{"id":850,"date":"2010-01-02T01:00:00","date_gmt":"2010-01-01T22:00:00","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/01\/02\/boyle-bir-siir-yazip-sonra-olebilirsin-turgut-uyar-siiri\/"},"modified":"2024-04-23T13:47:53","modified_gmt":"2024-04-23T10:47:53","slug":"boyle-bir-siir-yazip-sonra-olebilirsin-turgut-uyar-siiri","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/01\/02\/boyle-bir-siir-yazip-sonra-olebilirsin-turgut-uyar-siiri\/","title":{"rendered":"B\u00f6yle bir \u015fiir yaz\u0131p sonra \u00f6lebilirsin | Turgut Uyar \u015fiiri"},"content":{"rendered":"

<\/strong>1970\u2019lerin ba\u015f\u0131nda, yak\u0131n bir arkada\u015f\u0131mla birlikte iyice merak sarm\u0131\u015ft\u0131k \u00e7a\u011fda\u015f t\u00fcrk \u015fiirine. Sabah ak\u015fam \u015fiir okurduk. Turgut uyar\u2019\u0131n \u00fcnl\u00fc \u015fiir ki\u015fileri yekta ile davut gibiydik. D\u00fcnyan\u0131n en g\u00fczel arabistan\u2019\u0131 elimizin alt\u0131nda tuttu\u011fumuz kitaplardan biriydi. Arkada\u015f\u0131m yaln\u0131zca \u015fiir okumakla yetinmez, yazard\u0131. Bir k\u00f6\u015feye \u00e7ekilir, beyaz dosya k\u00e2\u011f\u0131tlar\u0131 \u00fczerine kargac\u0131k burgac\u0131k el yaz\u0131s\u0131yla bir \u015feyler karalar, sonra yazd\u0131klar\u0131n\u0131 be\u011fenmez, k\u00e2\u011f\u0131tlar\u0131 buru\u015fturup atard\u0131. Ben de g\u0131r g\u0131r ge\u00e7erdim onunla. \u201cg\u00f6\u011fe bakma dura\u011f\u0131\u201dn\u0131 y\u00fcksek sesle okur, \u201cb\u00f6yle bir \u015fiir yaz ve \u00f6l!\u201d derdim. Sat\u0131rlarla sokaklar\u0131 birbirine kar\u0131\u015ft\u0131rd\u0131\u011f\u0131m\u0131z, hayat\u0131 \u015fiirin \u00f6nemsiz bir ayr\u0131nt\u0131s\u0131 sayd\u0131\u011f\u0131m\u0131z g\u00fcnlerdi onlar; kendimizden b\u00fcy\u00fck oldu\u011fumuz g\u00fcnler.<\/p>\n

Hayat bizi kendimize getirdi (mi?) ama h\u00e2l\u00e2 elimin alt\u0131ndad\u0131r o kitap. Salt o mu? turgut uyar\u2019\u0131n \u015fiirlerinin hepsi: b\u00fcy\u00fck saat bi\u00e7iminde. Sekseninci do\u011fum y\u0131l\u0131 dolay\u0131s\u0131yla yeniden kar\u0131\u015ft\u0131rd\u0131m uyar\u2019\u0131n yazd\u0131klar\u0131n\u0131, \u00f6zellikle o and\u0131\u011f\u0131m gizemli kitab\u0131n\u0131. Yaz\u0131ld\u0131\u011f\u0131 y\u0131llar\u0131 d\u00fc\u015f\u00fcnmeye \u00e7al\u0131\u015ft\u0131m. \u015eiir tarihimizin uzman\u0131 de\u011filim, ama bu kitab\u0131n da i\u00e7inde yer ald\u0131\u011f\u0131 ikinci yeni dedi\u011fimiz o b\u00fcy\u00fck devinim olmasayd\u0131 herhalde t\u00fcrk\u00e7e \u015fiir t\u0131kan\u0131rd\u0131. Toplumcu \u015fiir damar\u0131nda, bildi\u011fimiz birka\u00e7 b\u00fcy\u00fck ad d\u0131\u015f\u0131nda yeni \u015fiir \u00fcremesi g\u00fc\u00e7t\u00fc. Faz\u0131l h\u00fcsn\u00fc hep yaln\u0131z kalaca\u011fa benziyordu. Attil\u00e2 ilhan, necip faz\u0131l gibi adlar\u0131n s\u00fcre\u011fi yoktu. Dranas, tanp\u0131nar gibi adlar da arkalar\u0131na bak\u0131nca kimseyi g\u00f6remiyorlard\u0131. Birinci yeni ise t\u00fckenmi\u015fti. T\u00fcrk\u00e7e \u015fiir yeni s\u00f6yleme yollar\u0131n\u0131 bulmak zorundayd\u0131. Ya\u015fanmakta olan toplumsal \/ k\u00fclt\u00fcrel de\u011fi\u015fimler de \u015fiir kat\u0131nda d\u0131\u015favurum i\u00e7in yeni s\u00f6zler gerektiriyordu. O d\u00f6nemde sezai karako\u00e7\u2019tan ilhan berk\u2019e, turgut uyar\u2019dan \u00fclk\u00fc tamer\u2019e, edip cansever\u2019den ece ayhan\u2019a, cemal s\u00fcreya\u2019dan oktay rifat\u2019a dek, elo\u011flu\u2019nu, necatigil\u2019i unutmadan, has \u015fairlerimiz yeni s\u00f6ylem aray\u0131\u015f\u0131na giri\u015ftiler. D\u00fcnya g\u00f6r\u00fc\u015fleri, duyarl\u0131l\u0131klar\u0131 birbirinden ayr\u0131ml\u0131 olan bu s\u00f6z i\u015f\u00e7ilerinin, aralar\u0131nda baz\u0131 benzerlikler kurulabilse de, ortak denilebilecek bir \u015fiir anlay\u0131\u015f\u0131nda birle\u015fmeleri, t\u00fcrde\u015f bir ak\u0131m yaratmalar\u0131 elbette beklenemezdi. Ancak her biri kendi yolunda bireysel \u015fiirini kurarak \u00e7ok \u00f6nemli yap\u0131tlar ortaya koydular. Bir bak\u0131ma t\u00fcrk\u00e7e \u015fiiri kurtard\u0131lar, giderek t\u00fcrk\u00e7enin \u00f6n\u00fcn\u00fc a\u00e7t\u0131lar.<\/p>\n

Turgut uyar da, bu verimli devinime kat\u0131lmasayd\u0131, ilk iki kitab\u0131yla kalsa ya da bu kitaplardaki \u015fiir anlay\u0131\u015f\u0131n\u0131 s\u00fcrd\u00fcrseydi, bildi\u011fimiz turgut uyar olmazd\u0131 herhalde. Arz-\u0131 hal de, t\u00fcrkiyem de, bug\u00fcnden geriye do\u011fru bak\u0131ld\u0131\u011f\u0131nda, t\u00fcrk \u015fiiri a\u00e7\u0131s\u0131ndan \u00f6nem ta\u015f\u0131yan kitaplar gibi g\u00f6r\u00fcnm\u00fcyorlar. Biraz cahit s\u0131tk\u0131 – ziya osman \u00e7izgisi, biraz halk \u015fiiri, biraz garip, hece vezni: d\u00fczg\u00fcn \u015fiirler ama o kadar, belli ki \u015fair kendine bir dil ar\u0131yor ama bilinen \u015fiir yollar\u0131ndan giderek. \u00dc\u00e7\u00fcnc\u00fc kitap d\u00fcnyan\u0131n en g\u00fczel arabistan\u2019\u0131 \u00f6yle mi? ikinci yeni\u2019ye yak\u0131\u015ft\u0131r\u0131lan s\u00f6yleyi\u015f aramalar\u0131n\u0131n bir\u00e7o\u011fu g\u00f6r\u00fcl\u00fcyor bu kitapta. S\u00f6zc\u00fcklerin bilinen anlamlar\u0131n\u0131n d\u0131\u015f\u0131nda kullan\u0131lmas\u0131, al\u0131\u015f\u0131lmad\u0131k s\u00f6zc\u00fck bile\u015fimleri yap\u0131lmas\u0131, \u015firin \u00e7a\u011fr\u0131\u015f\u0131m, giderek anlam alan\u0131n\u0131 geni\u015fleten bi\u00e7imde dolayl\u0131 dile getirmeler\u2026 vezin anlay\u0131\u015f\u0131 b\u0131rak\u0131l\u0131yor. Bir\u00e7ok \u015fiirde dize de bir yana at\u0131l\u0131yor. \u00d6yk\u00fcleme yap\u0131l\u0131yor uzun \u015fiirlerde. Sonu\u00e7ta, \u201cgeyikli gece\u201d, \u201cmeymenet soka\u011f\u0131\u2019na vard\u0131m\u201d, \u201cg\u00f6\u011fe bakma dura\u011f\u0131\u201d gibi \u015fiir g\u00f6ky\u00fcz\u00fcm\u00fczde birer y\u0131ld\u0131z olan \u015fiirler \u00e7\u0131km\u0131\u015f ortaya. \u00d6yk\u00fcleme yap\u0131lan \u015fiirlerde \u201cak\u00e7aburgazl\u0131 yekta\u201d, \u201ctel cambaz\u0131\u201d gibi \u015fiir kahramanlar\u0131 gelip yerle\u015fmi\u015fler yaz\u0131nk\u00fcremize. <\/p>\n

\u0130lk iki kitap ile \u00fc\u00e7\u00fcnc\u00fc kitap aras\u0131ndaki ayr\u0131mlar izlekler kat\u0131nda da g\u00f6r\u00fcl\u00fcyor elbette. \u00c7ok kabaca s\u00f6ylersek, ilk iki kitapta bir ta\u015fra adam\u0131 var, istanbul\u2019a g\u00f6ndermeler olsa da genellikle anadolu\u2019dan beslenen \u015fiirler bunlar. \u00dc\u00e7\u00fcnc\u00fc kitapta ise b\u00fcy\u00fck kentin cenderesine girmi\u015f, k\u00fc\u00e7\u00fck kentsoylu s\u0131n\u0131f\u0131n havas\u0131n\u0131 koklayan s\u0131k\u0131nt\u0131l\u0131 bir insan. Ta\u015fran\u0131n, do\u011fan\u0131n \u00f6zlemini de \u00e7ekmiyor de\u011fildir bu insan. Asl\u0131nda ikinci yeni d\u00f6neminin \u00f6zelliklerinden biri de ortaya \u00e7\u0131k\u0131yor b\u00f6ylece. Garip \u015fiirinin b\u00fcy\u00fck kentlerde avarelik yapmay\u0131 seven, sokakta parkta deniz k\u0131y\u0131s\u0131nda ya\u015fama sevincini tadan insan\u0131 sahneden \u00e7ekilmi\u015ftir art\u0131k. Turgut uyar bir s\u00f6yle\u015fisinde dedi\u011fi gibi, 1950\u2019li y\u0131llarda t\u00fcrkiye\u2019de \u201cpara patlamas\u0131\u201d d\u00f6nemi ya\u015fanm\u0131\u015ft\u0131r. Bu d\u00f6nemin k\u00fc\u00e7\u00fckkentsoylu ayd\u0131n \u00fczerindeki olumsuz etkileri turgut uyar\u2019\u0131n \u015fiirinde de izlenebiliyor. Ancak, uyar\u2019\u0131n \u015fiiri, \u00f6rne\u011fin bir baudelaire\u2019in \u201c\u015fer \u00e7i\u00e7ekleri\u201dnde oldu\u011fu gibi k\u00f6kl\u00fc bir sorgulama olarak geli\u015fmiyor. Yaln\u0131zl\u0131k, s\u0131k\u0131nt\u0131, yapt\u0131\u011f\u0131 i\u015fe ya\u015fad\u0131\u011f\u0131 ortama yabanc\u0131l\u0131k, sevgisizlik gibi temel birka\u00e7 izlek ve \u00f6zellikle kad\u0131n-erkek ili\u015fkisi \u00fczerinde yo\u011funla\u015f\u0131yor. <\/p>\n

\u0130lk iki kitapla \u00fc\u00e7\u00fcnc\u00fcs\u00fc aras\u0131ndaki ayr\u0131mlardan s\u00f6z ediyoruz ama bir \u015fairin d\u00fcnyas\u0131 bir b\u00fct\u00fcn olarak ele al\u0131nd\u0131\u011f\u0131nda, bu t\u00fcr ayr\u0131mlar\u0131n alt\u0131nda ortak, ba\u011flay\u0131c\u0131 \u00e7izgiler oldu\u011fu bir\u00e7ok kez g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Bu ortak \u00e7izgiler genellikle imgeler d\u00fczeyinde ayr\u0131msan\u0131rlar. \u015eairin imgeleminin kurucu \u00f6\u011feleri olarak dikkat \u00e7ekerler. O zaman ilk kitaplar, be\u011fenilmeseler de, \u015fairin d\u00fcnyas\u0131n\u0131 daha iyi anlayabilmek bak\u0131m\u0131ndan \u00f6nem kazan\u0131rlar. Elbette, \u015fairin, bizim \u00f6rne\u011fimizde turgut uyar\u2019\u0131n sanat\u0131n\u0131 geli\u015ftirmesi imgeleri kullanma, i\u015fleme becerisini, s\u00f6z konusu imgelerin imledikleri izlekleri derinle\u015ftirici s\u00f6z bi\u00e7imlerini bulmas\u0131na ba\u011fl\u0131d\u0131r. Yoksa, yine turgut uyar \u00f6rne\u011fini izlersek, ilk iki kitaptaki \u00e7o\u011funlukla kal\u0131pla\u015fm\u0131\u015f bir \u015fiir diliyle bu imgelerin dile getirilmesi ne anlam ne de bi\u00e7im derinli\u011fi kazand\u0131r\u0131r yap\u0131ta. Ancak ard\u0131ndan \u00f6nemli \u00fcr\u00fcnler gelmi\u015fse, yap\u0131t\u0131n t\u00fcm\u00fcn\u00fc imgelerin yap\u0131s\u0131 ve anlamlar\u0131 bak\u0131m\u0131ndan anlamak i\u00e7in bu t\u00fcr ilk kitaplara d\u00f6n\u00fclmesi yarar sa\u011flayabilir. Giderek, \u015fairin okunmas\u0131n\u0131 istemedi\u011fi par\u00e7alar bile yap\u0131t\u0131n \u00e7ep\u00e7evre yorumlanabilmesi bak\u0131m\u0131ndan \u00f6nemlidir. <\/p>\n

Bu a\u00e7\u0131dan turgut uyar\u2019\u0131n b\u00fcy\u00fck saat\u2019in ba\u015f\u0131ndaki yad \u015fiiri ilgiye de\u011fer g\u00f6r\u00fcnmektedir. Bu \u015fiirden ba\u015flayarak, turgut uyar\u2019\u0131n ilk \u00fc\u00e7 kitab\u0131nda yer verdi\u011fi temel nitelikte birka\u00e7 imgeyi irdelemeye kalk\u0131\u015fabiliriz belki. \u00c7ekim alan\u0131ndan \u00e7\u0131kamad\u0131\u011f\u0131m\u0131z bu \u015fiir d\u00fcnyas\u0131n\u0131n k\u00fc\u00e7\u00fck de olsa bir b\u00f6l\u00fcm\u00fcn\u00fc bu yoldan anlamland\u0131rmay\u0131 deneyebiliriz. <\/p>\n

B\u00fcy\u00fck saat\u2019in elimdeki yky bas\u0131m\u0131nda bu \u015fiirin yan\u0131nda bir y\u0131ld\u0131z imi g\u00f6r\u00fcyorum. Kitab\u0131n ba\u015f\u0131ndaki yky\u2019nin sunu\u015f yaz\u0131s\u0131ndan anla\u015f\u0131ld\u0131\u011f\u0131na g\u00f6re, \u015fairin kendi se\u00e7imiyle yay\u0131mlanan ilk b\u00fcy\u00fck saat\u2019te yer almam\u0131\u015f. S\u00f6yleyi\u015f bak\u0131m\u0131ndan dikkati \u00e7ekmese de \u00e7ocukluk d\u00fcnyas\u0131na \u00f6zlemi i\u00e7ten bir bi\u00e7emle dile getiren s\u0131cak bir \u015fiir. As\u0131l bizi ilgilendiren yan\u0131 \u015fiirdeki imgesel d\u00fcnya. G\u00fcne\u015f yok bu \u015fiirde. \u00c7ocuklu\u011funun g\u00fcne\u015fli g\u00fcnlerinden s\u00f6z etmiyor, ba\u015fka bir\u00e7ok \u015fairin tersine. \u201cg\u00fczel g\u00fcnlerim vard\u0131 ya\u011fmurlarla \u0131slanan\u201d diye a\u00e7\u0131l\u0131yor \u015fiir. \u201cg\u00f6\u011f\u00fc bulutlar saran bahar havalar\u0131nda\u201d dola\u015fmaktan, ay\u0131 seyretmekten s\u00f6z ediyor. G\u00fcnd\u00fcz\u00fc de\u011fil gece vaktini an\u0131yor \u00f6zlemle. \u0130kinci dizede \u201cve g\u00fczel gecelerim masallarla dopdolu\u201d diyerek \u00f6zledi\u011fi geceyi anlat\u0131yor; bu s\u00f6z\u00fcn anlam\u0131n\u0131 \u015fiirin sondan ikinci dizesinde daha da derinle\u015ftiriyor: \u201cpetrol de\u011fil masald\u0131 lambalarda yanan\u201d. \u00c7ocuklu\u011fundaki mutluluk anlar\u0131n\u0131n temel \u00f6\u011feleri belirleniyor b\u00f6ylece: ya\u011fmurlar, yar\u0131 ayd\u0131nl\u0131k geceler ve masallar. Neden? diye sorabilirsiniz. \u015eiirde bunun yan\u0131t\u0131 da veriliyor, \u201co do\u011fdu\u011fum yerde, o kuru \u0131ss\u0131z yerde\u201d dizesiyle. Yoksul ve \u00e7orak bir ortam imleniyor b\u00f6ylece. Masallar bu ger\u00e7eklikten ka\u00e7\u0131\u015f olana\u011f\u0131 yarat\u0131yor. Ya\u011fmur ise kurulu\u011fun kar\u015f\u0131t\u0131 olarak konumlan\u0131yor. Bu t\u00fcr bir ortamda kavurup yakan g\u00fcne\u015f elbette olumsuz, istenmeyen y\u00f6n\u00fcyle s\u0131zacakt\u0131r \u015fairin d\u00fcnyas\u0131na. <\/p>\n

Nitekim ilk iki kitapta fazla g\u00f6r\u00fcnmez g\u00fcne\u015f. \u0130kinci kitapta, \u201ckantar k\u00f6pr\u00fc\u201d \u015fiirinde, k\u00f6pr\u00fcye do\u011fru s\u00f6ylenen \u201ci\u00e7lisin, uzaks\u0131n geceler i\u00e7inde \/ bulut olur dolan\u0131r, g\u00fcne\u015f olur batars\u0131n\u201d dizelerine rastlar\u0131z. Ne ki bu \u015fiirde olumlu \u00f6\u011fe yine gecedir: \u201ckantar k\u00f6pr\u00fc gecelerde \/ ah eder, g\u00fczelle\u015fir.\u201d bitmemi\u015f \u015fiirler\u2019de de g\u00fcne\u015f ile gece kar\u015f\u0131 kar\u015f\u0131ya gelirler: \u201co b\u00fct\u00fcn tatl\u0131 saatlerimde gecemi \/ g\u00fcne\u015f perdelere gelene kadar, \/ kollar\u0131nda bulutlar gibiyim.\u201d gecenin olumlulu\u011fu yaln\u0131zca karanl\u0131k olmas\u0131ndan ileri gelmez. Bir su ya da s\u0131v\u0131 \u00f6\u011fesiyle birlikle yer almas\u0131 gerekmektedir; k\u00f6pr\u00fcn\u00fcn alt\u0131ndaki su gibi, bulut gibi\u2026 belki de bu izlek i\u00e7in g\u00fczel bir \u00f6rnek \u201cdurmu\u015f, s\u00fct mavi gecesine yazlar\u0131n\u201d dizesidir. <\/p>\n

\u00dc\u00e7\u00fcnc\u00fc kitapta, a\u00e7ar a\u00e7maz \u201cgeyikli gece\u201d \u00e7\u0131kar kar\u015f\u0131m\u0131za, olanca g\u00f6rkemiyle. H\u0131nz\u0131r g\u00fcne\u015fiyse birka\u00e7 dizede olumsuz k\u0131l\u0131kta g\u00f6r\u00fcr\u00fcz. Asl\u0131nda bu \u015fiirde anlat\u0131lan ruhsal ortam \u201cyad\u201d \u015fiirindeki ortamla akrabad\u0131r. \u201cgeyikli gece\u201d, \u015fiirin \u00f6znesinin olumsuz, giderek mutsuz g\u00fcnl\u00fck kent ya\u015fam\u0131ndan ka\u00e7mas\u0131n\u0131 sa\u011flayan d\u00fc\u015flem ortam\u0131d\u0131r. G\u00fcn\u00fcn bitmesiyle ba\u015flar d\u00fc\u015flem, \u015fiirin \u00f6znesini zamand\u0131\u015f\u0131na g\u00f6t\u00fcr\u00fcr: \u201cg\u00fcne\u015fin asfalt sonlar\u0131yla batmas\u0131yla a\u011f\u0131rdan \/ hepimizi vakitten kurtaracak.\u201d \u201cgeyikli gece\u201d yine g\u00fczel bir ge\u00e7mi\u015f \u00f6zlemidir: \u201cbelle\u011fimde t\u00fcyl\u00fc t\u00fcyl\u00fc geyikli gece duruyor.\u201d ancak \u201cyad\u201d \u015fiirinden ayr\u0131ml\u0131 olarak, duygusal bir an\u0131msaman\u0131n \u00f6tesine ge\u00e7ilir bu kez. Geyikli gece, \u015fiirin \u00f6znesini \u00e7evreleyen, daha do\u011frusu ku\u015fatan olumsuz ya\u015fama teslim olmayan ya da edilmeyen insan ruhu olur: \u201cve b\u00fcy\u00fck \u015fehirlerden \/ gizleyerek yahut d\u00f6\u011f\u00fc\u015ferek \/ geyikli geceyi kurtard\u0131k.\u201d geyikli geceye ge\u00e7i\u015f yaln\u0131zca g\u00fcne\u015fin batmas\u0131yla ger\u00e7ekle\u015fmez. En az\u0131ndan \u201cbir bardak \u015farab\u0131\u201d gerekseyecektir \u015fiirin \u00f6znesi. \u201cyad\u201d \u015fiirindeki ya\u011fmurun yerini burada \u015farap, giderek bir kad\u0131n\u0131 y\u0131kamak d\u00fc\u015flemi gibi su \u00f6\u011feleri al\u0131r. Gecenin olumlu olabilmesi i\u00e7in su ulam\u0131ndan bir \u00f6\u011feyle tamamlanmas\u0131 gerekmektedir. Su di\u015fi \u00f6\u011fedir imgelem d\u00fcnyas\u0131nda. \u015eiirin son dizesi \u201cuzan\u0131p kendi yanaklar\u0131mdan \u00f6p\u00fcyorum\u201d bi\u00e7imindedir. \u0130lk yakla\u015f\u0131mda, bu dizenin \u00f6zsever bir tutumun d\u0131\u015fa vurumu oldu\u011fu d\u00fc\u015f\u00fcn\u00fclebilir. Ne ki, turgut uyar\u2019\u0131n \u015fiirinde \u00f6zseverlikten \u00e7ok erke\u011fin tamamlay\u0131c\u0131s\u0131 olarak kad\u0131na duyulan \u00f6zlem a\u011f\u0131r basar. B\u00fcy\u00fck bir a\u015fk \u015fairidir turgut uyar. B\u00fcy\u00fck saat\u2019teki son \u015fiirin ba\u015fl\u0131\u011f\u0131 \u201ca\u015fk i\u00e7in\u201ddir. \u201ca\u015fk i\u00e7in s\u00f6yledi\u011fim her \u015feyi bir daha s\u00f6ylerim\u201d diyerek bitirmi\u015f ozan yolculu\u011funu. Geyikli gece de di\u015fi \u00e7a\u011fr\u0131\u015f\u0131mlarla donat\u0131lm\u0131\u015f bir imgedir. \u015eiirin \u00f6znesinin ula\u015fmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 di\u015fidir bir bak\u0131ma: \u201cgeyi\u011fin g\u00f6zleri p\u0131r\u0131l p\u0131r\u0131l gecede.\u201d gecenin bir mutluluk iklimi olarak \u015fiirin \u00f6znesini sarmas\u0131 i\u00e7in bir kad\u0131nla birlikte gelmesi gerektir. Nitekim ikinci kitaptaki baz\u0131 \u015fiirlerde bu imgesel \u00f6rg\u00fc yava\u015f yava\u015f haz\u0131rlanm\u0131\u015ft\u0131r: \u201cithaf\u201d \u015fiirinde \u201cg\u00fcn s\u00f6ner y\u0131ld\u0131zlar yanar gecelerden \/ bir \u00f6l\u00fcms\u00fcz \u00e2lem ba\u015flar senden yana\u201d demi\u015ftir \u00f6zne. Yine ayn\u0131 ba\u015fl\u0131\u011f\u0131 ta\u015f\u0131yan ikinci \u015fiirde \u201cben seni ar\u0131yorum r\u00fcyalar\u0131mda \/ geceler i\u00e7inde bir y\u0131ld\u0131z, bir y\u0131ld\u0131z\u0131\u201d dizeleriyle bu izlek daha da koyula\u015facakt\u0131r. Bitmemi\u015f \u015fiirler\u2019deki \u201ckurumu\u015f kirpiklerime bir ya\u011fmur gibi d\u00f6k\u00fcl\u2026\u201d dizesi izleksel tabloyu tamamlar gibidir: yar\u0131 ayd\u0131nl\u0131k bir gecede ya\u011fmur ve kad\u0131n. (elbette, \u201cgeyikli gece\u201d bu ilk d\u00f6nem \u015fiirleriyle teknik a\u00e7\u0131dan kar\u015f\u0131la\u015ft\u0131r\u0131lamayacak denli karma\u015f\u0131k ve ay\u0131rt\u0131l\u0131d\u0131r. Okurla konu\u015fmalar, ge\u00e7mi\u015fe zengin imgelerle uzanmalar, \u015fiir i\u00e7ine \u015fiir sokmalar, d\u00fc\u015flem ile ger\u00e7eklik aras\u0131nda gidip gelmeler\u2026 \u201cgeyikli gece\u201ddeki bol i\u015flemeli \u015fiir kuma\u015f\u0131 \u015fairin nereden nereye geldi\u011fini g\u00f6stermektedir. \u015eiiri bu denli g\u00fczel bulmasayd\u0131k, okur ge\u00e7er, neyi anlatt\u0131\u011f\u0131n\u0131 daha iyi anlayabilmek i\u00e7in \u015fairin eski \u015fiirlerine inmeyi d\u00fc\u015f\u00fcnmezdik.) <\/p>\n

G\u00fcne\u015ften, daha do\u011frusu ger\u00e7eklikten lo\u015f, \u0131slak, di\u015fil ortama ka\u00e7\u0131\u015f \u00fc\u00e7\u00fcnc\u00fc kitapta da s\u00fcrecektir. Ger\u00e7ek mutluluk de\u011fil ka\u00e7\u0131\u015f \u00fclkesidir yolun sonu. \u00dcnl\u00fc \u201ca\u015fki karanl\u0131k\u201d kavram\u0131na giden izleksel yoldur bu. G\u00f6\u011fe bakma dura\u011f\u0131\u2019nda \u201cg\u00fcne\u015flerden\u2026\/ \u2026\u015fu g\u00f6zlerimi al kurtar\u201d diyen \u00f6zne, \u201cbu karanl\u0131k b\u00f6yle iyi afferin tanr\u0131ya\u201d bi\u00e7imindeki dizeyi g\u00f6nl\u00fcm\u00fcze kaz\u0131yacakt\u0131r. Dahas\u0131: \u00f6yk\u00fclemeci bir \u015fiir olan \u201ctoprak \u00e7\u00f6mlek hik\u00e2yesi\u201dnde \u00e2\u015f\u0131k kad\u0131n adile, \u201cdenizi i\u015fte perdeyle kap\u0131yorum \/ s\u0131zamas\u0131n d\u00fcnyam\u0131za \/ bu uzak lo\u015fluk i\u00e7inde sab\u0131rs\u0131zland\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyorum \/ sa\u00e7lar\u0131m\u0131 \u00e7\u00f6z\u00fcyorum bak\u201d diye konu\u015facakt\u0131r. Ba\u015fka bir \u015fiirdeyse sevgilinin sa\u00e7lar\u0131 \u201cg\u00fcr\u00fcl g\u00fcr\u00fcl\u201dd\u00fcr. <\/p>\n

Ancak \u00fc\u00e7\u00fcnc\u00fc kitapta g\u00fcne\u015f imgesi kendini, daha \u00f6nceki kitaplar\u0131n tersine bir\u00e7ok kez g\u00f6sterecektir. \u00dcstelik bu kitapta, yine \u015fiir sanat\u0131ndan \u00f6z\u00fcr dileyerek kabaca s\u00f6ylersek, g\u00fcne\u015f olumlu ve olumsuz anlamlar aras\u0131nda gidip gelecektir. Ger\u00e7i turgut uyar, kendi imge d\u00fcnyas\u0131n\u0131 bir ahmet ha\u015fim ya da tanp\u0131nar denli \u00f6zenle denetledi\u011fi izlenimi vermez. Dolay\u0131s\u0131yla g\u00fcne\u015f ya da ya\u011fmur gibi imgeleri her seferinde, \u015fiirlerinin t\u00fcm\u00fcn\u00fc d\u00fc\u015f\u00fcnerek, denetli, dizgeli bi\u00e7imde kulland\u0131\u011f\u0131n\u0131 s\u00f6ylemek de do\u011fru olmayabilir. Bununla birlikte, \u00f6yle ya da b\u00f6yle ortaya \u00e7\u0131kan bir imgeler d\u00fcnyas\u0131 vard\u0131r. Bir yap\u0131 olarak d\u00fc\u015f\u00fcn\u00fclebilecek bu d\u00fcnya \u00e7er\u00e7evesinde her imge, \u015fairin bu imgeleri yazarken ne yapmak ya da denemek istedi\u011fiyle her zaman \u00f6rt\u00fc\u015fmeyen bi\u00e7imde ayr\u0131 bir anlam ya da i\u015flev y\u00fcklenir. Turgut uyar\u2019\u0131n g\u00fcne\u015f imgesini (ve di\u011ferlerini) kendi \u015fiircesi i\u00e7inde ne denli dizgeli olarak kulland\u0131\u011f\u0131 ayr\u0131ca tart\u0131\u015f\u0131labilir. Bununla birlikte, g\u00fcne\u015f imgesinin (ve di\u011ferlerinin) \u00e7e\u015fitli kullan\u0131mlar\u0131n\u0131 bir b\u00fct\u00fcn olarak ele almak olanakl\u0131 g\u00f6r\u00fcnmektedir. <\/p>\n

\u201ckan uykusu\u201d \u015fiirinde g\u00fcne\u015f olumlu anlama do\u011fru evrilir. \u201cdaha bir ayd\u0131nl\u0131k olsun diye i\u00e7tikleri su \/ sar\u0131 toprak testileri g\u00fcne\u015fte pi\u015firiyorlar\u201d dizelerinde g\u00fcne\u015f, giderek kurak toprak kavramlar\u0131n\u0131 su kavram\u0131yla bar\u0131\u015ft\u0131rmak e\u011filimi boy g\u00f6sterir. Ayn\u0131 \u015fiirde, a\u011fa\u00e7lar\u0131n \u201chavalar\u0131 birden g\u00fcne\u015fli\u201d dizesiyle olumlu bir tablo \u00e7izildi\u011fi g\u00f6r\u00fclmektedir. \u00dcnl\u00fc \u201cmeymenet soka\u011f\u0131\u2019na vard\u0131m\u201d \u015fiirindeyse \u015fu dizeler dikkat \u00e7eker: \u201cuzakta k\u00f6rler vard\u0131r a\u015fk olsun derim onlara \/ tutarlar g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131 maviye boyarlar yahut mora \/ g\u00f6nendiklerini mi s\u00f6ylesem mutsuzluklar\u0131n\u0131 m\u0131\u201d. Bu dizelerde k\u00f6rlerin g\u00f6rmedikleri ama ku\u015fkusuz g\u00f6rmek istedikleri g\u00fcne\u015fi yine su rengi say\u0131labilecek mavi ya da mora (ak\u015fam vakti su, belki?) boyamalar\u0131nda karanl\u0131ktan g\u00fcne\u015fe, ama su \u00f6\u011fesiyle bar\u0131\u015f\u0131k g\u00fcne\u015fe \u00e7\u0131kma \u00f6zlemi okunabilir. Karanl\u0131kta olduklar\u0131 i\u00e7in mutsuzdurlar, ancak \u00fcrettikleri d\u00fc\u015flem (g\u00fcne\u015fi boyama i\u015flemi) ile g\u00f6nenirler.
\u201cg\u00fcne\u015fi k\u00f6t\u00fc o evler\u201d \u015fiiri \u015fiirin \u00f6znesinin g\u00fcne\u015fi t\u00fcm\u00fcyle de\u011fillemedi\u011fini, ancak belirli bir g\u00fcne\u015fi istedi\u011fini ortaya koyar: \u201co benim bildi\u011fim sevdi\u011fim belledi\u011fim, g\u00fcne\u015f diye belledi\u011fim g\u00fcne\u015f de\u011fildi odadaki.\u201d \u201cg\u00fcne\u015fi de\u011fi\u015ftiren evler\u201din mutsuzlu\u011fu anlat\u0131l\u0131r bu \u015fiirde. K\u00f6t\u00fc g\u00fcne\u015f, \u015fiirin \u00f6znesini \u00e7evreleyen tinsel bak\u0131mdan kurak ortam\u0131 imlemektedir. As\u0131l iyi g\u00fcne\u015f ise \u00f6zlem konusu olarak durmaktad\u0131r \u00f6znenin zihninde: \u201cbir o g\u00fcne beslerim o ak pak g\u00fcne\u015fe \/ o her \u015feyin birden serpilip ortaya d\u00f6k\u00fcld\u00fc\u011f\u00fc geli\u015fece\u011fi gizlice kalm\u0131\u015f u\u00e7lar\u0131n bir bir belirece\u011fi g\u00fcnlere\/ sular gibi dururum.\u201d ak pak, yani ar\u0131l\u0131\u011f\u0131 mutlulu\u011fu simgeleyen g\u00fcne\u015ftir \u00f6znenin \u00f6zledi\u011fi, sular\u0131 kurutmayan, sularla bar\u0131\u015f\u0131k, sular\u0131n bekledi\u011fi g\u00fcne\u015f. Ba\u015fka bir deyi\u015fle, yukar\u0131da ele almaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z lo\u015f d\u00fcnya, k\u00f6t\u00fc g\u00fcne\u015fin kavurdu\u011fu \u00e7orak ruhlu ger\u00e7eklikten ka\u00e7\u0131\u015f yeridir. Suyla bar\u0131\u015f\u0131k g\u00fcne\u015fli belde ise \u015fiirin \u00f6znesinin temel \u00f6zlemidir. \u201ceski k\u0131r\u0131k bardaklar\u201d \u015fiirinde \u201cbak\u0131n bu ikide birde bozulan g\u00fcne\u015f\u201d dizesi, g\u00fcne\u015f imgesinin iki anlaml\u0131l\u0131\u011f\u0131n\u0131 a\u00e7\u0131k\u00e7a g\u00f6stermektedir. \u00d6zne ikide birde bozulmayan g\u00fcne\u015fi istemektedir. Ayn\u0131 \u015fiirde birka\u00e7 dize \u00f6ncesinde \u201cbir ah\u015fap evde ta\u015fl\u0131kta yaz g\u00fcnleri bilmesem \/ bir testiden so\u011fuk so\u011fuk sular s\u0131zd\u0131\u011f\u0131n\u0131 bilmesem \/ g\u00fc\u00e7 dayan\u0131r\u0131m.\u201d \u00f6zne, k\u00f6t\u00fc g\u00fcne\u015fe dayanabilmek i\u00e7in suya, sevgiliye, onlar yoksa d\u00fc\u015flemlerine gereksinim duyar. <\/p>\n

Bu ba\u011flamda, \u201c\u00fc\u00e7y\u00fczbin\u201d \u015fiirindeki \u015fu dize \u00fczerinde \u00f6zellikle durmak gerekir: \u201csenin a\u011fustos \u00e7e\u015fmeleri y\u00fcz\u00fcne \u00f6zlemle e\u011filiyorum.\u201d rastgele bir bak\u0131\u015fla, ikinci yeni kar\u015f\u0131tlar\u0131na g\u00f6re bu ak\u0131ma \u00f6zg\u00fc temelsiz bir imge say\u0131labilecek sevgilinin \u201ca\u011fustos \u00e7e\u015fmeleri y\u00fcz\u00fc\u201d asl\u0131nda uyar\u2019\u0131n imgelem yap\u0131s\u0131 i\u00e7inde yerini bulan bir imgedir. G\u00fcne\u015fin en g\u00fc\u00e7l\u00fc d\u00f6nemi olan a\u011fustos ay\u0131nda sevgilinin y\u00fcz\u00fcn\u00fcn \u00e7e\u015fmelere benzetilmesi herhalde art\u0131k bizi \u015fa\u015f\u0131rtmayacakt\u0131r. G\u00fcne\u015fin yak\u0131c\u0131 etkisini su olarak sevgili denkle\u015ftirmektedir. \u0130mgelemin itici g\u00fc\u00e7lerinden biri, \u00f6znenin g\u00fcne\u015f ile suyun bar\u0131\u015ft\u0131\u011f\u0131 noktay\u0131 aray\u0131\u015f\u0131 olarak kesinlenebilir. <\/p>\n

\u201cb\u00fcy\u00fck kavrulmu\u015f\u201d \u015fiiri, ba\u015fl\u0131\u011f\u0131ndan da belli, olumsuz bir durumu anlat\u0131r: \u201cb\u00fcy\u00fck, kavrulmu\u015f soy k\u0131rlar gelir akl\u0131ma hep, hep t\u00fckenince insan dayan\u0131kl\u0131\u011f\u0131m.\u201d tinsellik kavgas\u0131nda yenik d\u00fc\u015fen insan kendini yeniden canland\u0131racak \u201cdiri su\u201dyu \u00f6zler, ulular bu g\u00fczel \u015fiirde. Ancak \u015fiirde arada bir yerde ge\u00e7en \u201csanki ay d\u00f6k\u00fcl\u00fcr diri bal\u0131klara, sanki g\u00fcm\u00fc\u015f \u015feyleri g\u00fcne\u015fler g\u00fcne\u015fler \u0131\u015f\u0131t\u0131r\u201d dizesinin g\u00fcne\u015fli b\u00f6l\u00fcm\u00fc biraz s\u0131r\u0131t\u0131r ilk bak\u0131\u015fta. Bununla birlikte kavuran g\u00fcne\u015fin bu olmad\u0131\u011f\u0131, burada olumlu g\u00fcne\u015ften s\u00f6z edildi\u011fi dizenin b\u00fct\u00fcn\u00fc a\u00e7\u0131s\u0131ndan \u00f6ne s\u00fcr\u00fclebilir. As\u0131l \u00fczerinde durulmas\u0131 gereken, bu \u015fiiri izleyen \u201ctoprak \u00e7\u00f6mlek hik\u00e2yesi\u201dnin sonuna do\u011fru \u00f6znenin \u00f6zlemlerini dile getirirken, \u201ckavruk bozk\u0131rlara ya\u011fmur ya\u011fmas\u0131n\u0131\u201d dilemesidir. B\u00f6ylece bir \u00f6nceki \u015fiiri tamamlar sanki.
Elbette, toprak \u00e7\u00f6mlek imgesinde ayr\u0131ca duraklamam\u0131z gerekmektedir. De\u011findi\u011fimiz \u015fiirdeki \u00e7\u00f6mlek, daha \u00f6nce \u201ckan uyku\u201dda rastlad\u0131\u011f\u0131m\u0131z sar\u0131 topraktan testiyi an\u0131msat\u0131r. Ancak onun gibi sertle\u015fmi\u015f toprak, y\u00f6n\u00fc a\u011f\u0131r basan bir su tutucu de\u011fildir. \u201csar\u0131 \u00e7amur \u00e7\u00f6mlek\u201dtir: \u201co anlat\u0131lmaz \u00e7\u00f6mle\u011fi bir dere \u00e7amurundan kar\u0131p yapm\u0131\u015flar\u2026\u201d iki sevgili karanl\u0131kta, \u201c\u2026doygun bitkisel bir erin\u00e7le o sar\u0131 \u00e7amur \u00e7\u00f6mle\u011fe kar\u015f\u0131 yan yana uzan\u0131r\u2026\u201d aray\u0131\u015ftan \u00e7ok ka\u00e7\u0131\u015f\u0131n simgesidir karanl\u0131kta sevgililere nerdeyse bir a\u015fk mihrab\u0131 olan bu \u00e7\u00f6mlek. G\u00fcne\u015ften uzakta lo\u015f, \u0131slak, i\u00e7ine kapan\u0131k d\u00fcnyan\u0131n \u00f6b\u00fcr ad\u0131d\u0131r. Olumlu g\u00fcne\u015fin \u201csoluk\u201d, olumsuz g\u00fcne\u015fin ise kavurucu oldu\u011fu bir d\u0131\u015f d\u00fcnyadan ka\u00e7\u0131lmaktad\u0131r i\u00e7eriye, sevgi(li)ye \u00e7ekilerek. <\/p>\n

G\u00fcne\u015fin kavuruculu\u011fu (\u201cbir kantar memuru i\u00e7in\u201d) \u201cincil\u201d \u015fiirinde iyice vurgulan\u0131r, ikinci dipnotta yer verilen \u201c\u2026nas\u0131ra\u2019l\u0131 isa\u2019y\u0131 peygamber eden budur, g\u00fcne\u015f alt\u0131nda yaln\u0131z kal\u0131nca iyice korktu\u201d s\u00f6zleriyle. Kavurucu \u201cg\u00fcne\u015fin alt\u0131nda yaln\u0131zl\u0131k\u201d \u015fiirin \u00f6znesinin de\u011fi\u015ftirmek istedi\u011fi durumudur. Gelgelelim \u201co g\u00fcne\u015fler daha da ortal\u0131kta\u201dd\u0131r. \u015eiirin \u00f6znesi kendi g\u00fcne\u015flerini \u00f6zler ama bo\u015funa. Korkar geldi\u011fi b\u00fcy\u00fck kentte. Ka\u00e7amaz da; k\u0131sk\u0131vrak yakalanm\u0131\u015f gibidir: \u201cben yokum desem kimse b\u0131rakm\u0131yor \/ yokum diyorum inanm\u0131yorlar \/ yokum diyorum bulup \u00e7\u0131kar\u0131yorlar \/ yokum \/ lambam\u0131 \u00fcfl\u00fcyorum bir bardak su i\u00e7iyorum.\u201d <\/p>\n

\u015eiirin \u00f6znesinin ya\u015famdan eksilmesinin, kendini \u00e7ekmesinin tek yolu \u201clambay\u0131 \u00fcfleme\u201d eyleminin imledi\u011fi uykudur. Uykunun karanl\u0131k \u00e2lemi bir bardak su ile b\u00fct\u00fcnle\u015ferek bildi\u011fimiz imgesel tabloya d\u00f6n\u00fc\u015f\u00fcr. Uykuya yatmak ayn\u0131 zamanda d\u00fc\u015f \u00e2lemine y\u00f6nelmektir. Nitekim \u201ci\u00e7iyorum\u201d s\u00f6zc\u00fc\u011f\u00fcn\u00fcn bitiminde ufac\u0131k bir alt\u0131 rakam\u0131 vard\u0131r, alt\u0131nc\u0131 dipnota g\u00f6nderir bizi. Bir d\u00fc\u015flem anlat\u0131l\u0131r bu dipnotta. \u00d6yle bir d\u00fc\u015flem ki, \u201cadamlar kad\u0131nlar\u0131n\u0131 al\u0131p arabistana g\u00f6t\u00fcr\u00fcrlerdi \/ d\u00fcnyan\u0131n en g\u00fczel arabistan\u0131na\u201d. Uzun dipnot i\u00e7inde ana imge adamlar\u0131n kad\u0131nlar\u0131n\u0131 d\u00fcnyan\u0131n en g\u00fczel arabistan\u0131na g\u00f6t\u00fcrmesidir. Niye arabistan? kavurucu g\u00fcne\u015fin \u00fclkesi de\u011fil midir arabistan? \u00f6zne d\u00fc\u015fleminde olanaks\u0131z\u0131 istemektedir. Kavurucu g\u00fcne\u015f alt\u0131nda kad\u0131nla mutlu olabilece\u011fi bir beldeyi d\u00fc\u015flemlemektedir. \u015eiirin imge yap\u0131s\u0131 a\u00e7\u0131s\u0131ndan bakarsak buna, g\u00fcne\u015fin di\u015fil \u00f6\u011feyle b\u00fct\u00fcnle\u015ferek t\u00fcm\u00fcyle olumlu anlama evrilebilmesidir istedi\u011fi, diyebiliriz. Ancak \u00f6yle bir \u00fclke arabistanlar\u0131n en g\u00fczeli olacakt\u0131r. Karanl\u0131kta i\u00e7ilen bir bardak suyun i\u00e7inden \u00e7\u0131kan d\u00fc\u015flemdir bu: d\u00fc\u015flemlerin en g\u00fczeli. <\/p>\n

\u201c\u00f6l\u00fcml\u00fc ya\u015famaya herg\u00fcnk\u00fc \u00e7a\u011fr\u0131\u201d \u015fiirinin \u201csonu\u00e7 i\u00e7in giri\u015f\u201d b\u00f6l\u00fcm\u00fcnde \u015fu dizeler de anlat\u0131r \u00f6znenin \u00f6zlemini: \u201cbizim mavi giyimlerle g\u00fcne\u015flendi\u011fimiz yerde \/ di\u015flerimizin aras\u0131nda bir \u00e7\u00f6ple g\u00fcne\u015flendi\u011fimiz yerde \/ ne insan t\u00fckenir ne g\u00f6ky\u00fcz\u00fc.\u201d mavi giyimin imledi\u011fi suyla bar\u0131\u015f\u0131kl\u0131k ve di\u015flerin aras\u0131ndaki \u00e7\u00f6p\u00fcn \u00e7a\u011f\u0131rd\u0131\u011f\u0131 doygunluk anlamlar\u0131 sade, ar\u0131 bir mutluluk resmidir. Bu resmin asl\u0131n\u0131 bulmad\u0131\u011f\u0131 i\u00e7in \u015fiirin \u00f6znesi lo\u015fa \u00e7ekilir. Elbette \u201colsun olsun, g\u00fcne\u015f olsun g\u00fcne\u015f olsun, olsun\u201d demekten geri kalmayacakt\u0131r. Ne ki, bu iste\u011finin, isteminin i\u00e7tenli\u011fini, sa\u011f\u0131nl\u0131\u011f\u0131n\u0131 korumak i\u00e7in kavurucu, tinsel kurakl\u0131\u011fa yol a\u00e7\u0131c\u0131 g\u00fcne\u015fi, kentin bozuk ya\u015fam\u0131n\u0131 de\u011fillemek zorundad\u0131r. \u015eiirin \u00f6znesi ikide birde bozulan g\u00fcne\u015fi de\u011fil, insan\u0131 insan yapan ger\u00e7ek g\u00fcne\u015fi istemektedir bu d\u00fcnyadan. \u0130stedi\u011fini alamad\u0131\u011f\u0131 s\u00fcrece \u201c\u00f6ks\u00fczo\u011flan bal\u0131klar\u0131 gibi kuytulara ka\u00e7\u0131yorum \/ ak\u00e7aburgaz yaln\u0131zl\u0131\u011f\u0131ma sar\u0131n\u0131yorum\u201d diyecektir. O \u0131slak kuytudan daha sonra, t\u00fct\u00fcnler islak ba\u015fta olmak \u00fczere t\u00fcrk \u015fiirinin \u00e7ok \u00f6nemli yap\u0131tlar\u0131 do\u011facakt\u0131r. Biz bu b\u00fcy\u00fck \u015fiire, ucundan da olsa \u015f\u00f6yle bir kendini hat\u0131rlatan, hayranl\u0131k i\u00e7inde bir okur olmak istedik, o kadar. <\/p>\n

O\u011fuz demiralp\/ “ikide birde bozulan g\u00fcne\u015f”e kar\u015f\u0131 \u015fiir makalesi.<\/p>\n

Turgut UYAR’\u0131n Biyografisi ve \u015eiirleri i\u00e7in TIKLAYIN<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

1970\u2019lerin ba\u015f\u0131nda, yak\u0131n bir arkada\u015f\u0131mla birlikte iyice merak sarm\u0131\u015ft\u0131k \u00e7a\u011fda\u015f t\u00fcrk \u015fiirine. Sabah ak\u015fam \u015fiir okurduk. Turgut uyar\u2019\u0131n \u00fcnl\u00fc \u015fiir ki\u015fileri yekta ile davut gibiydik. D\u00fcnyan\u0131n en g\u00fczel arabistan\u2019\u0131 elimizin alt\u0131nda tuttu\u011fumuz kitaplardan biriydi. Arkada\u015f\u0131m yaln\u0131zca \u015fiir okumakla yetinmez, yazard\u0131. Bir k\u00f6\u015feye \u00e7ekilir, beyaz dosya k\u00e2\u011f\u0131tlar\u0131 \u00fczerine kargac\u0131k burgac\u0131k el yaz\u0131s\u0131yla bir \u015feyler karalar, sonra […]<\/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":["post-850","post","type-post","status-publish","format-standard","category-edebiyat-turkiye"],"yoast_head":"\nB\u00f6yle bir \u015fiir yaz\u0131p sonra \u00f6lebilirsin | Turgut Uyar \u015fiiri - 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\/01\/02\/boyle-bir-siir-yazip-sonra-olebilirsin-turgut-uyar-siiri\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"B\u00f6yle bir \u015fiir yaz\u0131p sonra \u00f6lebilirsin | Turgut Uyar \u015fiiri\" \/>\n<meta property=\"og:description\" content=\"1970\u2019lerin ba\u015f\u0131nda, yak\u0131n bir arkada\u015f\u0131mla birlikte iyice merak sarm\u0131\u015ft\u0131k \u00e7a\u011fda\u015f t\u00fcrk \u015fiirine. Sabah ak\u015fam \u015fiir okurduk. Turgut uyar\u2019\u0131n \u00fcnl\u00fc \u015fiir ki\u015fileri yekta ile davut gibiydik. D\u00fcnyan\u0131n en g\u00fczel arabistan\u2019\u0131 elimizin alt\u0131nda tuttu\u011fumuz kitaplardan biriydi. Arkada\u015f\u0131m yaln\u0131zca \u015fiir okumakla yetinmez, yazard\u0131. 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