{"id":4677,"date":"2010-08-21T10:13:17","date_gmt":"2010-08-21T07:13:17","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/"},"modified":"2010-08-21T10:13:17","modified_gmt":"2010-08-21T07:13:17","slug":"bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/","title":{"rendered":"Bir Kad\u0131n Anlat\u0131s\u0131 Olarak ‘Hep O \u015eark\u0131’ | Asl\u0131 G\u00fcne\u015f"},"content":{"rendered":"![](\"http:\/\/www.tulumba.com\/mmTULUMBA\/Images\/bk\/zBK982811JY952_250.jpg\")
Hep O \u015eark\u0131 (1956), Yakup Kadri\u2019nin, roman ser\u00fcvenini \u201cilgin\u00e7\u201d bir bi\u00e7imde sonland\u0131rd\u0131\u011f\u0131 bir yap\u0131t. Yap\u0131t\u0131n \u201cilgin\u00e7\u201dli\u011fi, i\u00e7erik ya da bi\u00e7iminden \u00e7ok, \u201cmill\u00ee-politik\u201d konular\u0131n yazar\u0131 olarak bilinen Yakup Kadri\u2019nin bibliyografyas\u0131nda \u201cayr\u0131ks\u0131\u201d durmas\u0131 ile ilgili. \u0130ddias\u0131, tezi olmayan, olabildi\u011fince s\u0131radan, naif bir a\u015fk \u00f6yk\u00fcs\u00fc anlat\u0131l\u0131r Hep O \u015eark\u0131\u2019da. Hatt\u00e2, Atilla \u00d6zk\u0131r\u0131ml\u0131\u2019n\u0131n dedi\u011fi gibi \u201cHep O \u015eark\u0131 bir a\u015fk \u00f6yk\u00fcs\u00fc bile de\u011fildir\u201d (\u00d6zk\u0131r\u0131ml\u0131, \u201cHep O \u015eark\u0131 \u00dczerine\u201d 15). Bu y\u00fczden de, Yakup Kadri hakk\u0131nda yaz\u0131lan ciltler dolusu yaz\u0131n\u0131n i\u00e7inde Hep O \u015eark\u0131\u2019ya ili\u015fkin bir \u015feyler bulmak m\u00fcmk\u00fcn de\u011fildir. Bir kad\u0131n\u0131n a\u011fz\u0131ndan aktar\u0131lan \u201cya\u015fam\u00f6yk\u00fcs\u00fc\u201d, irdelenmeye, \u00fczerinde tart\u0131\u015f\u0131lmaya de\u011fer bulunmayarak b\u00fcy\u00fck bir sessizlikle kar\u015f\u0131lanm\u0131\u015ft\u0131r. Tek ba\u015f\u0131na bu \u201csessizlik\u201d bile, roman\u0131n yaz\u0131n\u0131n ba\u015fl\u0131\u011f\u0131nda iddia edildi\u011fi gibi bir \u201ckad\u0131n anlat\u0131s\u0131\u201d oldu\u011funu destekler niteliktedir:<\/p>\n
Ama ge\u00e7erli olan erkeklere \u00f6zg\u00fc de\u011fer \u00f6l\u00e7\u00fctleridir. Kabaca dile getirilecek olursa, \u201c\u00f6nemli\u201d olan futbol ve spordur; modaya tap\u0131nmak, giysiler sat\u0131n almak \u201c\u00f6nemsiz\u201ddir. Ve bu de\u011fer \u00f6l\u00e7\u00fctleri ka\u00e7\u0131n\u0131lmaz bi\u00e7imde ya\u015famdan yaz\u0131na aktar\u0131l\u0131rlar. Ele\u015ftirmen bu \u00f6nemli bir kitap diye d\u00fc\u015f\u00fcn\u00fcr, \u00e7\u00fcnk\u00fc sava\u015f\u0131 ele almaktad\u0131r. Bu \u00f6nemsiz bir kitap, \u00e7\u00fcnk\u00fc oturma odas\u0131ndaki kad\u0131nlar\u0131n duygular\u0131n\u0131 ele al\u0131yor. Bir sava\u015f sahnesi bir d\u00fckkan sahnesinden daha \u00f6nemlidir. (Woolf 82)<\/p>\n
\u00a0<\/p>\n
\u201cErkek iktidar\u0131n\u0131n belli \u00f6yk\u00fcleri d\u00fc\u015f\u00fcn\u00fclemez duruma getir[di\u011fi]\u201d (Heilbrun 32) edebiyat gelene\u011fi i\u00e7erisinde kad\u0131n deneyiminin dillendirilmesi, \u00f6zellikle Yakup Kadri gibi erkek egemen s\u00f6yleme d\u00f6rt elle sar\u0131lan, yazd\u0131\u011f\u0131 \u201cmill\u00ee\u201d romanlarda kad\u0131n\u0131, ulusal kimli\u011fin-k\u00fclt\u00fcr\u00fcn \u201c\u00f6teki\u201dsi haline getiren bir yazar\u0131n nas\u0131l olup da b\u00f6yle bir \u00f6yk\u00fc anlatmaya kalk\u0131\u015ft\u0131\u011f\u0131 ve dilini b\u00fct\u00fcn \u00f6teki yap\u0131tlar\u0131ndaki dilden nas\u0131l farkl\u0131la\u015ft\u0131rd\u0131\u011f\u0131 g\u00f6rmezden gelinmi\u015ftir. Asl\u0131nda, bu konunun tart\u0131\u015f\u0131lmas\u0131 yaln\u0131zca Yakup Kadri ve \u201ckad\u0131n anlat\u0131s\u0131\u201d aras\u0131ndaki \u201c\u015faibeli\u201d ili\u015fkinin de\u011fil, \u201ctoplumsal cinsiyet\u201din edebiyat \u00fczerindeki etkisinin tart\u0131\u015f\u0131lmas\u0131 anlam\u0131na gelecektir.<\/p>\n
Hep O \u015eark\u0131\u2019n\u0131n\u2014kendi ya\u015fam\u0131n\u0131 romanla\u015ft\u0131ran kad\u0131n anlat\u0131c\u0131s\u0131ndan yola \u00e7\u0131karak\u2014 Roland Barthes\u2019\u0131n deyi\u015fiyle \u201cad\u0131n\u0131 a\u011fz\u0131na almaktan korkan roman\u201d olan bir \u201cotobiyografi\u201d (aktaran Heilbrun 20) oldu\u011funu s\u00f6ylemek, ilk a\u015famada olduk\u00e7a \u201c\u015f\u00fcpheli\u201d g\u00f6r\u00fclebilir. B\u00fct\u00fcn bir edebiyat gelene\u011fi boyunca erkek yazarlar\u0131n anlatt\u0131\u011f\u0131 kad\u0131n \u00f6yk\u00fclerinin erkek egemen s\u00f6ylemin i\u00e7inden kurgulanmas\u0131 ve kad\u0131n anlat\u0131s\u0131 ile erkek anlat\u0131s\u0131n\u0131n farkl\u0131l\u0131\u011f\u0131, feminist ele\u015ftiri sayesinde g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kar\u0131lm\u0131\u015fken bir erkek yazar\u0131n yazd\u0131klar\u0131n\u0131 \u201ckad\u0131n anlat\u0131s\u0131\u201d olarak yorumlaman\u0131n ne denli \u201cikna edici\u201d oldu\u011fu sorusu, ancak anlat\u0131c\u0131n\u0131n cinsiyetinin, s\u00f6ylemi farkl\u0131la\u015ft\u0131rd\u0131\u011f\u0131 noktalar vurgulanarak yan\u0131tlanabilir. Kad\u0131nlar\u0131n da\u2014toplumsal cinsiyet rollerinin belirledi\u011fi bir tutumla\u2014yazma ser\u00fcvenine bir \u201cerkek\u201d gibi, onun \u201cs\u00f6ylemi\u201dni \u00f6d\u00fcn\u00e7 alarak dahil olduklar\u0131, erke\u011fe \u00f6zg\u00fc bir alanda kendilerini ancak bu \u015fekilde \u201cme\u015fru\u201d hissedebildikleri d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde kad\u0131n anlat\u0131s\u0131n\u0131n biyolojik farkl\u0131l\u0131ktan do\u011fmad\u0131\u011f\u0131 anla\u015f\u0131l\u0131r. \u00d6yleyse kad\u0131n\u0131n \u00f6yk\u00fcle\u015ftirilme bi\u00e7imi, yazar\u0131n kad\u0131n ya da erkek olu\u015funu unutturacak derecede, erkek egemen s\u00f6ylemle yak\u0131ndan ilgilidir.<\/p>\n
\u00d6zellikle biyografi ve otobiyografi konusunda yap\u0131lm\u0131\u015f feminist incelemelerin g\u00f6sterdi\u011fi ger\u00e7ek, kad\u0131nlar\u0131n da kendi \u00f6yk\u00fclerini aktar\u0131rken son derece \u201csans\u00fcrc\u00fc\u201d davrand\u0131klar\u0131d\u0131r:
Ya\u015famlar\u0131n\u0131 yazmakta olan kad\u0131nlar da, kendilerini kad\u0131nca tutumlar\u0131n ba\u011flar\u0131ndan kurtarmakta hi\u00e7 de daha az g\u00fc\u00e7l\u00fck \u00e7ekmediler. On sekizinci y\u00fczy\u0131ldaki kad\u0131n \u00f6zya\u015fam\u00f6yk\u00fcleri \u00fczerine yazarken Patricia Spacks \u015f\u00f6yle diyor: G\u00fc\u00e7l\u00fc kad\u0131n d\u00fc\u015f\u00fc, ger\u00e7ekle\u015fse bile \u201ckendini anla\u015f\u0131lmaz bir bi\u00e7imde yine yetersizli\u011fin itiraf\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcr… Genel ve \u00f6zel benliklerin do\u011fas\u0131… kad\u0131nlar i\u00e7in, bir bak\u0131ma, erkekler i\u00e7in s\u00f6z konusu olan benliklerin tersidir. Bir erke\u011fin d\u00fcnyaya \u00e7evirdi\u011fi y\u00fcz… tipik olarak onun g\u00fcc\u00fcn\u00fc de kapsar,\u201d oysa kad\u0131nlar i\u00e7in kabul edilebilecek tek model \u201ckendini kand\u0131rmay\u0131 ve boyun e\u011fmeyi i\u00e7erir\u201d. (Heilbrun 16)<\/p>\n
Carolyn Heilbrun\u2019\u00fcn saptamas\u0131n\u0131n tersi do\u011fru olsayd\u0131, Jane Austen, Bronte Karde\u015fler ya da Goeorge Eliot gibi ondokuzuncu y\u00fczy\u0131la damgas\u0131n\u0131 vuran kad\u0131n yazarlar\u0131n romanlar\u0131nda zek\u00e2s\u0131n\u0131, yetene\u011fini bir erke\u011fin hayat\u0131na eklemleyerek; aray\u0131\u015flar\u0131n\u0131 \u201cmutlu evlilik\u201d masal\u0131yla sonland\u0131rarak \u201cs\u0131n\u0131r\u201d\u0131 a\u015fmamay\u0131 se\u00e7en kad\u0131nlar yerine, farkl\u0131la\u015fmay\u0131, meydan okumay\u0131 sonuna kadar g\u00f6t\u00fcren kad\u0131nlar\u0131 bulmak m\u00fcmk\u00fcn olabilirdi. Ama bir kad\u0131n\u0131n, \u00f6fkesini, arzusunu yaz\u0131ya d\u00f6kmesi, kendisine \u00e7ok\u00e7a yak\u0131\u015ft\u0131r\u0131lan \u201chisteri\u201dnin d\u0131\u015favurumu anlam\u0131na gelece\u011finden, kad\u0131nlar kendi \u00f6yk\u00fclerini bir erke\u011fin yazabilece\u011finden daha cesur, daha i\u00e7ten yazmam\u0131\u015flard\u0131r\u2014yazamam\u0131\u015flard\u0131r. Anlat\u0131n\u0131n cinsiyetini belirleyen toplumsal cinsiyettir. Metnin cinsiyeti \u2014erkek ya da kad\u0131n\u2014 yazar\u0131n niyetinden ba\u011f\u0131ms\u0131z olarak ortaya \u00e7\u0131kan s\u00f6ylemin okunmas\u0131 ile a\u00e7\u0131\u011fa \u00e7\u0131kart\u0131labilir. Bu durumda, yazar\u0131n\u0131n cinsiyetini unutup Hep O \u015eark\u0131\u2019y\u0131 bir \u201ckad\u0131n anlat\u0131s\u0131\u201d haline getiren anlat\u0131m \u00f6zelliklerini incelemeye ge\u00e7mekte fayda var.<\/p>\n
On dokuzuncu y\u00fczy\u0131l Osmanl\u0131s\u0131nda bir pa\u015fa k\u0131z\u0131, ya\u015fad\u0131klar\u0131n\u0131 ka\u011f\u0131da d\u00f6kmeye karar verir. Ama yazd\u0131\u011f\u0131 otobiyografinin daha ilk c\u00fcmlesinden kad\u0131n ve yaz\u0131 aras\u0131ndaki gerilimli ili\u015fki kendisini g\u00f6stermi\u015ftir. Hep O \u015eark\u0131, \u015fu c\u00fcmlelerle ba\u015flar: \u201cMe\u011fer roman yazmak ne g\u00fc\u00e7 bir i\u015fmi\u015f! \u0130\u015fte elimde kalem \u00f6n\u00fcmde defter, saatlerden beri evirip \u00e7eviriyorum, iki c\u00fcmleyi bir araya getiremiyorum. Ben ki, b\u00fct\u00fcn \u00f6mr\u00fc roman okumakla ge\u00e7mi\u015f bir kad\u0131n\u0131m\u201d (19). Dilin nesnesi olarak erkekler taraf\u0131ndan kurgulanan kad\u0131n, \u00f6zne olarak kalemi eline ald\u0131\u011f\u0131nda bilmedi\u011fi bir alana ad\u0131m atar. M\u00fcnire, \u201ckalemi eline al\u0131r almaz ilk fark edece\u011fi \u015fey, kullanabilece\u011fi ortak bir c\u00fcmlenin bulunmay\u0131\u015f\u0131 olacakt\u0131r\u201d(Woolf 85). Adem\u2019in ilk s\u00f6z\u00fc s\u00f6ylemesinden bu yana b\u00fct\u00fcn s\u00f6zler, tan\u0131mlar erke\u011fe aittir. Roman\u0131n yukar\u0131da al\u0131nt\u0131lad\u0131\u011f\u0131m\u0131z giri\u015f c\u00fcmlesi, \u00f6mr\u00fcnde tek sat\u0131r olsun yazmam\u0131\u015f bir erke\u011fin dahi duyabilece\u011fi \u00f6zg\u00fcvenden yoksundur.<\/p>\n
B\u00fct\u00fcn \u00f6mr\u00fcn\u00fc roman\u2014 yani bir anlamda erkeklerin yazd\u0131\u011f\u0131 kad\u0131n \u00f6yk\u00fcleri\u2014 okumakla ge\u00e7iren M\u00fcnire, kendi hayat\u0131n\u0131 nas\u0131l anlataca\u011f\u0131n\u0131 bilemez. Kapat\u0131lm\u0131\u015f, koruma alt\u0131na al\u0131nm\u0131\u015f ya\u015fam\u0131nda ser\u00fcvenlere, deneyimlere, k\u0131sacas\u0131 anlat\u0131lmaya de\u011fer bir \u00f6yk\u00fcye yer olmam\u0131\u015ft\u0131r. Neyse ki, M\u00fcnire\u2019nin kitaplar\u0131n\u0131 okuyarak b\u00fcy\u00fcd\u00fc\u011f\u00fc, \u201chiss\u00ee\u201d romanlar\u0131n yazar\u0131 Vecihi, kad\u0131nlar\u0131n d\u00f6rt duvar aras\u0131nda ge\u00e7en \u201cac\u0131kl\u0131\u201d \u00f6yk\u00fclerini yazarak M\u00fcnire\u2019ye ilham verir. Vecihi\u2019nin anlatt\u0131\u011f\u0131 bahts\u0131z kad\u0131n \u00f6yk\u00fclerini okuduktan sonra kendisinin de \u201cbir eksi\u011fi olmad\u0131\u011f\u0131n\u0131\u201dd\u00fc\u015f\u00fcnen M\u00fcnire, kaleme sar\u0131l\u0131r ama bir t\u00fcrl\u00fc Vecihi gibi yazamaz. Eksik olan yetenek de\u011fildir elbette. Eksik olan \u00f6yk\u00fcd\u00fcr. Otuz be\u015f y\u0131ll\u0131k hayat\u0131n\u0131 yazmaya kalk\u0131\u015ft\u0131\u011f\u0131nda \u201cBen, otuz be\u015f y\u0131l, hep ayn\u0131 erke\u011fin a\u015fk\u0131 ile yan\u0131p kavruldum\u201d demekten ba\u015fka bir s\u00f6z bulamaz (23). Oysa, bu otuz be\u015f y\u0131lda d\u00f6rt padi\u015fah devri g\u00f6rm\u00fc\u015ft\u00fcr. Ya\u015fad\u0131\u011f\u0131 y\u00fczy\u0131l, Osmanl\u0131\u2019n\u0131n kaderini de\u011fi\u015ftiren y\u00fczy\u0131ld\u0131r. Erkek olsayd\u0131, b\u00fct\u00fcn bu olaylardan, devirlerden bir Sodom ve Gomore, bir Yaban, ya da bir Kiral\u0131k Konak \u00e7\u0131karabilirdi. Ama M\u00fcnire, iktidardan yoksun oldu\u011fu i\u00e7in, \u201ckoca bir tarih\u201d olan ya\u015fam\u0131ndan kendi pay\u0131na d\u00fc\u015fenlerle yetinmek zorundad\u0131r. Dolay\u0131s\u0131yla, Hep O \u015eark\u0131\u2019y\u0131 yay\u0131na haz\u0131rlayan Atilla \u00d6zk\u0131r\u0131ml\u0131\u2019n\u0131n yazar\u0131n tarihsel olaylar\u0131 yans\u0131tmay\u0131\u015f\u0131n\u0131n nedenlerine ili\u015fkin yorumunu ge\u00e7ersiz saymak gerekir. \u00d6zk\u0131r\u0131ml\u0131, Hep O \u015eark\u0131 hakk\u0131nda \u015funlar\u0131 s\u00f6yler: \u201cAma yazar, \u00f6teki romanlar\u0131nda oldu\u011fu gibi, belirledi\u011fi tarihsel d\u00f6nemin ayr\u0131nt\u0131lar\u0131n\u0131, toplumsal ve siyasal olu\u015fumlar\u0131n\u0131n ki\u015filerin hayat\u0131na yans\u0131y\u0131\u015f\u0131n\u0131 yorumlay\u0131c\u0131, dahas\u0131 ele\u015ftirel bir tutumla ele almaz. Siyasal ve toplumsal olaylar, bireylerin hayat\u0131n\u0131n yaln\u0131zca fonudur\u201d (\u00d6zk\u0131r\u0131ml\u0131 13). \u00d6zk\u0131r\u0131ml\u0131\u2019n\u0131n bir tercih olarak g\u00f6rd\u00fc\u011f\u00fc tutum, bir kad\u0131n yazar s\u00f6z konusu olunca zorunluluk halini al\u0131r. Toplumsal ve siyasal olu\u015fumlar, M\u00fcnire\u2019nin istese de anlatamayaca\u011f\u0131 \u015feylerdir. Kad\u0131nlar i\u00e7in, kapat\u0131ld\u0131klar\u0131 d\u00f6rt duvar aras\u0131ndan yaln\u0131zca erkeklerin ilgilendi\u011fi sorunlara ili\u015fkin bir \u015feyler s\u00f6ylemek, e\u011fer ola\u011fan\u00fcst\u00fc bir hayal g\u00fcc\u00fcne sahip de\u011fillerse, imk\u00e2ns\u0131zd\u0131r. M\u00fcnire, Abd\u00fclaziz\u2019in intihar\u0131n\u0131 \u201czavall\u0131 babac\u0131\u011f\u0131n\u0131n felaketine sebep olan facia\u201d(24); Osmanl\u0131-Rus sava\u015f\u0131n\u0131 ise \u201cso\u011fuk ve yoksulluk\u201d(150) olarak haf\u0131zas\u0131na kaz\u0131m\u0131\u015ft\u0131r. Siyasal ve toplumsal olaylar, ancak evi\u00e7i hayata etkileriyle M\u00fcnire\u2019nin hayat\u0131nda yer al\u0131rlar. O, \u201ctarihsel, toplumsal, ekonomik \u015fartlar\u201d ve bunlar\u0131n \u201czarur\u00ee neticeleri\u201d \u00fczerinde s\u00f6z s\u00f6yleyecek bilgi ve deneyimden, yani bir anlamda iktidardan yoksundur. Ama, \u00f6zel alan\u0131n anlat\u0131m\u0131n\u0131n da toplumsal ve siyasal olu\u015fumlar\u0131 yans\u0131tman\u0131n bir yolu oldu\u011fu, bu anlamda politik olan\u0131n yaln\u0131zca kamusal olanla s\u0131n\u0131rland\u0131r\u0131lamayaca\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcrse, romanlar\u0131 toplumsal olan ve olmayan diye s\u0131n\u0131fland\u0131rmaya tabi tutman\u0131n arkas\u0131nda, edebiyata ait \u00f6l\u00e7\u00fctlerin de\u011fil \u00f6zel alan\u0131, dolay\u0131s\u0131yla onunla e\u015f tutulan kad\u0131n\u0131, k\u00fclt\u00fcrel alandan d\u0131\u015flayan erkek egemen s\u00f6ylemin oldu\u011fu g\u00f6r\u00fcl\u00fcr.
Anlat\u0131lan \u00f6yk\u00fclerin b\u00f6ylesine bir s\u0131n\u0131fland\u0131rmaya tabi tutulmas\u0131, M\u00fcnire gibi kaleme sar\u0131lan kad\u0131nlar\u0131n cesaretini daha ba\u015f\u0131ndan k\u0131rar. Okunmaya de\u011fer bir \u00f6yk\u00fc yaratmaya \u00e7al\u0131\u015fan M\u00fcnire\u2019de, Barbara Pym\u2019in Kusursuz Kad\u0131nlar\u2019\u0131nda \u201clavaboda bula\u015f\u0131k y\u0131kayan bir kad\u0131n\u0131n bir saatini anlatan bilin\u00e7 ak\u0131\u015f\u0131 t\u00fcr\u00fcnde bir roman yazmay\u0131 d\u00fc\u015f\u00fcnen\u201d(174-75) Mildred\u2019\u0131n g\u00f6z\u00fcpekli\u011finden eser yoktur. Kad\u0131n deneyimini edeb\u00ee hiyerar\u015fi i\u00e7erisinde \u201cokunmaya de\u011fer olanlar\u201d s\u0131ras\u0131na sokmak olduk\u00e7a g\u00fc\u00e7 bir i\u015ftir. Zaten, Hep O \u015eark\u0131\u2019n\u0131n b\u00fcy\u00fck bir sessizlikle kar\u015f\u0131lanmas\u0131 bu hiyerar\u015fiyle yak\u0131ndan ilgilidir.
C\u00fcmle kurmakta bile zorlanan M\u00fcnire, ilham kayna\u011f\u0131 Vecihi\u2019yi taklit ederek yazmaya \u00e7al\u0131\u015f\u0131r. \u00c7ocukluk a\u015fk\u0131, yal\u0131 kom\u015fular\u0131n\u0131n o\u011flu Cemil\u2019le ili\u015fkisini en ba\u015f\u0131ndan anlatmaya ba\u015flar. \u0130lk etapta ortaya \u00e7\u0131kan metin, hissi romanlar\u0131n yazar\u0131 Vecihi\u2019yi k\u0131skand\u0131racak kadar, \u201c\u015fairane\u201ddir:<\/p>\n
Il\u0131k bir yaz gecesiydi. Koyu l\u00e2civert bir g\u00f6ky\u00fcz\u00fcnde irili ufakl\u0131 say\u0131s\u0131z y\u0131ld\u0131zlar p\u0131r\u0131l p\u0131r\u0131l p\u0131r\u0131ld\u0131yor ve civardaki korudan b\u00fclb\u00fcl sesleri geliyordu. P\u00e2kize, (bu, beni temsil eden gen\u00e7 k\u0131za takt\u0131\u011f\u0131m isimdi) kendinden ge\u00e7mi\u015f bir halde bu p\u0131r\u0131lt\u0131lar\u0131 seyreder ve bu sesleri dinlerken birdenbire do\u011fruldu. Kalbi \u015fiddetle \u00e7arpma\u011fa ba\u015flad\u0131. Bah\u00e7enin derin sessizli\u011fi i\u00e7inde, biraz \u00f6tedeki taflanlar\u0131n aras\u0131ndan bir h\u0131\u015f\u0131lt\u0131 i\u015fitmi\u015fti. [….] Evvel\u00e2 hi\u00e7bir \u015fey g\u00f6remedi. Biraz sonra taflan k\u00fcmelerinin aras\u0131ndaki \u00e7imenlikten \u201cme\u00e7hul bir \u015fahs\u0131n\u201d yava\u015f yava\u015f kendine do\u011fru ilerledi\u011fini hissediyordu. Bu adam, her kimse, parmakl\u0131\u011f\u0131n kenar\u0131na kadar yakla\u015ft\u0131. Nefes kadar hafif bir f\u0131s\u0131lt\u0131 ile ona:
-P\u00e2kize Han\u0131m korkmay\u0131n. Benim. Ben Pertev… diyor.
Bu sefer gen\u00e7 k\u0131z\u0131n kalbi b\u00fcsb\u00fct\u00fcn ba\u015fka bir helecenla \u00e7arpma\u011fa ba\u015flad\u0131. Biraz sonra kendini tamamile kaybetmi\u015fti. G\u00f6zlerini a\u00e7t\u0131\u011f\u0131 zaman, bir de ne g\u00f6rs\u00fcn, Pertev Bey onu kuca\u011f\u0131na alm\u0131\u015f durmadan ok\u015fuyor, durmadan \u00f6p\u00fcyor. (21)<\/p>\n
M\u00fcnire, roman\u0131na bu minvalde devam etse d\u00f6nemin \u201c\u00e7ok satanlar listesine\u201d girmesi i\u015ften bile de\u011fildir. Ama, kendi ger\u00e7ekli\u011fi \u015fairane kayg\u0131lara \u00fcst\u00fcn gelir. \u201cBir gece yar\u0131s\u0131, y\u0131ld\u0131zlara bakarak, b\u00fclb\u00fcl sesleri dinleyerek kendinden ge\u00e7i\u015f sanki pek m\u00fchim bir hadise\u00a0 mi\u201ddir? Hem onun sevgilisi ne zaman b\u00f6yle h\u0131rs\u0131zlama, bah\u00e7eye girip onu kuca\u011f\u0131na alm\u0131\u015ft\u0131r ki? Zaten, ne m\u00fcmk\u00fcnd\u00fcr onun i\u00e7in o saatte, karanl\u0131kta tek ba\u015f\u0131na tara\u00e7ada oturmak. On iki ya\u015f\u0131na kadar annesinin koynunda yatan M\u00fcnire, o ya\u015f\u0131ndan sonra da uyurken bile nefes al\u0131p veri\u015flerini kontrol eden dad\u0131s\u0131yla ayn\u0131 odada ya\u015fam\u0131\u015ft\u0131r (21-22). Y\u0131ld\u0131zl\u0131 gecelerde ya\u015fanan a\u015fk maceralar\u0131 t\u00fcm\u00fcyle Vecihi\u2019nin hayal g\u00fcc\u00fcn\u00fcn \u00fcr\u00fcn\u00fcd\u00fcr. Kelimelerin b\u00fcy\u00fcs\u00fcnden kurtulup tek ba\u015f\u0131na tara\u00e7aya dahi \u00e7\u0131kamad\u0131\u011f\u0131n\u0131 hat\u0131rlayan M\u00fcnire, \u00fc\u00e7\u00fcnc\u00fc tekil \u015fah\u0131s anlat\u0131y\u0131 b\u0131rakarak \u201cbirinci tekil ger\u00e7ekleri\u201d anlatmaya koyulur. Dilin \u00f6znesi olma yolunda erkek anlat\u0131s\u0131ndan da ad\u0131m ad\u0131m uzakla\u015fmaktad\u0131r. \u00c7\u00fcnk\u00fc, kendisini bir erke\u011fin c\u00fcmleleriyle anlatmas\u0131 imk\u00e2ns\u0131zd\u0131r:
\u00c7\u00fcnk\u00fc kad\u0131n olu\u015fumuzu geri d\u00f6n\u00fcp annelerimize bakarak alg\u0131lar\u0131z. Bir yard\u0131m umarak b\u00fcy\u00fck erkek yazarlara ba\u015fvurmak yarars\u0131zd\u0131r. Oysa insan kendi zevki i\u00e7in onlara ba\u015fvurabilir. Bir kad\u0131n onlardan birka\u00e7 beceri \u00f6\u011frenip kendi kullan\u0131m\u0131na uyarlam\u0131\u015f olabilir ama, Lamb, Browne, Thackeray, Newman, Sterne, Dickens, De Quincey\u2014ya da herhangi ba\u015fka biri\u2014bug\u00fcne dek hi\u00e7bir kad\u0131na yard\u0131mc\u0131 olamam\u0131\u015ft\u0131r. Bir erke\u011fin usunun a\u011f\u0131rl\u0131\u011f\u0131, y\u00fcr\u00fcy\u00fc\u015f tarz\u0131 ve ad\u0131mlar\u0131 kad\u0131n\u0131n ondan ele avuca gelir bir \u015feyler kapabilmesini olanaks\u0131z k\u0131lacak denli farkl\u0131d\u0131r. Maymun, taklit edilemeyecek kadar uzaktad\u0131r. […] Thackeray, Dickens ve Balzac gibi b\u00fct\u00fcn b\u00fcy\u00fck romanc\u0131lar, itici olmadan ak\u0131c\u0131, titizlenmeden anlat\u0131mc\u0131, orta mal\u0131 olmaktan \u00e7\u0131kmadan kendi renk tonlamalar\u0131na sahip bir dil geli\u015ftirerek do\u011fal bir d\u00fczyaz\u0131 olu\u015fturmu\u015flard\u0131r. Bunu, o zaman ge\u00e7erli olan c\u00fcmle bi\u00e7imine dayand\u0131rm\u0131\u015flard\u0131r. [….]Bunlar bir erke\u011fin c\u00fcmleleridir; ki\u015fi bunlar\u0131n ard\u0131nda Johnson, Gibbon ve \u00f6b\u00fcrlerini g\u00f6rebilir. Bir kad\u0131n\u0131n kullan\u0131m\u0131na uygun de\u011fildir. (Woolf 85)
M\u00fcnire\u2019nin ya\u015fant\u0131s\u0131nda olmayan \u00f6yk\u00fcler, imgeleminde de olamayaca\u011f\u0131ndan hayran\u0131 oldu\u011fu Vecihi\u2019nin, Ahmet Mithat\u2019\u0131n c\u00fcmleleri onun \u201ckullan\u0131m\u0131na uygun de\u011fildir\u201d. M\u00fcnire, hayal g\u00fcc\u00fcn\u00fc sonuna kadar zorlasa da onun kaleminden \u015f\u00f6yle c\u00fcmleler \u00e7\u0131k[a]mayacakt\u0131r:<\/p>\n
\u00d6yle bir \u015fey olursa, buradan \u0130zmir\u2019e do\u011fru yayan yola \u00e7\u0131kaca\u011f\u0131m. T\u0131pk\u0131 eski T\u00fcrk masallar\u0131nda sevgilisini arama\u011fa \u00e7\u0131kan demir \u00e7ar\u0131kl\u0131 \u00e2\u015f\u0131klar gibi, durmadan, dinlenmeden gidece\u011fim. Gece toprak \u00fcst\u00fcnde yataca\u011f\u0131m. G\u00fcnd\u00fcz, kuru ekme\u011fimi kemire kemire y\u00fcr\u00fcyece\u011fim. Hi\u00e7bir k\u00f6ye u\u011framayaca\u011f\u0131m. Hi\u00e7bir kalabal\u0131k i\u00e7ine kar\u0131\u015fmayaca\u011f\u0131m. Kendi sevincimin, kendi hayalimin bill\u00fbrdan z\u0131rh\u0131 i\u00e7inde mavi k\u00f6rfeze do\u011fru ilerleyece\u011fim. \u00d6yle ki, \u0130zmir\u2019e vard\u0131\u011f\u0131m g\u00fcn sahilin herhangi bir noktas\u0131na y\u00fcz\u00fckoyun d\u00fc\u015fece\u011fim. Ve orada tuzlu su ile \u0131slanm\u0131\u015f topra\u011f\u0131 koklayarak saatlerce kalaca\u011f\u0131m. (Karaosmano\u011flu, Yaban 138)
M\u00fcnire\u2019nin y\u00fcr\u00fcyece\u011fi yollar k\u00f6\u015fk\u00fcn avlusuyla s\u0131n\u0131rl\u0131d\u0131r. Bu y\u00fczden onun kuraca\u011f\u0131 c\u00fcmleyi, deneyimleri belirleyecektir. O, art\u0131k erkek anlat\u0131lar\u0131n\u0131n ger\u00e7eklik duygusunu yitirmi\u015f kad\u0131n roman okurlar\u0131ndan de\u011fildir. Onun anlat\u0131s\u0131, bir anlamda erkek anlat\u0131s\u0131n\u0131n da ele\u015ftirisi haline gelir. M\u00fcnire, Nurdan G\u00fcrbilek\u2019in \u201cErkek Yazar, Kad\u0131n Okur\u201d ba\u015fl\u0131kl\u0131 makalesinde de\u011findi\u011fi, \u201cokudu\u011fundan hemen etkilenen, a\u015f\u0131r\u0131 etkilenen, k\u00f6t\u00fc etkilenen kad\u0131n okur\u201d (288) olma durumundan, Yakup Kadri\u2019de de s\u0131k\u00e7a g\u00f6r\u00fclen, \u201ckitap okuyarak yoldan \u00e7\u0131kan kad\u0131n\u201d motifinden uzakla\u015fm\u0131\u015ft\u0131r. O, roman\u0131n\u0131 erkeklerin anlatt\u0131\u011f\u0131 kad\u0131n \u00f6yk\u00fclerindeki, \u201ckendi hayat\u0131n\u0131 ya\u015famak i\u00e7in […] ba\u015fka hayatlar\u0131 \u00f6rnek [alan]\u201d (G\u00fcrbilek 282) ve bu hayalperestli\u011fini bir siyan\u00fcr \u015fi\u015fesi ya da tabancayla \u201ccezaland\u0131ran\u201d biri olarak de\u011fil, b\u00fct\u00fcn y\u0131k\u0131mlar\u0131n, engellemelerin, yoksunluklar\u0131n kar\u015f\u0131s\u0131nda \u201cyaz\u0131\u201dn\u0131n sa\u011flad\u0131\u011f\u0131 bireysel g\u00fcven ve bilin\u00e7le ayakta kalmay\u0131 ba\u015faran bir kad\u0131n olarak bitirir. Bu y\u00fczden, Kiral\u0131k Konak\u2019\u0131n, romanlar sayesinde \u201cba\u015fka\u201d bir hayat d\u00fc\u015flemeyi \u00f6\u011frenen Seniha\u2019s\u0131na da kendi \u00f6yk\u00fcs\u00fcn\u00fc \u201canlatma\u201d f\u0131rsat\u0131 verildi\u011finde Yakup Kadri gibi de\u011fil, M\u00fcnire gibi yazaca\u011f\u0131n\u0131 s\u00f6ylemek \u201cspek\u00fclatif\u201d bir iddia olmaktan uzakt\u0131r. Anlat\u0131c\u0131n\u0131n kimli\u011fi, s\u00f6ylemin niteli\u011fini belirleyen \u00f6nemli bir unsurdur. Kad\u0131n anlat\u0131c\u0131n\u0131n \u201cbirinci-tekil\u201d sesi, s\u00f6ylemi\u2014yazar\u0131n cinsiyetine ra\u011fmen\u2014farkl\u0131la\u015ft\u0131r\u0131r.<\/p>\n
Yazma eylemi M\u00fcnire i\u00e7in olduk\u00e7a sanc\u0131l\u0131d\u0131r. O, yazarken hi\u00e7bir erke\u011fin d\u00fc\u015fmeyece\u011fi bir korkuya d\u00fc\u015fer: Dile d\u00fc\u015fme korkusu. O, \u00e7ok g\u00fczel buldu\u011fu ayaklar\u0131n\u0131 sevgilisinin bir kere bile \u00e7\u0131plak g\u00f6rmeyi\u015fine ne denli \u00fcz\u00fcld\u00fc\u011f\u00fcn\u00fc yazd\u0131\u011f\u0131nda, tela\u015fa d\u00fc\u015fer M\u00fcnire: \u201cAman, bu ya\u015fta utanmadan neler s\u00f6yl\u00fcyorum? Allah vere de, bu yazd\u0131klar\u0131m bas\u0131l\u0131p meydana \u00e7\u0131kmasa. El\u00e2leme r\u00fcsva olaca\u011f\u0131m \u015fu son g\u00fcnlerimde\u201d (85). Kad\u0131nlar, roman yazarken de dile d\u00fc\u015fmek korkusundan kurtulamazlar. Jale Parla ve Sibel Irz\u0131k\u2019\u0131n Kad\u0131nlar Dile D\u00fc\u015f\u00fcnce\u2019nin \u00f6ns\u00f6z\u00fcnde belirttikleri gibi dile d\u00fc\u015f\u00fcr\u00fclmek k\u00fclt\u00fcrel alan\u0131n d\u0131\u015f\u0131na at\u0131lmakt\u0131r:<\/p>\n
\u201cDile d\u00fc\u015fmek\u201d deyiminin ta\u015f\u0131d\u0131\u011f\u0131 kirlenme, rezil olma, ahlak\u00ee d\u00fc\u015fk\u00fcnl\u00fck \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131n\u0131n kad\u0131nlar\u0131n hayat\u0131nda \u00f6zel bir yeri vard\u0131r, \u00e7\u00fcnk\u00fc ataerkil ideolojiler kad\u0131nlar\u0131n varolu\u015funu mahremiyet, sessizlik, do\u011fall\u0131k, gizem gibi kavramlarla tan\u0131mlayarak dil \u00f6tesi, daha do\u011frusu dil \u00f6ncesi bir alana hapseder, kamusal\u0131n kar\u015f\u0131t\u0131 olarak kurgular. Bu kurgu, kad\u0131nlar\u0131n sesleri, kimlikleri, bedenleri \u00fczerinde uygulanan denetimin en \u00f6nemli dayanaklar\u0131ndan biridir, \u00e7\u00fcnk\u00fc kad\u0131nlar\u0131n kamusal alanda kendi varl\u0131klar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr, duyulur k\u0131ld\u0131klar\u0131 her durumda, kendi do\u011falar\u0131na ayk\u0131r\u0131 bir \u015fey yapmakta olduklar\u0131, uygunsuz bir bi\u00e7imde dikkat \u00e7ekerek kendileri hakk\u0131ndaki s\u00f6zleri k\u0131\u015fk\u0131rtt\u0131klar\u0131, \u00f6rt\u00fcl\u00fc tutularak safl\u0131\u011f\u0131n\u0131n korunmas\u0131 gereken bir varl\u0131\u011f\u0131 a\u00e7\u0131p sergiledikleri i\u00e7in \u00e7irkinle\u015fip rezil olduklar\u0131 anlam\u0131na gelir. (7)
Bu y\u00fczden roman\u0131n\u0131, bir erkek olsayd\u0131 duymayaca\u011f\u0131 kayg\u0131larla, ciddi edebiyat ele\u015ftirmenlerinin g\u00f6z\u00fcnde birer kusur say\u0131lacak c\u00fcmlelerle doldurur M\u00fcnire. Ama, yazd\u0131k\u00e7a \u00f6yk\u00fcs\u00fcn\u00fc daha rahat anlatmaya ba\u015flar. Art\u0131k kendine has bir dil de olu\u015fturmu\u015ftur. Ba\u015flang\u0131\u00e7taki kekemelik, yerini sevgilisine, ya\u015fad\u0131\u011f\u0131 olaylara kar\u015f\u0131 ironik bir dile b\u0131rakm\u0131\u015ft\u0131r. Sevgilisinin kendisi i\u00e7in d\u00fczenledi\u011fi romantik a\u015fk sahnesini alayl\u0131 bir dille anlat\u0131r M\u00fcnire:<\/p>\n
Erkekler ne tuhaft\u0131r! Ka\u00e7 ya\u015f\u0131nda olsalar, nice tecr\u00fcbeden ge\u00e7mi\u015f bulunsalar kad\u0131n ve g\u00f6n\u00fcl i\u015flerinde daima \u00e7ocuk kal\u0131rlar. Hakk\u0131 Pa\u015fa gibi sa\u00e7l\u0131 sakall\u0131 bir adam\u0131n onbe\u015fine hen\u00fcz yeni basm\u0131\u015f bir k\u0131z\u0131 bu kadar d\u00fczenle avlama\u011fa kalk\u0131\u015f\u0131, Cemil Bey gibi bir \u00e7ekirdekten yeti\u015fme u\u00e7ar\u0131n\u0131n\u2014g\u00fcya aram\u0131zda ge\u00e7enler benim ona meylimi k\u00e2fi derecede ispat etmemi\u015f\u00e7esine\u2014birtak\u0131m \u00e2l\u00e2yi\u015fli sahne g\u00f6sterileriyle aya\u011f\u0131m\u0131 \u00e7ekmek isteyi\u015fi ne kadar m\u00e2nas\u0131z ve l\u00fczumsuz bir hareketti! (38)<\/p>\n
U\u011fruna b\u00fct\u00fcn bir \u00f6mr\u00fcn\u00fc harcad\u0131\u011f\u0131 sevgilisine ironik bakmas\u0131n\u0131 sa\u011flayan g\u00fc\u00e7, \u201cyaz\u0131\u201dd\u0131r. Yazmak, ona ya\u015fad\u0131klar\u0131na kar\u015f\u0131 \u00f6fke duymay\u0131 \u00f6\u011fretmese de, kad\u0131n\u0131n ya\u015fam\u0131n\u0131 belirleyen t\u0131ls\u0131ml\u0131, \u201ckader\u201d, \u201ck\u0131smet\u201d gibi s\u00f6zc\u00fcklerin arkas\u0131ndaki \u201ciktidar\u0131\u201d g\u00f6r\u00fcn\u00fcr k\u0131lm\u0131\u015ft\u0131r. \u00c7\u00fcnk\u00fc, Nancy Miller\u2019\u0131n deyi\u015fiyle \u201cGeleneklere kar\u015f\u0131 \u00e7\u0131kmadan ya\u015fanm\u0131\u015f bir ya\u015fam\u0131, \u00f6yk\u00fcs\u00fcn\u00fc yazarak savunmaya \u00e7al\u0131\u015fmak, ba\u015ftaki su\u00e7u yaz\u0131 yoluyla yeniden i\u015flemek, erkek pisli\u011fini yeniden de\u015fmek demektir\u201d (aktaran Heilbrun 7).<\/p>\n
M\u00fcnire, \u00f6yk\u00fcs\u00fcn\u00fc okuyucuya anlat\u0131rken, ge\u00e7mi\u015fini, deneyimlerini sorgular. \u00c7ocukken oynad\u0131klar\u0131 k\u00f6rebe oyununda \u201csevgilisi\u201dni bir ba\u015fka k\u0131z\u0131n yan\u0131nda g\u00f6rd\u00fc\u011f\u00fc an y\u00fcz\u00fcn\u00fc elleriyle kapatmas\u0131n\u0131n anlam\u0131n\u0131 sorar. Bu soruyu y\u00fcksek sesle kendisine sormu\u015f g\u00f6r\u00fcnse de ayn\u0131 zamanda okuyucudan da medet ummaktad\u0131r. \u00d6ylesine deneyimsizdir ki, utanc\u0131n\u0131n neden kaynakland\u0131\u011f\u0131n\u0131 bir t\u00fcrl\u00fc a\u00e7\u0131klayamaz: \u201c\u0130ki \u00e7ocu\u011fun, hatt\u00e2 iki b\u00fcy\u00fck insan\u0131n bir a\u011fa\u00e7 dibinde veya herhangi bir ba\u015fka yerde biribirine sar\u0131lm\u0131\u015f olarak g\u00f6r\u00fcnmesinden ne \u00e7\u0131kar? Ben her gece dad\u0131mla koyun koyuna yatm\u0131yor muydum?\u201d (26). Buraya kadar sabredebilen okuyucunun, M\u00fcnire\u2019den d\u00f6rt ba\u015f\u0131 mamur bir roman bekleyemeyece\u011fini anlay\u0131p roman\u0131 okumaya devam edip etmeyece\u011fine karar vermesi gerekecektir. M\u00fcnire\u2019den hayat hakk\u0131nda \u201cb\u00fcy\u00fck\u201d ve \u201cg\u00fczel\u201d laflar eden erkeklerin c\u00fcmlelerini beklemek anlams\u0131zd\u0131r. Hayat hakk\u0131nda konu\u015fmak \u015f\u00f6yle dursun, kendi deneyimlerini \u201cyorumlamak\u201dtan bile acizdir M\u00fcnire. Kendi y\u00fczy\u0131l\u0131n\u0131n bir\u00e7ok kad\u0131n\u0131n\u0131n yapt\u0131\u011f\u0131 gibi roman\u0131n\u0131 bir \u201cerkek\u201d ad\u0131yla yay\u0131mlamasa hi\u00e7bir zaman okuyucu kar\u015f\u0131s\u0131na \u00e7\u0131kamayacakt\u0131r.<\/p>\n
M\u00fcnire, sevdi\u011fi erkekle evlenmek isteyince, \u201cgelene\u011fin\u201d temsilcisi olan \u201cbaba\u201d, geleneklere uygun olarak \u201cbu izdivac ger\u00e7ekle\u015femez\u201d repli\u011fini s\u00f6yler hemen. M\u00fcnire\u2019yi \u201ck\u00f6t\u00fc yola\u201d d\u00fc\u015f\u00fcren romanlar ve hik\u00e2yeler yasaklan\u0131r (43). D\u0131\u015f d\u00fcnyayla t\u00fcm ba\u011flant\u0131s\u0131 kopmu\u015ftur. Ama hayat \u0131srarla romanlar\u0131 do\u011frulamaktad\u0131r: \u201cK\u0131\u015f gelip \u00e7at\u0131p da kona\u011fa ta\u015f\u0131nd\u0131\u011f\u0131m\u0131z g\u00fcnden itibaren, hazin serg\u00fcze\u015ftlerini Avrupa romanlar\u0131nda okudu\u011fum, manast\u0131ra kapat\u0131lm\u0131\u015f k\u0131zlardan fark\u0131m kalmazd\u0131. [….] Etraf\u0131 y\u00fcksek duvarlarla \u00e7evrilmi\u015f bir avlu, \u00e7ak\u0131l ta\u015flar\u0131yle d\u00f6\u015feli bo\u015f, kuru bir avlu, \u00f6n\u00fcmde\u2014\u00f6mr\u00fcm mis\u00e2li\u2014serilip dururdu\u201d (51).<\/p>\n
Etraf\u0131 y\u00fcksek duvarlarla \u00e7evrili bu avludaki tek hayat belirtisi M\u00fcnire i\u00e7in gelen \u201cg\u00f6r\u00fcc\u00fcler\u201ddir. Babas\u0131n\u0131n uygun buldu\u011fu bir ailenin o\u011fluyla evlendirilir. Bir kad\u0131n\u0131n mutlu olmas\u0131 i\u00e7in gereken ko\u015fullar haz\u0131rlanm\u0131\u015ft\u0131r art\u0131k. Charlotte Bronte\u2019nin Daniel Deronda adl\u0131 roman\u0131nda Daniel\u2019in annesinin s\u00f6yledi\u011fi gibi: \u201c Belli bir kal\u0131ba uymak i\u00e7in… bir kad\u0131n\u0131n y\u00fcre\u011finin \u015fu boyutlarda olmas\u0131, asla daha b\u00fcy\u00fck olmamas\u0131 gerekir, yoksa \u00c7inliler\u2019in ayaklar\u0131 gibi iyice ezip s\u0131k\u0131\u015ft\u0131r\u0131rlar onu; kad\u0131n\u0131n mutlulu\u011fu, t\u0131pk\u0131 kek yapar gibi, de\u011fi\u015fmez bir tarife g\u00f6re yap\u0131l\u0131r\u201d (aktaran Heilbrun 27). Oysa, M\u00fcnire bu mutluluk tarifiyle pek ilgili de\u011fildir:<\/p>\n
D\u00fc\u011f\u00fcn\u00fcm, sonradan\u2014pek \u00e7ok sonradan\u2014bana nakledildi\u011fine g\u00f6re, t\u0131pk\u0131 masallardaki gibi k\u0131rk g\u00fcn k\u0131rk gece s\u00fcren d\u00fc\u011f\u00fcn derneklerden biri olmu\u015f. \u00c2deta b\u00fct\u00fcn \u0130stanbul yerinden oynam\u0131\u015f. Harem ve sel\u00e2ml\u0131k dairelerinde tabesabah saz \u00e2lemleri mi istersiniz, sokaklarda fener alaylar\u0131 m\u0131, t\u00fcrl\u00fc \u015fenlikler ve donanmalar m\u0131, k\u0131na gecesinin \u00e7engileri, e\u011flentileri mi, koltuk ve pa\u00e7a g\u00fcnlerinin t\u00f6renleri mi? Bunlar\u0131n hepsi, emsalsiz bir bolluk, zenginlik ve parlakl\u0131k i\u00e7inde gelip ge\u00e7mi\u015f imi\u015f. [….] L\u00e2kin, b\u00fct\u00fcn bu i\u015flerden benim hi\u00e7 haberim olmad\u0131\u011f\u0131n\u0131, b\u00fct\u00fcn bunlar\u0131n hi\u00e7 fark\u0131na varmad\u0131\u011f\u0131m\u0131 s\u00f6ylersem, bilmem, bana inan\u0131r m\u0131s\u0131n\u0131z? Zira, kendim bile h\u00e2l\u00e2 kendime sormaktay\u0131m: B\u00fct\u00fcn bu i\u015fler olurken ben neredeydim? \u015euurum, iradem u\u00e7up gitmi\u015fti de, ortada hissiz, d\u00fc\u015f\u00fcncesiz bo\u015f bir kal\u0131p halinde mi kalm\u0131\u015ft\u0131m? Beni, bir ta\u015f bebek gibi s\u00fcsleyip p\u00fcslemi\u015fler ve bir yerimden kurarak k\u0131m\u0131ldatm\u0131\u015flar, y\u00fcr\u00fctm\u00fc\u015fler, oturtup kald\u0131rm\u0131\u015flar m\u0131yd\u0131? (55-56)<\/p>\n
\u201cKatlanabilmek\u201d bilinci yok etmekle m\u00fcmk\u00fcn olur; nas\u0131l evlendi\u011fini bile hat\u0131rlamaz M\u00fcnire. Hatt\u00e2 kocas\u0131, M\u00fcnire\u2019nin o \u00e7ok sinir oldu\u011fu, \u201chi hi hi\u201d \u015feklinde g\u00fcl\u00fc\u015f\u00fcyle varl\u0131\u011f\u0131n\u0131 bir \u201ckarabasan\u201d gibi s\u00fcrekli duyurmasa evli oldu\u011funu bile unutmaya haz\u0131rd\u0131r. Her \u015feyi unutmak, ya\u015fad\u0131\u011f\u0131 d\u00fcnyadan kopmak i\u00e7in okudu\u011fu kitaplar, ona hayal kurmay\u0131, s\u0131n\u0131rlar\u0131n\u0131 zorlamay\u0131 \u00f6\u011fretmi\u015ftir. Ama, \u201cM\u00fcellif ile m\u00fctercim aras\u0131ndaki fark\u0131 bilmeyen\u201d kocas\u0131n\u0131n arada bir \u201csinir bozucu\u201d \u015fakalar\u0131ndan birini yapmak i\u00e7in M\u00fcnire\u2019nin kitaplar\u0131ndan birini al\u0131p y\u00fcksek sesle, heceleye heceleye okumas\u0131 M\u00fcnire i\u00e7in ger\u00e7ek anlamda bir i\u015fkencedir (66).<\/p>\n
Ve M\u00fcnire, yine okudu\u011fu romanlar\u0131 do\u011frulamak istercesine eski sevgili ile bir \u201cA\u015fk-\u0131 Memnu\u201d ya\u015far. Ger\u00e7i, erkeklerin yazd\u0131\u011f\u0131 kad\u0131n \u00f6yk\u00fcleri \u201cyoldan \u00e7\u0131kan kad\u0131nlar\u0131n er ge\u00e7 b\u00fcy\u00fck bir h\u00fcsrana u\u011frad\u0131klar\u0131n\u0131 g\u00f6steriyor\u201ddur (84) ama babas\u0131n\u0131n \u00e7izdi\u011fi kaderden kurtulman\u0131n yolu olmad\u0131\u011f\u0131 gibi erkek yazar\u0131n kad\u0131n\u0131 c\u00fcmlelerle kapatt\u0131\u011f\u0131 yerden de kurtulu\u015f yoktur. Ama M\u00fcnire\u2019nin hayat\u0131nda bir mucize olur. Kocas\u0131n\u0131n evdeki cariyelerden birini hamile b\u0131rakmas\u0131 \u00fczerine rahat\u00e7a babaevine s\u0131\u011f\u0131n\u0131r ve babas\u0131n\u0131n iznini alarak bo\u015fan\u0131r. Tam sevgilisine kavu\u015fmay\u0131 \u00fcmit etti\u011fi zaman sevgilisi Cemil, padi\u015fah taraf\u0131ndan s\u00fcrg\u00fcne g\u00f6nderilir. M\u00fcnire, Cemil\u2019in d\u00f6n\u00fcp gelece\u011fini beklerken onun s\u00fcrg\u00fcnde evlendi\u011fini \u00f6\u011frenir. Y\u0131llar sonra, \u0130stanbul\u2019da kar\u015f\u0131la\u015ft\u0131klar\u0131nda M\u00fcnire, hayalk\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015ft\u0131r. Ya\u015fad\u0131\u011f\u0131 a\u015fk\u0131 da anlams\u0131zla\u015ft\u0131ran bir erkek vard\u0131r kar\u015f\u0131s\u0131nda:<\/p>\n
Ah, ke\u015fke hi\u00e7 g\u00f6rmeseydim onu… \u00d6l\u00fcnceye kadar hep yirmibe\u015f y\u0131l evvelki Cemil Bey olarak kalsayd\u0131 hayalimde. Hani, yirmibe\u015f y\u0131l evvel buradan son \u00e7\u0131k\u0131p gitti\u011fi g\u00fcn yok mu? \u0130\u015fte, hep o hali, o heyetile kalsayd\u0131. Bu, bana yeterdi, \u00f6l\u00fcnceye kadar onu sevmek, hep onun hasretini \u00e7ekmek kuvvetini kendimde bulmak i\u00e7in. \u015eimdi, bu kuvveti tamamile kaybettim. \u00d6mr\u00fcm sebepsizle\u015fiverdi birdenbire. As\u0131l en fecii, bu, \u00f6n\u00fcmdeki bo\u015fluk de\u011fil, hay\u0131r, as\u0131l arkamdaki bo\u015fluk! Sanki, onu hi\u00e7 sevmemmi\u015fim, onunla hi\u00e7 sevi\u015fmemi\u015fiz gibi geliyor bana. (178)<\/p>\n
Bir erke\u011fin merkeze oturtuldu\u011fu kad\u0131n ya\u015fam\u0131nda, erkek ve ona duyulan a\u015fk ortadan kalk\u0131nca kad\u0131n \u00f6yk\u00fcs\u00fcz kal\u0131r. Erke\u011fin birincil konumu, yoklu\u011funda bile s\u00fcrmektedir. M\u00fcnire\u2019nin bir erkek olmaks\u0131z\u0131n tan\u0131mlayaca\u011f\u0131 bir ya\u015fam, aray\u0131\u015flar, arzular yoktur. Zaten, M\u00fcnire de roman\u0131n\u0131, ard\u0131ndaki- \u00f6n\u00fcndeki bo\u015fluklarla bitirir:<\/p>\n
Benim roman\u0131m zaten kendi kendimle b\u00f6yle bir konu\u015fma halinde ba\u015flamam\u0131\u015f m\u0131yd\u0131? \u0130\u015fte, yine \u00f6yle bitiyor. Buna il\u00e2ve edece\u011fim k\u0131sac\u0131k hik\u00e2ye art\u0131k bana ait de\u011fildir. Adet yerini bulsun diye yazaca\u011f\u0131m. Zira bu defter \u00f6l\u00fcm\u00fcmden sonra bir kitap \u015fekline girip inti\u015far etti\u011fi zaman onu okuyacak olanlar \u201cBunun sonu nerede? Bu ne sa\u00e7ma \u015fey!\u201d demesinler ve arkamdan beddua etmesinler. Evet, hasseten \u201cBu ne sa\u00e7ma \u015fey\u201d demesinler, \u00e7\u00fcnki ben onu kalbimin b\u00fct\u00fcn ciddiyetiyle yazd\u0131m. (179)<\/p>\n
M\u00fcnire, kendisi i\u00e7in biten romana okuyucu i\u00e7in uygun bir son aramaktad\u0131r. Ortaya \u00e7\u0131kan \u00f6yk\u00fc, bir a\u015fk \u00f6yk\u00fcs\u00fc bile de\u011fildir. \u00d6yk\u00fcs\u00fcz bir kad\u0131n\u0131n ortaya \u00e7\u0131karabildi\u011fi roman budur. Heilbrun\u2019un deyi\u015fiyle \u201cerkek \u00f6yk\u00fclerinin izin verdi\u011fi, asl\u0131nda y\u00fcreklendirdi\u011fi bir aray\u0131\u015f\u0131 ya\u015famak isteyen kad\u0131nlar i\u00e7in, ya\u015famlar\u0131n\u0131 t\u00f6resel \u00f6yk\u00fcden eksantrik \u00f6yk\u00fcye, hi\u00e7 bilincinde olmadan ve elbette \u201craslant\u0131sal\u201d olarak d\u00f6n\u00fc\u015ft\u00fcrecek bir olay\u0131n icat edilmesi gerekir\u201d(36). Asl\u0131nda, M\u00fcnire\u2019nin yapt\u0131\u011f\u0131 tam da budur: t\u00f6resel \u00f6yk\u00fcs\u00fcn\u00fc eksantrik bir \u00f6yk\u00fcye d\u00f6n\u00fc\u015ft\u00fcren olay, roman\u0131n\u0131 yazmas\u0131d\u0131r. Art\u0131k, \u00f6yk\u00fcs\u00fcz ya\u015fam\u0131n\u0131n bir \u00f6yk\u00fcs\u00fc vard\u0131r: kad\u0131n\u0131n yazma \u00f6yk\u00fcs\u00fc. Zaten, mutlu ya da trajik sonlar \u201ca\u015fk \u00f6yk\u00fcleri ya da hayaller i\u00e7in ge\u00e7erlidir, ya\u015fam i\u00e7in de\u011fil\u201d (Heilbrun 102). M\u00fcnire\u2019nin roman yazma ser\u00fcveni kad\u0131n ya da erkek yazarlar\u0131n \u201chayal\u201d edemeyecekleri bir \u201cson\u201ddur. Toplumsal iktidar\u0131n sundu\u011fu se\u00e7enekler t\u00fckenince, evlilik ya da d\u00fc\u015fk\u00fcnl\u00fck, kad\u0131n i\u00e7in ger\u00e7ek ser\u00fcven ba\u015flar.<\/p>\n
Sonu\u00e7 olarak, bu yaz\u0131da Hep O \u015eark\u0131\u2019n\u0131n bir \u201ckad\u0131n anlat\u0131s\u0131\u201d oldu\u011fu iddia edilirken vurgulanmak istenen, anlat\u0131n\u0131n cinsiyetini belirleyen unsurlar\u0131n Yakup Kadri\u2019nin ideolojik-politik tercihlerini a\u015fan bir dil ve onun yaratt\u0131\u011f\u0131 s\u00f6ylemle do\u011frudan ilgili oldu\u011fudur. Yazar\u0131n \u00f6znelli\u011fiyle s\u0131n\u0131rl\u0131 tutulmamas\u0131 gereken metin, anlat\u0131c\u0131n\u0131n nas\u0131l konumland\u0131r\u0131ld\u0131\u011f\u0131na da ba\u011fl\u0131 olarak yarat\u0131c\u0131s\u0131n\u0131n kimli\u011fiyle \u00e7at\u0131\u015fma i\u00e7erisine girebilir. Hep O \u015eark\u0131 da belki Yakup Kadri\u2019nin ger\u00e7ek\u00e7ilik kayg\u0131s\u0131, belki de de\u011fi\u015fik anlat\u0131 stratejilerini deneme iste\u011finden dolay\u0131 bir kad\u0131n anlat\u0131s\u0131 olarak ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Her \u015feyden ba\u011f\u0131ms\u0131z, nesnel bir dil olamayaca\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, kurmaca d\u00fcnyada da olsa dili kimin kulland\u0131\u011f\u0131, \u00f6yk\u00fcy\u00fc kimin anlatt\u0131\u011f\u0131 \u00f6nemlidir. Yakup Kadri\u2019nin ba\u015far\u0131s\u0131 da yaratt\u0131\u011f\u0131 anlat\u0131c\u0131-kahraman\u0131n bilincine girerek onu kendi konumuna uygun olarak konu\u015fturabilmesinde yatar. Kad\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131ndan yazmak ya da kad\u0131nlar\u0131 anlamak gibi \u00e7abalarla olmasa da, yazarl\u0131k yetene\u011fi ile\u2014ki, kulland\u0131\u011f\u0131 \u201ckekeme\u201d dil, \u00f6yk\u00fcy\u00fc anlatan\u0131n bir kad\u0131n oldu\u011funu unutanlar taraf\u0131ndan ba\u015far\u0131s\u0131zl\u0131k olarak nitelendirilmi\u015ftir\u2014bir kad\u0131n anlat\u0131s\u0131 yazmay\u0131 ba\u015farm\u0131\u015ft\u0131r.<\/p>\n
KAYNAK\u00c7A<\/p>\n
G\u00fcrbilek, Nurdan. \u201cErkek Yazar, Kad\u0131n Okur\u201d. Kad\u0131nlar Dile D\u00fc\u015f\u00fcnce. Der. Sibel Irz\u0131k ve
Jale Parla. \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 2004. 275-305.
Heilbrun, Carolyn G. Kad\u0131n\u0131n \u00d6zya\u015fam\u0131n\u0131 Yazarken. \u00c7ev. Yurdanur Salman ve G\u00fcl\u015fat
Aygen. \u0130stanbul: Yap\u0131 Kredi Yay\u0131nlar\u0131, 1992.
Irz\u0131k, Sibel-Jale Parla. \u201c\u00d6ns\u00f6z\u201d. Kad\u0131nlar Dile D\u00fc\u015f\u00fcnce. Haz. Sibel Irz\u0131k-Jale Parla. \u0130stanbul:
\u0130leti\u015fim Yay\u0131nlar\u0131, 2004. 7-12.
Karaosmano\u011flu, Yakup Kadri. Hep O \u015eark\u0131. Haz. Atilla \u00d6zk\u0131r\u0131ml\u0131. \u0130stanbul: \u0130leti\u015fim
Yay\u0131nlar\u0131, 1998.
\u2014\u2014Yaban. \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1998.
\u00d6zk\u0131r\u0131ml\u0131, Atilla. \u201cHep O \u015eark\u0131 \u00dczerine\u201d. Hep O \u015eark\u0131. Haz. Atilla \u00d6zk\u0131r\u0131ml\u0131. \u0130stanbul:
\u0130leti\u015fim Yay\u0131nlar\u0131, 1998. 13-16.
Pym, Barbara. Kusursuz Kad\u0131nlar. \u00c7ev. Elif Uras. \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1998.
Woolf, Virginia. Kendine Ait Bir Oda. \u00c7ev. Su\u011fra \u00d6nc\u00fc. \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 2002.<\/p>\n
Kaynak: Birikim Dergisi<\/p>\n","protected":false},"excerpt":{"rendered":"
Hep O \u015eark\u0131 (1956), Yakup Kadri\u2019nin, roman ser\u00fcvenini \u201cilgin\u00e7\u201d bir bi\u00e7imde sonland\u0131rd\u0131\u011f\u0131 bir yap\u0131t. Yap\u0131t\u0131n \u201cilgin\u00e7\u201dli\u011fi, i\u00e7erik ya da bi\u00e7iminden \u00e7ok, \u201cmill\u00ee-politik\u201d konular\u0131n yazar\u0131 olarak bilinen Yakup Kadri\u2019nin bibliyografyas\u0131nda \u201cayr\u0131ks\u0131\u201d durmas\u0131 ile ilgili. \u0130ddias\u0131, tezi olmayan, olabildi\u011fince s\u0131radan, naif bir a\u015fk \u00f6yk\u00fcs\u00fc anlat\u0131l\u0131r Hep O \u015eark\u0131\u2019da. Hatt\u00e2, Atilla \u00d6zk\u0131r\u0131ml\u0131\u2019n\u0131n dedi\u011fi gibi \u201cHep O \u015eark\u0131 bir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":{"0":"post-4677","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kitap-tanitim"},"yoast_head":"\n
Bir Kad\u0131n Anlat\u0131s\u0131 Olarak 'Hep O \u015eark\u0131' | Asl\u0131 G\u00fcne\u015f - 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\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bir Kad\u0131n Anlat\u0131s\u0131 Olarak 'Hep O \u015eark\u0131' | Asl\u0131 G\u00fcne\u015f\" \/>\n<meta property=\"og:description\" content=\"Hep O \u015eark\u0131 (1956), Yakup Kadri\u2019nin, roman ser\u00fcvenini \u201cilgin\u00e7\u201d bir bi\u00e7imde sonland\u0131rd\u0131\u011f\u0131 bir yap\u0131t. Yap\u0131t\u0131n \u201cilgin\u00e7\u201dli\u011fi, i\u00e7erik ya da bi\u00e7iminden \u00e7ok, \u201cmill\u00ee-politik\u201d konular\u0131n yazar\u0131 olarak bilinen Yakup Kadri\u2019nin bibliyografyas\u0131nda \u201cayr\u0131ks\u0131\u201d durmas\u0131 ile ilgili. \u0130ddias\u0131, tezi olmayan, olabildi\u011fince s\u0131radan, naif bir a\u015fk \u00f6yk\u00fcs\u00fc anlat\u0131l\u0131r Hep O \u015eark\u0131\u2019da. Hatt\u00e2, Atilla \u00d6zk\u0131r\u0131ml\u0131\u2019n\u0131n dedi\u011fi gibi \u201cHep O \u015eark\u0131 bir […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/\" \/>\n<meta property=\"og:site_name\" content=\"narteks.net\" \/>\n<meta property=\"article:published_time\" content=\"2010-08-21T07:13:17+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.tulumba.com\/mmTULUMBA\/Images\/bk\/zBK982811JY952_250.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=\"26 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\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/\"},\"author\":{\"name\":\"Tar\u0131k\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\"},\"headline\":\"Bir Kad\u0131n Anlat\u0131s\u0131 Olarak ‘Hep O \u015eark\u0131’ | Asl\u0131 G\u00fcne\u015f\",\"datePublished\":\"2010-08-21T07:13:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/\"},\"wordCount\":5262,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.tulumba.com\/mmTULUMBA\/Images\/bk\/zBK982811JY952_250.jpg\",\"articleSection\":[\"Kitap Tan\u0131t\u0131m\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/\",\"url\":\"https:\/\/narteks.net\/index.php\/2010\/08\/21\/bir-kadin-anlatisi-olarak-hep-o-sarki-asli-gunes\/\",\"name\":\"Bir Kad\u0131n Anlat\u0131s\u0131 Olarak 'Hep O \u015eark\u0131' | Asl\u0131 G\u00fcne\u015f - 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