Orhan Kemal’in edebiyata ilk ba\u015flad\u0131\u011f\u0131 s\u0131ralarda kentteki i\u015f\u00e7ilere \t\t\tve k\u00fc\u00e7\u00fck ihsanlara d\u00f6n\u00fck olan yap\u0131tlar\u0131nda genellikle kendi \t\t\td\u00fcnyas\u0131n\u0131 olu\u015fturan ko\u015fullar\u0131n kurban\u0131 olan, edilgen bir kahraman \t\t\ttipi egemendi.
Orhan Kemal kendi ya\u015fam deneylerinden yararlanmadan yazmak ilkesine \t\t\tba\u011fl\u0131 kalarak 30-40’l\u0131 y\u0131llarda T\u00fcrk i\u015f\u00e7ilerinin ya\u015fam\u0131n\u0131, \t\t\tanlatm\u0131\u015ft\u0131r. Orhan Kemal’in ya\u015fam\u0131nda bu y\u0131llar\u0131n olu\u015fturdu\u011fu dilim, \t\t\tMehmet Ra\u015fit \u00d6\u011f\u00fct\u00e7\u00fc ad\u0131yla, baz\u0131 kesintilerle, Adana’da ge\u00e7mi\u015ftir. \t\t\tAdana y\u00f6resinin \u00f6zelliklerinden biri de burada hem k\u00f6y, hem de \t\t\tsanayi ya\u015fam\u0131n\u0131n \u00e7ok yo\u011funla\u015fm\u0131\u015f olmas\u0131d\u0131r. Dokuma fabrikas\u0131nda \t\t\t\u00e7al\u0131\u015fan ve ilerde yazar olacak olan Mehmet Ra\u015fit, fabrika \t\t\ti\u015f\u00e7ilerinin ya\u015fam\u0131n\u0131 b\u00fct\u00fcn y\u00f6nleriyle inceleme olana\u011f\u0131n\u0131 bulmu\u015ftur. \t\t\tBunu, “Grev”, “Dert Dinleme G\u00fcn\u00fc”, “Karde\u015f Pay\u0131”, “Hatice Aktur Ve \t\t\tSaire”, “Dilek\u00e7e” vb. gibi \u00f6yk\u00fclerinde ve Avare Y\u0131llar, Cemile, \t\t\tMurtaza gibi romanlar\u0131nda i\u015f\u00e7ilerle ilgili olarak o zaman yeni yeni \t\t\tortaya \u00e7\u0131kmaya ba\u015flayan baz\u0131 olaylarla anlatmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. <\/p>\n

\u00c7ok usta bir sanat\u00e7\u0131 olan Orhan Kemal, yaln\u0131zca malzeme \t\t\tzenginle\u015ftirmek ve halktan ki\u015filerin say\u0131s\u0131n\u0131 art\u0131rmakla kalmay\u0131p \t\t\tba\u015fka \u015feyler de yapm\u0131\u015ft\u0131r; bunlar bile kendi ba\u015f\u0131na onun edebiyata \t\t\tyapt\u0131\u011f\u0131 \u00f6nemli katk\u0131lard\u0131r. Yenilik\u00e7i bir yazar olan Orhan Kemal, \t\t\tayr\u0131ca yaratt\u0131\u011f\u0131 bu ki\u015fileri kendi de\u011ferlendirmesinden ge\u00e7irerek \t\t\tedebiyatta yeni bir kahraman g\u00f6r\u00fc\u015f\u00fc geli\u015ftirmi\u015ftir. <\/p>\n

\u0130\u015f\u00e7ilerle ilgili ilk T\u00fcrk roman\u0131 olan Cemile’de (1952) Orhan Kemal, \t\t\tkonuyu iki \u00e7izgide geli\u015ftiriyor; b\u00fct\u00fcn dikkatini gen\u00e7 dokuma i\u015f\u00e7isi \t\t\tCemile ve fabrika k\u00e2tibi Necati’yle onun aras\u0131ndaki a\u015fk \u00f6yk\u00fcs\u00fc \t\t\t\u00fczerine de\u011fil, i\u015f\u00e7ilerin ya\u015fama bi\u00e7imi ve \u00e7al\u0131\u015fma ko\u015fullar\u0131, \t\t\ti\u015f\u00e7ilerle patronlar aras\u0131ndaki \u00e7at\u0131\u015fmalar, fabrikan\u0131n ortaklar\u0131 \t\t\taras\u0131ndaki anla\u015fmazl\u0131k, yani cahil, yeni zengin, tutucu Kadir \t\t\tA\u011fa’yla onun tam kar\u015f\u0131t\u0131 olan yeni tip kapitalist Numan Bey’e \t\t\ty\u00f6neltmi\u015ftir. <\/p>\n

\u00c7ok ayr\u0131nt\u0131l\u0131 betimlemelerden ka\u00e7\u0131narak Orhan Kemal, kendine \u00f6zg\u00fc \t\t\tl\u00e2konik (k\u0131sa ye \u00f6zl\u00fc) anlat\u0131mla i\u015f\u00e7ilerin d\u00fczensiz, rahats\u0131z \t\t\tya\u015famlar\u0131n\u0131 veriyor: E\u011fri b\u00fc\u011fr\u00fc evler; \u00e7\u00fcr\u00fcm\u00fc\u015f, akan damlar; \t\t\tyetersiz beslenme; uykusuzluk ve insan\u0131 y\u0131pratan uzun \u00e7al\u0131\u015fma \t\t\tsaatleri. <\/p>\n

\u0130\u015fte i\u015f\u00e7iler fabrikaya gidiyorlar. Evlerinin \u00e7\u00fcr\u00fck kap\u0131lar\u0131 \u015fak diye \t\t\tkapan\u0131yor ve ya\u011fmurlu gecenin so\u011fuk karanl\u0131\u011f\u0131na erkekler, kad\u0131nlar, \t\t\t\u00e7ocuklar, uykular\u0131n\u0131 do\u011fru d\u00fcr\u00fcst alamam\u0131\u015f, iyice dinlenmemi\u015f \t\t\tinsanlar so\u011fukta titre\u015ferek arka arkaya soka\u011fa d\u00f6k\u00fcl\u00fcyorlar. Bir \u00e7ok \t\t\tki\u015finin birarada kald\u0131\u011f\u0131 evlerin darac\u0131k avlular\u0131nda toplan\u0131yor, \t\t\tsonra soka\u011fa ak\u0131yorlar; ba\u015fka avlularda oturanlar da gelip onlara \t\t\tkar\u0131\u015f\u0131yor; kalabal\u0131k \u00e7\u0131\u011f gibi b\u00fcy\u00fcyerek fabrikaya yollan\u0131yor. <\/p>\n

Orhan Kemal kendisini sanayiin i\u015fleyi\u015fini anlatmaya kapt\u0131rm\u0131yor; \t\t\ti\u015f\u00e7ilerin \u00e7al\u0131\u015ft\u0131klar\u0131 ko\u015fullar hakk\u0131ndaki bilgimiz, metinde \u015furaya \t\t\tburaya serpi\u015ftirilmi\u015f ayr\u0131nt\u0131lardan ve k\u0131sa betimlemelerden \t\t\tolu\u015fuyor. (“Uyku”, “Harika \u00c7ocuk”, “Kel Tahir”, vb). Cemile \t\t\troman\u0131nda i\u015f ortam\u0131n\u0131 canland\u0131rmak i\u00e7in yazar, patronun fabrikada \t\t\tyapt\u0131\u011f\u0131 g\u00fcnl\u00fck denetlemeden yararlan\u0131yor. Kadir A\u011fa, bir patronun \t\t\tkeskin g\u00f6zleriyle pamu\u011fun fabrikaya girdi\u011fi yeri, ardiyeyi, ni\u015fasta \t\t\tkokan ha\u015f\u0131llama yerini, inan\u0131lmaz bir g\u00fcr\u00fclt\u00fcyle \u00e7al\u0131\u015fan ve \t\t\t\u00e7evresinde yumak yumak pamuk\u00e7uklar u\u00e7u\u015fan dokuma tezg\u00e2hlar\u0131n\u0131 \t\t\tdenetliyor. “… Her bankoda “\u00f6nc\u00fc” ve “arkac\u0131” denilen i\u015f\u00e7iler \t\t\t\u00e7al\u0131\u015f\u0131r. Islak betonun \u00fczerinde yal\u0131n ayak veya takunyalarla \u00e7al\u0131\u015fan \t\t\tk\u0131z, o\u011flan, gen\u00e7, ihtiyar, kad\u0131n, erkek i\u015f\u00e7iler… Bilhassa \t\t\t\u00e7ocuklar… Dokuz, on ya\u015flar\u0131nda, g\u00f6zleri uyku dolu, renksiz \t\t\t\u015feylerdir ki, i\u015f kanununa uysun diye, annelerinin, teyze, hala, day\u0131 \t\t\tyahut da ta-mamiyle yabanc\u0131 bir b\u00fcy\u00fck insandan parayla sat\u0131n al\u0131nm\u0131\u015f \t\t\tn\u00fcfus k\u00e2\u011f\u0131tlar\u0131yla i\u015fe girmi\u015flerdir.” (5)
Sanayi ko\u015fullar\u0131n\u0131 anlat\u0131rken Orhan Kemal’in amac\u0131 yaln\u0131z ki\u015filerin \t\t\tya\u015famlar\u0131n\u0131 ele alarak zor i\u015f g\u00fcnlerini anlatmak de\u011fildir. Yazar, \t\t\t\u00fcretim ortam\u0131n\u0131, insanlar aras\u0131ndaki toplumsal ili\u015fkilerin en yo\u011fun \t\t\tbi\u00e7imde ortaya \u00e7\u0131kt\u0131\u011f\u0131 bir ortam olarak sapt\u0131yor. Yazar i\u00e7in \u00f6nemli \t\t\tolan, bu ili\u015fkileri yakalamak ve yans\u0131tmakt\u0131r; \u00e7\u00fcnk\u00fc toplumsal \t\t\tya\u015famdaki k\u00f6kl\u00fc de\u011fi\u015fiklikleri yazar, bu ko\u015fullar\u0131n de\u011fi\u015fmesine \t\t\tba\u011fl\u0131yor: “Egemen g\u00fc\u00e7ler”le onlara ba\u011f\u0131ml\u0131 olan insanlar aras\u0131nda \t\t\tbar\u0131\u015f\u00e7\u0131l ili\u015fkilerin bulunmas\u0131 olana\u011f\u0131 yoktur; oysa “alt tabakalar” \t\t\tya\u015famlar\u0131n\u0131 art\u0131k eskisi gibi s\u00fcrd\u00fcrmek istemiyor ve s\u00f6m\u00fcr\u00fclen \t\t\tinsanlar art\u0131k onurlu bir ya\u015fama kavu\u015fmak istiyorlar. <\/p>\n

“936” adl\u0131 \u00f6yk\u00fcs\u00fcn\u00fcn kahraman\u0131, m\u00fcd\u00fcr\u00fcn \u00f6zel ya\u015fam\u0131na kar\u0131\u015fmas\u0131na \t\t\ttepki olarak sevgilisiyle birlikte fabrikadan ayr\u0131l\u0131yor. “Dert \t\t\tDinleme G\u00fcn\u00fc” \u00f6yk\u00fcs\u00fcnde de fabrikada \u00e7\u0131kan bir olay sonunda Kemal \t\t\tDokuzcanl\u0131, patronun, mebuslara yalan s\u00f6yleyerek burada i\u015f\u00e7ilerin \t\t\t\u00e7ok rahat bir ya\u015fam s\u00fcrd\u00fcrd\u00fcklerini bildirmesi iste\u011fine kar\u015f\u0131 \t\t\t\u00e7\u0131k\u0131yor. Tutuklu olan i\u015f\u00e7ilerin yerine, \u00e7oktan beri i\u015fsiz kalm\u0131\u015f, i\u015f \t\t\tbekleyen gen\u00e7 \u00e7\u0131raklar i\u015fe girmek istemiyorlar (“Avare Y\u0131llar”). \t\t\t“Grev”deyse dokumac\u0131lar, \u00e7al\u0131\u015fma ko\u015fullar\u0131n\u0131n d\u00fczeltilmesini \t\t\tistiyorlar. <\/p>\n

Orhan Kemal’in onu ba\u015fkalar\u0131ndan ay\u0131ran kendine \u00f6zg\u00fc yan\u0131, \t\t\tger\u00e7ekli\u011fin \u00e7irkin yanlar\u0131n\u0131 \u00f6d\u00fcn vermeksizin s\u00fcrekli belli bir \t\t\ta\u00e7\u0131dan g\u00f6rmek, somut toplumsal olaylar\u0131n (uzun \u00e7al\u0131\u015fma g\u00fcnlerinin, \t\t\t\u00e7ok d\u00fc\u015f\u00fck \u00fccretlerin, para cezalar\u0131n\u0131n, teknik tehlikeleri giderici \t\t\t\u00f6nlemlerin al\u0131nmamas\u0131n\u0131n, sa\u011fl\u0131k hizmetlerinin ve sosyal yard\u0131m\u0131n \t\t\tbulunmamas\u0131n\u0131n, \u00e7ocuklar\u0131n \u00e7al\u0131\u015ft\u0131r\u0131lmas\u0131n\u0131n, i\u015fsizli\u011fin, \t\t\tfahi\u015feli\u011fin) ele\u015ftirisi yan\u0131nda ya\u015fam\u0131n olumlu yanlar\u0131n\u0131n \t\t\tde\u011ferlendirmesini de birlikte verebilmesidir. Ya\u015fam\u0131, akl\u0131 ba\u015f\u0131nda \t\t\tbir yakla\u015f\u0131mla \u00e7\u00f6z\u00fcmlerken g\u00fcnl\u00fck ya\u015fam\u0131n iyi ve g\u00fczel yanlar\u0131n\u0131 \t\t\taray\u0131p bununla birle\u015ftiriyor. \u0130leri g\u00f6r\u00fc\u015fl\u00fc bir yazar olarak Orhan \t\t\tKemal’in gelecekte daha iyi bir ya\u015fama inanmas\u0131, emek\u00e7i insanlar\u0131n \t\t\td\u00fcr\u00fcst olabilece\u011fine inanc\u0131ndan do\u011fuyor. <\/p>\n

Orhan Kemal’in yap\u0131tlar\u0131nda okur, olumlu bir kahraman\u0131n her yan\u0131yla, \t\t\tb\u00fct\u00fcn boyutlar\u0131yla verildi\u011fini hi\u00e7bir zaman g\u00f6rm\u00fcyor. Belki de \t\t\tyazar, kendi ya\u015fam\u0131nda b\u00f6yle bir kahraman \u00e7izmeyi gerektirecek \t\t\tolaylarla kar\u015f\u0131la\u015fmam\u0131\u015ft\u0131r. Ama yazar\u0131n ayr\u0131 ayr\u0131 yap\u0131tlar\u0131ndaki \t\t\tkahramanlar\u0131n\u0131n niteliklerini biraraya toplarsak, onun sanat\u0131nda \t\t\tolumlu bir kahraman\u0131n nas\u0131l bir insan oldu\u011funu anlayabiliriz. <\/p>\n

“Karde\u015f Pay\u0131”ndaki Siverekli hammal, ilk bak\u0131\u015fta pek ak\u0131ll\u0131 \t\t\tg\u00f6r\u00fcnmeyen, kayg\u0131s\u0131z bir ta\u015fra delikanl\u0131s\u0131d\u0131r. Asl\u0131nda m\u00fcteahhidin \t\t\tba\u015flang\u0131\u00e7ta onun tak\u0131m\u0131na s\u00f6z verdi\u011fi i\u015fin, \u00e7avu\u015fun r\u00fc\u015fvet kar\u015f\u0131l\u0131\u011f\u0131 \t\t\ttak\u0131ma ihanet etmesiyle d\u0131\u015far\u0131dan gelen hammallara verilmesi \t\t\ty\u00fcz\u00fcnden kahraman, duruma el koyuyor. Siverekli hammal, tepkisini \t\t\tfabrika patronunun y\u00fcz\u00fcne kar\u015f\u0131 g\u00f6steriyor. \u00c7avu\u015fu cezaland\u0131r\u0131yor; \t\t\t\u00f6teki ham-mallar\u0131n kimsenin arac\u0131l\u0131\u011f\u0131 olmadan \u00e7al\u0131\u015fmalar\u0131n\u0131 ve \t\t\tkazand\u0131klar\u0131 paray\u0131 payla\u015fmalar\u0131n\u0131 \u00f6neriyor.
“Grev”deki Sar\u0131 Memet, i\u015f\u00e7ilerin sayg\u0131s\u0131n\u0131 kazanm\u0131\u015ft\u0131r. Sekiz \t\t\tsaatlik i\u015f g\u00fcn\u00fc iste\u011fini patrona kabul ettirmek i\u00e7in Sar\u0131 Memet’in \t\t\t\u00f6nerisiyle i\u015f\u00e7iler \u0130talyan Usul\u00fc greve, ,yani i\u015f yerinde kalarak \t\t\tmakinalar\u0131 durdurma eylemine gidiyorlar. Ne var ki, fabrika patronu \t\t\tonu k\u0131\u015fk\u0131rt\u0131c\u0131 ve karga\u015fal\u0131\u011f\u0131n eleba\u015f\u0131s\u0131 olarak polise teslim \t\t\tediyor. Sar\u0131 Memet, kendi g\u00fcc\u00fcn\u00fc bilenlerdendir. Patronlar\u0131n \u00f6n\u00fcnde \t\t\tdik ba\u015fl\u0131 durabilen ve i\u015f\u00e7ileri \u00f6rg\u00fctleme yetene\u011fi olan bir \t\t\tinsand\u0131r. <\/p>\n

– “Sar\u0131 Memet sen misin?
– Benim!
– Bu ameleye sen mi \u00f6nayak oluyorsun?
– Ne gibi?
– Tezg\u00e2h ba\u015f\u0131nda dikiliyor, i\u015f yapm\u0131yorlarm\u0131\u015f. B\u00f6yle hareket \t\t\tetmelerini sen tavsiye ediyormu\u015fsun.
– Ne m\u00fcnasebet? Onu sana s\u00f6yleyen halt etmi\u015f!
– Ne bi\u00e7im konu\u015fmak bu? Bir amirin, bir b\u00fcy\u00fc\u011f\u00fcn \u00f6n\u00fcnde b\u00f6yle mi \t\t\tkonu\u015fulur?
– B\u00fcy\u00fc\u011f\u00fcn \u00f6n\u00fcnde b\u00f6yle konu\u015fulmaz, biliyorum.
– Konu\u015fuyorsun i\u015fte!
– Konu\u015fmuyorum, terbiyemi bilirim ben\\
– Konu\u015fuyorsun i\u015fte be!
– Ben senin \u00f6n\u00fcnde konu\u015fuyorum!
– Ben senin b\u00fcy\u00fc\u011f\u00fcn de\u011fil miyim? Ekmek veriyorum sana!
– Sen? Bana ekmek veriyorsun ha! Sen kimsin de bana ekmek \t\t\tvereceksin? \u00c7al\u0131\u015f\u0131yorum ben, aln\u0131m\u0131n teriyle kazan\u0131yorum onu… Bana \t\t\tekmek veriyormu\u015f!.. Ben \u00e7al\u0131\u015fmayay\u0131m da sen bana ekmek ver… Ulan \t\t\tsiz de\u011fil ekmek, g\u00fcnah\u0131n\u0131z\u0131 bile vermezsiniz bedavadan!” (6)
“Dert Dinleme G\u00fcn\u00fc”nde Kemal Dokuzcanl\u0131’n\u0131n ki\u015fili\u011fi de gene fabrika \t\t\tpatronuyla konu\u015fmas\u0131nda ortaya \u00e7\u0131k\u0131yor. Kendi toplumsal durumunun \t\t\tbilincinde olan bu kahraman, \u00f6zg\u00fcr eylemlere giri\u015fmeyi \u00f6zl\u00fcyor. \t\t\tM\u00fcd\u00fcr\u00fcn odas\u0131na \u00e7a\u011f\u0131r\u0131lan birka\u00e7 i\u015f\u00e7iye haberi verirken ustaba\u015f\u0131 \t\t\t\u015funlar\u0131 s\u00f6yl\u00fcyor: “… Ankara’dan milletvekillerimiz geldi. \t\t\tHalkevinde halk\u0131n dertlerini dinleyeceklermi\u015f… Sizleri de \t\t\tfabrikam\u0131z ad\u0131na se\u00e7tik. Gidin, bir \u015fik\u00e2yetiniz, bir derdiniz… \t\t\tOlur a… S\u00f6yleyin!” (7)
Sonra da,
“\u0130riyar\u0131 Umum M\u00fcd\u00fcr araya girdi:
-Memleketimizin b\u00fcy\u00fck t\u00fcccarlar\u0131, b\u00fcy\u00fck \u00e7ift\u00e7ileri, b\u00fcy\u00fck \t\t\tfabrikat\u00f6rleri de orda bulunacak…
S\u00f6z\u00fc fabrika sahibi ald\u0131:
-Onlar varken size s\u00f6z d\u00fc\u015fmez! \u00c7\u00fcnk\u00fc onlar memleketin ihtiya\u00e7lar\u0131n\u0131 \t\t\tdaha iyi bilir, daha iyi, takdir ederler…
Dokumac\u0131 Kemal Dokuzcanl\u0131 dayanamad\u0131:
-\u015eu halde bizim gitmemize hi\u00e7 l\u00fczum yok!
-B\u00fcy\u00fck t\u00fcccar, b\u00fcy\u00fck \u00e7ift\u00e7i, b\u00fcy\u00fck fabrikat\u00f6r benim k\u00fc\u00e7\u00fck derdimi ne \t\t\tbilecek? dedi, onlar kendi dalgalar\u0131nda, ben kendi dalgamday\u0131m… \t\t\t
Salih Topal \u0130leri at\u0131ld\u0131:
-Efendim, dedi, biz kendimizi bilmez, sayg\u0131s\u0131zlardan de\u011filiz. Neden? \t\t\t\u00c7\u00fcnk\u00fc, b\u00fcy\u00fc\u011f\u00fcn\u00fc bilmeyen Allah’\u0131n\u0131 da bilmez! Memleketimizin ileri \t\t\tgelen b\u00fcy\u00fcklerinin yan\u0131nda bize s\u00f6z d\u00fc\u015fmeyece\u011fini bizler elbette \t\t\ttakdir ederiz!
Dokumac\u0131 Kemal Dokuzcanli:
-\u0130\u015fte, dedi, tam bulmu\u015fsunuz g\u00f6nderecek adam\u0131… Benim ne i\u015fim var \t\t\torada?
Odadan \u00e7\u0131kt\u0131 gitti.”(8) <\/p>\n

Yazar bize, her i\u015f\u00e7inin Kemal Dokuzcanl\u0131’n\u0131n davrand\u0131\u011f\u0131 gibi \t\t\tdavranamayaca\u011f\u0131n\u0131 g\u00f6steriyor. B\u00fct\u00fcn i\u015f\u00e7iler patronlar\u0131n iradesine \t\t\tkendi iradeleriyle kar\u015f\u0131 \u00e7\u0131kam\u0131yorlar. \u0130\u015f\u00e7ilerin \u00e7o\u011fu Topal Salih ve \t\t\tYorulmaz H\u00fcseyin gibi, kendindeki boyun e\u011fme al\u0131\u015fkanl\u0131\u011f\u0131ndan hen\u00fcz \t\t\tkurtulamam\u0131\u015ft\u0131r. Ama onlar da, arkada\u015flar\u0131n\u0131n davrand\u0131klar\u0131 gibi \t\t\tdav-ranmalar\u0131 gerekti\u011fini anl\u0131yor ve onu \u00f6ven s\u00f6zler s\u00f6yl\u00fcyorlar. \t\t\t
“Cemile”de Orhan Kemal bize \u0130zzet Usta’n\u0131n ve \u0130zmirli Nusret’in \t\t\tki\u015filiklerini tan\u0131t\u0131yor. \u0130zzet Usta iyi bir teknisyendir, ama i\u015finde \t\t\tuzakla\u015ft\u0131rm\u0131\u015ft\u0131r ve g\u00fcndelik\u00e7i i\u015f\u00e7i olarak \u00e7al\u0131\u015fmaktad\u0131r. \u0130zzet, \t\t\tokuma yazma biliyor; \u00fcstelik epeyce de kitap devirmi\u015f. \u0130\u015f\u00e7ilerle \t\t\tili\u015fkisini kesmiyor; onlara \u00e7ok yararl\u0131 \u00f6\u011f\u00fctlerde bulunuyor; Kadir \t\t\tA\u011fa’n\u0131n tuzaklar\u0131n\u0131 a\u00e7\u0131klayarak onlara acele, d\u00fc\u015f\u00fcnmeden giri\u015filen \t\t\tyanl\u0131\u015f eylemlerden ka\u00e7\u0131nmalar\u0131n\u0131 sal\u0131k veriyor.
\u0130zmirli Nusret olduk\u00e7a kafal\u0131 bir delikanl\u0131d\u0131r. \u0130zzet gibi onun da \t\t\tokumas\u0131 yazmas\u0131 vard\u0131r (Lise dokuzuncu s\u0131n\u0131ftan ayr\u0131lm\u0131\u015ft\u0131r) ve \t\t\tepeyce kitap okumu\u015ftur. \u00c7al\u0131\u015ft\u0131\u011f\u0131 fabrikada \u00fcretimin neden \t\t\tazald\u0131\u011f\u0131n\u0131 ve elbette bu azalmadan sonra dokuma i\u015f\u00e7ilerinin \t\t\tald\u0131klar\u0131 \u00fccretlerde neden d\u00fc\u015fme olaca\u011f\u0131n\u0131 ilk sezen birka\u00e7 ki\u015fiden \t\t\tbiri o oluyor. Nusret, bu tahminini, i\u015f\u00e7ilerin huzursuzlu\u011fundan \t\t\tyararlanarak Numan Bey’in tayin etti\u011fi Avrupal\u0131 m\u00fchendisten \t\t\tkurtulmay\u0131 ama\u00e7layan patronu Kadir A\u011fa’ya iletiyor.
Orhan Kemal’in, yap\u0131tlar\u0131nda ilk kez T\u00fcrk edebiyat\u0131nda bir \t\t\tsanat\u00e7\u0131n\u0131n emek\u00e7i insanlar\u0131 kitapla kar\u015f\u0131 kar\u015f\u0131ya getirdi\u011fini \t\t\tg\u00f6r\u00fcyoruz. (“Can S\u0131k\u0131nt\u0131s\u0131”, “Ekmek, Sabun ve A\u015fk”, “Necati”, \t\t\t“Devlet Ku\u015fu” roman\u0131ndaki Recep ve “Cemile” roman\u0131). \u0130\u015f\u00e7inin bilgiye \t\t\tduydu\u011fu b\u00fcy\u00fck \u00f6zlemi dile getirirken yazar, s\u00f6m\u00fcr\u00fclm\u00fc\u015f insanlar\u0131n \t\t\tbilincinin geli\u015fmesinde e\u011fitimin ne b\u00fcy\u00fck bir yeri oldu\u011funu \t\t\tg\u00f6steriyor. Orhan Kemal’e g\u00f6re e\u011fitim “ger\u00e7e\u011fi g\u00f6rmek i\u00e7in” \t\t\tgereklidir. <\/p>\n

\u00c7ok etkileyici portreler \u00e7izerken Orhan Kemal, konu\u015fmalar\u0131n \t\t\tayr\u0131nt\u0131lar\u0131n\u0131 \u00e7ok s\u0131k\u0131 bir se\u00e7meden ge\u00e7irerek onlara inand\u0131r\u0131c\u0131 bir \t\t\tcanl\u0131l\u0131k kazand\u0131rm\u0131\u015f ve psikolojik a\u00e7\u0131dan \u00e7ok do\u011fru ki\u015filer \t\t\tyaratm\u0131\u015ft\u0131r. Yazar bu ki\u015fileri, ya\u015fam\u0131n i\u00e7inde ve toplumsal \t\t\t‘\u00e7eli\u015fkilerin ortas\u0131nda, belli toplumsal e\u011filimlerin temsilcileri \t\t\tolarak g\u00f6rm\u00fc\u015f ve se\u00e7mi\u015ftir. “Grev”deki Sar\u0131 Memet, Cemile’deki \u0130zzet \t\t\tUsta ve Nusret, “Karde\u015f Pay\u0131”ndaki Siverekli, “Dert Dinleme G\u00fcn\u00fc”ndeki \t\t\tKemal Dokuzcanl\u0131, Avare Y\u0131llar’daki Ahmet, Su\u00e7lu roman\u0131ndaki Mustafa \t\t\tve Hasan, “Arkada\u015f lsl\u0131klar\u0131”ndaki \u0130lyas, Devlet Ku\u015fu roman\u0131ndaki \t\t\tRecep yeni t\u00fcr kahramanlard\u0131r; yazar, bunlar\u0131 toplumsal bilincin ve \t\t\ttoplumsal etkinliklerin uyand\u0131\u011f\u0131 bir d\u00f6nemde ortaya \u00e7\u0131kan insanlar \t\t\tolarak g\u00f6sterir. Orhan Kemal kahramanlar\u0131n\u0131n i\u00e7 d\u00fcnyalar\u0131na girerek \t\t\t\u00e7ok s\u00f6n\u00fck (hi\u00e7bir \u00f6zelli\u011fi olmayan) d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015flerin ard\u0131nda \t\t\tkorkusuzluk, \u00e7al\u0131\u015fma sevgisi, arkada\u015fl\u0131k duygusu ve do\u011fu\u015ftan \t\t\tak\u0131ll\u0131l\u0131k gibi \u00e7ok b\u00fcy\u00fck yeteneklerin bulundu\u011funu g\u00f6stermi\u015f ve \t\t\temek\u00e7i insanlar\u0131n toplumsal bak\u0131mdan bilin\u00e7lenmesine yard\u0131m eden ve \t\t\tahlaksal nitelikleriyle insan\u0131 kendine \u00e7eken bir ideal yaratm\u0131\u015ft\u0131r. \t\t\tOrhan Kemal’i, 30’lu y\u0131llar\u0131n kendinden \u00f6nce gelen yazarlar\u0131ndan \t\t\tay\u0131ran ba\u015fka bir \u00f6zelli\u011fi de, onun T\u00fcrk i\u015f\u00e7isini, kendi s\u0131n\u0131f\u0131n\u0131n \t\t\ttemsilcisi olarak ortaya \u00e7\u0131karmas\u0131d\u0131r. Bundan ba\u015fka Orhan Kemal, \t\t\ti\u015f\u00e7inin s\u0131n\u0131f psikolojisine inerek bunu a\u00e7\u0131klam\u0131\u015f ve belli bir \t\t\ttoplumsal psikolojik tip yaratm\u0131\u015ft\u0131r.<\/p>\n

www.grupyorum.net\/tavir – Svetlana Uturgauri – Ekim.2004<\/p>\n

Dipnotlar
(1) Orhan Kemal, Ekmek Kavgas\u0131, Rus\u00e7a’s\u0131 R. Fi\u015f, Moskova, 1956.
(2) 3 Ciltlik Rus Sovyet Edebiyat\u0131 Tarihi, Cilt I, Moskova, 1958, s. \t\t\t487.
(3) A. Met\u00e7enko, “Sosyalist Ger\u00e7ek\u00e7ilik ve Sosyalist Sanat \u00dczerine”, \t\t\tOktobr Dergisi, 1967, Say\u0131 6, s. 196.
(4) Orhan Kemal, Ekmek Kavgas\u0131, \u0130st., 1958, s. 40-41.
(5) Orhan Kemal, Cemile, \u0130st., 1970, s. 23-24.
(6) Orhan Kemal, “Grev”, Ankara, 1954, s. 11-12.
(7) A.g.e., s. 50.
(8) A.g.e., s. 50-51.<\/p>\n","protected":false},"excerpt":{"rendered":"

Orhan Kemal (1914-1970) yaln\u0131z kendi \u00fclkesinde de\u011fil, \u00fclke s\u0131n\u0131rlar\u0131n\u0131n \u00e7ok \u00f6tesinde de tan\u0131nmaktad\u0131r. Orhan Kemal, Sovyetler’de de \u00e7ok iyi tan\u0131nan bir yazard\u0131r. Bu T\u00fcrk yazar\u0131n\u0131n ilk se\u00e7me \u00f6yk\u00fcleri, Moskova’da 20 y\u0131l \u00f6nce yay\u0131nlanm\u0131\u015ft\u0131r.(1) Onun yazd\u0131klar\u0131n\u0131 \u015fimdi Azerbaycanl\u0131lar, Ukraynal\u0131lar, G\u00fcrc\u00fcler, Kazaklar, Latviyal\u0131lar ve \u00d6zbekler de kendi dillerinde okuyorlar. Orhan Kemal’in yap\u0131tlar\u0131nda, bug\u00fcn yayg\u0131n olan yabanc\u0131la\u015fma sorununa […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[137],"tags":[],"class_list":{"0":"post-4335","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-edebiyat-turkiye"},"yoast_head":"\nT\u00fcrkiye'de ve D\u00fcnya'da Orhan Kemal | Svetlana Uturgauri - 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\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"T\u00fcrkiye'de ve D\u00fcnya'da Orhan Kemal | Svetlana Uturgauri\" \/>\n<meta property=\"og:description\" content=\"Orhan Kemal (1914-1970) yaln\u0131z kendi \u00fclkesinde de\u011fil, \u00fclke s\u0131n\u0131rlar\u0131n\u0131n \u00e7ok \u00f6tesinde de tan\u0131nmaktad\u0131r. Orhan Kemal, Sovyetler’de de \u00e7ok iyi tan\u0131nan bir yazard\u0131r. Bu T\u00fcrk yazar\u0131n\u0131n ilk se\u00e7me \u00f6yk\u00fcleri, Moskova’da 20 y\u0131l \u00f6nce yay\u0131nlanm\u0131\u015ft\u0131r.(1) Onun yazd\u0131klar\u0131n\u0131 \u015fimdi Azerbaycanl\u0131lar, Ukraynal\u0131lar, G\u00fcrc\u00fcler, Kazaklar, Latviyal\u0131lar ve \u00d6zbekler de kendi dillerinde okuyorlar. Orhan Kemal’in yap\u0131tlar\u0131nda, bug\u00fcn yayg\u0131n olan yabanc\u0131la\u015fma sorununa […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\" \/>\n<meta property=\"og:site_name\" content=\"narteks.net\" \/>\n<meta property=\"article:published_time\" content=\"2010-03-12T08:05:25+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg\" \/>\n<meta name=\"author\" content=\"Tar\u0131k\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@narteks\" \/>\n<meta name=\"twitter:site\" content=\"@narteks\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Tar\u0131k\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"24 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\"},\"author\":{\"name\":\"Tar\u0131k\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\"},\"headline\":\"T\u00fcrkiye’de ve D\u00fcnya’da Orhan Kemal | Svetlana Uturgauri\",\"datePublished\":\"2010-03-12T08:05:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\"},\"wordCount\":4811,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg\",\"articleSection\":[\"Edebiyat ( T\u00fcrkiye )\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\",\"url\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\",\"name\":\"T\u00fcrkiye'de ve D\u00fcnya'da Orhan Kemal | Svetlana Uturgauri - narteks.net\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg\",\"datePublished\":\"2010-03-12T08:05:25+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#breadcrumb\"},\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage\",\"url\":\"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg\",\"contentUrl\":\"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Anasayfa\",\"item\":\"https:\/\/narteks.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"T\u00fcrkiye’de ve D\u00fcnya’da Orhan Kemal | Svetlana Uturgauri\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/narteks.net\/#website\",\"url\":\"https:\/\/narteks.net\/\",\"name\":\"narteks.net\",\"description\":\"K\u00fclt\u00fcr Sanat Edebiyat Felsefe\",\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"alternateName\":\"K\u00fclt\u00fcr Sanat Edebiyat Felsefe\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/narteks.net\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"tr\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/narteks.net\/#organization\",\"name\":\"narteks.net\",\"url\":\"https:\/\/narteks.net\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\",\"contentUrl\":\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\",\"width\":300,\"height\":90,\"caption\":\"narteks.net\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/x.com\/narteks\",\"https:\/\/instagram.com\/narteksnet\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\",\"name\":\"Tar\u0131k\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g\",\"caption\":\"Tar\u0131k\"},\"sameAs\":[\"http:\/\/narteks.net\"],\"url\":\"https:\/\/narteks.net\/index.php\/author\/narbak\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"T\u00fcrkiye'de ve D\u00fcnya'da Orhan Kemal | Svetlana Uturgauri - narteks.net","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/","og_locale":"tr_TR","og_type":"article","og_title":"T\u00fcrkiye'de ve D\u00fcnya'da Orhan Kemal | Svetlana Uturgauri","og_description":"Orhan Kemal (1914-1970) yaln\u0131z kendi \u00fclkesinde de\u011fil, \u00fclke s\u0131n\u0131rlar\u0131n\u0131n \u00e7ok \u00f6tesinde de tan\u0131nmaktad\u0131r. Orhan Kemal, Sovyetler’de de \u00e7ok iyi tan\u0131nan bir yazard\u0131r. Bu T\u00fcrk yazar\u0131n\u0131n ilk se\u00e7me \u00f6yk\u00fcleri, Moskova’da 20 y\u0131l \u00f6nce yay\u0131nlanm\u0131\u015ft\u0131r.(1) Onun yazd\u0131klar\u0131n\u0131 \u015fimdi Azerbaycanl\u0131lar, Ukraynal\u0131lar, G\u00fcrc\u00fcler, Kazaklar, Latviyal\u0131lar ve \u00d6zbekler de kendi dillerinde okuyorlar. Orhan Kemal’in yap\u0131tlar\u0131nda, bug\u00fcn yayg\u0131n olan yabanc\u0131la\u015fma sorununa […]","og_url":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/","og_site_name":"narteks.net","article_published_time":"2010-03-12T08:05:25+00:00","og_image":[{"url":"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg","type":"","width":"","height":""}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"24 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"T\u00fcrkiye’de ve D\u00fcnya’da Orhan Kemal | Svetlana Uturgauri","datePublished":"2010-03-12T08:05:25+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/"},"wordCount":4811,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"image":{"@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage"},"thumbnailUrl":"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg","articleSection":["Edebiyat ( T\u00fcrkiye )"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/","url":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/","name":"T\u00fcrkiye'de ve D\u00fcnya'da Orhan Kemal | Svetlana Uturgauri - narteks.net","isPartOf":{"@id":"https:\/\/narteks.net\/#website"},"primaryImageOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage"},"image":{"@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage"},"thumbnailUrl":"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg","datePublished":"2010-03-12T08:05:25+00:00","breadcrumb":{"@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#breadcrumb"},"inLanguage":"tr","potentialAction":[{"@type":"ReadAction","target":["https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/"]}]},{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#primaryimage","url":"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg","contentUrl":"http:\/\/cansufirinci.files.wordpress.com\/2010\/01\/orhan-kemal.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/narteks.net\/index.php\/2010\/03\/12\/turkiyede-ve-dunyada-orhan-kemal-svetlana-uturgauri\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Anasayfa","item":"https:\/\/narteks.net\/"},{"@type":"ListItem","position":2,"name":"T\u00fcrkiye’de ve D\u00fcnya’da Orhan Kemal | Svetlana Uturgauri"}]},{"@type":"WebSite","@id":"https:\/\/narteks.net\/#website","url":"https:\/\/narteks.net\/","name":"narteks.net","description":"K\u00fclt\u00fcr Sanat Edebiyat Felsefe","publisher":{"@id":"https:\/\/narteks.net\/#organization"},"alternateName":"K\u00fclt\u00fcr Sanat Edebiyat Felsefe","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/narteks.net\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"tr"},{"@type":"Organization","@id":"https:\/\/narteks.net\/#organization","name":"narteks.net","url":"https:\/\/narteks.net\/","logo":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/#\/schema\/logo\/image\/","url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","contentUrl":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","width":300,"height":90,"caption":"narteks.net"},"image":{"@id":"https:\/\/narteks.net\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/narteks","https:\/\/instagram.com\/narteksnet"]},{"@type":"Person","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca","name":"Tar\u0131k","image":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g","caption":"Tar\u0131k"},"sameAs":["http:\/\/narteks.net"],"url":"https:\/\/narteks.net\/index.php\/author\/narbak\/"}]}},"_links":{"self":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts\/4335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/comments?post=4335"}],"version-history":[{"count":0,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts\/4335\/revisions"}],"wp:attachment":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/media?parent=4335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/categories?post=4335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/tags?post=4335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}