{"id":4171,"date":"2026-03-13T20:35:58","date_gmt":"2026-03-13T17:35:58","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4171"},"modified":"2026-03-13T20:35:58","modified_gmt":"2026-03-13T17:35:58","slug":"agir-romanin-hafif-sairleri","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/13\/agir-romanin-hafif-sairleri\/","title":{"rendered":"A\u011f\u0131r Roman’\u0131n Hafif \u015eairleri"},"content":{"rendered":"
“tevekk\u00fcl tavsiye edecekler seni ve devleti tan\u0131yanlar,<\/i><\/div>\n
                            b\u00fct\u00fcn arkada\u015flar tarihi h\u00fck\u00fcmet kona\u011f\u0131 \u00f6n\u00fcnde,<\/i><\/div>\n
                            bu \u00e7a\u011fa ait olmayan bir poz verece\u011fiz<\/i>”                    <\/div>\n
                                               (Emre \u00d6zt\u00fcrk, Hece Dergisi, Aral\u0131k 2017)<\/div>\n

Metin Ka\u00e7an<\/b> (1961-2013)’\u0131n 1990’a yay\u0131mlanan ve zamanla klasikle\u015fen eseri A\u011f\u0131r Roman<\/b> (Metis Yay., 5. Bas., \u0130st. 1991, 140 s.) okurlar\u0131na ilgin\u00e7 s\u00fcrprizler sunma potansiyeli y\u00fcksek bir kitap. K\u0131sa s\u00fcrede pek \u00e7ok bask\u0131 yapan, bir \u00e7ok dile \u00e7evrilen, filmi \u00e7ekilip tiyatroda sahnelenen A\u011f\u0131r Roman’\u0131 malesef yay\u0131mlan\u0131\u015f\u0131ndan 35 y\u0131l sonra, 7 Aral\u0131k 2025’te okuyabildim. Okudu\u011fum g\u00fcnlerde Devlet Tiyatrolar\u0131’n\u0131n A\u011f\u0131r Roman’\u0131 tiyatro sahnesinde oynamas\u0131n\u0131 ise baht a\u00e7\u0131kl\u0131\u011f\u0131m olarak adland\u0131r\u0131yorum! Bunu belirtmi\u015fken, A\u011f\u0131r Roman’\u0131 6 Aral\u0131k 2025’te Ankara DT \u015einasi Sahnesi’nde izledim.<\/p>\n

S\u00f6ze girerken, eserin okuyucular\u0131na ilgin\u00e7 s\u00fcrprizler sundu\u011funu belirtmi\u015ftim. Bunlar\u0131n en \u00f6nemlisi A\u011f\u0131r Roman’\u0131n farkl\u0131 okumalara a\u00e7\u0131k bir metin olmas\u0131d\u0131r. S\u00f6zgelimi ben Metin Ka\u00e7an’\u0131n A\u011f\u0131r Roman’da hafife ald\u0131\u011f\u0131 \u015fairlerden yola \u00e7\u0131k\u0131p g\u00fcncel at\u0131flarla yol alaca\u011f\u0131m. <\/p>\n

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Bir “roman” muhiti olarak “Kolera Soka\u011f\u0131”nda cirit atmas\u0131 gereken her t\u00fcrl\u00fc halk ki\u015fisinin yan\u0131s\u0131ra, Metin Ka\u00e7an \u015fairlere de bir vazife bi\u00e7mi\u015ftir orada. Gafticisinden keva\u015fesine, berberinden tamircisine, esrarc\u0131s\u0131ndan \u015farap\u00e7\u0131s\u0131na,  \u015fopar\u0131ndan lombar\u0131na, darbukac\u0131s\u0131ndan klarnet\u00e7isine, polisinden muhbirine, m\u00fcsl\u00fcman\u0131ndan Rum, Ermeni, S\u00fcryani gayrim\u00fcslimine, softas\u0131ndan feylezofuna, “Kara \u00e7antal\u0131, h\u00fck\u00fcmet suratl\u0131 adamlar\u0131n<\/i>“, has\u0131l\u0131 toplumu olu\u015fturan her kesimden insan\u0131n cirit att\u0131\u011f\u0131 sokakta \u015fairlerin ge\u00e7it merasimine kat\u0131lmamas\u0131 m\u00fcmk\u00fcn m\u00fc? <\/p>\n

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\u015eairlere dair ilk at\u0131f roman\u0131n daha giri\u015finde, sokakla ilgili malumat\u0131n detayland\u0131r\u0131ld\u0131\u011f\u0131 sat\u0131rlarda verilir: “K\u0131s\u0131lan ya\u011fmurla beraber g\u00f6kku\u015fa\u011f\u0131n\u0131n birtak\u0131m renkleri kara \u015foparlar\u0131n sadece tahtadan ve ipekten yap\u0131lm\u0131\u015f barakalar\u0131n\u0131n \u00fcst\u00fcnde sevi\u015fti. Kiliselerden gelen \u00e7an sesleri, k\u0131sa bir zaman sonra hafif esrar kokusu ve ezan sesiyle kar\u0131\u015f\u0131p havaya kaplad\u0131. Adam Mickiewicz’in \u015fair ruhu y\u00fczy\u0131ll\u0131k m\u00fczesinden kalk\u0131p bal\u0131klar\u0131n ve soka\u011fa g\u00f6n\u00fcl vermi\u015f \u00e7ama\u015f\u0131rlar\u0131n aras\u0131ndan ge\u00e7ip kilisenin istavrozuna kondu. Kolera’da b\u00f6yle bir g\u00f6r\u00fcnt\u00fc turlarken, imparatorlar, c\u0131garalar\u0131ndan babacas\u0131na \u00e7ektikleri duman\u0131 kara \u015foparlar\u0131n bulundu\u011fu y\u0131k\u0131nt\u0131lara do\u011fru \u00fcflediler.<\/i>” (s. 13) Burada ad\u0131 ge\u00e7en Adam Bernard Mickiewicz<\/b> (1798-1855) Polonyal\u0131 b\u00fcy\u00fck bir \u015fairdir. Mazlum halk\u0131 i\u00e7in yazd\u0131\u011f\u0131 hisli \u015fiirlerle k\u00fc\u00e7\u00fck ya\u015fta \u015f\u00f6hreti yakalayan Mickiewicz, Rusya, Almanya ve Fransa’da ge\u00e7en s\u00fcrg\u00fcn hayat\u0131ndan sonra 1855’de \u0130stanbul’a gelir ve Beyo\u011flu’nda Tatl\u0131 Badem Soka\u011f\u0131, 29 nolu \u00fc\u00e7 katl\u0131 binadaki bir dairede ya\u015famaya ba\u015flar. Ayn\u0131 y\u0131l, bu evde kolera<\/b>dan hayata g\u00f6zlerini yumar. A\u011f\u0131r Roman’da anlat\u0131s\u0131 yap\u0131lan itibari mekanda (Kolera Soka\u011f\u0131’nda) bulunan ve eserde ba\u015fka at\u0131flarla da an\u0131lan bu bina \u015fairin \u00f6l\u00fcm\u00fcn\u00fcn 100. y\u0131l\u0131 olan 1955’te Adam Mickiewicz M\u00fczesi<\/b> ad\u0131yla m\u00fczeye \u00e7evrilir. Koleradan \u00f6len bu i\u00e7li ve vatansever \u015faire, olaylar\u0131 Kolera Soka\u011f\u0131’nda ge\u00e7en bir romanda yer verilmesi, yazar Metin Ka\u00e7an’\u0131n ustal\u0131\u011f\u0131n\u0131 g\u00f6sterir.<\/div>\n

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\u015eairlerle ilgili sat\u0131rlar A\u011f\u0131r Roman’da her zaman bu \u00f6rnekteki gibi tazim nitelikli de\u011fildir.  Bunlardan ilki Kolera’ya musallat olan “yenge\u00e7 herifler”in, sokak halk\u0131n\u0131n can\u0131na ve mal\u0131na musallat olduklar\u0131 s\u00fcrece tekab\u00fcl eder. Bu “namussuz<\/i>“lar “Kolera’da ne kadar tamirane, marangozhane, ticarethane varsa<\/i>“, hepsine zarar vemeye ba\u015flam\u0131\u015flar, daha do\u011frusu esnaf\u0131 haraca kesmek i\u00e7in ellerinden geleni yapm\u0131\u015flard\u0131r. “Arap Sado’yu \u00f6ld\u00fcren yenge\u00e7 herifler, mahalleyi savunacak bir kabaday\u0131 olmad\u0131\u011f\u0131ndan, Koleral\u0131lar’\u0131n analar\u0131ndan emdikleri s\u00fct\u00fc burunlar\u0131ndan getirmeye ba\u015flad\u0131lar.<\/i>” (s. 40)  “Bu pezevenkler”, T\u0131b\u0131’n\u0131n at\u0131 \u015eermin’i b\u0131\u00e7akla vururlar, di\u015f ge\u00e7iremedikleri Berber Ali’nin d\u00fckkan\u0131n\u0131 bir gece ya\u011fmalarlar… \u0130\u015fte \u015fimdi Berber Ali usturas\u0131n\u0131 alm\u0131\u015f, T\u0131b\u0131’yla birlikte “yenge\u00e7 heriflere” hesap sormaya gitmektedir. \u015eairler bu noktada \u00e7\u0131kar ortaya: “Polonyal\u0131 \u015fair Adam Mickiewicz’in m\u00fczesinin \u00f6n\u00fcnde yakt\u0131klar\u0131 ate\u015fle \u0131s\u0131nan Kolera’n\u0131n \u015fairleri, Berber Ali’nin kavgaya gitti\u011fini g\u00f6rd\u00fcklerinde, \u0131s\u0131nmay\u0131 b\u0131rak\u0131p yazacaklar\u0131 kitaplara konu olacak bu olay\u0131 ya\u015famaya ko\u015ftular. \/(…)\/ Berber Ali ve T\u0131b\u0131, yenge\u00e7 heriflerin mek\u00e2n\u0131n\u0131n \u00f6n\u00fcnde durunca, her t\u00fcrl\u00fc f\u0131rt\u0131nada kibritlerini s\u00f6nd\u00fcrmeden \u00e7akan \u015fairler, sigaralar\u0131ndan \u00e7\u0131kard\u0131klar\u0131 anlaml\u0131 duman i\u015faretleriyle, kalabal\u0131\u011f\u0131n aras\u0131na kar\u0131\u015fm\u0131\u015f, argo konu\u015fmaya \u00e7al\u0131\u015fan aval k\u00f6yl\u00fcleri susturdular.<\/i>” (s. 42)<\/p>\n

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G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, anlat\u0131c\u0131 \u015fairleri olduk\u00e7a edilgen bir \u015fekilde yakalam\u0131\u015f ve onlara niteliksiz g\u00f6revler bi\u00e7mi\u015ftir: Sokakta yakt\u0131klar\u0131 ate\u015fte \u0131s\u0131nmaktad\u0131rlar, eserlerini bir sokak kavgas\u0131ndan dev\u015fireceklerdir. Kavgan\u0131n g\u00fcr\u00fclt\u00fcs\u00fcz bir \u00e7evrede vukubulmas\u0131 i\u00e7in kendileri gibi seyirci olan k\u00f6yl\u00fclerin konu\u015fmalar\u0131n\u0131 susturmakla vazifelenirler. Romandaki \u015fairleri bu vaziyette tavsif edilmi\u015f g\u00f6r\u00fcnce mevcut zaman \u015fairlerinden meyhaneye veya mescide konu\u015flanm\u0131\u015f olup da ya\u015fan\u0131p giden sosyolojiyi pas ge\u00e7en, kendi ortam ve alemlerinde nebat bulanlar\u0131 d\u00fc\u015f\u00fcnmeden edemiyor insan!<\/p>\n

Bu arada kavga Berber Ali’nin zaferiyle sonu\u00e7lanm\u0131\u015f, “yenge\u00e7 herifler’in reisi iki seksen yere yat\u0131r\u0131lm\u0131\u015ft\u0131r. \u015eairler bundan da kendilerine bir i\u015f icat etmeyi ba\u015far\u0131r: “Ali, Kolera’da \u015ferefi i\u00e7in yapt\u0131\u011f\u0131 kavgay\u0131 kazanman\u0131n co\u015fkusuyla, ad\u0131mlar\u0131n\u0131 berber d\u00fckk\u00e2n\u0131na do\u011fru pergel gibi a\u00e7t\u0131. T\u0131b\u0131, karlar \u00fczerinde bayg\u0131n yatan reise, kin dolu bir balgam at\u0131p at\u0131 \u015eermin’i g\u00f6mmek i\u00e7in ah\u0131ra do\u011fru uzakla\u015ft\u0131. \u015eairler, ‘Biz burada \u00e7ok tak\u0131ld\u0131k biraz dola\u015fal\u0131m\/oldu peki g\u00f6r\u00fc\u015felim’ gibisinden kafiyeli s\u00f6zlerle kavgay\u0131 estetik bulup bulmad\u0131klar\u0131n\u0131 tart\u0131\u015fmaya koyuldular.<\/i>” (s. 44) G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, A\u011f\u0131r Roman’da \u015fairler olduk\u00e7a hafif \u00e7ekmektedir!<\/p>\n

\u015eairlerden bahis ilerleyen sayfalarda da a\u00e7\u0131l\u0131r: Bir araban\u0131n tamir edilmesi i\u015fi s\u00f6z konusudur. Fakat Hamit Usta, tamirat i\u00e7in gerekli olan tutya madenini bulamam\u0131\u015f, dolay\u0131s\u0131yla tamirat\u0131 ba\u015faramam\u0131\u015ft\u0131r. Bu durumdayken G\u0131li G\u0131li Salih bir ara\u015ft\u0131rma yapar: “Akl\u0131na \u015fair Adam Mickiewicz’in heykeli gelince g\u00f6zleri parlad\u0131.<\/i>” Aranan maden heykelde bulunmaktad\u0131r: “Gece, Kolera’da ya\u011flanm\u0131\u015f iki g\u00f6lge \u00e7al\u0131\u015fmaktayd\u0131. Fil Hamit soka\u011f\u0131n ba\u015f\u0131nda n\u00f6bet tutarken, G\u0131li, Adam Mickiewicz’in tutya heykelinin aya\u011f\u0131n\u0131 kesmekteydi. G\u0131li testereyi acemi ku\u015f sesi \u00e7\u0131kartt\u0131rak kulland\u0131\u011f\u0131ndan, softa muhbirleri ekmek paras\u0131ndan yoksun b\u0131rak\u0131yordu. \u015eairler bu manzaray\u0131 g\u00f6rseler hi\u00e7 \u00e7ekinmeden iki salatal\u0131\u011f\u0131 cac\u0131k yaparlard\u0131. Heykelin aya\u011f\u0131n\u0131 yamuk-yumuk kesen G\u0131li ustas\u0131yla beraber at\u00f6lyeye ka\u00e7t\u0131 – G\u0131li, Mickiewicz’in aya\u011f\u0131n\u0131 \u00f6zellikle d\u00fczg\u00fcn kesmeyipacemi h\u0131rs\u0131z s\u00fcs\u00fc vermi\u015fti.<\/i>” (s. 72) Dikkat edilirse burada da \u015fairlerden ho\u015f bahsedilmez. Onlar\u0131n “iki salatal\u0131\u011f\u0131 cac\u0131k<\/i>” yapacak t\u0131ynette g\u00f6r\u00fclmesi argodaki “cac\u0131k k\u00f6p\u00fcrtmek<\/i>” deyimine denk d\u00fc\u015fmekte, dolay\u0131s\u0131yla “gereksiz yere tantana \u00e7\u0131karmak<\/i>“, “k\u00fc\u00e7\u00fck bir meseleyi b\u00fcy\u00fctmek<\/i>“, “abart\u0131l\u0131 ve bo\u015f konu\u015fmak<\/i>” gibi anlamlar\u0131 kapsamaktad\u0131r. S\u00f6z\u00fc k\u00f6p\u00fcrten, siyak sibak tutmaz s\u00f6z y\u0131\u011f\u0131nlar\u0131n\u0131 bir araya getiren, \u015fiiri meselesizle\u015ftiren, b\u00fcy\u00fck meseleler kar\u015f\u0131s\u0131nda k\u00fc\u00e7\u00fcld\u00fck\u00e7e k\u00fc\u00e7\u00fclen ve ad\u0131 \u015faire \u00e7\u0131km\u0131\u015f kimi g\u00fcn\u00fcm\u00fcz fig\u00fcrlerini tasavvur ediniz burada!<\/p>\n

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Roman\u0131n takip eden olay halkas\u0131nda da \u015fairlere g\u00f6ndermeler yap\u0131l\u0131r. G\u0131li, kendisine yeni bir hayat tasarlamaktad\u0131r. Bu yolda hayaller kurar, r\u00fcyalar g\u00f6r\u00fcr: “R\u00fcyas\u0131nda, bitirimlerin kurdu\u011fu hayallerin daha oturakl\u0131s\u0131n\u0131 g\u00f6rmeye ba\u015flad\u0131. Ge\u00e7mi\u015fte ya\u015fad\u0131\u011f\u0131 olaylar\u0131 unutup yeni bir hayata ba\u015flamas\u0131 i\u00e7in \u015fair babalar\u0131n yard\u0131m\u0131na ihtiyac\u0131 vard\u0131. Kolera’n\u0131n \u015fairlerinin bir g\u00f6revi de ge\u00e7mi\u015flerini unutmak isteyen yeni yetme bitirimlere yol g\u00f6stermekti. G\u0131li, sabah\u0131n ilk \u0131\u015f\u0131klar\u0131yla beraber yola \u00e7\u0131k\u0131p en h\u0131rpani \u015fairi aramaya koyuldu. Seyyar ci\u011ferci T\u0131b\u0131’n\u0131n kald\u0131\u011f\u0131 ah\u0131rdan gelen d\u00f6rtl\u00fckleri duyunca arad\u0131\u011f\u0131 t\u0131ls\u0131ma kavu\u015ftu. \u015eair baba, T\u0131b\u0131’n\u0131n mek\u00e2n\u0131nda damardan ila\u00e7 al\u0131p en g\u00fczel d\u00f6rtl\u00fcklerini patlat\u0131yordu. Morfinden uyu\u015fan T\u0131b\u0131, ald\u0131\u011f\u0131 zevki u\u00e7urmak i\u00e7in g\u00f6\u011fs\u00fcne k\u00f6r jiletle kalp \u00e7izmekteydi. G\u0131li cesaretini toplay\u0131p \u015fair babaya ge\u00e7mi\u015fini unutmak i\u00e7in bitirim olmay\u0131 se\u00e7ti\u011fini detays\u0131z vaziyette anlatt\u0131. \u015eair baba, G\u0131li’yi, Kolera’n\u0131n sessiz kald\u0131r\u0131mlar\u0131ndan u\u00e7urarak k\u0131rm\u0131z\u0131 metallerin parlad\u0131\u011f\u0131 soka\u011fa getirdi. G\u0131li’ye bir bu\u00e7uk saat i\u00e7inde bitirimler d\u00fcnyas\u0131yla ilgili s\u0131rlar\u0131 verdi. G\u0131li’nin ge\u00e7mi\u015fini unutturmak i\u00e7in bu s\u0131rlar\u0131 anlatmaya mecburdu. ‘Tespih \u00e7ekmenin adab\u0131 – Yan yatt\u0131 \u00e7amura batt\u0131 – \u00fczerindeki giysiye g\u00f6re yap\u0131lan hareketler,” falan filan: \u015eair baban\u0131n verdi\u011fi bu s\u0131rlar Kolera’n\u0131n gece ve g\u00fcnd\u00fcz ya\u015fam\u0131n\u0131 belirleyen bitirimlerin en gizli s\u0131rlar\u0131yd\u0131. Bu sorular\u0131 bilmeyenler bitirimler d\u00fcnyas\u0131nda fazla s\u00f6z sahibi olam\u0131yorlard\u0131. G\u0131li, t\u0131ls\u0131ml\u0131 d\u00f6rtl\u00fckleri de ezberledikten sonra yeni bir ruh haliyle Kolera’daki ya\u015fam\u0131na h\u0131zl\u0131 ge\u00e7i\u015f yapt\u0131.<\/i>” (s. 72-73) G\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere, bitirim olmak isteyenin r\u00fcyas\u0131nda vuku buluyor bu kez \u015fairlerin yap\u0131p etmeleri: Mekanlar\u0131 ah\u0131r<\/b>, yap\u0131p etmeleri keyif verici, akl\u0131 iptal edici materyal kullanmak ve bitirim yeti\u015ftirmek! Maalesef ger\u00e7ek hayatta bu bitirim yeti\u015ftirme s\u00fcreci farkl\u0131 kanaat ve siyaset ki\u015filerini epikle\u015ftirmek, ki\u015fi k\u00fclt\u00fc olu\u015fturmak \u015feklinde tezah\u00fcr ediyor. Akabinde toplumun can\u0131na okuyor bu k\u00fclt bitirimler! <\/div>\n
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A\u011f\u0131r Roman’da \u015fairlerle temas etti\u011fimiz bir ba\u015fka s\u00fcre\u00e7, Orso’nun kahvesinde ger\u00e7ekle\u015fir: “… kendi usullerince pi\u015fti oynayan \u015fairler G\u0131li’ye yapaca\u011f\u0131 vukuatta ba\u015far\u0131l\u0131 olmas\u0131 i\u00e7in kurnazl\u0131k d\u00f6rtl\u00fckleri par\u00e7alay\u0131p kar\u015f\u0131l\u0131kl\u0131 at\u0131\u015farak oyunlar\u0131na devam ettiler. ‘Kolera’dan ge\u00e7iyor musun\/ma\u00e7ay\u0131 karoyu se\u00e7iyor musun\/Yapt\u0131\u011f\u0131n pi\u015ftiler fa\u00e7al\u0131 olsun\/kes tra\u015f\u0131 da pantalonun biraz pa\u00e7al\u0131 olsun!’ \u015eairlerin s\u00fcl\u00fcn gibi at\u0131\u015fmalar\u0131na tav olan G\u0131li, \u015fokella batakl\u0131\u011f\u0131na d\u00fc\u015fm\u00fc\u015f sokak \u00e7ocuklar\u0131 gibi sevinerek pezevenklerin tak\u0131ld\u0131\u011f\u0131 kahvelere do\u011fru ad\u0131mlar\u0131n\u0131 konu\u015fturdu<\/i>.” (s. 103) G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, \u015fairlere bi\u00e7ilen k\u0131yafet burada da kefendir: Dizelerini ali cengizlik i\u015flere tahvil etmek!<\/div>\n
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\u015eairlerin kahvehaneden sonraki mekan\u0131 bitirimhanedir. Bir bitirimhanede G\u0131li \u00fczerinden muhabbet eden “a\u011f\u0131r bitirimler”in muhabbetine bir \u015fair de dahil olur: “… Bu s\u0131rada Kolera’n\u0131n en yetenekli \u015fairi bitirimhaneye heyecanla dal\u0131p cebinden \u00e7\u0131kard\u0131\u011f\u0131 buru\u015fuk sigara k\u00e2\u011f\u0131d\u0131n\u0131 okumaya ba\u015flad\u0131: ‘Ulan! Yaran nerde\/beren nerde\/en \u00f6nemlisi paran nerde!’ Sakallar\u0131 bir ke\u00e7ininkinden daha fazla olmaya kumarbaz o an i\u00e7in \u00e7ok \u00f6nemli bir miktar paray\u0131 \u015faire verip \u015fiiri sat\u0131n ald\u0131. Soyulacak bir adama b\u00f6ylesine can al\u0131c\u0131 bir s\u00f6z s\u00f6ylemek davay\u0131 yar\u0131 yar\u0131ya kazanmakt\u0131. \u015eair paralar\u0131 saymadan bitirimhaneden \u00e7\u0131k\u0131p \u015farap\u00e7\u0131ya girdi. Yeni d\u00f6rtl\u00fckler yazmak i\u00e7in sadece \u015farab\u0131n arkada\u015fl\u0131\u011f\u0131na ihtiyac\u0131 vard\u0131. \u015earaphanenin akusti\u011fi ve \u015fi\u015feden i\u00e7ilen \u015farab\u0131n ‘l\u0131k\u0131r l\u0131k\u0131r’ sesi \u015fiirinin en kuvvetli ritmini olu\u015fturuyordu. Bunu hi\u00e7 kimse kulak arkas\u0131 yazamazd\u0131. Alkolik \u015fair \u015faraba ekme\u011fi bas\u0131p karn\u0131n\u0131 doyurduk\u00e7a dizeler s\u0131raya ge\u00e7ti. ‘Elle ya muavin\/Ele vermiyoruz\/Direk i\u00e7eri koyuyoruz…’<\/i>” (s. 107) \u015eairleri bitirimhaneye, \u015faraphaneye yerle\u015ftiren Metin Ka\u00e7an, onlar\u0131 bitirime, kumarbaza \u015fiir yazan fig\u00fcrler olarak anlat\u0131rken, ku\u015fkusuz bilin\u00e7li bir tercih yap\u0131yor, \u015fairlerin bizdeki geleneksel baz\u0131 tutumlar\u0131n\u0131 oldu\u011fu kadar, mevcutta icra ettikleri baz\u0131 tercihlerini de tahfif ediyordu. <\/div>\n
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\u015eairlerle ilgi bir ba\u015fka anlat\u0131, G\u0131li’nin bitirimcilikte efsanele\u015fti\u011fi zamanlara tekab\u00fcl eder. Fakat burada \u015fairler G\u0131li’yle do\u011frudan irtibat halinde de\u011fildir. Arada Acem Baba vard\u0131r, Kolera’n\u0131n seyir defterini tutan: “Acem Baba, G\u0131li’nin Kolera’daki t\u00fcm insanlar\u0131 hayrete d\u00fc\u015f\u00fcr\u00fcc\u00fc y\u00fcr\u00fcy\u00fc\u015f\u00fcn\u00fc \u015fair babalar\u0131n\u0131n yard\u0131m\u0131yla seyir defterine ge\u00e7ti. ‘Uzaktan tan\u0131n\u0131r delikanl\u0131m\u0131z\/Koltuk alt\u0131ndad\u0131r emanetimiz\/Sen ne s\u00f6ylersin s\u00f6yle k\u00f6yl\u00fc karde\u015fimiz\/Ezelden say\u0131l\u0131d\u0131r nefeslerimiz!\/Ni\u00e7in bo\u015fa ge\u00e7sin \u00f6m\u00fcrlerimiz.’ Acem Baba metresinin ka\u015f kalemiyle \u015fiiri deftere ge\u00e7irince, kabaday\u0131l\u0131\u011f\u0131n zor zanaat oldu\u011funu \u00e7akozlayan f\u0131r\u0131ldak \u015fah\u0131slar Orso’nun kahvesini terkedip caka satacak ba\u015fka mek\u00e2n arad\u0131lar<\/i>.” (s. 113) Daha \u00f6nceki at\u0131flarda da oldu\u011fu gibi burada da \u015fiirin ne i\u00e7in, kimin hizmeti u\u011fruna kullan\u0131ld\u0131\u011f\u0131 vurgulan\u0131r. Fakat burada bundan daha da \u00f6nemli olan, \u015fiirin hangi aletle deftere ge\u00e7irildi\u011fidir: Metresin ka\u015f kalemiyle! <\/div>\n
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Uzun bir s\u00fcre mahalleden kopan G\u0131li’nin abisi (yazar, ressam) Reco’nun tekrar mahalleye d\u00f6nd\u00fc\u011f\u00fc bir s\u00fcrecin anlat\u0131ld\u0131\u011f\u0131 sat\u0131rlarda, \u015fairler bu kez onun g\u00f6z\u00fcyle anlat\u0131l\u0131r: “\u015earho\u015f \u015fairler Kolera’n\u0131n \u0131slak caddelerinde ‘Getirin oradan biraz \u015farap; i\u00e7eyim\/\u015eu bo\u015flu\u011fun i\u00e7erisinde gidip geleyim!” diye ba\u011f\u0131r\u0131yorlard\u0131<\/i>.” (s. 135) \u015eairlerin ve halk\u0131n halini g\u00f6ren Reco, hayat\u0131n\u0131 devam ettirece\u011fi ba\u015fka bir mek\u00e2n bulmaya niyetlenir. Sonu\u00e7ta annesinin evine yerle\u015fir. \u015eairler, romanda son kez bu s\u00fcre\u00e7te dikkatlere sunulur: “Sadece kendisinin veya Kolera’daki papik\u00e7i \u015fairlerin anlayaca\u011f\u0131 resimleri annesine g\u00f6sterip, yerinde durmayan \u015fekilleri a\u00e7\u0131klad\u0131.<\/i>” (s. 136). \u015eairlerin buradaki vasf\u0131 da hayli dikkat \u00e7ekici ve tahkirat i\u00e7eriklidir: “Papik\u00e7i!” Yani, uyu\u015fturucu tesirinde olan haplar\u0131 kullanan!<\/div>\n
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Maalesef, uyu\u015fturucunun bug\u00fcn binbir bi\u00e7imi var. Fanatik bir \u015fekilde ba\u011fland\u0131klar\u0131 herhangi bir nesne yahut olgu da uyu\u015fturabiliyor insanlar\u0131; hele \u015fairleri!<\/div>\n","protected":false},"excerpt":{"rendered":"

“tevekk\u00fcl tavsiye edecekler seni ve devleti tan\u0131yanlar,                             b\u00fct\u00fcn…<\/p>\n","protected":false},"author":17,"featured_media":4172,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"om_disable_all_campaigns":false,"_uag_custom_page_level_css":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[20],"tags":[],"ppma_author":[173],"class_list":["post-4171","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kitap"],"yoast_head":"\nA\u011f\u0131r Roman'\u0131n Hafif \u015eairleri - simurgedebiyat.com<\/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:\/\/simurgedebiyat.com\/index.php\/2026\/03\/13\/agir-romanin-hafif-sairleri\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A\u011f\u0131r Roman'\u0131n Hafif \u015eairleri - 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AKKANAT","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/cevat-akkanat\/"},"uagb_comment_info":0,"uagb_excerpt":"“tevekk\u00fcl tavsiye edecekler seni ve devleti tan\u0131yanlar,                             b\u00fct\u00fcn...","authors":[{"term_id":173,"user_id":17,"is_guest":0,"slug":"cevat-akkanat","display_name":"Cevat AKKANAT","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/cevat.jpg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/cevat.jpg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":"Bal\u0131kesir, 1964. \u0130zmir Dokuz Eyl\u00fcl \u00dcniversitesi, Buca E\u011fitim Fak\u00fcltesi, T\u00fcrk Dili ve Edebiyat\u0131 B\u00f6l\u00fcm\u00fcn\u00fc 1991\u2019de bitirdi. 2000\u2019de K\u0131r\u0131kkale \u00dcniversitesi\u2019nde \u201cGelenek ve \u0130kinci Yeni \u015eiiri\u201d ba\u015fl\u0131kl\u0131 tezle y\u00fcksek lisans\u0131n\u0131 tamamlad\u0131. 1997-2005 aras\u0131nda Lik\u00e2 edebiyat dergisini \u00e7\u0131kard\u0131. \r\n\r\nYay\u0131nlanm\u0131\u015f Eserleri: \r\n\u015eiir: Kara Oyun, G\u00fcz Kl\u00e2si\u011fi, Sen Bir Sevda A\u011fac\u0131s\u0131n T\u00fcrk\u00fcler B\u00fcy\u00fct\u00fcr Y\u00fcz\u00fcn, Tan Tan Traska!, H\u00fczn \u00fc A\u015fk, Korku Isl\u0131\u011f\u0131, Nas\u0131ls\u0131n\u0131z?, H\u00e2s\u0131l\u0131 Memlekette, \u015eanl\u0131 \u015eark\u0131, G\u00fcl\u00fcmse Kul\u00fcb\u00fc, Post Ah, \u00c7arlek, Kabuk, Lirik Parampar\u00e7a, Kovgun \u0130sa T\u00fcrk\u00fcs\u00fc.\r\nDeneme: Edebiyat Hayat Memat, \u0130lhan Berk\u2019in Ha\u015femas\u0131, K\u00f6pekler L\u00fcgati, Deneme Tahtas\u0131, Festivalde \u015eempanze, Iss\u0131zl\u0131k Mar\u015f\u0131, Adalet Divan\u0131, Abide Kubbeler, Ben Size Ne Demi\u015ftim?.\r\nEle\u015ftiri: Gelenek ve \u0130kinci Yeni \u015eiiri, \u015eiirin \u0130pek Sesi, \u015eiirin \u015eiddeti, \u00d6zg\u00fcn Bir Toplum Kurucu Mehmet \u00c2kif, \u015ei\u2019r-Pen\u00e7e, \u0130kinci Yeni Okumalar\u0131, K\u00f6klenme Bilinci, Kerberos\u2019u Ta\u015flamak.\r\nAntoloji: Baba Bu Kitap Sana, Ankara \u015eiirleri Antolojisi, Daima Rabia-M\u0131s\u0131r Direni\u015fi \u0130\u00e7in \u015eiirler, Eski\u015fehir \u015eairler Antolojisi, Bursa Naat Okuyor, Darbeye Direnen \u015eiirler-15 Temmuz Direni\u015f \u015eiirleri, Darbeye Direnen \u015eiirler-28 \u015eubat Direni\u015f \u015eiirleri.\r\nDerleme: Bursa\u2019n\u0131n \u00c7anakkale \u015eehitleri, \u00c7anakkale Sava\u015flar\u0131 ve \u0130stanbul, \u00c7anakkale Zaferi ve Bursa, Sanat ve Edebiyat Hayat\u0131n\u0131n 35. Y\u0131l\u0131nda Bestami Yazgan.\r\nBiyografi: Feraizciz\u00e2de Mehmet \u015eakir.\r\n\r\n\r\n\r\n \r\n\r\n\r\n\u2003\r\n"}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4171","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=4171"}],"version-history":[{"count":1,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4171\/revisions"}],"predecessor-version":[{"id":4173,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4171\/revisions\/4173"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4172"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4171"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4171"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}