{"id":1720,"date":"2022-11-21T21:50:42","date_gmt":"2022-11-21T18:50:42","guid":{"rendered":"https:\/\/korpekalemler.net\/?p=1720"},"modified":"2023-09-17T10:29:58","modified_gmt":"2023-09-17T07:29:58","slug":"korlesme","status":"publish","type":"post","link":"https:\/\/korpekalemler.net\/index.php\/2022\/11\/21\/korlesme\/","title":{"rendered":"K\u00f6rle\u015fme"},"content":{"rendered":"\r\n

K\u00f6rle\u015fme<\/strong><\/p>\r\n\r\n\r\n\r\n

Yu\u015fa Irmak<\/p>\r\n\r\n\r\n\r\n

Elias Canetti’nin roman\u0131 \u201cK\u00f6rle\u015fme\u201d 40-50 y\u0131l \u00f6nce ilk Ahmet Cemal’in \u00e7evirisiyle yay\u0131nland\u0131. Yakla\u015f\u0131k yar\u0131m as\u0131rl\u0131k kitab\u0131 \u00f6mr\u00fcm boyunca ya bir ya da iki kez \u00fczerinde d\u00fc\u015f\u00fcnmeden, tartmadan okudum. \u015eimdi yine elimin alt\u0131nda ve tekrar not olarak okuyorum\u2026<\/p>\r\n\r\n\r\n\r\n


Elias Canetti so\u011fuk bir mizah\u0131n, incelikli, mesafeli bir kara yerginin e\u015fli\u011finde yazm\u0131\u015f bu biricik roman\u0131n\u0131. Meram\u0131m\u0131 biraz daha a\u00e7mak i\u00e7in kitaptan al\u0131nt\u0131 yapacak olursam: Ma\u011frur bilim adam\u0131 Kien, kitaplar\u0131na iyi bakt\u0131\u011f\u0131 i\u00e7in hizmet\u00e7isi Therese’yle evlenir. Nik\u00e2h t\u00f6reninden sonra; “Rastlad\u0131klar\u0131 ilk durakta tramvay beklemeye koyuldular. Kien, bug\u00fcn\u00fcn di\u011ferlerinden ayr\u0131 hi\u00e7bir yan\u0131 olmad\u0131\u011f\u0131n\u0131 belirtmek i\u00e7in taksiye binmekten ka\u00e7\u0131nm\u0131\u015ft\u0131. Tramvay geldi\u011finde basamaklara \u00f6nce kendi s\u0131\u00e7rad\u0131. Ama daha vagonun sahanl\u0131\u011f\u0131ndayken, \u00f6nce kar\u0131s\u0131n\u0131 bindirmesi gerekti\u011fi akl\u0131na geldi. Arkas\u0131 d\u00f6n\u00fck oldu\u011fu halde tramvaydan a\u015fa\u011f\u0131 inerken, Therese’ye \u015fiddetle \u00e7arpt\u0131. Bilet\u00e7i \u00f6fkeyle yola devam i\u015fareti verdi. Tramvay, ikisini de durakta b\u0131rakarak hareket etti.”<\/p>\r\n\r\n\r\n\r\n


Canetti, Kafka’y\u0131 tan\u0131d\u0131ktan sonra, arad\u0131\u011f\u0131 \u00fcslubu buldu\u011funu s\u00f6yler. Belki de bu yak\u0131n gelecekte olup biteceklerin kayg\u0131s\u0131n\u0131 ta\u015f\u0131yan bir \u00fcsluptur. G\u00fcn\u00fcm\u00fcz okur yazarlar\u0131na sa\u00e7mal\u0131k gibi gelen ancak d\u00f6rt be\u015f y\u0131l sonra o sa\u00e7mal\u0131k korkun\u00e7 ger\u00e7ekli\u011fin kendisi olup \u00e7\u0131km\u0131\u015ft\u0131r. K\u00f6rle\u015fme’yi zaman dilimi belli, tarihe kanl\u0131 damgalar vurmu\u015f bir d\u00f6nemin habercisi sayarsak hi\u00e7 birimiz bu \u00fcslubu yad\u0131rgaay\u0131z. Zira kitab\u0131n b\u00f6l\u00fcm ba\u015fl\u0131klar\u0131 bile kendi d\u00f6neminin sebeplerini on ikiden simgeleyerek:
“D\u00fcnyas\u0131z Bir Kafa”, “Kafas\u0131z Bir D\u00fcnya”, “Kafadaki D\u00fcnya” olarak belirtilmi\u015f<\/p>\r\n\r\n\r\n\r\n

.
Kitapta, ma\u011frur, bencil, i\u015flevsiz, faydas\u0131z bilim insan\u0131 Kien’in \u00e7\u00f6z\u00fcmlenmesinde fa\u015fizme ad\u0131m ad\u0131m yakla\u015fan Avrupa’n\u0131n bir a\u00e7\u0131mlanmas\u0131 ile kar\u015f\u0131la\u015f\u0131r\u0131z. Fa\u015fizmden, nasyonal sosyalizmden, sloganlardan hemen hi\u00e7 bahsedilmez bu kitapta. \u00d6te yandan bu roman, yaln\u0131zca bu sloganlar\u0131 k\u0131lg\u0131ya ge\u00e7irecek karanl\u0131k bir ortam\u0131n b\u00fct\u00fcn panoramas\u0131 gibidir. \u00dcstelik daha ortal\u0131k s\u00fct limanken, uygar ya\u015fam yerli yerinde dururken\u2026 Kien i\u00e7in d\u0131\u015f ya\u015fam, ba\u015fkalar\u0131n\u0131n ortak d\u00fcnyas\u0131 kaybolmu\u015f; dahas\u0131 hi\u00e7bir zaman var olmam\u0131\u015f gibidir. O, maddi ger\u00e7eklikleri yok sayan, kitaplar d\u0131\u015f\u0131ndaki d\u00fcnyay\u0131, \u00e7o\u011funlu\u011fun d\u00fcnyas\u0131n\u0131 k\u00fc\u00e7\u00fcmseyen “kafas\u0131z bir d\u00fcnya”n\u0131n adam\u0131d\u0131r. Bundan da sonsuz bir mutluluk duymakta, kendi kabu\u011fu i\u00e7inde \u00c7in dil ve uygarl\u0131\u011f\u0131n\u0131n g\u00f6rkemiyle ha\u015f\u0131r ne\u015fir ya\u015fam\u0131na bakmaktad\u0131r.<\/p>\r\n\r\n\r\n\r\n


Therese ise kitaps\u0131z (k\u00fclt\u00fcrs\u00fcz) bir d\u00fcnyan\u0131n, basit, yayg\u0131n anlam\u0131yla maddi d\u00fcnyan\u0131n simgesidir. Kitaplar\u0131 e\u015fya diye g\u00f6rd\u00fc\u011f\u00fcnden korur ama okumaz\u2026 Kien’le Therese’nin bile\u015fkesinden do\u011facak cehennem, \u00e7ok de\u011fil, K\u00f6rle\u015fme’nin yay\u0131mlan\u0131\u015f\u0131ndan birka\u00e7 y\u0131l sonra, b\u00fct\u00fcn Avrupa’n\u0131n genel g\u00f6r\u00fcn\u00fcm\u00fcne d\u00f6n\u00fc\u015fecektir. B\u00f6ylesi bir kehanet roman\u0131 s\u00f6z konusu olunca, Dostoyevski’nin Ecinniler’i ve Stalin Rusyas\u0131 da akl\u0131ma gelmedi de\u011fil.. Kien i\u00e7in d\u0131\u015f ya\u015fam kaybolmu\u015ftur dedim. \u015e\u00f6yle de denebilir: Kien, ya\u015fad\u0131\u011f\u0131 d\u00fcnyada ger\u00e7ekliklerle olan organik ba\u011flant\u0131s\u0131n\u0131 t\u00fcm\u00fcyle yitirmi\u015ftir. Avrupa’n\u0131n gitti\u011fi yerden habersiz, kendi sarsak de\u011ferlerine k\u00f6r\u00fc k\u00f6r\u00fcne ba\u011fl\u0131 ya\u015famaktad\u0131r. Bu da ilgin\u00e7 bir tarzda romana yedirilir.<\/p>\r\n\r\n\r\n\r\n


\u00d6rne\u011fin, Kien, kendisine bir caddeyi soran yurtta\u015f\u0131n\u0131 dinlemez. K\u00f6rle\u015fme sonucu, bir \u00fc\u00e7\u00fcnc\u00fc ki\u015finin, yan\u0131t verecek s\u0131radan bir ba\u015fka yurtta\u015f\u0131n varl\u0131\u011f\u0131na inand\u0131\u011f\u0131ndan, sorunun tekrarlanmas\u0131n\u0131 ve yan\u0131ts\u0131z kal\u0131\u015f\u0131n\u0131 b\u00fcy\u00fck bir hazla izler. Yan\u0131tlamaktan ka\u00e7\u0131nan \u00fc\u00e7\u00fcnc\u00fc ki\u015fi, Kien’in g\u00f6z\u00fcnde, b\u00f6yle adi sorular\u0131 yan\u0131tlamad\u0131\u011f\u0131 i\u00e7in sayg\u0131n bir ki\u015fi konumundad\u0131r. Caddeyi soran yurtta\u015f, sonunda bir g\u00fczel tokatlar Kien’i. Ama Kien, ba\u015f\u0131na gelen olay\u0131, g\u00fcndelik, s\u0131radan bir baya\u011f\u0131l\u0131k \u015feklinde alg\u0131lar. Art\u0131k hi\u00e7 soka\u011fa \u00e7\u0131kmamas\u0131 gerekti\u011fini d\u00fc\u015f\u00fcnmeye ba\u015flar. Canetti’nin cehennem d\u00fcnyas\u0131na bak\u0131\u015f\u0131nda y\u00fcce gibi g\u00f6z\u00fcken, ama ger\u00e7ekli\u011fe ayak uyduramam\u0131\u015f \u00fclk\u00fclerin t\u00fcm\u00fc kap\u0131 d\u0131\u015far\u0131 edilmi\u015ftir. K\u00f6rle\u015fme neredeyse umutsuzluk \u00fczerine kurulu bir roman olarak durur. S\u00f6z verdi\u011fi tek umut ise cehennem ate\u015finden semenderin sa\u011f \u00e7\u0131kabilece\u011fidir!<\/p>\r\n\r\n\r\n\r\n


Therese’nin tutumundaysa, k\u00f6r iktidar h\u0131rs\u0131n\u0131 kavramak olas\u0131. Asl\u0131nda maskesiz bir y\u00fczle Kien’in kar\u015f\u0131s\u0131na \u00e7\u0131k\u0131yor hizmet\u00e7i kad\u0131n; saklamad\u0131\u011f\u0131 istekleri ve tercihleriyle: Ev, e\u015fya, para, daha \u00e7ok para, paran\u0131n sa\u011flayaca\u011f\u0131 \u015fan, \u015f\u00f6hret ve o me\u015fhur g\u00f6rkem! Bunlardan ibaret Therese. Sonu gelmeyecek ihtiras\u0131yla ba\u015far\u0131ya ko\u015ftu\u011funu san\u0131r.<\/p>\r\n\r\n\r\n\r\n


K\u00f6rle\u015fme d\u0131\u015f g\u00f6r\u00fcn\u00fcm olarak, ya\u015fad\u0131\u011f\u0131m\u0131z d\u00fcnyan\u0131n somutlu\u011fuyla hi\u00e7bir \u00f6zde\u015flik ta\u015f\u0131maz. Bir delinin bak\u0131\u015f a\u00e7\u0131s\u0131ndan yaz\u0131lm\u0131\u015f\u00e7as\u0131na \u00e7arp\u0131kt\u0131r ortaya \u00e7\u0131kan atmosfer. Ne var ki, 1935-1945 y\u0131llar\u0131n\u0131n keskin \u00e7izgili bir maketi bu romanda eksiksiz bi\u00e7imde kar\u015f\u0131m\u0131za \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. Somut d\u00fcnya, K\u00f6rle\u015fme’nin yay\u0131mlan\u0131\u015f\u0131ndan biraz sonra, romanda anlat\u0131lanlar\u0131n hepsini tek tek ya\u015famaya ba\u015flar. Kafas\u0131z bir d\u00fcnyada, d\u00fcnyas\u0131z bir kafayla ya\u015faman\u0131n deh\u015fet verici bedeli bir bir \u00f6denmektedir.<\/p>\r\n\r\n\r\n

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Roman\u0131n sonlar\u0131na do\u011fru, ‘bilim adam\u0131’, ‘hizmet\u00e7i’, ‘kap\u0131c\u0131’, ‘c\u00fcce’ ve ‘karakol’ simgeleri Avrupa k\u00fclt\u00fcr\u00fcn\u00fcn i\u00e7ine at\u0131lmakta oldu\u011fu cehennem ate\u015fini hissettirirken, bir yandan da ‘Amerika’ hayali patlak verir. Canetti’nin so\u011fuk mizah\u0131 art\u0131k doruktad\u0131r. Batan Avrupa yaln\u0131zca Amerika’n\u0131n i\u015fine yarayacakken; Kien de Therese de, \u00f6tekiler de Amerikan r\u00fcyas\u0131n\u0131 g\u00f6rmeye ba\u015flar.<\/p>\r\n\r\n\r\n\r\n


Her \u015feyi k\u00fc\u00e7\u00fcmseyen, i\u00e7ine kapand\u0131k\u00e7a sanr\u0131lara s\u00fcr\u00fcklenen, k\u00fc\u00e7\u00fcmseyi\u015fi ve i\u00e7e kapan\u0131\u015f\u0131yla kendi \u00fcrk\u00fcn\u00e7, ibret verici sonunu haz\u0131rlayan Kien, h\u00e2l\u00e2 kurtar\u0131\u015f, ayd\u0131nlat\u0131\u015f re\u00e7etelerini sunmaya devam eder. Tabii, Therese de yeni kocas\u0131n\u0131n ve eski efendisinin kurtar\u0131\u015f, ayd\u0131nlat\u0131\u015f re\u00e7etelerini azd\u0131rmaktan geri durmaz. \u00d6rne\u011fin, Therese birdenbire okumak, ayd\u0131nlanmak arzusuyla yan\u0131p tutu\u015fmaya ba\u015flar. Kien ise eski hizmet\u00e7isi, yeni kar\u0131s\u0131 Therese’ye nas\u0131l, ne t\u00fcrden bir kitap se\u00e7mesi gerekti\u011fi konusunda d\u00fc\u015f\u00fcnmektedir:<\/p>\r\n\r\n\r\n\r\n


\u201cYaln\u0131zca bir roman s\u00f6z konusu olabilirdi Therese i\u00e7in. Ne var ki roman okumak hi\u00e7bir ruhu zenginle\u015ftiremezdi. Romandan belki al\u0131nan zevk i\u00e7in \u00f6denen bedel, pek y\u00fcksek olurdu; en \u00fcst\u00fcn ki\u015filikleri bile bozard\u0131 romanlar. Romanlar sayesinde insan; kendini her t\u00fcrl\u00fc insanla \u00f6zde\u015fle\u015ftirmeyi \u00f6\u011freniyordu. De\u011fi\u015fiklikten zevk almaya ba\u015fl\u0131yordu. Ki\u015filikler par\u00e7a par\u00e7a \u00e7\u00f6z\u00fcl\u00fcp, ho\u015fa giden kahramanlar\u0131n kal\u0131b\u0131na giriyordu. Her g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131 savunulabilir oluyordu. Okur, g\u00f6n\u00fcll\u00fc olarak kendini yabanc\u0131 hedeflerin ak\u0131\u015f\u0131na b\u0131rak\u0131yor, bu y\u00fczden uzunca bir s\u00fcre i\u00e7in kendi hedeflerini g\u00f6zden yitiriyordu. Romanlar, yazarl\u0131k yapan bir oyuncunun, okurlar\u0131n\u0131n bir b\u00fct\u00fcn olu\u015fturan ki\u015filiklerine bat\u0131rd\u0131\u011f\u0131 kamalard\u0131. Oyuncu, kaman\u0131n g\u00fcc\u00fcn\u00fc ve kar\u015f\u0131la\u015faca\u011f\u0131 direnci iyi hesaplayabildi\u011fi oranda hedef ald\u0131\u011f\u0131 ki\u015fili\u011fi par\u00e7alayabiliyordu. Devlet, romanlar\u0131 yasak etmeliydi.\u201d der.<\/p>\r\n\r\n\r\n\r\n


Kien’in sa\u011f\u0131ltacakken zehirleyen re\u00e7eteleri, Therese’nin i\u015fine bir s\u00fcre yarar. Onun derdi tasas\u0131 Kien’i ortadan kald\u0131rmak, evin, mal\u0131n m\u00fclk\u00fcn \u00fcst\u00fcne oturmak, mutlak iktidar\u0131n\u0131n zaferini ya\u015famakt\u0131r. Fonda Avrupa cay\u0131r cay\u0131r yanarken\u2026<\/p>\r\n\r\n\r\n\r\n


K\u00f6rle\u015fme\u2019yi okurken bu \u00fclkeyi de zihnimin i\u00e7inden ge\u00e7irdim. O kadar \u00e7ok benzer durumlar var ki kendi kendime \u015fa\u015f\u0131r\u0131p kald\u0131m\u2026<\/p>\r\n\r\n\r\n\r\n


Her ne ise..<\/p>\r\n\r\n\r\n\r\n


Dilerim Kien, Therese, Avrupa ve isimleri oldu\u011fu gibi kal\u0131r ve bu okudu\u011fum isimler hi\u00e7 de\u011fi\u015fmeden roman\u0131n i\u00e7inde sonsuza kadar kal\u0131r, durur\u2026
Sa\u011fl\u0131cakla kal\u0131n\u2026<\/p>\r\n","protected":false},"excerpt":{"rendered":"

K\u00f6rle\u015fme Yu\u015fa Irmak Elias Canetti’nin roman\u0131 \u201cK\u00f6rle\u015fme\u201d 40-50 y\u0131l \u00f6nce ilk Ahmet Cemal’in \u00e7evirisiyle yay\u0131nland\u0131. Yakla\u015f\u0131k yar\u0131m as\u0131rl\u0131k kitab\u0131 \u00f6mr\u00fcm boyunca ya bir ya da iki kez \u00fczerinde d\u00fc\u015f\u00fcnmeden, tartmadan okudum. \u015eimdi yine elimin alt\u0131nda ve tekrar not olarak okuyorum\u2026 Elias Canetti so\u011fuk bir mizah\u0131n, incelikli, mesafeli bir kara yerginin e\u015fli\u011finde yazm\u0131\u015f bu biricik roman\u0131n\u0131.…<\/p>\n","protected":false},"author":1,"featured_media":15335,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"saved_in_kubio":false,"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"fifu_image_url":"","fifu_image_alt":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[144,120,164],"tags":[177,173],"class_list":["post-1720","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-edeb","category-kasim22","category-yusairmak","tag-edebiyat","tag-kasim2022","category-144","category-120","category-164","description-off"],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/korpekalemler.net\/wp-content\/uploads\/2023\/01\/pexels-photo-1287145.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/posts\/1720"}],"collection":[{"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/comments?post=1720"}],"version-history":[{"count":4,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/posts\/1720\/revisions"}],"predecessor-version":[{"id":16207,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/posts\/1720\/revisions\/16207"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/media\/15335"}],"wp:attachment":[{"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/media?parent=1720"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/categories?post=1720"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/korpekalemler.net\/index.php\/wp-json\/wp\/v2\/tags?post=1720"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}